All language subtitles for Shangri-La.2019.S01E02.720p.AMZN.WEBRip.x264-GalaxyTV

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These are the user uploaded subtitles that are being translated: Eߣ�B��B��B�B�B��matroskaB��B��S�go�M�t�M��S��I�fS��M��S��T�kS���M��S��S�kS��M��S��T�gS��ny�O�I�f@�*ױ�B@M��libebml v1.4.5 + libmatroska v1.7.1WA�mkvmerge v98.0 ('Chonks') 64-bitD��AJt�Da� �SH�F{��Shangri-La.2019.S01E02.720p.AMZN.WEBRip.x264-GalaxyTVs��ųf�����tvd���T�k���ׁsŁ������S_TEXT/UTF8"���enSn�GalaxyTV - small excellence!�DC�u@�炮�����After 12 days of new life,�� G����� Ga baby spotted mallard��ɠ����will leap from its mother's nest into flight,�� ;C�u@���^�����because it doesn't know it might fall.���Сʁ�The amateur mind possesses a valuable lack of knowledge about rules.��)C�u��􌠲���When matched with passion and gumption,�� ������ �gravity ceases to exist and new things take flight.���C�u��>�����We see people hitting each other with chairs,���������but they're working together to put on a show.�� kC�u@��W��ơ��Sometimes they like each other, and other times they don't.�� ������ �And then sometimes they'll say things.�� _C�u@��p������Their job is to make you hate them�������by saying things that make you�� A�����Alove one and hate one based on what they're saying.�� GC�u���������Sometimes they say things that just have�� ������ �this ring of truth about them.���C�u���������That's too real.��XC�u���X�����Let me tell you something right now.��w����� 0When I watch MTV,��X������I see Run-D.M.C. all day long.��SC�u@���3�����As it is now, I see Run-D.M.C. all day long.���������They talk about the Beastie Boys all day long,��}�����wthey don't even have a video.���C�u@���b�����That amazes me. The only reason��РɡÁ�that we haven't done a video yet is because as soon as we do,�� Š¡���they're gonna have to change it from MTV to Beastie-TV,�� @C�u@��7�Сʁbecause that's all they're gonna show, all day long, all night long.��Р�����You talk about magazines, you talk about...�� C�u@��)$�����I would do interviews��*�����*as part of the Beastie Boys at that time,��ՠ���� �and it was always from the position�� _C�u��C������of the bad guy wrestler.���������It was all performance art.���������-The Beastie Boys. -Oh, wow!���C�u@��Y������The Beastie Boys are the most important thing��Z�����Zin music today, holding everything together.���������I think, you know...���C�u@��r������I think I'm wasting my breath a little bit.���������Maybe I'm talking over your head.��Р���� �I think the interview's over, thank you very much.���C�u���ؠ����Rick? Rick, Rick!��M������Did it matter that a lot of people didn't understand?�� �C�u���`�����Never.��#C�u���E�����♪Your kisses take me♪��/C�u���2�����♪To Shangri-La ♪��^C�u�� Ҡ����♪Each kiss is magic♪��������♪That makes my little world♪��^C�u��3�����♪A Shangri-La...♪��vC�u��K������♪For anywhere♪�� ����� ♪You are♪�� �C�u��d?�����♪Is Shangri-La...♪��C�u���X�����Uh, tell 'em about Rick.���������The first time I met him was at the studio years ago,���C�u@���������with, Ye was in there fucking around,�� p����� pand...���������like Rick barely said a word, and I was like,�� �C�u@���ߠ����"What the fuck is with that guy?���������He's barely talking, like,������� �but he's doing something in here."�� �C�u��������And it was a little unnerving, to be honest.�� �������What is the Rick Rubin mythology?�� �C�u��= �����There is one where people think�� k����� kI'm arrogant because I'm pretty quiet.�� �C�u@�R �����I've heard that people interpret that as arrogance.��^�����^There's a mythology that I don't do anything�� C�u@��qs�����because I lay down when I work.����Ρȁ Because I have a beard and was photographed often with sunglasses,���C�u��������people always assumed I was on drugs.�� ����� I've heard that everything I touch turns to gold,��qC�u���������both in terms of music and in terms of people.�� �C�u���"�����It's funny that my mind went to the worst ones first.�� C�u@���E�����Inside Shangri-La, are you trying��S�ˡŁSto expose people to the outside world or insulate them from it?�� ������ -Insulate them. -Right.��5C�u��򅠨���Yeah, the goal is to take away�� ������ �the voices of the outside world,�� �C�u�� �����so you're protected to be��$�����$your pure, natural, naked self.��C�u@��$T�СʁSo, part of what I'm decoding, and why this is such a generous thing�� X����� Xyou're building here, is the perception...���C�u��AL�����-...from the outside... -Yes.���������is that musical success is based on connections,���C�u��Z������magical wonder that cannot be described, and luck.�� ������ �And what you're being really honest about is,���C�u@��p,�����none of those things are it,��֠�����and that instead there is something��������vwithin us that, if we just let it find�� �C�u@���~�š��the confidence and the generosity to create a difference,�� X�����Gand then be alert and hard-working enough�� �C�u@���������to curate it appropriately,�� B����� Bwe can be our best version of that.��Р����Yes. And the only goal really��#C�u���ՠ����is to be the best version of ourselves.��)C�u@���������Ugly words in public places��w�����wFear and doubt and all the races��������Have come out to show their faces���C�u@��������Under me��e�����eThere is a gulf that separates us������� eAnd it seems to gape a little wider every day�� �C�u�� �����Now, we can pray on every tragedy�� f����� fDefy, defy the frenzy of the nastiness�� pC�u��������The devil in us, the human cost�� ��� �The rising threat, we must be watched�� C�u��3������Clocked and kept and streamed and dropped��#�����#If this is strength, then we're all fucked...���C�u@��M������To realize that this is a creative persona,�� ĠˡŁ �it makes it a bit safer to go out in front of all these people.�� �C�u@��c������Kate Tempest is like a superhero; she can do that.��S�����SBut Kate Calvert would never go out there, you know.���C�u���������You can't come here and not feel�� ������ �so lucky to be able to be here, like...�� �C�u���)�š��The way this place just flows, it's kind of uplifting you,��|�����|trying to get the best out of you.��)C�u��Ԟ�����You have to hit it hard.�������Yeah, you have to dig in.��`������We have written an album,�� C�u���D�����and we want to record it in one take.�� X����� XThis is in stereo now...�� AC�u��ݠ����I want the lyric to have the feeling���������of completeness and liveness.��`C�u@��"�����If we do it like this,�� ����� we're hoping that Kate can deliver the lyric���������and I'll just follow her with all the music.��)C�u��>������It's like scoring rather than recording.��ʠ�����Yep. We've looked at it like she's the picture���C�u@��VW�����and I'm the soundtrack and it's a film.��M�����MDo you know where that little screwdriver is?��v������-Yeah. -Oh, yeah.���C�u���������The idea is that we just do a few takes a day,��à�����and hopefully in three or four days��0C�u���������we'll have the one that feels right.������� �We've got ideas to do ones where I can see the ocean.��^C�u���Ƞ����One outside the chapel with a small audience.�������I wanna do one up that tree,���C�u���Ӡ����but it might be kinda dangerous.��蠡����I wanna do it at night.��5C�u@���g�����I think it's cool.���������-Should we give it a run-through? -Yeah.�� 5������The thing is, because it's so long, like you start,���C�u��������-Dan plays the opening chords...�� ۠���� �and we're doing like a 46-minute take.���C�u��2ࠪ���We're doing the album in a take.��֠�����He's playing everything live, Dan's like this, like...��C�u@��SD�ϡɁIf you're feeling tired and you're like, "We'll just get one more,"���ȡwhat you're committing to is going through your album again.�� �C�u��oC�����Like, you know, it's like, it's heavy.�� ����� The emotional drain on you.���C�u���������I came to under a red moon�� .�����@Thirsty for water��_C�u���j�����My eyes were like shovels in the soil of the sky�� �������Digging into the night to find solids���C�u���������Burying emptiness�������� �I was heartbroken��^�����4And vomiting memories��$C�u���Ơ����Because I promised her everything��Р�����But then I did what I could not to recognize�� �C�u�� ������Anything��ܠ����SSo here I was��������4Marching to town like a priest in my rapture�� �C�u�� %d�����Muttering spells��|������So desperate for tenderness���������So raw from the grating of senses�� �C�u�� D������The way the day drinks every drop of my strength�� Y�����AIt's relentless���C�u�� �⠻���In the archives, we have acetates and cylinders,�� ����� um, got reel-to-reel,��C�u@�� �砨���uh, and some really rare vinyl��|�����|that I will bring out and show you.��������How did you start? -I was in a punk rock band.��GC�u@�� �E�����-Really? -Playing guitar.��Y�����YRudimentary punk rock guitar.��|����� �What was it called?��e�����:Hose. H-O-S-E.���C�u�� �+�����-That's hot. - Yeah.���C�u�� �СʁThis is the very first recording ever released on the Def Jam label.���C�u@�� Z�����You would never know that this is a noise punk record��R�����Rfrom these song titles,�������Rlike You Sexy Thang,�� C�u@�� ʠ����and Super Freak, and Dope Fiend.�� �ӡ́ �But I think it's a good, really good evidence that, you know, early on,���C�u@�� 6��̡Ɓthat early in his recording career, he was already mixing genres�� ������ �and trying to find ways to create���C�u�� K�����new combinations and new sounds.��ՠ����Hip-hop was going on at the same time,�� �C�u�� g������and I felt like the energy of the hip-hop��֠�����and the punk rock were very simpatico.�� �C�u@�� {Z�����It was like the same thing.��Y�����YSimilar, just different spectrums.��۠���� 4Exactly similar, but different people were liking it.�� �C�u@�� �;�����Nobody white liked hip-hop.���������And then I joined the Beastie Boys,�� B������and the Beastie Boys were a punk rock band.���C�u�� �������Wow.�� Š���� �And they made one record called Cookie Puss,��;�����that was like a DJ-based record��SC�u�� �񠲡��but they didn't have a DJ in the group,��/�����/so I started DJing for them.�� �C�u@�� �������We did that for a while and then it felt like,�� A����� Aall we did was listen to hip-hop, and it was like,�� �C�u�� �Ҡ����why are we still doing the punk-rock...�� ������ �-Wow. -...if all we listen to is hip-hop?�� @C�u@�� ʠ����I feel like we're, it's like,��w�����wI feel like we're doing that out of habit,��#������and this is what we love.��C�u�� j�����That's fire.��_�����_We had the misguided notion�� �����jthat we'd be super-duper fly�� _C�u�� 63�����by all showing up in matching Puma suits,�� _����� _which I believe you underwrote this venture.���C�u@�� K[�����For sure.�� ����� And if the matching Puma suits�������� �weren't bad enough, we decided to wear do-rags too.��������I remember.���C�u�� c������And then to add on to that, we roll up in a limo.�� _�����kAnd we were like, "Oh, this is gonna be def."�� �C�u�� Ġ¡��Then people were like turning and looking at us like...�� ������ �"Who are you guys, Menudo?"��6C�u�� ������-Do you remember that? -Yes.��)����� XThere was basically one radio show a week on WHBI...���C�u�� ������On WHBI, 105.9.�� q����� q...where they had one hour of hip-hop a week.�� XC�u@�� �ؠ����And everybody would cassette-record that show�� ������ �and then listen to it all week on little boom boxes.��|C�u@�� �f�����Creativity and change live with the heretic,����ˡŁ�with the person who says the emperor's not wearing any clothes.���C�u�� ���á��With the person who says, "No, I hear a voice in my head�� ������ �and it sounds like this."��5C�u@�� ������In the old days, when you had a voice in your head,��$�����$we burned you at the stake.��Рġ�� But now when you have a voice in your head, a few people,���C�u@�� =��ѡˁthe early adopters, will listen to you, and maybe they'll embrace it.��㠗���w♪Oooh...♪�� ���eSo, when you seek to be creative,�� GC�u@�� Y7�����you have to accept the fact����ʡā�that you're also gonna be hated, you're gonna be misunderstood,�� _�ġ��^you're gonna be judged, and it's probably not gonna work.�� �C�u�� �#�����I used an early drum machine in the dorm.�� 蠘��� �It was an 808.���C�u�� ���¡��I borrowed it from a friend who was in a new wave band.��|�����He loaned it to me.�� GC�u�� �\�����In the fall of 1982,���������I was assigned to NYU Weinstein dorm, room 712.��C�u�� ⿠����I go into the room, and sitting in this darkened room���C�u@�� �q�����is a kid with long hair and dark glasses on.��ʠơ���The desks have been pushed together and across the surface��vC�u�� ������are two turntables connected�� ������ �to the biggest Cerwin-Vega speakers you ever saw.�� AC�u�� .o�����And I just look around and I go,�� ^����� ^"Where are you supposed to study?"���C�u@�� C��ġ��And the response I get, Rick in his deep voice, he goes,�� ����� "Studying is to be done in the library."�� AC�u�� _������What's up, Rick?��⠩��� �I didn't know what a label did.�� �C�u�� x�����I didn't know what a producer did.�� X����� XI knew very little, I just knew that I loved music�� �C�u@�� �@�ʡāand wanted to be involved in making it as good as it could be.�� �ɡÁ �It's almost like he just didn't know that he couldn't do this.�� C�u�� �?�����You know, start your own record label?��Р�����Why not start your own record label in the dorm room?��)C�u@�� �h�����When I met him, Rick was the most��M�����Mconfident 19-year-old I'd ever met.��ɠȡLike, even if he didn't know, he said and acted like he knew,���C�u@�� �<�����and it was the only way it could be, so...�� A�ơ�� ALike when he explained punk rock to me and do-it-yourself,�� �C�u�� � �ġ��I mean, it was just the law, like this is how we do this.��wC�u�� ɠΡȁTell me what was going on, your first memories of hip-hop. Period.�� ՠ���� �In your life.���C�u@�� K�����Well, number one, this will probably be��5�����5the longest conversation we've ever had.�������� �Yeah.��������|But we've always been like this,��������5we've been like this.��XC�u��9ؠá��I would see Rick, Rick would see me and we'd be like...�� 0����� 0-It'd be like... -We knew the mission.�� C�u��S�����Right, exactly, so...��_������My first sense of hip-hop was '76,�� �C�u��m������Roosevelt Roller Rink.��Ġ�����I'm a skating fanatic, right? I skate my ass off.���C�u���j�����That's what you're moving around to.�� ������ �That's what the DJs are playing.�� ������I see.���C�u@���������And that's where the inspiring thing��0�����0for our first record������� 0and the record I think you like,�� ;C�u��������Public Enemy Number 1, came from.�������A couple times the DJs would play this record...�� C�u��������...off of Blow Your Head,���������which was J.B.'s and Bootsy�� ���vand Clyde Stubblefield.��kC�u@���N�����And it had that wind-up.�� Ġ���� �♪Waah-waah-waah-waah-waah♪��������LAnd then the beat comes in, and it's like all skaters,�� C�u��������and it's like, "Girls, get out of the way,"���������'cause it's gonna be manic, it's gonna be crazy.��C�u@��������In my mind as I'm skating, I'm like,��}�����}-if only... - That could keep going.��v������...this could keep going, you know.��SC�u��2ޠ����You have to be a little demented to just like...�� ⠲��� �something that goes like... ♪Waaah♪���C�u��G������And I just one day, after work moving furniture,�� ����� I just took the two tape decks���C�u@��\6�����and said, "Imma finally do this."��S�����SAnd I, you know, made the tape, paused it,�� G������pause tapes, paused it,�� �C�u@��vj�����which was a style that people did in the late '70s.�� ;����� ;If you didn't have turntables, you did pause tapes.��}������- You did pause tapes.���C�u���򠫡��It's called a pause tape because�� �ơ��Son a cassette player, there's a little pause button there.�� �C�u��������And it's like we can stop time and the whole world.���C�u@�����ǡ��It's a small increment of sound and it becomes a long piece.��5�����5I always feel like sometimes limitations,�� ;C�u���0�����whatever it is,�� ��ȡ �not having the right equipment, forces you to find a new way.�� ^C�u���������So I finally paused it.���������I said, I'm gonna come with this vocal, on top of it,��C�u@��Q�����that will kinda fix all the jumps in it,�� ����� 'cause the vocal will straighten it,��/�����5and Flav was in the next room,��5C�u@��+������'cause we was moving furniture together.��/�ġ��/I said, "Look, man, I need you to just intro this thing,�� �����Gand close it out,���C�u@��@������just like make a beginning, make an end,"�� ������ �and it was only meant to be a WBAU promo.��������^"Listen to our radio show."�� qC�u@��]������So, Chuck, what's the moves, man?�� ܠ͡ǁ �I was on my way up there to the studio, you know what I'm sayin'?�� C�u@��uv�����And this brother stopped me, man.��_�ǡ��_I heard it as the radio show promo. That's when I heard it.�� ������ -Exactly. -And just like,��6C�u���������this guy needs to be making albums.�� ����� It's like, whoever made this needs to make more.�� �C�u@�����š��You had to be demented to like that, because it's like...�� _����� _It was crazy.��⠿���AIt would chase your mother and your girlfriend away.���C�u���㠻���It's like, what the fuck are you doing up there?�� _����� _Like, it's just...��ZC�u@��E�����This is a really great one,���������a really important record for us.��}����� Uh, this is from 1968, the legendary Sun Ra,���C�u@��* �����his album Soul Vision,���������and a lot of people didn't believe me,�� ��ˡŁ)but we were able to prove it after months of archival research.���C�u��GB�š��This is the first time that hip-hop actually ever appears�� ����� on a piece of recorded music.��#C�u@��^_�����A lot of people talk only about the role of jazz,�� 5����� 5and the kind of afro-futurist imagination of Sun Ra,�� �C�u@��u{�����and the importance of outer space��Р�����being the place for African-Americans.��Р����But hip-hop was also part of his early imagination.�� �C�u���>�̡ƁThis very idea of hip-hop was already starting in Sun Ra's head.��N�����N♪enigmatic music playing♪�� �C�u���Š����The kinda shows that we would attend,�� ����� it was so surreal,�� YC�u@���#�Ρȁand with an audience standing on the same level as the performers.�� /�ɡÁ /As we went in, I just made sure, don't step on anybody's toes,�� �C�u���3�����just stay to the corner, be cool but chill.�� 0C�u@�������Two minutes later he's not around.�� ;����� ;I'm like, where the hell did he go?���������And I look up on the DJ stand.�� C�u@��5 �ġ��He's up there with the DJ, and they're looking at records�� /����� /and just laughing and like talking music.���C�u��_������What I heard at the club�� 蠳��� �was very different than those one or two���C�u��sc�����rap records that were coming out a week.��$������It's like the club was drum machines,��qC�u���������break beats, and rappers.��Р���� �Live hip-hop.�� @C�u@���̠����But none of the records sounded like that,���������the records were all like produced.��M������Whereas the club was grimy.���C�u���ˠ����And almost like documentary-style,�� ����� I wanted to make records that sounded like the club.�� �C�u@���|�����I felt like I was in a community of all people�� 0�ǡ�� 0kind of pushing in different directions to make great shit.��/�����_No one was gonna be Michael Jackson doing hip-hop.�� C�u@���������It was all just honest.�������Yeah, just people making cool shit.��X����� ^Still hip-hop was really just on the weekend,��*������master-mix shows,���C�u@��V�¡��and we would listen to the master-mix shows every week�� ������ �because you would get ideas, you'd like...����ѡˁ�I wanna say you'd get ideas but you wouldn't get ideas of what to do,��}C�u@��5g�����you'd get ideas of what was possible,��X�����Xand it wasn't like, "Oh, I wanna do that,"��֠���� .but it was just like,��ݠ���� "Oh, that's a whole new way to look at beats.��)C�u��O������If he could do that, we could do this."���C�u��i������There's really extraordinary magical��ʠ�����and then there's really little mundane magic moments.���C�u@�����ҡ́When they happen, there's just this spark of like anything's possible.����ǡ���That feeling of like, we might be able to create this space��5C�u���U�����where we suspend���������the disbelief...��v����� of what's possible��RC�u��ϲ�����and allow a different consciousness to enter.�� _�����^♪Commentating, illustrating♪�� �C�u@���젵���♪Description giving, adjective expert♪��ˠ�����♪Analyzing, surmising, musical♪��������w♪Myth-seeking people of the universe♪���C�u�������♪This is yours!♪��S�����SBeing open to those magical moments���C�u@�� D�ˡŁthat you don't know why they work, you don't know how it works.��֠š���This is the hip-hop version of the Edison home phonograph.�� C�u��<�����Um, this is the original 808,��ʠ�����the original Roland 808 from 1982,�� C�u��P���and this is the machine that Rick used��ʠ�����on some of his most well-known and iconic recordings,��#C�u��h۠����particularly iconic hip-hop recordings.�� �������When you were first bringing���C�u@���K�����bringing hip-hop and rap to the world,�� ����� almost everyone didn't like it.��Р�����-Yes. -And if you had needed���C�u@��������everyone to like it, you would have burned out.��M�СʁMAnd I even think if everyone likes it, you're doing something wrong.�� ���;-Exactly. -Because it's like that's the issue.���C�u@���7�ơ��It's, if everyone likes it, it's probably kind of mediocre.�� ՠ���� �Yeah.���������It has to-- The best art divides the audience.�� �C�u@���S�����Because you're making change happen.��5�ġ��5Yeah, you want your music to be someone's favorite music,�� /�ġ��dand to be the example for someone else of what they hate.��AC�u@���������♪The floor vibrates, the walls cave in...♪�������� �It's late, we're raging,�� q�����4turn the music up louder and louder.���C�u���ġ��Unfortunately, living upstairs from us was Nancy Heller.��C�u��%Ҡ����Nancy Heller was a pre-law student,��R�����Rand she probably had early morning classes,�� qC�u��=������and that did not cut it.�� �ˡŁ She was calling us, we couldn't hear the phone, it was ringing.�� C�u��V������♪And still gettin' paid while you look at me mean♪���������She was banging on the floor.��*C�u��kϠš��You didn't even hear it because you had the system going.��#����� �I even remember, we got a phone call�� 6C�u@���������and Rick turned it up even more.�������vSo all of a sudden, boom!��ˠ����AWho the fuck do you think you are? The fuck are you?!�� �C�u@�����ϡɁThis goes on day... aaaah! after day after day, I can't believe it!��|�Сʁ�It could absolutely be said we were fighting for our right to party.�� C�u@���}�����Nobody answers, is anybody listening?�� ;����� ;♪Kick it!♪��$�����_The Beastie Boys burst in very much���C�u@���d�����in the same manner as Nancy Heller,��֠�����and the music was too loud.�������� qI swear to God!��󠥡��dI mean it seems like it now��_C�u���'�����that that was a subconscious ode�� ����� to the Nancy Heller incident of noise complaint.��@C�u@��s�š��♪You wake up late for school, man, you don't wanna go♪����ǡ���Rubin could have been kicked out of the dorm at this point.���C�u���ġ��Because of the repeated nature of the noise complaints...���C�u��2������So, you get what they called a dorm trial.�� ������ �Nancy Heller, since she was pre-law,��C�u@��F������she acted as her own attorney.�������We are here today�������)because of Rick's relentless behavior.�� ������And she basically talked about���C�u@��[������how there's always noise.���������I'd like to present that as Exhibit A.�� q����� /Rubin had to make a defense.�� C�u��sΠ����♪You gotta fight for your right♪�� ����� ^♪To party♪��#C�u@���O�����This is very creative, what Rubin's defense was.�� q����� qHe said, "This is my art form."��������kHis art form is punk music and hip-hop,���C�u@��N�����which innately, by its very nature, involves volume.�������♪That hypocrite smokes two packs a day♪�� �C�u@��������So, since volume is a part of it,��Р¡���it is a part of his art form, therefore it's protected.�� e�á��5The dorm committee then goes away and makes a decision.���C�u@����á��He never left the dorm, he beat it, he beat the charge.��M�����M♪You gotta fight♪�� Š����♪For your right♪���C�u���������♪To party♪��}�����}It was like this joke of like, OK, we're gonna�� �C�u��𠹡��like joke around about being these party bros.�� p����� pBut then it went into fast-forward so fast,�� �C�u��,6�����that then that was the party bro anthem.�� 蠽��� �What I saw happen really shocked and surprised me.���C�u��Kʠ����It went much further in that direction�������where I was kind of shocked.��MC�u@��e-�����Like not offended, but it's like, wow.�� q����� qI don't know if I should be flattered or upset��ʠ����;'cause you're saying that.�� �C�u@���������They're really going there.�������It's like it's unbelievable,�������� �like the inflatable phallus and that.��������It's like, wow.��YC�u@���������Well, we called it the "Becoming What You Hate."�� ;�Сʁ ;Russell and Lee were like, "Here, you're going to meet with this guy�� 5C�u@���e�Ρȁand just tell him whatever you wanna have on stage for your tour."�� ֠���� �We were probably such assholes.���C�u@��������I'm sure we walked into the meeting like,��/�����/"Yo, what's up, homes?��ܠ���� Yo." And he's like, you know...�� C�u@���(�����"You can have anything--" And the guy's probably...�� 砮��� �The poor guy, the poor guy is like,��S�����:"You can have anything you want on stage.��C�u@���h�����Tell me what you want, I do all these huge tours.�� �á�� �Like whatever you guys-- Did it for Run-D.M.C., Whodini.���������I'll do it for you guys.��C�u@�� O�����Just tell me whatever you want, you know.�� G����� GWe'll put it on stage. I'll make it happen."��Р����And we're just like, "Aw, yo, let me tell you, homes,�� ;C�u��)������we want a fucking giant dick, a'ight?"�� AC�u@��=|�����It's not like we thought about-- Think about...���������You didn't think of the ramifications of any of it.�� àǡ��jLet alone the fact that we had to pay for the fucking thing.�� �C�u@��Z��á��Like, someone had to write a check for the dick: we did.�� ������ �There's this good, like, whatever percentage�� �C�u��p�����where we're making fun of this thing.���������Yes, for sure.��;����� �We just all took it for granted���C�u���̠����that that part would translate,�� ����� but that was the first thing that got lost�� �C�u���Ҡ����once it all kinda started going really fast�� ������ �and became bigger than any of us or all of us.���C�u@����ơ��This is actually one of my favorite pieces to show people.�� B����� BUh, the legendary cantor Yossele Rosenblatt.�� �C�u�����Um, this is an album��0�����0of traditional cantorial synagogue songs.���C�u��6�͡ǁAnd, you know, Yossele Rosenblatt actually is Rick's great-uncle.��eC�u@��rh�����I like to rib Rick once in a while��S�����Sthat he might not have inherited the last name��ʠ����but he certainly has kept the look alive.�� �C�u@���d�����The difference between the two of us is you're��M�����Malways dealing with the newest generation.����ɡÁLAnd part of the newest generation's narrative has always been�� �C�u���3�����to not care about what came before.�� Ġ���� �They do care, but they act as if they don't.�� kC�u@���b�СʁAnd somehow, you've been able to sort of bridge that gap for people.��ʠΡȁ�There's a new breed of hip-hop artists who, young hip-hop artists,��FC�u��r�����who, for the first time, maybe�� ����� are not so interested in the past of hip-hop.��vC�u@��$w�����And the hip-hop hierarchy�� _����� _is very upset about it.��������^And I think it's great, like I think it's fantastic.���C�u��@������It's like if the way to have a new voice�� ������ �in a medium is to,�� C�u@��Y3�����in one way, it's to study the old���������and then find the new way,����ʡā �and the other way is to just ignore the old and find your way.�� �C�u��� �����I wanna learn how to play this shit so bad.�� ������ �Ron, I need a piano lesson class.�� AC�u���������♪Oh♪�������♪So rich at a young age♪�� C�u���᠛���♪So, so rich♪�� ������ �♪I'm so rich at a young age♪�� �C�u��������♪I dropped outta school♪��)����� �♪And now I act like a damn fool♪�� .C�u@��������♪'Cause I'm so, so rich♪��֠���� kI'll make that a song, that sounds boss.��M������That sound got good, don't it?���C�u@��������There's some rappers, young rappers,��S�����Sthat's just so "hip-hop savvy"��)�����|and they know "the history"���C�u@�������and know "everything" about the '80s and the '90s.�� ����� And... I ain't gonna lie, bro,��X�����jI don't know nothing about the '80s and '90s, bro.���C�u@��6�����I was born in '97, you know what I'm sayin'?�� �ȡ Why do I gotta know what someone else did, that's what's up?���C�u@��N��ġ��But if I was to copy, I'm saying if I copy someone else,�� _����� _I'd be a copier, I'd be like a culture vulture.�� �C�u@��e�����You know what I'm sayin'?��<�����<Like why do I have to research somebody else?��ՠ����SThe pool balls are yellow.���C�u���䠯���So much history on these pool balls.����á���-How you doing? I'm good. -Haven't seen you in a minute.�� 5C�u��� �����-It's been like two years. -Unbelievable.�� ������ �I'm so happy that everything is going good for you,�� ^C�u@���(�����like since we met, it's just like incredible.��}����� �-Work out. -Yeah.��_�����MAnd that shit with DRAM it's like,���C�u@��������how cool is that, it's crazy.�� F����� FThe first time I met Rick, he introduced me�� Š���� to DRAM here, starting '16,���C�u@��� �����right before we did Broccoli.���������♪Hey♪�������� 5Like seven times platinum, almost eight times.��������4You the man with the plan, you set that up.��NC�u@�� ������-That's all you. - Yeah, I don't know about that.�� ������ �But it was meant to be, let's just say...��������^I'll say that.���C�u��#������That beard, man, the power is in that beard.���������You can tell every time he scratch it,�� �C�u��<젳���magic goes flying in the air, I seen it.���������For real.�� FC�u@��W �����Like I played him my first mixtape�� r����� rthat brought me in the game,��#������two years ago before I dropped it.���C�u��p2�š��He helped me understand things, just a little differently.��QC�u@���������He helped me look at things in a curved way.��ʠá���In high school, you know, dreaming of becoming a rapper,�� C�u���e�����I would have never knew, you know,�� ������the shit that comes with it.�� ^C�u���������He's someone who rose to prominence very quickly.�� �����@But he didn't have the automatic success��*C�u@���������that it seemed like he was on the precipice of.���������And it seemed to really affect him.���������It confused him.���C�u���������Because it came so fast,�� A����� Ait wouldn't be unusual to think��|C�u��M�����that success would keep coming.��0�����SIt's like, my last album did OK.�� 5C�u@��,ՠ����I mean it did, it's almost gold, so you know it's cool�� 5����� 5but in like the hip-hop community, I just feel like,��}C�u@��G������it didn't really take too well.��M�����MA lot of people didn't like it.��4����� �My fans liked it, but as far as like the masses go,���C�u@��d������they just felt like it was different, it was weird.��}�¡��}You know, sometimes the ones that don't work right away��AC�u@��}f�����end up being the real important ones.��РɡÁ�You know, like they're the ones that kinda change the culture.�� A�����I remember we put out the first Public Enemy album,�� �C�u���;�����people hated it, hated it.��|�����|And then it turned into Public Enemy.�� kC�u���"�����It took a while.���C�u@���P�����I called Chuck every day��֠�����trying to convince him to make an album.��������|There was nobody great in hip-hop at that time.���C�u@���Ơ����And Chuck was great.���������He called me and put it on a Post-it.��#����� �I mean that's the folklore about it.�� pC�u@�������From my side, that was true, that I called the house.���������I did have a Post-it that says "call Chuck D."���C�u��֠ΡȁAnd my mom would be like, "Rick Rubin has called," and I'm like...�� Y����� YWhat did I tell him?�� �C�u@��6u�ġ��I was 25, 26 years old, man. I was like, I wanted bigger.���������And our big goal was to become syndicated radio stars.��C�u��W,�����What's the big deal of making one record��ʠ�����when I've gotta categorize three rooms of records?�� C�u��l������So I never thought records was a big deal.�� ������ �I'm the first guy that turned down a recording deal.���C�u@���#�����-On a consistent basis. -For a long time.�� H����� HI tell the young guys, "You know what, really,��ʠ����you might say this for now,��}C�u���������whatever, or what I am or whatever,��M�����Mbut I turned down Def Jam,�� �C�u���������classic Def Jam, for two years,�� H�ɡÁ Hfrom the greatest producer of all time, now you go top that."�� FC�u��������When we signed with Rick in '86,���������we called it a great surrender.���C�u@���������You came in, it's like, "This is how I want to do it.�� @����� @It's called Public Enemy.��֠�����It'll be like the Clash.��^C�u@��������It's gonna be unlike anything�������that anyone's seen in hip-hop before."���������They rehearsed me.��蠟����It worked. It worked.�� eC�u@��#������♪Bass, how low can you go♪�� 砯��� �♪Death row, what a brother know♪���������♪Once again, back is the incredible♪��SC�u@��<������♪Rhyme animal♪���������♪The uncannable D♪��;����� �Public Enemy sounded the least like anyone else.�� �C�u@��QӠ¡��Yeah, the DJs made mixes, we're not getting in the mix,�� _�ӡ́ _because you gotta take tempo, you gotta take things that sound similar,���C�u@��lנ����we're not making the mixtape.���������Yeah, because it was so foreign to everything else,�� d������which is also why people liked it so much.�� HC�u��������-Yeah. -That was the secret sauce.�� ������ �♪Come on, here we go again♪���C�u���ՠ����♪Bring the noise♪�� ����� Our number-one mission is like���C�u@���������make sure that this shit makes Rick say "damn."��_�á��_If it doesn't, then we gotta throw our hands up and say,�� ;C�u@��� �����"Number one, it ain't happening.��5�����5It ain't gonna come out, it ain't right.�������� �And he's gonna come in and do it,"���������so we didn't want that to happen.���C�u@��賠����You didn't see us in the studio just all the time,�� B����� Blike we'll come in, do the job, and our job���������was to get the fuck outta the studio.��C�u@�� ������It was like a military operation.��)�����)Yeah, we didn't want to run up�������)that little bill of a budget that we had.��RC�u�� $o�����This much we know:�� ������ �Def Jam records was created in Rick Rubin's dorm room�� �C�u�� ;������at New York University in 1983.��p�ˡŁpIt started as a do-it-yourself effort to make music for friends���C�u@�� Z������and like-minded denizens of the rap underground.�� ����� Rubin designed the iconic logo himself late at night,�� �C�u�� t������with printer's press type.�� àá�� �But the mythologizing started almost from the beginning.���C�u�� �5�ġ��Within two years, Rubin was playing a version of himself�� ⠮��� �in the motion picture Krush Groove.���C�u�� �������Oh, shit!��M�����v-Where? - Don't ask.��)C�u�� �J�ˡŁYou're rolling with the Rush and that's all you need to know...�� Y����� cousin.���C�u@�� �I�����This film tells the story�� j����� jof a small label born in a dorm room��M������that takes hip-hop music into the mainstream.�� _C�u�� �_�����It was at once a celebration and a death-knell.������� �Yo, that's a hundred orders I already took today���C�u@��! �����and everybody wants them yesterday.��֠�����I have 60 more over here.�������� �I say, it's happening just like I told you, right?�� HC�u��!#(�����-Just like you told me? -That's right.�������We're selling records we don't even have.��SC�u@��!7������I can remember opening the door at the dorm room...��ʠ�����Yeah, yeah, yeah, yeah, yeah.�������� �And you were 16, I was probably 20, maybe.�� 5C�u@��!Q7�����The only preconceived notion I had��$�����$is that I thought Rick was gonna be black.��ՠ�����I was like, "You're Rick?" He was like, "Yeah."�� �C�u@��!m �����"I thought you was black." He said "cool."�� 蠻��� �♪My story is rough My neighborhood is tough♪��Р�����♪But I still sport gold And I'm out to crush♪�� �C�u��!�R�����♪My name is Cool J I devastate the show♪�� ������ �♪But I couldn't survive without my radio♪�� �C�u��!�Ԡ����We did the record just over a Roland,�� 6�¡�� 6and then I just did it hard, you know, and then I left.�� C�u@��!�t�����Every time he would call me���������and play a record for me over the phone,��נ���� �it was like opening up a Christmas present, you know.�� ;C�u@��!�f�����It says "Reduced by Rick Rubin"��`�����`on the album instead of "produced."��Р����eRick was doing Steve Jobs before Steve Jobs.���C�u@��!���ʡāHe was doing the Steve Jobs sort of music, he was reducing it,�� ����� and he was stripping everything away.��|������This was a time when it was all about Afrika Bambaataa��$C�u@��"R�����with all the electronic instruments and synths,��ܠ͡ǁ�and he like stripped everything away and put little bits of rock,��.C�u@��"0\�����little bits of jazz, little bits of funk into things�� ������ �and made it really simple and hard.��w����� He gave the genre a haircut.��MC�u��"[~�¡��And what increases the chances of writing a great song?�� ܠ����RJust practice and being diligent��#C�u��"z������in the process of always looking,�� _����� _you know, always looking for the next best song.�� �C�u@��"������Not thinking, OK, well, I need ten songs,���������I'm gonna write ten songs.��*����� �You might need to write 50,�� C�u��"�ߠá��you may need to write a thousand to find ten good ones.�� ⠦��� �-Right. -It's like fishing.���C�u@��"���ˡŁIt's like there's no-- you can't say you're gonna catch fish...�� ⠾��� �-Right. -...but you can show up and fish every day�� jC�u��"�נ����-and your chances get better. -Right, right.�� 蠹��� �The more you fish, the more fish you'll catch,�� qC�u@��"�0�ԡ΁but you can't say, "I'm going out today and I'm gonna catch three fish."�� ������ �♪ethereal music playing♪���C�u��#X�����7.3 billion humans��MC�u��#������7.4...��S����� qbillion...��^�����Ahumans��dC�u@��#9�����The rain falls like troops, like troops��w�����wThe rain falls, open your coat in it�� ������Shiver and cough�� C�u��#S������Skin like a dead thing, dying��ˠ����G- Oh. -Little glitch, what was it?��$C�u@�#l�����- The computer's crashed. -Computer crashed?���������Should we turn it off and turn it on again, the MPC?�� jC�u��#�p�����Yeah, it's glitched out big time.�� ������ �- Hey.���C�u��#�Ƞ����When it doesn't crash, you're sounding great.���������I against you against we�� ����Against them���C�u��#�������This is how it begins��/����� pAnd this is how it will end�� _C�u@��#����- One of them days, isn't it?��)�����)Feel like every single things gonna crash,��}������including us, once before we start.���C�u@��#�p�����Yeah, I think everything's gonna go wrong today.��������;The music was started here when we first met Rick.�� ;C�u��$#������He gave us such a kind of clear,�� ⠪��� �but kind of unclear instruction���C�u@��$8b�����on how to make the music that he wanted to hear.�� ՠġ�� �He can see this thing that he wants to guide out of you.���C�u@��$Tݠ����He's got this vision for it, but he can't explain it.��v�����vHe can only say, "That's not quite right."��������wSo we create these demos.�� �C�u��$p �����It's incredible but quite a frustrating process,���������amazing, mind expanding.���C�u��$������We learnt a lot about what it was��M�����Mthat Rick seems to be able to hear.���C�u��$�b�����We've made so many demos for this record, didn't we?���������Like...��Y�����Mlike batches and batches.���C�u@��$�������More than we've ever done before on different records.��w�����wLike...��������)It's a good feeling sitting down for a whole day��|C�u@��$�0�����trying to figure out something and it's like,����ġ���"I don't think this is it, should we try again tomorrow?"���C�u��$�k�����From that point to this, it's been about three years.��|�����|His thing is, don't rap to the beat.�� AC�u��$�(�����Basically, let the narrative lead the way,�� ⠯��� �rather than the rhythm in my speech.���C�u@��%Π̡ƁBut like I've spent my entire life, since like a young teenager,�� ����� learning how to flow,��}������and suddenly here I'm in America with,�� �C�u@��%/J�����you know, the hip-hop production legend��v�����vand he's telling me to stop rapping.��������It's just like, I can't...���C�u@��%F=�����You know, you wait your whole life���������for the opportunity for something like this�������� _and then he's like, "OK, just unlearn���������everything you spent 20 years learning."�� C�u@��%b<�����One of those ones.�� d����� dThese little seeds that he plants in your mind,���������it's in difficult ground.�� ;C�u@��%~c�̡ƁYou can't quite understand, and then suddenly this thing happens�� �ġ�� and you're like, oh wow, that's... that's what he meant.��S�����_♪ethereal music playing♪�� �C�u��%�z�ɡÁIt's just kind of strange, like the shadow of Rick hangs over�� ����� every recording, every demo.�� C�u��%������It's as if he just wants the best for you, from you,���������and you wanna give the best��_C�u��%�T�ˡŁbecause somebody believes that you're capable of getting there.�� 5������She offered a peace�� �C�u��%�۠����That my war didn't want�� YC�u��%�������And she spoke of a truth��ʠ����)That I could not confront�� �C�u��&堘���I was dreaming��/�����jTalking too loud to my friends in the evenings�� 0C�u��&<�����I laughed very much as if I was extremely��|�����|Happy���C�u��&T�����You shoulda seen me��֠���� �Oh, I knew she sensed a glory...�� @C�u��&i砢���His intentions are pure.��/�����/He's not like...��ݠ����He doesn't want anything out of you.���C�u��&�Ϡ����He's just suggesting something he can hear.�������♪ethereal music playing♪���C�u��&�������♪I won't say nothin's wrong♪�� ;�����|♪I won't say nothin's wrong♪�� �C�u��&����♪We can talk♪��0C�u��&�֠����♪Even if it hurts you♪���C�u��&�������♪Even if it hurts you♪�������� A♪Ain't it funny when it hits you♪���C�u��'P�����♪That you're not afraid to die♪�������� �♪Ain't it funny when it hits you♪���C�u��'<�����Beautiful.���������Getting somewhere. Somewhere.��Р�����-Absolutely. I have a question. -Yes.��|C�u��'S#�����Um... Is "even if it hurts you"�� נ���� �at the top of your range or no?��RC�u@�'hL�����Hmm... Yeah.�� ������ �-OK. -♪Even if it hurts you♪��)������OK. 'Cause I feel like if it could go up���C�u@��'�ڠ����a little bit in key, it might be better.�� q����� �-You wanna try? -Yeah.��������^Let's just see what happens.��TC�u��'�������I'm often surprised by the stuff that happens.��*C�u��'�������Or the things that I say.�� p����� pI don't feel like I know anything.�� �C�u��'��ȡAnd I almost feel like, and maybe that's part of the secret,�� ����� is starting from a place of�� �C�u��'������really not knowing.��T����� �♪Even if it hurts you♪��wC�u��(�����♪Even if it hurts you♪��Р����vI'm...�� �C�u��(*%�����open to riding whatever wave I'm on.��AC�u@��(E*�����And it takes on a life of its own.��#�����#♪There's something, ain't it funny♪���������♪When it hurts you♪��AC�u@��(`������-Yeah, it is nice up there. - It sounds way better.�� q�ġ�� qYou wanna try the hook in falsetto and see how it feels?���C�u��(~������♪Even if it hurts you♪�������-Yeah. -Just see how that feels.��$C�u��(�P�����♪I'm dyin' to know♪�� C�u��(� �����♪And I won't say nothin's wrong♪��)�����)♪I won't say nothin's wrong♪�� C�u��(�B�����♪We could talk♪��������M♪Ain't it funny when it hits you♪�� FC�u��(�砤���♪Even if it hurts you♪���C�u��(�"�����♪Even if it hurts you♪�� C�u@��)������You know there's a lot of stuff that goes by,�� A����� Aand it just kinda goes by.����š���And then there's some where it's like, oh, what was that?�� qC�u��)+%�����That's interesting.��Y�����YI lean forward, and sometimes it makes me laugh.�� �C�u��)C������-Yeah. -Not because it's funny.��M�����M-Right. -But because it's like wild.�� 砚���4That's how I am.��wC�u@��)_:�š��That's so funny because my best records, I always giggle,�� ������ �like hahaha, that's hilarious.��`�����Yeah. But it's not necessarily��4C�u@��)u������that it's funny, it could be really sad.����ɡÁ�It can still make me laugh because it's so good at what it is�� C�u��)�8�����and it's like, how does that happen?��*�����*How does something happen like that?���C�u��)�������Chorus here.��C�u��)�L�����♪Listen, listen one time♪�� ����� ♪It's not true♪���C�u��)�W�����♪Ooh, I'm gonna wake up♪���C�u��*6f�����Fuck. Dick.��C�u@��*U(�����There was a shortened version, that wasn't very short.�� ����� It was just a little shorter than what we...�� AC�u@��*j{�����than the original, longer than��󠯡���what we listened to yesterday first.��T�����GThe first verse we have C.���C�u@��*�'�����So, he's saying in the second verse,���������let's do half C, half ad-libs.��M������- Is that what it originally was? -No.�� �C�u@��*������Or was it originally just ad-libs?��M�����MNo, it was long C.��/�����|Even yesterday we never heard that with the long A.���C�u��*�M�¡��- How did last night go, by the way? - Did not finish.�� Y�����pIt was, yeah...���C�u��*�v�����It's a lot of options.���������I'm in the maze.���C�u@��*�8�����Attachment in a Buddhist sense,���������Chögyam Trungpa Rinpoche said,��ˠ�����"We're falling, we're falling, we're falling,�� C�u@��+�����but the good news is, there's nothing to hold onto."�� ������ �That's great.��ᠴ���vAnd so, this idea of attachment is false,��TC�u��+&̠����because you can't actually be attached.���������You can try to be attached, and the grasping��)C�u@��+<������keeps you from doing your best��X�����Xbecause you can't grasp and do your best��$�ơ��|at something else because your hands are over here, right?�� dC�u��+V{�����And so I think one of the magic potions��#�����#at Shangri-La��6C�u@��+jԠ����is that you're���������helping people detach from that,�� j�ȡdso they can do their best, because now their hands are free.�� �C�u@��+�꠮���The things that have been vexing us���������have been things like...�� ����� �tempo, do things need to be re-recorded,�� C�u@��+�������are there any obvious like arrangement shifts?�� ֠���� �But...��^�����4because we put the most time into these songs,�� C�u��+�Р����there is an element of like... confusion.��|C�u��+������Because the problem of being unable to...��S�����Scomplete your fourth album...��C�u@��,��¡��it's not your first album, it's not your second, the...�� ������ �The feeling of finding it hard��#������to stop, like, futzing with your fourth album...�� �C�u@��,0��Ρȁin the grand scheme of things is such an incredibly minor problem.��⠰����It's very easy to accept that feeling��oC�u��,S栧���of unfinishedness as reality.�� Y����� YSometimes I feel like, for the rest of my life,��MC�u��,i������I could just be like tinkering with the album��}�����}and then I'll die and then that's it.���C�u��,�z�����So, our mission for today,���������let's say the purpose for today...�� �C�u��,�+�����-Yeah. -...is that you said�� G����� Gyou've been going in circles on several songs.�������GYeah.��YC�u@��,�ˠǡ��And let's set the intention that when you leave here today,����Сʁ�there will be no more circling on those songs, and you will be done.���C�u��,�(�����That's the dream.���������Well, it's... you can decide that.��)C�u��,�ڠ����♪Baby, I know dreams♪��v�����v♪Tend to crumble at extremes♪�� �C�u@��,�٠����♪I just thought our dream would last♪���������♪A little bit longer♪��5������♪There's a time when every man♪�� �C�u��-������♪Draws a line down in the sand♪�� 5����� 5♪We're surviving, we're still living♪���C�u��-*������♪I'm stronger♪�� Š���� �♪Whoo whoo♪��AC�u��-Iՠ����♪Whoo whoo♪���C�u��-b�����♪You've been cheating on cheating on me♪��*�����*♪I've been cheating on cheating on you♪���C�u��-xޠ����♪You've been cheating on me♪�� ����� ♪But I've been cheating through this life♪�� GC�u��-�ݠ����♪And all its suffering♪��#C�u��-�������It's great. What are your concerns?��Р�����Great song.��e����� 5My concern-- Well...���C�u@��-�砻���I've always felt self-conscious about this song.��#�á��#There was a while I didn't want it to be on the record.�� �C�u@��-��ơ��BloodPop always describes-- I think he means in a good way,�� ������ �but he always describes stuff as sounding Shrek.�� �ơ���'Cause that's just such a goofy touchstone for us, is like,�� C�u��-�������like a Smash Mouth song from Shrek.�� �¡�� And Vampire Weekend's always been like perilously close�� C�u@��.ݠ����to like, you know?��M�����MWe're not that far away from Smash Mouth in some ways.�� H������So, it's like...���C�u��.)M�����yeah, that feeling of like...�� ����� I think you're like really tripping.�� GC�u��.?p�����I'm willing to consider the possibility, but I...�� Ġ���� �They're afraid to let go.���C�u@��.X-�����They almost think they have--���������in addition to the fear part of it,��ܠ���� _almost they have a responsibility to hold on.��wC�u@��.m�����Yeah, exactly.���������I owe this to my fans.�������� �This is what the culture has taught us.����ˡŁ4You just have to get to where you're comfortable with it today.�� ;C�u��.�r�����There is no like perfection to be had.��ʠ�����I'm ready for that��_C�u��.�������because we've been working on it too long anyway.���������I could tell you from the messages...�� C�u��.�������Yeah.�� ����� I could see that from this point forward,���C�u@��.ɟ�����and maybe even from six months ago forward,�� k����� kthe record's not getting better.��Р����;It may be getting different.�� �C�u@��.醠����Go look at the reviews for Miles Davis' Kind of Blue.���������People gave it one-star reviews, lots of people did.�� ������:Because there's no such thing as perfect creativity.�� �C�u��/������Creativity is not the idea of spackling a wall�� ܠ���� �that's smoother than a nanometer.�� @C�u��/������Creativity means, I made change happen.�� ��¡�� �That's what it is. The motion of making change happen.���C�u@��/>��ǡ��When Miles recorded Kind of Blue, he changed music forever.��G�ӡ́GRight, when Mike Oldfield made Tubular Bells, he changed music forever.���C�u@��/W�����Not all music, but the music that it rippled through.�� e����� eThat's what we do when we do something creative.�� qC�u��/k�¡��We make change. Is it perfect? No, it can't be perfect.�� C�u@��/�������It's been a crazy couple of days.��$�����$Every time we do the take,�������� �it's like it goes to a completely different place.�� C�u@��/�B�ȡDan thinks that there's one that we've got that we could use�� �š�� and then we do another one and it's like, maybe that's it.��}C�u@��/�à����They're all flawed,�� ��š�� �like not one of them has been like absolutely "that's it,"��������but that's kinda the whole point.���C�u@��/�-�����They're all different: one of them was really dark;��󠷡���one of them was much more kinda like joyous.���ȡ�Thank you very much for coming to just hang out this evening,�� �C�u��/�Ҡ����and I hope you feel this piece of work.�� ������vAnd I don't know what's gonna happen,���C�u��0 �����and I'm really glad that you're here.��wC�u��0"������Chairs are so far from the speakers.�� ������ �- Move closer? -You could move forward a bit.���C�u@��0bP�����I had this notion I wanted it to be one take,�� ����� one take front to back,�������� like I wanted the record to be one take.��/C�u@��0{������But then Rick was kind of, I think,��S�����Sand Dan as well, have been saying,��ݠ���� 0"Well, if there is a section that��)C�u@��0�㠭���is much better in a previous take,���������why not make the best record you can make?"�� �����This direction of doing every take as one full take��5C�u��0�(�����was a really useful direction.�� ������ �It doesn't necessarily detract from that.��*C�u��0�Ƞ����Who knows, maybe when people listen to it,��Р�����they're not gonna feel any of this intention.�� �C�u��0�Ǡ����I hope they do.��������GI saw it���C�u��0�C�����Roaring�� ����� I felt it�������� �Clawing at my clothes��۠�����Like a grieving friend��*C�u��1 �ġ��It said there are no new beginnings until everybody sees�� /����� /That the old ways need to end�� �C�u@��1/�á��What is hard to accept, we're all one and the same flesh�� �ơ��)Given the rampant divisions between oppressor and oppressed�� �C�u��1NΠ����But we are, though��ܠ���� @More empathy, less greed�� 0C�u@��1h�����More respect��e�����}All I've got to say has already been said��M�š���You heard it from yourself when you were lying in your bed�� ;C�u@��1� �ҡ́and couldn't sleep, thinking, couldn't we be doing things differently?����ϡɁ�I'm listening to every little whisper in the distance singing hymns���C�u��1�������And I can, I can feel things changing���C�u��1�L�����He was really excited, did you feel that?�� ������ �He was really excited by it.���C�u��1�t�����He keeps saying these things like,�� ����� "I never heard anything like it."��:C�u��1�y�š��And imagine how much music Rick Rubin's heard in his life.�� 5������It makes me think like, whoa, whoa,�� C�u��1�l�����what have we done, what is this?���������We went from just hanging out���C�u@��25�����in your dorm all the time, collaborating,��נ̡Ɓ�but we didn't know what that was or that that's what we're doing.���C�u@��2.������If we didn't have all that success right away,�� à���� �then we might have had more time��}�����@to figure out how to navigate things���C�u@��2H��ǡ��and maybe how to listen to each other, speak to each other.�� ������ �Absolutely.��d����� �Or just how to behave.��C�u��2]������How to be human beings, of course.�� �����@Rick moved on, he left Def Jam behind.�� �C�u��2y��ϡɁI think there was conflicts there that he didn't want to deal with.���������And he just left.���C�u��2�e�����Now, I don't know anybody who would have��ʠ�����left something like that, except Rick.���C�u��2�:�����All the most interesting things happen�� B����� _when you're making stuff that no one else is making.�� �C�u��2������Hip-hop was like, I was excited��󠴡���to be in this creative community and now,�� �C�u@��2ԝ�����everyone who's doing it is only doing it�� e����� eto kinda capitalize on something we did��������and not bring anything new to it.�� FC�u@��2�������It was nothing new, it was more of just the same,�� ����� and then I started making rock records.�������kNone of this was written in stone���C�u��3 �����The current's force but the river moves slow�� ������ �And I can feel things changing�� �C�u��3������Even when I'm weak and I'm breaking�� p����� pI stand weeping at the train station�� �C�u��31������'Cause I could see your faces�� ;C�u��3Iz�����So much peace to be found��S�����SIn people's faces�� �C�u��3e������As you mature in your process of creativity,�� 5����� 5we get cautious.�� C�u@��3{H�����-You start getting careful. -I do not.��v�����vI know that information is counter-productive�� ������5to what I'm trying to do.���C�u@��3������I love that.���������It is. Like, this is trying to save me,��ՠ����v-I don't need to be saved. -Right, I'm an artist.�� �C�u��3�W�ġ��-I need to go off the cliff. -I need to go off the cliff.�� �C�u@��3�U�����Def Jam.��ᠷ����That's a hundred orders I already took today�� �������and everybody wants them yesterday.���C�u@��3����And 60 more over here.��S�����SHey, it's working just like I told you, right?�� à����-Just like you told me? -That's right.�� C�u@��4#�����We're selling records we don't even have.�� à���� �Cut!��<����� �Alright, everyone take lunch,�� ����� we're gonna reset, got it.��)C�u��4?������Catch you later, man.���C�u��4uH�����Most people who create, the first time out,���������don't know what the right answer is.��#C�u@��4�e�����They have a noise in their head and they release it.�� ������ �And then if they succeed,�� q�����^they are surrounded by people�� C�u@��4�ڠ����and priorities to say, "Try to repeat it."��*�ʡā*And that's why all of the one-hit wonders are one-hit wonders.�� C�u��4�ޠ����Can you tell if the man in the water�� j����� jis swimming or drowning?�������qWhat does he think?��#C�u@��4�r�����When the counter-culture becomes the culture,�� ۠š�� �the man pauses and finds himself staring at a reflection.���C�u��5������Perhaps the only way out is to move on.�� ������ �♪I'm going back to Cali, Cali, Cali♪�� �C�u@��5+i�����♪I'm going back to Cali...♪��_�����_♪Hmm, I don't think so♪��M����� �♪I'm going back to Cali, Cali, Cali♪�� YC�u��5Fn�����♪I'm going back to Cali...♪��R�����R♪I don't think so♪��Z����� �♪Going back to Cali♪���C�u��5ZƠ����♪Stylin', profilin'♪�������♪Growlin' and smilin'♪��}����� �♪While in the sun♪�� �C�u��5r �����♪The top is down on the black Corvette♪�� ����� ♪And it's fly 'cause it's sittin' on Daytons ♪���C�u��5�S�����♪Nardi steering wheel, plushed out♪�� ������ �♪Gold-leaf phantom top... ♪���S�k f_���������� ���� G�����Z����� ��*��ɻ����#����� ��L�� ;�����^����������ﻔ������������7��)����􌷎���;���� ����������;��8�������>���������������M��������?�� 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