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♪ ♪
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♪ ♪
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♪ ♪
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♪ ♪
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[CHEERS AND APPLAUSE]
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♪ ♪
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>> ♪ TONIGHT, YOU ARE MINE
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COMPLETELY ♪
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♪ YOU GIVE YOUR LOVE SO
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SWEETLY ♪
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♪ TONIGHT THE LIGHT OF LOVE
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IS IN YOUR EYES ♪
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♪ BUT WILL YOU LOVE ME
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TOMORROW? ♪
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♪
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♪ ♪
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♪ IS THIS A LASTING TREASURE ♪
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♪ OR JUST A MOMENT'S PLEASURE? ♪
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♪ CAN I BELIEVE THE MAGIC OF
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YOUR SIGHS? ♪
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♪ WILL YOU STILL LOVE ME
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TOMORROW? ♪
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♪ TONIGHT WITH WORDS UNSPOKEN ♪
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♪ YOU SAY
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THAT I'M THE ONLY ONE ♪
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♪ BUT WILL MY HEART BE BROKEN ♪
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♪ WHEN THE NIGHT MEETS
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THE MORNING SUN? ♪
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♪ I'D LIKE TO KNOW
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THAT YOUR LOVE ♪
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♪ IS LOVE I CAN BE SURE OF ♪
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♪ SO TELL ME NOW, AND I WON'T
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ASK AGAIN ♪
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♪ WILL YOU STILL LOVE ME
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TOMORROW? ♪
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♪ WILL YOU STILL LOVE ME
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TOMORROW? ♪
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♪ WILL YOU STILL LOVE ME
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WILL YOU ♪
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♪ WILL YOU STILL LOVE ME
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WILL YOU ♪
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♪ WILL YOU STILL LOVE ME
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TOMORROW ♪
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[CHEERS AND APPLAUSE]
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♪ ♪
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>> MUSIC COMES THROUGH ME, IT
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COMES OUT OF ME.
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THIS HAS NOT CHANGED SINCE THE
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TIME I CAN REMEMBER.
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I'M VERY LUCKY THAT I SPEAK THE
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LANGUAGE OF MUSIC.
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♪ ONE FINE DAY, YOU ARE GOING
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TO WANT ME FOR YOUR GIRL ♪
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>> SHE IS LIKE THE AIR.
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SHE IS ALWAYS BEEN THERE.
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>> WITHOUT HER, I WOULD NEVER
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HAVE WANTED TO WRITE SONGS.
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>> THE BAR THAT CAROLE SETS IS
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THE ONE THAT WE ARE ALL TRYING
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TO ASPIRE TO.
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♪ ONE FINE DAY, YOU ARE GOING
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TO WANT ME FOR YOUR GIRL ♪
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♪ ♪
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>> MY MOTHER HAD A PIANO, AND SO
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I WAS ABLE TO PLAY IT AND WORK
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ON IT BY EAR AND WRITE A LITTLE
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DITTIES.
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I WAS PLAYING PIANO AT AGE FOUR.
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I CAN CONDUCTED AN ORCHESTRA AT
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AGE 15.
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MY MOM USED TO PLAY THE RADIO,
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AND I LOVED THE PUPS DRUNKS.
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I MARRIED GERRY GOFFIN
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, AND HE IS WORKING AS A
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CHEMIST, AND WE WOULD WRITE
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SONGS AT NIGHT, AND I WOULD
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PRESENT THEM.
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>> IS VERY PRETTY MELODY, YOU
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KNOW WHAT I MEAN?
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>> I LIKE THAT.
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>> I LIKE THAT.
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>> IT WAS MAGIC.
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THEY WERE A SONGWRITING MACHINE
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PERFECTLY IN TUNE.
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>> ♪ TONIGHT YOUR MIND
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COMPLETELY ♪
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>> ♪ ANOTHER PLEASANT VALLEY
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SUNDAY ♪
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>> JERRY WEXLER PRESENTED GERRY
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GOFFIN WITH THE TITLES, I NEED
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SOMETHING FOR ARETHA, "NATURAL
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WOMAN."
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>> ♪ WHAT YOU MAKE ME FEEL LIKE
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A NATURAL WOMAN.
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>> IF CAROLE HAD NEVER WRITTEN
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THAT SONG OF THAT ERA, SHE WOULD
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STILL BE ONE OF THE MOST
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IMPORTANT PEOPLE IN
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ROCK 'N' ROLL HISTORY.
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>> MY DIVORCE WAS PROBABLY THE
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SHATTERING OF MY WORLD.
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>> ♪ WAY OVER YONDER ♪
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>> I HAPPENED TO MOVE TO L.A.
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AND MEET JAMES TAYLOR.
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THERE HAPPENED TO BE A COMMUNITY
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OF SONGWRITERS SINGING THEIR OWN
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SONGS.
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>> IT WAS COMMUNITY.
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IT WAS PEOPLE GIVING AND
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RECEIVING AND INFLUENCING AND
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SHARING.
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>> IT FELT A LOT LIKE FAMILY,
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AND EVERYONE WANTED EVERYONE
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ELSE TO SUCCEED.
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THE FIRST THING THAT I
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ENVISIONED WITH CAROLE WAS A
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SOLO ARTIST THAT YOU ALWAYS FELT
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SHE WAS SITTING AT THE PIANO AND
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SINGING TO YOU.
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>> SHE IS THE QUINTESSENTIAL
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SINGER-SONGWRITER.
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HER SONGS ARE SO SIMPLE, SO
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MOVING.
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>> I NEVER CONSIDERED MYSELF A
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SINGER.
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I SANG MY OWN SONGS BECAUSE
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THAT'S HOW YOU GET THEM OUT.
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>> "WILL YOU LOVE ME TOMORROW,"
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JONI AND JAMES SAYING BACKGROUND
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ON.
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>> ♪ BUT WILL YOU LOVE ME
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TOMORROW ♪
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>> ♪ ♪ ♪
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MUSICAL SO FAR AWAY...
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♪
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>> ♪ ♪ ♪
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♪ IT WOULD BE SO FUN TO SEE YOUR
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FACE AT MY DOOR ♪
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>> IT HIT A NERVE WITH PEOPLE AT
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THAT TIME.
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IT JUST BECAME THEIR SOUNDTRACK.
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>> ♪ OH, DARLING, WHEN YOU'RE
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NEAR ME ♪
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♪ AND YOU TENDERLY CALL MY
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NAME ♪
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>> CAROLE KING CAROL'S YOUR
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LIFE.
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YOU SUDDENLY HAVE THIS
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WONDERFULLY FEMININE TAKE ON
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RELATIONSHIPS THAT SORT OF,
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LIGHT, ANSWERED ALL OF THESE
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IMPOSSIBLE-2ESQUE QUESTIONS.
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>> IS A YOUNG WOMAN, I GREW UP
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LISTENING TO HER AND WAS
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INSPIRED BY THE WAY THAT SHE
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FEARLESSLY TOLD HER STORY.
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♪ ♪
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>> ♪ THERE SOMETHING WRONG
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HERE, THERE CAN BE NO DENYING ♪
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♪ ONE OF US IS CHANGING ♪
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>> TAPESTRY IS LIKE AN ARTISTS
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DREAM, TO CREATE A BODY OF WORK
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THAT FOR EVER TOUCHES PEOPLE,
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THAT BREAKS RECORDS AND
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BOUNDARIES.
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INCREDIBLE GREATNESS, PURENESS,
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REALNESS, AND RAWNESS.
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>> ♪ AND IT'S TOO LATE BABY,
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NOW, IT'S TOO LATE ♪
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♪ THOUGH WE REALLY DID TRY TO
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MAKE IT ♪
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>> I'VE ALWAYS HAD CONFIDENCE IN
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THE FACT THAT WHEN I PLAYED
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MUSIC, IT TOUCHED PEOPLE IN SOME
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WAY.
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AND THE PLACE I DIDN'T HAVE
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CONFIDENCE WAS AS A PERFORMER.
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THAT'S WHERE YOU CAME END.
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>> ONE NIGHT, JAMES SAID, YOU
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SHOULD DO "UP ON THE ROOF."
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AND I'M LIKE, NO, PLEASE DON'T
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MAKE ME DO IT.
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>> AND TO GIVE ME A LOVELY
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INTRODUCTION, AND AS I WAS
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PERFORMING THE SONG, I COULD
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FEEL THE AUDIENCE WITH ME.
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>> ♪ OH, LET'S GO UP ON THE
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ROOF ♪
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>> SHE FINALLY STEPPED UP TO THE
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PLATE ITSELF.
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IT WAS LIKE HITTING A MAJOR VEIN
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THAT WELLED UP.
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>> ♪ YOU'VE GOT TO GET UP EVERY
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MORNING WITH A SMILE ON YOUR
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FACE ♪
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♪ AND SHOW THE WORLD ALL THE
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LOVE IN YOUR HEART ♪
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♪ THAT PEOPLE GOING TO TREAT YOU
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BETTER ♪
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♪ YOU ARE GOING TO FIND, YES,
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YOU WILL ♪
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♪ THAT YOU ARE BEAUTIFUL AS YOU
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FEEL ♪
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>> NOTHING BUT GENEROSITY,
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KINDNESS.
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SHE LET ME CUT THIS TO INVERSE,
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RELEASE IT, AND I WAS AMAZED,
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BECAUSE SHE WAS CUTTING
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"TAPESTRY" AT THE TIME.
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>> ♪ YOU JUST CALL OUT MY
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NAME ♪
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♪ AND YOU KNOW, WHEREVER I AM ♪
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♪ OUT I'LL COME RUNNING ♪
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♪ TO SEE YOU AGAIN ♪
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>> I FIND HEARING CAROLE SING
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HER OWN SONGS IS TRANSCENDENT.
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THERE IS A CLOSENESS THAT CAN BE
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REPLICATED.
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>> IT IS A REAL THING THAT
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YOU'RE GETTING RIGHT FROM HERE
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TO YOU.
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AND THAT'S WHAT SHE MEANS TO ME.
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>> ♪ SNOW IS COLD, RAIN IS
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WET ♪
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>> BUT WHAT THEY ARE LOVING IS
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WHAT THE SONG HAS MEANT TO THEM
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IN THEIR LIVES, TO EACH OF YOU
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LISTENING IN YOUR LIFE.
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>> ♪ I WON'T BE HAPPY UNTIL I
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SING ♪
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>> TO "TAPESTRY" ALONE WOULD'VE
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BEEN THE GREATEST HALLMARK.
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YOU INCLUDE ALL OF THE OTHER
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WORK THAT SHE DID, AND ARGUABLY,
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SOME OF IT IS THE GREATEST MUSIC
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OF ALL TIME.
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THANK GOD FOR CAROLE KING.
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[CHEERS AND APPLAUSE]
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>> TO INDUCT CAROLE KING INTO
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THE ROCK & ROLL HALL OF FAME,
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TAYLOR SWIFT.
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♪ ♪
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MUSICAL [CHEERS AND APPLAUSE]
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>> I CANNOT REMEMBER A TIME WHEN
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I DIDN'T KNOW CAROLE KING'S
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MUSIC.
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I WAS RAISED BY TWO OF HER
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BIGGEST FANS, WHO TAUGHT ME THE
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BASIC TRUTHS OF LIFE AS THEY SAW
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IT, THAT YOU SHOULD TREAT PEOPLE
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THE WAY YOU WANT TO BE TREATED,
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THAT HE MUST BELIEVE YOU CAN
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ACHIEVE WHATEVER YOU WANT TO IN
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LIFE, AND THAT CAROLE
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KING IS THE GREATEST SONGWRITER
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OF ALL TIME.
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[CHEERS AND APPLAUSE]
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AND THERE HAVE BEEN TIMES WHEN
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ANY FANS DEDICATION TO THE
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ARTIST THEY LOVE CAN COMPLICATE
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THINGS IN THEIR PERSONAL LIFE.
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FOR EXAMPLE, MY DAD ONCE TOLD ME
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A STORY FROM WHEN HE WAS IN
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COLLEGE AND A GIRL HE WAS JUST
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00:12:29,066 --> 00:12:30,000
STARTING TO DATE FLIRTATIOUSLY
268
00:12:30,066 --> 00:12:31,466
ASKED HIM IF THERE WERE ANY
269
00:12:31,533 --> 00:12:33,666
SONGS THAT MADE HIM THINK OF
270
00:12:33,733 --> 00:12:34,800
HER.
271
00:12:34,866 --> 00:12:35,666
HE INSTANTLY RESPONDED WITH HIS
272
00:12:35,733 --> 00:12:39,933
ABSOLUTE FAVORITE SONG, WHICH
273
00:12:40,000 --> 00:12:44,100
WAS "IT'S TOO LATE" BY CAROLE
274
00:12:44,166 --> 00:12:44,300
KING.
275
00:12:44,366 --> 00:12:46,400
NOT TAKING INTO CONSIDERATION
276
00:12:46,466 --> 00:12:49,500
THAT THE LYRICS INCLUDE LINES
277
00:12:49,566 --> 00:12:52,500
LIKE, "SOMETHING INSIDE HAS
278
00:12:52,566 --> 00:12:53,766
DIED, AND I JUST CAN'T HIDE, AND
279
00:12:53,833 --> 00:12:58,366
I JUST CAN'T FAKE IT."
280
00:12:58,433 --> 00:12:58,933
SHOCKINGLY, THE RELATIONSHIP
281
00:12:59,000 --> 00:13:00,433
DIDN'T WORK OUT, BUT IF IT HAD,
282
00:13:00,500 --> 00:13:06,066
I WOULDN'T BE HERE TONIGHT.
283
00:13:06,133 --> 00:13:07,733
I GREW UP DANCING AROUND THE
284
00:13:07,800 --> 00:13:10,166
LIVING ROOM AND SOCKED FEET TO
285
00:13:10,233 --> 00:13:13,533
THE SOUNDS OF CAROLE'S SOULFUL
286
00:13:13,600 --> 00:13:14,100
VOICE, OR INFECTIOUS
287
00:13:14,166 --> 00:13:16,800
MELODIES, AND LYRICS THAT I, A
288
00:13:16,866 --> 00:13:20,133
7-YEAR-OLD, THOUGHT HAD BEEN
289
00:13:20,200 --> 00:13:22,266
CRAFTED FROM MY EXACT, SPECIFIC
290
00:13:22,333 --> 00:13:23,800
LIFE EXPERIENCE.
291
00:13:23,866 --> 00:13:25,633
I LISTEN TO CAROLE'S MUSIC NOW
292
00:13:25,700 --> 00:13:28,166
AND I FEEL THAT SAME TINGLE OF
293
00:13:28,233 --> 00:13:28,633
RECOGNITION.
294
00:13:28,700 --> 00:13:31,233
HER SONGS SPEAK TO THE TRUE AND
295
00:13:31,300 --> 00:13:33,566
HONEST FEELINGS THAT EVERYONE
296
00:13:33,633 --> 00:13:35,500
HAS FELT, IS CURRENTLY FEELING,
297
00:13:35,566 --> 00:13:37,400
OR HOPES TO FEEL ONE DAY.
298
00:13:37,466 --> 00:13:38,566
SO IT IS ONLY RIGHT FOR THEM TO
299
00:13:38,633 --> 00:13:39,800
BE PASSED DOWN LIKE PRECIOUS
300
00:13:39,866 --> 00:13:41,100
HEIRLOOMS FROM PARENTS TO
301
00:13:41,166 --> 00:13:42,833
CHILDREN, OLDER SIBLINGS TO
302
00:13:42,900 --> 00:13:45,500
YOUNGER, LOVERS TO EACH OTHER.
303
00:13:45,566 --> 00:13:48,900
THESE SONGS COME TO YOU FROM
304
00:13:48,966 --> 00:13:52,133
SOMEWHERE ELSE.
305
00:13:52,200 --> 00:13:52,800
AND THEN SUDDENLY, THEY ARE
306
00:13:52,866 --> 00:13:54,633
PARTLY YOURS.
307
00:13:54,700 --> 00:13:56,166
THE PURITY TO THE MUSIC SHE
308
00:13:56,233 --> 00:13:57,800
CREATES EXISTS BETWEEN TWO
309
00:13:57,866 --> 00:13:59,066
WORLDS:
310
00:13:59,133 --> 00:14:01,400
THE MYSTERIOUS MAGICAL
311
00:14:01,466 --> 00:14:05,433
INSPIRATION AND DECADES OF
312
00:14:05,500 --> 00:14:06,166
HARD-EARNED AND HARD-LEARNED
313
00:14:06,233 --> 00:14:07,400
CRAFTSMANSHIP.
314
00:14:07,466 --> 00:14:09,500
JUST BECAUSE CAROLE KING MAKES
315
00:14:09,566 --> 00:14:11,866
WHAT SHE HAS ACCOMPLISHED LOOK
316
00:14:11,933 --> 00:14:12,600
SO EFFORTLESS DOESN'T MEAN IT
317
00:14:12,666 --> 00:14:14,400
HAS BEEN.
318
00:14:14,466 --> 00:14:15,800
SHE STARTED OUT WRITING SONGS AS
319
00:14:15,866 --> 00:14:17,066
A STAFF SONGWRITER IN THE
320
00:14:17,133 --> 00:14:18,633
LEGENDARY BRILL BUILDING WHEN
321
00:14:18,700 --> 00:14:20,633
SHE WAS A TEENAGER AND A YOUNG
322
00:14:20,700 --> 00:14:26,366
MOTHER.
323
00:14:26,433 --> 00:14:28,433
LATER IN HER SONGWRITING CAREER,
324
00:14:28,500 --> 00:14:29,766
CAROLE HAD TO BE COAXED TO STEP
325
00:14:29,833 --> 00:14:31,266
OUT FRONT AND PERFORM HER SONGS
326
00:14:31,333 --> 00:14:32,600
HERSELF.
327
00:14:32,666 --> 00:14:33,766
AND WHAT A MOMENT IN MUSIC
328
00:14:33,833 --> 00:14:35,600
HISTORY THAT WAS.
329
00:14:35,666 --> 00:14:37,033
WITH "TAPESTRY," SHE BECAME ONE
330
00:14:37,100 --> 00:14:38,366
OF THE MOST SUCCESSFUL FEMALE
331
00:14:38,433 --> 00:14:43,733
ARTISTS OF ALL TIME.
332
00:14:43,800 --> 00:14:45,766
[CHEERS AND APPLAUSE]
333
00:14:45,833 --> 00:14:48,833
HER PERSONA ON "TAPESTRY" FEELS
334
00:14:48,900 --> 00:14:50,033
LIKE LISTENING TO A CLOSE FRIEND
335
00:14:50,100 --> 00:14:51,233
INTIMATELY SHARING THE TRUTHS OF
336
00:14:51,300 --> 00:14:52,533
HER LIFE SO THAT YOU CAN
337
00:14:52,600 --> 00:14:55,933
DISCOVER THE TRUTHS OF YOUR OWN.
338
00:14:56,000 --> 00:14:58,700
IT WAS A WATERSHED MOMENT FOR
339
00:14:58,766 --> 00:15:01,033
HUMANS IN THE WORLD WHO HAVE
340
00:15:01,100 --> 00:15:02,533
FEELINGS AND FOR CATS WHO HAD
341
00:15:02,600 --> 00:15:04,733
BIG DREAMS OF ONE DAY ENDING UP
342
00:15:04,800 --> 00:15:10,400
ON ICONIC ALBUM COVERS.
343
00:15:10,466 --> 00:15:12,400
[CHEERS AND APPLAUSE]
344
00:15:12,466 --> 00:15:12,633
[LAUGHS]
345
00:15:12,700 --> 00:15:13,966
CAROLE TAUGHT ARTISTS LIKE ME
346
00:15:14,033 --> 00:15:16,100
THAT TELLING YOUR OWN STORY IS
347
00:15:16,166 --> 00:15:18,033
WORTH THE WORK AND STRUGGLE IT
348
00:15:18,100 --> 00:15:19,500
TAKES TO EARN THE OPPORTUNITY
349
00:15:19,566 --> 00:15:22,633
FOR YOUR STORY TO BE HEARD.
350
00:15:22,700 --> 00:15:24,833
THAT MUSICAL CONNECTION CAN BE
351
00:15:24,900 --> 00:15:28,200
GENERATION SPANNING.
352
00:15:28,266 --> 00:15:30,266
SHE CREATED THE PUREST WORKS OF
353
00:15:30,333 --> 00:15:32,200
LOVE AND STRENGTH AND CATHARSIS
354
00:15:32,266 --> 00:15:34,000
WHILE NAVIGATING THE POLITICS OF
355
00:15:34,066 --> 00:15:35,500
AN ERA THAT DIDN'T MAKE SPACE
356
00:15:35,566 --> 00:15:44,133
FOR THE IDEA OF A FEMALE GENIUS.
357
00:15:44,200 --> 00:15:48,933
[CHEERS AND APPLAUSE]
358
00:15:49,000 --> 00:15:49,966
SLOWLY BUT SURELY, CAROLE KING
359
00:15:50,033 --> 00:15:50,600
WORKED AND WORKED UNTIL SHE HAD
360
00:15:50,666 --> 00:15:51,933
CREATED ONE.
361
00:15:52,000 --> 00:15:59,033
AND IT WILL HERS FOREVER.
362
00:15:59,100 --> 00:15:59,500
[CHEERS AND APPLAUSE]
363
00:15:59,566 --> 00:16:00,366
SHE IS AN IMMENSELY GENEROUS
364
00:16:00,433 --> 00:16:01,066
ARTIST IN EVERY SENSE
365
00:16:01,133 --> 00:16:01,900
OF THAT TERM.
366
00:16:01,966 --> 00:16:03,200
SHE HAS GIVEN US ALL SO MUCH.
367
00:16:03,266 --> 00:16:04,166
AND THAT'S WHY I'M SO MOVED AND
368
00:16:04,233 --> 00:16:05,933
HONORED TO BE HERE THIS EVENING
369
00:16:06,000 --> 00:16:12,266
TO GIVE SOMETHING BACK TO HER.
370
00:16:12,333 --> 00:16:16,666
CAROLE, PLEASE ACCEPT YOUR
371
00:16:16,733 --> 00:16:18,200
WELL-DESERVED PLACE IN THE ROCK
372
00:16:18,266 --> 00:16:20,233
AND ROLL HALL OF FAME.
373
00:16:20,300 --> 00:16:23,966
♪ ♪
374
00:16:24,033 --> 00:16:26,500
[CHEERS AND APPLAUSE]
375
00:16:26,566 --> 00:16:29,366
♪ I FEEL THE EARTH MOVE UNDER
376
00:16:29,433 --> 00:16:29,633
MY FEET ♪
377
00:16:29,700 --> 00:16:32,800
♪ I FEEL THE SKY TUMBLING DOWN ♪
378
00:16:32,866 --> 00:16:35,633
♪ I FEEL MY HEART START
379
00:16:35,700 --> 00:16:38,400
TREMBLING WHENEVER YOU ARE
380
00:16:38,466 --> 00:16:38,666
AROUND ♪
381
00:16:38,733 --> 00:16:46,566
♪ BABY, WHEN I SEE YOUR FACE ♪
382
00:16:46,633 --> 00:16:47,900
>> I WANT TO HOLD ONTO THAT, BUT
383
00:16:47,966 --> 00:16:52,900
IT'S HEAVY.
384
00:16:52,966 --> 00:16:55,100
AS IS TONIGHT, BUT IT'S HEAVY
385
00:16:55,166 --> 00:16:56,333
AND ALSO LIKED.
386
00:16:56,400 --> 00:16:58,366
I WANT TO THANK TAYLOR.
387
00:16:58,433 --> 00:16:59,400
THANK YOU FOR THAT AWESOME
388
00:16:59,466 --> 00:16:59,700
PERFORMANCE.
389
00:16:59,766 --> 00:17:03,500
AND ALL OF Y'ALL.
390
00:17:03,566 --> 00:17:03,966
THANK YOU, THANK YOU.
391
00:17:04,033 --> 00:17:07,000
THAT WAS AMAZING.
392
00:17:07,066 --> 00:17:08,200
AND ALSO, THANK YOU FOR CARRYING
393
00:17:08,266 --> 00:17:11,466
THE TORCH FORWARD.
394
00:17:11,533 --> 00:17:13,666
YOU ARE LIKE MY PROFESSIONAL
395
00:17:13,733 --> 00:17:18,600
GRANDDAUGHTER.
396
00:17:18,666 --> 00:17:19,133
[CHEERS AND APPLAUSE]
397
00:17:19,200 --> 00:17:20,866
I WANT TO THANK ALL OF TONIGHT'S
398
00:17:20,933 --> 00:17:23,766
INDUCTEES FOR CARRYING THE
399
00:17:23,833 --> 00:17:27,700
TORCH, FROM RHYTHM AND BLUES TO
400
00:17:27,766 --> 00:17:29,366
ROCK 'N' ROLL TO THE MUSIC THAT
401
00:17:29,433 --> 00:17:30,600
INSPIRES US TODAY.
402
00:17:30,666 --> 00:17:32,466
I HAVE TO START WITH GERRY
403
00:17:32,533 --> 00:17:33,433
GOFFIN.
404
00:17:33,500 --> 00:17:36,800
I OWE SO MUCH TO GERRY GOFFIN,
405
00:17:36,866 --> 00:17:39,266
WHOSE LYRICS NAILED OUR DEEPEST
406
00:17:39,333 --> 00:17:39,533
FEELINGS.
407
00:17:39,600 --> 00:17:43,366
AND MS. TONY STERN, WHO WROTE ♪
408
00:17:43,433 --> 00:17:49,733
IT'S TOO LATE BABY, NOW, IT'S
409
00:17:49,800 --> 00:17:50,066
TOO LATE ♪
410
00:17:50,133 --> 00:17:54,133
TWO LOU ADLER, WHO RECORDED
411
00:17:54,200 --> 00:17:55,566
"TAPESTRY" AS IF I WERE PLAYING
412
00:17:55,633 --> 00:17:57,433
A NEW SONG FOR A FRIEND, AND HE
413
00:17:57,500 --> 00:18:01,033
GAVE ME THE CONFIDENCE IN 1971
414
00:18:01,100 --> 00:18:06,033
TO OPEN FOR JAMES TAYLOR AT THE
415
00:18:06,100 --> 00:18:08,300
TROUBADOUR.
416
00:18:08,366 --> 00:18:08,766
[CHEERS AND APPLAUSE]
417
00:18:08,833 --> 00:18:11,800
OH, THANK YOU.
418
00:18:11,866 --> 00:18:14,100
THANK YOU.
419
00:18:14,166 --> 00:18:17,400
I LOVE YOU TOO, AND I WANT TO
420
00:18:17,466 --> 00:18:19,733
SAY, YOU KNOW, I'M KIND OF A
421
00:18:19,800 --> 00:18:21,900
HERMIT, AND TO COME OUT TONIGHT
422
00:18:22,000 --> 00:18:23,700
AND SEE OLD FRIENDS AND NEW AND
423
00:18:23,766 --> 00:18:26,500
JUST ALL OF YOU HERE TONIGHT TO
424
00:18:26,566 --> 00:18:29,766
WELCOME ALL THE INDUCTEES, AND
425
00:18:29,833 --> 00:18:33,933
ME AS ONE OF THEM, IT'S
426
00:18:34,000 --> 00:18:34,433
UNBELIEVABLE.
427
00:18:34,500 --> 00:18:37,100
THANK YOU, THANK YOU.
428
00:18:37,166 --> 00:18:40,900
[CHEERS AND APPLAUSE]
429
00:18:40,966 --> 00:18:41,900
YOU KNOW, AT THIS POINT, I AM
430
00:18:41,966 --> 00:18:45,533
USED TO PERFORMING AND WHEN, YOU
431
00:18:45,600 --> 00:18:47,433
KNOW, THAT FATEFUL NIGHT WHEN
432
00:18:47,500 --> 00:18:48,733
THE AUDIENCE BEGAN TO SING ALONG
433
00:18:48,800 --> 00:18:50,100
AND I FELT THEM WITH ME, AND
434
00:18:50,166 --> 00:18:52,400
HERE WE ARE.
435
00:18:52,466 --> 00:18:54,833
51 YEARS LATER.
436
00:18:54,900 --> 00:18:55,033
WOW.
437
00:18:55,100 --> 00:18:58,766
THANK YOU, JAMES.
438
00:18:58,833 --> 00:19:01,066
TO MY MOTHER, MY FIRST PIANO
439
00:19:01,133 --> 00:19:02,933
TEACHER, WHO EXPOSED ME TO ALL
440
00:19:03,000 --> 00:19:04,166
KINDS OF MUSIC.
441
00:19:04,233 --> 00:19:05,500
TO MY FATHER, WHO TOLD ME I
442
00:19:05,566 --> 00:19:08,133
COULD DO ANYTHING.
443
00:19:08,200 --> 00:19:13,633
TO MY DAUGHTER AND MANAGER, WHO
444
00:19:13,700 --> 00:19:17,700
HELPS ME DO EVERYTHING.
445
00:19:17,766 --> 00:19:21,666
AND TO LOUISE GOFFIN WHO ADDED
446
00:19:21,733 --> 00:19:22,633
TO HER PARENTS SONGWRITING
447
00:19:22,700 --> 00:19:23,666
SKILLS AND CONTINUES TO BRING
448
00:19:23,733 --> 00:19:25,700
HER OWN WONDERFUL GIFT TO THE
449
00:19:25,766 --> 00:19:26,300
WORLD.
450
00:19:26,366 --> 00:19:27,833
AND TO ALL MY DESCENDANTS, I
451
00:19:27,900 --> 00:19:31,433
LOVE YOU SO MUCH.
452
00:19:31,500 --> 00:19:36,133
NOW, I AM TOLD THAT TODAY'S
453
00:19:36,200 --> 00:19:36,733
FEMALE SINGERS AND SONGWRITERS
454
00:19:36,800 --> 00:19:40,300
STAND ON MY SHOULDERS.
455
00:19:40,366 --> 00:19:43,200
LET IT NOT BE FORGOTTEN THAT
456
00:19:43,266 --> 00:19:46,566
THEY ALSO STAND ON THE SHOULDERS
457
00:19:46,633 --> 00:19:47,866
OF THE FIRST WOMAN TO BE
458
00:19:47,933 --> 00:19:52,533
INDUCTED INTO THE ROCK & ROLL
459
00:19:52,600 --> 00:19:55,133
HALL OF FAME, MAY SHE REST IN
460
00:19:55,200 --> 00:19:57,300
POWER, MISS ARETHA FRANKLIN!
461
00:19:57,366 --> 00:20:02,266
♪ ♪
462
00:20:02,333 --> 00:20:02,733
[CHEERS AND APPLAUSE]
463
00:20:02,800 --> 00:20:06,700
WE FEEL YOU, BABY.
464
00:20:06,766 --> 00:20:09,533
WELL, THERE IS A MOVIE OUT NOW
465
00:20:09,600 --> 00:20:11,566
CALLED "RESPECT," AND HER
466
00:20:11,633 --> 00:20:14,433
JOURNEY IS PORTRAYED IN THAT
467
00:20:14,500 --> 00:20:15,133
MOVIE.
468
00:20:15,200 --> 00:20:16,566
LADIES AND GENTLEMEN, IT IS MY
469
00:20:16,633 --> 00:20:19,466
PLEASURE TO INTRODUCE THE STAR
470
00:20:19,533 --> 00:20:23,766
OF "RESPECT," THE AMAZING
471
00:20:23,833 --> 00:20:26,166
JENNIFER HUDSON!
472
00:20:26,233 --> 00:20:29,366
[CHEERS AND APPLAUSE]
473
00:20:29,433 --> 00:20:33,066
>> THANK YOU.
474
00:20:33,133 --> 00:20:33,700
>> ♪ LOOKING OUT
475
00:20:33,766 --> 00:20:40,933
ON THE MORNING RAIN ♪
476
00:20:41,000 --> 00:20:48,733
♪ I USED TO FEEL UNINSPIRED ♪
477
00:20:48,800 --> 00:20:50,300
♪ WHEN I KNEW I HAD TO FACE
478
00:20:50,366 --> 00:20:54,700
ANOTHER DAY ♪
479
00:20:54,766 --> 00:20:59,766
♪ LORD, IT MADE ME FEEL
480
00:20:59,833 --> 00:21:08,866
TIRED ♪
481
00:21:08,933 --> 00:21:10,000
MM-MM-MM.
482
00:21:10,066 --> 00:21:11,300
♪ BEFORE THE DAY I MET YOU,
483
00:21:11,366 --> 00:21:14,866
LIFE WAS SO UNKIND ♪
484
00:21:14,933 --> 00:21:17,133
♪ BUT YOU'RE THE KEY TO MY PEACE
485
00:21:17,200 --> 00:21:22,766
OF MIND ♪
486
00:21:22,833 --> 00:21:24,600
SING IT WITH ME, Y'ALL!
487
00:21:24,666 --> 00:21:25,866
♪ YOU MAKE ME FEEL ♪
488
00:21:25,933 --> 00:21:27,300
♪ YOU MAKE ME FEEL ♪
489
00:21:27,366 --> 00:21:30,800
♪ YOU MAKE ME FEEL LIKE
490
00:21:30,866 --> 00:21:40,733
A NATURAL WOMAN ♪
491
00:21:40,800 --> 00:21:44,766
♪ OOH ♪
492
00:21:44,833 --> 00:21:45,000
LISTEN.
493
00:21:45,066 --> 00:21:46,833
♪ WHEN MY SOUL WAS IN THE LOST
494
00:21:46,900 --> 00:21:49,233
AND FOUND ♪
495
00:21:49,300 --> 00:21:56,433
♪ YOU CAME ALONG TO CLAIM IT ♪
496
00:21:56,500 --> 00:21:57,766
♪ I DIDN'T KNOW JUST WHAT WAS
497
00:21:57,833 --> 00:22:04,133
WRONG WITH ME ♪
498
00:22:04,200 --> 00:22:05,633
♪ YEAH ♪
499
00:22:05,700 --> 00:22:06,600
♪ 'TIL YOUR KISS
500
00:22:06,666 --> 00:22:09,600
HELPED ME NAME IT ♪
501
00:22:09,666 --> 00:22:11,800
♪ NOW I'M NO LONGER DOUBTFUL,
502
00:22:11,866 --> 00:22:15,033
OF WHAT I'M LIVING FOR ♪
503
00:22:15,100 --> 00:22:16,500
♪ AND IF I MAKE YOU HAPPY I
504
00:22:16,566 --> 00:22:19,533
DON'T NEED TO DO MORE ♪
505
00:22:19,600 --> 00:22:24,333
♪ 'CAUSE YOU MAKE ME FEEL ♪
506
00:22:24,400 --> 00:22:24,933
I KNOW YOU KNOW IT!
507
00:22:25,000 --> 00:22:27,300
♪ YOU MAKE ME FEEL ♪
508
00:22:27,366 --> 00:22:28,533
♪ YOU MAKE ME FEEL LIKE
509
00:22:28,600 --> 00:22:34,833
A NATURAL WOMAN ♪
510
00:22:34,900 --> 00:22:38,366
THIS IS WHAT CAROLE WROTE.
511
00:22:38,433 --> 00:22:39,533
♪ OH, BABY, WHAT YOU'VE DONE
512
00:22:39,600 --> 00:22:40,633
TO ME ♪
513
00:22:40,700 --> 00:22:48,466
♪ YOU MAKE ME FEEL SO GOOD
514
00:22:48,533 --> 00:22:53,066
INSIDE ♪
515
00:22:53,133 --> 00:22:55,600
♪ AND I, I WANT TO BE ♪
516
00:22:55,666 --> 00:22:56,266
♪ CLOSE TO YOU, YOU MAKE ME FEEL
517
00:22:56,333 --> 00:23:01,333
SO ALIVE ♪
518
00:23:01,400 --> 00:23:02,900
♪ YOU MAKE ME FEEL ♪
519
00:23:02,966 --> 00:23:06,333
♪ YOU MAKE ME FEEL ♪
520
00:23:06,400 --> 00:23:07,500
♪ YOU REALLY MAKE ME FEEL ♪
521
00:23:07,566 --> 00:23:08,366
♪ YOU MAKE ME FEEL LIKE
522
00:23:08,433 --> 00:23:16,033
A NATURAL WOMAN ♪
523
00:23:16,100 --> 00:23:17,333
♪ YOU REALLY REALLY ♪
524
00:23:17,400 --> 00:23:18,733
♪ YOU MAKE ME FEEL ♪
525
00:23:18,800 --> 00:23:19,966
♪ YOU MAKE ME FEEL ♪
526
00:23:20,033 --> 00:23:20,966
♪ YOU MAKE ME FEEL LIKE
527
00:23:21,033 --> 00:23:28,900
A NATURAL WOMAN ♪
528
00:23:28,966 --> 00:23:30,466
♪ ♪
529
00:23:30,533 --> 00:23:32,766
♪ YOU MAKE ME FEEL ♪
530
00:23:32,833 --> 00:23:41,533
♪ YOU MAKE ME FEEL ♪
531
00:23:41,600 --> 00:23:42,200
♪ YOU MAKE ME FEEL LIKE
532
00:23:42,266 --> 00:23:51,900
A NATURAL WOMAN ♪
533
00:23:51,966 --> 00:23:53,266
♪ I FEEL LIKE ♪
534
00:23:53,333 --> 00:23:56,466
♪ I FEEL LIKE ♪
535
00:23:56,533 --> 00:24:07,733
♪ SAID I FEEL ♪
536
00:24:07,800 --> 00:24:11,466
♪ FEEL LIKE A NATURAL ♪
537
00:24:11,533 --> 00:24:16,300
♪ WOMAN ♪
538
00:24:16,366 --> 00:24:24,566
♪ ♪
539
00:24:24,633 --> 00:24:25,800
GOD BLESS, AND CONGRATULATIONS
540
00:24:25,866 --> 00:24:33,000
TO CAROLE KING.
541
00:24:33,066 --> 00:24:33,466
[CHEERS AND APPLAUSE]
542
00:24:33,533 --> 00:24:36,333
THANK YOU SO MUCH.
543
00:24:36,400 --> 00:24:41,300
IT IS INDEED AN HONOR TO BE HERE
544
00:24:41,366 --> 00:24:44,833
TONIGHT AND TO STAND ON THE
545
00:24:44,900 --> 00:24:45,433
SHOULDERS OF THE WOMEN GREATS,
546
00:24:45,500 --> 00:24:48,566
LIKE CAROLE KING.
547
00:24:48,633 --> 00:24:50,666
LIKE SHE SAID, MISS ARETHA
548
00:24:50,733 --> 00:24:51,100
FRANKLIN.
549
00:24:51,166 --> 00:24:52,600
AND WITHOUT THEM, I KNOW I
550
00:24:52,666 --> 00:24:55,833
WOULDN'T BE HERE ON THIS STAGE.
551
00:24:55,900 --> 00:24:58,000
SO EVERYBODY PLEASE PUT YOUR
552
00:24:58,066 --> 00:25:00,266
HANDS TOGETHER FOR THE ONE AND
553
00:25:00,333 --> 00:25:04,733
ONLY, THE LEGENDARY ICON,
554
00:25:04,800 --> 00:25:11,233
MS. CAROLE KING.
555
00:25:11,300 --> 00:25:16,733
[CHEERS AND APPLAUSE]
556
00:25:16,800 --> 00:25:17,800
>> I DON'T KNOW IF Y'ALL
557
00:25:17,866 --> 00:25:24,033
RECOGNIZE THE CAPS, BUT HERE'S
558
00:25:24,100 --> 00:25:26,600
DANNY KORTCHMAR, LELAND SKLAR,
559
00:25:26,666 --> 00:25:30,866
AND RUSS KUNKEL!
560
00:25:30,933 --> 00:25:34,100
♪ ♪
561
00:25:34,166 --> 00:25:35,600
>> ♪ WHEN YOU'RE DOWN
562
00:25:35,666 --> 00:25:37,400
AND TROUBLED ♪
563
00:25:37,466 --> 00:25:38,366
♪ AND YOU NEED
564
00:25:38,433 --> 00:25:47,166
SOME LOVIN' CARE ♪
565
00:25:47,233 --> 00:25:48,033
♪ AND NOTHIN', OH, NOTHIN'
566
00:25:48,100 --> 00:25:52,800
IS GOIN' RIGHT ♪
567
00:25:52,866 --> 00:25:55,066
♪ ♪
568
00:25:55,133 --> 00:25:56,700
♪ CLOSE YOUR EYES
569
00:25:56,766 --> 00:26:00,366
AND THINK OF ME ♪
570
00:26:00,433 --> 00:26:05,300
♪ AND SOON I WILL BE THERE ♪
571
00:26:05,366 --> 00:26:07,066
♪ TO BRIGHTEN UP
572
00:26:07,133 --> 00:26:15,966
EVEN YOUR DARKEST NIGHT ♪
573
00:26:16,033 --> 00:26:21,033
♪ YOU JUST CALL OUT MY NAME ♪
574
00:26:21,100 --> 00:26:27,000
♪ AND YOU KNOW WHEREVER I AM ♪
575
00:26:27,066 --> 00:26:34,066
♪ I'LL COME RUNNIN' ♪
576
00:26:34,133 --> 00:26:42,800
♪ TO SEE YOU AGAIN ♪
577
00:26:42,866 --> 00:26:43,666
♪ WINTER, SPRING, SUMMER
578
00:26:43,733 --> 00:26:46,266
OR FALL ♪
579
00:26:46,333 --> 00:26:49,666
♪ ALL YOU HAVE TO DO IS CALL ♪
580
00:26:49,733 --> 00:26:59,433
♪ AND I'LL BE THERE ♪
581
00:26:59,500 --> 00:27:01,633
♪ YES, I WILL ♪
582
00:27:01,700 --> 00:27:05,700
♪ YOU'VE GOT A FRIEND ♪
583
00:27:05,766 --> 00:27:07,033
♪ NOW, AIN'T IT GOOD TO KNOW
584
00:27:07,100 --> 00:27:07,800
THAT YOU'VE GOT A FRIEND ♪
585
00:27:07,866 --> 00:27:14,866
♪ WHEN PEOPLE CAN BE SO COLD? ♪
586
00:27:14,933 --> 00:27:16,733
♪ THEY'LL HURT YOU, YES,
587
00:27:16,800 --> 00:27:21,300
AND DESERT YOU ♪
588
00:27:21,366 --> 00:27:22,433
♪ AND TAKE YOUR SOUL
589
00:27:22,500 --> 00:27:26,466
IF YOU LET THEM ♪
590
00:27:26,533 --> 00:27:34,166
♪ BUT DON'T YOU LET THEM ♪
591
00:27:34,233 --> 00:27:35,133
OKAY, EVERYBODY PLEASE SING
592
00:27:35,200 --> 00:27:35,333
ALONG.
593
00:27:35,400 --> 00:27:41,500
♪ YOU JUST CALL OUT MY NAME ♪
594
00:27:41,566 --> 00:27:48,866
♪ AND YOU KNOW WHEREVER I AM ♪
595
00:27:48,933 --> 00:27:49,700
♪ I'LL COME RUNNIN', RUNNIN',
596
00:27:49,766 --> 00:27:50,800
YEAH, YEAH ♪
597
00:27:50,866 --> 00:27:57,600
♪ TO SEE YOU AGAIN ♪
598
00:27:57,666 --> 00:27:59,100
♪ ♪
599
00:27:59,166 --> 00:28:00,266
♪ WINTER, SPRING, SUMMER
600
00:28:00,333 --> 00:28:03,600
OR FALL ♪
601
00:28:03,666 --> 00:28:09,233
♪ ALL YOU HAVE TO DO IS CALL ♪
602
00:28:09,300 --> 00:28:11,366
♪ AND I'LL BE THERE,
603
00:28:11,433 --> 00:28:14,133
YES, I WILL ♪
604
00:28:14,200 --> 00:28:20,466
♪ YOU'VE GOT A FRIEND ♪
605
00:28:20,533 --> 00:28:29,500
♪ YOU'VE GOT A FRIEND ♪
606
00:28:29,566 --> 00:28:34,566
♪ AIN'T IT GOOD TO KNOW ♪
607
00:28:34,633 --> 00:28:43,166
♪ YOU'VE GOT A FRIEND ♪
608
00:28:43,233 --> 00:28:50,233
OH, YES, YOU DO.
609
00:28:50,300 --> 00:28:59,066
[CHEERS AND APPLAUSE]
610
00:28:59,133 --> 00:29:02,233
>> TO INDUCT C LL COOL J,
611
00:29:02,300 --> 00:29:04,366
ROCK 'N' ROLL HALL OF FAMER
612
00:29:04,433 --> 00:29:05,666
DR. DRE.
613
00:29:05,733 --> 00:29:08,600
♪ ♪
614
00:29:08,666 --> 00:29:13,600
>> HEY, HEY.
615
00:29:13,666 --> 00:29:18,066
LL COOL J IS HARD AS HELL.
616
00:29:18,133 --> 00:29:20,166
YEAH, YEAH.
617
00:29:20,233 --> 00:29:21,066
SO WHAT DOES LL
618
00:29:21,133 --> 00:29:22,133
REALLY STAND FOR?
619
00:29:22,200 --> 00:29:24,433
LADIES LOVE?
620
00:29:24,500 --> 00:29:25,733
LIVING LARGE?
621
00:29:25,800 --> 00:29:31,100
LICKIN' LIPS?
622
00:29:31,166 --> 00:29:32,200
[LAUGHS]
623
00:29:32,266 --> 00:29:35,300
WELL, I'M HERE BECAUSE
624
00:29:35,366 --> 00:29:36,700
I PERSONALLY THINK IT STANDS FOR
625
00:29:36,766 --> 00:29:38,000
"LIVING LEGEND."
626
00:29:38,066 --> 00:29:39,400
DO YOU REMEMBER A STORY YOU TOLD
627
00:29:39,466 --> 00:29:40,733
ME ABOUT LEAVING DEF JAM?
628
00:29:40,800 --> 00:29:41,866
YOU WERE THE FIRST ARTIST
629
00:29:41,933 --> 00:29:42,700
ON DEF JAM.
630
00:29:42,766 --> 00:29:44,066
YOU RECORDED ALL OF THIS MUSIC
631
00:29:44,133 --> 00:29:44,900
AND DELIVERED ALL OF THESE
632
00:29:44,966 --> 00:29:53,400
ALBUMS.
633
00:29:53,466 --> 00:29:54,066
THEN FAST FORWARD TO THIS:
634
00:29:54,133 --> 00:29:54,900
YOUR DEAL IS UP AND YOU TOLD ME
635
00:29:54,966 --> 00:29:55,566
YOU WERE REALLY EXPECTING
636
00:29:55,633 --> 00:29:56,500
A REALLY DOPE PARTING GIFT.
637
00:29:56,566 --> 00:29:57,633
DO YOU REMEMBER WHAT YOU TOLD ME
638
00:29:57,700 --> 00:29:59,600
YOU GOT?
639
00:29:59,666 --> 00:30:02,100
A CHEAP WATCH.
640
00:30:02,166 --> 00:30:04,166
RIGHT.
641
00:30:04,233 --> 00:30:05,666
BUT NOW I GUESS YOU KNOW
642
00:30:05,733 --> 00:30:10,300
WHAT TIME IT IS, RIGHT?
643
00:30:10,366 --> 00:30:10,533
[LAUGHS]
644
00:30:10,600 --> 00:30:12,000
THE FOLKS AT DEF JAM PROBABLY
645
00:30:12,066 --> 00:30:13,600
COULD HAVE DONE BETTER WITH
646
00:30:13,666 --> 00:30:14,966
THEIR PARTING GIFT, BUT THEY
647
00:30:15,033 --> 00:30:16,233
KNEW EXACTLY WHAT THEY WERE
648
00:30:16,300 --> 00:30:18,233
DOING WHEN THEY SIGNED YOU AS
649
00:30:18,300 --> 00:30:24,500
THEIR VERY FIRST ACT.
650
00:30:24,566 --> 00:30:24,966
[CHEERS AND APPLAUSE]
651
00:30:25,033 --> 00:30:28,600
LL WAS 17 YEARS OLD WHEN HIS
652
00:30:28,666 --> 00:30:30,400
DEBUT ALBUM CAME OUT, AND IT NOT
653
00:30:30,466 --> 00:30:31,633
ONLY PUT DEF JAM ON THE MAP, BUT
654
00:30:31,700 --> 00:30:38,666
IT LAUNCHED A FUCKING SUPERSTAR.
655
00:30:38,733 --> 00:30:40,833
WHENEVER I HEAR THE FIRST ALBUM
656
00:30:40,900 --> 00:30:42,166
ON RADIO, IT IMMEDIATELY
657
00:30:42,233 --> 00:30:43,166
TRANSPORTS ME BACK TO WHEN I WAS
658
00:30:43,233 --> 00:30:44,733
JUST GETTING STARTED AS A DJ
659
00:30:44,800 --> 00:30:46,400
BEHIND THE TURNTABLES.
660
00:30:46,466 --> 00:30:47,400
I STARTED OFF PRACTICING MIXING
661
00:30:47,466 --> 00:30:48,033
AND SCRATCHING "ROCK THE BELLS"
662
00:30:48,100 --> 00:30:51,366
IN MY GARAGE.
663
00:30:51,433 --> 00:30:52,133
AND THEN I TOOK THAT SHIT TO THE
664
00:30:52,200 --> 00:30:52,866
CLUB AND WATCHED THE CLUB GO
665
00:30:52,933 --> 00:30:53,733
CRAZY.
666
00:30:53,800 --> 00:30:58,466
REALLY.
667
00:30:58,533 --> 00:30:59,700
LL COOL J GAVE US 13 STUDIO
668
00:30:59,766 --> 00:31:06,766
ALBUMS OVER THREE DECADES.
669
00:31:06,833 --> 00:31:07,233
[CHEERS AND APPLAUSE]
670
00:31:07,300 --> 00:31:11,633
HOW ABOUT THAT?
671
00:31:11,700 --> 00:31:12,266
HE WENT FROM THE SONIC BRUTALITY
672
00:31:12,333 --> 00:31:13,566
OF "MAMA SAID KNOCK YOU OUT"
673
00:31:13,633 --> 00:31:15,533
TO A SILKY BALLAD LIKE
674
00:31:15,600 --> 00:31:20,300
"I NEED LOVE," AND ALSO SMOOTH
675
00:31:20,366 --> 00:31:22,366
R&B AND POP-INFLUENCED SONGS
676
00:31:22,433 --> 00:31:28,200
LIKE "AROUND THE WAY, GIRL,"
677
00:31:28,266 --> 00:31:30,100
"DOIN' IT,"
678
00:31:30,166 --> 00:31:31,166
"GOING BACK TO CALI."
679
00:31:31,233 --> 00:31:33,266
"I DON'T THINK SO."
680
00:31:33,333 --> 00:31:34,900
YOU KNOW THAT OLD HIP-HOP TERM,
681
00:31:34,966 --> 00:31:36,233
RIGHT?
682
00:31:36,300 --> 00:31:36,933
IT AIN'T WHERE YOU FROM,
683
00:31:37,000 --> 00:31:37,566
IT'S WHERE YOU AT.
684
00:31:37,633 --> 00:31:41,000
WHERE YOU LIVE NOW, LL?
685
00:31:41,066 --> 00:31:46,100
CALIFORNIA.
686
00:31:46,166 --> 00:31:46,333
[LAUGHS]
687
00:31:46,400 --> 00:31:47,633
WELL, I'M HERE TO SHOW YOU SOME
688
00:31:47,700 --> 00:31:51,133
CALIFORNIA LOVE.
689
00:31:51,200 --> 00:31:54,333
[CHEERS AND APPLAUSE]
690
00:31:54,400 --> 00:31:54,600
ALL RIGHT.
691
00:31:54,666 --> 00:31:56,100
LL'S BODY OF WORK CONTAINS SOME
692
00:31:56,166 --> 00:31:57,333
OF THE MOST DIVERSE HIP-HOP HAS
693
00:31:57,400 --> 00:31:58,733
EVER SEEN.
694
00:31:58,800 --> 00:31:59,966
HE BECAME RAP'S FIRST POP
695
00:32:00,033 --> 00:32:01,200
SUPERSTAR WHILE STAYING TRUE TO
696
00:32:01,266 --> 00:32:01,866
HIS ROOTS REPRESENTING QUEENS,
697
00:32:01,933 --> 00:32:08,700
NEW YORK.
698
00:32:08,766 --> 00:32:10,766
THE SECOND THING I THINK ABOUT
699
00:32:10,833 --> 00:32:15,466
HE SAID THAT UNIQUE SPACE THAT
700
00:32:15,533 --> 00:32:16,966
CROSSES AND BRIDGES GENERATIONS.
701
00:32:17,033 --> 00:32:17,633
THE RARE ARTIST BELOVED BY YOU,
702
00:32:17,700 --> 00:32:18,700
YOUR MAMA, AND ALL OF YOUR KIDS
703
00:32:18,766 --> 00:32:19,500
ALL AT ONCE.
704
00:32:19,566 --> 00:32:20,166
HOW MANY ARTISTS IN THE RAP GAME
705
00:32:20,233 --> 00:32:28,500
ARE RELEVANT AFTER 30 YEARS?
706
00:32:28,566 --> 00:32:35,233
[CHEERS AND APPLAUSE]
707
00:32:35,300 --> 00:32:39,400
[LAUGHS]
708
00:32:39,466 --> 00:32:40,166
MOST OF YOU DON'T KNOW THIS BUT
709
00:32:40,233 --> 00:32:41,000
LL COOL J TERMED THE PHRASE
710
00:32:41,066 --> 00:32:42,133
G.O.A.T., THE "GREATEST OF ALL
711
00:32:42,200 --> 00:32:42,733
TIME."
712
00:32:42,800 --> 00:32:45,033
YES.
713
00:32:45,100 --> 00:32:45,666
HE'S THE ONE THAT ACTUALLY
714
00:32:45,733 --> 00:32:55,766
CAME UP WITH THAT PHRASE.
715
00:32:55,833 --> 00:32:57,700
SO THAT PARTING GIFT TO GOD WAS
716
00:32:57,766 --> 00:32:59,666
JUST A PLACEHOLDER FOR TONIGHT.
717
00:32:59,733 --> 00:33:01,300
SOMETHING BIGGER WAS ALWAYS IN
718
00:33:01,366 --> 00:33:04,800
STORE TO CELEBRATE YOU, MY MAN.
719
00:33:04,866 --> 00:33:07,233
SO HERE'S A LOOK AT MY MAN
720
00:33:07,300 --> 00:33:09,166
LL COOL J'S EXTRAORDINARY LIFE
721
00:33:09,233 --> 00:33:10,233
AND HIS JOURNEY AND THE REASON
722
00:33:10,300 --> 00:33:16,433
WHY WE'RE HERE TONIGHT.
723
00:33:16,500 --> 00:33:18,633
>> QUICK LIGHT LIGHTNING, TOO
724
00:33:18,700 --> 00:33:20,033
EXCITING, LOVER OF LADIES, DON'T
725
00:33:20,100 --> 00:33:24,933
ALLOW FIGHTING, I RHYME, LIKE
726
00:33:25,000 --> 00:33:26,700
AND LISTEN AND YOU WILL LOVE
727
00:33:26,766 --> 00:33:28,266
WHAT I'M WRITING.
728
00:33:28,333 --> 00:33:31,100
LADIES LOVE, AND NOW THAT YOU
729
00:33:31,166 --> 00:33:33,500
KNOW WHAT LL MEANS.
730
00:33:33,566 --> 00:33:37,333
>> LL COOL J IS HARD AS --
731
00:33:37,400 --> 00:33:37,500
I --
732
00:33:37,566 --> 00:33:39,600
THEY ARE --
733
00:33:39,666 --> 00:33:45,400
♪ ♪
734
00:33:45,466 --> 00:33:46,100
>> LL COOL J IS ROCK 'N' ROLL.
735
00:33:46,166 --> 00:33:48,400
HE IS ELVIS.
736
00:33:48,466 --> 00:33:51,300
>> HE HAS SONGS WITH SO MUCH
737
00:33:51,366 --> 00:33:54,866
SWAG BUT HE MOST DEFINITELY WAS
738
00:33:54,933 --> 00:33:55,566
LYRICALLY OUT THERE
739
00:33:55,633 --> 00:33:55,900
ANNIHILATING.
740
00:33:56,000 --> 00:33:58,133
>> HE KNEW HE WAS THE BIGGEST
741
00:33:58,200 --> 00:33:59,666
STAR ON STAGE.
742
00:33:59,733 --> 00:34:01,366
>> I STILL WANT MORE.
743
00:34:01,433 --> 00:34:02,266
BRUCE SPRINGSTEEN,
744
00:34:02,333 --> 00:34:02,933
MICHAEL JACKSON CANNOT BE JUST
745
00:34:03,000 --> 00:34:07,366
AS RESPECTED FOR WHAT I DO.
746
00:34:07,433 --> 00:34:11,233
♪ ♪
747
00:34:11,300 --> 00:34:12,666
>> HE COULD BATTLE YOUR ASS AND
748
00:34:12,733 --> 00:34:13,733
HE COULD DO SOMETHING DYNAMIC
749
00:34:13,800 --> 00:34:17,333
THAT WOULD TOTALLY DESTROY.
750
00:34:17,400 --> 00:34:22,266
LL DESTROYED CAREERS.
751
00:34:22,333 --> 00:34:24,233
>> YES, I, AND A ROUNDABOUT WAY,
752
00:34:24,300 --> 00:34:24,633
DISCOVERED COOL J.
753
00:34:24,700 --> 00:34:27,966
JUST WANT TO SAY THAT ON THE
754
00:34:28,033 --> 00:34:28,200
RECORD.
755
00:34:28,266 --> 00:34:32,300
>> I GOT A DEMO TAPE FROM A GUY
756
00:34:32,366 --> 00:34:33,866
NAMED "LADIES LOVE COOL J."
757
00:34:33,933 --> 00:34:35,833
I USED TO LISTEN TO ALL THE DEMO
758
00:34:35,900 --> 00:34:38,033
TAPES, AND IT WAS VERY, VERY
759
00:34:38,100 --> 00:34:38,233
GOOD.
760
00:34:38,300 --> 00:34:40,133
I WAS LIKE, RICK, IF GOT TO
761
00:34:40,200 --> 00:34:41,100
LISTEN TO THE STATE.
762
00:34:41,166 --> 00:34:43,433
>> I GOT LOTS OF DEMO TAPES SENT
763
00:34:43,500 --> 00:34:45,366
TO THE DORM ROOM BUT THIS WAS
764
00:34:45,433 --> 00:34:45,700
VERY SPECIAL.
765
00:34:45,766 --> 00:34:55,700
SPEAK AT THE PLACE HE WAS
766
00:34:55,766 --> 00:34:56,300
STAYING, AND NYU DORMITORY, HE
767
00:34:56,366 --> 00:34:56,666
WAS IN COLLEGE.
768
00:34:56,733 --> 00:34:57,300
>> I REMEMBER WHEN HE FIRST CAME
769
00:34:57,366 --> 00:34:57,900
DOWN, HE WAS VERY CONFUSED BY
770
00:34:57,966 --> 00:34:58,266
THE WHOLE SCENE.
771
00:34:58,333 --> 00:34:58,933
>> RICK CAME DOWN, CAME OUT THE
772
00:34:59,000 --> 00:34:59,566
ELEVATOR, IT WAS A WHITE GUY.
773
00:34:59,633 --> 00:35:01,866
I THOUGHT HE WAS BLACK.
774
00:35:01,933 --> 00:35:04,600
AND>> AND DIG INTO MY DORM ROOM,
775
00:35:04,666 --> 00:35:06,266
HAD A MEETING, LET'S MAKE
776
00:35:06,333 --> 00:35:06,500
RECORDS.
777
00:35:06,566 --> 00:35:10,433
THAT WAS IDEAL.
778
00:35:10,500 --> 00:35:12,633
>> LL WAS OUR APPRENTICE.
779
00:35:12,700 --> 00:35:13,266
LL WAS THE GUY THAT WE PASSED
780
00:35:13,333 --> 00:35:18,666
THE TORCH TO.
781
00:35:18,733 --> 00:35:20,466
MTV RECORDED ONE OF OUR EARLY
782
00:35:20,533 --> 00:35:23,266
SHOWS, RUN DMC LIVE, AT THE
783
00:35:23,333 --> 00:35:23,466
RITZ.
784
00:35:23,533 --> 00:35:27,900
YOU SEE THIS GUY UP FRONT
785
00:35:27,966 --> 00:35:31,533
STUDYING ME AND RUN.
786
00:35:31,600 --> 00:35:33,833
>> RUN DMC, I TOTALLY RESPECT.
787
00:35:33,900 --> 00:35:36,066
I LOOK UP TO THEM, I ALWAYS WILL
788
00:35:36,133 --> 00:35:37,166
RESPECT AND LOVE THEM BECAUSE I
789
00:35:37,233 --> 00:35:40,633
FEEL LIKE THEY OPENED THE DOORS.
790
00:35:40,700 --> 00:35:41,233
>> THIS CONCERT PRODUCES ITS
791
00:35:41,300 --> 00:35:44,133
FIRST BONA FIDE STAR.
792
00:35:44,200 --> 00:35:46,366
>> HIS INTRODUCTION TO THE
793
00:35:46,433 --> 00:35:49,666
HIP-HOP WORLD WAS ONE OF THE
794
00:35:49,733 --> 00:35:51,833
MOST IMPRESSIVE, JAW-DROPPING
795
00:35:51,900 --> 00:35:53,466
DEBUTS THAT HIP-HOP HAS SEEN.
796
00:35:53,533 --> 00:35:57,700
>> AUDITIONS ARE OVER TODAY.
797
00:35:57,766 --> 00:36:00,200
BOX.
798
00:36:00,266 --> 00:36:03,533
>> LL CAME OFF THE MOMENT,
799
00:36:03,600 --> 00:36:05,866
PULLING EXCALIBUR OUT OF THE
800
00:36:05,933 --> 00:36:09,333
ROCK, AND SAYING EVERYBODY IS
801
00:36:09,400 --> 00:36:09,966
SOBER.
802
00:36:10,033 --> 00:36:13,466
>> ♪ I LIKE IT LOUD, I CAN ROCK
803
00:36:13,533 --> 00:36:13,833
THE CROWD ♪
804
00:36:13,900 --> 00:36:15,800
>> I PULLED MY SWORD OUT.
805
00:36:15,866 --> 00:36:20,900
YOU KNOW WHAT I MEAN?
806
00:36:20,966 --> 00:36:25,300
SHING!
807
00:36:25,366 --> 00:36:28,233
>> LL IS PHENOMENAL BECAUSE HE
808
00:36:28,300 --> 00:36:28,733
EXISTED, DOMINATED, AND
809
00:36:28,800 --> 00:36:31,900
SUCCEEDED IN AN ERA THAT WAS
810
00:36:31,966 --> 00:36:33,766
MOSTLY GROUPS.
811
00:36:33,833 --> 00:36:42,366
♪ ♪
812
00:36:42,433 --> 00:36:45,066
HE COULD DO "GOING BACK TO
813
00:36:45,133 --> 00:36:47,966
CALAIS," IT WAS SO AVANT-GARDE.
814
00:36:48,033 --> 00:37:00,866
>> FLYING AT ME, BLACK AND
815
00:37:00,933 --> 00:37:01,533
WHITE, THE MUSIC, IT WAS, LIKE,
816
00:37:01,600 --> 00:37:01,966
FAST AND DIFFERENT.
817
00:37:02,033 --> 00:37:02,400
I LIKE WHAT LL SAID.
818
00:37:02,466 --> 00:37:06,600
>> SHE SAID SHE LIKE --
819
00:37:06,666 --> 00:37:08,366
>> I FELT LIKE PEOPLE MIGHT HAVE
820
00:37:08,433 --> 00:37:11,633
THOUGHT, THIS IS A LITTLE SOFT,
821
00:37:11,700 --> 00:37:14,666
BUT LL, WHERE IS IT GOING WITH
822
00:37:14,733 --> 00:37:17,266
THIS?
823
00:37:17,333 --> 00:37:20,400
>> ♪ I'M NOT SAYING NO NAMES ♪
824
00:37:20,466 --> 00:37:24,266
>> THE SONG "I NEED LOVE."
825
00:37:24,333 --> 00:37:27,033
>> I NEEDED IT.
826
00:37:27,100 --> 00:37:28,300
>> IT'S CALLED BEING REAL, YOU
827
00:37:28,366 --> 00:37:29,633
KNOW WHAT I'M SAYING?
828
00:37:29,700 --> 00:37:31,233
EVERYBODY NEEDS LOVE.
829
00:37:31,300 --> 00:37:32,533
ONLY SUCKERS ARE SCARED OF LOVE.
830
00:37:32,600 --> 00:37:34,966
>> IT MADE THE WOMEN MELT, THAT
831
00:37:35,033 --> 00:37:37,433
WAS THE FIRST TIME HEARING OF
832
00:37:37,500 --> 00:37:38,500
VULNERABILITY, THAT OPENED THE
833
00:37:38,566 --> 00:37:41,266
DOOR F HOLE ANOTHER LANE.
834
00:37:41,333 --> 00:37:42,333
>> I FELT LIKE MAYBE I WAS
835
00:37:42,400 --> 00:37:45,366
LOSING IT OR SLIPPING BECAUSE I
836
00:37:45,433 --> 00:37:47,433
FELT LIKE THERE IS A BACKLASH
837
00:37:47,500 --> 00:37:48,066
AGAINST EVERYTHING I REPRESENTED
838
00:37:48,133 --> 00:37:49,666
IN HIP-HOP, AND I TOLD MY
839
00:37:49,733 --> 00:37:51,633
GRANDMOTHER THAT, AND SHE WAS
840
00:37:51,700 --> 00:37:54,066
LIKE, LOOK, JUST GO DOWN IN THE
841
00:37:54,133 --> 00:37:56,066
BASEMENT, MAKE YOURSELF A SONG,
842
00:37:56,133 --> 00:37:57,366
KNOCK THEM OUT.
843
00:37:57,433 --> 00:37:59,933
>> ♪ DON'T CALL IT A COMEBACK
844
00:38:00,000 --> 00:38:05,400
MAMA I'VE BEEN HERE FOR YEARS ♪
845
00:38:05,466 --> 00:38:07,900
♪ MAKING THE BASE GO BOOM,
846
00:38:07,966 --> 00:38:08,233
EXPLODING ♪
847
00:38:08,300 --> 00:38:12,933
>> LL HAS HAD ABOUT FIVE MAJOR
848
00:38:13,000 --> 00:38:15,000
COMEBACKS IN HIP-HOP.
849
00:38:15,066 --> 00:38:17,733
>> LL'S GREATEST STRENGTH AS A
850
00:38:17,800 --> 00:38:18,833
RAPPER IS CONFIDENCE.
851
00:38:18,900 --> 00:38:20,166
>> I NEVER GIVE UP.
852
00:38:20,233 --> 00:38:21,400
>> HE IS NOT AN OG.
853
00:38:21,466 --> 00:38:27,600
HE IS THE G.
854
00:38:27,666 --> 00:38:30,233
>> ♪ I'M GOING TO KNOCK YOU
855
00:38:30,300 --> 00:38:30,433
OUT ♪
856
00:38:30,500 --> 00:38:32,833
♪ MAMA SAID KNOCK YOU OUT ♪
857
00:38:32,900 --> 00:38:35,466
>> HE HAS THIS HOLE, ON SEXY BUT
858
00:38:35,533 --> 00:38:37,100
NOT TRYING TO BE SEXY.
859
00:38:37,166 --> 00:38:39,666
♪ ♪
860
00:38:39,733 --> 00:38:41,766
YOU FELT LIKE, THAT COULD BE
861
00:38:41,833 --> 00:38:42,866
MADE.
862
00:38:42,933 --> 00:38:44,700
I'VE GOT THE BAD BLUE EARRINGS
863
00:38:44,766 --> 00:38:44,866
ON.
864
00:38:44,933 --> 00:38:50,166
IT WAS HIP-HOP, BUT IT WAS SEXY
865
00:38:50,233 --> 00:38:50,400
SEXY. ♪
866
00:38:50,466 --> 00:38:56,300
.♪ RAISE DR. BROOKLYN ♪
867
00:38:56,366 --> 00:39:00,966
>> LL HAS ALWAYS BEEN MY
868
00:39:01,033 --> 00:39:03,100
FORECAST FOR WHERE HIP-HOP IS
869
00:39:03,166 --> 00:39:03,300
GOING.
870
00:39:03,366 --> 00:39:08,133
>> ♪ WIN THE LOTTERY ♪
871
00:39:08,200 --> 00:39:09,833
♪ FREE, BUT WASN'T A ROBBERY ♪
872
00:39:09,900 --> 00:39:16,466
>> LL NOT ONLY SUCCEEDED, HE
873
00:39:16,533 --> 00:39:18,666
DOMINATED, HE INFLUENCED, AND HE
874
00:39:18,733 --> 00:39:19,666
INTIMIDATED.
875
00:39:19,733 --> 00:39:21,800
>> I THINK LL'S GREATEST
876
00:39:21,866 --> 00:39:24,133
CHARACTER TRAIT IS THE FACT THAT
877
00:39:24,200 --> 00:39:26,200
HE LISTENS TO HIS MUSICAL
878
00:39:26,266 --> 00:39:27,833
COLLABORATORS.
879
00:39:27,900 --> 00:39:30,433
YOU CAN TELL HE LISTENS TO RICK
880
00:39:30,500 --> 00:39:33,000
RUBIN, THAT HE LISTENED TO
881
00:39:33,066 --> 00:39:33,900
MARLEY, THAT HE LISTEN TO THE
882
00:39:33,966 --> 00:39:37,633
TRACK MASTERS.
883
00:39:37,700 --> 00:39:40,400
THEY BOTH WROTE EACH OTHER INTO
884
00:39:40,466 --> 00:39:41,866
GLORY.
885
00:39:41,933 --> 00:39:43,866
>> I DON'T KNOW WHAT HAPPENED.
886
00:39:43,933 --> 00:39:44,866
I'M NOT SMART ENOUGH TO
887
00:39:44,933 --> 00:39:45,266
ORCHESTRATE THIS.
888
00:39:45,333 --> 00:39:49,566
I WAS JUST BLESSED.
889
00:39:49,633 --> 00:39:51,000
YOUR MAN IS VERY GRATEFUL.
890
00:39:51,066 --> 00:39:52,400
BECAUSE I KNOW IT DOESN'T HAVE
891
00:39:52,466 --> 00:39:53,400
TO BE LIKE THAT.
892
00:39:53,466 --> 00:39:55,000
I KNOW THAT I DON'T EVEN HAVE TO
893
00:39:55,066 --> 00:39:57,033
HAVE A CAREER RIGHT NOW.
894
00:39:57,100 --> 00:39:58,233
YOU KNOW HOW MANY RECORD
895
00:39:58,300 --> 00:39:59,666
COMPANIES OUTBACK TO PUT ME ON
896
00:39:59,733 --> 00:40:02,166
BEFORE I GOT THE DEMO WITH
897
00:40:02,233 --> 00:40:03,733
DEF JAM?
898
00:40:03,800 --> 00:40:04,666
I WANT TO MAX OUT EVERYTHING
899
00:40:04,733 --> 00:40:06,500
THAT'S INSIDE ME.
900
00:40:06,566 --> 00:40:11,000
I WANT TO DIE EMPTY.
901
00:40:11,066 --> 00:40:16,933
>> ♪ LL COOL J IS HARD AS -- ♪
902
00:40:17,000 --> 00:40:21,533
♪ ♪
903
00:40:21,600 --> 00:40:22,433
>> ♪ 1, 2, 3 'O' CLOCK
904
00:40:22,500 --> 00:40:22,866
4 'O' CLOCK ROCK ♪
905
00:40:22,933 --> 00:40:23,400
♪ 5, 6, 7 'O' CLOCK
906
00:40:23,466 --> 00:40:23,866
8 'O' CLOCK ROCK ♪
907
00:40:23,933 --> 00:40:24,566
♪ 9, 10, 11 'O' CLOCK
908
00:40:24,633 --> 00:40:25,100
12 'O' CLOCK ROCK ♪
909
00:40:25,166 --> 00:40:25,733
♪ GONNA ROCK ♪
910
00:40:25,800 --> 00:40:26,633
♪ ROCK, ROCK AROUND THE CLOCK ♪
911
00:40:26,700 --> 00:40:27,666
♪ THREE YEARS AGO IN ST. ALBANS,
912
00:40:27,733 --> 00:40:28,000
QUEENS ♪
913
00:40:28,066 --> 00:40:28,900
♪ I WAS ROCKIN AT A PARK CALLED
914
00:40:28,966 --> 00:40:29,533
ONE EIGHTEEN ♪
915
00:40:29,600 --> 00:40:30,166
♪ LITTLE KIDS STOOD AND WATCHED
916
00:40:30,233 --> 00:40:33,366
AS I ROCKED THE SPOT ♪
917
00:40:33,433 --> 00:40:34,266
♪ DIDN'T KNOW THAT YEARS LATER
918
00:40:34,333 --> 00:40:36,633
I'LL BE STANDIN ON TOP ♪
919
00:40:36,700 --> 00:40:37,500
♪ LIVIN NEAR FARMERS BOULEVARD
920
00:40:37,566 --> 00:40:38,233
I WAS BORN AND BASE-SHAW ♪
921
00:40:38,300 --> 00:40:38,800
♪ STOPPED THE RICH
922
00:40:38,866 --> 00:40:40,100
AND SHAKED HANDS WITH THE POOR ♪
923
00:40:40,166 --> 00:40:41,166
♪ THIS IS A STORY ABOUT
924
00:40:41,233 --> 00:40:42,766
A BROTHER I KNOW ♪
925
00:40:42,833 --> 00:40:43,333
♪ CUT CREATOR ON THE FADER
926
00:40:43,400 --> 00:40:47,800
NO, WATCH HIM GO ♪
927
00:40:47,866 --> 00:40:51,600
♪ ♪
928
00:40:51,666 --> 00:40:53,133
♪ GO, GO CUT CREATOR GO ♪
929
00:40:53,200 --> 00:40:55,033
♪ GO CUT CREATOR GO ♪
930
00:40:55,100 --> 00:40:59,366
♪ GO CUT CREATOR GO ♪
931
00:40:59,433 --> 00:41:02,033
♪ GO, GO CUT CREATOR GO ♪
932
00:41:02,100 --> 00:41:04,166
♪ GO CUT CREATOR GO ♪
933
00:41:04,233 --> 00:41:10,500
♪ GO CUT CREATOR GO ♪
934
00:41:10,566 --> 00:41:18,166
♪ ♪
935
00:41:18,233 --> 00:41:38,300
♪ ♪
936
00:41:38,366 --> 00:41:39,633
♪ GOING BACK TO CALI ♪
937
00:41:39,700 --> 00:41:42,100
♪ GOING BACK TO CALI ♪
938
00:41:42,166 --> 00:41:42,733
I DON'T THINK SO.
939
00:41:42,800 --> 00:41:43,466
♪ GOING BACK TO CALI ♪
940
00:41:43,533 --> 00:41:46,033
♪ GOING BACK TO CALI ♪
941
00:41:46,100 --> 00:41:47,933
I DON'T THINK SO.
942
00:41:48,000 --> 00:41:49,033
♪ LL COOL J IS HARD AS HELL ♪
943
00:41:49,100 --> 00:41:49,666
♪ BATTLE ANYBODY I DON'T CARE
944
00:41:49,733 --> 00:41:50,166
WHO YOU TELL ♪
945
00:41:50,233 --> 00:41:51,366
♪ I EXCEL, THEY ALL FAIL ♪
946
00:41:51,433 --> 00:41:52,900
♪ GONNA CRACK SHELLS, DOUBLE-L
947
00:41:52,966 --> 00:42:00,800
MUST ROCK THE BELLS ♪
948
00:42:00,866 --> 00:42:02,633
CLEVELAND, PUT YOUR HANDS UP,
949
00:42:02,700 --> 00:42:03,533
HANDS UP, HANDS UP!
950
00:42:03,600 --> 00:42:04,300
♪ YOU'VE BEEN WAITIN' AND
951
00:42:04,366 --> 00:42:05,000
DEBATIN' FOR OH SO LONG ♪
952
00:42:05,066 --> 00:42:05,733
♪ JUST STARVIN' LIKE MARVIN FOR
953
00:42:05,800 --> 00:42:07,100
A COOL J SONG ♪
954
00:42:07,166 --> 00:42:08,400
♪ IF YOU CRIED AND THOUGHT I
955
00:42:08,466 --> 00:42:10,033
DIED, YOU DEFINITELY WAS WRONG ♪
956
00:42:10,100 --> 00:42:10,700
♪ IT TOOK A THOUGHT, PLUS I
957
00:42:10,766 --> 00:42:11,900
BROUGHT CUT CREATOR ALONG ♪
958
00:42:11,966 --> 00:42:12,533
♪ THINKING OF E-LOVE DOWN WITH
959
00:42:12,600 --> 00:42:13,466
THE COOL J FORCE ♪
960
00:42:13,533 --> 00:42:14,833
♪ SPECIALIZIN' IN THE RHYMIN'
961
00:42:14,900 --> 00:42:15,833
FOR THE RECORD, OF COURSE ♪
962
00:42:15,900 --> 00:42:16,966
♪ I'M A TOWER FULL OF POWER WITH
963
00:42:17,033 --> 00:42:17,866
RAIN AND HAIL ♪
964
00:42:17,933 --> 00:42:19,666
♪ CUT CREATOR SCRATCH THE RECORD
965
00:42:19,733 --> 00:42:20,833
WITH HIS FINGERNAIL ♪
966
00:42:20,900 --> 00:42:27,733
♪ ROCK THE BELLS ♪
967
00:42:27,800 --> 00:42:29,500
♪ ♪
968
00:42:29,566 --> 00:42:30,766
♪ THE KING OF CROWD ROCKERS
969
00:42:30,833 --> 00:42:31,866
FINALLY IS BACK ♪
970
00:42:31,933 --> 00:42:33,400
♪ MY VOICE IS YOUR CHOICE AS THE
971
00:42:33,466 --> 00:42:39,233
HOTTEST WAX ♪
972
00:42:39,300 --> 00:42:39,966
♪ TRUE AS A WIZARD, JUST A
973
00:42:40,033 --> 00:42:41,833
BLIZZARD ♪
974
00:42:41,900 --> 00:42:42,466
♪ I AIN'T TAKEN NO CRAP ♪
975
00:42:42,533 --> 00:42:43,366
♪ I'M RHYMIN' AND DESIGNIN' WITH
976
00:42:43,433 --> 00:42:43,966
YOUR GIRL IN MY LAP ♪
977
00:42:44,033 --> 00:42:44,900
♪ THE BASS IS KICKIN' ALWAYS
978
00:42:44,966 --> 00:42:45,566
STICKIN' 'CAUSE YOU LIKE IT THAT
979
00:42:45,633 --> 00:42:46,233
WAY ♪
980
00:42:46,300 --> 00:42:47,200
♪ YOU THINK IT'S HOTTER PLUS
981
00:42:47,266 --> 00:42:47,866
IT'S DEF 'CAUSE IT'S BY COOL J ♪
982
00:42:47,933 --> 00:42:48,733
♪ CUT CREATOR ON THE FADER, MY
983
00:42:48,800 --> 00:42:51,766
RIGHT-HAND MAN ♪
984
00:42:51,833 --> 00:42:55,566
♪ ROCK THE BELLS ♪
985
00:42:55,633 --> 00:43:01,733
CLEVELAND, MAKE SOME NOISE.
986
00:43:01,800 --> 00:43:02,500
♪ SOME GIRLS WILL LIKE THIS JAM
987
00:43:02,566 --> 00:43:03,000
AND SOME GIRLS WON'T ♪
988
00:43:03,066 --> 00:43:03,800
♪ 'CAUSE I MAKE A LOT OF MONEY
989
00:43:03,866 --> 00:43:04,366
AND YOUR BOYFRIEND DON'T ♪
990
00:43:04,433 --> 00:43:05,133
♪ LL, GO TO HELL, GONNA ROCK THE
991
00:43:05,200 --> 00:43:05,633
BELLS ♪
992
00:43:05,700 --> 00:43:06,266
♪ ALL YOU WASHED UP RAPPERS
993
00:43:06,333 --> 00:43:07,000
WANNA DO THIS WELL ♪
994
00:43:07,066 --> 00:43:09,733
♪ ROCK THE BELLS ♪
995
00:43:09,800 --> 00:43:26,700
♪ ♪
996
00:43:26,766 --> 00:43:29,700
♪ AW ♪
997
00:43:29,766 --> 00:43:30,633
♪ NO RAPPER CAN RAP
998
00:43:30,700 --> 00:43:31,433
QUITE LIKE I CAN ♪
999
00:43:31,500 --> 00:43:32,200
♪ I'LL TAKE A MUSCLEBOUND MAN
1000
00:43:32,266 --> 00:43:33,366
AND PUT HIS FACE IN THE SAND ♪
1001
00:43:33,433 --> 00:43:34,233
♪ NOT THE LAST MAFIOSO,
1002
00:43:34,300 --> 00:43:34,800
I'M A MC COP ♪
1003
00:43:34,866 --> 00:43:35,866
♪ MAKE YOU SAY, "GO LL"
1004
00:43:35,933 --> 00:43:37,133
AND DO THE WOP ♪
1005
00:43:37,200 --> 00:43:38,133
♪ IF YOU THINK YOU CAN
1006
00:43:38,200 --> 00:43:39,500
OUTRHYME ME, YEAH, BOY, I BET ♪
1007
00:43:39,566 --> 00:43:40,900
♪ 'CAUSE I AIN'T MET
1008
00:43:40,966 --> 00:43:43,700
A MOTHERFUCKER ♪
1009
00:43:43,766 --> 00:43:44,500
♪ WHO CAN DO THAT YET ♪
1010
00:43:44,566 --> 00:43:45,066
♪ TRENDSETTER, I'M BETTER,
1011
00:43:45,133 --> 00:43:45,800
MY RHYMES ARE GOOD ♪
1012
00:43:45,866 --> 00:43:47,500
♪ I GOT A GOURMET PLATE THAT
1013
00:43:47,566 --> 00:43:48,700
SAYS "I WISH YOU WOULD" ♪
1014
00:43:48,766 --> 00:43:49,266
♪ AND WHEN BATTLES BEGIN
1015
00:43:49,333 --> 00:43:50,200
THEN I GOTTA JOIN IN AND ♪
1016
00:43:50,266 --> 00:43:51,000
♪ BEFORE MY RHYME IS OVER,
1017
00:43:51,066 --> 00:43:52,233
YOU KNOW I'MA WIN ♪
1018
00:43:52,300 --> 00:43:53,366
♪ COOL J HAS ARRIVED,
1019
00:43:53,433 --> 00:43:54,733
SO YOU BETTER MAKE WAY ♪
1020
00:43:54,800 --> 00:43:55,566
♪ ASK ANYBODY IN THE CROWD,
1021
00:43:55,633 --> 00:43:56,966
THEY SAY THE KID DON'T PLAY ♪
1022
00:43:57,033 --> 00:43:57,900
♪ SLAUGHTER COMPETITION,
1023
00:43:57,966 --> 00:43:59,266
THAT'S MY HOBBY AND JOB ♪
1024
00:43:59,333 --> 00:44:00,533
♪ I DON'T WEAR A DISGUISE
1025
00:44:00,600 --> 00:44:02,266
BECAUSE I DON'T OWE THE MOB ♪
1026
00:44:02,333 --> 00:44:03,433
♪ GOT A PINPOINT RAP THAT MAKES
1027
00:44:03,500 --> 00:44:05,000
YOU FEEL TRAPPED ♪
1028
00:44:05,066 --> 00:44:06,333
♪ SO MANY GIRLS ON MY JOCK,
1029
00:44:06,400 --> 00:44:10,000
I THINK MY PHONE IS TAPPED ♪
1030
00:44:10,066 --> 00:44:10,600
♪ I'M -- ♪
1031
00:44:10,666 --> 00:44:11,166
♪ I'M -- ♪
1032
00:44:11,233 --> 00:44:11,766
♪ I'M -- ♪
1033
00:44:11,833 --> 00:44:14,766
♪ I'M -- ♪
1034
00:44:14,833 --> 00:44:19,500
♪ I'M BAD ♪
1035
00:44:19,566 --> 00:44:23,900
[CHEERS AND APPLAUSE]
1036
00:44:23,966 --> 00:44:33,633
♪ ♪
1037
00:44:33,700 --> 00:44:35,233
>> ♪ BABY, DON'T GO OUT ♪
1038
00:44:35,300 --> 00:44:39,866
♪ BABY, DON'T GO ♪
1039
00:44:39,933 --> 00:44:48,833
>> ♪ IT'S SUCH A SHAME, AND
1040
00:44:48,900 --> 00:44:50,966
IT'S CRAZY, BUT, BABY ♪
1041
00:44:51,033 --> 00:44:53,866
♪ IT DON'T MATTER, DON'T PHASE
1042
00:44:53,933 --> 00:44:54,100
ME.
1043
00:44:54,166 --> 00:44:57,933
>> ♪ I DON'T BELIEVE ♪
1044
00:44:58,000 --> 00:44:58,566
♪ I DON'T BELIEVE I JUST HAD MY
1045
00:44:58,633 --> 00:45:05,800
LAST REAL CASE LET'S TALK ABOUT
1046
00:45:05,866 --> 00:45:06,466
THIS ♪
1047
00:45:06,533 --> 00:45:11,766
♪ I'M BOUNCING, AND BOUNCING,
1048
00:45:11,833 --> 00:45:14,500
AND I'M GOOD ♪
1049
00:45:14,566 --> 00:45:18,233
♪ AND I'M GOOD ♪
1050
00:45:18,300 --> 00:45:24,633
♪ SO WITHOUT ME YOU'LL BE FINE,
1051
00:45:24,700 --> 00:45:25,600
MY BODY IS ALL I HAVE ♪
1052
00:45:25,666 --> 00:45:30,866
>> ♪ I'M WHAT YOU HAD ♪
1053
00:45:30,933 --> 00:45:32,066
♪ ♪
1054
00:45:32,133 --> 00:45:34,633
♪ YOU'LL BE NEEDING ME BUT TOO
1055
00:45:34,700 --> 00:45:34,833
BAD ♪
1056
00:45:34,900 --> 00:45:40,333
♪ THE PATH YOU CHOSE TO RUN
1057
00:45:40,400 --> 00:45:40,833
ALONE ♪
1058
00:45:40,900 --> 00:45:44,033
♪ HERE WITH ME, YOU HAD A HOME ♪
1059
00:45:44,100 --> 00:45:45,700
♪ TIME IS OF THE ESSENCE WHY
1060
00:45:45,766 --> 00:45:48,200
SPEND IT ALONE ♪
1061
00:45:48,266 --> 00:45:55,700
♪ ♪ ♪
1062
00:45:55,766 --> 00:45:59,933
♪ OUT I HAVE ♪
1063
00:46:00,000 --> 00:46:02,866
♪ ALL I HAVE ♪
1064
00:46:02,933 --> 00:46:06,933
♪ ALL I HAVE ♪
1065
00:46:07,000 --> 00:46:14,333
♪ ALL I HAVE ♪
1066
00:46:14,400 --> 00:46:17,366
♪ YEAR VERY SPECIAL ♪
1067
00:46:17,433 --> 00:46:18,700
YES, YOU ARE.
1068
00:46:18,766 --> 00:46:21,400
YES YOU ARE!
1069
00:46:21,466 --> 00:46:21,733
>> YES, M.
1070
00:46:21,800 --> 00:46:26,033
>> LOVE YOU, JENNIFER LOPEZ.
1071
00:46:26,100 --> 00:46:27,900
>> COME ON, GIVE IT TO HIM, GIVE
1072
00:46:27,966 --> 00:46:37,500
IT TO HIM.
1073
00:46:37,566 --> 00:46:37,666
♪
1074
00:46:37,733 --> 00:46:43,433
♪ ♪
1075
00:46:43,500 --> 00:46:44,033
♪ DON'T CALL IT A COMEBACK,
1076
00:46:44,100 --> 00:46:44,700
I BEEN HERE FOR YEARS
1077
00:46:44,766 --> 00:46:45,233
I'M ROCKIN' MY PEERS ♪
1078
00:46:45,300 --> 00:46:46,000
♪ PUTTIN' SUCKERS IN FEAR
1079
00:46:46,066 --> 00:46:46,533
MAKIN' THE TEARS RAIN DOWN
1080
00:46:46,600 --> 00:46:46,933
♪ LIKE A MONSOON
1081
00:46:47,000 --> 00:46:47,633
♪ LISTEN TO THE BASS GO BOOM
1082
00:46:47,700 --> 00:46:48,133
EXPLOSIONS, OVERPOWERIN'
1083
00:46:48,200 --> 00:46:48,700
OVER THE COMPETITION ♪
1084
00:46:48,766 --> 00:46:49,400
♪ I'M TOWERIN'
1085
00:46:49,466 --> 00:46:50,300
WRECKING SHOP ♪
1086
00:46:50,366 --> 00:46:51,233
♪ WHEN I DROP THESE LYRICS ♪
1087
00:46:51,300 --> 00:46:51,966
♪ THAT'LL MAKE YOU CALL THE COPS
1088
00:46:52,033 --> 00:46:52,433
DON'T YOU DARE STARE
1089
00:46:52,500 --> 00:46:53,000
YOU BETTER MOVE ♪
1090
00:46:53,066 --> 00:46:54,000
♪ DON'T EVER COMPARE
1091
00:46:54,066 --> 00:46:54,966
ME TO THE REST THAT'LL
1092
00:46:55,033 --> 00:46:58,133
♪ ALL GET SLICED AND DICED
1093
00:46:58,200 --> 00:46:59,100
COMPETITION'S PAYIN' THE PRICE ♪
1094
00:46:59,166 --> 00:47:00,566
♪ I'M GONNA KNOCK YOU OUT ♪
1095
00:47:00,633 --> 00:47:01,266
♪ HUUH ♪
1096
00:47:01,333 --> 00:47:02,133
♪ MAMA SAID KNOCK YOU OUT ♪
1097
00:47:02,200 --> 00:47:02,900
♪ HUUH ♪
1098
00:47:02,966 --> 00:47:03,900
♪ I'M GONNA KNOCK YOU OUT ♪
1099
00:47:03,966 --> 00:47:04,166
♪ HUUH ♪
1100
00:47:04,233 --> 00:47:05,400
♪ MAMA SAID KNOCK YOU OUT ♪
1101
00:47:05,466 --> 00:47:06,466
♪ HUUH ♪
1102
00:47:06,533 --> 00:47:07,633
♪ I'M GONNA KNOCK YOU OUT ♪
1103
00:47:07,700 --> 00:47:08,600
♪ HUUH ♪
1104
00:47:08,666 --> 00:47:10,100
♪ MAMA SAID KNOCK YOU OUT ♪
1105
00:47:10,166 --> 00:47:11,066
♪ HUUH ♪
1106
00:47:11,133 --> 00:47:12,233
♪ I'M GONNA KNOCK YOU OUT ♪
1107
00:47:12,300 --> 00:47:13,300
♪ HUUH ♪
1108
00:47:13,366 --> 00:47:14,433
♪ MAMA SAID KNOCK YOU OUT ♪
1109
00:47:14,500 --> 00:47:21,766
♪ HUUH ♪
1110
00:47:21,833 --> 00:47:25,833
BREAKDOWN!
1111
00:47:25,900 --> 00:47:27,600
♪ AND I'M JUST GETTING WARM ♪
1112
00:47:27,666 --> 00:47:28,133
♪ JUST LIKE MUHAMMAD ALI
1113
00:47:28,200 --> 00:47:29,533
THEY CALLED HIM CASSIUS ♪
1114
00:47:29,600 --> 00:47:30,500
♪ WATCH ME BASH THIS BEAT
1115
00:47:30,566 --> 00:47:32,733
LIKE A SKULL ♪
1116
00:47:32,800 --> 00:47:34,100
♪ DON'TCHA KNOW I HAD
1117
00:47:34,166 --> 00:47:36,033
BEEF WIT' ♪
1118
00:47:36,100 --> 00:47:37,133
♪ WHY DO YOU RIFF WITH ME,
1119
00:47:37,200 --> 00:47:37,700
A MANIAC PSYCHO ♪
1120
00:47:37,766 --> 00:47:38,900
♪ AND WHEN I PULL OUT MY JAMMY,
1121
00:47:38,966 --> 00:47:40,000
GET READY 'CAUSE IT MIGHT GO ♪
1122
00:47:40,066 --> 00:47:42,600
♪ BLAUH! HOW YA LIKE ME NOW? ♪
1123
00:47:42,666 --> 00:47:44,500
♪ THE RIPPER WILL NOT ALLOW ♪
1124
00:47:44,566 --> 00:47:46,066
♪ YOU TO GET WIT' MR. SMITH
1125
00:47:46,133 --> 00:47:47,500
DON'T RIFF ♪
1126
00:47:47,566 --> 00:47:49,333
♪ LISTEN TO MY GEAR SHIFT ♪
1127
00:47:49,400 --> 00:47:52,566
♪ I'M BLASTIN', OUTLASTIN' ♪
1128
00:47:52,633 --> 00:47:53,666
♪ KINDA LIKE SHAFT, SO YOU COULD
1129
00:47:53,733 --> 00:47:54,333
SAY I'M SHAFTIN' ♪
1130
00:47:54,400 --> 00:47:56,933
♪ OLDE ENGLISH FILLED MY MIND ♪
1131
00:47:57,000 --> 00:47:58,000
♪ AND I CAME UP
1132
00:47:58,066 --> 00:47:58,566
WITH A FUNKY RHYME ♪
1133
00:47:58,633 --> 00:48:03,633
♪ I'M GONNA KNOCK YOU OUT ♪
1134
00:48:03,700 --> 00:48:04,133
♪ HUUH ♪
1135
00:48:04,200 --> 00:48:05,466
♪ MAMA SAID KNOCK YOU OUT ♪
1136
00:48:05,533 --> 00:48:05,733
♪ HUUH ♪
1137
00:48:05,800 --> 00:48:06,533
♪ I'M GONNA KNOCK YOU OUT ♪
1138
00:48:06,600 --> 00:48:07,566
♪ HUUH ♪
1139
00:48:07,633 --> 00:48:08,300
♪ MAMA SAID KNOCK YOU OUT ♪
1140
00:48:08,366 --> 00:48:08,866
♪ HUUH ♪
1141
00:48:08,933 --> 00:48:09,633
♪ I'M GONNA KNOCK YOU OUT ♪
1142
00:48:09,700 --> 00:48:10,133
♪ HUUH ♪
1143
00:48:10,200 --> 00:48:11,200
♪ MAMA SAID KNOCK YOU OUT ♪
1144
00:48:11,266 --> 00:48:12,233
♪ HUUH ♪
1145
00:48:12,300 --> 00:48:13,166
♪ I'M GONNA KNOCK YOU OUT ♪
1146
00:48:13,233 --> 00:48:14,333
♪ HUUH ♪
1147
00:48:14,400 --> 00:48:15,400
♪ MAMA SAID KNOCK YOU OUT ♪
1148
00:48:15,466 --> 00:48:26,933
♪ HUUH ♪
1149
00:48:27,000 --> 00:48:29,066
>> HALL OF FAMER, MAMA, I MADE
1150
00:48:29,133 --> 00:48:33,300
IT!
1151
00:48:33,366 --> 00:48:40,000
[CHEERS AND APPLAUSE]
1152
00:48:40,066 --> 00:48:42,100
>> LADIES AND GENTLEMEN, IT IS
1153
00:48:42,166 --> 00:48:44,200
MY HONOR AND PRIVILEGE TO INDUCT
1154
00:48:44,266 --> 00:48:46,733
MY FRIEND JAMES TODD SMITH,
1155
00:48:46,800 --> 00:48:52,933
BETTER KNOWN AS LL COOL J INTO
1156
00:48:53,000 --> 00:48:54,933
THE ROCK & ROLL HALL OF FAME.
1157
00:48:55,000 --> 00:49:00,366
LOVE YOU, JAY.
1158
00:49:00,433 --> 00:49:04,000
[CHEERS AND APPLAUSE]
1159
00:49:04,066 --> 00:49:04,633
>> SO THE FIRST WORD THAT COMES
1160
00:49:04,700 --> 00:49:07,466
TO MIND WHEN I THINK ABOUT A
1161
00:49:07,533 --> 00:49:10,500
NIGHT LIKE THIS IS HUMILITY.
1162
00:49:10,566 --> 00:49:15,000
I'M NOT TALKING ABOUT THAT
1163
00:49:15,066 --> 00:49:16,333
FALSE, SELF-DEPRECATING, I BOW
1164
00:49:16,400 --> 00:49:19,833
TO YOU, BUT I THINK I'M BETTER
1165
00:49:19,900 --> 00:49:20,066
THAN YOU
1166
00:49:20,133 --> 00:49:20,900
SHIT.
1167
00:49:20,966 --> 00:49:22,466
I'M TALKING ABOUT REAL HUMILITY,
1168
00:49:22,533 --> 00:49:23,100
WHERE YOU HAVE THE CONFIDENCE TO
1169
00:49:23,166 --> 00:49:23,700
COLLABORATE, THE CONFIDENCE TO
1170
00:49:23,766 --> 00:49:24,200
WORK WITH OTHER PEOPLE.
1171
00:49:24,266 --> 00:49:24,900
THE CONFIDENCE TO CELEBRATE
1172
00:49:24,966 --> 00:49:29,766
OTHERS.
1173
00:49:29,833 --> 00:49:32,433
SO FIRST I WANT THANK, OF
1174
00:49:32,500 --> 00:49:36,033
COURSE, GOD.
1175
00:49:36,100 --> 00:49:37,133
MY MOTHER, WHO TOLD ME, YOU
1176
00:49:37,200 --> 00:49:37,766
KNOW, "TODD YOU CAN DO ANYTHING
1177
00:49:37,833 --> 00:49:38,600
YOU PUT YOUR MIND TO."
1178
00:49:38,666 --> 00:49:39,566
YOU KNOW, I'M A LITTLE KID.
1179
00:49:39,633 --> 00:49:40,166
SHE TRIED TO GET ME TO WORK AT
1180
00:49:40,233 --> 00:49:43,466
THE SUPERMARKET.
1181
00:49:43,533 --> 00:49:44,733
I DIDN'T LIKE IT.
1182
00:49:44,800 --> 00:49:49,733
WASN'T WORKING FOR ME.
1183
00:49:49,800 --> 00:49:52,766
I WANT TO THANK MY WIFE SIMONE,
1184
00:49:52,833 --> 00:49:54,800
MY CHILDREN, ITALIA, SAMARIA,
1185
00:49:54,866 --> 00:49:56,400
NINA SIMONE.
1186
00:49:56,466 --> 00:49:58,500
YES, THAT'S HER REAL NAME, SHE'S
1187
00:49:58,566 --> 00:50:01,533
A SINGER, NINA SIMONE.
1188
00:50:01,600 --> 00:50:04,933
NAJEE, MY SON, AND ITALIA,
1189
00:50:05,000 --> 00:50:09,633
-- I WANT TO THANK
1190
00:50:09,700 --> 00:50:11,233
DRE, EMINEM AND J-LO FOR JOINING
1191
00:50:11,300 --> 00:50:13,533
ME.
1192
00:50:13,600 --> 00:50:14,533
LOOK, I WANT TO THANK MARLEY
1193
00:50:14,600 --> 00:50:15,300
MARL AND RICK RUBIN AND ALL THE
1194
00:50:15,366 --> 00:50:15,966
PRODUCERS I'VE WORKED WITH.
1195
00:50:16,033 --> 00:50:17,000
THE TRACKMASTERS.
1196
00:50:17,066 --> 00:50:17,800
I WANT TO THANK THE TREACHEROUS
1197
00:50:17,866 --> 00:50:19,233
THREE, ESPECIALLY KOOL MOE DEE,
1198
00:50:19,300 --> 00:50:28,566
FOR PUSHING ME.
1199
00:50:28,633 --> 00:50:30,233
MY MANAGER, THE ONLY PERSON I
1200
00:50:30,300 --> 00:50:31,733
KNOW WHO WORKS A LITTLE HARDER
1201
00:50:31,800 --> 00:50:32,500
THAN ME.
1202
00:50:32,566 --> 00:50:35,466
AND I WANT TO THANK ALL OF YOU,
1203
00:50:35,533 --> 00:50:36,533
RIGHT?
1204
00:50:36,600 --> 00:50:37,833
I'D LIKE TO THANK ALL OF THE
1205
00:50:37,900 --> 00:50:42,233
PEOPLE WHO VOTED FOR LL TO BE IN
1206
00:50:42,300 --> 00:50:42,800
THE ROCK & ROLL HALL OF FAME
1207
00:50:42,866 --> 00:50:43,333
YEAR AFTER YEAR.
1208
00:50:43,400 --> 00:50:44,233
A LOT PEOPLE, WHEN I TOLD THEM
1209
00:50:44,300 --> 00:50:45,666
WHEN I TOLD THEM I GOT INDUCTED,
1210
00:50:45,733 --> 00:50:46,666
THEY'D SAY TO ME, "ISN'T IT IS
1211
00:50:46,733 --> 00:50:47,800
ABOUT TIME?"
1212
00:50:47,866 --> 00:50:49,233
YOU SEE, WHAT PEOPLE DON'T
1213
00:50:49,300 --> 00:50:49,833
REALIZE IS, I WASN'T THINKING
1214
00:50:49,900 --> 00:50:50,366
ABOUT THE PEOPLE WHO VOTED
1215
00:50:50,433 --> 00:50:54,300
AGAINST ME.
1216
00:50:54,366 --> 00:50:55,133
I WAS THINKING ABOUT THE PEOPLE
1217
00:50:55,200 --> 00:50:57,766
WHO VOTED FOR ME.
1218
00:50:57,833 --> 00:50:58,833
SO IT WAS LOVE.
1219
00:50:58,900 --> 00:50:59,466
LIKE, WHAT I WAS FEELING WAS,
1220
00:50:59,533 --> 00:51:00,133
"WOW, HERE'S SOME PEOPLE OVER
1221
00:51:00,200 --> 00:51:00,766
THERE WHO WON'T TAKE NO FOR AN
1222
00:51:00,833 --> 00:51:04,433
ANSWER."
1223
00:51:04,500 --> 00:51:05,433
THEY LIKE, "YO, THIS GUY GOT TO
1224
00:51:05,500 --> 00:51:06,033
BE IN HERE AND WE'RE GOING TO
1225
00:51:06,100 --> 00:51:06,633
KEEP FIGHTING FOR YOU TILL WE
1226
00:51:06,700 --> 00:51:07,200
GET HIM IN HERE."
1227
00:51:07,266 --> 00:51:12,566
SO I THANK YOU.
1228
00:51:12,633 --> 00:51:13,133
ALL RIGHT?
1229
00:51:13,200 --> 00:51:13,900
THE LAST THING I'LL SAY IS,
1230
00:51:13,966 --> 00:51:14,900
ROCK AND ROLL,
1231
00:51:14,966 --> 00:51:17,166
HIP-HOP LOVES YOU.
1232
00:51:17,233 --> 00:51:18,100
WE BORROW YOUR BEATS.
1233
00:51:18,166 --> 00:51:18,900
WE SAMPLE 'EM.
1234
00:51:18,966 --> 00:51:20,100
WE TURN THEM INTO HITS.
1235
00:51:20,166 --> 00:51:21,500
AND WE KNOW WHERE WE CAME FROM.
1236
00:51:21,566 --> 00:51:26,033
WE KNOW WHERE THINGS COME FROM.
1237
00:51:26,100 --> 00:51:27,933
WE RESPECT YOU AS MUSICIANS.
1238
00:51:28,000 --> 00:51:31,100
AND WE LOVE AND APPRECIATE YOU
1239
00:51:31,166 --> 00:51:32,200
AS MUSICIANS.
1240
00:51:32,266 --> 00:51:33,766
WE ARE ARTIST ALSO.
1241
00:51:33,833 --> 00:51:36,700
WE LOVE YOU, THANK YOU,
1242
00:51:36,766 --> 00:51:39,400
GOD BLESS.
1243
00:51:39,466 --> 00:51:42,033
MAMA, I MADE IT!
1244
00:51:42,100 --> 00:51:43,800
[CHEERS AND APPLAUSE]
1245
00:51:43,866 --> 00:51:45,366
>> HEY, EVERYBODY, I'M TOM, I'M
1246
00:51:45,433 --> 00:51:47,400
HERE TO TALK ABOUT ONE OF THE
1247
00:51:47,466 --> 00:51:48,000
GREATEST ROCK 'N' ROLL GUITAR
1248
00:51:48,066 --> 00:51:52,900
PLAYERS OF ALL TIME.
1249
00:51:52,966 --> 00:51:54,000
>> [LAUGHS]
1250
00:51:54,066 --> 00:51:55,900
>> RANDY RHOADS IS A PEERLESS
1251
00:51:55,966 --> 00:51:57,800
TALENT WHO FUSED TIMELESS RIFFS
1252
00:51:57,866 --> 00:51:59,433
WITH SOLOS OF INGENIOUS BEAUTY
1253
00:51:59,500 --> 00:52:00,633
AND EMOTIONAL FIRE.
1254
00:52:00,700 --> 00:52:02,566
HE REVIVED OZZY OSBORNE'S CAREER
1255
00:52:02,633 --> 00:52:05,000
AS HIS GUNSLINGER SIDEMEN, AND
1256
00:52:05,066 --> 00:52:05,800
IT WAS A RANDY RHOADS POSTER
1257
00:52:05,866 --> 00:52:07,600
THAT I HAD ON MY WALL WHILE
1258
00:52:07,666 --> 00:52:11,766
PRACTICING EIGHT HOURS A DAY.
1259
00:52:11,833 --> 00:52:12,766
♪ ♪
1260
00:52:12,833 --> 00:52:15,166
I VIVIDLY REMEMBER AT FIRST
1261
00:52:15,233 --> 00:52:16,700
HEARING "CRAZY TRAIN" ON A
1262
00:52:16,766 --> 00:52:19,233
CHICAGO RADIO STATION.
1263
00:52:19,300 --> 00:52:22,600
I THOUGHT, THIS GUITAR PLAYER IS
1264
00:52:22,666 --> 00:52:22,966
FUCKING INSANE.
1265
00:52:23,033 --> 00:52:28,533
♪ ♪
1266
00:52:28,600 --> 00:52:31,000
HE SPAWNED A WHOLE GENERATION OF
1267
00:52:31,066 --> 00:52:32,500
GUITAR PLAYERS.
1268
00:52:32,566 --> 00:52:32,966
HE CHANGED EVERYBODY.
1269
00:52:33,033 --> 00:52:35,233
♪ ♪
1270
00:52:35,300 --> 00:52:39,900
>> GRANDES LICKS ARE ALL OVER
1271
00:52:39,966 --> 00:52:43,000
METALLICA ALBUMS.
1272
00:52:43,066 --> 00:52:45,266
GUESS WHAT, I CAUGHT THAT, FOR
1273
00:52:45,333 --> 00:52:45,433
ONE.
1274
00:52:45,500 --> 00:52:53,033
♪ ♪
1275
00:52:53,100 --> 00:52:55,300
>> YOU COULD STUDY HIS SONGS IN
1276
00:52:55,366 --> 00:52:57,400
A UNIVERSITY LEVEL COLLEGE
1277
00:52:57,466 --> 00:52:59,666
COURSE AND BANG YOUR HEAD TO
1278
00:52:59,733 --> 00:53:03,933
THEM IN A 7-ELEVEN PARKING LOT.
1279
00:53:04,000 --> 00:53:06,133
>> HE TURNED TO ME AND SAID HE
1280
00:53:06,200 --> 00:53:07,166
WANTED TO ROCK 'N' ROLL AND GO
1281
00:53:07,233 --> 00:53:10,300
TO UCLA AND GET A DEGREE.
1282
00:53:10,366 --> 00:53:12,766
AND I SAID TO HIM, ARE YOU
1283
00:53:12,833 --> 00:53:15,566
FUCKING CRAZY?
1284
00:53:15,633 --> 00:53:17,000
>> I'VE GOT A LOT OF WORK TO DO,
1285
00:53:17,066 --> 00:53:18,233
AND IT MAKES YOU REALIZE,
1286
00:53:18,300 --> 00:53:20,866
THERE'S A LOT OF RESPONSIBILITY.
1287
00:53:20,933 --> 00:53:24,066
AND I DON'T WANT TO STOP THERE.
1288
00:53:24,133 --> 00:53:27,833
♪ ♪
1289
00:53:27,900 --> 00:53:35,133
♪ ♪
1290
00:53:35,200 --> 00:53:37,033
RANDY TRAGICALLY PASSED AWAY 25
1291
00:53:37,100 --> 00:53:39,333
YEARS OF AGE IN 1992.
1292
00:53:39,400 --> 00:53:40,433
>> WHEN HE DIED, A PART OF ME
1293
00:53:40,500 --> 00:53:43,233
DIED WITH HIM.
1294
00:53:43,300 --> 00:53:45,800
I LOST A DEAR FRIEND IN MY LIFE,
1295
00:53:45,866 --> 00:53:48,700
AND I MISS HIM TERRIBLY.
1296
00:53:48,766 --> 00:53:50,500
>> THE SHOW WAS OVER EVEN BEFORE
1297
00:53:50,566 --> 00:53:54,533
IT REALLY, REALLY GOT GOING.
1298
00:53:54,600 --> 00:53:57,866
>> I NAMED MY FIRSTBORN SON
1299
00:53:57,933 --> 00:53:59,500
RHOADS IN HIS HONOR AS A
1300
00:53:59,566 --> 00:54:02,433
THANK YOU FOR SHOWING ME THE WA
1301
00:54:02,500 --> 00:54:06,133
WAY.
1302
00:54:06,200 --> 00:54:08,200
>> BRILLIANT.
1303
00:54:08,266 --> 00:54:10,933
>> YOU MADE GUYS THAT SIT AT THE
1304
00:54:11,000 --> 00:54:13,933
ROUNDTABLE OF GREATNESS, THE
1305
00:54:14,000 --> 00:54:14,900
HALL OF FAME, HENDRIX, JIMMY
1306
00:54:14,966 --> 00:54:17,166
PAGE, ERIC CLAPTON, EDDIE
1307
00:54:17,233 --> 00:54:19,100
VAN HALEN, RANDY, HANDS DOWN, IT
1308
00:54:19,166 --> 00:54:21,766
IS AT THAT TABLE.
1309
00:54:21,833 --> 00:54:24,066
>> NOW THE INCOMPARABLE RANDY
1310
00:54:24,133 --> 00:54:25,466
RHOADS STANDS WHERE HE BELONGS
1311
00:54:25,533 --> 00:54:26,866
IN THE PANTHEON OF GREATS.
1312
00:54:26,933 --> 00:54:28,500
IT'S MY HONOR TO WELCOME RANDY
1313
00:54:28,566 --> 00:54:30,733
RHOADS TO THE ROCK & ROLL
1314
00:54:30,800 --> 00:54:34,733
HALL OF FAME.
1315
00:54:34,800 --> 00:54:39,266
[CHEERS AND APPLAUSE]
1316
00:54:39,333 --> 00:54:40,766
>> PEACE AND LOVE, EVERYBODY
1317
00:54:40,833 --> 00:54:42,200
PAID RINGO HERE, AND GIVES ME
1318
00:54:42,266 --> 00:54:43,533
GREAT JOY TO INDUCT MY FRIEND,
1319
00:54:43,600 --> 00:54:47,733
THE INCREDIBLE BILLY PRESTON,
1320
00:54:47,800 --> 00:54:49,833
INTO THE ROCK & ROLL
1321
00:54:49,900 --> 00:54:51,366
HALL OF FAME.
1322
00:54:51,433 --> 00:54:53,066
>> IT ALL STARTED WHEN I WAS
1323
00:54:53,133 --> 00:54:54,900
3 YEARS OLD, I CAME FROM A
1324
00:54:54,966 --> 00:54:55,900
MUSICAL FAMILY AND I GREW UP
1325
00:54:55,966 --> 00:54:59,500
PLAYING IN CHURCH.
1326
00:54:59,566 --> 00:55:00,600
>> OPENED UP AN WHOLE WORLD FOR
1327
00:55:00,666 --> 00:55:00,766
ME.
1328
00:55:00,833 --> 00:55:02,800
I WAS IN HIGH SCHOOL AND HAD
1329
00:55:02,866 --> 00:55:03,766
NEVER PLAYED ROCK 'N' ROLL FOR
1330
00:55:03,833 --> 00:55:05,300
ME.
1331
00:55:05,366 --> 00:55:07,400
>> NOW HERE IS MR. BILLY PRESTON
1332
00:55:07,466 --> 00:55:09,233
TO LEAD A SONG.
1333
00:55:09,300 --> 00:55:11,366
>> I LOVED RAY CHARLES.
1334
00:55:11,433 --> 00:55:19,333
HE IS MY MUSICAL JESUS.
1335
00:55:19,400 --> 00:55:20,933
>> ONE, TWO, THREE, FOUR.
1336
00:55:21,000 --> 00:55:22,166
>> LIKE PART OF THE BAND.
1337
00:55:22,233 --> 00:55:23,966
IT GAVE US A DIFFERENT FIELD
1338
00:55:24,033 --> 00:55:24,500
BECAUSE HE'S BILLY.
1339
00:55:24,566 --> 00:55:26,266
THAT'S WHY HE PLAYED ON A COUPLE
1340
00:55:26,333 --> 00:55:26,900
OF TRACKS.
1341
00:55:26,966 --> 00:55:29,066
>> I WENT DOWN TO SAY HELLO, AND
1342
00:55:29,133 --> 00:55:30,100
THEY WERE RECORDING AT THE
1343
00:55:30,166 --> 00:55:31,833
TEMPLATE SITTING THERE AND PAUL
1344
00:55:31,900 --> 00:55:34,333
SAYS, GET ON THE ELECTRIC PIANO.
1345
00:55:34,400 --> 00:55:37,033
STARTED PLAYING, AND JOHN SAYS,
1346
00:55:37,100 --> 00:55:37,600
TAKE A SOLO.
1347
00:55:37,666 --> 00:55:38,966
>> IT'S INTERESTING TO SEE HOW
1348
00:55:39,033 --> 00:55:41,400
PEOPLE BEHAVE NICELY WHEN YOU
1349
00:55:41,466 --> 00:55:43,133
BRING A GUEST IN.
1350
00:55:43,200 --> 00:55:45,433
STRAIGHTAWAY, IT JUST BECAME
1351
00:55:45,500 --> 00:55:47,366
100% IMPROVEMENT IN THE FIVE IN
1352
00:55:47,433 --> 00:55:48,366
THE ROOM.
1353
00:55:48,433 --> 00:55:50,400
>> HE WAS SO GREAT AT OUR GET
1354
00:55:50,466 --> 00:55:51,033
BACK SESSIONS.
1355
00:55:51,100 --> 00:55:53,200
WE EVEN CREDITED THAT SINGLE AS
1356
00:55:53,266 --> 00:55:56,333
THE BEATLES WITH BILLY PRESTON.
1357
00:55:56,400 --> 00:55:57,666
>> THAT DAY WE BROKE UP, BILLY
1358
00:55:57,733 --> 00:56:00,766
WENT ON TO PLAY WITH ME, GEORGE,
1359
00:56:00,833 --> 00:56:03,066
AND JOHN ON OUR SOLO RECORDS.
1360
00:56:03,133 --> 00:56:04,933
>> I'D LIKE TO CONTINUE WITH AN
1361
00:56:05,000 --> 00:56:07,333
OLD FRIEND OF MINE, BILLY
1362
00:56:07,400 --> 00:56:09,066
PRESTON.
1363
00:56:09,133 --> 00:56:12,766
♪ ♪
1364
00:56:12,833 --> 00:56:16,366
>> GEORGE WAS VERY EASY TO WORK
1365
00:56:16,433 --> 00:56:18,400
WITH.
1366
00:56:18,466 --> 00:56:22,966
VERY ENCOURAGING TO ME.
1367
00:56:23,033 --> 00:56:24,433
>> THE FIRST TIME I GOT A CHANCE
1368
00:56:24,500 --> 00:56:25,833
TO COPRODUCE WAS WITH GEORGE.
1369
00:56:25,900 --> 00:56:30,233
WE DID THREE ALBUMS TOGETHER.
1370
00:56:30,300 --> 00:56:32,400
>> BILLY WAS A BEATLE AND BILLY
1371
00:56:32,466 --> 00:56:34,733
WAS A ROLLING STONE.
1372
00:56:34,800 --> 00:56:36,066
>> IT'S ALWAYS BEEN FUN WORKING
1373
00:56:36,133 --> 00:56:37,166
WITH THE STONES.
1374
00:56:37,233 --> 00:56:38,833
>> BUT KNOWING THE GUYS FOR
1375
00:56:38,900 --> 00:56:40,600
ABOUT 14 YEARS.
1376
00:56:40,666 --> 00:56:46,233
♪ ♪
1377
00:56:46,300 --> 00:56:46,933
>> EVERY TIME I GET TOGETHER,
1378
00:56:47,000 --> 00:56:49,166
AND IT'S LIKE A FAMILY, REALLY
1379
00:56:49,233 --> 00:56:50,366
HAVING A GOOD TIME.
1380
00:56:50,433 --> 00:56:52,366
>> WHEN I PUT THE OLD SONGS
1381
00:56:52,433 --> 00:56:54,233
TOGETHER, I ASKED BILLY TO PLAY
1382
00:56:54,300 --> 00:56:55,300
ALONG, BRING IN THOSE GREAT
1383
00:56:55,366 --> 00:56:58,133
NUMBER ONE HITS OF HIS.
1384
00:56:58,200 --> 00:57:08,533
♪ ♪
1385
00:57:08,600 --> 00:57:11,400
♪ NOTHING FROM NOTHING LEAVES
1386
00:57:11,466 --> 00:57:11,666
NOTHING ♪
1387
00:57:11,733 --> 00:57:12,933
♪ YOU GOT TO HAVE SOMETHING IF
1388
00:57:13,000 --> 00:57:16,000
YOU WANT TO BE WITH ME.
1389
00:57:16,066 --> 00:57:17,833
>> RAY CHARLES, YOU ALWAYS THINK
1390
00:57:17,900 --> 00:57:19,633
OF GENIUS, BUT I THINK BILLY WAS
1391
00:57:19,700 --> 00:57:23,366
TOO IN HIS OWN WAY.
1392
00:57:23,433 --> 00:57:25,133
HE WAS A NATURAL PLAYER.
1393
00:57:25,200 --> 00:57:28,200
>> ♪ YOU ARE SO BEAUTIFUL TO
1394
00:57:28,266 --> 00:57:28,433
ME ♪
1395
00:57:28,500 --> 00:57:30,233
>> I BELIEVE THAT EVERYTHING
1396
00:57:30,300 --> 00:57:31,466
GOOD THAT HAS HAPPENED FOR ME
1397
00:57:31,533 --> 00:57:33,033
HAS BEEN A BLESSING FROM GOD.
1398
00:57:33,100 --> 00:57:34,966
IT'S NOT BECAUSE I'VE BEEN SO
1399
00:57:35,033 --> 00:57:35,166
GOOD.
1400
00:57:35,233 --> 00:57:37,700
IT'S BECAUSE GOD HAS BEEN GOOD
1401
00:57:37,766 --> 00:57:38,533
TO ME.
1402
00:57:38,600 --> 00:57:40,933
>> ♪ I REALLY WANT TO SEE YOU
1403
00:57:41,000 --> 00:57:43,166
MAMA I REALLY WANT TO BE WITH
1404
00:57:43,233 --> 00:57:43,400
YOU ♪
1405
00:57:43,466 --> 00:57:45,866
>> I'M THRILLED TO WELCOME BILLY
1406
00:57:45,933 --> 00:57:49,266
INTO THE ROCK & ROLL
1407
00:57:49,333 --> 00:57:49,700
HALL OF FAME.
1408
00:57:49,766 --> 00:57:50,900
MUSICAL EXCELLENCE.
1409
00:57:51,000 --> 00:57:51,966
CLEARLY, THAT'S THE WAY GOD
1410
00:57:52,033 --> 00:57:52,900
PLANNED IT.
1411
00:57:52,966 --> 00:57:57,933
PEACE AND LOVE, BROTHER.
1412
00:57:58,000 --> 00:58:02,333
>> HERE TO HONOR TINA TURNER,
1413
00:58:02,400 --> 00:58:09,366
ANGELA BASSETT.
1414
00:58:09,433 --> 00:58:13,433
>> IMAGINE A BLACK GIRL IN
1415
00:58:13,500 --> 00:58:15,733
TENNESSEE WHO EMBODIED MORE
1416
00:58:15,800 --> 00:58:16,633
TALENT THAN HER SMALL TOWN COULD
1417
00:58:16,700 --> 00:58:19,500
HAVE EVER DREAMED.
1418
00:58:19,566 --> 00:58:21,566
IMAGINE THAT SAME GIRL BREAKING
1419
00:58:21,633 --> 00:58:23,366
THROUGH EVERY BARRIER TO ONE DAY
1420
00:58:23,433 --> 00:58:23,866
MAKE HISTORY.
1421
00:58:23,933 --> 00:58:26,733
THAT WOMAN, THAT QUEEN,
1422
00:58:26,800 --> 00:58:35,333
TINA TURNER, IS WHO WE ARE HERE
1423
00:58:35,400 --> 00:58:35,500
--
1424
00:58:35,566 --> 00:58:37,266
TINA TURNER.
1425
00:58:37,333 --> 00:58:38,433
[CHEERS AND APPLAUSE]
1426
00:58:38,500 --> 00:58:39,600
WHAT A LIFE TINA HAS LED.
1427
00:58:39,666 --> 00:58:40,200
HER STORY HAS BECOME A FILM,
1428
00:58:40,266 --> 00:58:40,900
A DOCUMENTARY, A BLOCKBUSTER
1429
00:58:40,966 --> 00:58:41,500
BROADWAY SHOW, AND A
1430
00:58:41,566 --> 00:58:49,033
BEST-SELLING AUTOBIOGRAPHY.
1431
00:58:49,100 --> 00:58:49,800
PEOPLE STILL TELL ME
1432
00:58:49,866 --> 00:58:50,933
HOW MUCH TINA HAS MEANT TO THEM.
1433
00:58:51,000 --> 00:58:53,033
I KNOW EXACTLY WHAT THEY MEAN.
1434
00:58:53,100 --> 00:58:54,533
BECAUSE SHE HAS MEANT THAT MUCH,
1435
00:58:54,600 --> 00:58:56,200
AND MORE, TO ME.
1436
00:58:56,266 --> 00:59:00,100
I, TOO, AM ONE OF THOSE PEOPLE
1437
00:59:00,166 --> 00:59:01,900
BLESSED BY TINA'S REMARKABLE
1438
00:59:01,966 --> 00:59:06,466
GIFT TO INSPIRE.
1439
00:59:06,533 --> 00:59:10,200
WHEN I PLAYED TINA IN "WHAT'S
1440
00:59:10,266 --> 00:59:13,400
LOVE GOT TO DO WITH IT,"
1441
00:59:13,466 --> 00:59:13,866
[CHEERS AND APPLAUSE]
1442
00:59:13,933 --> 00:59:16,033
I HAD THE TERRIFYING OPPORTUNITY
1443
00:59:16,100 --> 00:59:20,100
OF TRYING TO FIGURE OUT HOW SHE
1444
00:59:20,166 --> 00:59:21,400
BECAME THE EXTRAORDINARY WOMAN
1445
00:59:21,466 --> 00:59:23,033
THAT WE'VE COME TO KNOW.
1446
00:59:23,100 --> 00:59:24,733
FORTUNATELY, I HAD THE GENEROUS
1447
00:59:24,800 --> 00:59:26,600
GUIDANCE OF TINA HERSELF
1448
00:59:26,666 --> 00:59:28,033
TO HELP ME.
1449
00:59:28,100 --> 00:59:29,266
IT WAS ONE OF THE MOST DEMANDING
1450
00:59:29,333 --> 00:59:33,433
ROLES I'VE EVER PLAYED.
1451
00:59:33,500 --> 00:59:34,500
BUT IT WAS ALSO ONE OF THE MOST
1452
00:59:34,566 --> 00:59:37,733
FULFILLING.
1453
00:59:37,800 --> 00:59:39,400
BECAUSE JUST LIKE TINA,
1454
00:59:39,466 --> 00:59:41,133
I TOO WAS A LITTLE BLACK GIRL
1455
00:59:41,200 --> 00:59:43,100
WHO HAD DREAMS FAR BEYOND WHAT
1456
00:59:43,166 --> 00:59:54,333
THE WORLD EXPECTED OF ME.
1457
00:59:54,400 --> 00:59:57,500
AS A BLACK WOMAN, TINA REACHED
1458
00:59:57,566 --> 01:00:00,033
DEEP INTO HER SPIRITUAL CORE
1459
01:00:00,100 --> 01:00:02,766
WITH THE DETERMINATION TO
1460
01:00:02,833 --> 01:00:03,766
HEADLINE ARENAS AND STADIUMS
1461
01:00:03,833 --> 01:00:05,200
JUST LIKE THE GREAT ROCK BANDS
1462
01:00:05,266 --> 01:00:07,900
DID.
1463
01:00:07,966 --> 01:00:09,966
NO ONE WHO LOOKED LIKE HER HAD
1464
01:00:10,033 --> 01:00:11,600
EVER DONE IT, BUT SHE BELIEVED
1465
01:00:11,666 --> 01:00:15,000
THAT SHE COULD.
1466
01:00:15,066 --> 01:00:17,766
MICK JAGGER, DAVID BOWIE,
1467
01:00:17,833 --> 01:00:20,233
ROD STEWART, BRYAN ADAMS ALL
1468
01:00:20,300 --> 01:00:21,666
WANTED TO DUET WITH TINA, AND
1469
01:00:21,733 --> 01:00:26,733
THEY DID.
1470
01:00:26,800 --> 01:00:27,466
SOON, SHE WAS PLAYING TO CROWDS
1471
01:00:27,533 --> 01:00:33,166
EVERY BIT AS LARGE AS THEIRS.
1472
01:00:33,233 --> 01:00:34,266
SHE BROKE GROUND FOR WOMEN
1473
01:00:34,333 --> 01:00:35,966
AND SERVED AS A ROLE MODEL FOR
1474
01:00:36,033 --> 01:00:36,566
YOUNGER ARTISTS JUST AS THOSE
1475
01:00:36,633 --> 01:00:43,900
ROCK STARS HAD DONE FOR HER.
1476
01:00:43,966 --> 01:00:46,400
TINA IS A BRILLIANT ARTIST WHO
1477
01:00:46,466 --> 01:00:48,200
HAS WON NINE GRAMMY AWARDS AND
1478
01:00:48,266 --> 01:00:48,966
SOLD MORE THAN 200 MILLION
1479
01:00:49,033 --> 01:00:54,133
RECORDS.
1480
01:00:54,200 --> 01:00:58,466
HER VOICE --
1481
01:00:58,533 --> 01:01:00,200
[CHEERS AND APPLAUSE]
1482
01:01:00,266 --> 01:01:00,933
HER VOICE IS INSTANTLY
1483
01:01:01,000 --> 01:01:01,533
RECOGNIZABLE BECAUSE IT COMES
1484
01:01:01,600 --> 01:01:02,633
DIRECTLY FROM HER SOUL.
1485
01:01:02,700 --> 01:01:03,433
AND THOSE SONGS "WE DON'T NEED
1486
01:01:03,500 --> 01:01:08,166
ANOTHER HERO," "PRIVATE DANCER,"
1487
01:01:08,233 --> 01:01:11,133
"BETTER BE GOOD TO ME."
1488
01:01:11,200 --> 01:01:13,266
I DIDN'T MENTION ONE OF HER
1489
01:01:13,333 --> 01:01:14,700
GREATEST SONGS, THE ONE THAT
1490
01:01:14,766 --> 01:01:15,800
GAVE OUR MOVIE ITS TITLE.
1491
01:01:15,866 --> 01:01:16,800
THAT'S BECAUSE AS FAR AS TINA IS
1492
01:01:16,866 --> 01:01:18,566
CONCERNED LOVE ALWAYS HAS
1493
01:01:18,633 --> 01:01:23,066
EVERYTHING TO DO WITH IT.
1494
01:01:23,133 --> 01:01:28,200
[CHEERS AND APPLAUSE]
1495
01:01:28,266 --> 01:01:29,166
SHE BRINGS DEPTHS OF LOVE TO
1496
01:01:29,233 --> 01:01:29,800
EVERYTHING SHE DOES,
1497
01:01:29,866 --> 01:01:31,933
ON AND OFF THE STAGE.
1498
01:01:32,000 --> 01:01:33,300
NOW LET US REMEMBER, TINA IS
1499
01:01:33,366 --> 01:01:34,500
ALREADY A MEMBER OF THE
1500
01:01:34,566 --> 01:01:36,066
ROCK AND ROLL HALL OF FAME FROM
1501
01:01:36,133 --> 01:01:36,533
HER EARLIER WORK WITH
1502
01:01:36,600 --> 01:01:40,633
IKE TURNER.
1503
01:01:40,700 --> 01:01:42,300
HOWEVER, WHAT BRINGS US HERE
1504
01:01:42,366 --> 01:01:43,166
TONIGHT IS TINA'S JOURNEY TO
1505
01:01:43,233 --> 01:01:49,033
INDEPENDENCE.
1506
01:01:49,100 --> 01:01:50,300
[CHEERS AND APPLAUSE]
1507
01:01:50,366 --> 01:01:51,966
FOR TINA, HOPE TRIUMPHED
1508
01:01:52,033 --> 01:01:55,433
OVER HATE.
1509
01:01:55,500 --> 01:01:56,900
FAITH WON OVER FEAR.
1510
01:01:56,966 --> 01:02:03,033
AND AMBITION ECLIPSED ADVERSITY.
1511
01:02:03,100 --> 01:02:06,000
IN THE WORDS OF THE LATE
1512
01:02:06,066 --> 01:02:07,500
MAYA ANGELOU, "YOU MAY SHOOT ME
1513
01:02:07,566 --> 01:02:08,366
WITH YOUR WORDS.
1514
01:02:08,433 --> 01:02:09,933
YOU MAY CUT ME WITH YOUR EYES.
1515
01:02:10,000 --> 01:02:10,900
YOU MAY KILL ME WITH YOUR
1516
01:02:10,966 --> 01:02:13,666
HATEFULNESS.
1517
01:02:13,733 --> 01:02:19,633
BUT STILL, LIKE AIR, I'LL RISE."
1518
01:02:19,700 --> 01:02:20,100
[CHEERS AND APPLAUSE]
1519
01:02:20,166 --> 01:02:25,766
AND TINA ROSE.
1520
01:02:25,833 --> 01:02:33,233
TINA, WELCOME -- ON YOUR OWN --
1521
01:02:33,300 --> 01:02:34,333
TO THE ROCK & ROLL HALL OF
1522
01:02:34,400 --> 01:02:37,300
FAME!
1523
01:02:37,366 --> 01:02:43,100
YOU ARE SIMPLY THE BEST.
1524
01:02:43,166 --> 01:02:43,900
>> YOU KNOW THE SAYING, BEHIND
1525
01:02:43,966 --> 01:02:49,300
EVERY GREAT MAN, THERE IS A
1526
01:02:49,366 --> 01:02:50,400
WOMAN?
1527
01:02:50,466 --> 01:02:52,533
WHAT'S BEHIND THE GREAT WOMAN
1528
01:02:52,600 --> 01:02:52,866
TINA TURNER?
1529
01:02:52,933 --> 01:03:00,800
♪ ♪
1530
01:03:00,866 --> 01:03:04,733
>> I STARTED WITH IKE IN 1960.
1531
01:03:04,800 --> 01:03:06,600
AN INSECURE MAN, VERY
1532
01:03:06,666 --> 01:03:06,900
POSSESSIVE.
1533
01:03:06,966 --> 01:03:08,433
THINKING ABOUT IT, IT WAS A FORM
1534
01:03:08,500 --> 01:03:12,700
OF IMPRISONMENT.
1535
01:03:12,766 --> 01:03:13,433
REALIZED THAT WE COULD NOT WORK
1536
01:03:13,500 --> 01:03:20,366
TOGETHER FOR ALL TIME.
1537
01:03:20,433 --> 01:03:22,200
>> I THOUGHT HE WOULD BE THE ONE
1538
01:03:22,266 --> 01:03:28,633
TO GO TO.
1539
01:03:28,700 --> 01:03:29,700
>> LIKE A BIRD THAT GETS OUT OF
1540
01:03:29,766 --> 01:03:31,266
THE CAGE, IT WAS A FREEDOM TO DO
1541
01:03:31,333 --> 01:03:41,333
SOMETHING DIFFERENT.
1542
01:03:41,400 --> 01:03:41,833
♪ ♪
1543
01:03:41,900 --> 01:03:43,800
>> HE WAS TAKING MY RANCH, DOING
1544
01:03:43,866 --> 01:03:45,000
EVERYTHING WITH MY VOICE, I WAS
1545
01:03:45,066 --> 01:03:50,466
FINDING OUT THINGS ABOUT MYSELF.
1546
01:03:50,533 --> 01:03:52,700
>> A GREAT SINGER KNOWS HOW TO
1547
01:03:52,766 --> 01:03:56,066
EMOTE AND PUT EVERY MEMORY AND
1548
01:03:56,133 --> 01:03:58,000
EVERY FEELING INTO THOSE WORDS,
1549
01:03:58,066 --> 01:03:59,433
AND TINA MADE EVERY SONG THAT
1550
01:03:59,500 --> 01:04:05,800
SHE SAYING HER SONG -- SANG HER
1551
01:04:05,866 --> 01:04:07,300
SONG.
1552
01:04:07,366 --> 01:04:09,500
>> I WAS ASKED TO "TONIC."
1553
01:04:09,566 --> 01:04:10,266
>> I FOUND OUT WHAT I KNEW
1554
01:04:10,333 --> 01:04:15,566
BECAUSE I WAS ON MY OWN.
1555
01:04:15,633 --> 01:04:18,766
>> AND THAT REALLY WENT A LONG
1556
01:04:18,833 --> 01:04:20,166
WAY FOR ME.
1557
01:04:20,233 --> 01:04:20,800
>> IS IT ALL RIGHT FOR ME TO ASK
1558
01:04:20,866 --> 01:04:25,133
YOU IF YOU YOU AND IKE ARE TOGER
1559
01:04:25,200 --> 01:04:27,100
OR SEPARATED OR DIVORCED?
1560
01:04:27,166 --> 01:04:28,300
>> SEPARATED AND DIVORCED.
1561
01:04:28,366 --> 01:04:30,233
>> A LOT OF PEOPLE FELT THAT
1562
01:04:30,300 --> 01:04:32,900
TINA TURNER COULD NOT DO A SHOW
1563
01:04:32,966 --> 01:04:33,333
WITHOUT EGG.
1564
01:04:33,400 --> 01:04:36,433
>> SHE HAD THAT REALLY TOUGH
1565
01:04:36,500 --> 01:04:37,800
TIME, AND I LOVED HER, AND SO I
1566
01:04:37,866 --> 01:04:42,900
WANTED HER TO BE ON MY SHOW.
1567
01:04:42,966 --> 01:04:45,966
♪ I'VE GOT THE MUSIC IN ME ♪
1568
01:04:46,033 --> 01:04:48,300
♪ I'VE GOT THE MUSIC IN ME ♪
1569
01:04:48,366 --> 01:04:50,500
>> I ALWAYS TOOK FROM MY
1570
01:04:50,566 --> 01:04:51,133
EXPERIENCES TO DO WHAT I NEEDED
1571
01:04:51,200 --> 01:04:55,933
TO DO.
1572
01:04:56,000 --> 01:04:58,633
I STARTED TO PLAY HOTEL CIRCLES
1573
01:04:58,700 --> 01:05:01,366
IN LAS VEGAS AND SOME TELEVISION
1574
01:05:01,433 --> 01:05:05,500
SHOWS.
1575
01:05:05,566 --> 01:05:06,166
>> I REALIZE THAT IT WAS
1576
01:05:06,233 --> 01:05:08,466
MANAGEMENT THAT WAS MISSING.
1577
01:05:08,533 --> 01:05:11,000
THAT'S WHY I WASN'T GOING IN THE
1578
01:05:11,066 --> 01:05:12,266
WAY, I'D BE IN LAS VEGAS ALL MY
1579
01:05:12,333 --> 01:05:12,933
LIFE.
1580
01:05:13,000 --> 01:05:14,366
>> YOU KNOW WHEN YOU MADE AN
1581
01:05:14,433 --> 01:05:17,300
ARTIST, IF THAT THAT CHARISMA,
1582
01:05:17,366 --> 01:05:17,833
SHE WAS ALWAYS INCREDIBLY
1583
01:05:17,900 --> 01:05:18,233
DETERMINED.
1584
01:05:18,300 --> 01:05:21,466
>> THEN SHE GOT A RECORD DEAL.
1585
01:05:21,533 --> 01:05:23,133
NOBODY WOULD TOUCH TINA TURNER.
1586
01:05:23,200 --> 01:05:27,066
>> ♪ CAN I INTRODUCE MYSELF ♪
1587
01:05:27,133 --> 01:05:29,733
>> SHE WANTED TO BE WITH THE
1588
01:05:29,800 --> 01:05:30,600
ROCK VOICE.
1589
01:05:30,666 --> 01:05:31,166
>> SOMETHING STARTED TO TURN
1590
01:05:31,233 --> 01:05:33,233
INSIDE OF ME.
1591
01:05:33,300 --> 01:05:35,500
I'VE BEEN RUNNING AROUND SINGING
1592
01:05:35,566 --> 01:05:36,266
FOREVER.
1593
01:05:36,333 --> 01:05:39,400
HOW CAN I FEEL STADIUMS?
1594
01:05:39,466 --> 01:05:39,733
I WANTED IT.
1595
01:05:39,800 --> 01:05:41,200
I WANTED TO DO IT MICK JAGGER
1596
01:05:41,266 --> 01:05:41,833
AND ALL OF THE GUYS AT THE TIME
1597
01:05:41,900 --> 01:05:45,033
WERE DOING.
1598
01:05:45,100 --> 01:05:50,933
♪ ♪
1599
01:05:51,000 --> 01:05:52,466
>> ROGER SAID TO ME, YOU WANT TO
1600
01:05:52,533 --> 01:05:52,700
DO THAT?
1601
01:05:52,766 --> 01:05:54,900
YOU'VE GOT TO MAKE SOME RECORDS.
1602
01:05:54,966 --> 01:05:58,400
♪ ♪
1603
01:05:58,466 --> 01:06:01,466
>> LET'S TRY IT.
1604
01:06:01,533 --> 01:06:02,366
DON'T FORGET --
1605
01:06:02,433 --> 01:06:08,700
THAT ONE, THAT ONE.
1606
01:06:08,766 --> 01:06:11,700
IT'S WONDERFUL, THAT WHEN HIS.
1607
01:06:11,766 --> 01:06:16,966
IT'S SO, SO MISTY.
1608
01:06:17,033 --> 01:06:18,033
MWAH.
1609
01:06:18,100 --> 01:06:20,533
♪ YOU MUST UNDERSTAND THAT THE
1610
01:06:20,600 --> 01:06:22,600
TOUCH OF YOUR HAND MAKES MY
1611
01:06:22,666 --> 01:06:23,100
PULSE REACT ♪
1612
01:06:23,166 --> 01:06:26,100
>> THE FIRST SONG, "WHAT'S LOVE
1613
01:06:26,166 --> 01:06:29,100
GOT TO DO WITH IT," IT WAS SO
1614
01:06:29,166 --> 01:06:29,700
DIFFERENT, ONE OF THOSE SONGS
1615
01:06:29,766 --> 01:06:37,700
YOU GET MAYBE ONCE A DECADE.
1616
01:06:37,766 --> 01:06:40,133
>> AND THE RECORD OF THE YEAR
1617
01:06:40,200 --> 01:06:40,766
IS, "WHAT'S LOVE GOT TO DO WITH
1618
01:06:40,833 --> 01:06:41,866
IT," TINA TURNER.
1619
01:06:41,933 --> 01:06:45,700
>> ♪ WHAT'S LOVE GOT TO DO, GOT
1620
01:06:45,766 --> 01:06:47,800
TO DO WITH IT POST ♪
1621
01:06:47,866 --> 01:06:51,200
>> SHE'S INCREDIBLE, TO JUST BE
1622
01:06:51,266 --> 01:06:53,966
REACHING HER PEAK AT 50.
1623
01:06:54,033 --> 01:06:56,200
IT'S NOT ONLY INSPIRING TO US
1624
01:06:56,266 --> 01:06:57,100
WOMEN BUT IT CHANGES THE RULES
1625
01:06:57,166 --> 01:07:01,933
IN THE PLAYBOOK.
1626
01:07:02,000 --> 01:07:04,300
>> ♪ WE DON'T NEED TO FIGHT ♪
1627
01:07:04,366 --> 01:07:06,466
>> A BLACK WOMAN OWNING THAT
1628
01:07:06,533 --> 01:07:07,266
STAGE ALL BY HERSELF.
1629
01:07:07,333 --> 01:07:12,900
THAT'S THE DREAM RIGHT THERE.
1630
01:07:12,966 --> 01:07:13,566
>> ♪ YOU KEEP TELLING ME THAT
1631
01:07:13,633 --> 01:07:16,866
YOU LOVE ME ♪ AND I REALLY DO
1632
01:07:16,933 --> 01:07:22,566
WANT TO BELIEVE ♪
1633
01:07:22,633 --> 01:07:33,233
♪ ♪
1634
01:07:33,300 --> 01:07:35,100
>> THE JEAN JACKET AND THE
1635
01:07:35,166 --> 01:07:37,233
LEATHER DRESS, THE BIG HAIR,
1636
01:07:37,300 --> 01:07:39,400
THAT WAS ME BECOMING WHAT I
1637
01:07:39,466 --> 01:07:41,900
ALWAYS WANTED.
1638
01:07:41,966 --> 01:07:44,100
>> SHE BECAME A ROCK 'N' ROLL
1639
01:07:44,166 --> 01:07:46,600
STAR.
1640
01:07:46,666 --> 01:07:57,700
♪ ♪
1641
01:07:57,766 --> 01:07:58,300
>> LEGEND WAS THAT TINA TURNER
1642
01:07:58,366 --> 01:07:58,933
WAS THE WOMAN WHO TAUGHT MICK
1643
01:07:59,000 --> 01:08:00,166
JAGGER HAD TO DANCE.
1644
01:08:00,233 --> 01:08:03,200
>> IT WAS AN EXCHANGE.
1645
01:08:03,266 --> 01:08:03,666
THE SONG INSPIRED ME.
1646
01:08:03,733 --> 01:08:05,300
IT CAME TOGETHER.
1647
01:08:05,366 --> 01:08:09,333
>> I USED TO WATCH HER.
1648
01:08:09,400 --> 01:08:16,833
♪ ♪
1649
01:08:16,900 --> 01:08:19,700
♪ GOT A GOOD JOB IN THE CITY,
1650
01:08:19,766 --> 01:08:21,900
WORKING FOR THE MAN EVERY NIGHT
1651
01:08:21,966 --> 01:08:23,366
AND DAY ♪
1652
01:08:23,433 --> 01:08:26,966
♪ I NEVER LOST A BIT OF SLEEP ♪
1653
01:08:27,033 --> 01:08:28,733
>> SHE WAS AN INNOVATOR OF
1654
01:08:28,800 --> 01:08:32,366
HAVING POWERFUL WOMEN ON STAGE
1655
01:08:32,433 --> 01:08:33,366
GOING ABSOLUTELY CRAZY.
1656
01:08:33,433 --> 01:08:34,233
NO ONE HAD EVER SEEN ANYTHING
1657
01:08:34,300 --> 01:08:36,766
LIKE THAT.
1658
01:08:36,833 --> 01:08:39,500
>> ♪ IT ROLLING, ROLLING,
1659
01:08:39,566 --> 01:08:40,200
ROLLING ON THE RIVER 7
1660
01:08:40,266 --> 01:08:43,500
♪ ROLLING, ROLLING, ROLLING ON
1661
01:08:43,566 --> 01:08:43,833
THE RIVER ♪
1662
01:08:43,900 --> 01:08:44,933
>> THE DEFINITION OF INSANITY IS
1663
01:08:45,000 --> 01:08:46,833
TO GET ON STAGE WITH
1664
01:08:46,900 --> 01:08:47,133
TINA TURNER.
1665
01:08:47,200 --> 01:08:55,300
♪ ♪
1666
01:08:55,366 --> 01:08:59,466
♪ WE DON'T NEED ANOTHER HERO, H♪
1667
01:08:59,533 --> 01:09:00,733
>> YOU'RE NOT GOING TO BREAK
1668
01:09:00,800 --> 01:09:02,166
HER, YOU'RE NOT GOING TO DO
1669
01:09:02,233 --> 01:09:03,166
ANYTHING TO HER.
1670
01:09:03,233 --> 01:09:04,133
I DON'T THINK THERE'S EVER GOING
1671
01:09:04,200 --> 01:09:07,533
TO BE A WOMAN THAT CAN TOUCH HE
1672
01:09:07,600 --> 01:09:08,066
HER.
1673
01:09:08,133 --> 01:09:10,366
>> SHE IS THE EPITOME OF NEVER
1674
01:09:10,433 --> 01:09:13,400
GIVING UP ON YOURSELF AND ON
1675
01:09:13,466 --> 01:09:14,066
YOUR STORY AND WHAT YOU WANT TO
1676
01:09:14,133 --> 01:09:16,566
DO IN YOUR LIFE.
1677
01:09:16,633 --> 01:09:20,200
>> ♪ WE DON'T NEED ANOTHER
1678
01:09:20,266 --> 01:09:20,466
HERO ♪
1679
01:09:20,533 --> 01:09:21,033
>> EVERYTHING SHE HAD BEEN
1680
01:09:21,100 --> 01:09:22,366
THROUGH AND TO STILL BE HERE AND
1681
01:09:22,433 --> 01:09:26,066
TO HAVE A METAMORPHOSIS JUST
1682
01:09:26,133 --> 01:09:28,466
GOES TO SHOW THAT TINA TURNER IS
1683
01:09:28,533 --> 01:09:29,066
UNDENIABLE.
1684
01:09:29,133 --> 01:09:32,500
>> ♪ YOU ARE SIMPLY THE BEST ♪
1685
01:09:32,566 --> 01:09:38,633
♪ BETTER THAN ALL THE REST ♪
1686
01:09:38,700 --> 01:09:42,933
♪ BETTER THAN ANYONE ♪
1687
01:09:43,000 --> 01:09:46,900
>> HAPPENED THAT I NEVER KNEW
1688
01:09:46,966 --> 01:09:51,433
THAT THAT IS WHAT HAPPENED.
1689
01:09:51,500 --> 01:09:58,233
♪ ♪
1690
01:09:58,300 --> 01:09:59,733
SEMI LEGACY IS A PERSON THAT
1691
01:09:59,800 --> 01:10:01,200
STRIVES FOR WANTING IT BETTER
1692
01:10:01,266 --> 01:10:05,533
AND GOT IT.
1693
01:10:05,600 --> 01:10:11,100
♪ YOU'RE THE BEST ♪
1694
01:10:11,166 --> 01:10:11,566
[CHEERS AND APPLAUSE]
1695
01:10:11,633 --> 01:10:13,766
>> HI, EVERYBODY.
1696
01:10:13,833 --> 01:10:15,066
IT WAS REALLY SPECIAL WHEN I
1697
01:10:15,133 --> 01:10:17,466
HEARD THAT THE HALL OF FAME WAS
1698
01:10:17,533 --> 01:10:21,066
GIVING ME A TROPHY.
1699
01:10:21,133 --> 01:10:24,233
THEY'RE STILL GETTING THE AWARDS
1700
01:10:24,300 --> 01:10:26,100
AT 81, I MUST HAVE DONE
1701
01:10:26,166 --> 01:10:26,466
SOMETHING RIGHT.
1702
01:10:26,533 --> 01:10:29,266
YEAH, THIS IS MINE.
1703
01:10:29,333 --> 01:10:31,433
ONLY I DON'T --
1704
01:10:31,500 --> 01:10:31,666
[LAUGHS]
1705
01:10:31,733 --> 01:10:34,233
I'M VERY HAPPY TO HAVE THIS.
1706
01:10:34,300 --> 01:10:39,333
AND TO HAVE ACHIEVED THIS
1707
01:10:39,400 --> 01:10:40,200
ROCK & ROLL HALL OF FAME, IT'S
1708
01:10:40,266 --> 01:10:41,066
GREAT.
1709
01:10:41,133 --> 01:10:43,600
THANK YOU.
1710
01:10:43,666 --> 01:10:45,333
[CHEERS AND APPLAUSE]
1711
01:10:45,400 --> 01:10:47,266
>> HERE TO PAY TRIBUTE TO THE
1712
01:10:47,333 --> 01:10:49,200
ROCK 'N' ROLL HALL OF FAMER
1713
01:10:49,266 --> 01:10:53,266
TINA TURNER, CHRISTINA AGUILERA.
1714
01:10:53,333 --> 01:10:55,366
MICKEY GUYTON.
1715
01:10:55,433 --> 01:11:02,700
AND TO START IT OFF, H.E.R. AND
1716
01:11:02,766 --> 01:11:04,133
KEITH URBAN.
1717
01:11:04,200 --> 01:11:13,133
♪ ♪
1718
01:11:13,200 --> 01:11:18,600
♪ ♪
1719
01:11:18,666 --> 01:11:19,666
>> ♪ WHEN THE FEELIN' IS
1720
01:11:19,733 --> 01:11:21,300
ENDED ♪
1721
01:11:21,366 --> 01:11:22,233
♪ THERE AIN'T NO USE
1722
01:11:22,300 --> 01:11:24,133
PRETENDIN' ♪
1723
01:11:24,200 --> 01:11:27,100
♪ DON'T YA WORRY,
1724
01:11:27,166 --> 01:11:27,800
IT'S ONLY LOVE ♪
1725
01:11:27,866 --> 01:11:29,333
♪ WHEN YOUR WORLD HAS BEEN
1726
01:11:29,400 --> 01:11:29,966
SHATTERED ♪
1727
01:11:30,033 --> 01:11:33,733
♪ AIN'T NOTHIN' ELSE MATTERS ♪
1728
01:11:33,800 --> 01:11:35,833
♪ IT AIN'T OVER,
1729
01:11:35,900 --> 01:11:40,300
IT'S ONLY LOVE ♪
1730
01:11:40,366 --> 01:11:41,533
INTO THAT RIGHT, H.E.R.?
1731
01:11:41,600 --> 01:11:50,866
♪ ♪
1732
01:11:50,933 --> 01:11:52,066
>> ♪ WHEN YOUR HEART HAS BEEN
1733
01:11:52,133 --> 01:11:52,333
BROKEN ♪
1734
01:11:52,400 --> 01:11:53,466
♪ HARD WORDS HAVE BEEN SPOKEN ♪
1735
01:11:53,533 --> 01:11:54,233
♪ IT AIN'T EASY BUT IT'S ONLY
1736
01:11:54,300 --> 01:11:59,066
LOVE ♪
1737
01:11:59,133 --> 01:11:59,833
♪ WHEN IF YOUR LIFE
1738
01:11:59,900 --> 01:12:00,833
AIN'T WORTH LIVIN' ♪
1739
01:12:00,900 --> 01:12:05,500
♪ AND YOU'RE READY TO GIVE IN ♪
1740
01:12:05,566 --> 01:12:06,800
♪ JUST REMEMBER, BABY,
1741
01:12:06,866 --> 01:12:10,200
THAT IT'S ONLY LOVE ♪
1742
01:12:10,266 --> 01:12:17,266
♪ ♪
1743
01:12:17,333 --> 01:12:21,233
♪ ONLY LOVE, BABY, YEAH ♪
1744
01:12:21,300 --> 01:12:26,633
♪ ♪
1745
01:12:26,700 --> 01:12:28,033
>> ♪ YOU CAN LIVE WITHOUT
1746
01:12:28,100 --> 01:12:29,266
THE AGGRAVATION ♪
1747
01:12:29,333 --> 01:12:30,300
♪ YA GOTTA WANNA WIN
1748
01:12:30,366 --> 01:12:34,566
YA GOTTA WANNA WIN ♪
1749
01:12:34,633 --> 01:12:35,900
♪ YA GOTTA WANNA WIN ♪
1750
01:12:35,966 --> 01:12:37,166
♪ YOU KEEP LOOKIN' BACK
1751
01:12:37,233 --> 01:12:38,800
IN DESPERATION ♪
1752
01:12:38,866 --> 01:12:58,266
♪ OVER AND OVER AND OVER AGAIN ♪
1753
01:12:58,333 --> 01:13:15,633
♪ ♪
1754
01:13:15,700 --> 01:13:22,300
♪ ♪
1755
01:13:22,366 --> 01:13:23,200
>> ♪ WHEN YOUR WORLD IS
1756
01:13:23,266 --> 01:13:23,633
SHATTERED ♪
1757
01:13:23,700 --> 01:13:26,366
♪ AIN'T NOTHIN' ELSE MATTERS ♪
1758
01:13:26,433 --> 01:13:27,933
♪ IT AIN'T OVER,
1759
01:13:28,000 --> 01:13:34,233
IT'S ONLY LOVE ♪
1760
01:13:34,300 --> 01:13:40,500
♪ IT'S ONLY LOVE, BABY ♪
1761
01:13:40,566 --> 01:13:57,366
[CHEERS AND APPLAUSE]
1762
01:13:57,433 --> 01:14:06,033
♪ ♪
1763
01:14:06,100 --> 01:14:07,833
>> ♪ YOU MUST UNDERSTAND,
1764
01:14:07,900 --> 01:14:08,466
THOUGH THE TOUCH OF YOUR HAND ♪
1765
01:14:08,533 --> 01:14:10,400
♪ MAKES MY PULSE REACT ♪
1766
01:14:10,466 --> 01:14:11,800
♪ THAT IT'S ONLY THE THRILL
1767
01:14:11,866 --> 01:14:12,433
OF BOY MEETING GIRL ♪
1768
01:14:12,500 --> 01:14:23,166
♪ OPPOSITES ATTRACT ♪
1769
01:14:23,233 --> 01:14:24,066
♪ IT'S PHYSICAL ♪
1770
01:14:24,133 --> 01:14:28,233
♪ ONLY LOGICAL ♪
1771
01:14:28,300 --> 01:14:29,266
♪ YOU MUST TRY TO IGNORE THAT IT
1772
01:14:29,333 --> 01:14:31,133
MEANS MORE THAN THAT ♪
1773
01:14:31,200 --> 01:14:32,733
♪ OH-OH, WHAT'S LOVE GOT TO DO,
1774
01:14:32,800 --> 01:14:35,933
GOT TO DO WITH IT? ♪
1775
01:14:36,000 --> 01:14:39,300
♪ WHAT'S LOVE BUT A SECOND-HAND
1776
01:14:39,366 --> 01:14:41,100
EMOTION? ♪
1777
01:14:41,166 --> 01:14:43,066
♪ WHAT'S LOVE GOT TO DO,
1778
01:14:43,133 --> 01:14:45,200
GOT TO DO WITH IT? ♪
1779
01:14:45,266 --> 01:14:46,466
♪ WHO NEEDS A HEART
1780
01:14:46,533 --> 01:14:58,700
WHEN A HEART CAN BE BROKEN? ♪
1781
01:14:58,766 --> 01:15:08,566
♪ OH-OH ♪
1782
01:15:08,633 --> 01:15:11,600
♪ I'VE BEEN TAKING ON A NEW
1783
01:15:11,666 --> 01:15:11,900
DIRECTION ♪
1784
01:15:11,966 --> 01:15:14,333
♪ BUT I HAVE TO SAY ♪
1785
01:15:14,400 --> 01:15:17,600
♪ I'VE BEEN THINKING ABOUT MY
1786
01:15:17,666 --> 01:15:21,533
OWN PROTECTION ♪
1787
01:15:21,600 --> 01:15:24,433
♪ WHAT'S LOVE GOT TO DO,
1788
01:15:24,500 --> 01:15:25,700
GOT TO DO WITH IT? ♪
1789
01:15:25,766 --> 01:15:29,100
♪ WHAT'S LOVE
1790
01:15:29,166 --> 01:15:31,633
BUT A SECOND-HAND EMOTION ♪
1791
01:15:31,700 --> 01:15:32,833
♪ WHAT'S LOVE GOT TO DO,
1792
01:15:32,900 --> 01:15:34,033
GOT TO DO WITH IT? ♪
1793
01:15:34,100 --> 01:15:35,933
♪ WHO NEEDS A HEART
1794
01:15:36,000 --> 01:15:40,533
WHEN A HEART CAN BE BROKEN? ♪
1795
01:15:40,600 --> 01:15:42,000
♪ WHAT'S LOVE GOT TO DO,
1796
01:15:42,066 --> 01:15:43,333
GOT TO DO WITH IT? ♪
1797
01:15:43,400 --> 01:15:48,433
♪ WHAT'S LOVE
1798
01:15:48,500 --> 01:15:50,833
BUT A SWEET OLD-FASHIONED
1799
01:15:50,900 --> 01:15:52,033
NOTION ♪
1800
01:15:52,100 --> 01:15:53,233
♪ WHAT'S LOVE ♪
1801
01:15:53,300 --> 01:15:57,700
♪ WHO NEEDS A HEART
1802
01:15:57,766 --> 01:16:08,766
WHEN A HEART CAN BE BROKEN? ♪
1803
01:16:08,833 --> 01:16:17,600
[CHEERS AND APPLAUSE]
1804
01:16:17,666 --> 01:16:26,100
♪ ♪
1805
01:16:26,166 --> 01:16:27,200
>> ♪ WHEN I WAS A LITTLE GIRL,
1806
01:16:27,266 --> 01:16:27,633
I HAD A RAG DOLL ♪
1807
01:16:27,700 --> 01:16:28,133
♪ IT WAS THE ONLY DOLL
1808
01:16:28,200 --> 01:16:34,266
THAT I'VE EVER OWNED ♪
1809
01:16:34,333 --> 01:16:35,533
♪ NOW I LOVE YOU JUST THE WAY
1810
01:16:35,600 --> 01:16:38,833
I LOVED THAT RAG DOLL ♪
1811
01:16:38,900 --> 01:16:40,066
♪ BUT ONLY NOW MY LOVE
1812
01:16:40,133 --> 01:16:42,800
HAS GROWN ♪
1813
01:16:42,866 --> 01:16:45,033
♪ AND IT GETS STRONGER
1814
01:16:45,100 --> 01:16:56,800
IN EVERY WAY ♪
1815
01:16:56,866 --> 01:16:59,533
♪ AND IT GETS DEEPER, BABY ♪
1816
01:16:59,600 --> 01:16:59,933
♪ LET ME SAY ♪
1817
01:17:00,000 --> 01:17:00,866
♪ THEN IT GETS HIGHER,
1818
01:17:00,933 --> 01:17:01,966
DAY BY DAY ♪
1819
01:17:02,033 --> 01:17:13,566
♪ AND DO I LOVE YOU, MY OH MY ♪
1820
01:17:13,633 --> 01:17:15,533
♪ YEAH ♪
1821
01:17:15,600 --> 01:17:16,166
♪ OH NO, NO, IF I EVER, EVER
1822
01:17:16,233 --> 01:17:21,300
LOST YOU WOULD I CRY ♪
1823
01:17:21,366 --> 01:17:27,733
♪ OH, HOW I LOVE YOU BABY ♪
1824
01:17:27,800 --> 01:17:31,966
♪ BABY, BABY, BABY ♪
1825
01:17:32,033 --> 01:17:32,633
♪ WHEN YOU WERE
1826
01:17:32,700 --> 01:17:33,466
A YOUNG BOY ♪
1827
01:17:33,533 --> 01:17:36,066
♪ DID YOU HAVE A PUPPY? ♪
1828
01:17:36,133 --> 01:17:42,300
♪ THAT ALWAYS FOLLOWED YOU
1829
01:17:42,366 --> 01:17:43,133
AROUND ♪
1830
01:17:43,200 --> 01:17:44,033
♪ WELL, I'M GONNA BE AS FAITHFUL
1831
01:17:44,100 --> 01:17:49,100
AS THAT PUPPY ♪
1832
01:17:49,166 --> 01:17:50,133
♪ NO, I AIN'T NEVER GONNA
1833
01:17:50,200 --> 01:17:53,266
LET YOU DOWN ♪
1834
01:17:53,333 --> 01:17:54,833
♪ 'CAUSE IT GOES ON AND ON
1835
01:17:54,900 --> 01:18:02,066
LIKE A RIVER FLOWS ♪
1836
01:18:02,133 --> 01:18:03,966
♪ LORD, IT GETS SWEETER, BABY ♪
1837
01:18:04,033 --> 01:18:07,100
♪ AND HEAVEN KNOWS ♪
1838
01:18:07,166 --> 01:18:09,333
♪ AND IT GETS SWEETER,
1839
01:18:09,400 --> 01:18:11,800
BABY, OH, AS IT GROWS ♪
1840
01:18:11,866 --> 01:18:22,566
♪ DO I LOVE YOU, MY OH MY ♪
1841
01:18:22,633 --> 01:18:29,000
♪ YEAH ♪
1842
01:18:29,066 --> 01:18:29,733
♪ IF I LOST YOU
1843
01:18:29,800 --> 01:18:30,500
WOULD I CRY ♪
1844
01:18:30,566 --> 01:18:36,366
♪ OH, I LOVE YOU BABY ♪
1845
01:18:36,433 --> 01:18:40,633
♪ BABY, BABY, BABY ♪
1846
01:18:40,700 --> 01:18:45,466
[VOCALIZING]
1847
01:18:45,533 --> 01:18:46,533
♪ AND I LOVE YOU, BABY ♪
1848
01:18:46,600 --> 01:18:54,566
♪ LIKE FLOWERS LOVE THE SPRING ♪
1849
01:18:54,633 --> 01:18:54,733
♪
1850
01:18:54,800 --> 01:18:57,833
♪ ♪
1851
01:18:57,900 --> 01:18:58,000
♪
1852
01:18:58,066 --> 01:19:00,266
♪ AND I LOVE YOU LIKE A
1853
01:19:00,333 --> 01:19:01,600
SCHOOLBOY HE LOVES HIS PET ♪
1854
01:19:01,666 --> 01:19:07,366
♪ AND I LOVE YOU, BABY ♪
1855
01:19:07,433 --> 01:19:11,600
♪ ♪
1856
01:19:11,666 --> 01:19:16,466
[VOCALIZING]
1857
01:19:16,533 --> 01:19:16,633
♪
1858
01:19:16,700 --> 01:19:22,600
♪ HONEY, YOU'VE GOT TO BELIEVE,
1859
01:19:22,666 --> 01:19:28,333
BELIEVE ♪
1860
01:19:28,400 --> 01:19:41,400
♪ DO LOVE YOU ♪
1861
01:19:41,466 --> 01:19:49,966
♪ ♪
1862
01:19:50,033 --> 01:19:52,400
♪ BABY, BABY, BABY ♪
1863
01:19:52,466 --> 01:19:55,866
♪ ♪
1864
01:19:55,933 --> 01:19:59,200
[CHEERS AND APPLAUSE]
1865
01:19:59,266 --> 01:20:03,033
THANK YOU.
1866
01:20:03,100 --> 01:20:08,266
>> TWO PRESENTS THE AHMET
1867
01:20:08,333 --> 01:20:09,500
ERTEGUN AWARD FOR LIFETIME
1868
01:20:09,566 --> 01:20:11,200
ACHIEVEMENT, LIONEL RICHIE.
1869
01:20:11,266 --> 01:20:13,400
>> I'M NOT GOING TO TELL YOU
1870
01:20:13,466 --> 01:20:15,700
ABOUT WHAT YOU CAN FIND ON
1871
01:20:15,766 --> 01:20:15,966
WIKIPEDIA.
1872
01:20:16,033 --> 01:20:19,166
I'M GOING TO TELL YOU BEHIND THE
1873
01:20:19,233 --> 01:20:22,666
SCENES OF WHO CLARENCE AVANT IS.
1874
01:20:22,733 --> 01:20:24,000
HE'S A TEACHER.
1875
01:20:24,066 --> 01:20:26,400
HE IS A MASTER COMMUNICATOR.
1876
01:20:26,466 --> 01:20:28,833
HE IS THE PERFECT MARRIAGE
1877
01:20:28,900 --> 01:20:34,000
BETWEEN STREET SENSE AND COMMON
1878
01:20:34,066 --> 01:20:36,333
SENSE.
1879
01:20:36,400 --> 01:20:40,100
>> HE IS THIS MYSTERIOUS FIGURE
1880
01:20:40,166 --> 01:20:42,266
THAT EVERYBODY RESPECTED.
1881
01:20:42,333 --> 01:20:43,566
>> CLARENCE WAS ONE OF MY
1882
01:20:43,633 --> 01:20:46,433
FAVORITE GUYS.
1883
01:20:46,500 --> 01:20:47,066
>> IF YOU ARE IMPORTANT TO THE
1884
01:20:47,133 --> 01:20:49,366
OVERALL GREATER GOOD, HE'S GOING
1885
01:20:49,433 --> 01:20:54,066
TO STEP IN LIKE SUPER BLACK MAN.
1886
01:20:54,133 --> 01:20:56,533
>> THEY COMBINATION OF REVEREND
1887
01:20:56,600 --> 01:21:04,200
SHARP, MALCOLM X, OF THE MUSIC
1888
01:21:04,266 --> 01:21:04,966
BUSINESS.
1889
01:21:05,033 --> 01:21:05,933
>> WHAT HE DID FOR US, HE WAS
1890
01:21:06,000 --> 01:21:09,966
THE ONE THAT BROUGHT US TO SOME
1891
01:21:10,033 --> 01:21:11,066
UNDERSTANDING OF WHAT THE MUSIC
1892
01:21:11,133 --> 01:21:13,266
BUSINESS WAS ALL ABOUT.
1893
01:21:13,333 --> 01:21:16,366
THERE IS TWO PARTS TO THIS
1894
01:21:16,433 --> 01:21:16,633
INDUSTRY.
1895
01:21:16,700 --> 01:21:18,266
THE MUSIC BUSINESS IN THE
1896
01:21:18,333 --> 01:21:21,766
BUSINESS OF MUSIC.
1897
01:21:21,833 --> 01:21:26,900
ONE, USE WHAT YOU ASS OFF.
1898
01:21:26,966 --> 01:21:28,933
TWO, YOU MAKE THE MONEY.
1899
01:21:29,000 --> 01:21:32,433
HE TAUGHT US HOW TO MAKE THE
1900
01:21:32,500 --> 01:21:32,866
MONEY.
1901
01:21:32,933 --> 01:21:35,266
>> LIFE WAS ABOUT ONE THING,
1902
01:21:35,333 --> 01:21:35,900
NUMBERS, NOTHING ELSE.
1903
01:21:35,966 --> 01:21:40,433
WHAT DID TINA TURNER SAY?
1904
01:21:40,500 --> 01:21:42,633
WHAT'S LOVE GOT TO DO WITH IT?
1905
01:21:42,700 --> 01:21:45,300
NOT A FUCKING THING, MAN.
1906
01:21:45,366 --> 01:21:46,633
>> IS KEY NEGOTIATING RATES THAT
1907
01:21:46,700 --> 01:21:50,133
HE LIKED TO GO TO RIGHT AWAY.
1908
01:21:50,200 --> 01:21:57,133
"GO FUCK YOURSELF AND GO TO HEL
1909
01:21:57,200 --> 01:21:57,333
HELL."
1910
01:21:57,400 --> 01:22:04,466
AND THAT MEANT ELECTIVE.
1911
01:22:04,533 --> 01:22:07,033
>> CALL YOU A SON OF A BITCH, SO
1912
01:22:07,100 --> 01:22:07,866
WHAT?
1913
01:22:07,933 --> 01:22:10,500
>> I HAVE A LOT OF RESPECT FOR
1914
01:22:10,566 --> 01:22:12,600
CLARENCE.
1915
01:22:12,666 --> 01:22:16,300
HE PROVIDED LEAP FOR ME FROM
1916
01:22:16,366 --> 01:22:16,966
BEING PROFESSIONAL AIRCRAFT
1917
01:22:17,033 --> 01:22:20,200
MECHANIC OVER INTO THIS WORLD.
1918
01:22:20,266 --> 01:22:22,933
>> CLARENCE MANAGING JIMMY AND
1919
01:22:23,000 --> 01:22:23,900
TERRY HELPED MAKE THE "JANET"
1920
01:22:23,966 --> 01:22:25,833
ALBUM.
1921
01:22:25,900 --> 01:22:26,666
>> SET OF GOT A PROBLEM WITH
1922
01:22:26,733 --> 01:22:28,300
WHAT YOU'RE ASKING FOR.
1923
01:22:28,366 --> 01:22:33,633
OH, NO, MR. AVANT, WE ASK FOR
1924
01:22:33,700 --> 01:22:33,933
TOO MUCH?
1925
01:22:34,000 --> 01:22:37,033
>> HE SAID, NO, YOU HAVEN'T ASKD
1926
01:22:37,100 --> 01:22:37,800
FOR ENOUGH.
1927
01:22:37,866 --> 01:22:40,266
YOU CAN'T DO A RECORD ON THAT.
1928
01:22:40,333 --> 01:22:41,466
>> THAT TOLD YOU EVERYTHING YOU
1929
01:22:41,533 --> 01:22:43,233
NEEDED TO KNOW ABOUT HIM RIGHT
1930
01:22:43,300 --> 01:22:43,700
IN THAT FIRST MEETING.
1931
01:22:43,766 --> 01:22:46,466
♪ ♪
1932
01:22:46,533 --> 01:22:48,800
>> AFTER THE "CONTROL" ALBUM,
1933
01:22:48,866 --> 01:22:50,633
THE PHONE WAS RINGING, PEOPLE
1934
01:22:50,700 --> 01:22:51,200
WERE AT THE HOUSE.
1935
01:22:51,266 --> 01:22:53,900
ONE DAY I WOULD WALK IN, IT WAS
1936
01:22:53,966 --> 01:22:54,900
WHITNEY HOUSTON.
1937
01:22:54,966 --> 01:22:55,666
QUESTIONS, QUESTIONS, CAN YOU
1938
01:22:55,733 --> 01:22:57,000
HELP ME WITH THIS DEAL.
1939
01:22:57,066 --> 01:22:58,466
IT JUST HAPPENED.
1940
01:22:58,533 --> 01:23:00,100
>> I COULDN'T FIGURE OUT FOR THE
1941
01:23:00,166 --> 01:23:01,300
LIFE OF ME, WHY DO SO MANY
1942
01:23:01,366 --> 01:23:04,000
PEOPLE LIKE HIM?
1943
01:23:04,066 --> 01:23:07,300
AND I FIGURED IT OUT.
1944
01:23:07,366 --> 01:23:09,066
HE TOLD THE TRUTH.
1945
01:23:09,133 --> 01:23:12,600
AND, BY THE WAY, IN THE MUSIC
1946
01:23:12,666 --> 01:23:14,033
INDUSTRY, THAT IS A RARE
1947
01:23:14,100 --> 01:23:16,466
COMMODITY.
1948
01:23:16,533 --> 01:23:18,166
>> I HELPED A LOT OF PEOPLE.
1949
01:23:18,233 --> 01:23:20,600
BUT MY JOB, SO FAR AS I'M
1950
01:23:20,666 --> 01:23:23,000
CONCERNED, IS TO MOVE US
1951
01:23:23,066 --> 01:23:23,333
FORWARD.
1952
01:23:23,400 --> 01:23:25,266
>> CLARENCE AND OTHERS, THEY ARE
1953
01:23:25,333 --> 01:23:29,066
REALLY THE BRIDGE FROM A TIME
1954
01:23:29,133 --> 01:23:32,966
WHERE THERE WAS ALMOST NO
1955
01:23:33,033 --> 01:23:33,833
OPPORTUNITY TO A TIME WHERE
1956
01:23:33,900 --> 01:23:34,933
DORIS BEGAN TO OPEN, AND THEY
1957
01:23:35,000 --> 01:23:39,066
LED THE WAY IN POLITICS, IN
1958
01:23:39,133 --> 01:23:42,400
BUSINESS, IN THE ARTS, AND
1959
01:23:42,466 --> 01:23:44,666
SAYING, NOW MAKE ROOM FOR US.
1960
01:23:44,733 --> 01:23:48,200
♪ ♪
1961
01:23:48,266 --> 01:23:52,200
>> HE WAS AN ADVOCATE FOR ALL OF
1962
01:23:52,266 --> 01:23:54,433
THE CREATIVE PEOPLE, YOU KNOW,
1963
01:23:54,500 --> 01:23:56,033
THE WRITERS, THE PRODUCERS, THE
1964
01:23:56,100 --> 01:23:56,966
RANGERS.
1965
01:23:57,033 --> 01:23:59,200
>> THEY WILL NEVER BE ANOTHER
1966
01:23:59,266 --> 01:23:59,566
CLARENCE AVANT.
1967
01:23:59,633 --> 01:24:03,066
HOWEVER, HIS GOAL TO PLANT SEED
1968
01:24:03,133 --> 01:24:04,233
SO THEY CAN BE INDIVIDUALS JUST
1969
01:24:04,300 --> 01:24:05,100
LIKE IN.
1970
01:24:05,166 --> 01:24:07,233
>> HE IS LIKE, BABY, YOU'VE GOT
1971
01:24:07,300 --> 01:24:09,000
TO GET YOUR GENERATION TO BE
1972
01:24:09,066 --> 01:24:09,500
ACTIVE.
1973
01:24:09,566 --> 01:24:10,533
I'M TIRED.
1974
01:24:10,600 --> 01:24:10,766
[LAUGHS]
1975
01:24:10,833 --> 01:24:14,633
>> IF YOU LEFT THIS PLANET
1976
01:24:14,700 --> 01:24:15,633
TOMORROW, YOU FULFILLED YOUR
1977
01:24:15,700 --> 01:24:16,866
PURPOSE.
1978
01:24:16,933 --> 01:24:18,566
DIDN'T MATTER HE WAS PROMOTING A
1979
01:24:18,633 --> 01:24:20,166
TOUR, RUNNING A RADIO STATION,
1980
01:24:20,233 --> 01:24:22,233
HE KNEW HIS PURPOSE.
1981
01:24:22,300 --> 01:24:24,533
BLACK PEOPLE ARE GOING TO MOVE
1982
01:24:24,600 --> 01:24:25,966
FORWARD.
1983
01:24:26,033 --> 01:24:28,533
>> ♪ FOR IT WON'T BE LONG UNTIL
1984
01:24:28,600 --> 01:24:32,933
I'M GOING TO NEED ♪
1985
01:24:33,000 --> 01:24:34,333
♪ SOMEBODY TO LEAN ON ♪
1986
01:24:34,400 --> 01:24:39,233
>> SOMETIMES I SAY TO MYSELF,
1987
01:24:39,300 --> 01:24:41,533
HOW THE FUCK DID I GET INVOLVED
1988
01:24:41,600 --> 01:24:45,966
WITH ALL OF THE SHIT?
1989
01:24:46,033 --> 01:24:47,766
[CHEERS AND APPLAUSE]
1990
01:24:47,833 --> 01:24:48,333
>> CLARENCE, IT IS MY GREAT
1991
01:24:48,400 --> 01:24:53,000
PRIVILEGE TO INDUCT YOU INTO THE
1992
01:24:53,066 --> 01:24:57,300
ROCK & ROLL HALL OF FAME.
1993
01:24:57,366 --> 01:25:29,200
[CHEERS AND APPLAUSE]
1994
01:25:29,266 --> 01:25:29,966
>> THANK YOU, LIONEL.
1995
01:25:30,033 --> 01:25:32,133
GOOD EVENING, LADIES AND
1996
01:25:32,200 --> 01:25:34,100
GENTLEMEN.
1997
01:25:34,166 --> 01:25:36,933
I WANT TO THANK -- WELL, YOU
1998
01:25:37,000 --> 01:25:40,066
KNOW, HIS NAME IS BIG JOHN.
1999
01:25:40,133 --> 01:25:44,766
AND HE CALLED ME AND HE SAID
2000
01:25:44,833 --> 01:25:44,966
THIS.
2001
01:25:45,033 --> 01:25:49,400
MY ORGANIZATION IS GOING TO BE
2002
01:25:49,466 --> 01:25:52,466
IN OHIO, AND YOU'RE GOING TO GET
2003
01:25:52,533 --> 01:25:53,133
AN AWARD.
2004
01:25:53,200 --> 01:25:56,266
AND I SAID, WAIT A MINUTE.
2005
01:25:56,333 --> 01:25:59,000
AND HE SAID, NO, KEEP YOUR MOUTH
2006
01:25:59,066 --> 01:25:59,966
SHUT.
2007
01:26:00,033 --> 01:26:02,866
>> SO I HAD NO CHOICE, BECAUSE
2008
01:26:02,933 --> 01:26:05,566
WHEN YOU DEAL WITH BIG JOHN, YOU
2009
01:26:05,633 --> 01:26:06,533
KNOW, HE IS BIG, AND I DIDN'T
2010
01:26:06,600 --> 01:26:09,366
WANT NO TROUBLE.
2011
01:26:09,433 --> 01:26:12,033
YOU KNOW, I'M NOT A YOUNG MAN
2012
01:26:12,100 --> 01:26:12,600
ANYMORE.
2013
01:26:12,666 --> 01:26:14,800
WHEN YOU GET THIS AGE IN LIFE,
2014
01:26:14,866 --> 01:26:15,600
YOU'VE GOT TO BE VERY CAREFUL
2015
01:26:15,666 --> 01:26:19,733
WHEN YOU TALK TO THESE -- THEY
2016
01:26:19,800 --> 01:26:23,100
ARE NOT HOODS, BUT THEY ARE --
2017
01:26:23,166 --> 01:26:23,433
[LAUGHTER]
2018
01:26:23,500 --> 01:26:27,600
THEY ARE BUSINESS PEOPLE.
2019
01:26:27,666 --> 01:26:27,866
[LAUGHTER]
2020
01:26:27,933 --> 01:26:31,733
THANK YOU, LADIES AND GENTLEMEN.
2021
01:26:31,800 --> 01:26:36,466
THANK YOU, EVERYBODY FOR BEING
2022
01:26:36,533 --> 01:26:38,633
HERE.
2023
01:26:38,700 --> 01:26:40,133
I HAVE NEVER SEEN A CROWD LIKE
2024
01:26:40,200 --> 01:26:42,366
THIS BEFORE IN MY LIFE.
2025
01:26:42,433 --> 01:26:43,133
BIG JOHN, THANK YOU FOR
2026
01:26:43,200 --> 01:26:46,600
THREATENING ME.
2027
01:26:46,666 --> 01:26:53,266
GOOD NIGHT.
2028
01:26:53,333 --> 01:26:55,366
>> HELLO, EVERYBODY, AND PATTY
2029
01:26:55,433 --> 01:27:00,166
SMITH, T TODD RUDGREN IS AMONG E
2030
01:27:00,233 --> 01:27:01,633
ARTISTS BEING HONORED TONIGHT.
2031
01:27:01,700 --> 01:27:04,266
TODD AND I MET IN OUR EARLY
2032
01:27:04,333 --> 01:27:07,000
20s, WE WERE BOTH FROM THE
2033
01:27:07,066 --> 01:27:10,033
PHILADELPHIA, THE RENT AND THE
2034
01:27:10,100 --> 01:27:10,666
WALLFLOWER.
2035
01:27:10,733 --> 01:27:13,033
I WAS WORKING IN A BOOKSTORE
2036
01:27:13,100 --> 01:27:14,733
WRITING POETRY, AND TODD WAS
2037
01:27:14,800 --> 01:27:20,666
ALREADY QUITE ACCOMPLISHED AT 2.
2038
01:27:20,733 --> 01:27:25,100
AS HIS FRIEND, I WAS PRIVY TO
2039
01:27:25,166 --> 01:27:26,666
THE STAGES OF HIS WORK ON HIS
2040
01:27:26,733 --> 01:27:30,000
SOLO ALBUMS.
2041
01:27:30,066 --> 01:27:31,366
SUCH A SWIFT EVOLUTION FROM
2042
01:27:31,433 --> 01:27:35,033
SHIMMERING POP SONGS TO SOARING
2043
01:27:35,100 --> 01:27:36,133
EXPERIMENTAL PIECES, AND HE WAS
2044
01:27:36,200 --> 01:27:36,800
UNFLINCHING IN THE FACE OF NEW
2045
01:27:36,866 --> 01:27:39,566
TECHNOLOGY.
2046
01:27:39,633 --> 01:27:40,033
HE WOULD JUST BEND IT
2047
01:27:40,100 --> 01:27:43,133
IN HIS HANDS.
2048
01:27:43,200 --> 01:27:43,933
TODD WAS OUR PRODUCER ON MY LAST
2049
01:27:44,000 --> 01:27:44,633
ALBUM WITH THE PATTI SMITH
2050
01:27:44,700 --> 01:27:47,166
GROUP.
2051
01:27:47,233 --> 01:27:48,233
HE WOULD TELL THE BAND, "IF YOU
2052
01:27:48,300 --> 01:27:49,200
KNOW WHAT YOU WANT, I WILL HELP
2053
01:27:49,266 --> 01:27:52,400
YOU GET IT.
2054
01:27:52,466 --> 01:27:53,566
IF YOU DON'T KNOW WHAT YOU WANT,
2055
01:27:53,633 --> 01:27:56,733
I'LL DO IT FOR YOU."
2056
01:27:56,800 --> 01:27:59,166
TODD AND I HAVE OUR OWN PERSONAL
2057
01:27:59,233 --> 01:28:04,433
MANTRA: "NO GROWN-UPS ALLOWED."
2058
01:28:04,500 --> 01:28:05,366
AND THAT IS TODD RUNDGREN, THE
2059
01:28:05,433 --> 01:28:08,066
PETER PAN PRODIGY, EVER CURIOUS,
2060
01:28:08,133 --> 01:28:13,066
EVER YOUTHFUL, EVER DEFIANT.
2061
01:28:13,133 --> 01:28:15,000
HE HAS BEEN OUR ALCHEMIST,
2062
01:28:15,066 --> 01:28:19,366
OUR WIZARD, OUR TRUE STAR.
2063
01:28:19,433 --> 01:28:22,266
AND IT IS MY PRIVILEGE TO
2064
01:28:22,333 --> 01:28:29,700
WELCOME TODD RUNDGREN INTO THE
2065
01:28:29,766 --> 01:28:35,200
ROCK & ROLL HALL OF FAME.
2066
01:28:35,266 --> 01:28:39,433
[CHEERS AND APPLAUSE]
2067
01:28:39,500 --> 01:28:42,600
>> I'M TODD RUNDGREN.
2068
01:28:42,666 --> 01:28:50,166
♪ ♪
2069
01:28:50,233 --> 01:28:52,366
>> HI, REMEMBER ME?
2070
01:28:52,433 --> 01:28:53,566
MY NAME IS TODD RUNDGREN.
2071
01:28:53,633 --> 01:28:55,400
GOING TO DO THE GREATEST HITS OF
2072
01:28:55,466 --> 01:28:57,866
THE ' 60s END '70s.
2073
01:28:57,933 --> 01:28:59,433
GREAT TUNES LIKE THIS ONE.
2074
01:28:59,500 --> 01:29:01,200
SEE IF YOU REMEMBER THIS ONE,
2075
01:29:01,266 --> 01:29:02,133
LADIES AND GENTLEMEN.
2076
01:29:02,200 --> 01:29:03,666
GOES LIKE THIS.
2077
01:29:03,733 --> 01:29:07,733
♪ LOVE YOU BEST ♪
2078
01:29:07,800 --> 01:29:16,166
♪ LOVE, LOVE, LA-LA-LA ♪
2079
01:29:16,233 --> 01:29:23,200
♪ CAN WE STILL GET TOGETHER
2080
01:29:23,266 --> 01:29:23,733
SOMETIME ♪
2081
01:29:23,800 --> 01:29:28,800
♪ BUT WHEN THE SHIT HITS THE
2082
01:29:28,866 --> 01:29:29,000
FAN ♪
2083
01:29:29,066 --> 01:29:32,833
♪ YOU KNOW I HAVE TO FIND MY
2084
01:29:32,900 --> 01:29:33,100
WAY ♪
2085
01:29:33,166 --> 01:29:35,333
♪ LIKE THE SUNSET BOULEVARD ♪
2086
01:29:35,400 --> 01:29:37,066
>> MOST ARTISTS JUST LOOKED TOO
2087
01:29:37,133 --> 01:29:39,266
SURVIVING TO THE NEXT HITS.
2088
01:29:39,333 --> 01:29:42,300
THAT WASN'T HIS NORTHSTAR.
2089
01:29:42,366 --> 01:29:43,600
>> SO MANY MUSICIANS ARE FUCKING
2090
01:29:43,666 --> 01:29:45,233
BORING AND YOU KNOW WHAT THEY
2091
01:29:45,300 --> 01:29:46,066
ARE GOING TO DO.
2092
01:29:46,133 --> 01:29:49,033
YOU NEVER KNOW WHAT TODD IS
2093
01:29:49,100 --> 01:29:49,333
GOING TO DO.
2094
01:29:49,400 --> 01:29:52,366
>> ♪ WE'VE GOT TO GET YOU A
2095
01:29:52,433 --> 01:29:52,633
MOMENT ♪
2096
01:29:52,700 --> 01:29:55,233
♪ IT'S LIKE NOTHING ELSE CAN LET
2097
01:29:55,300 --> 01:29:55,966
YOU ENJOY YOUR LIFE ♪
2098
01:29:56,033 --> 01:29:58,233
>> MY COMPANY NEXT YEAR, I'M
2099
01:29:58,300 --> 01:30:00,333
SURE YOU'LL RECOGNIZE THE
2100
01:30:00,400 --> 01:30:03,533
INTENTION, IT GOES LIKE THIS.
2101
01:30:03,600 --> 01:30:04,566
>> THE GREAT IRONY OF MY CAREER
2102
01:30:04,633 --> 01:30:06,766
HAS BEEN THE FACT THAT MY
2103
01:30:06,833 --> 01:30:08,833
BIGGEST HITS ARE SORT OF ON THE
2104
01:30:08,900 --> 01:30:12,633
BALLAD SIDE, ON THE SOFT SIDE.
2105
01:30:12,700 --> 01:30:17,766
>> ♪ HELLO, IT'S ME, HELLO ♪
2106
01:30:17,833 --> 01:30:19,466
>> BUT MY ORIGINAL MUSICAL ROOTS
2107
01:30:19,533 --> 01:30:20,200
WERE KIND OF LIKE THE BEATLES
2108
01:30:20,266 --> 01:30:23,433
AND THE WHO, A BIT OF BEACH BOYS
2109
01:30:23,500 --> 01:30:24,833
IN THERE, ALTHOUGH THERE WAS A
2110
01:30:24,900 --> 01:30:26,866
LOT OF VOCALIZATION, IT WAS
2111
01:30:26,933 --> 01:30:28,266
ALWAYS ACCOMPANIED WITH A
2112
01:30:28,333 --> 01:30:32,200
WELL-DISTORTED GUITAR.
2113
01:30:32,266 --> 01:30:33,633
>> THIS NEXT MUSICAL TREND
2114
01:30:33,700 --> 01:30:34,033
CALLED POWER POP.
2115
01:30:34,100 --> 01:30:41,000
♪ ♪
2116
01:30:41,066 --> 01:30:41,900
>> PART OF THE PERSONALITY OF
2117
01:30:41,966 --> 01:30:44,133
HIS MUSIC IS THAT HE'S DOING AND
2118
01:30:44,200 --> 01:30:44,600
ALL.
2119
01:30:44,666 --> 01:30:45,533
HE KNOWS WHAT HE WANTS AND HE
2120
01:30:45,600 --> 01:30:47,800
KNOWS HOW TO GET IT.
2121
01:30:47,866 --> 01:30:48,666
>> YOU WANT THINGS TO COME OUT A
2122
01:30:48,733 --> 01:30:52,200
CERTAIN WAY, AND INSTEAD OF
2123
01:30:52,266 --> 01:30:53,800
STRANGLING THE CREATIVITY OUT OF
2124
01:30:53,866 --> 01:30:54,500
ANOTHER MUSICIAN BECAUSE HE WAS
2125
01:30:54,566 --> 01:30:56,633
SO PARTICULAR ABOUT IT, YOU DO
2126
01:30:56,700 --> 01:30:59,000
IT YOURSELF, AND THAT WAY IT
2127
01:30:59,066 --> 01:31:01,500
DOES BECOME, IN SOME WAYS, MORE
2128
01:31:01,566 --> 01:31:02,900
EXPRESSIVE.
2129
01:31:02,966 --> 01:31:08,033
♪ ♪
2130
01:31:08,100 --> 01:31:11,800
♪ KEEPING MY LOVE INSIDE ♪
2131
01:31:11,866 --> 01:31:14,300
>> I STARTED TO SING MUSIC AS
2132
01:31:14,366 --> 01:31:14,900
SOMETHING IS WHAT I HAD
2133
01:31:14,966 --> 01:31:17,233
PREVIOUSLY ASSUMED.
2134
01:31:17,300 --> 01:31:18,700
I MADE THIS CRAZY RECORD IN
2135
01:31:18,766 --> 01:31:21,366
WHICH I THREW OUT ALL THE RULES
2136
01:31:21,433 --> 01:31:22,233
OF RECORD MAKING AND DECIDED
2137
01:31:22,300 --> 01:31:24,233
THAT I WOULD TRY TO IMPRINT AS
2138
01:31:24,300 --> 01:31:26,066
MUCH AS POSSIBLE THE CHAOS IN MY
2139
01:31:26,133 --> 01:31:31,066
HEAD RIGHT ONTO A RECORD.
2140
01:31:31,133 --> 01:31:33,833
♪ JUST ANOTHER ONION HAD ♪
2141
01:31:33,900 --> 01:31:36,566
>> I ALWAYS HAD THIS FEELING
2142
01:31:36,633 --> 01:31:38,600
THAT HE WAS A WIZARD, A TRUE
2143
01:31:38,666 --> 01:31:40,800
STAR, THIS MAKER OF MAGIC.
2144
01:31:40,866 --> 01:31:42,733
>> COME TAKE A BREAK NO?
2145
01:31:42,800 --> 01:31:43,933
>> SURE.
2146
01:31:44,000 --> 01:31:45,900
>> LADIES AND GENTLEMEN!
2147
01:31:46,000 --> 01:31:53,333
>> ♪ TURNED THE WORLD AROUND ♪
2148
01:31:53,400 --> 01:32:00,100
♪ ♪
2149
01:32:00,166 --> 01:32:01,733
♪ FIGHTING FOR IT ALL DAY ♪
2150
01:32:01,800 --> 01:32:04,766
♪ FIGHTING FOR IT ALL NIGHT MAMA
2151
01:32:04,833 --> 01:32:09,933
WE'LL BE ALL RIGHT ♪
2152
01:32:10,000 --> 01:32:11,566
♪ CAN'T REMEMBER WHY YOU ARE
2153
01:32:11,633 --> 01:32:23,233
STILL IN THE RACE ♪
2154
01:32:23,300 --> 01:32:23,566
♪ ♪
2155
01:32:23,633 --> 01:32:26,433
♪ I DON'T WANT TO WORK, I WANT
2156
01:32:26,500 --> 01:32:28,033
TO BANG ON THE DRUM ALL DAY ♪
2157
01:32:28,100 --> 01:32:29,800
>> THERE'S NEVER ANY GUARANTEE
2158
01:32:29,866 --> 01:32:31,666
THAT YOU WILL HAVE A COMMERCIAL
2159
01:32:31,733 --> 01:32:33,166
SUCCESS OR SO-CALLED HIT SINGLE.
2160
01:32:33,233 --> 01:32:36,000
IF YOU COMPROMISE YOUR APPROACH,
2161
01:32:36,066 --> 01:32:37,933
AND IT DIDN'T BECOME A HIT
2162
01:32:38,000 --> 01:32:39,733
RECORD, THEN YOU FAILED TWICE,
2163
01:32:39,800 --> 01:32:41,433
YOU FEEL YOURSELF AND YOU FAILED
2164
01:32:41,500 --> 01:32:43,366
TO MAKE A HIT OUT OF IT.
2165
01:32:43,433 --> 01:32:44,900
♪ ♪
2166
01:32:44,966 --> 01:32:52,600
♪ SO I SENT YOU THE GIFT ♪
2167
01:32:52,666 --> 01:32:53,833
>> THE ULTIMATE REALIZATION OF A
2168
01:32:53,900 --> 01:32:56,866
MUSICIANS TALENT IS TO PUT
2169
01:32:56,933 --> 01:32:57,966
LYRICS AND MUSIC IN A WAY THAT
2170
01:32:58,033 --> 01:33:03,666
MAKES THEM SEEM INSEPARABLE.
2171
01:33:03,733 --> 01:33:06,733
>> ♪ ABOUT MY DREAM IS GONE
2172
01:33:06,800 --> 01:33:07,033
FOREVER ♪
2173
01:33:07,100 --> 01:33:08,666
>> HISTORY SONGS WILL LIVE ON
2174
01:33:08,733 --> 01:33:08,900
FOREVER.
2175
01:33:08,966 --> 01:33:12,566
EACH ONE IS A BEAUTIFUL WORK OF
2176
01:33:12,633 --> 01:33:14,000
ART WILL WANT TO SHARE IT WITH
2177
01:33:14,066 --> 01:33:16,033
EACH OTHER AND GO BACK TO AGAIN
2178
01:33:16,100 --> 01:33:17,366
AND AGAIN AND AGAIN AS NEEDED.
2179
01:33:17,433 --> 01:33:19,466
>> HE IS ONE OF THE GREATS.
2180
01:33:19,533 --> 01:33:20,200
HE SHINES.
2181
01:33:20,266 --> 01:33:21,100
HE'S UNIQUE.
2182
01:33:21,166 --> 01:33:21,866
HE'S RIGHT THERE IN THE MIDDLE
2183
01:33:21,933 --> 01:33:25,366
OF IT ALL BUT YET OUTSIDE OF IT.
2184
01:33:25,433 --> 01:33:27,566
THE MAN DESERVES TO BE IN THE
2185
01:33:27,633 --> 01:33:31,766
ROCK & ROLL HALL OF FAME.
2186
01:33:31,833 --> 01:33:35,000
♪ ♪
2187
01:33:35,066 --> 01:33:37,533
♪ NOTHING TO FALL BACK ON ♪
2188
01:33:37,600 --> 01:33:39,566
>> OUT OF EVERYTHING, TODD IS
2189
01:33:39,633 --> 01:33:41,233
JUST A PHILADELPHIAN, AND THAT
2190
01:33:41,300 --> 01:33:45,833
IS JUST WHAT WE DO.
2191
01:33:45,900 --> 01:33:47,800
[CHEERS AND APPLAUSE]
2192
01:33:47,866 --> 01:33:50,300
>> I HAVE NEVER A NUMBER ONE
2193
01:33:50,366 --> 01:33:52,600
RECORD, SINGLE OR ALBUM,
2194
01:33:52,666 --> 01:33:54,133
PERSONALLY.
2195
01:33:54,200 --> 01:33:57,533
I'VE NEVER BEEN NOMINATED FOR A
2196
01:33:57,600 --> 01:33:58,400
GRAMMY.
2197
01:33:58,466 --> 01:33:59,700
I'VE NEVER BEEN NOMINATED,
2198
01:33:59,766 --> 01:34:03,566
THANKFULLY, FOR THE ROCK
2199
01:34:03,633 --> 01:34:04,466
HALL OF FAME.
2200
01:34:04,533 --> 01:34:06,100
IF NOMINATED, I WILL NOT RUN,
2201
01:34:06,166 --> 01:34:09,433
AND IF ELECTED, I WILL NOT SERV
2202
01:34:09,500 --> 01:34:12,433
SERVE.
2203
01:34:12,500 --> 01:34:14,833
>> HERE TO PAY TRIBUTE TO EARLY
2204
01:34:14,900 --> 01:34:15,500
INFLUENCER CHARLEY PATTON, GARY
2205
01:34:15,566 --> 01:34:20,833
CLARK JR.
2206
01:34:20,900 --> 01:34:21,833
>> THANK YOU.
2207
01:34:21,900 --> 01:34:22,800
CHARLEY PATTON HAS OFTEN BEEN
2208
01:34:22,866 --> 01:34:24,333
CALLED THE FATHER OF THE DELTA
2209
01:34:24,400 --> 01:34:27,966
BLUES, AND HE DESERVES THAT
2210
01:34:28,033 --> 01:34:28,166
TITLE.
2211
01:34:28,233 --> 01:34:29,200
THE MAGNIFICENT SONGS HE
2212
01:34:29,266 --> 01:34:33,466
RECORDED BETWEEN 1929 AND 1935
2213
01:34:33,533 --> 01:34:34,833
EXERTED A DECISIVE INFLUENCE ON
2214
01:34:34,900 --> 01:34:36,700
ROBERT JOHNSON, ALAN WOLFE, AND
2215
01:34:36,766 --> 01:34:37,600
EVERY BLUES PLAYER THAT CAME
2216
01:34:37,666 --> 01:34:40,366
AFTER HIM.
2217
01:34:40,433 --> 01:34:41,933
HIS BLUES, IN THAT SENSE,
2218
01:34:42,000 --> 01:34:42,800
CONTAIN EVERYTHING.
2219
01:34:42,866 --> 01:34:45,233
THEY ARE SONGS OF THEIR TIMES
2220
01:34:45,300 --> 01:34:47,033
AND OF OUR TIMES.
2221
01:34:47,100 --> 01:34:47,933
I'M PROUD TO INDUCT CHARLEY
2222
01:34:48,000 --> 01:34:49,200
PATTON INTO THE ROCK & ROLL
2223
01:34:49,266 --> 01:34:49,533
HALL OF FAME.
2224
01:34:49,600 --> 01:34:53,366
AND IN HIS HONOR, I'LL PLAY ONE
2225
01:34:53,433 --> 01:34:57,600
OF HIS MOST INFLUENTIAL TUNES.
2226
01:34:57,666 --> 01:35:00,766
IT'S CALLED "HIGH WATER
2227
01:35:00,833 --> 01:35:03,300
EVERYWHERE."
2228
01:35:03,366 --> 01:35:05,566
♪ ♪
2229
01:35:05,633 --> 01:35:08,066
>> ♪ BACKWATER AT BLYTHEVILLE,
2230
01:35:08,133 --> 01:35:14,000
BACKED UP ALL AROUND ♪
2231
01:35:14,066 --> 01:35:16,500
♪ ♪
2232
01:35:16,566 --> 01:35:19,800
♪ BACKWATER AT BLYTHEVILLE,
2233
01:35:19,866 --> 01:35:22,066
DONE TOOK JOINER TOWN ♪
2234
01:35:22,133 --> 01:35:26,066
♪ ♪
2235
01:35:26,133 --> 01:35:28,333
♪ IT WAS FIFTY FAMILIES
2236
01:35:28,400 --> 01:35:30,833
AND CHILDREN ♪
2237
01:35:30,900 --> 01:35:32,866
♪ COME TO SINK AND DROWN ♪
2238
01:35:32,933 --> 01:35:43,133
♪ ♪
2239
01:35:43,200 --> 01:35:44,166
♪ I SAID THE WATER WAS RISIN' UP
2240
01:35:44,233 --> 01:35:46,233
AT MY FRIEND'S DOOR ♪
2241
01:35:46,300 --> 01:35:49,966
♪ ♪
2242
01:35:50,033 --> 01:35:53,366
♪ I SAID THE WATER WAS RISIN' UP
2243
01:35:53,433 --> 01:35:55,700
AT MY FRIEND'S FRONT DOOR ♪
2244
01:35:55,766 --> 01:36:00,800
♪ ♪
2245
01:36:00,866 --> 01:36:01,833
♪ THE MAN SAID TO HIS WOMENFOLK,
2246
01:36:01,900 --> 01:36:05,800
"LORD, WE'D BETTER GO" ♪
2247
01:36:05,866 --> 01:36:10,966
♪ ♪
2248
01:36:11,033 --> 01:36:16,733
♪ LORD, THE WATER WAS ROLLIN',
2249
01:36:16,800 --> 01:36:22,700
WATER UPON MY DOOR ♪
2250
01:36:22,766 --> 01:36:25,033
♪ WAS SINKIN' DOWN ♪
2251
01:36:25,100 --> 01:36:30,166
♪ WAS SINKIN' DOWN ♪
2252
01:36:30,233 --> 01:36:31,766
♪ I COULDN'T GET NO BOATS THERE,
2253
01:36:31,833 --> 01:36:38,366
MARION CITY GONE DOWN ♪
2254
01:36:38,433 --> 01:36:43,166
♪ ♪
2255
01:36:43,233 --> 01:36:43,933
♪ SO HIGH THE WATER WAS RISIN',
2256
01:36:44,000 --> 01:36:45,766
MEN SINKIN' DOWN ♪
2257
01:36:45,833 --> 01:36:53,433
♪ ♪
2258
01:36:53,500 --> 01:36:54,800
♪ I SAID, THE WATER WAS RISIN'
2259
01:36:54,866 --> 01:36:56,266
AT PLACES ALL AROUND ♪
2260
01:36:56,333 --> 01:37:00,400
♪ ♪
2261
01:37:00,466 --> 01:37:04,133
♪ IT WAS FIFTY MEN AND CHILDREN
2262
01:37:04,200 --> 01:37:07,933
COME TO SINK AND DROWN ♪
2263
01:37:08,000 --> 01:37:13,766
♪ ♪
2264
01:37:13,833 --> 01:37:16,266
♪ OH, LORDY, LORDY, LORD, WOMEN
2265
01:37:16,333 --> 01:37:18,766
AND GROWN MEN DROWN ♪
2266
01:37:18,833 --> 01:37:24,733
♪ ♪
2267
01:37:24,800 --> 01:37:28,466
♪ I SAID, WOMEN AND CHILDREN
2268
01:37:28,533 --> 01:37:30,433
THEY WERE SINKIN' DOWN ♪
2269
01:37:30,500 --> 01:37:32,800
♪ ♪
2270
01:37:32,866 --> 01:37:37,000
♪ I COULDN'T SEE NOBODY'S HOME
2271
01:37:37,066 --> 01:37:38,900
AND WASN'T NO ONE TO BE FOUND ♪
2272
01:37:38,966 --> 01:37:58,300
♪ ♪
2273
01:37:58,366 --> 01:38:12,166
[CHEERS AND APPLAUSE]
2274
01:38:12,233 --> 01:38:14,500
>> HI, EVERYBODY, TE MET PHARREL
2275
01:38:14,566 --> 01:38:16,333
WILLIAMS, ELECTRONIC MUSIC IS
2276
01:38:16,400 --> 01:38:18,966
EVERYWHERE, BUT WHAT KRAFTWERK
2277
01:38:19,033 --> 01:38:19,500
DID WAS GROUNDBREAKING AND
2278
01:38:19,566 --> 01:38:20,533
REVOLUTIONARY.
2279
01:38:20,600 --> 01:38:22,000
>> SOMETIMES WE PLAY OUR
2280
01:38:22,066 --> 01:38:23,633
MACHINES AND SOMETIMES THEY PLAY
2281
01:38:23,700 --> 01:38:24,333
US.
2282
01:38:24,400 --> 01:38:25,566
>> WHEN YOU THINK ABOUT WHAT
2283
01:38:25,633 --> 01:38:27,366
KRAFTWERK IS, YOU THINK ABOUT
2284
01:38:27,433 --> 01:38:30,233
THE MANNER.
2285
01:38:30,300 --> 01:38:32,666
KIND OF, LIKE, PEOPLE THAT DRESS
2286
01:38:32,733 --> 01:38:35,000
LIKE ROBOTS AND TRY TO HAVE A
2287
01:38:35,066 --> 01:38:35,533
HIGH CONCEPT.
2288
01:38:35,600 --> 01:38:36,900
WE ARE I THINK THEY ARE SO GOOD
2289
01:38:36,966 --> 01:38:40,033
AS THEY ARE GREAT INSTINCTIVE
2290
01:38:40,100 --> 01:38:42,200
MUSICIANS AND MILITARISTS.
2291
01:38:42,266 --> 01:38:45,966
>> THEY CREATED FRAT MET
2292
01:38:46,033 --> 01:38:46,766
KRAFTWERK IN DUESSELDORF IN
2293
01:38:46,833 --> 01:38:49,133
GERMANY AND IN THE EARLY 20s
2294
01:38:49,200 --> 01:38:50,766
STARTED MAKING EXPERIMENTAL
2295
01:38:50,833 --> 01:38:51,566
MUSIC THAT WAS UNLIKE ANYTHING
2296
01:38:51,633 --> 01:38:53,233
THE WORLD HAD EVER HEARD.
2297
01:38:53,300 --> 01:39:00,533
♪ ♪
2298
01:39:00,600 --> 01:39:02,433
>> THE GERMANS HAD FOUND THEIR
2299
01:39:02,500 --> 01:39:04,733
FORTE, AND IT WAS CALLED
2300
01:39:04,800 --> 01:39:05,933
KRAFTWERK.
2301
01:39:06,000 --> 01:39:07,933
♪ ♪
2302
01:39:08,000 --> 01:39:10,900
♪ SHE'S A MODEL AND SHE'S
2303
01:39:10,966 --> 01:39:13,300
LOOKING GOOD ♪
2304
01:39:13,366 --> 01:39:17,200
>> WHO ARE YOUR INFLUENCES?
2305
01:39:17,266 --> 01:39:18,733
>> QUITE BY KRAFTWERK.
2306
01:39:18,800 --> 01:39:19,733
>> SINCE, MAINLY INSPIRED BY
2307
01:39:19,800 --> 01:39:22,533
KRAFTWERK, THE OTHERS FOLLOWED
2308
01:39:22,600 --> 01:39:23,300
SUIT, REALIZED YOU COULD DO SO
2309
01:39:23,366 --> 01:39:25,900
MUCH MORE WITH IT.
2310
01:39:25,966 --> 01:39:28,300
>> FOR MANY OF US, WE WERE
2311
01:39:28,366 --> 01:39:28,933
INFLUENCED BY KRAFTWERK WITHOUT
2312
01:39:29,000 --> 01:39:31,966
EVEN REALIZING IT.
2313
01:39:32,033 --> 01:39:33,833
REACHING INTO A CRATE OF RECORDS
2314
01:39:33,900 --> 01:39:35,833
AND FOUND KRAFTWERK, THAT'S WHEN
2315
01:39:35,900 --> 01:39:37,133
MILLIONS OF HIP-HOP FANS AROUND
2316
01:39:37,200 --> 01:39:39,700
THE WORLD, INCLUDING MYSELF,
2317
01:39:39,766 --> 01:39:42,033
HEARD KRAFTWERK'S INFECTIOUS
2318
01:39:42,100 --> 01:39:44,466
BEATS FOR THE VERY FIRST TIME.
2319
01:39:44,533 --> 01:39:45,966
>> I STARTED NOTICING THE BLOCK
2320
01:39:46,033 --> 01:39:48,100
PARTIES, AND THEY WOULD PUT THIS
2321
01:39:48,166 --> 01:39:51,733
RECORD ON.
2322
01:39:51,800 --> 01:39:54,500
HYOU WOULD JUST HERE...
2323
01:39:54,566 --> 01:39:56,800
♪ ♪
2324
01:39:56,866 --> 01:39:57,800
PEOPLE WOULD HEAR THIS MUSIC AND
2325
01:39:57,866 --> 01:40:00,733
THEY WOULD TURN AND WALK TOWARD
2326
01:40:00,800 --> 01:40:02,166
THE PARK LIKE SOMEBODY'S IN
2327
01:40:02,233 --> 01:40:04,433
"THE WALKING DEAD."
2328
01:40:04,500 --> 01:40:07,200
>> JUST WENT CRAZY AND STARTED
2329
01:40:07,266 --> 01:40:07,866
GETTING THE JAM AT EVERY PARTY
2330
01:40:07,933 --> 01:40:09,233
WE PLAYED.
2331
01:40:09,300 --> 01:40:12,066
♪ ♪
2332
01:40:12,133 --> 01:40:15,566
>> THESE WHITE DUDES WERE IN THE
2333
01:40:15,633 --> 01:40:19,000
HEART OF BLACK CULTURE.
2334
01:40:19,066 --> 01:40:20,666
THAT WILL LET YOU KNOW WHO WAS
2335
01:40:20,733 --> 01:40:23,100
INFLUENCING US.
2336
01:40:23,166 --> 01:40:25,566
♪ IT'S LIKE THAT, AND THAT'S
2337
01:40:25,633 --> 01:40:31,300
THE WAY IT ♪
2338
01:40:31,366 --> 01:40:34,966
THAT'S KRAFTWERK.
2339
01:40:35,033 --> 01:40:36,333
>> YOU DON'T HAVE TO THINK ABOUT
2340
01:40:36,400 --> 01:40:37,533
KRAFTWERK AT ALL AND STILL BE
2341
01:40:37,600 --> 01:40:42,600
COMPLETELY INDEBTED TO IT.
2342
01:40:42,666 --> 01:40:42,800
♪ ♪
2343
01:40:42,866 --> 01:40:44,800
♪ MUSIC NONSTOP ♪
2344
01:40:44,866 --> 01:40:48,966
>> THE INFLUENCE WAS SO
2345
01:40:49,033 --> 01:40:49,233
GIGANTIC.
2346
01:40:49,300 --> 01:40:51,033
>> I'M SO GLAD I GOT TO MEET THE
2347
01:40:51,100 --> 01:40:52,466
LATE, GREAT FLORIAN SCHNEIDER
2348
01:40:52,533 --> 01:40:53,600
AND LET HIM KNOW WHAT IS MUSIC
2349
01:40:53,666 --> 01:40:54,633
MEANT TO US.
2350
01:40:54,700 --> 01:40:56,733
WE SHOULD ALL BE GRATEFUL TO
2351
01:40:56,800 --> 01:40:57,000
KRAFTWERK.
2352
01:40:57,066 --> 01:40:59,300
THAT'S WHY THIS RECOGNITION IS
2353
01:40:59,366 --> 01:40:59,566
IMPORTANT.
2354
01:40:59,633 --> 01:41:02,533
WELCOME KRAFTWERK TO THE
2355
01:41:02,600 --> 01:41:03,900
ROCK & ROLL HALL OF FAME.
2356
01:41:03,966 --> 01:41:05,666
♪ ♪
2357
01:41:05,733 --> 01:41:17,766
♪ MUSIC NONSTOP."
2358
01:41:17,833 --> 01:41:19,400
>> HELLO, EVERYONE, AND
2359
01:41:19,466 --> 01:41:20,366
DREW BARRYMORE, HERE TO INDUCT
2360
01:41:20,433 --> 01:41:22,933
THE GO GOES INTO 'N' ROLL
2361
01:41:23,000 --> 01:41:23,266
HALL OF FAME.
2362
01:41:23,333 --> 01:41:23,900
THIS IS SUCH AN HONOR, AND
2363
01:41:23,966 --> 01:41:24,766
HONESTLY, IT'S REALLY EASY TO DO
2364
01:41:24,833 --> 01:41:25,800
BECAUSE THE GO-GO'S HAVE BEEN IN
2365
01:41:25,866 --> 01:41:26,433
MY PERSONAL HALL OF FAME SINCE I
2366
01:41:26,500 --> 01:41:27,866
WAS SIX YEARS OLD.
2367
01:41:27,933 --> 01:41:29,833
IN FACT, IF YOU'D TOLD TINY ME
2368
01:41:29,900 --> 01:41:31,600
THAT I'D BE UP HERE INTRODUCING
2369
01:41:31,666 --> 01:41:33,200
MY HEROES INTO THE MOST NOTABLE
2370
01:41:33,266 --> 01:41:35,533
ROCK CLUB IN HUMAN HISTORY,
2371
01:41:35,600 --> 01:41:37,466
I WOULD SAY, "WELL, I WILL DO MY
2372
01:41:37,533 --> 01:41:43,100
BEST TO HONOR THESE WOMEN."
2373
01:41:43,166 --> 01:41:44,133
DO YOU REMEMBER THE FIRST RECORD
2374
01:41:44,200 --> 01:41:44,800
THAT YOU EVER GOT?
2375
01:41:44,866 --> 01:41:51,033
IF YOU DO, SHOUT IT OUT TO ME.
2376
01:41:51,100 --> 01:41:52,233
YOU KNOW WHAT MINE WAS?
2377
01:41:52,300 --> 01:41:58,033
IT WAS "BEAUTY AND THE BEAT."
2378
01:41:58,100 --> 01:42:03,033
IT WAS MY VERY FIRST RECORD.
2379
01:42:03,100 --> 01:42:06,000
"BEAUTY AND THE BEAT" BLUE
2380
01:42:06,066 --> 01:42:07,200
THE DOORS OF MY LIFE OFF.
2381
01:42:07,266 --> 01:42:07,900
IT OPENED ME UP TO A WHOLE NEW
2382
01:42:07,966 --> 01:42:08,166
DIMENSION.
2383
01:42:08,233 --> 01:42:08,966
I DROPPED THE NEEDLE AND I FELT
2384
01:42:09,033 --> 01:42:09,600
INSTANTLY CONNECTED TO THE PUNK
2385
01:42:09,666 --> 01:42:14,666
PULSE OF THIS RECORD.
2386
01:42:14,733 --> 01:42:15,133
IT SOUNDED LIKE
2387
01:42:15,200 --> 01:42:15,866
PURE POSSIBILITY.
2388
01:42:15,933 --> 01:42:16,733
IT RATTLED UP MY WALLS AND
2389
01:42:16,800 --> 01:42:21,533
STRAIGHT THROUGH TO MY HEART.
2390
01:42:21,600 --> 01:42:23,600
I SPENT HOURS STARING AT THAT
2391
01:42:23,666 --> 01:42:24,233
COVER AND THE BACK SIDE, ALL OF
2392
01:42:24,300 --> 01:42:27,933
THEM IN THE BATHTUB.
2393
01:42:28,000 --> 01:42:29,633
THE COOLEST GIRLS IN THE WORLD
2394
01:42:29,700 --> 01:42:30,766
TAKING A SPA DAY IN COOL-GIRL
2395
01:42:30,833 --> 01:42:37,300
HEAVEN.
2396
01:42:37,366 --> 01:42:38,200
IT WAS ALWAYS A PARTY FOR GUYS,
2397
01:42:38,266 --> 01:42:40,900
FOR SO LONG WITH THESE GIRLS.
2398
01:42:40,966 --> 01:42:43,700
THEY WERE CRUSHING IT.
2399
01:42:43,766 --> 01:42:44,500
I SANG ALONG TO "THIS TOWN" AND
2400
01:42:44,566 --> 01:42:45,433
I FELT INVITED TO THE PARTY AND
2401
01:42:45,500 --> 01:42:46,066
I LOVED THAT THESE GIRLS
2402
01:42:46,133 --> 01:42:47,866
WERE FROM MY HOMETOWN.
2403
01:42:47,933 --> 01:42:48,733
I WAS A WEST HOLLYWOOD KID AND
2404
01:42:48,800 --> 01:42:50,233
THE GO-GO'S WERE BORN OUT OF
2405
01:42:50,300 --> 01:42:54,300
L.A. PUNK.
2406
01:42:54,366 --> 01:42:56,833
AND THEY PLAYED THEIR FIRST SHOW
2407
01:42:56,900 --> 01:42:58,300
AT MASQUE, A CLUB IN THE
2408
01:42:58,366 --> 01:43:00,300
BASEMENT OF THE PUSSYCAT.
2409
01:43:00,366 --> 01:43:02,766
OH, YEAH, IF YOU WERE IN L.A. IN
2410
01:43:02,833 --> 01:43:03,800
THE '70s, YOU KNEW WHAT THE
2411
01:43:03,866 --> 01:43:04,500
PUSSYCAT IS.
2412
01:43:04,566 --> 01:43:06,333
IT'S AN ADULT THEATER AND IT WAS
2413
01:43:06,400 --> 01:43:06,933
JUST A STONE'S THROW AWAY FROM
2414
01:43:07,000 --> 01:43:09,966
MY CHILDHOOD BEDROOM.
2415
01:43:10,033 --> 01:43:11,766
AND IT WAS IN THAT BEDROOM THAT
2416
01:43:11,833 --> 01:43:14,266
I WORE THAT RECORD OUT.
2417
01:43:14,333 --> 01:43:14,933
AND IT TOOK ONE ALBUM AND I WAS
2418
01:43:15,000 --> 01:43:17,033
HOOKED.
2419
01:43:17,100 --> 01:43:19,800
I WAS GAGA FOR THE GO-GO'S.
2420
01:43:19,866 --> 01:43:20,333
AND, DAMN, THEIR OUTFITS!
2421
01:43:20,400 --> 01:43:23,166
GOD, THEY WERE INCREDIBLE!
2422
01:43:23,233 --> 01:43:25,566
I MEAN, TAKE ONE LOOK AT ME
2423
01:43:25,633 --> 01:43:26,233
IN THE '80s AND YOU'LL SEE WHERE
2424
01:43:26,300 --> 01:43:31,133
I GOT MY INSPIRATION.
2425
01:43:31,200 --> 01:43:31,866
YES!
2426
01:43:31,933 --> 01:43:32,666
AND IMAGINE MEETING
2427
01:43:32,733 --> 01:43:34,233
BELINDA CARLISLE
2428
01:43:34,300 --> 01:43:37,800
WHEN YOU'RE KIND OF DRESSED LIKE
2429
01:43:37,866 --> 01:43:44,533
A LITTLE, MINI BELINDA CARLISLE.
2430
01:43:44,600 --> 01:43:45,833
THAT WAS ME IN 1984 AND I WAS
2431
01:43:45,900 --> 01:43:46,300
JUST NINE YEARS OLD.
2432
01:43:46,366 --> 01:43:46,733
LOOKING AT MY HERO.
2433
01:43:46,800 --> 01:43:47,966
JUST LAST NIGHT, I DANCED WITH
2434
01:43:48,033 --> 01:43:48,600
MY NINE-YEAR-OLD DAUGHTER OLIVE
2435
01:43:48,666 --> 01:43:49,333
AND HER SISTER FRANKIE TO "WE
2436
01:43:49,400 --> 01:43:49,966
GOT THE BEAT" AND I FELT LIKE MY
2437
01:43:50,033 --> 01:43:53,133
WHOLE LIFE CAME FULL-CIRCLE,
2438
01:43:53,200 --> 01:43:59,766
KNOWING THAT I WAS COMING HERE.
2439
01:43:59,833 --> 01:44:00,366
THEY CHANGED MY LIFE.
2440
01:44:00,433 --> 01:44:01,033
THEY MADE ME BELIEVE IN THINGS
2441
01:44:01,100 --> 01:44:01,633
I DIDN'T THINK WERE POSSIBLE.
2442
01:44:01,700 --> 01:44:02,266
AND TONIGHT, WE'RE GOING TO SHOW
2443
01:44:02,333 --> 01:44:06,233
THEM HOW THEY CHANGED THE WORLD.
2444
01:44:06,300 --> 01:44:07,133
40 YEARS OF MAKING MUSIC,
2445
01:44:07,200 --> 01:44:07,733
COUNTLESS WORLD TOURS, SELLING
2446
01:44:07,800 --> 01:44:09,266
OUT EIGHT SHOWS AT THE WHISKEY,
2447
01:44:09,333 --> 01:44:11,600
PLAYING THE BOWL, THE GARDEN,
2448
01:44:11,666 --> 01:44:12,200
GETTING TANKED AND PLAYING SNL
2449
01:44:12,266 --> 01:44:13,133
FOR 60 MILLION, OPENING FOR THE
2450
01:44:13,200 --> 01:44:14,933
STONES, INFLUENCING SO MANY
2451
01:44:15,000 --> 01:44:18,333
KICK-ASS FANS TO COME.
2452
01:44:18,400 --> 01:44:19,600
AND THAT'S JUST A TINY SAMPLER
2453
01:44:19,666 --> 01:44:21,766
OF THIS BAND'S LEGACY.
2454
01:44:21,833 --> 01:44:23,733
AND IT DOESN'T EVEN TOUCH WHAT
2455
01:44:23,800 --> 01:44:24,333
THEY MUSCLED THROUGH IN THEIR
2456
01:44:24,400 --> 01:44:26,633
WILD CHAPTERS.
2457
01:44:26,700 --> 01:44:27,733
AND, TRUST ME, I KNOW A THING
2458
01:44:27,800 --> 01:44:32,300
OR TWO ABOUT WILD CHAPTERS.
2459
01:44:32,366 --> 01:44:34,666
I ALWAYS THOUGHT THE GO-GO'S
2460
01:44:34,733 --> 01:44:41,700
WAS SUCH A PERFECT NAME.
2461
01:44:41,766 --> 01:44:42,833
FOR THAT BAND.
2462
01:44:42,900 --> 01:44:46,433
SO FULL OF KINETIC ENERGY.
2463
01:44:46,500 --> 01:44:48,466
IT FITS THEIR MUSIC AND THEIR
2464
01:44:48,533 --> 01:44:49,333
SPIRIT AND MINE TOO.
2465
01:44:49,400 --> 01:44:51,233
AND YOU KNOW WHAT?
2466
01:44:51,300 --> 01:44:52,233
YOU ALWAYS HAVE TO JUST
2467
01:44:52,300 --> 01:44:54,600
GO FOR IT.
2468
01:44:54,666 --> 01:44:56,100
SO I LOOKED UP THE WORD "GO"
2469
01:44:56,166 --> 01:44:57,100
IN THE DICTIONARY AND THERE ARE
2470
01:44:57,166 --> 01:45:00,033
SO MANY DEFINITIONS.
2471
01:45:00,100 --> 01:45:12,700
"TO MOVE ON A COURSE."
2472
01:45:12,766 --> 01:45:14,133
[CHEERS AND APPLAUSE]
2473
01:45:14,200 --> 01:45:16,933
"TO BEGIN AN ACTION OR EMOTION."
2474
01:45:17,000 --> 01:45:18,000
MY FAVORITE DEFINITION OF THE
2475
01:45:18,066 --> 01:45:19,000
WORD "GO" IS TO PROCEED WITHOUT
2476
01:45:19,066 --> 01:45:30,633
DELAY.
2477
01:45:30,700 --> 01:45:34,500
[CHEERS AND APPLAUSE]
2478
01:45:34,566 --> 01:45:36,266
"IN AN OFTEN THOUGHTLESS AND
2479
01:45:36,333 --> 01:45:48,433
RECKLESS MANNER.
2480
01:45:48,500 --> 01:45:52,900
[CHEERS AND APPLAUSE]
2481
01:45:52,966 --> 01:45:53,800
NOW MY CHILDHOOD FANTASY IS
2482
01:45:53,866 --> 01:45:57,533
FULFILLED.
2483
01:45:57,600 --> 01:46:02,366
BUT IT ISN'T ABOUT ME.
2484
01:46:02,433 --> 01:46:04,000
THIS IS AS TRUE BLUE OF A
2485
01:46:04,066 --> 01:46:04,633
LOVE LETTER FROM THEIR BIGGEST
2486
01:46:04,700 --> 01:46:07,933
FAN.
2487
01:46:08,000 --> 01:46:09,800
FROM THE FIRST BAND I EVER
2488
01:46:09,866 --> 01:46:10,166
LOVED.
2489
01:46:10,233 --> 01:46:12,533
HERE'S A LOOK AT THE GO-GO'S.
2490
01:46:12,600 --> 01:46:16,366
>> THESE ARE THE GO-GO'S,
2491
01:46:16,433 --> 01:46:16,900
CHARLOTTE CAFFEY CHARLOTTE
2492
01:46:16,966 --> 01:46:19,500
CAFFEY, GINA SCHOCK, JANE
2493
01:46:19,566 --> 01:46:21,600
WIEDLIN, KATHY VALENTINE, AND
2494
01:46:21,666 --> 01:46:22,133
BELINDA CARLISLE.
2495
01:46:22,200 --> 01:46:23,833
>> THE GREATEST DOLL-GIRL GROUP
2496
01:46:23,900 --> 01:46:27,266
OF ALL TIME, THE GO-GO'S.
2497
01:46:27,333 --> 01:46:29,400
>> THE GO-GO'S!
2498
01:46:29,466 --> 01:46:31,566
>> THE GO-GO'S!
2499
01:46:31,633 --> 01:46:33,500
>> AS A YOUNG GIRL GOING INTO A
2500
01:46:33,566 --> 01:46:37,733
SPACE WHERE WOMEN ON THE STAGE,
2501
01:46:37,800 --> 01:46:38,366
UNAPOLOGETICALLY, TO ME IT
2502
01:46:38,433 --> 01:46:40,366
REPRESENTED A MOMENT OF
2503
01:46:40,433 --> 01:46:41,700
POSSIBILITY.
2504
01:46:41,766 --> 01:46:43,466
>> THANK YOU FOR BEING SO NICE.
2505
01:46:43,533 --> 01:46:44,933
>> THEY WOULD JUST THIS
2506
01:46:45,000 --> 01:46:46,466
PHENOMENON, AND WE WERE ALL,
2507
01:46:46,533 --> 01:46:50,233
LIKE, IN LOVE WITH THEM.
2508
01:46:50,300 --> 01:46:53,500
>> WE ARE THE FIRST-GIRL BAND,
2509
01:46:53,566 --> 01:46:54,633
THEY PLAYED THEIR OWN
2510
01:46:54,700 --> 01:46:56,666
INSTRUMENTS, TO BE REALLY
2511
01:46:56,733 --> 01:46:58,100
SUCCESSFUL.
2512
01:46:58,166 --> 01:47:01,933
♪ ♪
2513
01:47:02,000 --> 01:47:04,433
>> AND MAKE IT ON STAGE, WE
2514
01:47:04,500 --> 01:47:04,966
DON'T KNOW WHAT THE FUCK IS
2515
01:47:05,033 --> 01:47:08,900
GOING TO HAPPEN, AND I LOVE THA
2516
01:47:08,966 --> 01:47:10,066
THAT.
2517
01:47:10,133 --> 01:47:12,700
>> PEOPLE AUTOMATICALLY ASSUMED
2518
01:47:12,766 --> 01:47:13,933
THAT WE WERE ALWAYS A POP BAND
2519
01:47:14,000 --> 01:47:16,466
AND WE ARE PROBABLY PUT TOGETHER
2520
01:47:16,533 --> 01:47:20,766
BY SOME GUY, BUT WE DID IT ALL
2521
01:47:20,833 --> 01:47:22,433
OURSELVES.
2522
01:47:22,500 --> 01:47:23,066
>> GOT ON STAGE AND HAPPENED TO
2523
01:47:23,133 --> 01:47:27,566
BE A GROUP OF WOMEN REALLY
2524
01:47:27,633 --> 01:47:28,766
KICKING ASS.
2525
01:47:28,833 --> 01:47:29,533
IT WAS GREAT.
2526
01:47:29,600 --> 01:47:30,533
WE KNEW IT.
2527
01:47:30,600 --> 01:47:32,033
>> ONE IN A MILLION TICKET TO
2528
01:47:32,100 --> 01:47:36,566
WHERE WE GOT.
2529
01:47:36,633 --> 01:47:38,800
>> BECAUSE I COME FROM, LIKE,
2530
01:47:38,866 --> 01:47:44,266
THE MTB GENERATION, IT'S, LIKE,
2531
01:47:44,333 --> 01:47:45,666
THOSE FIRST SONGS I THINK GOT
2532
01:47:45,733 --> 01:47:49,766
BRANDED IN MY BRAIN.
2533
01:47:49,833 --> 01:47:51,933
>> THAT'S WHAT THE INDUSTRY IS,
2534
01:47:52,000 --> 01:47:54,166
EVEN IN THE NAME OF THE SONG,
2535
01:47:54,233 --> 01:47:55,600
YOU CAN CONJURE A WHOLE WORLD,
2536
01:47:55,666 --> 01:47:58,933
AND THE GO-GO'S DID THAT.
2537
01:47:59,000 --> 01:48:01,900
>> THERE NEVER WOULD HAVE BEEN
2538
01:48:01,966 --> 01:48:03,400
THE GO-GO'S WITHOUT THE PUNK
2539
01:48:03,466 --> 01:48:05,766
ROCK SCENE IN LOS ANGELES.
2540
01:48:05,833 --> 01:48:06,733
>> BASICALLY THE ONLY PEOPLE
2541
01:48:06,800 --> 01:48:08,866
LEFT THAT WEREN'T IN A BAND, SO
2542
01:48:08,933 --> 01:48:12,966
WE DECIDED TO DO IT TOO.
2543
01:48:13,033 --> 01:48:13,500
>> ONE PROBLEM.
2544
01:48:13,566 --> 01:48:15,466
>> WE DIDN'T KNOW HOW TO PLAY NO
2545
01:48:15,533 --> 01:48:17,366
INSTRUMENTS.
2546
01:48:17,433 --> 01:48:18,900
YOU KNOW, HAD A COUPLE WEEKS OF
2547
01:48:18,966 --> 01:48:20,200
FOLK GUITAR LESSONS WHEN I WAS
2548
01:48:20,266 --> 01:48:20,366
12.
2549
01:48:20,433 --> 01:48:25,066
I'LL JUST PLAY GUITAR.
2550
01:48:25,133 --> 01:48:26,033
>> I CERTAINLY THOUGHT I COULD
2551
01:48:26,100 --> 01:48:26,700
SING.
2552
01:48:26,766 --> 01:48:30,566
I THOUGHT I SOUNDED LIKE JULIE
2553
01:48:30,633 --> 01:48:31,800
ANDREWS.
2554
01:48:31,866 --> 01:48:32,766
>> I THINK THAT DEEP DOWN INSIDE
2555
01:48:32,833 --> 01:48:35,500
WE KNEW THAT WE HAD SOMETHING
2556
01:48:35,566 --> 01:48:36,833
REALLY SPECIAL, BUT WE NEEDED
2557
01:48:36,900 --> 01:48:38,866
SOMEONE THAT ACTUALLY KNEW HOW
2558
01:48:38,933 --> 01:48:42,700
TO DO IT.
2559
01:48:42,766 --> 01:48:44,100
>> LET'S TRY PLUGGING THE AMPS
2560
01:48:44,166 --> 01:48:45,866
INTO THE WALL FIRST.
2561
01:48:45,933 --> 01:48:54,266
♪ ♪
2562
01:48:54,333 --> 01:48:57,266
>> AT THE EVOLUTION TO GO FROM
2563
01:48:57,333 --> 01:49:00,766
MAKING JUST LITERAL NOISE TO
2564
01:49:00,833 --> 01:49:01,966
CRAFTING SONGS THAT ARE SOME OF
2565
01:49:02,033 --> 01:49:05,133
THE BEST SONGS EVER WRITTEN.
2566
01:49:05,200 --> 01:49:07,733
"WE GOT THE BEAT," THAT SONG IS
2567
01:49:07,800 --> 01:49:11,566
ON FIRE.
2568
01:49:11,633 --> 01:49:12,833
THAT ENERGY IS ALWAYS GOING TO
2569
01:49:12,900 --> 01:49:14,700
BE RELEVANT.
2570
01:49:14,766 --> 01:49:21,733
♪ ♪
2571
01:49:21,800 --> 01:49:25,333
>> WE WERE PUNKS, AND I THINK WE
2572
01:49:25,400 --> 01:49:27,100
WERE READY TO TAKE IT TO THE
2573
01:49:27,166 --> 01:49:29,000
NEXT LEVEL. WERE AFRAID
2574
01:49:29,066 --> 01:49:31,333
TO TAKE A CHANCE ON AN ALL-GIRL
2575
01:49:31,400 --> 01:49:32,833
BAND BECAUSE NONE HAD REALLY
2576
01:49:32,900 --> 01:49:33,233
SUCCEEDED BEFORE.
2577
01:49:33,300 --> 01:49:38,366
BUT OURS SIGNED APRIL 1ST.
2578
01:49:38,433 --> 01:49:42,600
THE NEXT DAY, WE FLEW TO
2579
01:49:42,666 --> 01:49:43,000
NEW YORK.
2580
01:49:43,066 --> 01:49:45,866
>> I LOVED THIS TOWN.
2581
01:49:45,933 --> 01:49:47,666
THIS IS LIKE A SPY MOVIE, AND
2582
01:49:47,733 --> 01:49:49,433
HERE COMES THE GUITAR.
2583
01:49:49,500 --> 01:49:53,733
♪ ♪
2584
01:49:53,800 --> 01:49:54,266
JAMES BOND.
2585
01:49:54,333 --> 01:49:56,700
THE GO-GO'S WERE DOING THEIR OWN
2586
01:49:56,766 --> 01:49:57,833
THING, BUT THEY WERE ALSO
2587
01:49:57,900 --> 01:49:59,800
CHANNELING '60s MUSIC.
2588
01:49:59,866 --> 01:50:03,533
♪ ♪
2589
01:50:03,600 --> 01:50:05,266
>> WITH THE GO-GO'S AS A PUNK
2590
01:50:05,333 --> 01:50:07,466
BAND, THEY DIDN'T HAVE THE
2591
01:50:07,533 --> 01:50:10,200
EXPERIENCE TO KNOW THEY COULD DO
2592
01:50:10,266 --> 01:50:13,766
MORE THAN JUST EXECUTE THE
2593
01:50:13,833 --> 01:50:16,166
MOMENT.
2594
01:50:16,233 --> 01:50:22,466
♪ WE ARE ALL DREAMERS ♪
2595
01:50:22,533 --> 01:50:26,866
>> WHEN HE GOT A HOLD OF US, HE
2596
01:50:26,933 --> 01:50:28,700
SAID, SLOW EVERYTHING DOWN.
2597
01:50:28,766 --> 01:50:29,533
THAT'S WHEN I REALIZED, THESE
2598
01:50:29,600 --> 01:50:32,966
ARE ALL POP SONGS.
2599
01:50:33,033 --> 01:50:37,166
>> ♪ CAN YOU HEAR THEM, THEY
2600
01:50:37,233 --> 01:50:37,633
TALK ABOUT US ♪
2601
01:50:37,700 --> 01:50:38,833
♪ TELLING LIES ♪
2602
01:50:38,900 --> 01:50:40,400
>> THE GO-GO'S, THEY LOOK LIKE
2603
01:50:40,466 --> 01:50:42,466
THEIR MUSIC, THEY LOOK LIKE
2604
01:50:42,533 --> 01:50:42,766
THEIR SOUND.
2605
01:50:42,833 --> 01:50:46,766
IT'S PRETTY TOUGH AND BOUNCY.
2606
01:50:46,833 --> 01:50:48,500
PEOPLE NOW TRIED TO GET THE
2607
01:50:48,566 --> 01:50:49,700
SOUND THAT THE GO-GO'S WERE
2608
01:50:49,766 --> 01:50:58,066
PUTTING OUT AN '81, '82, '83.
2609
01:50:58,133 --> 01:50:59,200
♪ ♪
2610
01:50:59,266 --> 01:51:00,033
THAT'S WHY IT STANDS THE TEST OF
2611
01:51:00,100 --> 01:51:01,000
TIME.
2612
01:51:01,066 --> 01:51:02,800
IT'S PURE.
2613
01:51:02,866 --> 01:51:11,033
♪ ♪
2614
01:51:11,100 --> 01:51:13,133
>> WHEN WE TOURED WITH THE
2615
01:51:13,200 --> 01:51:13,800
POLICE, AND TOOK US FROM PLAYING
2616
01:51:13,866 --> 01:51:17,000
CLUBS TO ARENAS.
2617
01:51:17,066 --> 01:51:20,166
>> WHEN I WALKED OUT ON STAGE, I
2618
01:51:20,233 --> 01:51:25,333
ALMOST DIED.
2619
01:51:25,400 --> 01:51:26,966
>> DURING THAT POLICE TOUR, OUR
2620
01:51:27,033 --> 01:51:28,900
ALBUM KEPT GOING UP AND UP AND
2621
01:51:28,966 --> 01:51:30,600
UP IN THE CHART.
2622
01:51:30,666 --> 01:51:32,300
>> THEIR ALBUM WAS LIKE A
2623
01:51:32,366 --> 01:51:32,733
SKYROCKET.
2624
01:51:32,800 --> 01:51:34,100
>> STING CAME IN THE DRESSING
2625
01:51:34,166 --> 01:51:37,500
ROOM AND HE'S GOT CHAMPAGNE.
2626
01:51:37,566 --> 01:51:38,033
"CONGRATULATIONS, GIRLS."
2627
01:51:38,100 --> 01:51:40,233
WE ARE LOOKING AT HIM LIKE,
2628
01:51:40,300 --> 01:51:41,033
WHAT?
2629
01:51:41,100 --> 01:51:42,900
HE SAID, YOUR RECORD HAS PASSED
2630
01:51:42,966 --> 01:51:43,100
OURS.
2631
01:51:43,166 --> 01:51:44,800
THEY WERE NUMBER SIX AND THEN WE
2632
01:51:44,866 --> 01:51:46,700
WENT TO NUMBER ONE.
2633
01:51:46,766 --> 01:51:48,200
FOR THE GO-GO'S TO HAVE A DEBUT
2634
01:51:48,266 --> 01:51:51,566
ALBUM GO TO NUMBER ONE, THAT
2635
01:51:51,633 --> 01:51:52,166
SOMETHING THAT RELATIVELY FEW
2636
01:51:52,233 --> 01:51:54,333
ARTISTS HAVE DONE.
2637
01:51:54,400 --> 01:51:56,633
LIKE, THE BIGGEST, ELVIS, THE
2638
01:51:56,700 --> 01:51:57,600
BEATLES.
2639
01:51:57,666 --> 01:52:00,500
>> DO YOU STILL GET ALONG HIS
2640
01:52:00,566 --> 01:52:02,366
FRIENDS?
2641
01:52:02,433 --> 01:52:03,600
>> THERE WOULD BE A LOT OF
2642
01:52:03,666 --> 01:52:04,266
QUESTIONS ABOUT WHAT OUR
2643
01:52:04,333 --> 01:52:07,266
RELATIONSHIP WITH EACH OTHER WAS
2644
01:52:07,333 --> 01:52:08,133
LIKE.
2645
01:52:08,200 --> 01:52:10,533
"OH, WE LOVE EACH OTHER, WE ARE
2646
01:52:10,600 --> 01:52:11,733
LIKE SISTERS."
2647
01:52:11,800 --> 01:52:13,900
YEAH, LIKE SISTERS THAT FUCKING
2648
01:52:13,966 --> 01:52:17,300
STAB EACH OTHER IN THE BACK.
2649
01:52:17,366 --> 01:52:21,066
>> THAT VOLATILITY AND TENSION
2650
01:52:21,133 --> 01:52:22,500
ARE TWO INGREDIENTS THAT MAKE
2651
01:52:22,566 --> 01:52:23,600
THE BAND GREAT.
2652
01:52:23,666 --> 01:52:25,366
AND THAT CAN BE WONDERFUL FOR
2653
01:52:25,433 --> 01:52:26,966
MUSIC.
2654
01:52:27,033 --> 01:52:28,166
THAT CAN BE WONDERFUL FOR
2655
01:52:28,233 --> 01:52:30,700
SONGCRAFT, AND IT CAN BE
2656
01:52:30,766 --> 01:52:31,433
DEVASTATING AND HEARTBREAKING
2657
01:52:31,500 --> 01:52:34,000
FOR INTERPERSONAL DYNAMICS.
2658
01:52:34,066 --> 01:52:41,100
♪ ♪
2659
01:52:41,166 --> 01:52:42,766
>> THERE IS FIVE PEOPLE THIS
2660
01:52:42,833 --> 01:52:46,966
BAND, AND EVERYBODY WAS SET ON
2661
01:52:47,033 --> 01:52:48,800
THEIR OWN SORT OF COURSE.
2662
01:52:48,866 --> 01:52:51,300
BUT THEN WE GOT BACK TOGETHER.
2663
01:52:51,366 --> 01:52:51,633
[LAUGHS]
2664
01:52:51,700 --> 01:52:57,966
BECAUSE THE STORY NEVER ENDS.
2665
01:52:58,033 --> 01:53:00,533
>> ♪ SEE THE PEOPLE WALKING
2666
01:53:00,600 --> 01:53:01,066
DOWN THE STREET ♪
2667
01:53:01,133 --> 01:53:03,566
>> I DON'T KNOW HOW THIS KEEPS
2668
01:53:03,633 --> 01:53:03,933
GOING.
2669
01:53:04,000 --> 01:53:07,000
I SWEAR TO CHRIST I DON'T.
2670
01:53:07,066 --> 01:53:09,166
>> YOU GET OLDER AND YOU DROP A
2671
01:53:09,233 --> 01:53:10,266
LOT OF THE BULLSHIT.
2672
01:53:10,333 --> 01:53:11,833
WE ARE A FAMILY, THAT IS WHAT IT
2673
01:53:11,900 --> 01:53:13,933
IS.
2674
01:53:14,000 --> 01:53:14,533
>> ONE OF THE GREAT AMERICAN
2675
01:53:14,600 --> 01:53:15,033
ROCK BANDS OF ALL TIME.
2676
01:53:15,100 --> 01:53:17,333
THE FACT THAT THEY ARE FINALLY
2677
01:53:17,400 --> 01:53:19,333
GETTING ANOINTED IN THE
2678
01:53:19,400 --> 01:53:20,100
ROCK & ROLL HALL OF FAME, BETTER
2679
01:53:20,166 --> 01:53:21,733
LATE THAN NEVER, BUT
2680
01:53:21,800 --> 01:53:22,600
WELL-DESERVED.
2681
01:53:22,666 --> 01:53:24,166
>> ♪ WE GOT THE BEAT ♪
2682
01:53:24,233 --> 01:53:27,266
♪ GET ON YOUR FEET ♪
2683
01:53:27,333 --> 01:53:35,700
>> ARE YOU DRUNK?
2684
01:53:35,766 --> 01:53:41,033
>> OH, MY GOD, DO WE HAVE THE
2685
01:53:41,100 --> 01:53:42,033
MOTHERFUCKING BEAT.
2686
01:53:42,100 --> 01:53:46,933
>> IT IS MY PRIVILEGE TO INDUCT
2687
01:53:47,000 --> 01:53:47,500
INTO THE ROCK & ROLL
2688
01:53:47,566 --> 01:53:49,200
HALL OF FAME BELINDA CARLISLE,
2689
01:53:49,266 --> 01:53:52,133
JANE WIEDLIN, CHARLOTTE CAFFEY,
2690
01:53:52,200 --> 01:53:53,633
GINA SCHOCK, AND KATHY
2691
01:53:53,700 --> 01:53:53,900
VALENTINE.
2692
01:53:53,966 --> 01:53:58,566
EVERYONE GIVE IT UP FOR THE
2693
01:53:58,633 --> 01:53:59,433
GO-GO'S!
2694
01:53:59,500 --> 01:54:00,866
[SCREAMS]
2695
01:54:00,933 --> 01:54:09,966
♪ ♪
2696
01:54:10,033 --> 01:54:15,366
♪ ♪
2697
01:54:15,433 --> 01:54:17,133
>> ♪ CAN'T SEEM TO GET MY MIND
2698
01:54:17,200 --> 01:54:20,633
OFF OF YOU ♪
2699
01:54:20,700 --> 01:54:22,833
♪ BACK HERE AT HOME THERE'S
2700
01:54:22,900 --> 01:54:27,200
NOTHIN' TO DO ♪
2701
01:54:27,266 --> 01:54:29,400
♪ NOW THAT I'M AWAY ♪
2702
01:54:29,466 --> 01:54:33,233
♪ I WISH I'D STAYED ♪
2703
01:54:33,300 --> 01:54:35,600
♪ TOMORROW'S A DAY OF MINE
2704
01:54:35,666 --> 01:54:39,800
THAT YOU WON'T BE IN ♪
2705
01:54:39,866 --> 01:54:41,100
♪ WHEN YOU LOOKED AT ME
2706
01:54:41,166 --> 01:54:45,000
I SHOULD'VE RUN ♪
2707
01:54:45,066 --> 01:54:46,900
♪ BUT I THOUGHT IT WAS JUST
2708
01:54:46,966 --> 01:54:51,333
FOR FUN ♪
2709
01:54:51,400 --> 01:54:54,533
♪ I SEE I WAS WRONG ♪
2710
01:54:54,600 --> 01:54:58,000
♪ AND I'M NOT SO STRONG ♪
2711
01:54:58,066 --> 01:54:59,800
♪ I SHOULD HAVE KNOWN ALL ALONG
2712
01:54:59,866 --> 01:55:03,466
THAT TIME WOULD TELL ♪
2713
01:55:03,533 --> 01:55:06,533
♪ ONE WEEK WITHOUT YOU ♪
2714
01:55:06,600 --> 01:55:15,300
♪ I THOUGHT I'D FORGET ♪
2715
01:55:15,366 --> 01:55:15,966
♪ TWO WEEKS WITHOUT YOU
2716
01:55:16,033 --> 01:55:16,866
AND I STILL HAVEN'T
2717
01:55:16,933 --> 01:55:17,533
GOTTEN OVER YOU YET ♪
2718
01:55:17,600 --> 01:55:19,166
♪ VACATION, ALL I EVER WANTED ♪
2719
01:55:19,233 --> 01:55:23,666
♪ VACATION, HAD TO GET AWAY ♪
2720
01:55:23,733 --> 01:55:25,366
♪ VACATION, MEANT TO BE SPENT
2721
01:55:25,433 --> 01:55:28,833
ALONE ♪
2722
01:55:28,900 --> 01:55:31,833
♪ VACATION, ALL I EVER WANTED ♪
2723
01:55:31,900 --> 01:55:34,800
♪ VACATION, HAD TO GET AWAY ♪
2724
01:55:34,866 --> 01:55:37,200
♪ VACATION, MEANT TO BE SPENT
2725
01:55:37,266 --> 01:55:43,500
ALONE ♪
2726
01:55:43,566 --> 01:55:55,366
♪ ♪
2727
01:55:55,433 --> 01:55:56,033
♪ CAN YOU HEAR THEM? ♪
2728
01:55:56,100 --> 01:55:57,000
♪ THEY TALK ABOUT US ♪
2729
01:55:57,066 --> 01:55:57,433
♪ TELLING LIES ♪
2730
01:55:57,500 --> 01:56:00,033
♪ WELL, THAT'S NO SURPRISE ♪
2731
01:56:00,100 --> 01:56:01,300
♪ CAN YOU SEE THEM? ♪
2732
01:56:01,366 --> 01:56:03,433
♪ SEE RIGHT THROUGH THEM ♪
2733
01:56:03,500 --> 01:56:04,733
♪ THEY HAVE NO SHIELD ♪
2734
01:56:04,800 --> 01:56:07,533
♪ NO SECRETS TO REVEAL ♪
2735
01:56:07,600 --> 01:56:10,633
♪ DOESN'T MATTER WHAT THEY SAY ♪
2736
01:56:10,700 --> 01:56:12,300
♪ IN THE JEALOUS GAMES
2737
01:56:12,366 --> 01:56:13,233
PEOPLE PLAY ♪
2738
01:56:13,300 --> 01:56:16,066
♪ HEY, HEY, HEY ♪
2739
01:56:16,133 --> 01:56:24,500
♪ OUR LIPS ARE SEALED ♪
2740
01:56:24,566 --> 01:56:28,133
♪ ♪
2741
01:56:28,200 --> 01:56:31,400
♪ HUSH, MY DARLING ♪
2742
01:56:31,466 --> 01:56:37,566
♪ DON'T YOU CRY ♪
2743
01:56:37,633 --> 01:56:38,333
♪ GUARDIAN ANGEL ♪
2744
01:56:38,400 --> 01:56:45,266
♪ FORGET THEIR LIES ♪
2745
01:56:45,333 --> 01:56:45,466
YEAH!
2746
01:56:45,533 --> 01:56:47,366
♪ CAN YOU HEAR THEM? ♪
2747
01:56:47,433 --> 01:56:47,866
♪ THEY TALK ABOUT US ♪
2748
01:56:47,933 --> 01:56:48,333
♪ TELLING LIES ♪
2749
01:56:48,400 --> 01:56:51,400
♪ WELL, THAT'S NO SURPRISE ♪
2750
01:56:51,466 --> 01:56:52,600
♪ CAN YOU SEE THEM? ♪
2751
01:56:52,666 --> 01:56:54,000
♪ SEE RIGHT THROUGH THEM ♪
2752
01:56:54,066 --> 01:56:54,533
♪ THEY HAVE NO SHIELD ♪
2753
01:56:54,600 --> 01:56:56,600
♪ NO SECRETS TO REVEAL ♪
2754
01:56:56,666 --> 01:56:58,766
♪ DOESN'T MATTER WHAT THEY SAY ♪
2755
01:56:58,833 --> 01:56:59,966
♪ IN THE JEALOUS GAMES
2756
01:57:00,033 --> 01:57:02,966
PEOPLE PLAY ♪
2757
01:57:03,033 --> 01:57:04,200
♪ HEY, HEY, HEY ♪
2758
01:57:04,266 --> 01:57:09,900
♪ OUR LIPS ARE SEALED ♪
2759
01:57:09,966 --> 01:57:14,600
♪ OUR LIPS ARE SEALED ♪
2760
01:57:14,666 --> 01:57:16,933
♪ OUR LIPS ARE SEALED ♪
2761
01:57:17,000 --> 01:57:22,166
♪ OUR LIPS ARE SEALED ♪
2762
01:57:22,233 --> 01:57:29,866
♪ ♪
2763
01:57:29,933 --> 01:57:35,333
[CHEERS AND APPLAUSE]
2764
01:57:35,400 --> 01:57:41,066
HERE IT COMES!
2765
01:57:41,133 --> 01:57:42,200
WHOO!
2766
01:57:42,266 --> 01:57:46,700
LET'S GO.
2767
01:57:46,766 --> 01:57:58,066
♪ ♪
2768
01:57:58,133 --> 01:58:02,900
♪ ♪
2769
01:58:02,966 --> 01:58:04,066
♪ SEE THE PEOPLE WALKING DOWN
2770
01:58:04,133 --> 01:58:06,300
THE STREET ♪
2771
01:58:06,366 --> 01:58:08,000
♪ FALL IN LINE JUST WATCHING
2772
01:58:08,066 --> 01:58:08,900
ALL THEIR FEET ♪
2773
01:58:08,966 --> 01:58:10,233
♪ THEY DON'T KNOW WHERE THEY
2774
01:58:10,300 --> 01:58:11,400
WANT TO GO ♪
2775
01:58:11,466 --> 01:58:14,633
♪ BUT THEY'RE WALKING IN TIME ♪
2776
01:58:14,700 --> 01:58:15,833
♪ THEY GOT THE BEAT ♪
2777
01:58:15,900 --> 01:58:16,833
♪ THEY GOT THE BEAT ♪
2778
01:58:16,900 --> 01:58:20,333
♪ THEY GOT THE BEAT ♪
2779
01:58:20,400 --> 01:58:24,300
♪ YEAH, THEY GOT THE BEAT ♪
2780
01:58:24,366 --> 01:58:25,233
COME ON!
2781
01:58:25,300 --> 01:58:33,700
♪ ♪
2782
01:58:33,766 --> 01:58:36,033
♪ ALL THE KIDS JUST GETTING OUT
2783
01:58:36,100 --> 01:58:37,300
OF SCHOOL ♪
2784
01:58:37,366 --> 01:58:38,233
♪ THEY CAN'T WAIT TO HANG OUT
2785
01:58:38,300 --> 01:58:40,466
AND BE COOL ♪
2786
01:58:40,533 --> 01:58:42,166
♪ HANG AROUND 'TIL QUARTER AFTER
2787
01:58:42,233 --> 01:58:42,666
TWELVE ♪
2788
01:58:42,733 --> 01:58:43,266
♪ THAT'S WHEN THEY FALL IN
2789
01:58:43,333 --> 01:58:45,200
LINE ♪
2790
01:58:45,266 --> 01:58:46,200
♪ THAT'S WHEN THEY FALL IN
2791
01:58:46,266 --> 01:58:46,900
LINE ♪
2792
01:58:46,966 --> 01:58:47,866
♪ THEY GOT THE BEAT ♪
2793
01:58:47,933 --> 01:58:49,266
♪ THEY GOT THE BEAT ♪
2794
01:58:49,333 --> 01:58:50,933
♪ KIDS GOT THE BEAT ♪
2795
01:58:51,000 --> 01:58:56,033
♪ YEAH, KIDS GOT THE BEAT ♪
2796
01:58:56,100 --> 01:59:08,833
♪ ♪
2797
01:59:08,900 --> 01:59:22,166
♪ ♪
2798
01:59:22,233 --> 01:59:23,200
♪ GO-GO MUSIC REALLY MAKES US
2799
01:59:23,266 --> 01:59:25,233
DANCE ♪
2800
01:59:25,300 --> 01:59:26,033
♪ DOING THE PONY PUTS US
2801
01:59:26,100 --> 01:59:28,933
IN A TRANCE ♪
2802
01:59:29,000 --> 01:59:30,033
♪ THE WATUSI, JUST GIVE US
2803
01:59:30,100 --> 01:59:30,533
A CHANCE ♪
2804
01:59:30,600 --> 01:59:32,400
♪ THAT'S WHEN WE FALL IN LINE ♪
2805
01:59:32,466 --> 01:59:34,533
♪ THAT'S WHEN WE FALL IN LINE ♪
2806
01:59:34,600 --> 01:59:35,200
♪ WE GOT THE BEAT ♪
2807
01:59:35,266 --> 01:59:35,800
♪ WE GOT THE BEAT ♪
2808
01:59:35,866 --> 01:59:39,266
♪ WE GOT THE BEAT ♪
2809
01:59:39,333 --> 01:59:41,066
♪ YEAH, WE GOT IT! ♪
2810
01:59:41,133 --> 01:59:42,100
♪ ♪
2811
01:59:42,166 --> 01:59:45,866
♪ WE GOT THE BEAT ♪
2812
01:59:45,933 --> 01:59:47,233
COME ON, I WANT TO HEAR YOU!
2813
01:59:47,300 --> 01:59:49,366
♪ WE GOT THE BEAT ♪
2814
01:59:49,433 --> 01:59:49,600
COME ON.
2815
01:59:49,666 --> 01:59:51,733
♪ WE GOT THE BEAT ♪
2816
01:59:51,800 --> 01:59:53,233
♪ WE GOT THE BEAT ♪
2817
01:59:53,300 --> 01:59:54,200
♪ EVERYBODY GET ON YOUR FEET ♪
2818
01:59:54,266 --> 01:59:55,533
♪ WE GOT THE BEAT ♪
2819
01:59:55,600 --> 01:59:56,033
♪ WE KNOW YOU CAN DANCE
2820
01:59:56,100 --> 01:59:59,366
TO THE BEAT ♪
2821
01:59:59,433 --> 01:59:59,900
♪ WE GOT THE BEAT ♪
2822
01:59:59,966 --> 02:00:00,800
♪ JUMP BACK, GET DOWN ♪
2823
02:00:00,866 --> 02:00:01,833
♪ WE GOT THE BEAT ♪
2824
02:00:01,900 --> 02:00:03,933
♪ ROUND AND ROUND AND ROUND ♪
2825
02:00:04,000 --> 02:00:06,266
♪ WE GOT THE BEAT ♪
2826
02:00:06,333 --> 02:00:08,233
♪ WE GOT THE BEAT ♪
2827
02:00:08,300 --> 02:00:11,600
♪ WE GOT THE BEAT ♪
2828
02:00:11,666 --> 02:00:14,900
♪ WE GOT THE BEAT ♪
2829
02:00:14,966 --> 02:00:17,600
♪ WE GOT THE BEAT ♪
2830
02:00:17,666 --> 02:00:20,566
♪ WE GOT THE BEAT ♪
2831
02:00:20,633 --> 02:00:27,633
♪ WE GOT THE BEAT ♪
2832
02:00:27,700 --> 02:00:45,666
[CHEERS AND APPLAUSE]
2833
02:00:45,733 --> 02:00:47,833
>> THANK YOU, DREW.
2834
02:00:47,900 --> 02:00:52,700
I'M KATHY VALENTINE, AND I CAN
2835
02:00:52,766 --> 02:00:53,633
SPEAK FOR ALL THE GO-GO'S WHEN I
2836
02:00:53,700 --> 02:00:57,333
SAY WE ARE SO HAPPY AND EXCITED
2837
02:00:57,400 --> 02:00:58,566
AND PROUD TO BE INDUCTED INTO
2838
02:00:58,633 --> 02:01:06,866
THE ROCK & ROLL HALL OF FAME.
2839
02:01:06,933 --> 02:01:09,566
OUR BAND HAS BEEN, AT DIFFERENT
2840
02:01:09,633 --> 02:01:12,333
TIMES, LIKE THE MOST RINKY-DINK
2841
02:01:12,400 --> 02:01:14,866
TRAVELING CIRCUS YOU COULD EVER
2842
02:01:14,933 --> 02:01:17,333
IMAGINE, LIKE A SNARLING WOLF
2843
02:01:17,400 --> 02:01:21,333
PACK, AND VERY MUCH LIKE FAMILY.
2844
02:01:21,400 --> 02:01:23,500
BUT WE ARE SISTERHOOD AND WOMEN
2845
02:01:23,566 --> 02:01:25,833
IS SIGNIFICANT.
2846
02:01:25,900 --> 02:01:28,466
WE BECAME A COMMERCIALLY
2847
02:01:28,533 --> 02:01:29,800
SUCCESSFUL BAND EXCEPT WE
2848
02:01:29,866 --> 02:01:31,466
STARTED AT THE BOTTOM, WHERE ALL
2849
02:01:31,533 --> 02:01:34,500
ROCK 'N' ROLL BANDS START, AND
2850
02:01:34,566 --> 02:01:37,766
OUR MUSIC FOUND ITS WAY INTO OUR
2851
02:01:37,833 --> 02:01:42,466
FANS' HEARTS AND INTO THEIR
2852
02:01:42,533 --> 02:01:46,200
LIVES.
2853
02:01:46,266 --> 02:01:47,300
BY HONORING OUR HISTORICAL
2854
02:01:47,366 --> 02:01:48,333
CONTRIBUTION, THE DOORS TO THIS
2855
02:01:48,400 --> 02:01:54,233
ESTABLISHMENT HAVE OPENED WIDER.
2856
02:01:54,300 --> 02:01:55,866
AND THE GO-GO'S WILL BE
2857
02:01:55,933 --> 02:01:57,333
ADVOCATING FOR THE INCLUSION OF
2858
02:01:57,400 --> 02:01:59,866
MORE WOMEN.
2859
02:01:59,933 --> 02:02:03,266
[CHEERS AND APPLAUSE]
2860
02:02:03,333 --> 02:02:05,300
BECAUSE HERE IS THE THING, THERE
2861
02:02:05,366 --> 02:02:06,766
WOULD NOT BE LESS OF US IF MORE
2862
02:02:06,833 --> 02:02:15,300
OF US WERE VISIBLE.
2863
02:02:15,366 --> 02:02:18,266
SO TO ALL THE LITTLE GIRLS, THE
2864
02:02:18,333 --> 02:02:20,233
TEENAGERS, THE YOUNG LADIES, ANY
2865
02:02:20,300 --> 02:02:23,100
WOMAN, ANY H OUT THERE IN THE
2866
02:02:23,166 --> 02:02:24,666
WORLD WHO IS WANTING AND HOPING
2867
02:02:24,733 --> 02:02:26,966
AND DREAMING TO BE HEARD,
2868
02:02:27,033 --> 02:02:28,266
HOPEFULLY LOUDLY COME OUT WITH
2869
02:02:28,333 --> 02:02:32,533
AND DRUMS AND BASES, AND YOUR
2870
02:02:32,600 --> 02:02:35,866
UNIQUE, WONDERFUL VOICES,
2871
02:02:35,933 --> 02:02:38,000
THE GO-GO'S ARE HERE TO SAY
2872
02:02:38,066 --> 02:02:44,133
DREAM, DREAM, BABY, AND ROCK ON!
2873
02:02:44,200 --> 02:02:48,400
>> HI, YOU GUYS, I'M GINA, AND
2874
02:02:48,466 --> 02:02:51,266
I --
2875
02:02:51,333 --> 02:02:51,866
YEAH, RIGHT!
2876
02:02:51,933 --> 02:02:52,233
FUCK YEAH!
2877
02:02:52,300 --> 02:02:52,700
I CAN'T BELIEVE.
2878
02:02:52,766 --> 02:02:55,133
I WANT TO THANK ALL OF OUR
2879
02:02:55,200 --> 02:02:56,766
FAMILIES, ESPECIALLY ALL OF OUR
2880
02:02:56,833 --> 02:02:57,700
MOMS AND DADS WHO SUPPORTED US
2881
02:02:57,766 --> 02:02:59,566
AND ALLOWED US TO FOLLOW OUR
2882
02:02:59,633 --> 02:02:59,966
DREAMS.
2883
02:03:00,033 --> 02:03:02,133
THEY WERE THERE FROM THE START.
2884
02:03:02,200 --> 02:03:03,366
OUR FAMILY OF MUSICIANS WHO ARE
2885
02:03:03,433 --> 02:03:05,366
OUT THERE, YOU ARE EVERYWHERE.
2886
02:03:05,433 --> 02:03:06,833
YOU ARE PART OF US.
2887
02:03:06,900 --> 02:03:09,500
WE ARE PART OF YOU.
2888
02:03:09,566 --> 02:03:12,633
AND NOW I'M GOING TO INTRODUCE
2889
02:03:12,700 --> 02:03:17,400
OUR FABULOUS SINGER, BABE
2890
02:03:17,466 --> 02:03:18,700
CARLISLE.
2891
02:03:18,766 --> 02:03:19,866
>> WE HAVE HAD SO MUCH LOVE AND
2892
02:03:19,933 --> 02:03:22,333
GUIDANCE IN OUR 43 YEARS
2893
02:03:22,400 --> 02:03:25,200
TOGETHER, OUR FIRST MANAGER, WHO
2894
02:03:25,266 --> 02:03:29,066
WAS LIKE OUR MOM, BRADFORD COBB,
2895
02:03:29,133 --> 02:03:32,266
WHO WAS ALWAYS KIND, SWEET, AND
2896
02:03:32,333 --> 02:03:34,133
SMART, BRUCE PATRON, SOMEWHERE
2897
02:03:34,200 --> 02:03:36,866
UP THERE, WE LOVE YOU, AND ALSO
2898
02:03:36,933 --> 02:03:39,066
OUR MANAGER MIKE HAYES AND, OF
2899
02:03:39,133 --> 02:03:41,466
COURSE, OUR CHEERLEADER AND
2900
02:03:41,533 --> 02:03:46,466
MANAGER, ART CISNEROS.
2901
02:03:46,533 --> 02:03:49,433
THE NEXT PERSON IS CHARLOTTE
2902
02:03:49,500 --> 02:03:49,833
CAFFEY, GUITARIST
2903
02:03:49,900 --> 02:03:50,866
EXTRAORDINAIRE.
2904
02:03:50,933 --> 02:03:52,933
>> HELLO.
2905
02:03:53,000 --> 02:03:54,200
THANK YOU.
2906
02:03:54,266 --> 02:03:56,433
WHEN WE WERE UP AND UNABLE TO
2907
02:03:56,500 --> 02:04:00,400
GET A RECORD DEAL, IRS RECORDS
2908
02:04:00,466 --> 02:04:03,133
TOOK A CHANCE ON US.
2909
02:04:03,200 --> 02:04:04,733
MILES COPELAND, YOU ARE A MAD
2910
02:04:04,800 --> 02:04:06,666
GENIUS.
2911
02:04:06,733 --> 02:04:07,866
OUR FIRST PRODUCER, RICHARD,
2912
02:04:07,933 --> 02:04:08,800
HEARD SOMETHING IN US THAT MANY
2913
02:04:08,866 --> 02:04:11,466
OTHER PEOPLE DIDN'T.
2914
02:04:11,533 --> 02:04:17,133
AND OUR BELOVED CREW, CHRIS AND
2915
02:04:17,200 --> 02:04:19,400
TRAVIS, THANK YOU FOR TAKING
2916
02:04:19,466 --> 02:04:22,066
CARE OF US ON STAGE AND ON THE
2917
02:04:22,133 --> 02:04:22,266
ROAD.
2918
02:04:22,333 --> 02:04:27,233
LOVE AND THANKS TO YOU ALL.
2919
02:04:27,300 --> 02:04:31,633
AND NOW, AT LAST, BUT NOT LEAST,
2920
02:04:31,700 --> 02:04:34,500
THE ICONIC JANE WIEDLIN.
2921
02:04:34,566 --> 02:04:37,666
[CHEERS AND APPLAUSE]
2922
02:04:37,733 --> 02:04:40,366
>> HEY!
2923
02:04:40,433 --> 02:04:44,333
AW, GEE WHIZ.
2924
02:04:44,400 --> 02:04:47,066
WELL, WE'VE BEEN AT IT FOR 43
2925
02:04:47,133 --> 02:04:51,366
YEARS SO FAR.
2926
02:04:51,433 --> 02:04:52,500
GO FIGURE!
2927
02:04:52,566 --> 02:04:54,633
ANYWAYS, IN THIS MILLENNIUM, I
2928
02:04:54,700 --> 02:04:55,300
DON'T THINK ANYONE HAS HAD MORE
2929
02:04:55,366 --> 02:05:00,300
OF AN IMPACT ON OUR BAND'S
2930
02:05:00,366 --> 02:05:02,666
CAREER LEGACY THEN THE DIRECTOR
2931
02:05:02,733 --> 02:05:08,466
ALLISON -- JESUS CHRIST --
2932
02:05:08,533 --> 02:05:10,900
ALISON OWEN, WHO CREATED OUR
2933
02:05:10,966 --> 02:05:11,566
DOCUMENTARY.
2934
02:05:11,633 --> 02:05:12,233
SHE REALLY UNDERSTOOD US AND
2935
02:05:12,300 --> 02:05:16,100
INTRODUCED THE WORLD TO A BAND,
2936
02:05:16,166 --> 02:05:18,566
YOU KNOW, THAT REALLY WAS MAYBE
2937
02:05:18,633 --> 02:05:19,933
FADING AWAY OR WHATEVER AND THEN
2938
02:05:20,000 --> 02:05:22,366
SHE BROUGHT IT OUT RIGHT BACK,
2939
02:05:22,433 --> 02:05:24,200
AND WE ARE SO GRATEFUL TO HER.
2940
02:05:24,266 --> 02:05:25,633
BUT THE PEOPLE WE ARE MOST
2941
02:05:25,700 --> 02:05:28,433
GRATEFUL TO EVOLVE ARE THE FANS
2942
02:05:28,500 --> 02:05:31,933
WHO HAVE BEEN WITH US FOR OVER
2943
02:05:32,000 --> 02:05:34,466
FOUR DECADES.
2944
02:05:34,533 --> 02:05:35,166
[CHEERS AND APPLAUSE]
2945
02:05:35,233 --> 02:05:37,266
AND THEY KEEP COMING BACK.
2946
02:05:37,333 --> 02:05:39,966
AND WE LOVE YOU GUYS WE WOULDN'T
2947
02:05:40,033 --> 02:05:41,233
BE ANYTHING WITHOUT YOU.
2948
02:05:41,300 --> 02:05:43,866
AND THANK YOU SO MUCH FOR THIS
2949
02:05:43,933 --> 02:05:44,800
HONOR.
2950
02:05:44,866 --> 02:05:49,833
IT'S JUST UNBELIEVABLE.
2951
02:05:49,900 --> 02:05:54,533
PRKEW, HEAD EXPLOSION.
2952
02:05:54,600 --> 02:05:55,566
>> MY NAME IS COMMON AND I'M
2953
02:05:55,633 --> 02:05:59,566
HERE TO TALK ABOUT THE GRAPE,
2954
02:05:59,633 --> 02:06:01,466
INCOMPARABLE GIL SCOTT HAMMOND,
2955
02:06:01,533 --> 02:06:05,100
POET, AUTHOR, GIL SCOTT-HERON
2956
02:06:05,166 --> 02:06:06,500
REDEFINED OUR UNDERSTANDING OF C
2957
02:06:06,566 --> 02:06:07,633
WITH WORDS SO TRUE THEY
2958
02:06:07,700 --> 02:06:10,200
STUNG AND A SOUND SO POWERFUL
2959
02:06:10,266 --> 02:06:12,666
IT COULDN'T BE IGNORED.
2960
02:06:12,733 --> 02:06:14,066
SETTING HIS GRIPPING POETRY TO A
2961
02:06:14,133 --> 02:06:16,166
BEAT CAUGHT THE ATTENTION OF A
2962
02:06:16,233 --> 02:06:18,733
NATION, AND THAT SIMPLE ACT
2963
02:06:18,800 --> 02:06:20,733
WOULD EVENTUALLY BECOME A
2964
02:06:20,800 --> 02:06:21,500
CORNERSTONE OF WHAT WE NOW KNOW
2965
02:06:21,566 --> 02:06:23,733
AS HIP-HOP.
2966
02:06:23,800 --> 02:06:27,466
IN 1970, HE ASKED, WHO WILL
2967
02:06:27,533 --> 02:06:28,666
SURVIVE IN AMERICA?
2968
02:06:28,733 --> 02:06:30,733
A QUESTION WE ASK WITH
2969
02:06:30,800 --> 02:06:32,066
INCREASING URGENCY DAILY 50
2970
02:06:32,133 --> 02:06:32,400
YEARS LATER.
2971
02:06:32,466 --> 02:06:35,666
I'M SO PROUD TO PAY HOMAGE TO
2972
02:06:35,733 --> 02:06:36,466
THE BRILLIANCE OF GIL
2973
02:06:36,533 --> 02:06:37,433
SCOTT-HERON.
2974
02:06:37,500 --> 02:06:39,800
PLEASE JOIN ME IN CELEBRATING
2975
02:06:39,866 --> 02:06:41,933
HIM TONIGHT WITH HIS INDUCTION
2976
02:06:42,000 --> 02:06:44,066
INTO THE ROCK & ROLL
2977
02:06:44,133 --> 02:06:46,133
HALL OF FAME.
2978
02:06:46,200 --> 02:06:55,133
♪ ♪
2979
02:06:55,200 --> 02:06:58,433
>> ♪ A ♪
2980
02:06:58,500 --> 02:06:59,866
>> THIS IS AS CLOSE AS YOU GET
2981
02:06:59,933 --> 02:07:01,466
TO FREEDOM RIGHT HERE.
2982
02:07:01,533 --> 02:07:02,400
I DON'T KNOW IF I'M LOCKED IN
2983
02:07:02,466 --> 02:07:07,533
OUR LOCKED OUT.
2984
02:07:07,600 --> 02:07:07,733
♪ ♪
2985
02:07:07,800 --> 02:07:13,633
♪ WHAT'S THE WORD ♪
2986
02:07:13,700 --> 02:07:17,700
>> DID ONE CALLED THE VULTURE,
2987
02:07:17,766 --> 02:07:19,266
THE FIRST THINGS THAT EVER
2988
02:07:19,333 --> 02:07:21,433
APPEARED IN PUBLIC THAT I WAS
2989
02:07:21,500 --> 02:07:23,100
RESPONSIBLE, FIRST CHANCERY
2990
02:07:23,166 --> 02:07:25,533
COURT CAME AFTER I DONE SOME
2991
02:07:25,600 --> 02:07:26,500
BOOKS.
2992
02:07:26,566 --> 02:07:35,133
>> HAD A POEM CALLED "WHITEY ON
2993
02:07:35,200 --> 02:07:39,200
THE MOON."
2994
02:07:39,266 --> 02:07:42,433
IT WAS INSPIRED BY SOME WHITEYS.
2995
02:07:42,500 --> 02:07:45,600
>> I CAN'T PAY NO DOCTOR BILLS
2996
02:07:45,666 --> 02:07:47,133
FOR WHITEYS ON THE MOM.
2997
02:07:47,200 --> 02:07:49,633
TEN YEARS FROM NOW I'LL BE
2998
02:07:49,700 --> 02:07:50,366
PAYING STILL FOR WHITEY ON THE
2999
02:07:50,433 --> 02:07:51,733
MOON.
3000
02:07:51,800 --> 02:07:54,900
>> THEY WERE STILL LISTENING TO
3001
02:07:55,000 --> 02:07:56,933
A POEM DELIVERED ORALLY AND WITH
3002
02:07:57,000 --> 02:07:59,466
THE RHYTHMS THAT MEAN SO MUCH TO
3003
02:07:59,533 --> 02:08:00,466
US.
3004
02:08:00,533 --> 02:08:06,033
>> ♪ SEEMS LIKE A WINTER IN
3005
02:08:06,100 --> 02:08:06,333
AMERICA ♪
3006
02:08:06,400 --> 02:08:08,733
>> GIL SCOTT-HERON WITH THAT
3007
02:08:08,800 --> 02:08:10,200
SOOTHING BARITONE, TELLING THE
3008
02:08:10,266 --> 02:08:13,466
POLITICAL TRUTH THAT AMERICA
3009
02:08:13,533 --> 02:08:15,766
DIDN'T WANT TO HEAR, SETTING THE
3010
02:08:15,833 --> 02:08:17,333
WORD TO THE DRUM, THE BEAT.
3011
02:08:17,400 --> 02:08:21,433
♪ ♪
3012
02:08:21,500 --> 02:08:24,833
♪ AND IT MIGHT NOT BE SUCH A
3013
02:08:24,900 --> 02:08:27,600
BAD IDEA IF I NEVER, NEVER WENT
3014
02:08:27,666 --> 02:08:28,000
HOME AGAIN ♪
3015
02:08:28,066 --> 02:08:30,300
>> THE PEOPLE WHO WERE MY
3016
02:08:30,366 --> 02:08:34,033
INSTRUCTORS, THE LANGSTON HUGHE
3017
02:08:34,100 --> 02:08:35,166
HUGHES, NOT ONLY KNEW THE ISSUES
3018
02:08:35,233 --> 02:08:38,866
AND THE IDEAS IN THE EMOTION
3019
02:08:38,933 --> 02:08:40,300
CONTENT OF WHERE THE COMMUNITY
3020
02:08:40,366 --> 02:08:41,666
WAS COMING FROM, BUT THEY
3021
02:08:41,733 --> 02:08:42,966
DISPLAYED IT IN A MANNER THAT
3022
02:08:43,033 --> 02:08:45,066
THE COMMUNITY WOULD DO IT.
3023
02:08:45,133 --> 02:08:46,766
>> WE'D LIKE TO DO A POEM CALLED
3024
02:08:46,833 --> 02:08:49,700
"THE TELEVISION WILL NOT BE
3025
02:08:49,766 --> 02:08:50,400
TELEVISED," PRIMARILY BECAUSE IT
3026
02:08:50,466 --> 02:08:50,833
WON'T BE.
3027
02:08:50,900 --> 02:08:52,600
YOU WILL NOT BE ABLE TO STAY
3028
02:08:52,666 --> 02:08:52,933
HOME, BROTHER.
3029
02:08:53,000 --> 02:08:54,800
YOU WILL NOT BE ABLE TO PLUG IN,
3030
02:08:54,866 --> 02:08:56,600
TURN ON, AND COP OUT.
3031
02:08:56,666 --> 02:09:00,233
HE WILL NOT BE ABLE TO LOSE
3032
02:09:00,300 --> 02:09:02,033
YOURSELF AND SKIP OUT DURING
3033
02:09:02,100 --> 02:09:03,233
COMMERCIALS BECAUSE THE
3034
02:09:03,300 --> 02:09:04,166
REVOLUTION WILL NOT BE
3035
02:09:04,233 --> 02:09:04,433
TELEVISED.
3036
02:09:04,500 --> 02:09:06,833
THE REVOLUTION WILL BE NO RERUN,
3037
02:09:06,900 --> 02:09:07,166
BROTHERS.
3038
02:09:07,233 --> 02:09:12,433
THE REVOLUTION WILL BE LIVE.
3039
02:09:12,500 --> 02:09:17,466
[CHEERS AND APPLAUSE]
3040
02:09:17,533 --> 02:09:18,533
>> THE GREATEST BAND IN ALL THE
3041
02:09:18,600 --> 02:09:22,633
WORLD, THE ROLLING STONES.
3042
02:09:22,700 --> 02:09:25,366
>> I AM CHARLIE WATTS, I AM THE
3043
02:09:25,433 --> 02:09:30,600
DRUMMER.
3044
02:09:30,666 --> 02:09:36,533
>> ON THE DRUM, CHARLIE WATTS.
3045
02:09:36,600 --> 02:09:42,966
>> HELLO.
3046
02:09:43,033 --> 02:09:43,600
>> CHARLIE, ONE OF THE GREATEST
3047
02:09:43,666 --> 02:09:49,133
DRUMMERS IN THE WORLD TO EVER
3048
02:09:49,200 --> 02:09:50,433
SAY.
3049
02:09:50,500 --> 02:09:50,900
>> I CAN'T READ.
3050
02:09:50,966 --> 02:09:53,166
I'M NOT A MUSICIAN OF THE
3051
02:09:53,233 --> 02:09:53,400
CALIBER.
3052
02:09:53,466 --> 02:09:55,033
JUST AN INFERIOR ARTICLE.
3053
02:09:55,100 --> 02:09:58,633
MAYBE I'M GREAT AFTER ALL.
3054
02:09:58,700 --> 02:10:01,166
>> I LOVE PLAYING THE DRUMS.
3055
02:10:01,233 --> 02:10:03,466
I LOVE PLAYING WITH THE
3056
02:10:03,533 --> 02:10:03,833
ROLLING STONES.
3057
02:10:03,900 --> 02:10:05,166
>> HOW LONG DO YOU WANT TO DO
3058
02:10:05,233 --> 02:10:07,100
IT?
3059
02:10:07,166 --> 02:10:10,200
>> DO WHAT, BE ON THE ROAD?
3060
02:10:10,266 --> 02:10:14,100
>> BE IN THE ROLLING STONES.
3061
02:10:14,166 --> 02:10:22,333
♪ ♪
3062
02:10:22,400 --> 02:10:31,800
♪ ♪
3063
02:10:31,866 --> 02:10:39,233
♪ THERE IS A HOMELESS IN
3064
02:10:39,300 --> 02:10:39,766
NEW ORLEANS ♪
3065
02:10:39,833 --> 02:10:46,133
♪ THEY CALL THE RISING SUN ♪
3066
02:10:46,200 --> 02:10:49,800
♪ AND ITS BEEN THE RUIN OF MANY
3067
02:10:49,866 --> 02:10:53,733
A POOR BOY ♪
3068
02:10:53,800 --> 02:10:58,166
♪ AND I KNOW I'VE WON ♪
3069
02:10:58,233 --> 02:11:05,133
♪ WITHOUT YOU, BABE, WITHOUT
3070
02:11:05,200 --> 02:11:07,333
YOU, BABE ♪
3071
02:11:07,400 --> 02:11:09,733
♪ WITHOUT YOU, BABE, WITHOUT
3072
02:11:09,800 --> 02:11:11,933
YOU, BABE ♪
3073
02:11:12,000 --> 02:11:16,933
♪ I WAS STANDING WHEN I HEARD MY
3074
02:11:17,000 --> 02:11:19,733
BULLDOG BARK ♪
3075
02:11:19,800 --> 02:11:21,666
♪ HE WAS THE PARKING AT THE TWO
3076
02:11:21,733 --> 02:11:26,433
MEN WHO WERE GAMBLING IN THE
3077
02:11:26,500 --> 02:11:28,133
DARK ♪
3078
02:11:28,200 --> 02:11:37,000
♪ ♪
3079
02:11:37,066 --> 02:11:42,833
OPEN YOU'VE GOT WHAT I NEED, BUT
3080
02:11:42,900 --> 02:11:46,733
YOU SAY HE IS A FRIEND ♪
3081
02:11:46,800 --> 02:11:51,900
♪ OH, BABY, YOU'VE GOT WHAT I
3082
02:11:51,966 --> 02:11:52,133
NEED ♪
3083
02:11:52,200 --> 02:11:55,733
♪ BUT YOU SAY HE'S JUST A
3084
02:11:55,800 --> 02:11:56,000
FRIEND ♪
3085
02:11:56,066 --> 02:12:00,966
♪ BUT YOU SAY HE IS A FRIEND ♪
3086
02:12:01,033 --> 02:12:06,633
♪ OH, NO ♪
3087
02:12:06,700 --> 02:12:09,133
♪ MISSISSIPPI QUEEN ♪
3088
02:12:09,200 --> 02:12:12,366
♪ YOU KNOW WHAT I MEAN ♪
3089
02:12:12,433 --> 02:12:18,733
♪ LEFT CHICAGO ♪
3090
02:12:18,800 --> 02:12:24,066
♪ ON A FLIGHT FOR NEW ORLEANS ♪
3091
02:12:24,133 --> 02:12:30,300
♪ LEFT CHICAGO ♪
3092
02:12:30,366 --> 02:12:36,166
♪ AND IS BOUND FOR NEW ORLEANS ♪
3093
02:12:36,233 --> 02:12:41,166
♪ HEY ♪
3094
02:12:41,233 --> 02:12:49,733
♪ DON'T LET THE SUN CATCH YOU
3095
02:12:49,800 --> 02:12:51,033
CRYING ♪
3096
02:12:51,100 --> 02:12:58,366
♪ TONIGHT'S THE TIME FOR ALL
3097
02:12:58,433 --> 02:12:59,600
YOUR TEARS ♪
3098
02:12:59,666 --> 02:13:04,966
♪ YOUR HEART MAY BE BROKEN
3099
02:13:05,033 --> 02:13:06,333
TONIGHT ♪
3100
02:13:06,400 --> 02:13:09,566
♪ BUT TOMORROW IN THE MORNING
3101
02:13:09,633 --> 02:13:10,066
LIGHT ♪
3102
02:13:10,133 --> 02:13:17,166
♪ DON'T LET THE SUN CATCH YOU
3103
02:13:17,233 --> 02:13:17,600
CRYING ♪
3104
02:13:17,666 --> 02:13:19,400
A COUPLE OF GREAT GUYS WHO ARE
3105
02:13:19,466 --> 02:13:22,266
GREAT TALENTS AND YOU'RE GOING .
3106
02:13:22,333 --> 02:13:25,200
THE EVERLY BROTHERS, BILL AND
3107
02:13:25,266 --> 02:13:27,000
DON.
3108
02:13:27,066 --> 02:13:33,300
>> ♪ BYE-BYE, LOVE, BYE-BYE,
3109
02:13:33,366 --> 02:13:33,666
SWEET GRASS ♪
3110
02:13:33,733 --> 02:13:35,066
>> WHAT ARE YOUR NAMES?
3111
02:13:35,133 --> 02:13:36,800
>> BILL AND I, WE WERE SOMETHING
3112
02:13:36,866 --> 02:13:39,066
ELSE, A WHOLE NEW BREED OF
3113
02:13:39,133 --> 02:13:40,633
PEOPLE, I SING HARMONY FIRST,
3114
02:13:40,700 --> 02:13:42,666
THEN HE GOT OLDER AND TOOK OVER
3115
02:13:42,733 --> 02:13:44,700
THE HARMONY, NATURAL HARMONY
3116
02:13:44,766 --> 02:13:50,333
SINGER, AND IT JUST CLICKED.
3117
02:13:50,400 --> 02:13:51,900
♪ ♪
3118
02:13:51,966 --> 02:13:52,866
>> THE EVERLYS WERE VERY
3119
02:13:52,933 --> 02:13:53,100
SPECIAL.
3120
02:13:53,166 --> 02:13:57,200
I THINK IT'S WHERE THE BEATLES
3121
02:13:57,266 --> 02:13:59,166
GOT THEIR TWO PEOPLE IN HARMONY
3122
02:13:59,233 --> 02:14:01,833
THING, JOHN AND I WERE THE
3123
02:14:01,900 --> 02:14:02,266
EVERLY'S. ♪
3124
02:14:02,333 --> 02:14:10,566
.>> ♪ WAKE UP, LITTLE SUSIE,
3125
02:14:10,633 --> 02:14:11,733
WAKE UP, LITTLE SUSIE ♪
3126
02:14:11,800 --> 02:14:12,633
>> ROCK 'N' ROLL HAS BEEN GOOD
3127
02:14:12,700 --> 02:14:17,233
TO US, I HOPE IT IS GOOD TO YOU.
3128
02:14:17,300 --> 02:14:21,433
♪ ♪
3129
02:14:21,500 --> 02:14:24,233
>> HERE TO PAY TRIBUTE TO THE
3130
02:14:24,300 --> 02:14:28,166
EVERLY BROTHERS, BRANDI CARLILE.
3131
02:14:28,233 --> 02:14:29,633
>> ♪ DREAM, DREAM, DREAM,
3132
02:14:29,700 --> 02:14:31,700
DREAM ♪
3133
02:14:31,766 --> 02:14:37,300
♪ DREAM, DREAM, DREAM, DREAM ♪
3134
02:14:37,366 --> 02:14:41,200
♪ WHEN I WANT YOU IN MY ARMS ♪
3135
02:14:41,266 --> 02:14:43,800
♪ WHEN I WANT YOU
3136
02:14:43,866 --> 02:14:46,733
AND ALL YOUR CHARMS ♪
3137
02:14:46,800 --> 02:14:48,766
♪ WHENEVER I WANT YOU,
3138
02:14:48,833 --> 02:14:51,566
ALL I HAVE TO DO IS ♪
3139
02:14:51,633 --> 02:14:57,833
♪ DREAM, DREAM, DREAM, DREAM ♪
3140
02:14:57,900 --> 02:15:01,466
♪ WHEN I FEEL BLUE
3141
02:15:01,533 --> 02:15:04,866
IN THE NIGHT ♪
3142
02:15:04,933 --> 02:15:05,700
♪ WHEN I NEED YOU
3143
02:15:05,766 --> 02:15:09,266
TO HOLD ME TIGHT ♪
3144
02:15:09,333 --> 02:15:10,400
♪ WHENEVER I WANT YOU,
3145
02:15:10,466 --> 02:15:11,766
ALL I HAVE TO DO IS ♪
3146
02:15:11,833 --> 02:15:18,133
♪ DREAM ♪
3147
02:15:18,200 --> 02:15:19,600
♪ I CAN MAKE YOU MINE,
3148
02:15:19,666 --> 02:15:23,833
TASTE YOUR LIPS OF WINE ♪
3149
02:15:23,900 --> 02:15:30,233
♪ ANYTIME NIGHT OR DAY ♪
3150
02:15:30,300 --> 02:15:32,133
♪ THE ONLY TROUBLE IS,
3151
02:15:32,200 --> 02:15:36,600
GEE WHIZ ♪
3152
02:15:36,666 --> 02:15:38,733
♪ I'M DREAMIN' MY LIFE AWAY ♪
3153
02:15:38,800 --> 02:15:42,500
♪ I NEED YOU
3154
02:15:42,566 --> 02:15:43,933
♪ I NEED YOU SO
3155
02:15:44,000 --> 02:15:45,000
THAT I COULD DIE ♪
3156
02:15:45,066 --> 02:15:46,466
♪ I LOVE YOU SO
3157
02:15:46,533 --> 02:15:51,366
AND THAT IS WHY ♪
3158
02:15:51,433 --> 02:15:52,000
♪ WHENEVER I WANT YOU,
3159
02:15:52,066 --> 02:15:55,700
ALL I HAVE TO DO IS ♪
3160
02:15:55,766 --> 02:15:58,700
♪ DREAM, DREAM, DREAM, DREAM ♪
3161
02:15:58,766 --> 02:16:05,100
♪ DREAM ♪
3162
02:16:05,166 --> 02:16:09,433
♪ I CAN MAKE YOU MINE,
3163
02:16:09,500 --> 02:16:11,400
TASTE YOUR LIPS OF WINE ♪
3164
02:16:11,466 --> 02:16:17,866
♪ ANYTIME NIGHT OR DAY ♪
3165
02:16:17,933 --> 02:16:19,000
♪ THE ONLY TROUBLE IS,
3166
02:16:19,066 --> 02:16:20,633
GEE WHIZ ♪
3167
02:16:20,700 --> 02:16:24,833
♪ I'M DREAMIN' MY LIFE AWAY ♪
3168
02:16:24,900 --> 02:16:27,700
♪ I NEED YOU SO
3169
02:16:27,766 --> 02:16:30,166
THAT I COULD DIE ♪
3170
02:16:30,233 --> 02:16:32,533
♪ I LOVE YOU SO
3171
02:16:32,600 --> 02:16:34,966
AND THAT IS WHY ♪
3172
02:16:35,033 --> 02:16:37,433
♪ WHENEVER I WANT YOU,
3173
02:16:37,500 --> 02:16:40,100
ALL I HAVE TO DO IS ♪
3174
02:16:40,166 --> 02:16:51,133
♪ DREAM, DREAM, DREAM, DREAM ♪
3175
02:16:51,200 --> 02:16:58,533
♪ DREAM, DREAM, DREAM, DREAM ♪
3176
02:16:58,600 --> 02:17:01,100
♪ DREAM ♪
3177
02:17:01,166 --> 02:17:09,166
♪ DREAM ♪
3178
02:17:09,233 --> 02:17:17,766
[CHEERS AND APPLAUSE]
3179
02:17:17,833 --> 02:17:19,400
>> CONGRATULATIONS TO MY FRIEND
3180
02:17:19,466 --> 02:17:20,466
J.C. ON THIS INCREDIBLE HONOR.
3181
02:17:20,533 --> 02:17:22,100
I'VE ALWAYS HAD THE TWO OF US
3182
02:17:22,166 --> 02:17:23,000
HAVE MORE IN COMMON THAT MEETS
3183
02:17:23,066 --> 02:17:24,966
THE EYE.
3184
02:17:25,033 --> 02:17:27,966
NOBODY WHO MET EITHER OF US AS
3185
02:17:28,033 --> 02:17:28,633
YOUNGER MEN WOULD HAVE EXPECTED
3186
02:17:28,700 --> 02:17:30,800
US TO BE WHERE WE ARE TODAY.
3187
02:17:30,866 --> 02:17:32,733
WE BOTH FEEL RESPONSIBLE BILL
3188
02:17:32,800 --> 02:17:33,966
NUMB NECK RESPONSIBILITY TO
3189
02:17:34,033 --> 02:17:34,900
CREATE LETTERS FOR THOSE COMING
3190
02:17:34,966 --> 02:17:36,400
UP BEHIND US.
3191
02:17:36,466 --> 02:17:38,800
LET'S FACE IT, WE ALSO BOTH HAVE
3192
02:17:38,866 --> 02:17:40,300
WIVES WHO ARE SIGNIFICANTLY MORE
3193
02:17:40,366 --> 02:17:41,433
POPULAR THAN WE ARE.
3194
02:17:41,500 --> 02:17:42,666
IN PART BECAUSE WE'VE BEEN ON
3195
02:17:42,733 --> 02:17:45,366
SIMILAR JOURNEYS.
3196
02:17:45,433 --> 02:17:46,733
I'VE TURNED TO JAY-Z'S WORDS AT
3197
02:17:46,800 --> 02:17:48,500
DIFFERENT POINTS IN MY LIFE,
3198
02:17:48,566 --> 02:17:49,833
WHETHER I WAS BRUSHING DIRT OFF
3199
02:17:49,900 --> 02:17:51,766
MY SHOULDER ON THE CAMPAIGN
3200
02:17:51,833 --> 02:17:54,666
TRAIL OR SAMPLING HIS LYRICS ON
3201
02:17:54,733 --> 02:17:57,100
THE BRIDGE ON THE 50TH
3202
02:17:57,166 --> 02:17:59,066
ANNIVERSARY OF THE SELMA MARCH
3203
02:17:59,133 --> 02:18:00,400
TO MONTGOMERY.
3204
02:18:00,466 --> 02:18:02,033
TODAY, JAY-Z IS ONE OF THE MOST
3205
02:18:02,100 --> 02:18:04,933
RENOWNED ARTISTS IN HISTORY AND
3206
02:18:05,000 --> 02:18:06,333
AN EMBODIMENT OF THE AMERICAN
3207
02:18:06,400 --> 02:18:06,533
DREAM.
3208
02:18:06,600 --> 02:18:08,900
A DREAM HE HAS HELPED MAKE REAL
3209
02:18:08,966 --> 02:18:10,400
FOR OTHER YOUNG PEOPLE LIKE HIM.
3210
02:18:10,466 --> 02:18:11,766
SO THAT MAY BE ONE OF THE FIRST
3211
02:18:11,833 --> 02:18:23,333
TO WELCOME THE KID FROM -- TO
3212
02:18:23,400 --> 02:18:24,733
THE HOS, HALL OF FAME.
3213
02:18:24,800 --> 02:18:25,333
IT'S A TESTAMENT TO ONE OF THE
3214
02:18:25,400 --> 02:18:27,433
MOST REMARKABLE CAREERS IN
3215
02:18:27,500 --> 02:18:28,933
HISTORY OF MUSIC.
3216
02:18:29,033 --> 02:18:30,666
A CAREER WHOSE STORY IS STILL
3217
02:18:30,733 --> 02:18:32,100
BEING WRITTEN.
3218
02:18:32,166 --> 02:18:35,666
CONGRATULATIONS, JAY.
3219
02:18:35,733 --> 02:18:45,833
♪ ♪
3220
02:18:45,900 --> 02:18:47,700
>> IN MY LIFETIME, MORE THAN A
3221
02:18:47,766 --> 02:18:50,600
MILLION RHYMES, NO JOKING.
3222
02:18:50,666 --> 02:18:53,300
>> HEY, JAY, CAN I IT OPEN?
3223
02:18:53,366 --> 02:18:55,566
>> BEYOND A REASONABLE DOUBT,
3224
02:18:55,633 --> 02:18:57,633
THE INDUSTRY MADE ME.
3225
02:18:57,700 --> 02:18:59,733
WHAT'S CRAZY IS, I'M STILL
3226
02:18:59,800 --> 02:19:02,300
SPENDING MONEY FROM '88.
3227
02:19:02,366 --> 02:19:03,700
>> CAN I LIVE AND SURPRISE THE
3228
02:19:03,766 --> 02:19:04,133
GAME?
3229
02:19:04,200 --> 02:19:05,300
THINK HARDER.
3230
02:19:05,366 --> 02:19:07,700
>> YOU KNOW THIS, BROTHER.
3231
02:19:07,766 --> 02:19:09,133
>> JAY-Z.
3232
02:19:09,200 --> 02:19:09,500
>> SHAWN CARTER.
3233
02:19:09,566 --> 02:19:11,033
>> FRIENDS OR FOES CAN GET IT
3234
02:19:11,100 --> 02:19:11,900
QUICK.
3235
02:19:11,966 --> 02:19:13,466
>> I SUGGEST YOU ALL ROLL WITH
3236
02:19:13,533 --> 02:19:15,533
THE CLICK, WHERE YOU AT?
3237
02:19:15,600 --> 02:19:17,133
>> IT'S ALL RIGHT, JUST USE YOUR
3238
02:19:17,200 --> 02:19:18,233
WITS.
3239
02:19:18,300 --> 02:19:18,900
>> TO KNOW THE DIFFERENCE
3240
02:19:18,966 --> 02:19:23,633
BETWEEN A 4.0 AND -- >> YOUNG
3241
02:19:23,700 --> 02:19:25,000
HOV.
3242
02:19:25,066 --> 02:19:25,800
>> I'M A HUSTLER, BABY.
3243
02:19:25,866 --> 02:19:30,400
>> I CAN SELL WATER TO A WHEEL.
3244
02:19:30,466 --> 02:19:32,033
>> THE TRUTH IN EVERY WORLD
3245
02:19:32,100 --> 02:19:32,566
WORD.
3246
02:19:32,633 --> 02:19:34,900
>> IT'S A HARD KNOCK LIFE BUT
3247
02:19:34,966 --> 02:19:37,600
IT'S ALL RIGHT, YOU HEARD?
3248
02:19:37,666 --> 02:19:38,766
>> HERE TO TRACK AND TAKE
3249
02:19:38,833 --> 02:19:39,400
FLIGHT.
3250
02:19:39,466 --> 02:19:41,700
>> ON THE BUSINESS, MAN.
3251
02:19:41,766 --> 02:19:43,166
WHO HE WHO WRITES CHECKS WITH A
3252
02:19:43,233 --> 02:19:46,433
HAND THAT DON'T WRITE.
3253
02:19:46,500 --> 02:19:47,666
>> I'M RELOADING.
3254
02:19:47,733 --> 02:19:49,100
>> TOO MANY CLASSICS.
3255
02:19:49,166 --> 02:19:52,200
>> IT'S THE ROC, AND WE WRITING
3256
02:19:52,266 --> 02:19:54,466
THIS RAP SHIT.
3257
02:19:54,533 --> 02:19:58,166
>> JACKSON, TYSON, JORDAN, IN
3258
02:19:58,233 --> 02:19:59,033
GAME SIX.
3259
02:19:59,100 --> 02:20:00,866
>> IN THE ZONE LIKE TO HAVE BEEN
3260
02:20:00,933 --> 02:20:03,966
THREE, MADE IT LOOK TOO EASY.
3261
02:20:04,033 --> 02:20:05,866
>> CAN'T LEAVE RAP ALONE, THE
3262
02:20:05,933 --> 02:20:06,833
GAME NEEDS ME.
3263
02:20:06,900 --> 02:20:08,766
>> FROM THE OTHER SIDE WITH
3264
02:20:08,833 --> 02:20:09,166
OTHER GUYS.
3265
02:20:09,233 --> 02:20:12,566
>> ARGUE ABOUT WHO IS THE BEST
3266
02:20:12,633 --> 02:20:12,866
MC.
3267
02:20:12,933 --> 02:20:13,300
>> BIGGIE.
3268
02:20:13,366 --> 02:20:16,333
>> JAY-Z.
3269
02:20:16,400 --> 02:20:17,300
>> AND NAS.
3270
02:20:17,366 --> 02:20:21,200
>> IT'S COOL, DEAD PRESIDENTS TO
3271
02:20:21,266 --> 02:20:22,866
REPRESENT ME.
3272
02:20:22,933 --> 02:20:24,100
>> AT THE BREAK IS OVER.
3273
02:20:24,166 --> 02:20:25,966
>> SO YOU CAN GET BACK.
3274
02:20:26,033 --> 02:20:27,833
>> DIRT OFF YOUR SHOULDER.
3275
02:20:27,900 --> 02:20:30,233
>> BECAUSE IF I HIT YOU, I'M
3276
02:20:30,300 --> 02:20:31,066
BRINGING THIS.
3277
02:20:31,133 --> 02:20:32,333
>> IF YOU GET ME, AND THEY MISS,
3278
02:20:32,400 --> 02:20:37,233
WHAT'S UP BROTHER TO DO, DAMN,
3279
02:20:37,300 --> 02:20:38,000
IT GETS TEDIOUS.
3280
02:20:38,066 --> 02:20:41,366
>> SO I KEEP ONE EYE OPEN LIKE
3281
02:20:41,433 --> 02:20:41,533
CBS.
3282
02:20:41,600 --> 02:20:43,266
>> I'M FOCUSED, MAN.
3283
02:20:43,333 --> 02:20:44,600
>> THE HUSTLER'S POSTER CHILD.
3284
02:20:44,666 --> 02:20:46,900
>> ALSO HOW TO DO THIS, SOME.
3285
02:20:46,966 --> 02:20:49,766
>> SEE WHAT WAS WHAT.
3286
02:20:49,833 --> 02:20:50,333
>> AND WHO WAS PUT.
3287
02:20:50,400 --> 02:20:55,033
>> DOWN TO 22 TWOS.
3288
02:20:55,100 --> 02:20:56,233
>> NOBODY WINS WHEN THE FAMILY
3289
02:20:56,300 --> 02:20:56,933
FEUDS.
3290
02:20:57,000 --> 02:20:58,266
>> MY MOTTO IS SIMPLE.
3291
02:20:58,333 --> 02:21:00,000
I WILL NOT LOSE.
3292
02:21:00,066 --> 02:21:03,800
>> ALLOW ME REINTRODUCE MYSELF.
3293
02:21:03,866 --> 02:21:11,000
MY NAME IS HOV, H TO THE OV.
3294
02:21:11,066 --> 02:21:12,766
>> WHEN I SHOOT, MEET YOUR
3295
02:21:12,833 --> 02:21:13,000
DESTINY.
3296
02:21:13,066 --> 02:21:15,000
>> I'M FROM A PLACE FOR THE NEWS
3297
02:21:15,066 --> 02:21:15,600
CAMERAS NEVER COME.
3298
02:21:15,666 --> 02:21:17,000
>> WHERE YOU CAN HAVE 99
3299
02:21:17,066 --> 02:21:23,400
PROBLEMS, BUT A BITCH AND ONE.
3300
02:21:23,466 --> 02:21:26,833
>> YEAH, I'M OUT THAT, BROOKLYN.
3301
02:21:26,900 --> 02:21:28,433
>> ALWAYS SEEN IT WRAPPING,
3302
02:21:28,500 --> 02:21:29,833
BECAUSE YOU CAN'T KNOCK THE
3303
02:21:29,900 --> 02:21:30,833
HUSTLE.
3304
02:21:30,900 --> 02:21:32,633
>> ALL WE ASK IS TRUST.
3305
02:21:32,700 --> 02:21:33,500
>> THAT'S WHY I OVERCHARGE THEM
3306
02:21:33,566 --> 02:21:35,866
FOR WHAT THEY DID TO THE COLD
3307
02:21:35,933 --> 02:21:36,433
CRUSH.
3308
02:21:36,500 --> 02:21:38,833
>> BECAUSE WHAT IS BETTER THAN
3309
02:21:38,900 --> 02:21:39,733
ONE BLACK BILLIONAIRE?
3310
02:21:39,800 --> 02:21:40,933
>> TWO.
3311
02:21:41,000 --> 02:21:41,566
>> THEY SAID I COULDN'T DO IT
3312
02:21:41,633 --> 02:21:44,966
AGAIN SO I DID IT AGAIN.
3313
02:21:45,033 --> 02:21:46,000
>> REWRITE HISTORY WITH NO MAN.
3314
02:21:46,066 --> 02:21:52,833
>> JIGGA, MAN, WE DID IT, MAN.
3315
02:21:52,900 --> 02:21:54,633
>> UP MY GAME HAS GROWN.
3316
02:21:54,700 --> 02:21:56,166
PREFER YOU CALL ME WILLIAM.
3317
02:21:56,233 --> 02:21:58,066
>> AND IF YOU CAN'T RESPECT
3318
02:21:58,133 --> 02:21:59,633
THAT, THEN YOUR WHOLE
3319
02:21:59,700 --> 02:22:00,133
PERSPECTIVE IS WHACK.
3320
02:22:00,200 --> 02:22:02,600
MAYBE YOU LOVE ME WHEN I FADE TO
3321
02:22:02,666 --> 02:22:03,566
BLACK.
3322
02:22:03,633 --> 02:22:04,233
>> YOU'RE WITNESSING THE
3323
02:22:04,300 --> 02:22:06,033
BLUEPRINT OF HOW TO PITCH WITH
3324
02:22:06,100 --> 02:22:07,000
NO MOM.
3325
02:22:07,066 --> 02:22:08,933
>> SO GATHER ROUND, HUSTLERS,
3326
02:22:09,000 --> 02:22:14,133
BECAUSE IT'S ABOUT TO GO DOWN.
3327
02:22:14,200 --> 02:22:15,200
>> YOU PAID THE RIGHT PRICE, SO
3328
02:22:15,266 --> 02:22:20,300
WE JUST MADE YOUR HITS TIGHTER.
3329
02:22:20,366 --> 02:22:22,200
[LAUGHS]
3330
02:22:22,266 --> 02:22:24,333
♪ ♪
3331
02:22:24,400 --> 02:22:28,033
>> TO INDUCT JAY-Z, DAVE
3332
02:22:28,100 --> 02:22:30,900
CHAPPELLE.
3333
02:22:30,966 --> 02:22:37,800
[CHEERS AND APPLAUSE]
3334
02:22:37,866 --> 02:22:43,000
>> O.H.
3335
02:22:43,066 --> 02:22:44,333
I WOULD LIKE TO APOLOGIZE.
3336
02:22:44,400 --> 02:22:53,933
I'M JUST FUCKING WITH YOU.
3337
02:22:54,000 --> 02:22:57,133
[LAUGHTER]
3338
02:22:57,200 --> 02:23:00,333
[LAUGHS]
3339
02:23:00,400 --> 02:23:03,266
THIS IS AN INCREDIBLE HONOR TO
3340
02:23:03,333 --> 02:23:04,433
INDUCT THIS NEXT MAN INTO THE
3341
02:23:04,500 --> 02:23:12,666
ROCK & ROLL HALL OF FAME.
3342
02:23:12,733 --> 02:23:13,566
BUT I NEED EVERYBODY IN ROCK 'N'
3343
02:23:13,633 --> 02:23:14,333
ROLL KNOW THAT EVEN THOUGH WE
3344
02:23:14,400 --> 02:23:15,133
ARE HONORING HIM, HE IS OURS.
3345
02:23:15,200 --> 02:23:18,566
HE IS HIP-HOP.
3346
02:23:18,633 --> 02:23:21,733
FOREVER AND EVER AND A DAY.
3347
02:23:21,800 --> 02:23:25,766
I COULD SIT UP HERE TONIGHT,
3348
02:23:25,833 --> 02:23:27,666
I COULD TALK ABOUT HIS ACUMEN
3349
02:23:27,733 --> 02:23:29,500
AS A BUSINESSMAN.
3350
02:23:29,566 --> 02:23:31,700
I COULD TALK ABOUT HIS
3351
02:23:31,766 --> 02:23:33,333
ACCOMPLISHMENTS IN MUSIC.
3352
02:23:33,400 --> 02:23:34,300
BUT I THINK WHAT'S MOST
3353
02:23:34,366 --> 02:23:35,233
IMPORTANT FOR EVERYONE IN THIS
3354
02:23:35,300 --> 02:23:36,500
ROOM TO KNOW IS WHAT IT MEANS
3355
02:23:36,566 --> 02:23:38,766
TO US, WHAT HE MEANS TO HIS
3356
02:23:38,833 --> 02:23:46,233
CULTURE.
3357
02:23:46,300 --> 02:23:49,000
BEING BLACK IN AMERICA IS NOT AS
3358
02:23:49,066 --> 02:24:00,633
EASY AS IT LOOKS.
3359
02:24:00,700 --> 02:24:02,133
IT'S ALWAYS...
3360
02:24:02,200 --> 02:24:03,733
DON'T DO THIS OR ELSE.
3361
02:24:03,800 --> 02:24:09,200
DON'T SAY THIS OR ELSE.
3362
02:24:09,266 --> 02:24:15,300
LIKE SEAN CARTER SAID ABOUT
3363
02:24:15,366 --> 02:24:17,466
HIMSELF, "I'M SO BRAZEN, I'M SO
3364
02:24:17,533 --> 02:24:18,100
BRAZEN, I'M 'RAISIN IN THE SUN,'
3365
02:24:18,166 --> 02:24:18,466
SIR."
3366
02:24:18,533 --> 02:24:20,466
WE DO IT ANYWAY.
3367
02:24:20,533 --> 02:24:27,666
WHENEVER WE HAVE TO.
3368
02:24:27,733 --> 02:24:28,566
WE DON'T HAVE A COMPLICATED
3369
02:24:28,633 --> 02:24:29,033
EMOTIONAL VOCABULARY.
3370
02:24:29,100 --> 02:24:29,966
WE HAVE TO MAKE EVERYTHING LOOK
3371
02:24:30,033 --> 02:24:30,566
EASY.
3372
02:24:30,633 --> 02:24:31,666
AND THIS MAN IS A DIAMOND THAT
3373
02:24:31,733 --> 02:24:37,133
WAS BORN OF PRESSURE.
3374
02:24:37,200 --> 02:24:38,266
TO COIN A PHRASE THAT FELLOW
3375
02:24:38,333 --> 02:24:39,133
HALL OF FAMER MADE, TUPAC SHAKUR
3376
02:24:39,200 --> 02:24:40,033
CALLED IT A ROSE THAT ROSE FROM
3377
02:24:40,100 --> 02:24:45,766
THE CONCRETE.
3378
02:24:45,833 --> 02:24:53,166
THAT TO US IS WHAT HIP-HOP IS.
3379
02:24:53,233 --> 02:24:53,900
YOU HEARD OUR STORIES COME BACK
3380
02:24:53,966 --> 02:24:54,300
TO US.
3381
02:24:54,366 --> 02:24:55,966
OUR STRESSES AND OUR STRENGTHS.
3382
02:24:56,033 --> 02:24:58,466
AND THE WHOLE TIME THAT HE SAID
3383
02:24:58,533 --> 02:25:00,066
IT, MY GOD, JAY, YOU LOOKED SO
3384
02:25:00,133 --> 02:25:03,766
COOL.
3385
02:25:03,833 --> 02:25:06,000
YOU LOOK SO CALM, SO COLLECTED.
3386
02:25:06,066 --> 02:25:07,033
"IF I SHOOT YOU, I'M BRAINLESS.
3387
02:25:07,100 --> 02:25:13,033
BUT IF YOU SHOOT ME, YOU FAMOUS,
3388
02:25:13,100 --> 02:25:14,533
WHAT A NIGGA TO DO."
3389
02:25:14,600 --> 02:25:15,500
MY GOD, MAN.
3390
02:25:15,566 --> 02:25:16,566
IT'S BEAUTIFUL TO WATCH.
3391
02:25:16,633 --> 02:25:17,666
IN THE MUSIC INDUSTRY THEY CALL
3392
02:25:17,733 --> 02:25:18,500
HIM "ONE-TAKE HOV."
3393
02:25:18,566 --> 02:25:20,000
HE SAID IT ABOUT HIMSELF, BUT
3394
02:25:20,066 --> 02:25:26,333
YOU DON'T KNOW WHY HE SAID IT.
3395
02:25:26,400 --> 02:25:27,200
'CAUSE WHEN HE WAS HUSTLING,
3396
02:25:27,266 --> 02:25:28,033
'CAUSE HE USED TO SELL CRACK.
3397
02:25:28,100 --> 02:25:29,100
OH, DON'T GET IT TWISTED.
3398
02:25:29,166 --> 02:25:30,200
AMERICAN PIE IS NOT MADE OUT OF
3399
02:25:30,266 --> 02:25:34,200
APPLES.
3400
02:25:34,266 --> 02:25:35,500
IT'S MADE OUT OF WHATEVER YOU
3401
02:25:35,566 --> 02:25:47,033
GET YOUR FUCKING HANDS ON.
3402
02:25:47,100 --> 02:25:48,200
HE USED TO SELL CRACK.
3403
02:25:48,266 --> 02:25:49,766
HE DIDN'T HAVE ANYTHING TO WRITE
3404
02:25:49,833 --> 02:25:50,533
HIS RHYMES ON AND HE WOULD SIT
3405
02:25:50,600 --> 02:25:52,666
THERE AND HE WOULD JUST WRITE
3406
02:25:52,733 --> 02:25:53,500
DOWN WHATEVER.
3407
02:25:53,566 --> 02:25:54,333
HE WOULD MEMORIZE ALL THESE
3408
02:25:54,400 --> 02:25:55,133
THOUGHTS THAT CAME TO HIS MIND,
3409
02:25:55,200 --> 02:25:55,600
AN AVALANCHE OF IDEAS.
3410
02:25:55,666 --> 02:25:56,366
AND HE WOULD JUST BE CATCHIN'
3411
02:25:56,433 --> 02:25:57,200
RAINWATER.
3412
02:25:57,266 --> 02:25:59,766
AND WHEN HE GOT IN THE STUDIO,
3413
02:25:59,833 --> 02:26:01,666
LIKE GOD, HE WOULD DO THE VERSE.
3414
02:26:01,733 --> 02:26:06,366
HE WOULD LET IT BE.
3415
02:26:06,433 --> 02:26:07,433
AND IT WOULD BE.
3416
02:26:07,500 --> 02:26:08,066
AND THE STREETS ADMIRED HIM FOR
3417
02:26:08,133 --> 02:26:12,166
THIS.
3418
02:26:12,233 --> 02:26:12,766
THE STREETS LOVED HIM FOR THIS
3419
02:26:12,833 --> 02:26:13,466
FOR THIS FOR THIS, BECAUSE HE
3420
02:26:13,533 --> 02:26:18,433
RHYMED A RECIPE FOR SURVIVAL.
3421
02:26:18,500 --> 02:26:19,266
THE WAY A WHITE PERSON MIGHT
3422
02:26:19,333 --> 02:26:19,900
HEAR HIS MUSIC IS NOT THE SAME
3423
02:26:19,966 --> 02:26:20,600
THE WAY SOMEONE FROM MARCY
3424
02:26:20,666 --> 02:26:24,800
WOULD.
3425
02:26:24,866 --> 02:26:25,533
WHEN HE SAID, "THIS IS JAY IS
3426
02:26:25,600 --> 02:26:25,900
EVERY DAY."
3427
02:26:25,966 --> 02:26:26,900
HE TOLD US HE'D NEVER CHANGE.
3428
02:26:26,966 --> 02:26:27,733
YOU HEARD THIS.
3429
02:26:27,800 --> 02:26:28,433
PROBABLY SAYS THE WHITE PERSON,
3430
02:26:28,500 --> 02:26:29,000
"WELL, MAYBE THIS GUY SHOULD
3431
02:26:29,066 --> 02:26:36,066
FOCUS ON THIS DEVELOPMENT."
3432
02:26:36,133 --> 02:26:36,700
BUT WHAT WE HEARD IS THAT HE'LL
3433
02:26:36,766 --> 02:26:40,100
NEVER FORGET US.
3434
02:26:40,166 --> 02:26:40,766
HE WILL ALWAYS REMEMBER US.
3435
02:26:40,833 --> 02:26:41,533
THAT WE ARE HIS POINT OF
3436
02:26:41,600 --> 02:26:42,700
REFERENCE, THAT HE IS GOING TO
3437
02:26:42,766 --> 02:26:44,266
SHOW US HOW FAR WE CAN GO IF WE
3438
02:26:44,333 --> 02:26:45,266
JUST GET HOLD OF THE
3439
02:26:45,333 --> 02:26:49,666
OPPORTUNITY.
3440
02:26:49,733 --> 02:26:50,300
FOR THIS, WE WILL ALWAYS LOVE
3441
02:26:50,366 --> 02:27:01,900
HIM, WE ALWAYS TREASURE HIM.
3442
02:27:01,966 --> 02:27:02,533
AND AS IMPORTANT AS THIS WAR IS
3443
02:27:02,600 --> 02:27:03,133
FOR SOME, YOU MUST UNDERSTAND
3444
02:27:03,200 --> 02:27:05,066
THAT HE HAS HIS PEOPLE'S HEARTS.
3445
02:27:05,133 --> 02:27:05,666
AND WE LOVE HIM MORE THAN YOU
3446
02:27:05,733 --> 02:27:06,266
COULD EVER RECOGNIZE OR EVEN
3447
02:27:06,333 --> 02:27:10,166
REALIZE BECAUSE HE EMBODIES THE
3448
02:27:10,233 --> 02:27:11,066
POTENTIAL OF WHAT OUR LIVES CAN
3449
02:27:11,133 --> 02:27:17,200
BE AND WHAT SUCCESS CAN BE.
3450
02:27:17,266 --> 02:27:17,833
THERE'S SO MUCH POETRY IF YOU'VE
3451
02:27:17,900 --> 02:27:18,266
GOTTEN TO KNOW HIM.
3452
02:27:18,333 --> 02:27:21,466
JUST THE WAY HE SPEAKS.
3453
02:27:21,533 --> 02:27:24,633
I REMEMBER ONE TIME.
3454
02:27:24,700 --> 02:27:26,800
THE ROOTS WAS HAVING A JAM
3455
02:27:26,866 --> 02:27:32,233
SESSION IN L.A.
3456
02:27:32,300 --> 02:27:33,600
HELLO, AMIR.
3457
02:27:33,666 --> 02:27:34,466
AND BACKSTAGE, I SAW JAY-Z AND A
3458
02:27:34,533 --> 02:27:35,066
PHOTOGRAPHER CAME UP AND SAID,
3459
02:27:35,133 --> 02:27:35,666
"GUYS, CAN WE GET A PICTURE?"
3460
02:27:35,733 --> 02:27:36,166
IT WAS HIM AND HIS WIFE,
3461
02:27:36,233 --> 02:27:41,033
BEYONCE.
3462
02:27:41,100 --> 02:27:43,566
AND RIAL --
3463
02:27:43,633 --> 02:27:45,400
[CHEERS AND APPLAUSE]
3464
02:27:45,466 --> 02:27:46,966
ALL RIGHT, GUYS, RELAX.
3465
02:27:47,033 --> 02:27:49,100
WOULD YOU?
3466
02:27:49,166 --> 02:27:50,200
AND WE ALL GROUPED TOGETHER FOR
3467
02:27:50,266 --> 02:27:51,733
A PICTURE, ME, JAY AND BEYONCE,
3468
02:27:51,800 --> 02:27:52,333
AND I STOOD BETWEEN THEM AND I
3469
02:27:52,400 --> 02:27:54,200
PUT MY ARMS AROUND THEM AND JAY
3470
02:27:54,266 --> 02:27:55,766
GRABBED ME AND MOVED ME TO THE
3471
02:27:55,833 --> 02:27:57,200
SIDE AND GRABBED HIS WIFE BY THE
3472
02:27:57,266 --> 02:27:59,600
HAND AND SAID, "THE ROSE BETWEEN
3473
02:27:59,666 --> 02:28:06,933
THE THORNS."
3474
02:28:07,000 --> 02:28:08,066
AND AS THEY'RE TAKING THE
3475
02:28:08,133 --> 02:28:09,533
PICTURE JAY SAYS TO ME,
3476
02:28:09,600 --> 02:28:11,866
"YOU MUST HAVE A LOT OF PRESSURE
3477
02:28:11,933 --> 02:28:12,500
ON YOU TO SAY FUNNY SHIT ALL THE
3478
02:28:12,566 --> 02:28:17,133
TIME."
3479
02:28:17,200 --> 02:28:18,766
AND I LOOK AT JAY AND SAY TO
3480
02:28:18,833 --> 02:28:19,900
HIM, "WELL, YOU MUST HAVE A LOT
3481
02:28:19,966 --> 02:28:21,100
OF PRESSURE ON YOU TO SAY COOL
3482
02:28:21,166 --> 02:28:29,866
SHIT ALL THE TIME."
3483
02:28:29,933 --> 02:28:31,566
[LAUGHS]
3484
02:28:31,633 --> 02:28:33,866
AND JAY LOOKED AT ME AND SAID,
3485
02:28:33,933 --> 02:28:35,300
"IT AIN'T NO PRESSURE.
3486
02:28:35,366 --> 02:28:41,200
I JUST DO IT."
3487
02:28:41,266 --> 02:28:41,666
[CHEERS AND APPLAUSE]
3488
02:28:41,733 --> 02:28:44,033
THAT'S RIGHT.
3489
02:28:44,100 --> 02:28:44,666
AND I LOOKED AT JAY AND SAID,
3490
02:28:44,733 --> 02:28:45,633
"MY GOD, MAN, YOU JUST DID IT
3491
02:28:45,700 --> 02:28:52,500
AGAIN."
3492
02:28:52,566 --> 02:28:53,533
HOVA, MY FRIEND.
3493
02:28:53,600 --> 02:28:54,400
I'M A FAN.
3494
02:28:54,466 --> 02:28:55,433
I'M HONORED THAT I GOT A CHANCE
3495
02:28:55,500 --> 02:28:59,466
TO KNOW YOU.
3496
02:28:59,533 --> 02:29:00,433
YOU EMBODY BLACK EXCELLENCE,
3497
02:29:00,500 --> 02:29:08,766
HOW GREAT WE CAN BE.
3498
02:29:08,833 --> 02:29:13,333
AND I AM HONORED TO BE THE NIGGA
3499
02:29:13,400 --> 02:29:14,266
THAT GETS TO SAY, "MY NIGGA,
3500
02:29:14,333 --> 02:29:15,633
WELCOME TO THE ROCK AND ROLL
3501
02:29:15,700 --> 02:29:23,766
HALL OF FAME."
3502
02:29:23,833 --> 02:29:24,333
>> U.S. THREE YEARS YEARS IN
3503
02:29:24,400 --> 02:29:26,766
HIP-HOP, YOU FANTASTIC.
3504
02:29:26,833 --> 02:29:29,533
YOU LAST FIVE YEARS, IT'S LIKE,
3505
02:29:29,600 --> 02:29:31,700
WHILE MATT, THAT'S AMAZING.
3506
02:29:31,766 --> 02:29:33,166
BUT IF YOU WOULD LAST THROUGH A
3507
02:29:33,233 --> 02:29:36,000
DECADE AND BEYOND, IT'S ALMOST
3508
02:29:36,066 --> 02:29:37,700
UNHEARD OF.
3509
02:29:37,766 --> 02:29:43,533
>> NOW TUNE INTO THE
3510
02:29:43,600 --> 02:29:44,600
MOTHERFUCKING GREATEST.
3511
02:29:44,666 --> 02:29:48,233
>> WHEN YOU SAY TOP FIVE, TOP
3512
02:29:48,300 --> 02:29:51,233
THREE, JAY IS AT THE TOP OF MOST
3513
02:29:51,300 --> 02:29:53,700
PEOPLE'S LISTS.
3514
02:29:53,766 --> 02:29:55,000
>> CHARISMA, STORYTELLING,
3515
02:29:55,066 --> 02:29:56,333
WORDPLAY, THE ABILITY TO MAKE
3516
02:29:56,400 --> 02:29:57,300
YOU THINK.
3517
02:29:57,366 --> 02:29:59,266
YOU TAKE ALL THOSE THINGS AND
3518
02:29:59,333 --> 02:30:02,200
EXECUTE IT AT THE HIGHEST LEVEL.
3519
02:30:02,266 --> 02:30:04,133
THAT'S JAY.
3520
02:30:04,200 --> 02:30:06,566
>> MAKE SOME NOISE OUT THERE!
3521
02:30:06,633 --> 02:30:07,800
>> WHAT MAKES A RAPPER GREAT IS
3522
02:30:07,866 --> 02:30:09,766
HOW CLOSE HE CAN BRING YOU TO
3523
02:30:09,833 --> 02:30:11,500
HIS EXPERIENCE, LIKE YOU JUST
3524
02:30:11,566 --> 02:30:12,800
CLOSE YOUR EYES AND YOU ARE JUST
3525
02:30:12,866 --> 02:30:13,600
RIGHT THERE.
3526
02:30:13,666 --> 02:30:16,033
>> LET ME TAKE Y'ALL BACK TO THE
3527
02:30:16,100 --> 02:30:16,800
BEGINNING.
3528
02:30:16,866 --> 02:30:18,800
>> I'M A KID FROM MARCY PROJECTS
3529
02:30:18,866 --> 02:30:19,300
IN BROOKLYN.
3530
02:30:19,366 --> 02:30:21,600
ONLY WAY I WAS GOING TO ACHIEVE
3531
02:30:21,666 --> 02:30:23,033
THESE THINGS WAS THROUGH ILLEGAL
3532
02:30:23,100 --> 02:30:24,466
ACTIVITY.
3533
02:30:24,533 --> 02:30:27,166
THERE WAS NO OTHER WAY OUT.
3534
02:30:27,233 --> 02:30:29,333
LUCKILY FOR ME, I HAD A
3535
02:30:29,400 --> 02:30:31,166
GOD-GIVEN TALENT.
3536
02:30:31,233 --> 02:30:32,500
>> PRACTICE, PRACTICE, NEVER
3537
02:30:32,566 --> 02:30:35,100
REENACT THIS, THE THE SIMPLE
3538
02:30:35,166 --> 02:30:38,733
FACT IS, I'M REAL GOOD AT THIS.
3539
02:30:38,800 --> 02:30:39,800
>> SPEAKING ABOUT EMOTIONS AND
3540
02:30:39,866 --> 02:30:40,633
FEELINGS, THAT'S HOW I STARTED
3541
02:30:40,700 --> 02:30:43,800
WRITING MUSIC.
3542
02:30:43,866 --> 02:30:45,566
>> ♪ YOU ALL KNOW ME ♪
3543
02:30:45,633 --> 02:30:50,866
>> RAP, I USED TO DO IT AS A
3544
02:30:50,933 --> 02:30:51,666
HOBBY, BUT MY MAN INTRODUCED ME
3545
02:30:51,733 --> 02:30:54,000
TO THE WHOLE BUSINESS.
3546
02:30:54,066 --> 02:30:55,733
>> WHEN WE GOT A DEAL IT WAS
3547
02:30:55,800 --> 02:30:57,966
LIKE, WHAT, WE CAN GET PAID FOR
3548
02:30:58,033 --> 02:30:58,800
THIS?
3549
02:30:58,866 --> 02:31:00,366
>> ADD TO THAT FORK IN THE ROAD,
3550
02:31:00,433 --> 02:31:01,566
BE AN ENTERTAINER OR STATE IN
3551
02:31:01,633 --> 02:31:01,966
THE STREET.
3552
02:31:02,033 --> 02:31:03,733
ONCE I TOOK THAT RIGHT TURN TO
3553
02:31:03,800 --> 02:31:05,900
BE AN ENTERTAINER, I NEVER
3554
02:31:05,966 --> 02:31:06,200
LOOKED BACK.
3555
02:31:06,266 --> 02:31:12,166
♪ ♪
3556
02:31:12,233 --> 02:31:18,500
>> ENOUGH BAIL MONEY TO FREE,
3557
02:31:18,566 --> 02:31:23,000
THAT, I WANTED TO BE THAT.
3558
02:31:23,066 --> 02:31:24,800
>> IT IS ARGUABLY ONE OF THE
3559
02:31:24,866 --> 02:31:26,766
GREATEST DOCUMENTS ABOUT THE
3560
02:31:26,833 --> 02:31:27,466
HUSTLING LIFE THAT ANY HUMAN
3561
02:31:27,533 --> 02:31:30,133
BEING HAS EVER CREATED.
3562
02:31:30,200 --> 02:31:32,933
>> I'M NOT REALLY WITH THAT MANY
3563
02:31:33,000 --> 02:31:34,033
STREETS RIGHT NOW, WE WENT AND
3564
02:31:34,100 --> 02:31:35,666
MADE OUR OWN COMPANY,
3565
02:31:35,733 --> 02:31:36,100
ROCKEFELLER RECORD.
3566
02:31:36,166 --> 02:31:38,100
WE DON'T DEPEND ON THE INDUSTRY
3567
02:31:38,166 --> 02:31:38,566
FOR NOTHING.
3568
02:31:38,633 --> 02:31:40,133
YOU DON'T PLAY MY STUFF ON THE
3569
02:31:40,200 --> 02:31:43,566
RADIO, IT'S GOING TO BE HEARD.
3570
02:31:43,633 --> 02:31:45,733
>> ♪ IT'S A HARD KNOCK LIFE FOR
3571
02:31:45,800 --> 02:31:45,933
US ♪
3572
02:31:46,000 --> 02:31:47,300
♪ IT'S A HARD KNOCK LIFE FOR
3573
02:31:47,366 --> 02:31:49,333
US."
3574
02:31:49,400 --> 02:31:50,800
>> THAT IS TOUGH FOR SOMEONE TO
3575
02:31:50,866 --> 02:31:51,733
SAY YOU ARE WRONG.
3576
02:31:51,800 --> 02:31:53,500
AND I'M GOING TO PROVE THEM
3577
02:31:53,566 --> 02:31:53,700
WRONG.
3578
02:31:53,766 --> 02:31:58,966
♪ ♪
3579
02:31:59,033 --> 02:32:00,166
>> I'M NOT GOING TO LIVE.
3580
02:32:00,233 --> 02:32:01,933
WHEN HE DROPPED THAT RECORD,
3581
02:32:02,000 --> 02:32:03,000
THAT'S WHEN THE WORLD HAD TO
3582
02:32:03,066 --> 02:32:05,033
RECOGNIZE WHO HE WAS AND WHAT IT
3583
02:32:05,100 --> 02:32:06,466
WAS ABOUT.
3584
02:32:06,533 --> 02:32:07,500
>> I KNEW THEN THAT EVERYTHING
3585
02:32:07,566 --> 02:32:08,766
HAD CHANGED IN THAT MOMENT.
3586
02:32:08,833 --> 02:32:13,966
♪ ♪
3587
02:32:14,033 --> 02:32:15,700
>> MISE SINGLES ARE MORE GEARED
3588
02:32:15,766 --> 02:32:17,966
TOWARD HAVING FUN, DANCING,
3589
02:32:18,033 --> 02:32:19,933
THOSE ARE RECORDS THAT PEOPLE
3590
02:32:20,000 --> 02:32:21,833
ENJOY LISTENING TO WHILE THEY IN
3591
02:32:21,900 --> 02:32:22,166
THE NIGHTCLUB.
3592
02:32:22,233 --> 02:32:27,133
♪ ♪
3593
02:32:27,200 --> 02:32:28,600
>> I MOST DEFINITELY HEAR SONGS
3594
02:32:28,666 --> 02:32:33,066
AS A WOMAN AND BE LIKE, OH, YOU,
3595
02:32:33,133 --> 02:32:39,566
BUT I LOVE "BIG PIMPIN'," WHEN
3596
02:32:39,633 --> 02:32:42,800
THAT COMES ON, I'M JUST LIKE, O
3597
02:32:42,866 --> 02:32:42,966
OH.
3598
02:32:43,033 --> 02:32:49,133
♪ ♪
3599
02:32:49,200 --> 02:32:51,933
>> SEE YOU START HAVING A
3600
02:32:52,000 --> 02:32:59,533
RELATIONSHIP, "BIG PIMPIN'"
3601
02:32:59,600 --> 02:33:00,033
WOULD BECOME SOUNDCLOUD.
3602
02:33:00,100 --> 02:33:00,466
YOU SEE THE GROWTH.
3603
02:33:00,533 --> 02:33:04,500
♪ ♪
3604
02:33:04,566 --> 02:33:06,566
>> "DON'T CRY," THAT'S A SPECIAL
3605
02:33:06,633 --> 02:33:07,766
SONG.
3606
02:33:07,833 --> 02:33:09,500
I FEEL LIKE THAT'S MAN WITH NO
3607
02:33:09,566 --> 02:33:12,566
EMOTIONS USING MUSIC AS A WAY TO
3608
02:33:12,633 --> 02:33:14,133
VENT.
3609
02:33:14,200 --> 02:33:15,666
♪ I SEE HER WALKING DOWN THE
3610
02:33:15,733 --> 02:33:17,466
AISLE MOMENT BUT I'VE GOT TO LET
3611
02:33:17,533 --> 02:33:23,166
THE SONG CRY ♪
3612
02:33:23,233 --> 02:33:23,366
♪
3613
02:33:23,433 --> 02:33:26,100
>> TELL ME, YOU JUST SAVED MY
3614
02:33:26,166 --> 02:33:26,766
RELATIONSHIP.
3615
02:33:26,833 --> 02:33:32,433
♪ ♪
3616
02:33:32,500 --> 02:33:38,833
♪ H-O-V-A ♪
3617
02:33:38,900 --> 02:33:41,933
♪ THAT'S THE END THEM, GET YOUR
3618
02:33:42,000 --> 02:33:42,266
HANDS UP ♪
3619
02:33:42,333 --> 02:33:44,800
>> SHOW I COULD MATURE, I WAS A
3620
02:33:44,866 --> 02:33:45,533
PRODUCT OF MY ENVIRONMENT, BUT
3621
02:33:45,600 --> 02:33:48,266
AS I GREW AND IT GOT TO SEE
3622
02:33:48,333 --> 02:33:49,466
OTHER THINGS, MY SOPHISTICATION
3623
02:33:49,533 --> 02:33:50,900
LEVEL, IT ROSE.
3624
02:33:50,966 --> 02:33:53,366
♪ ♪
3625
02:33:53,433 --> 02:33:57,500
>> YOU KNOW, WHAT JAY DOES WITH
3626
02:33:57,566 --> 02:33:58,666
THE MULTIPLICITY OF CADENCES
3627
02:33:58,733 --> 02:34:00,933
HE'S ABLE TO PUT FOURTH, IT'S
3628
02:34:01,000 --> 02:34:02,133
LIKE A JAZZ MUSICIAN.
3629
02:34:02,200 --> 02:34:04,400
>> I DON'T BELIEVE IN THE LINES
3630
02:34:04,466 --> 02:34:05,600
PEOPLE PUT UP FOR MUSIC.
3631
02:34:05,666 --> 02:34:07,133
I'M REALLY A STUDENT OF MUSIC,
3632
02:34:07,200 --> 02:34:11,800
AND EVERY CHANCE THAT I GET, I
3633
02:34:11,866 --> 02:34:12,766
TRY TO CROSS GENRES.
3634
02:34:12,833 --> 02:34:13,233
♪ ♪
3635
02:34:13,300 --> 02:34:14,200
I AM AN ARTIST.
3636
02:34:14,266 --> 02:34:14,966
IT'S MY MUSIC.
3637
02:34:15,033 --> 02:34:17,266
I CAN DO WHAT I WANT WITH IT.
3638
02:34:17,333 --> 02:34:19,533
♪ ♪
3639
02:34:19,600 --> 02:34:21,566
THAT'S THE GREAT THING ABOUT
3640
02:34:21,633 --> 02:34:23,133
HIP-HOP, WHEN YOU'RE IN A
3641
02:34:23,200 --> 02:34:24,533
POSITION TO STRETCH THE GENRE,
3642
02:34:24,600 --> 02:34:26,566
YOU HAVE TO DO IT.
3643
02:34:26,633 --> 02:34:28,866
>> HE ACTUALLY BRINGS ANOTHER
3644
02:34:28,933 --> 02:34:30,266
SET OUT OF THE PRODUCERS.
3645
02:34:30,333 --> 02:34:32,966
HE WASN'T AFRAID TO TRY NEW
3646
02:34:33,033 --> 02:34:33,400
SOUNDS.
3647
02:34:33,466 --> 02:34:46,533
♪ ♪
3648
02:34:46,600 --> 02:34:47,833
>> IN HIP-HOP, WE USE OUR VOICE
3649
02:34:47,900 --> 02:34:51,233
AS OUR MAIN INSTRUMENT.
3650
02:34:51,300 --> 02:34:53,366
YOU FOUND A PLACE IN THAT TRACK
3651
02:34:53,433 --> 02:34:56,833
TO TOKEN, AND YOU JUST DON'T
3652
02:34:56,900 --> 02:34:57,600
DISTURB THE GROUP WHERE IT'S
3653
02:34:57,666 --> 02:35:01,200
JUST SMOOTH AND IT JUST FLOWS.
3654
02:35:01,266 --> 02:35:02,166
>> 94 AND THE TRUNK IS WRONG, IN
3655
02:35:02,233 --> 02:35:05,333
MY REARVIEW MIRROR IS THE
3656
02:35:05,400 --> 02:35:07,366
MOTHERFUCKING LAW, GOT TWO
3657
02:35:07,433 --> 02:35:10,700
CHALLENGES, PUT THE PEDAL TO THE
3658
02:35:10,766 --> 02:35:10,933
FLOOR.
3659
02:35:11,000 --> 02:35:13,800
PLUS I GOT A FEW DOLLARS.
3660
02:35:13,866 --> 02:35:15,566
>> I DON'T KNOW IF YOU EVER
3661
02:35:15,633 --> 02:35:16,800
DOUBT IT, LIKE CLIMBING A
3662
02:35:16,866 --> 02:35:18,000
MOUNTAIN AND YOU SEE ANOTHER
3663
02:35:18,066 --> 02:35:19,666
MOUNTAIN AND YOU GO TO THE NEXT
3664
02:35:19,733 --> 02:35:23,800
ONE AND THE NEXT ONE.
3665
02:35:23,866 --> 02:35:28,500
>> ♪ 99 PROBLEMS BUT IT'S BEEN
3666
02:35:28,566 --> 02:35:30,433
241."
3667
02:35:30,500 --> 02:35:37,400
>THAT TYPE OF RUN IS LIKE ALIEN
3668
02:35:37,466 --> 02:35:37,633
STATUS.
3669
02:35:37,700 --> 02:35:44,966
YOU'VE GOT TO BE A JEDI.
3670
02:35:45,033 --> 02:35:49,666
>> ♪ ALLOW ME TO INTRODUCE
3671
02:35:49,733 --> 02:35:53,600
MYSELF ♪
3672
02:35:53,666 --> 02:35:59,433
♪ MY NAME IS H TO THE O-V A ♪
3673
02:35:59,500 --> 02:36:01,066
>> YOU KNOW, JAY ALWAYS SHOWED A
3674
02:36:01,133 --> 02:36:03,366
SPEAKS OF HIS PERSONAL STORY,
3675
02:36:03,433 --> 02:36:06,466
BUT I THINK WITH "4:44," THIS IS
3676
02:36:06,533 --> 02:36:07,833
WHERE YOU SEEM COMPLETELY
3677
02:36:07,900 --> 02:36:08,133
VULNERABLE.
3678
02:36:08,200 --> 02:36:09,633
HE TOOK THE CAPE OF.
3679
02:36:09,700 --> 02:36:10,933
>> IF YOU WOULD HAVE TOLD ME 20
3680
02:36:11,000 --> 02:36:12,966
YEARS AGO THAT MY LIFE WOULD BE
3681
02:36:13,033 --> 02:36:14,200
LIKE THIS, I'M NOT SURE I WOULD
3682
02:36:14,266 --> 02:36:17,333
HAVE BELIEVED YOU.
3683
02:36:17,400 --> 02:36:19,633
>> THEY ARE NOT GOING TO STOP US
3684
02:36:19,700 --> 02:36:19,833
EVER!
3685
02:36:19,900 --> 02:36:25,400
♪ ♪
3686
02:36:25,466 --> 02:36:26,700
>> AS YOU GREW, WE GREW.
3687
02:36:26,766 --> 02:36:28,000
EACH STEP YOU TAKE, THE STREETS
3688
02:36:28,066 --> 02:36:29,733
TAKE IT WITH YOU.
3689
02:36:29,800 --> 02:36:30,800
YOU'VE GOT NOTHING BUT LOVE OUT
3690
02:36:30,866 --> 02:36:32,200
HERE.
3691
02:36:32,266 --> 02:36:33,966
>> THANK YOU, I APPRECIATE IT,
3692
02:36:34,033 --> 02:36:34,133
BRO.
3693
02:36:34,200 --> 02:36:37,566
♪ ♪
3694
02:36:37,633 --> 02:36:38,700
>> HISTORY IT SHALL RECORD YOUR
3695
02:36:38,766 --> 02:36:39,466
GREATNESS.
3696
02:36:39,533 --> 02:36:41,100
>> YOU'LL LEAVE YOUR NAME HERE,
3697
02:36:41,166 --> 02:36:42,633
LONG AFTER YOU ARE GONE, THEY
3698
02:36:42,700 --> 02:36:44,500
ARE LOOKING AT YOUR NAME, THIS
3699
02:36:44,566 --> 02:36:46,100
GUY STOOD FOR THAT, HE MEANT
3700
02:36:46,166 --> 02:36:47,633
THAT TO US AND HE DID THIS TO
3701
02:36:47,700 --> 02:36:48,066
US.
3702
02:36:48,133 --> 02:36:49,566
I WOULD LOVE TO AFFECT CULTURE
3703
02:36:49,633 --> 02:36:52,300
IN SUCH A WAY THAT YOU WILL
3704
02:36:52,366 --> 02:36:53,200
REMEMBER IT LIKE THAT.
3705
02:36:53,266 --> 02:36:57,666
♪ ♪
3706
02:36:57,733 --> 02:37:00,000
[CHEERS AND APPLAUSE]
3707
02:37:00,066 --> 02:37:05,100
>> IT IS MY HONOR TO WELCOME TO
3708
02:37:05,166 --> 02:37:09,266
THE ROCK ROCK & ROLL
3709
02:37:09,333 --> 02:37:11,666
HALL OF FAME JAY-Z.
3710
02:37:11,733 --> 02:37:24,800
♪ ♪
3711
02:37:24,866 --> 02:37:28,000
>> WOW, WOW.
3712
02:37:28,066 --> 02:37:28,866
TRYING TO MAKE ME CRY IN FRONT
3713
02:37:28,933 --> 02:37:33,166
OF ALL OF THESE WHITE PEOPLE.
3714
02:37:33,233 --> 02:37:36,800
[LAUGHTER]
3715
02:37:36,866 --> 02:37:38,733
>> WE LOVE YOU!
3716
02:37:38,800 --> 02:37:39,633
>> I FEEL SO HONORED TO BE
3717
02:37:39,700 --> 02:37:41,033
CELEBRATED IN SUCH A WAY.
3718
02:37:41,100 --> 02:37:41,966
THANK YOU, ROCK & ROLL HALL
3719
02:37:42,033 --> 02:37:42,900
OF FAME, FOR THIS INCREDIBLE
3720
02:37:42,966 --> 02:37:43,700
HONOR.
3721
02:37:43,766 --> 02:37:44,633
AND YOU KNOW, GROWING UP,
3722
02:37:44,700 --> 02:37:47,566
WE DIDN'T THINK WE COULD BE
3723
02:37:47,633 --> 02:37:48,166
INDUCTED INTO THE ROCK & ROLL
3724
02:37:48,233 --> 02:37:48,766
HALL OF FAME.
3725
02:37:48,833 --> 02:37:49,400
WE WERE TOLD THAT HIP-HOP
3726
02:37:49,466 --> 02:37:53,466
WAS A FAD.
3727
02:37:53,533 --> 02:37:55,633
MUCH LIKE PUNK ROCK, IT GAVE US
3728
02:37:55,700 --> 02:37:57,166
THIS ANTICULTURE, THIS SUBGENRE,
3729
02:37:57,233 --> 02:37:59,633
AND THERE WERE HEROES IN IT.
3730
02:37:59,700 --> 02:38:00,933
WHEN THINKING ABOUT WHAT I WAS
3731
02:38:01,000 --> 02:38:02,466
GOING TO SAY TONIGHT, THESE
3732
02:38:02,533 --> 02:38:06,033
HEROES JUST KEPT COMING TO MY
3733
02:38:06,100 --> 02:38:10,833
MIND, RAKIM AND BIG DADDY KANE
3734
02:38:10,900 --> 02:38:12,933
AND KRS-ONE AND CHUCK D, AND,
3735
02:38:13,000 --> 02:38:16,000
OF COURSE, A FELLOW INDUCTEE,
3736
02:38:16,066 --> 02:38:21,866
LL COOL J.
3737
02:38:21,933 --> 02:38:24,666
I WATCH THESE GUYS, AND THEY
3738
02:38:24,733 --> 02:38:27,033
HAVE BIG CHAINS AND LEATHER
3739
02:38:27,100 --> 02:38:30,266
AND SOMETIMES EVEN THE RED,
3740
02:38:30,333 --> 02:38:31,166
BLACK, GREEN MEDALLIONS, AND
3741
02:38:31,233 --> 02:38:31,900
WHATEVER THEY WORE, EVERYBODY
3742
02:38:31,966 --> 02:38:33,233
WOULD WEAR THE NEXT DAY.
3743
02:38:33,300 --> 02:38:34,333
I WAS LIKE, "THAT'S WHAT I WANT
3744
02:38:34,400 --> 02:38:34,666
TO DO.
3745
02:38:34,733 --> 02:38:38,366
I WANT TO BE LIKE THOSE GUYS."
3746
02:38:38,433 --> 02:38:43,766
AND SO I SET OUT ON MY JOURNEY.
3747
02:38:43,833 --> 02:38:47,600
I WAS WRITING AT MY TABLE.
3748
02:38:47,666 --> 02:38:48,933
SHOUT OUT TO DR. GLORIA CARTER
3749
02:38:49,000 --> 02:38:50,200
IN THE HOUSE, SHE BOUGHT ME A
3750
02:38:50,266 --> 02:38:53,066
GREEN NOTEBOOK.
3751
02:38:53,133 --> 02:38:56,600
MY SISTER, ANNIE, RIGHT THERE,
3752
02:38:56,666 --> 02:38:57,900
SHE TOLD ME TO SAY THAT SHE
3753
02:38:57,966 --> 02:38:58,800
WROTE MY FIRST RAP, BUT I
3754
02:38:58,866 --> 02:39:04,933
ACTUALLY WROTE HER FIRST RAP.
3755
02:39:05,000 --> 02:39:05,933
[LAUGHTER]
3756
02:39:06,000 --> 02:39:07,266
WE NAMED IT "SUGARLOAF."
3757
02:39:07,333 --> 02:39:08,033
SHE HAS A REALLY NICE HAT ON
3758
02:39:08,100 --> 02:39:13,600
TONIGHT AND I WANT EVERYONE
3759
02:39:13,666 --> 02:39:18,300
TO ACKNOWLEDGE HER HAT.
3760
02:39:18,366 --> 02:39:19,200
[CHEERS AND APPLAUSE]
3761
02:39:19,266 --> 02:39:19,966
NOW BACK TO ROCK 'N' ROLL.
3762
02:39:20,033 --> 02:39:20,633
AND I WOULD SIT AT THE TABLE AND
3763
02:39:20,700 --> 02:39:21,500
WRITE ALL THESE RAPS AND THEN I
3764
02:39:21,566 --> 02:39:22,433
WOULD GO OUT IN THE STREET AND I
3765
02:39:22,500 --> 02:39:25,266
WOULD TRY THESE RAPS OUT, HAVE
3766
02:39:25,333 --> 02:39:27,400
LITTLE BATTLES IN THE STREET AND
3767
02:39:27,466 --> 02:39:28,166
I WOULD GO TO TY TY AND BE LIKE,
3768
02:39:28,233 --> 02:39:29,333
"YO, I'M THE BEST, I'M TELLING
3769
02:39:29,400 --> 02:39:32,900
YOU.
3770
02:39:32,966 --> 02:39:34,133
I'M THE GREATEST.
3771
02:39:34,200 --> 02:39:36,000
WELL, ONE OF THE GREATEST,
3772
02:39:36,066 --> 02:39:38,033
I DON'T WANT NO PROBLEMS.
3773
02:39:38,100 --> 02:39:38,733
ONE OF THE GREATEST, ONE OF THE
3774
02:39:38,800 --> 02:39:39,233
GREATEST."
3775
02:39:39,300 --> 02:39:39,966
AND I'D GO TO TY TY AND SAY,
3776
02:39:40,033 --> 02:39:41,133
"YO, I'M THE GREATEST."
3777
02:39:41,200 --> 02:39:41,800
AND TY TY WOULD BE LIKE, "YEAH,
3778
02:39:41,866 --> 02:39:44,866
YOU ARE THE GREATEST."
3779
02:39:44,933 --> 02:39:46,833
I LOOK BACK AT SOME OF THOSE
3780
02:39:46,900 --> 02:39:50,433
RAPS AND IT WAS LIKE...
3781
02:39:50,500 --> 02:39:53,533
IT WAS TRASH.
3782
02:39:53,600 --> 02:39:56,600
BUT SOMEHOW WE KNEW.
3783
02:39:56,666 --> 02:39:59,500
AND THEN I WENT AND RECORDED A
3784
02:39:59,566 --> 02:40:01,100
DEMO WITH -- SHOUTOUT TO
3785
02:40:01,166 --> 02:40:02,800
CLARK KENT, BROOKLYN DJ,
3786
02:40:02,866 --> 02:40:06,300
LEGENDARY CLARK KENT -- AND I
3787
02:40:06,366 --> 02:40:07,833
RECORDED A DEMO AND I WENT TO
3788
02:40:07,900 --> 02:40:08,433
EVERY SINGLE RECORD COMPANY.
3789
02:40:08,500 --> 02:40:09,066
AND YOU KNOW WHAT THEY SAY,
3790
02:40:09,133 --> 02:40:12,166
RIGHT?
3791
02:40:12,233 --> 02:40:15,400
"THAT SHIT IS TRASH."
3792
02:40:15,466 --> 02:40:16,233
BUT THE AUDACITY OF HIP-HOP,
3793
02:40:16,300 --> 02:40:17,866
WE DIDN'T BELIEVE THEM.
3794
02:40:17,933 --> 02:40:18,933
I FOR NOT ONE SECOND
3795
02:40:19,000 --> 02:40:22,833
GOT DEPRESSED.
3796
02:40:22,900 --> 02:40:24,400
FOR ONE SECOND, I DIDN'T CHANGE
3797
02:40:24,466 --> 02:40:26,533
MY COURSE.
3798
02:40:26,600 --> 02:40:27,333
IT WAS LIKE, "WE'RE GOING TO
3799
02:40:27,400 --> 02:40:30,633
CREATE OUR OWN COMPANY."
3800
02:40:30,700 --> 02:40:30,900
YOU KNOW?
3801
02:40:30,966 --> 02:40:34,100
THAT'S HIP-HOP.
3802
02:40:34,166 --> 02:40:44,433
SO WE MADE AN ALBUM.
3803
02:40:44,500 --> 02:40:46,300
AND WE CAME OUT AND WE SOLD
3804
02:40:46,366 --> 02:40:48,100
ABOUT -- NO COPIES, BUT WE
3805
02:40:48,166 --> 02:40:49,066
THOUGHT WE MADE THE GREATEST
3806
02:40:49,133 --> 02:40:50,633
THING OF ALL TIME.
3807
02:40:50,700 --> 02:40:51,233
I ACTUALLY REMEMBER AT A SOUL
3808
02:40:51,300 --> 02:40:51,933
TRAIN PARTY, I RUN INTO LL --
3809
02:40:52,000 --> 02:40:53,433
YOU KNOW LL SAYS "BANANAS"
3810
02:40:53,500 --> 02:40:54,433
A LOT.
3811
02:40:54,500 --> 02:40:59,766
HE SAID, "YO, ‘CAN I LIVE,'
3812
02:40:59,833 --> 02:41:00,566
THAT'S JUST BANANAS, B."
3813
02:41:00,633 --> 02:41:01,066
I WAS LIKE, "WOW.
3814
02:41:01,133 --> 02:41:01,933
LIKE, YOU KNOW, ONE OF MY HEROES
3815
02:41:02,000 --> 02:41:02,533
IS LIKE REPEATING THIS THING
3816
02:41:02,600 --> 02:41:02,733
BACK."
3817
02:41:02,800 --> 02:41:03,366
SO I KNEW I WAS
3818
02:41:03,433 --> 02:41:03,900
ON THE RIGHT TRACK.
3819
02:41:03,966 --> 02:41:04,733
AND THEN WE DROPPED THE SECOND
3820
02:41:04,800 --> 02:41:05,366
ALBUM.
3821
02:41:05,433 --> 02:41:14,066
OOPS.
3822
02:41:14,133 --> 02:41:15,266
I GOT TOO AMBITIOUS AND I WAS
3823
02:41:15,333 --> 02:41:16,466
DOING SOME THINGS THAT I
3824
02:41:16,533 --> 02:41:17,066
SHOULDN'T HAVE BEEN DOING.
3825
02:41:17,133 --> 02:41:17,666
AND AGAIN, THOSE HEROES HELPED
3826
02:41:17,733 --> 02:41:21,066
ME AGAIN.
3827
02:41:21,133 --> 02:41:21,833
I THOUGHT BACK TO, YOU KNOW,
3828
02:41:21,900 --> 02:41:22,800
WHAT MADE THEM SO GREAT.
3829
02:41:22,866 --> 02:41:23,466
AND WHAT MADE THEM GREAT IS THEY
3830
02:41:23,533 --> 02:41:24,100
WAS A HUNDRED PERCENT AUTHENTIC
3831
02:41:24,166 --> 02:41:27,233
TO WHO THEY WERE.
3832
02:41:27,300 --> 02:41:29,200
LL, HE OPENED UP THE DOORS FOR
3833
02:41:29,266 --> 02:41:32,366
US TO BE VULNERABLE.
3834
02:41:32,433 --> 02:41:37,033
♪ WHEN I'M ALONE IN MY ROOM ♪ ♪
3835
02:41:37,100 --> 02:41:37,700
HE GAVE US
3836
02:41:37,766 --> 02:41:38,233
EMOTIONAL INTELLIGENCE.
3837
02:41:38,300 --> 02:41:38,766
AND THEN KRS-ONE, HE WAS A
3838
02:41:38,833 --> 02:41:42,166
TEACHER.
3839
02:41:42,233 --> 02:41:43,000
AND AT THE TIME, IT WASN'T EVEN
3840
02:41:43,066 --> 02:41:43,866
COOL TO BE SMART.
3841
02:41:43,933 --> 02:41:46,966
LIKE, IF YOU HAD A BOOK, THEY'D
3842
02:41:47,033 --> 02:41:47,900
BE LIKE, "LOOK AT THIS NIGGA
3843
02:41:47,966 --> 02:41:48,766
WITH A BOOK!"
3844
02:41:48,833 --> 02:41:50,000
HE MADE IT COOL FOR US TO HAVE
3845
02:41:50,066 --> 02:41:53,433
BOOKS AND BE SMART.
3846
02:41:53,500 --> 02:41:54,100
RAKIM GAVE US KNOWLEDGE
3847
02:41:54,166 --> 02:41:54,666
ITSELF.
3848
02:41:54,733 --> 02:41:55,666
HE HAD A BIG VAST VOCABULARY
3849
02:41:55,733 --> 02:41:56,133
AND NEVER CURSED.
3850
02:41:56,200 --> 02:41:56,766
SO I WAS LIKE, "HOW IS HE SAYING
3851
02:41:56,833 --> 02:41:59,666
ALL THIS RAD SHIT WITHOUT
3852
02:41:59,733 --> 02:42:02,366
CURSING?"
3853
02:42:02,433 --> 02:42:04,033
AND CHUCK D, HE GAVE US SOCIAL
3854
02:42:04,100 --> 02:42:05,666
COMMENTARY.
3855
02:42:05,733 --> 02:42:07,800
AND THAT SHIT WAS SLAPPED.
3856
02:42:07,866 --> 02:42:08,700
ALL THE SONGS WERE AMAZING.
3857
02:42:08,766 --> 02:42:12,700
LIKE SLAPPERS.
3858
02:42:12,766 --> 02:42:14,166
AND BIG DADDY KANE, HE WAS JUST
3859
02:42:14,233 --> 02:42:14,766
LIKE A BLACK EXPLOITATION FILM
3860
02:42:14,833 --> 02:42:24,000
WALKING.
3861
02:42:24,066 --> 02:42:25,166
IT WAS LIKE THE BLACKEST PERSON
3862
02:42:25,233 --> 02:42:28,233
OF ALL TIME.
3863
02:42:28,300 --> 02:42:29,766
SO I WAS LIKE, "OH, I GOT IT.
3864
02:42:29,833 --> 02:42:31,033
I GOT TO BE A HUNDRED PERCENT
3865
02:42:31,100 --> 02:42:36,133
AUTHENTICALLY MYSELF."
3866
02:42:36,200 --> 02:42:37,466
THAT SET THE COURSE OF WHAT I
3867
02:42:37,533 --> 02:42:39,800
WOULD DO FOR THE REST OF MY
3868
02:42:39,866 --> 02:42:40,233
CAREER.
3869
02:42:40,300 --> 02:42:46,133
THEN THE NEXT ALBUM CAME, '99,
3870
02:42:46,200 --> 02:42:48,300
2000, 2001, BEAUTIFUL
3871
02:42:48,366 --> 02:42:51,233
ACCOMPLISHMENTS.
3872
02:42:51,300 --> 02:42:52,766
AND THEN I GOT A PHONE CALL.
3873
02:42:52,833 --> 02:42:55,266
IT WAS LIKE, HELLO KRISTA MIKE
3874
02:42:55,333 --> 02:42:59,933
JAY, IT'S YOUR MAMA.
3875
02:43:00,000 --> 02:43:03,533
I'VE GOT TO WORK MY MAMA ACCENT.
3876
02:43:03,600 --> 02:43:09,833
AND HE CALLED ME -- OBAMA ACCEN
3877
02:43:09,900 --> 02:43:10,066
ACCENT.
3878
02:43:10,133 --> 02:43:10,666
AND HE CALLED ME AND HE SAID,
3879
02:43:10,733 --> 02:43:11,233
"YOU KNOW, IT'S THE FOURTH
3880
02:43:11,300 --> 02:43:11,700
QUARTER.
3881
02:43:11,766 --> 02:43:12,433
WE'RE DOWN TWO.
3882
02:43:12,500 --> 02:43:13,233
I NEED YOU TO ASSIST ME, GIVE ME
3883
02:43:13,300 --> 02:43:13,866
THE BALL, I'M MICHAEL JORDAN AND
3884
02:43:13,933 --> 02:43:14,700
I'LL GET THIS DONE.
3885
02:43:14,766 --> 02:43:15,700
I NEED YOU TO GO TO MIAMI,
3886
02:43:15,766 --> 02:43:24,766
PHILLY, ATLANTA, AND OHIO.
3887
02:43:24,833 --> 02:43:29,766
AND I THOUGHT LIKE, "MAN,
3888
02:43:29,833 --> 02:43:30,533
HIP-HOP WAS REALLY AN AGENT FOR
3889
02:43:30,600 --> 02:43:31,200
CHANGE AND HOW AMAZING IS ITS
3890
02:43:31,266 --> 02:43:34,733
REACH THAT THIS MAN IS CALLING
3891
02:43:34,800 --> 02:43:40,900
ME TO HELP OUT WITH A
3892
02:43:40,966 --> 02:43:41,433
I'M LYING.
3893
02:43:41,500 --> 02:43:42,400
I DIDN'T THINK THAT.
3894
02:43:42,466 --> 02:43:42,666
I THOUGHT
3895
02:43:42,733 --> 02:43:43,633
I THOUGHT, "NIGGA,
3896
02:43:43,700 --> 02:43:44,400
I'M MICHAEL JORDAN."
3897
02:43:44,466 --> 02:43:45,466
THAT'S WHAT I REALLY THOUGHT.
3898
02:43:45,533 --> 02:43:46,200
BUT I MET HIM IN OHIO
3899
02:43:46,266 --> 02:43:47,033
AND WE WON.
3900
02:43:47,100 --> 02:43:54,600
WE GOT IT DONE HERE IN OHIO.
3901
02:43:54,666 --> 02:43:55,866
THAT JUST SHOWS ME THE POWER OF
3902
02:43:55,933 --> 02:43:56,533
HIP-HOP, THE POWER OF THESE
3903
02:43:56,600 --> 02:43:57,300
HEROES WHO LET ME KNOW THAT
3904
02:43:57,366 --> 02:44:03,666
THESE THINGS ARE POSSIBLE.
3905
02:44:03,733 --> 02:44:05,300
WE ARE GOING TO ENJOY TONIGHT.
3906
02:44:05,366 --> 02:44:05,933
I APPRECIATE THIS HONOR.
3907
02:44:06,000 --> 02:44:09,300
SORRY FOR THIS LONG-ASS SPEECH.
3908
02:44:09,366 --> 02:44:13,100
BUT I HAD TO GET IT ALL.
3909
02:44:13,166 --> 02:44:19,533
WE DID IT, BROOKLYN!
3910
02:44:19,600 --> 02:44:24,066
♪ ♪
3911
02:44:24,133 --> 02:44:26,533
>> TO INDUCT FOO FIGHTERS, PAUL
3912
02:44:26,600 --> 02:44:32,066
McCARTNEY.
3913
02:44:32,133 --> 02:44:35,633
>> HELLO, HELLO, HELLO.
3914
02:44:35,700 --> 02:44:38,166
CLEVELAND, OHIO.
3915
02:44:38,233 --> 02:44:40,500
YEAH.
3916
02:44:40,566 --> 02:44:41,166
WOW.
3917
02:44:41,233 --> 02:44:45,333
HOW COOL IS THIS SHOW?
3918
02:44:45,400 --> 02:44:45,800
[CHEERS AND APPLAUSE]
3919
02:44:45,866 --> 02:44:49,900
EXCELLENT, EXCELLENT.
3920
02:44:49,966 --> 02:44:53,866
SO ME, A TEENAGE KID, IN
3921
02:44:53,933 --> 02:44:54,133
LIVERPOOL,
3922
02:44:54,200 --> 02:44:54,933
JUST AN ORDINARY KID
3923
02:44:55,000 --> 02:44:55,900
GOING TO SCHOOL LIKE EVERYBODY
3924
02:44:55,966 --> 02:44:57,600
ELSE, AND THEN ONE DAY, I HEARD
3925
02:44:57,666 --> 02:45:03,300
SOME MUSIC, AND I FELL INTO
3926
02:45:03,366 --> 02:45:07,500
ROCK 'N' ROLL.
3927
02:45:07,566 --> 02:45:09,233
SUDDENLY, THE WORLD CHANGED,
3928
02:45:09,300 --> 02:45:10,633
AND I JUST FELL, LIKE, THROUGH
3929
02:45:10,700 --> 02:45:11,533
A HOLE IN TIME.
3930
02:45:11,600 --> 02:45:15,566
AND SUDDENLY, I WAS IN
3931
02:45:15,633 --> 02:45:18,833
ROCK 'N' ROLL.
3932
02:45:18,900 --> 02:45:19,966
BY THE SAME TIME IN HIS LIFE,
3933
02:45:20,033 --> 02:45:25,366
DAVE DID THE SAME KIND OF THING.
3934
02:45:25,433 --> 02:45:31,033
[CHEERS AND APPLAUSE]
3935
02:45:31,100 --> 02:45:32,133
HE'S IN ROCK 'N' ROLL AND IT'S
3936
02:45:32,200 --> 02:45:32,766
GONNA BE HIS LIFE.
3937
02:45:32,833 --> 02:45:33,933
IT'S GONNA TAKE OVER EVERYTHING.
3938
02:45:34,000 --> 02:45:34,566
IT'S SO MAGICAL.
3939
02:45:34,633 --> 02:45:35,333
EVERYONE WHO KNOWS, EVERYONE
3940
02:45:35,400 --> 02:45:36,000
WHO'S CONNECTED WITH IT,
3941
02:45:36,066 --> 02:45:38,800
EVERYONE WHO LOVES
3942
02:45:38,866 --> 02:45:39,333
ROCK 'N' ROLL.
3943
02:45:39,400 --> 02:45:43,733
IT REALLY IS A MAGICAL THING
3944
02:45:43,800 --> 02:45:46,300
THAT CONTAINS SO MANY ELEMENTS,
3945
02:45:46,366 --> 02:45:47,000
LIKE ALL OF THE PEOPLE
3946
02:45:47,066 --> 02:45:49,166
WE'VE HEARD TONIGHT.
3947
02:45:49,233 --> 02:45:53,233
I MEAN, IT'S JUST UNBELIEVABLE.
3948
02:45:53,300 --> 02:45:56,433
SO WHEN THAT HAPPENED, AND I
3949
02:45:56,500 --> 02:45:57,200
FELL INTO ROCK 'N' ROLL, I
3950
02:45:57,266 --> 02:45:58,533
JOINED A GROUP.
3951
02:45:58,600 --> 02:46:03,033
MY GROUP WAS THE BEATLES.
3952
02:46:03,100 --> 02:46:05,766
[CHEERS AND APPLAUSE]
3953
02:46:05,833 --> 02:46:06,633
DAVE DID A SIMILAR KIND OF
3954
02:46:06,700 --> 02:46:09,266
THING.
3955
02:46:09,333 --> 02:46:14,066
HE JOINED A GROUP, NIRVANA.
3956
02:46:14,133 --> 02:46:15,100
[CHEERS AND APPLAUSE]
3957
02:46:15,166 --> 02:46:18,866
WE HAD A GREAT TIME WITH OUR
3958
02:46:18,933 --> 02:46:20,433
GROUPS, BUT THEN EVENTUALLY
3959
02:46:20,500 --> 02:46:21,466
TRAGEDY HAPPENED AND MY GROUP
3960
02:46:21,533 --> 02:46:24,566
BROKE UP.
3961
02:46:24,633 --> 02:46:27,866
SAME HAPPENED WITH DAVE.
3962
02:46:27,933 --> 02:46:29,000
HIS GROUP BROKE UP UNDER TRAGIC
3963
02:46:29,066 --> 02:46:34,033
CIRCUMSTANCES.
3964
02:46:34,100 --> 02:46:35,766
SO THEN THE QUESTION IS, WHAT DO
3965
02:46:35,833 --> 02:46:36,566
YOU DO NOW?
3966
02:46:36,633 --> 02:46:37,700
IN MY CASE, I SAID, "WELL, I'LL
3967
02:46:37,766 --> 02:46:39,233
MAKE AN ALBUM WHERE I PLAY ALL
3968
02:46:39,300 --> 02:46:44,366
THE INSTRUMENTS MYSELF."
3969
02:46:44,433 --> 02:46:45,200
DAVE'S GROUP BROKE UP,
3970
02:46:45,266 --> 02:46:47,366
WHAT'S HE DO?
3971
02:46:47,433 --> 02:46:48,800
HE MAKES AN ALBUM WHERE HE PLAYS
3972
02:46:48,866 --> 02:46:53,166
ALL THE INSTRUMENTS HIMSELF.
3973
02:46:53,233 --> 02:46:53,633
[CHEERS AND APPLAUSE]
3974
02:46:53,700 --> 02:46:57,200
DO YOU THINK THIS GUY'S
3975
02:46:57,266 --> 02:47:00,966
STALKING ME?
3976
02:47:01,033 --> 02:47:02,266
ANYWAY, ME, I'M GONNA NAME
3977
02:47:02,333 --> 02:47:02,866
MY NEW GROUP, AND I CALL THEM
3978
02:47:02,933 --> 02:47:07,700
WINGS.
3979
02:47:07,766 --> 02:47:09,133
[CHEERS AND APPLAUSE]
3980
02:47:09,200 --> 02:47:09,333
YEAH.
3981
02:47:09,400 --> 02:47:11,400
DAVE'S GOT THE SAME PROBLEM,
3982
02:47:11,466 --> 02:47:13,066
AND HE'S GOT TO THINK OF A NAME
3983
02:47:13,133 --> 02:47:14,633
FOR THE GROUP, SO HE COMES UP
3984
02:47:14,700 --> 02:47:19,733
WITH "FOO FIGHTERS."
3985
02:47:19,800 --> 02:47:23,433
[CHEERS AND APPLAUSE]
3986
02:47:23,500 --> 02:47:24,133
I WAS JUST SAYING TO THEM IN THE
3987
02:47:24,200 --> 02:47:25,166
DRESSING ROOM,
3988
02:47:25,233 --> 02:47:26,100
"GUYS, THIS IS IT.
3989
02:47:26,166 --> 02:47:28,033
YOU'RE HERE IN CLEVELAND,
3990
02:47:28,100 --> 02:47:32,300
AND TONIGHT, YOU'RE GONNA BE
3991
02:47:32,366 --> 02:47:33,000
INDUCTED INTO THE ROCK & ROLL
3992
02:47:33,066 --> 02:47:33,566
HALL OF FAME."
3993
02:47:33,633 --> 02:47:34,200
I MEAN, IT'S NOT JUST ANY HALL
3994
02:47:34,266 --> 02:47:39,666
OF FAME.
3995
02:47:39,733 --> 02:47:40,866
IT'S THE FUCKING ROCK & ROLL
3996
02:47:40,933 --> 02:47:45,133
HALL OF FAME.
3997
02:47:45,200 --> 02:47:45,600
[CHEERS AND APPLAUSE]
3998
02:47:45,666 --> 02:47:51,833
COME ON.
3999
02:47:51,900 --> 02:47:54,466
THIS BAND IS ONE OF THE GREATEST
4000
02:47:54,533 --> 02:47:55,033
ROCK 'N' ROLL BANDS IN THE
4001
02:47:55,100 --> 02:47:58,733
WORLD.
4002
02:47:58,800 --> 02:47:59,333
OKAY, LET'S ROCK AND ROLL THE
4003
02:47:59,400 --> 02:48:02,733
FILM.
4004
02:48:02,800 --> 02:48:04,166
>> THERE WERE SOME PEOPLE WHO
4005
02:48:04,233 --> 02:48:05,000
RESENTED ME FOR STARTING THIS
4006
02:48:05,066 --> 02:48:05,466
BAND.
4007
02:48:05,533 --> 02:48:07,366
HOW DARE YOU START ANOTHER BAND?
4008
02:48:07,433 --> 02:48:08,600
THEY ASKED, LIKE, WHY DID YOU
4009
02:48:08,666 --> 02:48:11,066
DECIDE TO CARRY ON AND MAKE
4010
02:48:11,133 --> 02:48:12,200
MUSIC THAT SOUNDS LIKE NIRVANA?
4011
02:48:12,266 --> 02:48:13,366
AND I SAID, BECAUSE THAT'S WHAT
4012
02:48:13,433 --> 02:48:13,900
I DO.
4013
02:48:13,966 --> 02:48:15,000
I WAS IN THAT BAND.
4014
02:48:15,066 --> 02:48:17,066
THAT'S WHAT I DO.
4015
02:48:17,133 --> 02:48:19,500
WHAT DO YOU WANT ME TO DO, MAKE
4016
02:48:19,566 --> 02:48:25,200
A FUCKING REGGAE RECORD?
4017
02:48:25,266 --> 02:48:26,733
WHEN WE FIRST STARTED THIS BAND,
4018
02:48:26,800 --> 02:48:28,833
PAT AND I HAD BEEN PLAYING A
4019
02:48:28,900 --> 02:48:29,900
NIRVANA, AND WHEN KURT PASSED
4020
02:48:29,966 --> 02:48:31,500
AWAY, NO ONE COULD IMAGINE
4021
02:48:31,566 --> 02:48:33,400
PLAYING MUSIC EVER AGAIN, THEN I
4022
02:48:33,466 --> 02:48:34,966
REALIZED, THERE IS HEALING AND
4023
02:48:35,033 --> 02:48:35,766
MUSIC, MAYBE THAT IS WHAT IS
4024
02:48:35,833 --> 02:48:37,566
GOING TO MAKE ME FEEL BETTER.
4025
02:48:37,633 --> 02:48:39,966
I DECIDED I WAS GOING TO TAKE MY
4026
02:48:40,033 --> 02:48:41,500
FAVORITE SONGS THAT I HAD
4027
02:48:41,566 --> 02:48:42,900
WRITTEN OVER THE LAST FOUR OR
4028
02:48:42,966 --> 02:48:45,866
FIVE YEARS AND RECORD THEM IN A
4029
02:48:45,933 --> 02:48:48,233
STUDIO DOWN THE STREET FROM MY
4030
02:48:48,300 --> 02:48:55,066
HOUSE.
4031
02:48:55,133 --> 02:48:55,633
PLAYED THE DRUMS FIRST, PLAY
4032
02:48:55,700 --> 02:48:56,266
GUITAR OVER IT, ANOTHER GUITAR,
4033
02:48:56,333 --> 02:48:56,900
PLAY BASS OVER IT, THEN YOU DO
4034
02:48:56,966 --> 02:48:57,200
THE VOCALS.
4035
02:48:57,266 --> 02:48:57,733
THAT'S WHEN IT GETS HARD.
4036
02:48:57,800 --> 02:48:58,233
THAT'S WHEN IT'S SCARY.
4037
02:48:58,300 --> 02:48:59,366
>> AT THE END OF THE WEEK, I HAD
4038
02:48:59,433 --> 02:49:01,200
13 OR 14 SONGS ON A CASSETTE,
4039
02:49:01,266 --> 02:49:03,400
AND IT SOUNDED GOOD, AND I
4040
02:49:03,466 --> 02:49:04,400
STARTED THINKING, I WANT TO PUT
4041
02:49:04,466 --> 02:49:05,766
MY NAME ON IT.
4042
02:49:05,833 --> 02:49:07,266
PEOPLE WILL THINK IT'S JUST A
4043
02:49:07,333 --> 02:49:07,466
BAND.
4044
02:49:07,533 --> 02:49:08,933
THEY WON'T KNOW IT'S THE GUY
4045
02:49:09,000 --> 02:49:09,500
FROM NIRVANA.
4046
02:49:09,566 --> 02:49:11,266
THERE IS A BAND IN SEATTLE
4047
02:49:11,333 --> 02:49:12,533
CALLED SUNNY DAY REAL ESTATE,
4048
02:49:12,600 --> 02:49:14,333
AND THEY WERE BREAKING UP.
4049
02:49:14,400 --> 02:49:15,100
MY BAND WAS FALLING APART AT
4050
02:49:15,166 --> 02:49:17,066
ABOUT THE SAME TIME THAT DAVE
4051
02:49:17,133 --> 02:49:19,200
FOUND HIMSELF WITHOUT A BAND.
4052
02:49:19,266 --> 02:49:21,100
DAVE GOES, YOU WANT TO BE IN THE
4053
02:49:21,166 --> 02:49:21,300
BAND?
4054
02:49:21,366 --> 02:49:26,533
I WAS LIKE, HELL YEAH, SOUNDS
4055
02:49:26,600 --> 02:49:26,733
GREAT.
4056
02:49:26,800 --> 02:49:27,633
>> THE FIRST TIME I PLAYED,
4057
02:49:27,700 --> 02:49:29,266
THAT'S WHEN I KNEW, FEELING IT
4058
02:49:29,333 --> 02:49:32,166
BEHIND YOU IS SO DIFFERENT.
4059
02:49:32,233 --> 02:49:36,666
♪ ♪
4060
02:49:36,733 --> 02:49:38,166
>> DAVE BRINGS UP THAT HE WANTS
4061
02:49:38,233 --> 02:49:39,133
TO HAVE A SECOND GUITAR PLAYER
4062
02:49:39,200 --> 02:49:40,933
AND THINKS IT SHOULD BE PAT
4063
02:49:41,000 --> 02:49:42,266
SMEAR WHO I KNEW FROM HIM HAVING
4064
02:49:42,333 --> 02:49:43,766
PLAYED NIRVANA AND BEEN IN THE
4065
02:49:43,833 --> 02:49:44,900
GERMS.
4066
02:49:44,966 --> 02:49:46,766
>> PAT IS FROM THIS LEGENDARY
4067
02:49:46,833 --> 02:49:47,566
PUNK ROCK BAND CALLED THE GERMS
4068
02:49:47,633 --> 02:49:50,033
THAT WE ALL GREW UP LISTENING
4069
02:49:50,100 --> 02:49:50,200
TO.
4070
02:49:50,266 --> 02:49:54,900
THERE WAS NO ONE MORE BADASS
4071
02:49:54,966 --> 02:49:55,533
THAN THE GERMS.
4072
02:49:55,600 --> 02:49:57,500
GERMS DIDN'T GIVE A FUCK.
4073
02:49:57,566 --> 02:49:59,166
>> WE PLAYED SIX DAYS A WEEK AND
4074
02:49:59,233 --> 02:50:00,566
FOO FIGHTERS WERE MAKING, I
4075
02:50:00,633 --> 02:50:03,466
THINK, 500 BUCKS A NIGHT.
4076
02:50:03,533 --> 02:50:08,266
♪ ♪
4077
02:50:08,333 --> 02:50:09,366
>> AS THE TOUR WAS GOING ON, THE
4078
02:50:09,433 --> 02:50:12,966
VENUES WERE GETTING BIGGER, IT
4079
02:50:13,033 --> 02:50:14,133
STARTED HAVING THAT REALLY NICE
4080
02:50:14,200 --> 02:50:17,166
BUT WEIRD SORT OF PRESSURE.
4081
02:50:17,233 --> 02:50:18,366
>> MAKING THE TELEVISION DEBUT,
4082
02:50:18,433 --> 02:50:21,200
LADIES AND GENTLEMEN, FOO
4083
02:50:21,266 --> 02:50:24,300
FIGHTERS.
4084
02:50:24,366 --> 02:50:32,566
♪ ♪
4085
02:50:32,633 --> 02:50:35,033
♪ ALL HE EVER WANTED WAS A
4086
02:50:35,100 --> 02:50:39,700
BROTHER."
4087
02:50:39,766 --> 02:50:44,400
>> THE FOOS GO FULL THROTTLE.
4088
02:50:44,466 --> 02:50:45,000
>> IT IS FULL, UNADULTERATED
4089
02:50:45,066 --> 02:50:46,633
ROCK 'N' ROLL.
4090
02:50:46,700 --> 02:50:49,033
IT IS METHODICAL, IT IS RAGE, IT
4091
02:50:49,100 --> 02:50:49,900
IS FUN.
4092
02:50:49,966 --> 02:50:51,000
IT MAKES YOU FEEL GOOD.
4093
02:50:51,066 --> 02:50:54,266
>> THERE WERE SOME SONGS THAT WE
4094
02:50:54,333 --> 02:50:55,800
HAD JUST START WRITING AND THROW
4095
02:50:55,866 --> 02:50:58,166
IT INTO THE SET.
4096
02:50:58,233 --> 02:51:00,466
>> GOING TO DO A SONG FOR YOU I
4097
02:51:00,533 --> 02:51:02,066
WROTE THREE DAYS AGO.
4098
02:51:02,133 --> 02:51:03,566
>> I HEARD THE FOO FIGHTERS
4099
02:51:03,633 --> 02:51:05,000
DRUMMER HAS LEFT THE BAND.
4100
02:51:05,066 --> 02:51:06,400
>> AROUND THAT TIME, TAYLOR IS
4101
02:51:06,466 --> 02:51:08,966
PLAYING DRUMS WITH ALANNA SMARR
4102
02:51:09,033 --> 02:51:10,066
SAID, AND SHE WAS BLOWING.
4103
02:51:10,133 --> 02:51:12,500
>> I CALLED DAVE MYSELF AND I
4104
02:51:12,566 --> 02:51:15,933
SAID, I'M YOUR TREMOR.
4105
02:51:16,000 --> 02:51:16,633
ALANIS IS A SOLO ACT, AND THIS
4106
02:51:16,700 --> 02:51:21,333
IS A BAND, AND I WANT TO BE A
4107
02:51:21,400 --> 02:51:21,966
DRUMMER AND A BAND.
4108
02:51:22,033 --> 02:51:25,066
>> TAYLOR IS IN THAT JOHN BOTTOM
4109
02:51:25,133 --> 02:51:27,300
SCHOOL OF DRUMMING, NOT THE
4110
02:51:27,366 --> 02:51:29,300
PERSNICKETY STUFF, BUT THE
4111
02:51:29,366 --> 02:51:29,900
FUNDAMENTAL WHERE IT SOUNDS
4112
02:51:29,966 --> 02:51:31,966
REALLY IMPORTANT.
4113
02:51:32,033 --> 02:51:33,300
>> TAYLOR HAS THE TOUGHEST JOB
4114
02:51:33,366 --> 02:51:35,500
BECAUSE HE IS THE DRUMMER IN A
4115
02:51:35,566 --> 02:51:36,766
BAND THAT INCLUDES THE GREATEST
4116
02:51:36,833 --> 02:51:39,633
DRUMMER ALIVE, AND HE'S GOT
4117
02:51:39,700 --> 02:51:41,933
TECHNIQUE THAT DAVE ONLY DREAMS
4118
02:51:42,000 --> 02:51:43,600
ABOUT.
4119
02:51:43,666 --> 02:51:45,633
>> ♪ DON'T WANT TO BE YOUR
4120
02:51:45,700 --> 02:51:46,033
MONKEY WRENCH ♪
4121
02:51:46,100 --> 02:51:49,466
>> RIGHT WHEN WE ARE ABOUT TO GO
4122
02:51:49,533 --> 02:51:52,266
START OUR TOUR, PAT QUITS THE
4123
02:51:52,333 --> 02:51:53,033
BAND.
4124
02:51:53,100 --> 02:51:54,900
>> PAT SAYS, I'VE GOT TO LEAVE
4125
02:51:54,966 --> 02:51:56,100
THE BAND.
4126
02:51:56,166 --> 02:51:56,433
WHY?
4127
02:51:56,500 --> 02:51:59,066
I WANT TO GO OUT ANOTHER
4128
02:51:59,133 --> 02:52:03,166
BAZILLION-SHOW TOUR.
4129
02:52:03,233 --> 02:52:03,766
WE HAD TO HAVE OPEN ADDITIONS
4130
02:52:03,833 --> 02:52:04,200
FOR A GUITAR PLAYER.
4131
02:52:04,266 --> 02:52:07,266
WE WOUND UP IN THIS REHEARSAL
4132
02:52:07,333 --> 02:52:08,933
SPACE, I REMEMBER THE LINE OF
4133
02:52:09,000 --> 02:52:09,866
GUITAR PLAYERS.
4134
02:52:09,933 --> 02:52:10,766
>> THE PHONE RANG AND IT WAS
4135
02:52:10,833 --> 02:52:12,866
DAVE AND TAYLOR, THEY SAID,
4136
02:52:12,933 --> 02:52:14,566
YOU'VE GOT THE GIG.
4137
02:52:14,633 --> 02:52:15,700
WE START REHEARSING TOMORROW.
4138
02:52:15,766 --> 02:52:16,300
SAY GOODBYE TO YOUR FRIENDS.
4139
02:52:16,366 --> 02:52:17,900
YOU'RE NOT GOING TO SEE ANYBODY
4140
02:52:17,966 --> 02:52:19,433
AT THE NEXT YEAR.
4141
02:52:19,500 --> 02:52:20,633
>> WHEN YOU GET TAPPED TO BE
4142
02:52:20,700 --> 02:52:22,066
DELETE ELECTRIC GUITAR PLAYER
4143
02:52:22,133 --> 02:52:24,700
FOR ONE OF THE BIGGEST ROCK
4144
02:52:24,766 --> 02:52:26,400
BANDS, THAT'S DAUNTING.
4145
02:52:26,466 --> 02:52:30,566
THOSE CLOUDS, THEY COME HUNGRY,
4146
02:52:30,633 --> 02:52:32,900
AND YOU'VE GOT TO FEED THEM THE
4147
02:52:32,966 --> 02:52:33,300
RIFFS.
4148
02:52:33,366 --> 02:52:35,900
>> ♪ LOOKING FOR A SIGN TO
4149
02:52:35,966 --> 02:52:36,200
STATEMENT ♪
4150
02:52:36,266 --> 02:52:39,266
♪ LOOKING FOR A SIGN OF LIFE ♪
4151
02:52:39,333 --> 02:52:42,233
>> YOU CAN'T DENY HOW MUCH THEY
4152
02:52:42,300 --> 02:52:43,933
LOVE IT, THE HEART IS THERE AND
4153
02:52:44,000 --> 02:52:47,533
THE HEART IS AT OF WHAT MAKES
4154
02:52:47,600 --> 02:52:48,866
ROCK AND ROLL.
4155
02:52:48,933 --> 02:52:49,633
>> SOMETIMES THINGS ARE COME OUT
4156
02:52:49,700 --> 02:52:51,133
OF SPONTANEOUS JAMS, AND THINGS
4157
02:52:51,200 --> 02:52:53,566
GET BILLED.
4158
02:52:53,633 --> 02:52:54,866
ALL MY LIFE WAS SOMETHING, JUST
4159
02:52:54,933 --> 02:52:57,200
HAD THAT LITTLE RIFF, AND WE
4160
02:52:57,266 --> 02:52:59,000
JUST BUILT IT.
4161
02:52:59,066 --> 02:53:00,533
>> WHY DIDN'T I THINK OF IT,
4162
02:53:00,600 --> 02:53:02,733
JUST ONE NOTE, ONE NOTE, DUDE,
4163
02:53:02,800 --> 02:53:06,066
AND IT BUILDS SO MUCH TENSION.
4164
02:53:06,133 --> 02:53:07,866
>> "ALL MY LIFE," WE JUST HAVE
4165
02:53:07,933 --> 02:53:13,166
TO PLAY.
4166
02:53:13,233 --> 02:53:13,800
>> ONLY GET TO THAT PART OF THE
4167
02:53:13,866 --> 02:53:15,033
SET, IT ALWAYS GOES BANANAS.
4168
02:53:15,100 --> 02:53:21,200
♪ ♪
4169
02:53:21,266 --> 02:53:23,033
>> THESE GUYS BURN, THEY ARE
4170
02:53:23,100 --> 02:53:23,800
LIKE, IT'S UNSAFE, AND TO MAKE
4171
02:53:23,866 --> 02:53:24,966
YOU FEEL LIKE THE SHOW WOULD BE
4172
02:53:25,033 --> 02:53:30,066
GOOD IF YOU WEREN'T THERE.
4173
02:53:30,133 --> 02:53:30,700
>> MOST FOO FIGHTERS SONGS
4174
02:53:30,766 --> 02:53:32,500
WRITTEN ON AN ACOUSTIC GUITAR.
4175
02:53:32,566 --> 02:53:34,000
>> THE BAND'S FOCAL PEOPLE BUT
4176
02:53:34,066 --> 02:53:35,466
WE HAVE THIS EXTENDED LINEUP
4177
02:53:35,533 --> 02:53:39,300
WHEN WE DO THESE EXTENDED SHOWS,
4178
02:53:39,366 --> 02:53:40,400
PAT SMEAR, OUR ACOUSTIC GUITAR
4179
02:53:40,466 --> 02:53:44,566
PLAYER, HE IS BACK.
4180
02:53:44,633 --> 02:53:45,566
>> WATCHING THE FOO FIGHTERS
4181
02:53:45,633 --> 02:53:47,033
PLAY LIVE, IT'S LIKE YOU CAN
4182
02:53:47,100 --> 02:53:47,433
HEAR EACH MEMBER.
4183
02:53:47,500 --> 02:53:49,266
YOU CAN HEAR WHAT THEY HAVE TO
4184
02:53:49,333 --> 02:53:52,933
SAY THROUGH THEIR INSTRUMENT.
4185
02:53:53,000 --> 02:53:54,066
>> PLAYING PIANO, LOOK AT THAT
4186
02:53:54,133 --> 02:53:55,033
GUY RIGHT THERE.
4187
02:53:55,100 --> 02:53:56,566
>> THE CONTRIBUTION EVERYONE
4188
02:53:56,633 --> 02:53:57,900
MAKES IS THE REASON WHY THE BAND
4189
02:53:57,966 --> 02:53:59,600
SOUNDS LIKE THE BAND.
4190
02:53:59,666 --> 02:54:00,666
OTHER DEMO TAPES WERE ALL PLAYED
4191
02:54:00,733 --> 02:54:02,866
DRUMS AND BASS, AND WHEN THE
4192
02:54:02,933 --> 02:54:04,300
BAND GETS TOGETHER, IT SOUNDS
4193
02:54:04,366 --> 02:54:06,533
COMPLETELY DIFFERENT.
4194
02:54:06,600 --> 02:54:11,233
♪ ♪
4195
02:54:11,300 --> 02:54:13,100
>> PART OF THE SOUND OF THE
4196
02:54:13,166 --> 02:54:14,033
FOO FIGHTERS IS A LOT OF
4197
02:54:14,100 --> 02:54:14,333
GUITARS.
4198
02:54:14,400 --> 02:54:16,433
EVERY TIME WE MIX THE RECORD, I
4199
02:54:16,500 --> 02:54:18,733
ALWAYS WANT THE DRUMS LOUDER.
4200
02:54:18,800 --> 02:54:20,466
>> CHRIS HAS A SHARP AND CLEAN
4201
02:54:20,533 --> 02:54:23,400
SENSE OF MELODIC PLAYING.
4202
02:54:23,466 --> 02:54:25,233
>> SORT OF PLAYS IT STRAIGHT UP
4203
02:54:25,300 --> 02:54:25,766
THE MIDDLE.
4204
02:54:25,833 --> 02:54:29,200
WHEN PAT GETS ON THE GUITAR,
4205
02:54:29,266 --> 02:54:30,866
IT'S ALL OF THOSE THINGS, IF
4206
02:54:30,933 --> 02:54:32,500
THEY ARE BALANCED, IT SOUNDS
4207
02:54:32,566 --> 02:54:38,333
LIKE THE FOO FIGHTERS.
4208
02:54:38,400 --> 02:54:48,700
♪ ♪
4209
02:54:48,766 --> 02:54:50,433
>> WE'RE SORT OF THE UNDERDOGS,
4210
02:54:50,500 --> 02:54:52,166
BECAUSE WE'VE ALWAYS BEEN A
4211
02:54:52,233 --> 02:54:54,300
LITTLE BIT OUTSIDE OF COOL, AND
4212
02:54:54,366 --> 02:54:56,700
I'M PROUD OF THAT.
4213
02:54:56,766 --> 02:54:57,600
>> THERE WILL PROBABLY ALWAYS,
4214
02:54:57,666 --> 02:54:59,400
TO SOME EXTENT, BE THAT FEELING
4215
02:54:59,466 --> 02:55:00,633
OF THIS COULD END TOMORROW.
4216
02:55:00,700 --> 02:55:02,266
I'VE HAD PEOPLE SAY IN AN
4217
02:55:02,333 --> 02:55:03,933
INTERVIEW, WHAT IS IT LIKE TO BE
4218
02:55:04,000 --> 02:55:04,466
A ROCK STAR?
4219
02:55:04,533 --> 02:55:07,766
I'M NOT A ROCK STAR, A MUSICIAN.
4220
02:55:07,833 --> 02:55:10,566
>> I GO TO WORK, AND A FUCKING
4221
02:55:10,633 --> 02:55:11,333
LAUGH ALL DAY.
4222
02:55:11,400 --> 02:55:12,300
IT'S NOT A JOB.
4223
02:55:12,366 --> 02:55:15,466
>> I AM AN ADULT THAT PLAYS IN A
4224
02:55:15,533 --> 02:55:15,733
ROCK BAND.
4225
02:55:15,800 --> 02:55:19,300
>> ♪ IF EVERYTHING COULD EVER
4226
02:55:19,366 --> 02:55:24,100
FEEL THIS REAL FOREVER ♪
4227
02:55:24,166 --> 02:55:26,733
♪ IF ANYTHING COULD EVER BE THIS
4228
02:55:26,800 --> 02:55:29,266
GOOD ♪
4229
02:55:29,333 --> 02:55:29,666
♪
4230
02:55:29,733 --> 02:55:30,566
GOT TO PROMISE NOT TO STOP WHEN
4231
02:55:30,633 --> 02:55:35,633
I SAY WHEN."
4232
02:55:35,700 --> 02:55:36,866
>> THAT FIRST CASSETTE, MADE IN
4233
02:55:36,933 --> 02:55:37,800
FIVE FUCKING DAYS OR WHATEVER,
4234
02:55:37,866 --> 02:55:42,800
AND HERE WE ARE, IT'S LIKE, WOW.
4235
02:55:42,866 --> 02:55:50,200
>> CAN YOU TELL ME THAT?
4236
02:55:50,266 --> 02:55:53,733
>> LADIES AND GENTLEMEN, THE
4237
02:55:53,800 --> 02:56:03,300
INCREDIBLE FOO FIGHTERS!
4238
02:56:03,366 --> 02:56:04,566
>> ♪ I'VE GOT ANOTHER
4239
02:56:04,633 --> 02:56:05,166
CONFESSION TO MAKE ♪
4240
02:56:05,233 --> 02:56:05,966
♪ I'M YOUR FOOL ♪
4241
02:56:06,033 --> 02:56:07,300
♪ EVERYONE'S GOT THEIR CHAINS
4242
02:56:07,366 --> 02:56:08,033
TO BREAK ♪
4243
02:56:08,100 --> 02:56:11,400
♪ HOLDIN' YOU ♪
4244
02:56:11,466 --> 02:56:13,966
♪ WERE YOU BORN TO RESIST,
4245
02:56:14,033 --> 02:56:18,633
OR BE ABUSED? ♪
4246
02:56:18,700 --> 02:56:19,900
♪ IS SOMEONE GETTING THE BEST ♪
4247
02:56:19,966 --> 02:56:20,833
♪ THE BEST, THE BEST, THE BEST
4248
02:56:20,900 --> 02:56:24,100
OF YOU? ♪
4249
02:56:24,166 --> 02:56:26,966
♪ IS SOMEONE GETTING THE BEST ♪
4250
02:56:27,033 --> 02:56:28,500
♪ THE BEST, THE BEST, THE BEST
4251
02:56:28,566 --> 02:56:34,100
OF YOU? ♪
4252
02:56:34,166 --> 02:56:35,300
♪ OR ARE YOU GONE AND ONTO
4253
02:56:35,366 --> 02:56:42,333
SOMEONE NEW? ♪
4254
02:56:42,400 --> 02:56:43,366
♪ I NEEDED SOMEWHERE
4255
02:56:43,433 --> 02:56:44,200
TO HANG MY HEAD ♪
4256
02:56:44,266 --> 02:56:47,466
♪ WITHOUT YOUR NOOSE ♪
4257
02:56:47,533 --> 02:56:48,100
♪ YOU GAVE ME SOMETHING THAT I
4258
02:56:48,166 --> 02:56:50,766
DIDN'T HAVE ♪
4259
02:56:50,833 --> 02:56:55,833
♪ BUT HAD NO USE ♪
4260
02:56:55,900 --> 02:56:57,033
♪ I WAS TOO WEAK TO GIVE IN ♪
4261
02:56:57,100 --> 02:57:02,733
♪ TOO STRONG TO LOSE ♪
4262
02:57:02,800 --> 02:57:03,566
♪ MY HEART IS UNDER ARREST
4263
02:57:03,633 --> 02:57:03,866
AGAIN ♪
4264
02:57:03,933 --> 02:57:09,500
♪ BUT I'LL BREAK LOOSE ♪
4265
02:57:09,566 --> 02:57:10,466
♪ MY HEAD IS GIVING ME LIFE
4266
02:57:10,533 --> 02:57:12,266
OR DEATH ♪
4267
02:57:12,333 --> 02:57:16,666
♪ BUT I CAN'T CHOOSE ♪
4268
02:57:16,733 --> 02:57:18,800
♪ I SWEAR I'LL NEVER GIVE IN ♪
4269
02:57:18,866 --> 02:57:23,866
♪ I REFUSE ♪
4270
02:57:23,933 --> 02:57:24,500
HERE WE GO!
4271
02:57:24,566 --> 02:57:26,133
♪ IS SOMEONE GETTING THE BEST ♪
4272
02:57:26,200 --> 02:57:26,766
♪ THE BEST, THE BEST, THE BEST
4273
02:57:26,833 --> 02:57:30,333
OF YOU? ♪
4274
02:57:30,400 --> 02:57:31,333
♪ IS SOMEONE GETTING THE BEST ♪
4275
02:57:31,400 --> 02:57:32,500
♪ THE BEST, THE BEST, THE BEST
4276
02:57:32,566 --> 02:57:36,533
OF YOU? ♪
4277
02:57:36,600 --> 02:57:37,600
♪ HAS SOMEONE TAKEN YOUR
4278
02:57:37,666 --> 02:57:39,033
FAITH? ♪
4279
02:57:39,100 --> 02:57:40,666
♪ IT'S REAL, THE PAIN YOU FEEL ♪
4280
02:57:40,733 --> 02:57:42,600
♪ YOU TRUST, YOU MUST CONFESS ♪
4281
02:57:42,666 --> 02:57:45,500
♪ IS SOMEONE GETTING THE BEST ♪
4282
02:57:45,566 --> 02:57:48,066
♪ THE BEST, THE BEST, THE BEST
4283
02:57:48,133 --> 02:57:57,866
OF YOU? ♪
4284
02:57:57,933 --> 02:58:10,266
♪ ♪
4285
02:58:10,333 --> 02:58:20,666
♪ ♪
4286
02:58:20,733 --> 02:58:21,400
♪ HAS SOMEONE TAKEN YOUR
4287
02:58:21,466 --> 02:58:22,000
FAITH? ♪
4288
02:58:22,066 --> 02:58:23,200
♪ IT'S REAL, THE PAIN YOU FEEL ♪
4289
02:58:23,266 --> 02:58:24,000
♪ THE LIFE, THE LOVE ♪
4290
02:58:24,066 --> 02:58:27,100
♪ YOU'D DIE TO HEAL ♪
4291
02:58:27,166 --> 02:58:28,300
♪ THE HOPE THAT STARTS ♪
4292
02:58:28,366 --> 02:58:30,300
♪ THE BROKEN HEARTS ♪
4293
02:58:30,366 --> 02:58:35,133
♪ YOU TRUST, YOU MUST CONFESS ♪
4294
02:58:35,200 --> 02:58:36,033
♪ GETTING THE BEST ♪
4295
02:58:36,100 --> 02:58:37,133
♪ THE BEST, THE BEST, THE BEST
4296
02:58:37,200 --> 02:58:39,700
OF YOU? ♪
4297
02:58:39,766 --> 02:58:41,000
♪ IS SOMEONE GETTING THE BEST ♪
4298
02:58:41,066 --> 02:58:43,500
♪ THE BEST, THE BEST, THE BEST
4299
02:58:43,566 --> 02:58:50,600
OF YOU? ♪
4300
02:58:50,666 --> 02:59:00,033
♪ ♪
4301
02:59:00,100 --> 02:59:01,200
IF YOU KNOW THIS, YOU'VE GOT
4302
02:59:01,266 --> 02:59:03,366
SING IT WITH ME.
4303
02:59:03,433 --> 02:59:07,033
♪ ♪
4304
02:59:07,100 --> 02:59:18,933
IT'S CALLED "MY HERO."
4305
02:59:19,000 --> 02:59:21,900
♪ ♪
4306
02:59:21,966 --> 02:59:23,200
♪ TOO ALARMING NOW
4307
02:59:23,266 --> 02:59:27,766
TO TALK ABOUT ♪
4308
02:59:27,833 --> 02:59:28,466
♪ TAKE YOUR PICTURES DOWN
4309
02:59:28,533 --> 02:59:32,800
AND SHAKE IT OUT ♪
4310
02:59:32,866 --> 02:59:35,100
♪ TRUTH OR CONSEQUENCE,
4311
02:59:35,166 --> 02:59:38,733
SAY IT ALOUD ♪
4312
02:59:38,800 --> 02:59:40,300
♪ USE THAT EVIDENCE,
4313
02:59:40,366 --> 02:59:44,766
RACE IT AROUND ♪
4314
02:59:44,833 --> 02:59:50,166
SING IT WITH ME NOW!
4315
02:59:50,233 --> 02:59:50,966
♪ THERE GOES MY HERO ♪
4316
02:59:51,033 --> 02:59:56,966
♪ WATCH HIM AS HE GOES ♪
4317
02:59:57,033 --> 02:59:58,700
♪ THERE GOES MY HERO ♪
4318
02:59:58,766 --> 03:00:05,800
♪ HE'S ORDINARY ♪
4319
03:00:05,866 --> 03:00:09,500
I WANT TO HEAR YOU SING IT RIGHT
4320
03:00:09,566 --> 03:00:09,900
NOW!
4321
03:00:09,966 --> 03:00:10,500
♪ ♪
4322
03:00:10,566 --> 03:00:13,300
♪ THERE GOES MY HERO ♪
4323
03:00:13,366 --> 03:00:19,366
♪ WATCH HIM AS HE GOES ♪
4324
03:00:19,433 --> 03:00:22,900
♪ THERE GOES MY HERO ♪
4325
03:00:22,966 --> 03:00:30,866
♪ HE'S ORDINARY ♪
4326
03:00:30,933 --> 03:00:31,233
♪ ♪
4327
03:00:31,300 --> 03:00:35,166
>> I WANT TO HEAR YOU
4328
03:00:35,233 --> 03:00:36,866
MOTHERFUCKERS OVER HERE SING IT.
4329
03:00:36,933 --> 03:00:38,033
♪ THERE GOES MY HERO ♪
4330
03:00:38,100 --> 03:00:41,600
♪ WATCH HIM AS HE GOES ♪
4331
03:00:41,666 --> 03:00:42,866
ONE MORE TIME, I'LL SING IT WITH
4332
03:00:42,933 --> 03:00:43,366
YOU, READY?
4333
03:00:43,433 --> 03:00:45,833
♪ THERE GOES MY HERO ♪
4334
03:00:45,900 --> 03:00:56,466
♪ HE'S ORDINARY ♪
4335
03:00:56,533 --> 03:01:09,233
♪ ♪
4336
03:01:09,300 --> 03:01:11,800
ALL RIGHT NOW!
4337
03:01:11,866 --> 03:01:14,700
LET'S DO A LITTLE DANCE.
4338
03:01:14,766 --> 03:01:17,700
READY?
4339
03:01:17,766 --> 03:01:18,000
ALL RIGHT!
4340
03:01:18,066 --> 03:01:25,500
♪ ♪
4341
03:01:25,566 --> 03:01:28,000
♪ HELLO ♪
4342
03:01:28,066 --> 03:01:32,100
♪ I'VE WAITED HERE FOR YOU ♪
4343
03:01:32,166 --> 03:01:35,166
♪ EVERLONG ♪
4344
03:01:35,233 --> 03:01:40,666
♪ TONIGHT, I THROW MYSELF INTO ♪
4345
03:01:40,733 --> 03:01:48,800
♪ AND OUT OF THE RED ♪
4346
03:01:48,866 --> 03:01:49,666
♪ ♪
4347
03:01:49,733 --> 03:01:52,933
♪ OUT OF HER HEAD, SHE SANG ♪
4348
03:01:53,000 --> 03:01:56,933
♪ ♪
4349
03:01:57,000 --> 03:01:59,133
♪ COME DOWN AND WASTE AWAY
4350
03:01:59,200 --> 03:02:02,333
WITH ME ♪
4351
03:02:02,400 --> 03:02:07,533
♪ DOWN WITH ME ♪
4352
03:02:07,600 --> 03:02:09,600
♪ SLOW, HOW YOU WANTED IT
4353
03:02:09,666 --> 03:02:12,400
TO BE ♪
4354
03:02:12,466 --> 03:02:14,400
♪ I'M OVER MY HEAD ♪
4355
03:02:14,466 --> 03:02:18,633
♪ OUT OF HER HEAD, SHE SANG ♪
4356
03:02:18,700 --> 03:02:21,333
HERE WE GO!
4357
03:02:21,400 --> 03:02:25,033
♪ AND I WONDER ♪
4358
03:02:25,100 --> 03:02:29,333
♪ WHEN I SING ALONG WITH YOU ♪
4359
03:02:29,400 --> 03:02:30,833
SING IT!
4360
03:02:30,900 --> 03:02:31,833
♪ IF EVERYTHING COULD EVER BE
4361
03:02:31,900 --> 03:02:35,400
THIS REAL FOREVER ♪
4362
03:02:35,466 --> 03:02:36,966
♪ IF ANYTHING COULD EVER BE
4363
03:02:37,033 --> 03:02:40,366
THIS GOOD AGAIN ♪
4364
03:02:40,433 --> 03:02:41,633
♪ THE ONLY THING I'LL EVER ASK
4365
03:02:41,700 --> 03:02:44,833
OF YOU ♪
4366
03:02:44,900 --> 03:02:45,633
♪ YOU'VE GOT TO PROMISE
4367
03:02:45,700 --> 03:02:47,500
NOT TO STOP WHEN I SAY WHEN ♪
4368
03:02:47,566 --> 03:02:51,200
♪ SHE SANG ♪
4369
03:02:51,266 --> 03:02:59,000
♪ ♪
4370
03:02:59,066 --> 03:03:03,066
♪ BREATHE OUT ♪
4371
03:03:03,133 --> 03:03:06,533
♪ SO I CAN BREATHE YOU IN ♪
4372
03:03:06,600 --> 03:03:10,766
♪ HOLD YOU IN ♪
4373
03:03:10,833 --> 03:03:15,433
♪ AND NOW ♪
4374
03:03:15,500 --> 03:03:16,566
♪ I KNOW YOU'VE ALWAYS BEEN ♪
4375
03:03:16,633 --> 03:03:19,033
♪ OUT OF YOUR HEAD ♪
4376
03:03:19,100 --> 03:03:23,633
♪ OUT OF YOUR HEAD ♪
4377
03:03:23,700 --> 03:03:24,166
ALL RIGHT!
4378
03:03:24,233 --> 03:03:27,733
♪ AND I WONDER ♪
4379
03:03:27,800 --> 03:03:31,033
♪ WHEN I SING ALONG WITH YOU ♪
4380
03:03:31,100 --> 03:03:33,100
♪ IF EVERYTHING COULD EVER FEEL
4381
03:03:33,166 --> 03:03:36,666
THIS REAL FOREVER ♪
4382
03:03:36,733 --> 03:03:37,900
♪ IF ANYTHING COULD EVER BE
4383
03:03:37,966 --> 03:03:42,233
THIS GOOD AGAIN ♪
4384
03:03:42,300 --> 03:03:43,800
♪ THE ONLY THING I'LL EVER ASK
4385
03:03:43,866 --> 03:03:44,766
OF YOU ♪
4386
03:03:44,833 --> 03:03:46,766
♪ YOU'VE GOT TO PROMISE
4387
03:03:46,833 --> 03:03:49,666
NOT TO STOP WHEN I SAY WHEN ♪
4388
03:03:49,733 --> 03:03:56,133
♪ SHE SANG ♪
4389
03:03:56,200 --> 03:04:07,066
[CHEERS AND APPLAUSE]
4390
03:04:07,133 --> 03:04:13,700
♪ ♪
4391
03:04:13,766 --> 03:04:18,600
ONE MORE TIME.
4392
03:04:18,666 --> 03:04:19,033
ONE MORE TIME!
4393
03:04:19,100 --> 03:04:23,266
HERE WE GO!
4394
03:04:23,333 --> 03:04:23,600
HERE IT GOES!
4395
03:04:23,666 --> 03:04:32,400
♪ ♪
4396
03:04:32,466 --> 03:04:35,466
♪ AND I WONDER ♪
4397
03:04:35,533 --> 03:04:37,300
SING IT!
4398
03:04:37,366 --> 03:04:38,366
♪ IF EVERYTHING COULD EVER BE
4399
03:04:38,433 --> 03:04:39,633
THIS REAL FOREVER ♪
4400
03:04:39,700 --> 03:04:40,733
♪ IF ANYTHING COULD EVER BE
4401
03:04:40,800 --> 03:04:44,400
THIS GOOD AGAIN ♪
4402
03:04:44,466 --> 03:04:45,133
♪ THE ONLY THING I'LL EVER ASK
4403
03:04:45,200 --> 03:04:54,100
OF YOU ♪
4404
03:04:54,166 --> 03:04:55,466
♪ ♪
4405
03:04:55,533 --> 03:04:56,666
♪ YOU'VE GOT TO PROMISE
4406
03:04:56,733 --> 03:04:59,366
NOT TO STOP WHEN I SAY WHEN ♪
4407
03:04:59,433 --> 03:05:18,866
♪ ♪
4408
03:05:18,933 --> 03:05:19,500
YES!
4409
03:05:19,566 --> 03:05:28,800
THAT'S WHAT I'M TALKING ABOUT.
4410
03:05:28,866 --> 03:05:31,266
WHOO!
4411
03:05:31,333 --> 03:05:45,633
[CHEERS AND APPLAUSE]
4412
03:05:45,700 --> 03:05:47,166
>> COME ON, MAN.
4413
03:05:47,233 --> 03:05:51,100
YOU GOT IT.
4414
03:05:51,166 --> 03:05:51,533
SPEECH, MAN.
4415
03:05:51,600 --> 03:05:53,766
>> OH, YEAH.
4416
03:05:53,833 --> 03:05:58,300
WELL, GODDAMN, THIS IS HUGE, AND
4417
03:05:58,366 --> 03:06:00,166
A LONG WAY FROM THE PARTY HELD
4418
03:06:00,233 --> 03:06:01,700
AT THE HOEDOWN CENTER, AND A
4419
03:06:01,766 --> 03:06:03,866
LONG WAY FROM THERE TO HERE, IT
4420
03:06:03,933 --> 03:06:04,566
REQUIRED THE ASSISTANCE OF SOME
4421
03:06:04,633 --> 03:06:06,433
PEOPLE I WOULD LIKE TO THANK
4422
03:06:06,500 --> 03:06:07,000
BRIEFLY.
4423
03:06:07,066 --> 03:06:12,600
KATE, MY LOVE, YOUR MY HEART.
4424
03:06:12,666 --> 03:06:16,200
MY ORIGINAL PARTNER IN MUSICAL
4425
03:06:16,266 --> 03:06:18,666
PRIME, AND THIS IS FOR YOU, JEFF
4426
03:06:18,733 --> 03:06:22,166
AND CLARA, AND THESE WEIRDOS,
4427
03:06:22,233 --> 03:06:22,933
THE HONOR OF MY LIFE HAS BEEN
4428
03:06:23,000 --> 03:06:25,700
PLAYING MUSIC MUSIC WITH THEM
4429
03:06:25,766 --> 03:06:28,500
FOR THE LAST 20 PLUS YEARS.
4430
03:06:28,566 --> 03:06:32,033
THANK YOU.
4431
03:06:32,100 --> 03:06:37,233
FIRST I'D LIKE TO THANK DAVE,
4432
03:06:37,300 --> 03:06:38,733
BECAUSE NONE OF THIS SHIT WOULD
4433
03:06:38,800 --> 03:06:40,633
HAPPEN IF IT WASN'T FOR DAVE.
4434
03:06:40,700 --> 03:06:41,733
SO THANK YOU FOR LETTING ME BE
4435
03:06:41,800 --> 03:06:44,733
IN YOUR BAND.
4436
03:06:44,800 --> 03:06:47,800
I WANT TO THANK SAM, OUR
4437
03:06:47,866 --> 03:06:52,366
MANAGEMENT, JOHN AND YOUR BADASS
4438
03:06:52,433 --> 03:06:56,633
TEAM FOR MAKING US A SHITTON OF
4439
03:06:56,700 --> 03:06:57,400
MONEY.
4440
03:06:57,466 --> 03:06:57,666
THANK YOU.
4441
03:06:57,733 --> 03:07:01,033
MY BEAUTIFUL WIFE, MY BEAUTIFUL
4442
03:07:01,100 --> 03:07:03,466
CHILDREN, SHANE AND ANNABELLE
4443
03:07:03,533 --> 03:07:04,866
HAWKINS, BEVERLY, I LOVE YOU
4444
03:07:04,933 --> 03:07:05,633
GUYS SO MUCH.
4445
03:07:05,700 --> 03:07:07,266
I'D LIKE TO SHARE THIS AWARD
4446
03:07:07,333 --> 03:07:08,366
WITH A COUPLE BANDS THAT I'D
4447
03:07:08,433 --> 03:07:10,800
LIKE TO SEE GET IN THERE SOMEDAY
4448
03:07:10,866 --> 03:07:11,533
TOO.
4449
03:07:11,600 --> 03:07:12,866
I'D LIKE TO SEE GEORGE MICHAEL
4450
03:07:12,933 --> 03:07:13,666
IN THEIR ONE DAY.
4451
03:07:13,733 --> 03:07:17,000
LOVE THAT.
4452
03:07:17,066 --> 03:07:18,333
I'D LIKE TO SEE JANE'S ADDICTION
4453
03:07:18,400 --> 03:07:18,766
IN THERE.
4454
03:07:18,833 --> 03:07:21,366
I REALLY LIKE THAT.
4455
03:07:21,433 --> 03:07:22,366
I'D LIKE TO SEE SOUNDGARDEN IN
4456
03:07:22,433 --> 03:07:22,566
THERE.
4457
03:07:22,633 --> 03:07:26,466
I'D REALLY LIKE THAT.
4458
03:07:26,533 --> 03:07:32,366
AND THANKS TO EVERYONE.
4459
03:07:32,433 --> 03:07:34,333
[CHEERS AND APPLAUSE]
4460
03:07:34,400 --> 03:07:39,800
>> I'D LIKE TO THINK FIVE PEOPL
4461
03:07:39,866 --> 03:07:40,133
PEOPLE.
4462
03:07:40,200 --> 03:07:41,466
AND YOU ARE LOOKING AT THEM
4463
03:07:41,533 --> 03:07:43,966
RIGHT NOW.
4464
03:07:44,033 --> 03:07:44,433
[CHEERS AND APPLAUSE]
4465
03:07:44,500 --> 03:07:52,566
MAKE IT SIX.
4466
03:07:52,633 --> 03:07:54,100
>> ALL RIGHT, I'VE GOT TO THINK
4467
03:07:54,166 --> 03:07:57,166
MY MOM, DAD, BROTHER, MIKE,
4468
03:07:57,233 --> 03:07:58,666
BROTHER, SCOTT, BROTHER STEELE,
4469
03:07:58,733 --> 03:08:00,966
AND MY BEAUTIFUL WIFE CARA, AND
4470
03:08:01,033 --> 03:08:06,233
HER BEAUTIFUL BOYS, LIAM, EVAN,
4471
03:08:06,300 --> 03:08:08,233
AND DASHIELL, AND A BIG
4472
03:08:08,300 --> 03:08:09,600
THANKS TO EVERY SINGLE PERSON I
4473
03:08:09,666 --> 03:08:10,700
PLAYED IN A BAND WITH, BECAUSE
4474
03:08:10,766 --> 03:08:13,066
IF IT WASN'T FOR YOU GUYS, I
4475
03:08:13,133 --> 03:08:14,900
WOULD HAVE NEVER BEEN READY IN
4476
03:08:14,966 --> 03:08:16,333
AUGUST WHEN I GOT THE CHANCE TO
4477
03:08:16,400 --> 03:08:18,966
TRAP FOR MY FAVORITE BAND, THE
4478
03:08:19,033 --> 03:08:24,766
FOO FIGHTERS.
4479
03:08:24,833 --> 03:08:27,800
[CHEERS AND APPLAUSE]
4480
03:08:27,866 --> 03:08:28,033
>> OKAY.
4481
03:08:28,100 --> 03:08:38,700
I'M TRYING TO TALK.
4482
03:08:38,766 --> 03:08:41,333
REBECCA SCARLETT, I LOVE YOU.
4483
03:08:41,400 --> 03:08:44,466
SCARLETT, MAYBE FOR YOURSELF OR
4484
03:08:44,533 --> 03:08:45,466
SOMETHING.
4485
03:08:45,533 --> 03:08:52,133
I WILL THINK THE GERMS, THE
4486
03:08:52,200 --> 03:08:52,833
ADOLESCENCE, 45 GRAVE, TWISTED
4487
03:08:52,900 --> 03:08:59,633
RUTH'S CELEBRITY SKIN, NIRVANA,
4488
03:08:59,700 --> 03:09:03,900
AND MOST OF ALL, THAT
4489
03:09:03,966 --> 03:09:06,166
MOTHERFUCKER DAVE GROHL, AND
4490
03:09:06,233 --> 03:09:07,133
YOU, AND YOU, AND YOU.
4491
03:09:07,200 --> 03:09:08,033
AND YOU.
4492
03:09:08,100 --> 03:09:10,133
AND YOU THREE LADIES OVER THERE,
4493
03:09:10,200 --> 03:09:10,400
THANK YOU.
4494
03:09:10,466 --> 03:09:18,200
THAT'S ALL.
4495
03:09:18,266 --> 03:09:27,500
[CHEERS AND APPLAUSE]
4496
03:09:27,566 --> 03:09:31,666
FIRST OF ALL, WHAT'S UP, OHIO!
4497
03:09:31,733 --> 03:09:35,533
I WAS BORN HERE, WHAT ABOUT THA
4498
03:09:35,600 --> 03:09:41,566
THAT!
4499
03:09:41,633 --> 03:09:43,433
I'M USUALLY THE GUY WHO TALKS
4500
03:09:43,500 --> 03:09:47,233
TOO MUCH.
4501
03:09:47,300 --> 03:09:49,866
I DIDN'T PREPARE ANY SORT OF
4502
03:09:49,933 --> 03:09:51,066
SPEECH BECAUSE I FIGURED THAT
4503
03:09:51,133 --> 03:09:53,066
I'D MAKE IT SHORT BECAUSE THE
4504
03:09:53,133 --> 03:09:55,233
LAST 25 YEARS HAS BEEN ME JUST
4505
03:09:55,300 --> 03:09:59,266
LIKE "BLAH, BLAH, BLAH,
4506
03:09:59,333 --> 03:09:59,900
ROCK 'N' ROLL, BLAH, BLAH, BLAH,
4507
03:09:59,966 --> 03:10:02,233
ROCK 'N' ROLL."
4508
03:10:02,300 --> 03:10:06,066
SO I WOULD LIKE TO SAY THAT THE
4509
03:10:06,133 --> 03:10:10,466
BEST THING ABOUT BEING HERE
4510
03:10:10,533 --> 03:10:12,233
TONIGHT IS BEING SURROUNDED BY
4511
03:10:12,300 --> 03:10:15,233
OUR FAMILY, AND WHEN I SAY THAT,
4512
03:10:15,300 --> 03:10:18,033
I MEAN, IF ANYBODY KNOWS HOW THE
4513
03:10:18,100 --> 03:10:19,566
FOO FIGHTERS WORK, THE PEOPLE
4514
03:10:19,633 --> 03:10:20,266
THAT WE ARE WITH AND WE'VE
4515
03:10:20,333 --> 03:10:24,366
WORKED WITH, IT'S BEEN 20, 25,
4516
03:10:24,433 --> 03:10:26,666
30 YEARS, AND WE STICK TOGETHER
4517
03:10:26,733 --> 03:10:27,633
LIKE A FAMILY.
4518
03:10:27,700 --> 03:10:30,533
AND I THINK THAT'S IMPORTANT.
4519
03:10:30,600 --> 03:10:32,400
BECAUSE THEN YOU ARE DOING IT
4520
03:10:32,466 --> 03:10:33,166
TOGETHER NOT JUST BECAUSE IT'S
4521
03:10:33,233 --> 03:10:35,466
WORK BUT BECAUSE YOU LOVE EACH
4522
03:10:35,533 --> 03:10:36,033
OTHER.
4523
03:10:36,100 --> 03:10:38,333
AND SO THERE'S A WHOLE SECTION
4524
03:10:38,400 --> 03:10:39,033
OVER HERE OF OUR EXTENDED FAMILY
4525
03:10:39,100 --> 03:10:44,333
FROM THE LAST YEARS THAT I HAVE
4526
03:10:44,400 --> 03:10:50,433
TO THANK.
4527
03:10:50,500 --> 03:10:51,966
BUT I ALSO HAVE TO THANK MY
4528
03:10:52,033 --> 03:10:54,200
BEAUTIFUL FAMILY WHO, WITHOUT MY
4529
03:10:54,266 --> 03:10:55,233
BEAUTIFUL FAMILY, I WOULD NOT BE
4530
03:10:55,300 --> 03:10:56,700
AS HAPPY AS I AM.
4531
03:10:56,766 --> 03:10:58,700
I LOVE YOU GUYS SO MUCH.
4532
03:10:58,766 --> 03:11:01,566
AND THANK YOU VERY MUCH.
4533
03:11:01,633 --> 03:11:05,233
AND I HAVE TO THINK THESE PEOPL
4534
03:11:05,300 --> 03:11:06,366
PEOPLE, BECAUSE WE WOULDN'T BE
4535
03:11:06,433 --> 03:11:07,733
HERE TONIGHT IF IT WEREN'T FOR
4536
03:11:07,800 --> 03:11:12,800
EACH ONE OF THESE FOO FIGHTERS.
4537
03:11:12,866 --> 03:11:15,466
AND WE DID IT.
4538
03:11:15,533 --> 03:11:17,766
[CHEERS AND APPLAUSE]
4539
03:11:17,833 --> 03:11:18,733
THANK YOU ALL VERY MUCH FOR
4540
03:11:18,800 --> 03:11:20,966
HANGING OUT FOR US FOR THE LAST
4541
03:11:21,033 --> 03:11:21,233
26 YEARS.
4542
03:11:21,300 --> 03:11:23,700
THANK YOU.
4543
03:11:23,766 --> 03:11:33,666
[CHEERS AND APPLAUSE]
4544
03:11:33,733 --> 03:11:35,400
AND, YOU KNOW WHAT, I DIDN'T SAY
4545
03:11:35,466 --> 03:11:37,366
IT IN MY SPEECH, BUT, LISTEN, I
4546
03:11:37,433 --> 03:11:39,366
NEVER TOOK LESSONS TO LEARN HOW
4547
03:11:39,433 --> 03:11:40,200
TO PLAY MUSIC.
4548
03:11:40,266 --> 03:11:41,400
YOU KNOW WHAT I HAD?
4549
03:11:41,466 --> 03:11:43,500
I HAD A BEATLES SONGBOOK, A
4550
03:11:43,566 --> 03:11:44,933
BEATLES RECORD, AND A RECORD
4551
03:11:45,000 --> 03:11:46,266
PLAYER, AND SO EVERYTHING I
4552
03:11:46,333 --> 03:11:47,900
LEARNED ABOUT ROCK 'N' ROLL WAS
4553
03:11:47,966 --> 03:11:50,766
FROM THIS MAN RIGHT HERE.
4554
03:11:50,833 --> 03:11:52,033
HE IS MY MUSIC TEACHER RIGHT
4555
03:11:52,100 --> 03:11:52,233
THERE.
4556
03:11:52,300 --> 03:11:54,900
THAT'S IT.
4557
03:11:54,966 --> 03:12:01,466
♪ ♪
4558
03:12:01,533 --> 03:12:01,933
[CHEERS AND APPLAUSE]
4559
03:12:02,000 --> 03:12:03,966
♪ ♪
4560
03:12:04,033 --> 03:12:05,366
>> ♪ JOJO WAS A MAN WHO THOUGHT
4561
03:12:05,433 --> 03:12:07,833
HE WAS A LONER ♪
4562
03:12:07,900 --> 03:12:10,100
♪ BUT HE KNEW IT COULDN'T LAST ♪
4563
03:12:10,166 --> 03:12:11,400
♪ JOJO LEFT HIS HOME IN TUCSON,
4564
03:12:11,466 --> 03:12:13,100
ARIZONA ♪
4565
03:12:13,166 --> 03:12:17,533
♪ FOR SOME CALIFORNIA GRASS ♪
4566
03:12:17,600 --> 03:12:19,733
♪ GET BACK, GET BACK ♪
4567
03:12:19,800 --> 03:12:21,166
♪ GET BACK TO WHERE YOU ONCE
4568
03:12:21,233 --> 03:12:24,500
BELONGED ♪
4569
03:12:24,566 --> 03:12:26,800
♪ GET BACK, GET BACK ♪
4570
03:12:26,866 --> 03:12:28,600
♪ GET BACK TO WHERE YOU ONCE
4571
03:12:28,666 --> 03:12:33,733
BELONGED ♪
4572
03:12:33,800 --> 03:12:48,466
♪ ♪
4573
03:12:48,533 --> 03:12:53,666
♪ GET BACK, GET BACK ♪
4574
03:12:53,733 --> 03:12:54,600
♪ GET BACK TO WHERE YOU ONCE
4575
03:12:54,666 --> 03:12:55,833
BELONGED ♪
4576
03:12:55,900 --> 03:12:57,533
♪ GET BACK, GET BACK ♪
4577
03:12:57,600 --> 03:12:58,933
♪ GET BACK TO WHERE YOU ONCE
4578
03:12:59,033 --> 03:13:03,200
BELONGED ♪
4579
03:13:03,266 --> 03:13:07,300
♪ GET BACK, JO ♪
4580
03:13:07,366 --> 03:13:20,566
♪ ♪
4581
03:13:20,633 --> 03:13:21,566
♪ SWEET LORETTA MARTIN
4582
03:13:21,633 --> 03:13:23,133
THOUGHT SHE WAS A WOMAN ♪
4583
03:13:23,200 --> 03:13:26,200
♪ BUT SHE WAS ANOTHER MAN ♪
4584
03:13:26,266 --> 03:13:27,333
♪ ALL THE GIRLS AROUND HER
4585
03:13:27,400 --> 03:13:28,733
SAY SHE'S GOT IT COMING ♪
4586
03:13:28,800 --> 03:13:30,200
♪ BUT SHE GETS IT
4587
03:13:30,266 --> 03:13:32,600
WHILE SHE CAN ♪
4588
03:13:32,666 --> 03:13:35,966
♪ GET BACK, GET BACK ♪
4589
03:13:36,033 --> 03:13:37,666
♪ GET BACK TO WHERE YOU
4590
03:13:37,733 --> 03:13:40,000
ONCE BELONGED ♪
4591
03:13:40,066 --> 03:13:43,833
♪ GET BACK, GET BACK ♪
4592
03:13:43,900 --> 03:13:44,733
♪ GET BACK TO WHERE YOU
4593
03:13:44,800 --> 03:13:52,266
ONCE BELONGED ♪
4594
03:13:52,333 --> 03:14:04,166
♪ ♪
4595
03:14:04,233 --> 03:14:06,633
♪ GET BACK, GET BACK ♪
4596
03:14:06,700 --> 03:14:07,533
♪ GET BACK TO WHERE YOU
4597
03:14:07,600 --> 03:14:09,866
ONCE BELONGED ♪
4598
03:14:09,933 --> 03:14:13,000
♪ OH, GET BACK, YEAH, GET BACK ♪
4599
03:14:13,066 --> 03:14:14,800
♪ GET BACK TO WHERE YOU ONCE
4600
03:14:14,866 --> 03:14:20,366
BELONGED ♪
4601
03:14:20,433 --> 03:14:24,766
♪ ♪
4602
03:14:24,833 --> 03:14:26,166
♪ OOH ♪
4603
03:14:26,233 --> 03:14:30,233
♪ OOH ♪
4604
03:14:30,300 --> 03:14:34,333
♪ WHOO ♪
4605
03:14:34,400 --> 03:14:37,966
>> DO YOU WANT TO GO BACK?
4606
03:14:38,033 --> 03:14:38,566
>> LET'S GET BACK.
4607
03:14:38,633 --> 03:14:38,866
>> COME ON.
4608
03:14:38,933 --> 03:14:44,300
♪ ♪
4609
03:14:44,366 --> 03:14:45,100
♪ YEAH, SAID GET BACK,
4610
03:14:45,166 --> 03:14:46,733
GET BACK ♪
4611
03:14:46,800 --> 03:14:47,566
♪ GET BACK TO WHERE YOU ONCE
4612
03:14:47,633 --> 03:14:51,066
BELONGED ♪
4613
03:14:51,133 --> 03:14:52,633
♪ GET BACK, GET BACK ♪
4614
03:14:52,700 --> 03:14:54,600
♪ GET BACK TO WHERE YOU ONCE
4615
03:14:54,666 --> 03:14:56,033
BELONGED ♪
4616
03:14:56,100 --> 03:14:59,266
♪ GET BACK, GET BACK ♪
4617
03:14:59,333 --> 03:15:00,733
♪ GET BACK TO WHERE YOU ONCE
4618
03:15:00,800 --> 03:15:07,200
BELONGED ♪
4619
03:15:07,266 --> 03:15:12,233
♪ GET BACK ♪
4620
03:15:12,300 --> 03:15:12,500
OH, YEAH.
4621
03:15:12,566 --> 03:15:21,366
OH, YEAH.
4622
03:15:21,433 --> 03:15:23,100
[CHEERS AND APPLAUSE]
4623
03:15:23,166 --> 03:15:27,500
GET BACK.
4624
03:15:27,566 --> 03:15:31,300
THANK YOU, FOO FIGHTERS.
4625
03:15:31,366 --> 03:15:35,766
[CHEERS AND APPLAUSE]
4626
03:15:35,833 --> 03:15:54,966
♪ ♪
4627
03:15:58,566 --> 03:16:07,333
♪ ♪
277747
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