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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:00,433 --> 00:00:03,300 [ Guitar plays haltingly ] 2 00:00:09,266 --> 00:00:12,466 [ Tempo quickens ] 3 00:00:12,566 --> 00:00:13,766 -When I was a kid, I grew up 4 00:00:13,866 --> 00:00:16,666 with this television show called "American Bandstand." 5 00:00:16,766 --> 00:00:18,433 And every time they rated a record, 6 00:00:18,533 --> 00:00:20,133 if it was a good record, they would say, 7 00:00:20,233 --> 00:00:21,933 "It's got a good beat and you can dance to it." 8 00:00:22,033 --> 00:00:24,033 And I would go, "Okay." [ Chuckles ] 9 00:00:24,133 --> 00:00:25,633 That's what I want my records to have -- 10 00:00:25,733 --> 00:00:27,333 a good beat, and you can dance to it. 11 00:00:27,433 --> 00:00:29,233 -♪ Sweat 12 00:00:29,333 --> 00:00:30,300 ♪ Sweat 13 00:00:30,400 --> 00:00:31,400 ♪ Lose yourself to dance 14 00:00:31,500 --> 00:00:32,666 -♪ Come on, come on, come on 15 00:00:32,766 --> 00:00:34,700 ♪ Come on, come on, come on, come on ♪ 16 00:00:34,800 --> 00:00:36,533 -♪ Lose yourself to dance 17 00:00:36,633 --> 00:00:38,000 -♪ Come on, come on, come on, come on ♪ 18 00:00:38,100 --> 00:00:39,866 ♪ Come on, come on, come on, come on ♪ 19 00:00:39,966 --> 00:00:43,366 -Rhythm is at the root of the music we love. 20 00:00:43,466 --> 00:00:47,700 When the groove is good, it's irresistible. 21 00:00:47,800 --> 00:00:49,600 -Music can get you wild. 22 00:00:49,700 --> 00:00:51,866 Music can make you funky. 23 00:00:51,966 --> 00:00:54,366 -What makes music exciting is the counterpoint. 24 00:00:54,466 --> 00:00:56,866 It's this melding of opposites. 25 00:00:56,966 --> 00:01:00,700 -It's about the punch and it's about that thing 26 00:01:00,800 --> 00:01:02,666 that makes you want to stand up and dance. 27 00:01:02,766 --> 00:01:04,366 -And it gets inside and it fills you 28 00:01:04,466 --> 00:01:07,166 and sometimes you can't articulate it. 29 00:01:07,266 --> 00:01:09,300 -It's that primal thing in dance music 30 00:01:09,400 --> 00:01:10,833 that brings us all together. 31 00:01:10,933 --> 00:01:12,300 -♪ Hot pants 32 00:01:12,400 --> 00:01:14,533 ♪ Hey 33 00:01:14,633 --> 00:01:18,000 -Our world has changed, and so has the beat. 34 00:01:18,100 --> 00:01:21,900 It's gotten bigger, louder, and more exciting. 35 00:01:22,000 --> 00:01:23,466 -James Brown -- you can't listen to James Brown 36 00:01:23,566 --> 00:01:25,633 without getting up and wanting to move. 37 00:01:25,733 --> 00:01:27,233 -Brown said that everything sounded like a drum to him. 38 00:01:27,333 --> 00:01:30,100 It was this kind of symphony of percussion. 39 00:01:30,200 --> 00:01:31,733 -Oh, my God! 40 00:01:31,833 --> 00:01:34,566 James Brown music just messed me up. 41 00:01:34,666 --> 00:01:36,433 -♪ Shake your groove thing 42 00:01:36,533 --> 00:01:39,733 ♪ Shake your groove thing, yeah, yeah ♪ 43 00:01:39,833 --> 00:01:42,233 ♪ Show 'em how they do it now 44 00:01:42,333 --> 00:01:44,466 ♪ Shake your groove thing, shake your groove thing ♪ 45 00:01:44,566 --> 00:01:48,233 -I think that disco probably has a more lasting effect 46 00:01:48,333 --> 00:01:50,666 than historians are willing to admit. 47 00:01:50,766 --> 00:01:54,100 [ Electronic dance music plays ] 48 00:01:57,600 --> 00:01:59,333 -It's amazing and wonderful 49 00:01:59,433 --> 00:02:03,133 that EDM now almost sort of rules the planet. 50 00:02:03,233 --> 00:02:06,500 -Computer-driven music is the future. 51 00:02:06,600 --> 00:02:08,666 -The main reason why EDM is so popular 52 00:02:08,766 --> 00:02:10,466 is because you just start to move. 53 00:02:10,566 --> 00:02:11,866 You can't sit still. 54 00:02:11,966 --> 00:02:15,033 -From the manmade to the machine-engineered, 55 00:02:15,133 --> 00:02:18,466 it's all about finding that perfect beat. 56 00:02:18,566 --> 00:02:24,133 -Because that's what makes the people adrenaline go up. 57 00:02:24,233 --> 00:02:26,333 Huh huh-huhhh, 58 00:02:26,433 --> 00:02:28,700 uhhh...bam! 59 00:02:35,300 --> 00:02:37,433 ♪♪ 60 00:02:37,533 --> 00:02:39,700 -Okay, then. Okay. 61 00:02:39,800 --> 00:02:43,000 -It'll be an F for you. 62 00:02:43,100 --> 00:02:44,866 -Here we go. 63 00:02:47,400 --> 00:02:49,700 -Right after I say, "Are you sure?" 64 00:02:49,800 --> 00:02:50,900 Da da da -- yeah. 65 00:02:51,000 --> 00:02:52,633 -Oh. 66 00:02:54,200 --> 00:02:56,400 -Hal, here's how I want to do it. Takes like this. 67 00:02:56,500 --> 00:02:58,533 -All right, it's fun time. Fun time. 68 00:02:58,633 --> 00:02:59,966 -Here we go. 69 00:03:00,066 --> 00:03:03,933 -Oh, really? -17, take one. 70 00:03:04,033 --> 00:03:05,966 -This will be the keeper. 71 00:03:06,066 --> 00:03:11,300 ♪♪ 72 00:03:20,066 --> 00:03:21,966 -♪ All the single ladies -♪ All the single ladies 73 00:03:22,066 --> 00:03:24,366 -♪ All the single ladies -♪ All the single ladies 74 00:03:24,466 --> 00:03:26,866 -♪ All the single ladies; Now, put your hands up ♪ 75 00:03:26,966 --> 00:03:29,300 -♪ Up in the club, we just broke up ♪ 76 00:03:29,400 --> 00:03:31,600 ♪ I'm doin' my own little thing ♪ 77 00:03:31,700 --> 00:03:33,866 -♪ Trick started this beat with just a drum 78 00:03:33,966 --> 00:03:36,500 and the quirky sound that -- that we heard. 79 00:03:36,600 --> 00:03:37,866 [ Drum plays ] 80 00:03:37,966 --> 00:03:39,933 ♪ Uh, uh, uh 81 00:03:40,033 --> 00:03:42,333 -♪ I'm up on him, he up on me ♪ 82 00:03:42,433 --> 00:03:44,633 ♪ Don't pay him any attention 83 00:03:44,733 --> 00:03:46,266 -And I just sat in the back. 84 00:03:46,366 --> 00:03:49,200 I just thought about if I was Beyoncé, 85 00:03:49,300 --> 00:03:51,033 I would say "What?" -♪ 'Cause if you liked it 86 00:03:51,133 --> 00:03:52,933 ♪ Then you should've put a ring on it ♪ 87 00:03:53,033 --> 00:03:55,133 ♪ If you liked it, then you should've put a ring on it ♪ 88 00:03:55,233 --> 00:03:57,533 ♪ Don't be mad once you see that he want it ♪ 89 00:03:57,633 --> 00:04:00,133 ♪ If you liked it, then you should've put a ring on it ♪ 90 00:04:00,233 --> 00:04:02,333 ♪ Oh-oh-oh oh-oh-oh 91 00:04:02,433 --> 00:04:03,933 -I'm thinking. I'm quiet. 92 00:04:04,033 --> 00:04:05,833 -He's not giving me no -- no love. 93 00:04:05,933 --> 00:04:08,600 He's not -- he's not -- We're not in it together. 94 00:04:08,700 --> 00:04:10,166 He's just... -I'm giving him nothing. 95 00:04:10,266 --> 00:04:11,833 I'm Jedi. 96 00:04:11,933 --> 00:04:14,233 Trick stopped the beat. And I look at him. 97 00:04:14,333 --> 00:04:15,733 He was like, "What's wrong with you, man?" 98 00:04:15,833 --> 00:04:17,266 -"What are you doin'?" -"What are you doin'?" 99 00:04:17,366 --> 00:04:19,000 And he's like, "What do you mean? 100 00:04:19,100 --> 00:04:20,399 I was gonna start another beat." 101 00:04:20,500 --> 00:04:22,533 I was like, "Yeah, you just go and sit in -- 102 00:04:22,633 --> 00:04:23,766 sit in there. I'll be right... " 103 00:04:23,866 --> 00:04:25,433 -He's like, "I got the whole thing." 104 00:04:25,533 --> 00:04:27,100 He's like, "I just wrote the whole song." 105 00:04:27,200 --> 00:04:29,266 -♪ I got gloss on my lips, a man on my hips ♪ 106 00:04:29,366 --> 00:04:31,666 ♪ Hold me tighter than my Deréon jeans ♪ 107 00:04:31,766 --> 00:04:33,266 -The anatomy is there. 108 00:04:33,366 --> 00:04:36,333 The heart's there, the lungs, the -- the stomach. 109 00:04:36,433 --> 00:04:37,600 You know, the -- the... 110 00:04:37,700 --> 00:04:39,366 I just have to put the legs on it. 111 00:04:39,466 --> 00:04:41,700 -♪ Don't pay him any attention 112 00:04:41,800 --> 00:04:44,333 ♪ 'Cause you had your turn and now you gonna learn ♪ 113 00:04:44,433 --> 00:04:46,433 ♪ What it really feels like to miss me ♪ 114 00:04:46,533 --> 00:04:47,866 ♪ 'Cause if you liked it... 115 00:04:47,966 --> 00:04:50,500 -She came by to just kind of poke her head in 116 00:04:50,600 --> 00:04:52,266 and kind of hear what it was, and she was like, "Oh." 117 00:04:52,366 --> 00:04:54,566 -And she immediately -- There was no lyrics typed out. 118 00:04:54,666 --> 00:04:56,033 Like, there was no nothing. 119 00:04:56,133 --> 00:04:57,666 It was like, "Yeah, let me get with that." 120 00:04:57,766 --> 00:04:59,366 Like, and the next thing I know, 121 00:04:59,466 --> 00:05:00,966 she was on the other side of the booth... 122 00:05:01,066 --> 00:05:02,466 -Singing. -...singing. 123 00:05:02,566 --> 00:05:03,833 And we were like... 124 00:05:03,933 --> 00:05:05,000 -♪ Oh-oh-oh 125 00:05:05,100 --> 00:05:06,400 -Yeah. -...this is -- 126 00:05:06,500 --> 00:05:09,000 this is happening. -♪ Should've put a ring on it 127 00:05:09,100 --> 00:05:11,133 ♪ If you liked it, then you should've put a ring on it ♪ 128 00:05:11,233 --> 00:05:14,266 -He's thinking about how to connect the dots. 129 00:05:14,366 --> 00:05:18,000 Lyrically, I'm thinking about, "B is from Houston." 130 00:05:18,100 --> 00:05:20,600 I'm thinking about Southern. I'm thinking about... 131 00:05:20,700 --> 00:05:23,100 Like, to me, it's a church beat. 132 00:05:23,200 --> 00:05:24,500 So I just started with the... 133 00:05:24,600 --> 00:05:26,333 ♪ Chuh-chuh chuh-chuh chuh-chuh chuh ♪ 134 00:05:26,433 --> 00:05:28,100 It's, like, that's a sanctified beat. 135 00:05:28,200 --> 00:05:29,833 -Because she's a Southern girl. -She's a Southern girl. 136 00:05:29,933 --> 00:05:32,300 -♪ All the single ladies [ Rhythmic clapping ] 137 00:05:32,400 --> 00:05:34,000 ♪ All the single ladies -♪ All the single ladies 138 00:05:34,100 --> 00:05:35,733 -I can see the paper fans in church 139 00:05:35,833 --> 00:05:38,500 and the wooden benches and the reverend 140 00:05:38,600 --> 00:05:40,500 and the baptisms that are going on 141 00:05:40,600 --> 00:05:42,100 and knowing what's happeningafter that. 142 00:05:42,200 --> 00:05:44,400 That's everything I get from one sound. 143 00:05:44,500 --> 00:05:46,733 -So I'm like, "How do I get this Southern girl 144 00:05:46,833 --> 00:05:48,100 on the dancefloor?" 145 00:05:48,200 --> 00:05:49,966 -♪ Oh, oh, oh 146 00:05:50,066 --> 00:05:51,766 -High-five, man. Yeah, man. 147 00:05:51,866 --> 00:05:53,400 Yeah. Totally rad, man. 148 00:05:53,500 --> 00:05:55,300 -I think that one's a keeper. -It's randy. 149 00:05:55,400 --> 00:05:56,600 -[ Chuckles ] 150 00:05:56,700 --> 00:05:58,066 -[ Chuckles ] 151 00:05:58,166 --> 00:06:02,166 -♪ Talk about little David 152 00:06:02,266 --> 00:06:04,233 -♪ Sit down 153 00:06:04,333 --> 00:06:08,633 -♪ He's a mighty man 154 00:06:08,733 --> 00:06:10,633 -♪ Sit down 155 00:06:10,733 --> 00:06:14,566 -♪ Well, he killed Goliath 156 00:06:14,666 --> 00:06:16,666 -♪ Sit down 157 00:06:16,766 --> 00:06:20,800 -♪ Took his head to the king, Lord ♪ 158 00:06:20,900 --> 00:06:26,633 -♪ Sit down, servant, and rest a while ♪ 159 00:06:26,733 --> 00:06:28,466 -A lot of people, when they think of gospel music, 160 00:06:28,566 --> 00:06:31,800 think of the sound of the vocal. 161 00:06:31,900 --> 00:06:34,633 They think of spiritual aspects of gospel. 162 00:06:34,733 --> 00:06:36,866 But they very often don't think enough 163 00:06:36,966 --> 00:06:39,466 about the rhythmic aspects and the driving beat. 164 00:06:39,566 --> 00:06:42,633 -♪ Yeah, sit down, servant -♪ I can't sit down 165 00:06:42,733 --> 00:06:45,133 -♪ Sit down -♪ Woh, I can't sit down 166 00:06:45,233 --> 00:06:46,666 -♪ Sit down, servant 167 00:06:46,766 --> 00:06:48,333 -♪ I can't sit down 168 00:06:48,433 --> 00:06:50,633 ♪ I just got to heaven, and I can't sit down ♪ 169 00:06:50,733 --> 00:06:53,633 -♪ Says you can watch the sun, see how steady she runs ♪ 170 00:06:53,733 --> 00:06:56,500 ♪ Don't let it catch you with your work undone ♪ 171 00:06:56,600 --> 00:06:59,333 ♪ Joshua, Joshua, the son of a nun ♪ 172 00:06:59,433 --> 00:07:01,633 ♪ Thank God almighty, was a gospel son ♪ 173 00:07:01,733 --> 00:07:03,100 -Gospel has a... 174 00:07:03,200 --> 00:07:04,533 ♪ Dun, da-dun, da-dun, da-dun, da-dun ♪ 175 00:07:04,633 --> 00:07:07,600 Right? It's influenced by boogie-woogie and other styles. 176 00:07:07,700 --> 00:07:10,533 That pounding, sort of frenzied aspect of gospel 177 00:07:10,633 --> 00:07:12,766 is really important to its spiritual aspects. 178 00:07:12,866 --> 00:07:14,933 It's -- it's what caused people in churches 179 00:07:15,033 --> 00:07:17,400 to -- to catch the spirit and to go wild. 180 00:07:17,500 --> 00:07:19,133 -♪ Come later 181 00:07:19,233 --> 00:07:21,700 ♪ When I get to heaven, I'm gonna put on my shoes ♪ 182 00:07:21,800 --> 00:07:24,533 ♪ And walk around heaven and tell my news ♪ 183 00:07:24,633 --> 00:07:27,366 ♪ I look up to David in the heat of the day ♪ 184 00:07:27,466 --> 00:07:30,033 ♪ Tune up my harp and begin to play ♪ 185 00:07:30,133 --> 00:07:33,533 -But it directly got transferred into rock 'n' roll music 186 00:07:33,633 --> 00:07:35,266 through the gospel fervor and energy 187 00:07:35,366 --> 00:07:36,533 of people like Little Richard. 188 00:07:36,633 --> 00:07:38,566 -Ooh, my soul! [ Chuckles ] 189 00:07:38,666 --> 00:07:41,333 We're gonna do a little thing for ya. 190 00:07:41,433 --> 00:07:43,866 ♪ Saturday night, and I just got paid ♪ 191 00:07:43,966 --> 00:07:45,566 ♪ I'm a fool about my money, don't try to save ♪ 192 00:07:45,666 --> 00:07:47,433 ♪ My heart says, "Go, go have a time" ♪ 193 00:07:47,533 --> 00:07:49,266 ♪ Saturday night and I'm feelin' fine ♪ 194 00:07:49,366 --> 00:07:51,033 ♪ I'm gonna rock it up 195 00:07:51,133 --> 00:07:52,766 ♪ I'm gonna rip it up 196 00:07:52,866 --> 00:07:54,600 ♪ I'm gonna shake it up 197 00:07:54,700 --> 00:07:56,433 ♪ Gonna ball it up 198 00:07:56,533 --> 00:07:59,600 ♪ I'm gonna rock it up and ball tonight ♪ 199 00:07:59,700 --> 00:08:03,900 -A guy like Little Richard, as with any sort of black artist 200 00:08:04,000 --> 00:08:08,300 from that era, is giving you the black church, 201 00:08:08,400 --> 00:08:11,100 as well as the black juke joint. 202 00:08:11,200 --> 00:08:13,333 -♪ Gonna shake it up 203 00:08:13,433 --> 00:08:15,033 ♪ Gonna ball it up 204 00:08:15,133 --> 00:08:17,633 ♪ I'm gonna rock it up and ball tonight ♪ 205 00:08:17,733 --> 00:08:19,300 ♪ Everybody 206 00:08:19,400 --> 00:08:21,700 -Richard said, "I want to bring you to this train station. 207 00:08:21,800 --> 00:08:23,166 I want you to hear something." 208 00:08:23,266 --> 00:08:24,700 [ Train chugging ] 209 00:08:24,800 --> 00:08:27,433 Said, "Now, listen to the train. The train's going all 210 00:08:27,533 --> 00:08:30,033 choo-choo, choo-choo, choo-choo, choo-choo." 211 00:08:30,133 --> 00:08:32,033 He said, "Now, watch when it pick up speed." 212 00:08:32,133 --> 00:08:33,833 Choo-choo, choo-choo, choo-choo, choo-choo. 213 00:08:33,933 --> 00:08:36,533 [ Train chugging ] 214 00:08:36,633 --> 00:08:38,533 He said, "What kind of notes are those?" 215 00:08:38,633 --> 00:08:40,333 I said, "Those are eighth notes." 216 00:08:40,433 --> 00:08:42,866 He said, "Well, that's what I want you to play behind me." 217 00:08:42,966 --> 00:08:44,600 [ Drum plays chugging rhythm ] 218 00:08:44,700 --> 00:08:47,133 -♪ Keep a-knockin' but you can't come in ♪ 219 00:08:47,233 --> 00:08:49,800 ♪ Keep a-knockin' but you can't come in ♪ 220 00:08:49,900 --> 00:08:52,166 ♪ Keep a-knockin', but you can't come in ♪ 221 00:08:52,266 --> 00:08:54,600 ♪ Come back tomorrow night and try it again ♪ 222 00:08:54,700 --> 00:08:57,033 -I mean, Little Richard, man, was exciting. 223 00:08:57,133 --> 00:08:59,600 -♪ You said you love me, but you can't come in ♪ 224 00:08:59,700 --> 00:09:00,900 ♪ Whoo! 225 00:09:01,000 --> 00:09:02,833 -And the beat was contagious. 226 00:09:02,933 --> 00:09:05,266 -♪ Come back tomorrow night and try it again ♪ 227 00:09:05,366 --> 00:09:06,566 ♪ Wah! 228 00:09:06,666 --> 00:09:08,600 -The power -- the sheer power, 229 00:09:08,700 --> 00:09:11,666 the visceral power of the beat of that driving rhythm -- 230 00:09:11,766 --> 00:09:13,666 he actually had two drum kits onstage. 231 00:09:13,766 --> 00:09:15,666 And as soon as the music started, 232 00:09:15,766 --> 00:09:17,100 I mean, it was just pounding 233 00:09:17,200 --> 00:09:19,800 and it was -- you could feel it in your chest. 234 00:09:19,900 --> 00:09:21,066 -♪ I'm goin' downtown 235 00:09:21,166 --> 00:09:26,566 -There was a swinging, tough Southern beat... 236 00:09:26,666 --> 00:09:29,233 -♪ Yeah, you rock me fast 237 00:09:29,333 --> 00:09:30,433 Too fast, too fast. 238 00:09:30,533 --> 00:09:33,000 -...that was coming out of New Orleans. 239 00:09:33,100 --> 00:09:34,700 -Listen to me. Listen. Listen to me, you guitar. 240 00:09:34,800 --> 00:09:36,266 Listen to the way I'm playing. 241 00:09:36,366 --> 00:09:38,333 -So many of Little Richard's most famous records 242 00:09:38,433 --> 00:09:41,800 were recorded at J&M Studios by the engineer Cosimo Matassa. 243 00:09:41,900 --> 00:09:44,633 -Bass do... ♪ Bom bom-bom, bom bom-bom, bom... ♪ 244 00:09:44,733 --> 00:09:47,133 -There wasn't a lot of advanced technology in that studio, 245 00:09:47,233 --> 00:09:50,400 so they basically had to just record performances 246 00:09:50,500 --> 00:09:52,166 as if there was a kind of live audience. 247 00:09:52,266 --> 00:09:54,533 -May I get that -- that -- that -- no no no no -- 248 00:09:54,633 --> 00:09:55,800 that hillbilly thing? 249 00:09:55,900 --> 00:09:57,400 It's a riff, you know? 250 00:09:57,500 --> 00:10:00,066 -What it did for rock 'n' roll was plant a -- 251 00:10:00,166 --> 00:10:04,300 a stone in history -- "We started here." 252 00:10:04,400 --> 00:10:07,333 -♪ And -- you know just what I mean ♪ 253 00:10:07,433 --> 00:10:11,500 -It was a sound and a flavor all unto itself. 254 00:10:11,600 --> 00:10:13,266 And they took it out in the world. 255 00:10:13,366 --> 00:10:15,400 -♪ Wop bop-a-loo bop-a-lop-ba ♪ 256 00:10:15,500 --> 00:10:16,833 ♪ Tutti frutti, oh, rutti 257 00:10:16,933 --> 00:10:18,333 -It was really an awakening. 258 00:10:18,433 --> 00:10:19,833 Of course, we're talking about a time 259 00:10:19,933 --> 00:10:24,000 when, in America, it wasso, so puritanical. 260 00:10:24,100 --> 00:10:26,900 -Rock 'n' roll music is a contributing factor 261 00:10:27,000 --> 00:10:29,433 to our juvenile delinquency of today, 262 00:10:29,533 --> 00:10:31,833 I 100% believe. 263 00:10:31,933 --> 00:10:33,400 Why I believe that is 264 00:10:33,500 --> 00:10:35,666 because I know how it feels when you sing it. 265 00:10:35,766 --> 00:10:38,033 If you talk to the average teenager of today 266 00:10:38,133 --> 00:10:40,166 and you ask them what it is about rock 'n' roll music 267 00:10:40,266 --> 00:10:42,733 that they like, the first thing they'll say is, 268 00:10:42,833 --> 00:10:43,900 "The beat, the beat, the beat." 269 00:10:44,000 --> 00:10:45,400 -Oh, my God! Richie over there! 270 00:10:45,500 --> 00:10:47,800 -Across-Canada, "Hit Parade" debut, 271 00:10:47,900 --> 00:10:50,833 jumping into 10th position this week, "Tutti Frutti." 272 00:10:50,933 --> 00:10:52,533 And here to sing it in person, 273 00:10:52,633 --> 00:10:54,400 Pat Boone. 274 00:10:54,500 --> 00:10:56,566 -♪ Wop bop-a-loo bop-a-lop bom bom ♪ 275 00:10:56,666 --> 00:10:58,666 ♪ I got a gal, her name's Sue ♪ 276 00:10:58,766 --> 00:11:00,900 ♪ Knows just what to do 277 00:11:01,000 --> 00:11:03,166 ♪ I got a gal, her name's Sue ♪ 278 00:11:03,266 --> 00:11:05,333 ♪ Knows just what to do 279 00:11:05,433 --> 00:11:07,366 -And then we would white-ify it 280 00:11:07,466 --> 00:11:09,966 and you'd have Little Richard and Fats Domino 281 00:11:10,066 --> 00:11:11,500 bustin' their hump with great songs 282 00:11:11,600 --> 00:11:12,866 and then Pat Boone would cover it. 283 00:11:12,966 --> 00:11:14,700 I mean, how do you cover Little Richard? 284 00:11:14,800 --> 00:11:16,200 It's like suicide. [ Chuckles ] 285 00:11:16,300 --> 00:11:18,733 -We were not allowed to hear the real thing 286 00:11:18,833 --> 00:11:22,633 and it was like a sort of cloak of respectability 287 00:11:22,733 --> 00:11:24,033 put over the record. 288 00:11:24,133 --> 00:11:26,366 -Pat Boone sold more records than we did. 289 00:11:26,466 --> 00:11:28,233 -He did a good version. You know, after all, 290 00:11:28,333 --> 00:11:29,900 for him to say, "Wop bop-a-loo bop-a-lop bam boom," 291 00:11:30,000 --> 00:11:31,733 that wasn't too easy. 292 00:11:31,833 --> 00:11:34,200 A lot of the new people want to hear the -- the originators. 293 00:11:34,300 --> 00:11:35,800 They say, "Let us hear the real thing." 294 00:11:35,900 --> 00:11:37,633 Shoot, it just like if you been lookin' for a girl, 295 00:11:37,733 --> 00:11:41,866 and you see a man every day, you want to see the real thing. 296 00:11:41,966 --> 00:11:43,000 That's enough. 297 00:11:43,100 --> 00:11:44,466 I can't look no better than that. 298 00:11:44,566 --> 00:11:46,700 -Everything that I loved about rock 'n' roll -- 299 00:11:46,800 --> 00:11:50,466 the danger, the explosive sounds of those records -- 300 00:11:50,566 --> 00:11:54,333 was gone from about 1960 onwards. 301 00:11:54,433 --> 00:11:56,833 -But it was -- it was just beginning. 302 00:11:56,933 --> 00:11:59,200 A new form of rock 'n' roll, as we called it, 303 00:11:59,300 --> 00:12:01,433 came into play during the '60s, 304 00:12:01,533 --> 00:12:05,666 when that was ushered in by companies like Motown. 305 00:12:05,766 --> 00:12:08,666 [ "Dancing in the Street" plays ] 306 00:12:08,766 --> 00:12:11,366 -♪ When there was a nice backbeat, beautifully sounding, 307 00:12:11,466 --> 00:12:14,300 good-balanced-sounding records, all-American. 308 00:12:14,400 --> 00:12:18,033 -♪ Calling out around the world ♪ 309 00:12:18,133 --> 00:12:22,200 ♪ Are you ready for a brand-new beat? ♪ 310 00:12:22,300 --> 00:12:25,966 ♪ Summer's here and the time is right ♪ 311 00:12:26,066 --> 00:12:28,800 ♪ For dancing in the street 312 00:12:28,900 --> 00:12:30,533 -"Dancing in the Street," 313 00:12:30,633 --> 00:12:33,333 they would always kick off the night in any club with that. 314 00:12:33,433 --> 00:12:34,966 One of the great Motown hits. 315 00:12:35,066 --> 00:12:39,633 -Motown music brought my world into abundance of color 316 00:12:39,733 --> 00:12:43,333 and soulfulness because those melodic lines 317 00:12:43,433 --> 00:12:46,100 and those fantastic chord changes and those beats, 318 00:12:46,200 --> 00:12:49,500 as soon as you heard the very first note, 319 00:12:49,600 --> 00:12:52,300 you knew exactly what this was. 320 00:12:52,400 --> 00:12:54,866 -It came out sounding like God. 321 00:12:54,966 --> 00:12:57,533 -♪ Doo-doo doo-doo 322 00:12:57,633 --> 00:12:59,900 ♪ Doo-doo doo-doo 323 00:13:00,000 --> 00:13:03,166 ♪ Doo-doo doo-doo, doo-doo 324 00:13:03,266 --> 00:13:06,433 -♪ Doo doo doo doo 325 00:13:06,533 --> 00:13:10,666 -♪ People say I'm the life of the party ♪ 326 00:13:10,766 --> 00:13:14,966 ♪ 'Cause I tell a joke or two 327 00:13:15,066 --> 00:13:21,400 ♪ Although I might be laughin' loud and hearty ♪ 328 00:13:21,500 --> 00:13:24,966 ♪ Deep inside, I'm blue 329 00:13:25,066 --> 00:13:29,933 ♪ So take a good look at my face ♪ 330 00:13:30,033 --> 00:13:34,933 ♪ You'll see my smile looks out of place ♪ 331 00:13:35,033 --> 00:13:39,366 ♪ If you look closer, it's easy to trace ♪ 332 00:13:39,466 --> 00:13:43,033 ♪ The tracks of my tears 333 00:13:43,133 --> 00:13:44,833 -♪ Doo-doo doo-doo 334 00:13:44,933 --> 00:13:47,966 -On the very first day of Motown, 335 00:13:48,066 --> 00:13:50,866 Berry Gordy was there, and four other people, 336 00:13:50,966 --> 00:13:52,766 and I -- I was among them. 337 00:13:52,866 --> 00:13:55,766 And he said, "Okay, I'm starting this record company. 338 00:13:55,866 --> 00:13:59,500 We are not gonna only make black music. 339 00:13:59,600 --> 00:14:01,433 We're gonna make music for everybody. 340 00:14:01,533 --> 00:14:03,566 We're gonna make music for theworld. 341 00:14:03,666 --> 00:14:05,566 We're gonna make music with some great beats 342 00:14:05,666 --> 00:14:07,333 and some great stories. 343 00:14:07,433 --> 00:14:10,700 And we're gonna always do quality music." 344 00:14:10,800 --> 00:14:13,033 ♪ Take a good look at my face 345 00:14:13,133 --> 00:14:14,600 -♪ Oh oh oh 346 00:14:14,700 --> 00:14:17,500 ♪ You'll see my smile looks out of place ♪ 347 00:14:17,600 --> 00:14:20,000 We would go places in the South, takin' our -- 348 00:14:20,100 --> 00:14:22,633 our Motortown Revues down there, you know. 349 00:14:22,733 --> 00:14:23,800 ♪ Whoo! 350 00:14:23,900 --> 00:14:25,766 There's a big stage in the middle of the hall 351 00:14:25,866 --> 00:14:27,233 and white people are on one side, 352 00:14:27,333 --> 00:14:28,566 and black people are on the other side. 353 00:14:28,666 --> 00:14:30,033 It's segregated. 354 00:14:30,133 --> 00:14:32,266 But, you know, maybe you can do something about it. 355 00:14:32,366 --> 00:14:34,700 The next time we got to those places, 356 00:14:34,800 --> 00:14:37,166 the kids, they were dancin' with each other 357 00:14:37,266 --> 00:14:43,200 They were talkin', intermingling, holdin' hands. 358 00:14:43,300 --> 00:14:44,500 Here's a little black boy, 359 00:14:44,600 --> 00:14:47,100 holding a little white girl's hand, or vice versa. 360 00:14:47,200 --> 00:14:50,666 That was his idea of what he wanted his record company to be. 361 00:14:50,766 --> 00:14:52,433 -The basic elements 362 00:14:52,533 --> 00:14:54,666 or the main elements of the Motown sound 363 00:14:54,766 --> 00:14:58,933 had to do with a very solid but controlled gospel sound. 364 00:14:59,033 --> 00:15:01,833 It was rooted in -- in a -- in a big beat, 365 00:15:01,933 --> 00:15:04,500 lots of bass, tambourine, drums. 366 00:15:04,600 --> 00:15:06,333 You know, very, very rhythmic. 367 00:15:06,433 --> 00:15:10,333 -The Funk Brothers at Motown were very important. 368 00:15:10,433 --> 00:15:14,233 They had such a sense of music, a -- a feeling for it. 369 00:15:14,333 --> 00:15:15,666 I used to give James Jamerson, 370 00:15:15,766 --> 00:15:17,666 the bass player in the Funk Brothers, 371 00:15:17,766 --> 00:15:20,900 the feeling of what I was going for. 372 00:15:21,000 --> 00:15:24,166 I would start, uh, sometimes on the piano. 373 00:15:24,266 --> 00:15:27,133 ♪ Dun-bom-bom-ba, bom-bom-bom-bom bom-bom-ba ♪ 374 00:15:27,233 --> 00:15:30,500 [ "I Can't Help Myself (Sugar Pie, Honey Bunch)" plays ] 375 00:15:30,600 --> 00:15:34,300 And then, when the changes would come in, 376 00:15:34,400 --> 00:15:37,066 eight bars later, he would follow that feeling. 377 00:15:37,166 --> 00:15:40,633 -♪ Ooh, sugar pie, honey bunch 378 00:15:40,733 --> 00:15:44,600 ♪ You know that I love you 379 00:15:44,700 --> 00:15:47,433 ♪ I can't help myself 380 00:15:47,533 --> 00:15:49,733 -Motown had their rhythm section 381 00:15:49,833 --> 00:15:51,633 that they used pretty consistently. 382 00:15:51,733 --> 00:15:54,466 They created a beat that they kept using over and over again. 383 00:15:54,566 --> 00:15:55,966 -Beats were kind of this classic, like, 384 00:15:56,066 --> 00:15:57,900 ♪ Unh unh unh-unh unh-unh unh 385 00:15:58,000 --> 00:15:59,566 You know, those kind of beats 386 00:15:59,666 --> 00:16:02,333 where you have those, like, amazing rhythm sections 387 00:16:02,433 --> 00:16:03,900 with the James Jamerson bassline. 388 00:16:04,000 --> 00:16:05,533 And you start to think of the way it moves around, like... 389 00:16:05,633 --> 00:16:06,966 ♪ Doom doom badoom 390 00:16:07,066 --> 00:16:08,166 ♪ Badoo-badoo doo-doo, doom-doom ♪ 391 00:16:08,266 --> 00:16:10,266 -The drum sound and the bass are 392 00:16:10,366 --> 00:16:12,733 the backbone of that sound, never to be equaled. 393 00:16:12,833 --> 00:16:16,033 -I got a chance to see these acts. 394 00:16:16,133 --> 00:16:17,800 As a teenager, I would sneak out of the house 395 00:16:17,900 --> 00:16:20,700 to go and see them, at age 14, up in Flint, Michigan, 396 00:16:20,800 --> 00:16:23,466 and that's where, you know, when people got big, 397 00:16:23,566 --> 00:16:26,266 like James Brown, that's where they would perform. 398 00:16:26,366 --> 00:16:27,866 -But when you're talking about James Brown, 399 00:16:27,966 --> 00:16:30,033 what he's doing in the '60s and what Motown's doing 400 00:16:30,133 --> 00:16:32,966 in the '60s are two very different things. 401 00:16:33,066 --> 00:16:35,800 There's no way a Motown artist 402 00:16:35,900 --> 00:16:38,533 would've put out a song called "I'm Black and I'm Proud." 403 00:16:38,633 --> 00:16:40,533 -♪ Say it loud 404 00:16:40,633 --> 00:16:42,866 -♪ I'm black and I'm proud 405 00:16:42,966 --> 00:16:44,733 -♪ Say it loud 406 00:16:44,833 --> 00:16:46,600 -♪ I'm black and I'm proud 407 00:16:46,700 --> 00:16:47,733 -♪ Looky here 408 00:16:47,833 --> 00:16:49,766 ♪ Some people say we got a lot of malice ♪ 409 00:16:49,866 --> 00:16:51,766 ♪ Some say it's a lot of nerve 410 00:16:51,866 --> 00:16:52,966 ♪ But I say we won't quit movin' ♪ 411 00:16:53,066 --> 00:16:54,366 -Black power, brothers. -♪ Until we get 412 00:16:54,466 --> 00:16:56,400 ♪ what we deserve 413 00:16:56,500 --> 00:16:58,200 -It was the vibe he put on the music -- 414 00:16:58,300 --> 00:17:02,333 you know, the grunts and the sound effects 415 00:17:02,433 --> 00:17:04,966 and just the way he -- I mean, it was really organic. 416 00:17:05,066 --> 00:17:06,433 I mean, that's exactly what it was. 417 00:17:06,533 --> 00:17:08,666 James took it back to the root. 418 00:17:08,766 --> 00:17:10,466 -♪ I said, "I lost someone" 419 00:17:10,566 --> 00:17:13,300 ♪ But I know where I'm gonna find them ♪ 420 00:17:13,400 --> 00:17:15,300 ♪ All aboard -♪ Yeah 421 00:17:15,400 --> 00:17:17,466 -He bought it from the root to the fruit. 422 00:17:17,566 --> 00:17:19,300 -♪ All aboard -♪ Yeah 423 00:17:19,400 --> 00:17:20,766 -♪ For night train 424 00:17:20,866 --> 00:17:23,066 [ "Night Train" plays ] 425 00:17:25,700 --> 00:17:30,933 ♪ Miami, Florida 426 00:17:31,033 --> 00:17:35,033 -James Brown and the J.B.s, in the mid-'60s, 427 00:17:35,133 --> 00:17:39,500 changed the sound of what dance music is. 428 00:17:39,600 --> 00:17:43,233 If you listen to "Live at the Apollo," 429 00:17:43,333 --> 00:17:44,433 it's a great band. 430 00:17:44,533 --> 00:17:46,966 It's a great show. It's still very bluesy. 431 00:17:47,066 --> 00:17:49,466 Very church-y, the show is. 432 00:17:49,566 --> 00:17:51,166 Over the next -- next couple of years, 433 00:17:51,266 --> 00:17:54,300 as the band begins touring, they have -- 434 00:17:54,400 --> 00:17:59,933 'cause Brown likes to dance, so we need to create 435 00:18:00,033 --> 00:18:03,766 a bed where we can have him dance. 436 00:18:03,866 --> 00:18:06,800 So they begin playing these instrumental things, 437 00:18:06,900 --> 00:18:11,100 which are interludes from song to song, 438 00:18:11,200 --> 00:18:14,200 so that Brown can do the Mashed Potato and the -- 439 00:18:14,300 --> 00:18:16,533 the hully gully and the whatever. 440 00:18:16,633 --> 00:18:18,366 They're a part of a slow evolution 441 00:18:18,466 --> 00:18:20,733 that's happening as Brown tours the country. 442 00:18:20,833 --> 00:18:22,066 So basically, the road, 443 00:18:22,166 --> 00:18:24,533 they really kind of use it as a laboratory. 444 00:18:24,633 --> 00:18:27,033 They begin to influence the actual records. 445 00:18:27,133 --> 00:18:28,433 -♪ All aboard for New York 446 00:18:28,533 --> 00:18:29,933 -Sometimes, they would just grab a studio 447 00:18:30,033 --> 00:18:32,000 wherever they were and make these records. 448 00:18:32,100 --> 00:18:36,700 -One of the watershed moments in 20th-century music history 449 00:18:36,800 --> 00:18:38,866 is the moment in 1965 450 00:18:38,966 --> 00:18:40,833 when James Brown went into the studio 451 00:18:40,933 --> 00:18:42,366 to record this new song he'd written, 452 00:18:42,466 --> 00:18:44,500 "Papa's Got a Brand New Bag." 453 00:18:44,600 --> 00:18:46,933 He wanted to make a record where the guitar sounded like drums, 454 00:18:47,033 --> 00:18:49,400 where the bass guitar sounded like drums, 455 00:18:49,500 --> 00:18:50,733 where the horn sounded like drums, 456 00:18:50,833 --> 00:18:54,233 this kind of symphony of percussion. 457 00:18:54,333 --> 00:18:57,066 -♪ C'mere, sister 458 00:18:57,166 --> 00:19:00,733 ♪ Papa's in the swing 459 00:19:00,833 --> 00:19:03,633 ♪ He ain't too hip 460 00:19:03,733 --> 00:19:07,000 ♪ About that new breed, babe 461 00:19:07,100 --> 00:19:09,600 ♪ Ain't no drag 462 00:19:09,700 --> 00:19:12,100 ♪ Ow! Papa's got a brand new bag ♪ 463 00:19:12,200 --> 00:19:14,100 ♪♪ 464 00:19:14,200 --> 00:19:16,133 -He went into the recording studio 465 00:19:16,233 --> 00:19:17,500 with this in mind. 466 00:19:17,600 --> 00:19:19,433 So he had his guitar -- his guitarist was playing 467 00:19:19,533 --> 00:19:22,733 this chicken-scratch style that is now so famous. 468 00:19:22,833 --> 00:19:24,466 He wasn't singing the tune 469 00:19:24,566 --> 00:19:28,333 so much as he was a kind of, if you will, human beatbox, 470 00:19:28,433 --> 00:19:30,466 grunting and groaning and exclaiming. 471 00:19:30,566 --> 00:19:34,000 That's what he did, was he invented this music -- funk. 472 00:19:34,100 --> 00:19:35,766 -♪ Doing the jerk 473 00:19:35,866 --> 00:19:37,100 ♪ Doing the fly 474 00:19:37,200 --> 00:19:38,200 ♪ Don't be ashamed 475 00:19:38,300 --> 00:19:40,300 ♪ 'Cause you know he ain't shy 476 00:19:40,400 --> 00:19:42,066 ♪ The Monkey 477 00:19:42,166 --> 00:19:43,466 ♪ Mashed Potato 478 00:19:43,566 --> 00:19:44,800 ♪ Jump back, Jack 479 00:19:44,900 --> 00:19:46,500 ♪ See you later, alligator 480 00:19:46,600 --> 00:19:48,566 ♪ C'mere, ooh 481 00:19:48,666 --> 00:19:50,500 -James Brown had a rhythm band. 482 00:19:50,600 --> 00:19:51,933 I mean, you couldn't resist it. 483 00:19:52,033 --> 00:19:53,966 You had all those rhythms coming out 484 00:19:54,066 --> 00:19:56,833 with a strong backbeat, which they called funk. 485 00:19:56,933 --> 00:19:59,166 That was a funky thing. Mnh-mnh-mnh. 486 00:19:59,266 --> 00:20:01,666 You know, and he was screaming over the top of it! 487 00:20:01,766 --> 00:20:02,933 -♪ Oh 488 00:20:03,033 --> 00:20:04,266 ♪ Like the boomerang 489 00:20:04,366 --> 00:20:06,933 -He was on fire. 490 00:20:07,033 --> 00:20:10,266 -♪ Hey, come on 491 00:20:10,366 --> 00:20:13,100 ♪ Come on, come on 492 00:20:13,200 --> 00:20:15,600 ♪ Said you uptight, you outta sight ♪ 493 00:20:15,700 --> 00:20:17,600 -Oh, my God! 494 00:20:17,700 --> 00:20:20,433 James Brown music just messed me up. 495 00:20:20,533 --> 00:20:22,766 [chcukle] in a good way. 496 00:20:22,866 --> 00:20:25,100 -♪ Come on 497 00:20:25,200 --> 00:20:26,366 ♪ See what you know 498 00:20:26,466 --> 00:20:30,100 ♪ I just want you to play along some more ♪ 499 00:20:30,200 --> 00:20:32,566 -It was the drum playing, the... 500 00:20:32,666 --> 00:20:38,566 [ Scatting ] 501 00:20:38,666 --> 00:20:41,066 -It was funkier than Motown. 502 00:20:41,166 --> 00:20:43,166 Motown wasn't really funk. 503 00:20:43,266 --> 00:20:46,600 -That, to me, is the hypnotic power 504 00:20:46,700 --> 00:20:48,733 of the James Brown Effect. 505 00:20:48,833 --> 00:20:51,733 -He influenced Sly. He influenced Stevie. 506 00:20:51,833 --> 00:20:55,266 He influenced Prince. He influenced dance music. 507 00:20:55,366 --> 00:20:58,933 -He brought the rhythm together in this new idiom in a big way. 508 00:20:59,033 --> 00:21:00,733 At one time, he had three drummers 509 00:21:00,833 --> 00:21:04,000 in his band, maybe even four, in the very beginning. 510 00:21:04,100 --> 00:21:07,033 And, uh, that's kind of where I got the idea 511 00:21:07,133 --> 00:21:09,500 of, you know, maybe multiple drummers. 512 00:21:09,600 --> 00:21:11,133 That would really be great. 513 00:21:11,233 --> 00:21:14,833 -♪ Please don't dominate the rap, Jack ♪ 514 00:21:14,933 --> 00:21:18,300 ♪ You've got nothing new to say ♪ 515 00:21:18,400 --> 00:21:19,800 -You know, wow! What a sound. 516 00:21:19,900 --> 00:21:21,500 Sometimes they play in tandem. 517 00:21:21,600 --> 00:21:23,833 Sometimes they're splitting the rhythms up. 518 00:21:23,933 --> 00:21:26,966 But there's rhythm all over. 519 00:21:27,066 --> 00:21:30,633 We were trying to create that state of mind 520 00:21:30,733 --> 00:21:33,466 that changed all the priorities. 521 00:21:33,566 --> 00:21:35,400 It's a trance band. 522 00:21:35,500 --> 00:21:37,866 We weren't after the beginnings and endings 523 00:21:37,966 --> 00:21:39,866 or even the right notes. 524 00:21:39,966 --> 00:21:43,666 -♪ One step done and another begun ♪ 525 00:21:43,766 --> 00:21:47,000 ♪ And I wonder how many miles 526 00:21:47,100 --> 00:21:49,800 [ Instrumental music plays ] 527 00:21:49,900 --> 00:21:54,133 -There is not a culture that does not have its dance, 528 00:21:54,233 --> 00:21:56,833 has its own rhythm, its own music. 529 00:21:56,933 --> 00:22:02,933 I could see a Led Zeppelin audience or the Beatles 530 00:22:03,033 --> 00:22:06,066 or the Grateful Dead or Santana. 531 00:22:06,166 --> 00:22:08,200 [ Drums play, rhythmic clapping ] 532 00:22:08,300 --> 00:22:10,500 -Just keep that going. 533 00:22:18,300 --> 00:22:21,333 ♪♪ 534 00:22:28,300 --> 00:22:31,400 ♪♪ 535 00:22:31,500 --> 00:22:34,866 -Carlos Santana really brought something totally different 536 00:22:34,966 --> 00:22:39,066 that none of us had, um, experienced or heard before. 537 00:22:39,166 --> 00:22:41,366 You know, it was a big deal. It was like, wow. 538 00:22:41,466 --> 00:22:46,366 This guy playing rock guitar, in a sense, with drums, 539 00:22:46,466 --> 00:22:49,366 you know, timbales, congas, bongos, 540 00:22:49,466 --> 00:22:51,400 and then all of the singers 541 00:22:51,500 --> 00:22:53,866 playing hand percussion, as well. 542 00:22:53,966 --> 00:22:57,233 It was something that -- that changed music. 543 00:22:57,333 --> 00:23:00,100 -Carlos Santana's story is good timing, 544 00:23:00,200 --> 00:23:03,200 the fact that his family moved into San Francisco 545 00:23:03,300 --> 00:23:08,766 just before the youth culture explosion of the late '60s. 546 00:23:08,866 --> 00:23:12,200 There were the jazz clubs. There was the rock emporiums. 547 00:23:12,300 --> 00:23:15,200 There was places where the blues was happening. 548 00:23:15,300 --> 00:23:17,866 [ Conga music plays ] 549 00:23:17,966 --> 00:23:21,366 And then there were these conga parties. 550 00:23:21,466 --> 00:23:24,666 You started to hear certain conga players -- 551 00:23:24,766 --> 00:23:27,600 Willie Bobo, Ray Barretto. 552 00:23:27,700 --> 00:23:29,833 And that's how he comes to the music. 553 00:23:29,933 --> 00:23:32,933 And then the band becomes this little laboratory 554 00:23:33,033 --> 00:23:36,833 trying to put together electric blues and Latin percussion 555 00:23:36,933 --> 00:23:38,800 and getting these different languages 556 00:23:38,900 --> 00:23:41,133 to talk one language together. 557 00:23:41,233 --> 00:23:44,300 [ Santana's "Fried Neck Bones And Some Home Fries" plays ] 558 00:23:51,300 --> 00:23:55,666 ♪♪ 559 00:23:55,766 --> 00:23:58,000 -This Latin radio station, 560 00:23:58,100 --> 00:24:00,600 all night they used to have, "Let's party! Party time." 561 00:24:00,700 --> 00:24:02,266 And they put on Joe Cuba 562 00:24:02,366 --> 00:24:04,533 and Eddie Palmieri and Ray Barretto and Tito Puente, 563 00:24:04,633 --> 00:24:07,733 'cause at that time, like today, I play to everything, 564 00:24:07,833 --> 00:24:12,500 the radio or anything, just to learn what's happening. 565 00:24:12,600 --> 00:24:14,700 And I say, "This is not too far from B.B. King. 566 00:24:14,800 --> 00:24:16,600 You know, this is -- this can work together." 567 00:24:16,700 --> 00:24:20,100 -But, of course, how does that translate to a radio single? 568 00:24:20,200 --> 00:24:22,766 How does that translate to a recording? 569 00:24:22,866 --> 00:24:24,500 Bill Graham was one of the first 570 00:24:24,600 --> 00:24:27,533 to actually go up to them and say, "Guys, 571 00:24:27,633 --> 00:24:30,066 let me tell you about song structure." 572 00:24:30,166 --> 00:24:33,566 And he plays them Willie Bobo's recording "Evil Ways." 573 00:24:33,666 --> 00:24:36,866 [ "Evil Ways" plays ] 574 00:24:40,100 --> 00:24:44,033 -♪ You got to change your evil ways ♪ 575 00:24:44,133 --> 00:24:47,500 ♪ Baby 576 00:24:47,600 --> 00:24:49,833 -And they take this tune, "Evil Ways," 577 00:24:49,933 --> 00:24:53,666 and they figure out a way to bring in the electric guitar, 578 00:24:53,766 --> 00:24:56,933 bring in the rock rhythms, just enough 579 00:24:57,033 --> 00:25:00,900 so that it's gonna be palatable for a rock audience, 580 00:25:01,000 --> 00:25:03,300 but it's gonna be true to what "Evil Ways" was, 581 00:25:03,400 --> 00:25:06,066 which was this Latin boogaloo, you know, 582 00:25:06,166 --> 00:25:08,566 irresistible dance-rhythm kind of tune. 583 00:25:08,666 --> 00:25:10,933 -♪ This can't go on 584 00:25:11,033 --> 00:25:13,400 [ Intro to "Evil Ways" plays ] 585 00:25:21,300 --> 00:25:23,666 ♪♪ 586 00:25:23,766 --> 00:25:27,066 ♪ You got to change your evil ways ♪ 587 00:25:27,166 --> 00:25:29,466 ♪ Baby 588 00:25:29,566 --> 00:25:32,433 ♪ Before I stop lovin' you -The Carlos Santana view 589 00:25:32,533 --> 00:25:34,633 of rhythms, what he's talking about there 590 00:25:34,733 --> 00:25:37,733 is Afro-Cuban, Afro-Caribbean rhythms, 591 00:25:37,833 --> 00:25:39,166 which eventually, you know, 592 00:25:39,266 --> 00:25:42,200 if you trace it back, all goes back to Africa. 593 00:25:42,300 --> 00:25:44,833 -♪ Baby 594 00:25:44,933 --> 00:25:47,433 ♪ With Gene and Joe and-a who knows who ♪ 595 00:25:47,533 --> 00:25:51,133 -And a lot of people don't know the influence of Latin music. 596 00:25:51,233 --> 00:25:54,333 When I was growing up, you saw films, I mean, 597 00:25:54,433 --> 00:25:56,333 that had bands from South America. 598 00:25:56,433 --> 00:25:59,000 I mean, the Carmen Miranda thing, the samba. 599 00:25:59,100 --> 00:26:00,500 ♪ Bo-boo-bing-ba-ba-doo 600 00:26:00,600 --> 00:26:02,000 ♪ Brazil 601 00:26:02,100 --> 00:26:04,133 ♪ Ba-ba-bi, ba-do-ba-ba-ba 602 00:26:04,233 --> 00:26:05,866 ♪ Ba-ba-ba-bi-do 603 00:26:05,966 --> 00:26:09,866 -When I hear Latin, Latin jazz, salsa music, it's just, like, 604 00:26:09,966 --> 00:26:12,633 it warms my heart, it makes me feel good. 605 00:26:12,733 --> 00:26:14,400 That's my DNA. That's who I am. 606 00:26:14,500 --> 00:26:16,700 That's the foundation of who I am. 607 00:26:16,800 --> 00:26:19,066 -♪ When I come home 608 00:26:19,166 --> 00:26:21,466 ♪ Baby 609 00:26:21,566 --> 00:26:24,133 ♪ My house is dark and my pots are cold ♪ 610 00:26:24,233 --> 00:26:27,466 ♪ You hangin' 'round, baby 611 00:26:27,566 --> 00:26:31,000 -Woodstock was probably the biggest door I ever walked into. 612 00:26:31,100 --> 00:26:35,166 I remember that I was under the influence of LSD. 613 00:26:35,266 --> 00:26:40,333 Damn, why did I take LSD before I went on, you know? 614 00:26:40,433 --> 00:26:44,066 The guitar neck, it felt like a -- 615 00:26:44,166 --> 00:26:46,966 a electric snake that wouldn't stand still. 616 00:26:47,066 --> 00:26:48,466 That's why I'm making ugly faces, 617 00:26:48,566 --> 00:26:50,500 trying to make this snake stand still 618 00:26:50,600 --> 00:26:52,366 so I can, like, play it, you know? 619 00:26:52,466 --> 00:26:53,666 I remember saying over and over, 620 00:26:53,766 --> 00:26:57,033 "God, I'll never do this again, ever. 621 00:26:57,133 --> 00:26:59,166 If you can just keep me in time and in tune, 622 00:26:59,266 --> 00:27:00,766 that's all I ask." 623 00:27:00,866 --> 00:27:02,566 That was my first mantra. 624 00:27:02,666 --> 00:27:04,733 ♪♪ 625 00:27:04,833 --> 00:27:06,866 -Seeing those instruments, 626 00:27:06,966 --> 00:27:10,200 not just in salsa traditional but mainstream now, 627 00:27:10,300 --> 00:27:13,533 now it's crossing over to not just the Latin community 628 00:27:13,633 --> 00:27:15,933 but, you know, everyone else. 629 00:27:16,033 --> 00:27:18,266 [ Guitar solo ] 630 00:27:20,666 --> 00:27:21,766 -♪ Ah! 631 00:27:30,300 --> 00:27:33,466 ♪♪ 632 00:27:33,566 --> 00:27:35,066 [ Music stops ] 633 00:27:35,166 --> 00:27:37,100 [ Cheers and applause ] 634 00:27:37,200 --> 00:27:38,600 Thank you. 635 00:27:38,700 --> 00:27:40,700 -We're groupists. 636 00:27:40,800 --> 00:27:42,866 The group makes us stronger. 637 00:27:42,966 --> 00:27:46,233 When one person is playing in the groove, that's good. 638 00:27:46,333 --> 00:27:48,600 When two people are playing in the groove, 639 00:27:48,700 --> 00:27:50,100 that gives more power. 640 00:27:50,200 --> 00:27:53,300 Three people, four people, that's the groove. 641 00:27:53,400 --> 00:27:57,533 So things change. Needs change in a culture. 642 00:27:57,633 --> 00:27:59,400 Why wouldn't the music change? 643 00:27:59,500 --> 00:28:01,466 [ "Rock Your Baby" plays ] -I grew up, I was a hippie 644 00:28:01,566 --> 00:28:04,033 with embroidered jeans and big platform shoes 645 00:28:04,133 --> 00:28:06,000 and flower power and stuff like that. 646 00:28:06,100 --> 00:28:07,700 I was a Greenwich Village kid, 647 00:28:07,800 --> 00:28:09,966 so, everybody who hung out down there 648 00:28:10,066 --> 00:28:13,033 sort of looked like us and were hippies or beatniks 649 00:28:13,133 --> 00:28:16,800 or cool people. It was, like, total -- total hippie. 650 00:28:16,900 --> 00:28:19,200 -♪ Woman 651 00:28:19,300 --> 00:28:21,300 ♪ Take me in your arms 652 00:28:21,400 --> 00:28:24,300 ♪ Rock your baby 653 00:28:24,400 --> 00:28:27,266 When I became aware of disco, that's the last thing 654 00:28:27,366 --> 00:28:30,166 I wanted to do, was play dance music. 655 00:28:30,266 --> 00:28:33,300 Well, my girlfriend worked at a jazz club. 656 00:28:33,400 --> 00:28:36,633 So I went to a disco with her. And I walked in 657 00:28:36,733 --> 00:28:39,433 and they were playing the song "I Love to Love You Baby" 658 00:28:39,533 --> 00:28:40,666 by Donna Summer. 659 00:28:40,766 --> 00:28:42,933 -♪ Ahh 660 00:28:43,033 --> 00:28:45,333 ♪ Ahh 661 00:28:45,433 --> 00:28:47,600 ♪ When you're layin' so close to me ♪ 662 00:28:47,700 --> 00:28:53,100 ♪ There's no place I'd rather you be than with me, oh ♪ 663 00:28:53,200 --> 00:28:57,433 ♪ I love to love you, baby 664 00:28:57,533 --> 00:29:03,000 -When the song ended, the deejay segued it into another song. 665 00:29:03,100 --> 00:29:04,500 [Mystique's "In the Bush" plays] And... 666 00:29:04,600 --> 00:29:07,600 I saw people dancing from disparate backgrounds. 667 00:29:07,700 --> 00:29:10,900 We saw gay people, straight people in the traditional sense, 668 00:29:11,000 --> 00:29:13,100 and they were all dancing to the same music. 669 00:29:13,200 --> 00:29:14,700 I was like, "Whoa!" 670 00:29:14,800 --> 00:29:17,933 And it felt orgasmic to me to hear continuous music. 671 00:29:18,033 --> 00:29:21,700 I went into a trance and I was like, "Check this out." 672 00:29:21,800 --> 00:29:24,733 And all of a sudden, we fit into this disco crowd. 673 00:29:24,833 --> 00:29:27,766 And I said to myself, "I want to be 674 00:29:27,866 --> 00:29:31,166 a part of that crowd where the music never stops." 675 00:29:31,266 --> 00:29:34,600 And I wrote "Everybody Dance" maybe three weeks later. 676 00:29:34,700 --> 00:29:36,766 -♪ Everybody dance 677 00:29:36,866 --> 00:29:38,200 ♪ Doo-doo doo-doo 678 00:29:38,300 --> 00:29:42,166 ♪ Clap your hands, clap your hands ♪ 679 00:29:42,266 --> 00:29:44,166 ♪ Everybody dance 680 00:29:44,266 --> 00:29:45,566 ♪ Doo-doo doo-doo 681 00:29:45,666 --> 00:29:47,933 ♪ Clap your hands, clap your hands ♪ 682 00:29:48,033 --> 00:29:49,733 -It was the first time 683 00:29:49,833 --> 00:29:53,166 that I knew I could do this for a living. 684 00:29:53,266 --> 00:29:55,700 It was all about the groove. It was all about the sound. 685 00:29:55,800 --> 00:29:58,166 It was all about the vibe and the feel. 686 00:29:58,266 --> 00:30:02,500 And also we have a virtuoso bass performance by Bernard Edwards. 687 00:30:02,600 --> 00:30:04,566 But it's still grooving. 688 00:30:04,666 --> 00:30:07,700 [ Bass solo ] 689 00:30:14,600 --> 00:30:16,100 -♪ Everybody dance 690 00:30:16,200 --> 00:30:19,400 Hello! There are bits of Motown. There's bits of soul. 691 00:30:19,500 --> 00:30:21,433 There's bits of Memphis. 692 00:30:21,533 --> 00:30:24,166 There's all sorts of stuff in that music that Nile did. 693 00:30:24,266 --> 00:30:28,933 -Disco was a very funky, soulful beat, you know, 694 00:30:29,033 --> 00:30:31,600 you was able to dance and glide to. 695 00:30:31,700 --> 00:30:33,266 It wasn't really stuck-up. 696 00:30:33,366 --> 00:30:35,100 It was like -- it was like a different beat than -- 697 00:30:35,200 --> 00:30:38,866 than the funk and even what James Brown was puttin' down. 698 00:30:38,966 --> 00:30:40,600 It was just different. It was graceful. 699 00:30:40,700 --> 00:30:42,266 But it wasn't -- it wasn't snooty. 700 00:30:42,366 --> 00:30:47,700 -♪ Don't leave me this way 701 00:30:47,800 --> 00:30:50,233 ♪ I can't survive 702 00:30:50,333 --> 00:30:51,966 ♪ Can't stay alive -One of the things we have to 703 00:30:52,066 --> 00:30:55,533 remember about disco is that when you went to the dancefloor 704 00:30:55,633 --> 00:30:58,433 and you listened to "Don't Leave Me This Way" 705 00:30:58,533 --> 00:31:00,333 by Harold Melvin & The Blue Notes 706 00:31:00,433 --> 00:31:03,666 or Thelma Houston's version, it was possible for you to have 707 00:31:03,766 --> 00:31:06,166 a spiritually transcendent experience 708 00:31:06,266 --> 00:31:09,233 that would be akin to what you might feel in a church. 709 00:31:09,333 --> 00:31:10,233 -♪ Ahhhh 710 00:31:10,333 --> 00:31:12,133 ♪ Baby 711 00:31:12,233 --> 00:31:16,233 ♪ My heart is full of love and desire for you ♪ 712 00:31:16,333 --> 00:31:17,833 -One of the most important things 713 00:31:17,933 --> 00:31:22,233 about the emergence of that era is that this was a safe place 714 00:31:22,333 --> 00:31:25,733 for black and Latino gay men to gather. 715 00:31:25,833 --> 00:31:27,900 -It was cool if you dressed differently. 716 00:31:28,000 --> 00:31:30,733 It didn't matter. You were embraced in this world. 717 00:31:30,833 --> 00:31:33,233 -The beat brings people together. 718 00:31:33,333 --> 00:31:36,833 It integrates communities -- black, Latino communities, 719 00:31:36,933 --> 00:31:38,900 gay communities, women -- 720 00:31:39,000 --> 00:31:41,300 and it gives those voices cultural capital. 721 00:31:41,400 --> 00:31:44,600 -Disco, for the most part, was very underground. 722 00:31:44,700 --> 00:31:46,100 It remained pretty much underground 723 00:31:46,200 --> 00:31:47,400 until "Saturday Night Fever." 724 00:31:47,500 --> 00:31:51,100 [ Bee Gees's "Stayin' Alive" plays ] 725 00:31:51,200 --> 00:31:54,100 -♪ Well, you can tell by the way I use my walk ♪ 726 00:31:54,200 --> 00:31:56,233 ♪ I'm a woman's man, no time to talk ♪ 727 00:31:56,333 --> 00:31:58,766 ♪ The music loud, the women warm ♪ 728 00:31:58,866 --> 00:32:00,800 ♪ I've been kicked around since I was born ♪ 729 00:32:00,900 --> 00:32:03,866 -"Saturday Night Fever," when an established producer 730 00:32:03,966 --> 00:32:06,566 called from L.A. and said, "You know, John Travolta, 731 00:32:06,666 --> 00:32:09,033 he's this new guy out of 'Welcome Back, Kotter'" -- 732 00:32:09,133 --> 00:32:10,500 he was in this film. 733 00:32:10,600 --> 00:32:12,333 He's rehearsing to "You Should Be Dancing" 734 00:32:12,433 --> 00:32:13,866 on the set with the others, 735 00:32:13,966 --> 00:32:16,466 who've never heard of the word "disco." 736 00:32:16,566 --> 00:32:20,200 And what we considered what we were writing was just R&B. 737 00:32:20,300 --> 00:32:22,233 -From the time we first heard Otis Redding, 738 00:32:22,333 --> 00:32:24,333 we became obsessed with R&B music. 739 00:32:24,433 --> 00:32:27,100 -So in a sense, what you're essentially hearing 740 00:32:27,200 --> 00:32:29,866 with the Bee Gees is this black American rhythms 741 00:32:29,966 --> 00:32:32,300 that were going on in the '50s 742 00:32:32,400 --> 00:32:35,400 and that came to fruition in the '60s and '70s. 743 00:32:35,500 --> 00:32:37,000 -Beautiful. 744 00:32:37,100 --> 00:32:38,466 -Okay, let's do it again. Second half of the chorus. 745 00:32:38,566 --> 00:32:39,966 But bring that sound in. That's great. 746 00:32:40,066 --> 00:32:42,300 -Dance grooves, things like that, 747 00:32:42,400 --> 00:32:44,133 even in our day, you had to play it. 748 00:32:44,233 --> 00:32:45,700 You had to play it. 749 00:32:45,800 --> 00:32:48,533 And, uh, we found a way of creating a drum loop 750 00:32:48,633 --> 00:32:51,233 that made rhythm accurate before drum machines. 751 00:32:51,333 --> 00:32:53,366 We had a downbeat and backbeat. 752 00:32:53,466 --> 00:32:57,333 It was like a 2-inch tape that went 'round a brush. 753 00:32:57,433 --> 00:32:59,033 And it was dead-on. 754 00:32:59,133 --> 00:33:01,566 And so we could do "A Woman in Love," 755 00:33:01,666 --> 00:33:04,466 "More Than a Woman," and perhaps two or three other songs 756 00:33:04,566 --> 00:33:06,766 have exactly the same loop. 757 00:33:06,866 --> 00:33:10,933 So right through that whole era, right through "Fever," 758 00:33:11,033 --> 00:33:12,700 we'd found another sound. 759 00:33:12,800 --> 00:33:16,733 [ Up-tempo music plays ] 760 00:33:16,833 --> 00:33:20,200 -And then the film exploded in Christmas of that year. 761 00:33:20,300 --> 00:33:22,133 It just blew wide-open. 762 00:33:22,233 --> 00:33:25,400 And that is still the biggest-selling soundtrack 763 00:33:25,500 --> 00:33:26,966 in history. 764 00:33:27,066 --> 00:33:30,333 [ Up-tempo music continues ] 765 00:33:35,833 --> 00:33:39,233 -♪ My baby moves at midnight 766 00:33:39,333 --> 00:33:41,533 -This looping of that four-beat 767 00:33:41,633 --> 00:33:45,700 or eight-beat moments really preserves the magic, 768 00:33:45,800 --> 00:33:47,300 finds the magic, 769 00:33:47,400 --> 00:33:52,033 and then creates that tension that never resolves. 770 00:33:52,133 --> 00:33:54,766 -The disco period affected all of us. 771 00:33:54,866 --> 00:33:58,233 -Studio 54. Disco was huge. 772 00:33:58,333 --> 00:34:01,433 Everybody was comin', partyin', and life was good. 773 00:34:01,533 --> 00:34:04,266 Fur coats and Rolls-Royces and movie stars 774 00:34:04,366 --> 00:34:08,199 and sex and drugs, and, oh, it's okay in the '70s! 775 00:34:08,300 --> 00:34:10,433 -It was billed as teen night at Comiskey Park 776 00:34:10,533 --> 00:34:13,166 for the twi-night doubleheader between the Chicago White Sox 777 00:34:13,266 --> 00:34:14,966 and the Detroit Tigers. 778 00:34:15,066 --> 00:34:18,699 -I think it was 1979 in Chicago, Comiskey Park, 779 00:34:18,800 --> 00:34:20,833 and a local Chicago deejay 780 00:34:20,933 --> 00:34:23,166 asked people who were coming to the game 781 00:34:23,266 --> 00:34:27,133 this particular night to bring their disco records. 782 00:34:27,233 --> 00:34:30,533 -Between games, Dahl was to lead the crowd in song and chants 783 00:34:30,633 --> 00:34:33,133 and then finish by blowing up a boxful of disco records, 784 00:34:33,233 --> 00:34:35,766 which the fans were to bring with them to the ballpark. 785 00:34:35,866 --> 00:34:37,766 And they did, and he did. 786 00:34:37,866 --> 00:34:39,433 [ Explosions ] 787 00:34:39,533 --> 00:34:43,366 [ Crowd cheers ] 788 00:34:43,466 --> 00:34:47,766 -And this turned into just a huge riot. 789 00:34:47,866 --> 00:34:51,666 -We were actually on tour and we couldn't believe 790 00:34:51,766 --> 00:34:56,433 how all-encompassing the "disco sucks" backlash was, 791 00:34:56,533 --> 00:34:59,000 because we didn't think of ourselves as a disco band. 792 00:34:59,100 --> 00:35:00,933 We were just being opportunistic. 793 00:35:01,033 --> 00:35:04,033 We were a funk band taking advantage of a movement 794 00:35:04,133 --> 00:35:07,000 that was totally open, that would let us in the door. 795 00:35:07,100 --> 00:35:09,000 Our first record came out in '77. 796 00:35:09,100 --> 00:35:11,500 Now, summer of '79, we sucked. 797 00:35:11,600 --> 00:35:13,566 We had gone from being the darlings 798 00:35:13,666 --> 00:35:15,666 to sucking in 2 years. 799 00:35:15,766 --> 00:35:19,500 It felt like it just reeked of racism, sexism, 800 00:35:19,600 --> 00:35:21,333 homophobia, everything. 801 00:35:21,433 --> 00:35:23,033 It was, like, "Holy..." 802 00:35:23,133 --> 00:35:26,100 And it was really ugly to watch. 803 00:35:26,200 --> 00:35:28,900 Chic never had another hit record ever again. 804 00:35:29,000 --> 00:35:33,166 -♪ I know your eyes in the mornin' sun ♪ 805 00:35:33,266 --> 00:35:38,066 ♪ I feel you touch me in the pourin' rain ♪ 806 00:35:38,166 --> 00:35:42,666 ♪ And the moment that you wander far from me ♪ 807 00:35:42,766 --> 00:35:44,733 ♪ I wanna feel you in my arms again ♪ 808 00:35:44,833 --> 00:35:46,833 -I've often found conflict with the word "backlash." 809 00:35:46,933 --> 00:35:50,500 But it's real. It's real. 810 00:35:50,600 --> 00:35:52,233 And you have to move on from that. 811 00:35:52,333 --> 00:35:57,700 And I think that that's what led to our own self-realization 812 00:35:57,800 --> 00:36:00,266 that we couldn't be this all our lives. 813 00:36:00,366 --> 00:36:03,100 -♪ How deep is your love? -♪ How deep is your love? 814 00:36:03,200 --> 00:36:06,233 ♪ How deep is your love? 815 00:36:06,333 --> 00:36:10,600 -♪ I really mean to learn 816 00:36:10,700 --> 00:36:11,966 -You can't wear white suits all your life 817 00:36:12,066 --> 00:36:13,833 and you can't be a kid all your life. 818 00:36:13,933 --> 00:36:16,900 This bubble will burst. -♪ Breakin' us down 819 00:36:17,000 --> 00:36:18,733 ♪ When they all should let us be ♪ 820 00:36:18,833 --> 00:36:20,800 -Nothing ever lasts forever. 821 00:36:20,900 --> 00:36:25,433 -♪ We belong to you and me 822 00:36:25,533 --> 00:36:28,700 ♪ La la la la 823 00:36:28,800 --> 00:36:30,766 ♪ Lo-o-o-o-o-ve! 824 00:36:30,866 --> 00:36:36,433 -♪ How deep is your love? How deep is your love? ♪ 825 00:36:36,533 --> 00:36:40,066 -Even though Chic's career was derailed by "disco sucks," 826 00:36:40,166 --> 00:36:43,933 my personal growth was inspired by it. 827 00:36:44,033 --> 00:36:47,500 But still, the heart of my music was groove, 828 00:36:47,600 --> 00:36:49,633 was funk, was dance, disco, 829 00:36:49,733 --> 00:36:51,233 whatever name you want to call it. 830 00:36:51,333 --> 00:36:54,000 -There was an urge to break the mold, 831 00:36:54,100 --> 00:36:58,666 to try to find various rhythms and changing sounds. 832 00:36:58,766 --> 00:37:02,066 That's what led us into production of other people. 833 00:37:02,166 --> 00:37:05,533 -I did Bowie's biggest record. I did INXS's biggest record. 834 00:37:05,633 --> 00:37:08,233 I did Duran's biggest record. I did Madonna's biggest record. 835 00:37:08,333 --> 00:37:10,033 -Working with Barbra was great fun. 836 00:37:10,133 --> 00:37:12,466 Working with Kenny and Dolly was great fun. 837 00:37:12,566 --> 00:37:14,466 Having Diana Ross have an enormous hit, 838 00:37:14,566 --> 00:37:15,966 for us, was incredible. 839 00:37:16,066 --> 00:37:17,800 We were able to apply these different styles 840 00:37:17,900 --> 00:37:20,633 because, you know, we'd lived through all of them. 841 00:37:20,733 --> 00:37:23,200 And we were able to emulate them. 842 00:37:23,300 --> 00:37:27,466 -My experience is that the word "disco" was gone. 843 00:37:27,566 --> 00:37:30,966 But the sound and the way to record, 844 00:37:31,066 --> 00:37:35,100 the way to sing the lyrics, they were still disco. 845 00:37:35,200 --> 00:37:38,633 [ Drum plays up-tempo rhythm ] 846 00:37:41,000 --> 00:37:43,000 -New York City, the venues 847 00:37:43,100 --> 00:37:45,966 opened at 9:00 or 10:00 and went till 4:00. 848 00:37:46,066 --> 00:37:50,633 So when I was playing a 7-, 8-, 9-hour shift 849 00:37:50,733 --> 00:37:52,633 to play a 2.5-minute version of a song, 850 00:37:52,733 --> 00:37:54,500 I mean, you needed a lot of records. 851 00:37:54,600 --> 00:37:56,866 So the remix thing really helped in that, you know, 852 00:37:56,966 --> 00:37:58,300 you sort of created, like, 853 00:37:58,400 --> 00:37:59,700 almost like a symphony, in a way. 854 00:37:59,800 --> 00:38:01,866 You took a song that was 3 minutes long 855 00:38:01,966 --> 00:38:03,266 and made it 7 or 8 minutes long. 856 00:38:03,366 --> 00:38:04,633 It still felt, on the dancefloor, 857 00:38:04,733 --> 00:38:06,766 it felt like it was 3 minutes. 858 00:38:06,866 --> 00:38:08,433 -It was more done cutting things up. 859 00:38:08,533 --> 00:38:11,700 So you'd get the vocal, you'd get the instrumental. 860 00:38:11,800 --> 00:38:15,200 And you'd extend bits and sort of make something new 861 00:38:15,300 --> 00:38:17,366 out of two things that already existed. 862 00:38:17,466 --> 00:38:19,100 -All of a sudden, 863 00:38:19,200 --> 00:38:22,400 every song that was worthy of a moment on the dancefloor 864 00:38:22,500 --> 00:38:24,733 should also have a remix that would go along with it. 865 00:38:24,833 --> 00:38:26,466 So you'd not only have the original song 866 00:38:26,566 --> 00:38:28,200 as it would come out on an actual album, 867 00:38:28,300 --> 00:38:29,700 but you'd also have the remix version, 868 00:38:29,800 --> 00:38:32,366 usually in the form of a 12-inch single. 869 00:38:32,466 --> 00:38:34,233 -The brilliance, you know, in what they did 870 00:38:34,333 --> 00:38:36,100 to create the remixes 871 00:38:36,200 --> 00:38:39,266 is that they really created a real musical experience 872 00:38:39,366 --> 00:38:41,266 that the music just never stopped 873 00:38:41,366 --> 00:38:43,133 and you never left that euphoria. 874 00:38:43,233 --> 00:38:45,700 You were always in that space. 875 00:38:45,800 --> 00:38:49,366 -Hi, I'm Madonna and this is New York. 876 00:38:49,466 --> 00:38:53,200 -Madonna was, you know, just like a club kid. 877 00:38:53,300 --> 00:38:55,633 Wanted to be a singer and had a lot of ambition, you know? 878 00:38:55,733 --> 00:38:57,933 -Madonna was a New York scenester. 879 00:38:58,033 --> 00:39:01,133 She's dancing in the most alt clubs in New York, 880 00:39:01,233 --> 00:39:03,200 singing, dancing, doing trap dates. 881 00:39:03,300 --> 00:39:07,033 -♪ Don't put me off, 'cause I'm on fire ♪ 882 00:39:07,133 --> 00:39:10,166 ♪ And I can't quench my desire 883 00:39:10,266 --> 00:39:12,600 -We met, um, while I was deejaying at the Fun House 884 00:39:12,700 --> 00:39:15,633 and she had just released "Everybody," 885 00:39:15,733 --> 00:39:18,266 which I had been playing for a while 886 00:39:18,366 --> 00:39:19,666 and was a big record at the club, 887 00:39:19,766 --> 00:39:21,500 and just came by to say hi 888 00:39:21,600 --> 00:39:23,433 and then asked me if I'd be interested 889 00:39:23,533 --> 00:39:26,533 in working on a remix for her next single. 890 00:39:26,633 --> 00:39:30,000 [ "Physical Attraction" plays ] 891 00:39:36,300 --> 00:39:38,500 ♪♪ 892 00:39:38,600 --> 00:39:41,033 When she heard what I did with "Physical Attraction," 893 00:39:41,133 --> 00:39:42,766 she thought that it would be a good idea 894 00:39:42,866 --> 00:39:46,000 to bring me in and work on the other songs on the album. 895 00:39:46,100 --> 00:39:47,766 I was remixing the other songs on her record. 896 00:39:47,866 --> 00:39:49,766 So she said, "Oh, I only have seven songs. 897 00:39:49,866 --> 00:39:51,100 I need one more song." 898 00:39:51,200 --> 00:39:54,333 I had a piano-vocal demo of "Holiday" 899 00:39:54,433 --> 00:39:55,700 and I played it for her, and I said, you know, 900 00:39:55,800 --> 00:39:57,433 "If I could put a groove underneath this, 901 00:39:57,533 --> 00:39:59,100 this could be a big record." 902 00:39:59,200 --> 00:40:01,033 I had never produced a record from scratch 903 00:40:01,133 --> 00:40:03,666 but I had, I don't know, maybe 20 number-one dance records, 904 00:40:03,766 --> 00:40:07,366 so I knew all the things to fix a record 905 00:40:07,466 --> 00:40:09,200 [laughs] after someone recorded it, 906 00:40:09,300 --> 00:40:12,666 but I had actually never recorded all the basic tracks. 907 00:40:12,766 --> 00:40:14,000 I used a LinnDrum machine 908 00:40:14,100 --> 00:40:17,366 and a bunch of digital synthesizers. 909 00:40:17,466 --> 00:40:20,500 I basically didn't sleep for 5 days, working on it. 910 00:40:20,600 --> 00:40:23,933 [ "Holiday" plays ] 911 00:40:24,033 --> 00:40:27,866 ♪♪ 912 00:40:27,966 --> 00:40:29,800 I mean, Madonna loved it. 913 00:40:29,900 --> 00:40:31,766 I -- I was so thrilled 914 00:40:31,866 --> 00:40:33,933 that I actually got to produce a record. 915 00:40:34,033 --> 00:40:36,600 I was playing it at the Fun House. 916 00:40:36,700 --> 00:40:40,433 -♪ Holiday 917 00:40:40,533 --> 00:40:43,200 ♪ Celebrate 918 00:40:43,300 --> 00:40:44,933 -The record company would come by 919 00:40:45,033 --> 00:40:47,800 and I think they were caught completely by surprise. 920 00:40:47,900 --> 00:40:50,233 I don't believe they truly understood 921 00:40:50,333 --> 00:40:53,466 what was happening on the streets of New York. 922 00:40:53,566 --> 00:40:55,800 I mean, but most record companies at that point didn't. 923 00:40:55,900 --> 00:40:57,533 You know, they kept saying dance was dead. 924 00:40:57,633 --> 00:40:59,700 "They went from disco to dance. 925 00:40:59,800 --> 00:41:01,033 House music's a fad, you know. 926 00:41:01,133 --> 00:41:02,233 None of this stuff's gonna last." 927 00:41:02,333 --> 00:41:05,200 -♪ One day out of life 928 00:41:05,300 --> 00:41:07,300 ♪ It would be 929 00:41:07,400 --> 00:41:09,733 ♪ It would be so nice 930 00:41:09,833 --> 00:41:11,066 ♪ Everybody spread the word 931 00:41:11,166 --> 00:41:13,833 -There were, you know, thousands of clubs in New York 932 00:41:13,933 --> 00:41:15,866 with thousands of people in them, 933 00:41:15,966 --> 00:41:17,633 dancing, every Friday and Saturday night. 934 00:41:17,733 --> 00:41:20,000 -The dancefloor in those rooms 935 00:41:20,100 --> 00:41:22,100 are the best teachers in the world, 936 00:41:22,200 --> 00:41:24,966 to sit and watch and see what makes people move. 937 00:41:25,066 --> 00:41:27,100 There are certain beats that make them move. 938 00:41:27,200 --> 00:41:29,066 And it's really apparent when you play some stuff 939 00:41:29,166 --> 00:41:30,966 and you watch it and you just see, "Oh, that works. 940 00:41:31,066 --> 00:41:33,533 Oh, that sucks," you know? And you can see it. 941 00:41:33,633 --> 00:41:35,433 -When they started adding percussion instruments 942 00:41:35,533 --> 00:41:38,000 to the disco, I wanted to dance, as well. 943 00:41:38,100 --> 00:41:41,500 And I thought it was kind of cool to add those elements 944 00:41:41,600 --> 00:41:45,200 of the Latin percussion in pop and disco music. 945 00:41:45,300 --> 00:41:48,966 -♪ She wears a long fur coat of mink ♪ 946 00:41:49,066 --> 00:41:53,100 ♪ Even in the summertime 947 00:41:53,200 --> 00:41:56,866 ♪ Everybody knows from the coy little wink ♪ 948 00:41:56,966 --> 00:41:58,633 ♪ The girl's got a lot on her mind ♪ 949 00:41:58,733 --> 00:42:04,166 "Glamorous Life" was a song that didn't have any lyrics 950 00:42:04,266 --> 00:42:08,400 and it was more of a -- of an instrumental. 951 00:42:08,500 --> 00:42:12,600 My intent was to do something very percussive and dance. 952 00:42:12,700 --> 00:42:14,833 I played congas and timbales, bongos, 953 00:42:14,933 --> 00:42:17,133 hand-percussion, maracas. 954 00:42:17,233 --> 00:42:18,366 ♪ The glamorous life 955 00:42:18,466 --> 00:42:22,433 ♪ She don't need a man's touch 956 00:42:22,533 --> 00:42:24,366 "Glamorous Life," the scene was 957 00:42:24,466 --> 00:42:27,233 a big Linn machine -- LinnDrum machine. 958 00:42:27,333 --> 00:42:30,800 I embraced the drum machine because it was something new. 959 00:42:30,900 --> 00:42:32,366 I love technology. 960 00:42:32,466 --> 00:42:34,766 I loved that something in this machine 961 00:42:34,866 --> 00:42:36,000 was doing something different. 962 00:42:36,100 --> 00:42:38,666 ♪ She wants to lead the glamorous life ♪ 963 00:42:38,766 --> 00:42:42,000 ♪ Without love, it ain't much 964 00:42:42,100 --> 00:42:46,200 [ Instrumental music plays ] 965 00:42:46,300 --> 00:42:49,800 [ Drum machine playing ] 966 00:42:49,900 --> 00:42:53,000 -The early drum machines were not programmable. 967 00:42:53,100 --> 00:42:54,433 In other words, they had set rhythms. 968 00:42:54,533 --> 00:42:58,033 You could play a rumba beat, or you could play a cha-cha-cha. 969 00:42:58,133 --> 00:43:01,633 So the intervention of something like the LinnDrum machines 970 00:43:01,733 --> 00:43:04,400 or the DMX or the 808 is that these were programmable. 971 00:43:04,500 --> 00:43:06,366 You could say, "Well, okay, I want a kick drum here. 972 00:43:06,466 --> 00:43:07,600 I want the snare here. 973 00:43:07,700 --> 00:43:10,900 I want the weird, doinky cowbell here instead." 974 00:43:11,000 --> 00:43:13,333 -Drum machine don't have no soul. 975 00:43:13,433 --> 00:43:16,066 It just a machine. It don't lose time. 976 00:43:16,166 --> 00:43:18,500 It don't pick up the tempo. It don't drop the tempo. 977 00:43:18,600 --> 00:43:20,700 It just... [ Slapping legs rhythmically ] 978 00:43:20,800 --> 00:43:22,733 -I'm a drummer. My first instrument. 979 00:43:22,833 --> 00:43:26,033 But I grew up playing drums my whole life. 980 00:43:26,133 --> 00:43:30,000 So I play drum machines like -- like the drums. 981 00:43:30,100 --> 00:43:32,866 -We're payin' attention that it can't be perfect, 982 00:43:32,966 --> 00:43:34,466 you know, because it shouldn't be. 983 00:43:34,566 --> 00:43:36,800 Like, it shouldn't be right on time. 984 00:43:36,900 --> 00:43:39,200 There's something just unhuman about it. 985 00:43:39,300 --> 00:43:41,833 -Music is peppered with purists, 986 00:43:41,933 --> 00:43:43,400 populated with purists, isn't it? 987 00:43:43,500 --> 00:43:46,333 Every genre has its own particular notion 988 00:43:46,433 --> 00:43:48,800 about how it has to be this and that's not authentic 989 00:43:48,900 --> 00:43:50,133 and this is the real deal. 990 00:43:50,233 --> 00:43:52,466 And so drum machines are fantastic. 991 00:43:52,566 --> 00:43:57,033 -The technology made it so much easier for creative people 992 00:43:57,133 --> 00:43:59,233 to sit wherever they want to and create. 993 00:43:59,333 --> 00:44:03,266 And it gave people the freedom to actually make more records. 994 00:44:03,366 --> 00:44:04,633 And it created more genres. 995 00:44:04,733 --> 00:44:06,700 It made specific genres of dance. 996 00:44:06,800 --> 00:44:10,133 -The rise of house and techno, and hip-hop, too, 997 00:44:10,233 --> 00:44:11,600 these are all happening, you know, 998 00:44:11,700 --> 00:44:13,600 contemporaneous with one another in the 1980s. 999 00:44:13,700 --> 00:44:16,233 [ The Future Sound of London's "Papua New Guinea" plays ] 1000 00:44:22,300 --> 00:44:24,766 -You've got the rise of rave music. 1001 00:44:24,866 --> 00:44:27,800 It's creating these different sort of experiences 1002 00:44:27,900 --> 00:44:29,500 for young people on the dancefloor. 1003 00:44:29,600 --> 00:44:31,766 ♪♪ 1004 00:44:31,866 --> 00:44:36,800 It was certainly a much harder and more aggressive sound 1005 00:44:36,900 --> 00:44:38,766 than some of the earlier sounds we've heard 1006 00:44:38,866 --> 00:44:42,366 in gospel-influenced or blues-influenced house music. 1007 00:44:42,466 --> 00:44:45,133 -I want to thank all the stormtroopers in the house. 1008 00:44:45,233 --> 00:44:47,700 -Most raves were not happening in real clubs. 1009 00:44:47,800 --> 00:44:49,533 They were not happening in concert halls. 1010 00:44:49,633 --> 00:44:54,300 They were happening in warehouses and VFW halls. 1011 00:44:54,400 --> 00:44:57,566 So they would find these off-venues and these lofts. 1012 00:44:57,666 --> 00:44:58,833 A lot of them were illegal. 1013 00:44:58,933 --> 00:45:02,933 That was a big part of the aura of it, as well. 1014 00:45:03,033 --> 00:45:06,533 The See the Light tour featured Moby as the headliner. 1015 00:45:06,633 --> 00:45:10,266 See the Light was this bridge into the mainstream. 1016 00:45:10,366 --> 00:45:12,100 A lot of the kids who were going to the parties, 1017 00:45:12,200 --> 00:45:13,666 writing about them on the mailing lists, 1018 00:45:13,766 --> 00:45:15,333 were really against that 1019 00:45:15,433 --> 00:45:19,100 and for a lot of them, Moby was a sellout. 1020 00:45:19,200 --> 00:45:21,466 -Hey! 1021 00:45:21,566 --> 00:45:25,500 My approach to making music and loving music 1022 00:45:25,600 --> 00:45:27,833 has never been a loyalty to a genre. 1023 00:45:27,933 --> 00:45:30,933 It's a loyalty to how the music affects me emotionally. 1024 00:45:31,033 --> 00:45:34,700 I'm way more interested in how I respond to a piece of music 1025 00:45:34,800 --> 00:45:36,866 than who made it or how it was made. 1026 00:45:36,966 --> 00:45:40,900 [ "Go" plays ] 1027 00:45:44,033 --> 00:45:45,000 ♪ Go! 1028 00:45:45,100 --> 00:45:49,433 [ Instrumental music plays ] 1029 00:45:49,533 --> 00:45:51,033 -"Go" was significant 1030 00:45:51,133 --> 00:45:53,533 because it was the first American dance record 1031 00:45:53,633 --> 00:45:56,333 to cross over to the rave scene in England. 1032 00:45:56,433 --> 00:45:58,266 That song went top 10 in England. 1033 00:45:58,366 --> 00:45:59,566 That was the dance song 1034 00:45:59,666 --> 00:46:02,066 that the people who hated dance music liked. 1035 00:46:02,166 --> 00:46:07,733 What Moby brought to it was a really defined melodic sense. 1036 00:46:07,833 --> 00:46:09,900 Early house music and early techno music 1037 00:46:10,000 --> 00:46:12,600 were aimed at the dancefloor, specifically. 1038 00:46:12,700 --> 00:46:14,833 They weren't necessarily made for listening. 1039 00:46:14,933 --> 00:46:16,800 And Moby had been a songwriter. 1040 00:46:16,900 --> 00:46:18,800 He'd been playing in rock bands. 1041 00:46:18,900 --> 00:46:21,900 He was coming to it from a composer 1042 00:46:22,000 --> 00:46:23,233 and a songwriter's perspective, 1043 00:46:23,333 --> 00:46:24,933 as opposed to a deejay's perspective. 1044 00:46:25,033 --> 00:46:28,166 -As a record maker, it's funny. 1045 00:46:28,266 --> 00:46:31,733 I really feel like I should do a better job 1046 00:46:31,833 --> 00:46:34,666 of pretending that I have broad 1047 00:46:34,766 --> 00:46:38,066 and diverse intentions behind making music. 1048 00:46:38,166 --> 00:46:40,833 All I want to do is make music that I love. 1049 00:46:40,933 --> 00:46:43,466 And I truly don't care how it's made. 1050 00:46:43,566 --> 00:46:46,333 Drums from the late 20th century, 1051 00:46:46,433 --> 00:46:50,000 live bass, programmed bass, analog synths, digital synths, 1052 00:46:50,100 --> 00:46:53,900 all these different compositional elements, 1053 00:46:54,000 --> 00:46:55,900 it simply makes people curious. 1054 00:46:56,000 --> 00:47:01,133 And if you have art that makes people curious, 1055 00:47:01,233 --> 00:47:02,700 they're gonna lean towards it. 1056 00:47:02,800 --> 00:47:06,000 [ "Continuous Mix" plays ] 1057 00:47:09,466 --> 00:47:12,000 -"EDM" stands for "electronic dance music," 1058 00:47:12,100 --> 00:47:16,033 every music that has been made electronically or with keyboards 1059 00:47:16,133 --> 00:47:20,133 and on computers, which you can dance to. 1060 00:47:20,233 --> 00:47:22,133 The deejay producer is like a conductor. 1061 00:47:22,233 --> 00:47:24,800 He puts everything together and he makes sure 1062 00:47:24,900 --> 00:47:29,900 that every piece of the puzzle in the song does his thing. 1063 00:47:30,000 --> 00:47:31,633 When I build a track, it's my vision 1064 00:47:31,733 --> 00:47:33,133 of what I want to hear, 1065 00:47:33,233 --> 00:47:34,633 what I want to see on the dancefloor, 1066 00:47:34,733 --> 00:47:37,666 and how it would hit people, so extra beats, 1067 00:47:37,766 --> 00:47:40,300 extra bassline, an extra piano line. 1068 00:47:40,400 --> 00:47:43,166 -It is very hard for a techno producer to do exactly that, 1069 00:47:43,266 --> 00:47:45,733 that it doesn't sound like a computer made it. 1070 00:47:45,833 --> 00:47:48,366 Then when you have it, like, alter it. 1071 00:47:48,466 --> 00:47:51,700 Give it, like, dirt and stuff so that it sounds -- 1072 00:47:51,800 --> 00:47:53,700 it gets a human touch, a human feel, 1073 00:47:53,800 --> 00:47:55,033 even though you need to have, like 1074 00:47:55,133 --> 00:47:56,866 [Smacks lips] fall-to-the-floor bass drums. 1075 00:47:56,966 --> 00:47:58,166 So it has to be in the pattern 1076 00:47:58,266 --> 00:48:00,700 without sounding just like pattern music. 1077 00:48:00,800 --> 00:48:04,300 -The big thing back then was that you could compare me 1078 00:48:04,400 --> 00:48:08,966 to, like, what the Grateful Dead does in America back then. 1079 00:48:09,066 --> 00:48:10,600 It was just the music that was so different 1080 00:48:10,700 --> 00:48:13,466 because you could never hear it on the radio 1081 00:48:13,566 --> 00:48:15,633 and you could not even buy it in the stores. 1082 00:48:15,733 --> 00:48:17,400 You have to be there to experience it. 1083 00:48:17,500 --> 00:48:19,166 -♪ Oh...yeah 1084 00:48:19,266 --> 00:48:22,233 [ "Maximal Crazy" plays ] 1085 00:48:22,333 --> 00:48:24,600 [ Crowd cheers ] 1086 00:48:24,700 --> 00:48:26,833 -Instrumental songs are so full of life 1087 00:48:26,933 --> 00:48:29,133 because they are the actual emotions, 1088 00:48:29,233 --> 00:48:31,633 because vocals never can be true emotions 1089 00:48:31,733 --> 00:48:33,300 because they are in words. 1090 00:48:33,400 --> 00:48:35,300 Only sounds can transport it. 1091 00:48:35,400 --> 00:48:37,066 That's why it's such a global movement, 1092 00:48:37,166 --> 00:48:40,300 because it goes beyond all borders of language. 1093 00:48:40,400 --> 00:48:41,633 -I think the EDM thing 1094 00:48:41,733 --> 00:48:43,466 is sort of, like, it's interesting. 1095 00:48:43,566 --> 00:48:45,600 I know why kids like it. It's, like, it's an event. 1096 00:48:45,700 --> 00:48:47,233 It's a communal kind of music. 1097 00:48:47,333 --> 00:48:49,300 -When you see thousands and thousands of people 1098 00:48:49,400 --> 00:48:51,033 dancing and losing their mind to a song, 1099 00:48:51,133 --> 00:48:53,300 I mean, obviously, it may not be for me. 1100 00:48:53,400 --> 00:48:54,800 But they like it. 1101 00:48:54,900 --> 00:48:56,300 So there's nothing wrong with that. 1102 00:48:56,400 --> 00:48:59,100 -I mean, we can't speak about the dance 1103 00:48:59,200 --> 00:49:01,500 unless you speak about the trance. 1104 00:49:01,600 --> 00:49:04,633 It really lends itself to people escaping. 1105 00:49:04,733 --> 00:49:07,866 And those qualities are found in today's dance music. 1106 00:49:07,966 --> 00:49:11,800 -EDM is like Woodstock. EDM is like Studio 54. 1107 00:49:11,900 --> 00:49:15,800 EDM is like a rock concert. EDM is an experience. 1108 00:49:15,900 --> 00:49:17,800 It's the same thing as dance. Itis dance. 1109 00:49:17,900 --> 00:49:19,966 You know, it's just different initials. 1110 00:49:20,066 --> 00:49:22,100 -At the same time, I think people also have a hunger 1111 00:49:22,200 --> 00:49:25,933 and a desire to hear acoustic sounds, to honor and respect 1112 00:49:26,033 --> 00:49:29,266 musicians who can play their instruments and so on. 1113 00:49:29,366 --> 00:49:31,700 So the rise of singers like Bruno Mars 1114 00:49:31,800 --> 00:49:34,000 reminds us that it's still very important. 1115 00:49:34,100 --> 00:49:35,466 -♪ Whoo, whoo, whoo 1116 00:49:35,566 --> 00:49:36,700 -♪ Oh, yeah, yeah 1117 00:49:36,800 --> 00:49:39,866 ♪ Oh, yeah, yeah, yeah, yeah 1118 00:49:39,966 --> 00:49:41,533 -Bruno, pound for pound, 1119 00:49:41,633 --> 00:49:45,533 is absolutely the best entertainer, musician, 1120 00:49:45,633 --> 00:49:49,000 kind of all-around pop star that's out there. 1121 00:49:49,100 --> 00:49:52,500 -♪ Never had much faith in love or miracles ♪ 1122 00:49:52,600 --> 00:49:54,533 -When Bruno first asked me if I wanted to come and work 1123 00:49:54,633 --> 00:49:57,333 on his second album, he had a few demos around 1124 00:49:57,433 --> 00:50:00,033 and "Locked Out of Heaven" was this song that he knew 1125 00:50:00,133 --> 00:50:02,533 there was something super special about the chorus. 1126 00:50:02,633 --> 00:50:04,300 Looking back on it now, the rhythm section 1127 00:50:04,400 --> 00:50:06,366 sort of wanted to be, you know, Chic, 1128 00:50:06,466 --> 00:50:07,966 like, you know, Nile Rodgers. 1129 00:50:08,066 --> 00:50:10,700 It was definitely the beat that drew me in first. 1130 00:50:10,800 --> 00:50:12,166 The sound of the drums is always 1131 00:50:12,266 --> 00:50:13,800 the most important kind of building block. 1132 00:50:13,900 --> 00:50:16,700 -♪ Show-ow-ow-ow-ow-ow-ow-s 1133 00:50:16,800 --> 00:50:19,100 ♪ Yeah, yeah, yeah 1134 00:50:19,200 --> 00:50:21,900 ♪ 'Cause you make me feel like 1135 00:50:22,000 --> 00:50:24,933 ♪ I've been locked out of heaven ♪ 1136 00:50:25,033 --> 00:50:28,666 -It seems as though the music of the future 1137 00:50:28,766 --> 00:50:33,000 and of the present has to do with rhythmic accuracy. 1138 00:50:33,100 --> 00:50:35,033 And there's a monolithic groove. 1139 00:50:35,133 --> 00:50:37,366 Mono, mono, mono, mono. 1140 00:50:37,466 --> 00:50:41,433 One, one, one, one. 1141 00:50:41,533 --> 00:50:45,233 -You know why dance music and disco music works so well? 1142 00:50:45,333 --> 00:50:49,300 Because the human heartbeat beats around 120 BPM. 1143 00:50:49,400 --> 00:50:52,300 So that's the music of the soul. 1144 00:50:52,400 --> 00:50:53,833 -I've played with 1145 00:50:53,933 --> 00:50:57,033 an extraordinary amount of people in my life 1146 00:50:57,133 --> 00:51:02,233 and the ones I always love the best are the groovers. 1147 00:51:02,333 --> 00:51:04,600 I describe it as a flock of birds. 1148 00:51:04,700 --> 00:51:06,433 You've ever watched a flock of birds fly 1149 00:51:06,533 --> 00:51:07,700 and they all know when to turn, 1150 00:51:07,800 --> 00:51:09,533 and they do that thing together? 1151 00:51:09,633 --> 00:51:10,833 And there can be hundreds of them, 1152 00:51:10,933 --> 00:51:12,666 but they all do that together. 1153 00:51:12,766 --> 00:51:15,666 It's almost telepathic. It's -- it's -- it's magical. 1154 00:51:15,766 --> 00:51:16,900 -♪ To see the light 1155 00:51:17,000 --> 00:51:19,433 -You got to have a beat. You got to have a beat. 1156 00:51:19,533 --> 00:51:23,733 I mean, if you get sick and they call in the paramedics 1157 00:51:23,833 --> 00:51:25,800 and you're laying on the floor, the first thing 1158 00:51:25,900 --> 00:51:30,333 they're gonna know, do you have a beat. 1159 00:51:30,433 --> 00:51:31,566 You got to have a beat. 1160 00:51:31,666 --> 00:51:34,000 -♪ And it show-ow-ow-ow-ow-ow-ow-s ♪ 1161 00:51:34,100 --> 00:51:36,200 -If you're in the creational mode, 1162 00:51:36,300 --> 00:51:38,600 you look for the new. 1163 00:51:38,700 --> 00:51:40,900 That's what a rhythmist is. 1164 00:51:41,000 --> 00:51:43,766 You're constantly scanning for new rhythms 1165 00:51:43,866 --> 00:51:46,100 because the world is changing. 1166 00:51:46,200 --> 00:51:49,700 It makes you whole, gives you happiness. 1167 00:51:49,800 --> 00:51:51,933 Good rhythm, good life. 1168 00:51:52,033 --> 00:51:54,033 -♪ Oh oh 1169 00:51:54,133 --> 00:51:56,933 ♪ Oh, yeah, yeah, yeah, yeah 1170 00:51:57,033 --> 00:52:00,200 -♪ Unh! 1171 00:52:00,300 --> 00:52:03,133 ♪♪ 1172 00:52:10,566 --> 00:52:13,000 -"Soundbreaking" is available on DVD. 1173 00:52:13,100 --> 00:52:15,500 The companion book is also available. 1174 00:52:15,600 --> 00:52:19,900 To order, visit shopPBS.org or call 1-800-PLAY-PBS. 1175 00:52:20,000 --> 00:52:24,066 ♪♪ 92250