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These are the user uploaded subtitles that are being translated: 1 00:00:06,251 --> 00:00:07,085 THERE'S THE BEATLES! 2 00:00:10,043 --> 00:00:12,876 THESE GUYS ARE NOTHING BUT A BUNCH OF BRITISH ELVIS PRESLEYS. 3 00:00:12,960 --> 00:00:14,710 IT'S NOT TRUE, IT'S NOT TRUE! 4 00:00:17,710 --> 00:00:20,585 WHEN THE BEATLES ARRIVED, FROM THEN ON, A THOUSAND 5 00:00:20,668 --> 00:00:21,793 DIFFERENT THINGS AROSE. 6 00:00:21,876 --> 00:00:24,793 WHEN THE BEATLES ARRIVED, ♪ A THOUSAND 7 00:00:24,876 --> 00:00:25,626 IS IT A SEX THING OR -- 8 00:00:25,710 --> 00:00:27,168 -YES, IT'S SEXUAL. -YEAH. 9 00:00:27,251 --> 00:00:28,043 IS ITCOMPLETELY.G OR -- 10 00:00:28,126 --> 00:00:30,668 ♪ 11 00:00:30,751 --> 00:00:35,085 THERE IS A DESIRE TO GET POWER IN ORDER TO USE IT FOR GOOD. 12 00:00:35,168 --> 00:00:37,460 ♪ HOW DOES IT FEEL ♪ 13 00:00:37,543 --> 00:00:41,918 POP MUSICIANS IN TODAY'S GENERATION, THEY CAN RULE THE WORLD. 14 00:00:43,918 --> 00:00:50,668 ♪ 15 00:01:17,043 --> 00:01:24,043 ♪ 16 00:01:36,960 --> 00:01:39,876 ♪ SHE LOVES YOU, YEAH, YEAH,YEAH, ♪ 17 00:01:39,960 --> 00:01:41,918 ♪ SHE LOVES YOU, YEAH, YEAH, YEAH ♪ 18 00:01:42,001 --> 00:01:45,085 YEAH, YEAH, YEAH. THIS IS BEATLELAND, FORMERLY 19 00:01:45,168 --> 00:01:48,918 KNOWN AS BRITAIN, WHERE AN EPIDEMIC CALLED BEATLEMANIA HAS 20 00:01:49,001 --> 00:01:52,960 SEIZED THE TEENAGE POPULATION, ESPECIALLY FEMALE. 21 00:01:53,043 --> 00:01:55,960 CBS, THEY DO A STORY ON WHAT THEY PROBABLY THINK IS A GOOFY 22 00:01:56,043 --> 00:01:58,543 BAND FROM ENGLAND THAT'S DOING ESPQUITE WELL.ALE. 23 00:01:58,626 --> 00:02:00,710 THESE FOUR BOYS FROM LIVERPOOL WITH THEIR DISHMOP CBS, THEY DO A STORY ON WHAT THEY PROBABLY THINK IS A GOOFY 24 00:02:00,793 --> 00:02:04,543 BAND FROM ENGLAND THAT'S DOING ESPQUITE WELL.ALE. HAIRSTYLES ARE BRITAIN'S LATEST MUSICAL, AND IN FACT, 25 00:02:04,626 --> 00:02:06,335 SOCIOLOGICAL PHENOMENON. 26 00:02:06,418 --> 00:02:10,710 THEY SYMBOLIZE THE 20th CENTURY NON-HERO, AS THEY MAKE NON-MUSIC, 27 00:02:10,793 --> 00:02:15,001 WEAR NON-HAIRCUTS, GIVE NON-MERCY. 28 00:02:15,085 --> 00:02:20,793 MEANWHILE, YEAH, YEAH, YEAH, THIS IS ALEXANDER KENDRICK IN BEATLELAND. 29 00:02:20,876 --> 00:02:24,168 SOME LITTLE GIRL HEARD JUST A HINT OF WHAT THE BEATLES WERE 30 00:02:24,251 --> 00:02:27,168 ABOUT AND STARTS CALLING HER LOCAL DJAY. 31 00:02:27,251 --> 00:02:30,751 THE LOCAL DJAY ASKS HIS FRIEND TO BRING OVER A BEATLES RECORD 32 00:02:30,835 --> 00:02:35,626 FROM ENGLAND AND HAS THE VISION TO PUT IT ON AND HEAR THAT 33 00:02:35,710 --> 00:02:37,168 SOMETHING'S HAPPENING. 34 00:02:37,251 --> 00:02:41,376 SO, MARCIA ALBERT OF DUBLIN DRIVE OF SILVER SPRING HAS THE 35 00:02:41,460 --> 00:02:45,793 HONOR OF INTRODUCING SOMETHING BRAND NEW, AN EXCLUSIVE HERE AT WWDC. 36 00:02:45,876 --> 00:02:49,001 MARCIA, THE MICROPHONE ON "THE CAROL JAMES SHOW," IS YOURS.E 37 00:02:49,085 --> 00:02:51,210 LADIES AND GENTLEMEN, FOR THE FIRST TIME ON THE AIR IN THE 38 00:02:51,293 --> 00:02:52,793 UNITED STATES, HERE ARE THE 39 00:02:52,876 --> 00:02:55,043 BEATLES SINGING "I WANT TO HOLD YOUR HAND."R IN THE 40 00:02:55,126 --> 00:03:01,251 ♪ OH, YEAH, I'LL TELL YOU SOMETHING I THINK YOU'LL UNDERSTAND ♪ 41 00:03:01,335 --> 00:03:04,460 THAT SONG REALLY STARTED TO TAKE OFF. 42 00:03:04,543 --> 00:03:09,876 IT WAS IMPOSSIBLE TO ANTICIPATE HOW MUCH THAT MOMENTUM WOULD CONTINUE. 43 00:03:09,960 --> 00:03:11,835 HI, EVERYBODY ALL OVER AMERICA. 44 00:03:11,918 --> 00:03:15,001 THIS IS THE WABC PARTY GO GO, WHOO-HOO! 45 00:03:15,085 --> 00:03:17,418 ♪ 46 00:03:17,501 --> 00:03:21,001 THIS IS THE WABC PARTY GO GO, WHOO-HOO! THAT SONG WAS ABSOLUTELY CONTAGIOUS, AND I THINK THE 47 00:03:21,085 --> 00:03:23,835 TEENAGER FOUND A VOICE. ♪ 48 00:03:23,918 --> 00:03:25,085 ♪ I CAN'T HIDE ♪ 49 00:03:25,168 --> 00:03:27,835 HERE'S WHAT'S HAPPENING, BABY, THE BEATLES! 50 00:03:27,918 --> 00:03:31,210 ♪ I CAN'T HIDE ♪ 51 00:03:31,293 --> 00:03:33,043 ♪ YEAH, YOU GOT THAT SOMETHING ♪ 52 00:03:33,126 --> 00:03:36,293 THERE WAS A MOMENT WHERE YOU JUST HEARD, THIS IS OUR MUSIC NOW. 53 00:03:36,376 --> 00:03:38,085 IT WAS LIKE HEARING THE FUTURE. ♪ YEAH, YOU GOT THAT SOMETHING ♪ 54 00:03:38,168 --> 00:03:44,210 ♪ I WANNA HOLD YOUR HAND ♪ 55 00:03:45,168 --> 00:03:47,376 IT BUT I HAVE TO ASK HOW YOURE. FIRST FOUND OUT ABOUT THEM. ♪ YEAH, YOU GOT THAT SOMETHING ♪ 56 00:03:47,460 --> 00:03:50,126 WHEN I FIRST HEARD ABOUT THE BEATLES, IT WAS AT LONDON 57 00:03:50,210 --> 00:03:55,126 AIRPORT, WITH AN ENORMOUS CROWD OF KIDS GATHERED AROUND. 58 00:03:55,210 --> 00:03:58,751 WE ASKED THEM WHAT WAS GOING ON AND THEY SAID THE BEATLES WERE HERE. 59 00:03:58,835 --> 00:04:02,043 WE DIDN'T EVEN KNOW WHO THE BEATLES WERE, NEVER HEARD OF THEM. 60 00:04:02,126 --> 00:04:05,085 AND THAT NIGHT, I BOOKED RINGO STARR, PAUL McCARTNEY, 61 00:04:05,168 --> 00:04:11,251 GEORGE HARRISON AND JOHN LENNON FOR THREE SHOWS FOR $10,000. 62 00:04:13,210 --> 00:04:15,918 YOU KNOW, FOR FOUR WHITE GUYS WHO ARE BRITISH, TO COME OUT OF 63 00:04:16,001 --> 00:04:19,085 NOWHERE AND BE EVERYWHERE WAS QUITE UNBELIEVABLE. 64 00:04:19,168 --> 00:04:22,043 YOU KNOW, FOR FOUR WHITE GUYS WHO ARE BRITISH, TO COME OUT OF THE BEATLES ARE A BUNCH OF GUYS FROM LIVERPOOL. 65 00:04:22,126 --> 00:04:25,126 I MEAN, PEOPLE IN LONDON WOULD HAVE LOOKED DOWN AT LIVERPOOL 66 00:04:25,210 --> 00:04:28,543 BACK THEN, BUT LIVERPOOL WAS A PORT TOWN, AND THESE PORT TOWNS 67 00:04:28,626 --> 00:04:32,960 BECOME PLACES WHERE ALL SORTS OF CONTRABAND GETS EXCHANGED, AND 68 00:04:33,043 --> 00:04:36,043 ONE OF THEM AT THAT POINT WAS GREAT MUSIC. 69 00:04:36,126 --> 00:04:39,168 BECOME PLACES WHERE ALL A LOT OF THE SAILORS AND PEOPLE COMING BACK TO AMERICA 70 00:04:39,251 --> 00:04:41,085 WERE BRINGING BACK THESE RECORDS. 71 00:04:41,168 --> 00:04:42,543 SOME WERE POP RECORDS SOME WERE BECOME PLACES WHERE ALL A LOT OF THE SAILORS AND PEOPLE COMING BACK TO AMERICA 72 00:04:42,626 --> 00:04:45,210 CALLED RACE RECORDS BECAUSE THEY WERE BY BLACK ARTISTS. 73 00:04:45,043 --> 00:04:48,126 ♪ MAYBELLINE CAN'T YOUWERE BE TRUE ♪ BECOME PLACES WHERE ALL A LOT OF THE SAILORS AND PEOPLE COMING BACK TO AMERICA 74 00:04:48,210 --> 00:04:52,126 ♪ MAYBELLINE CAN'T YOU BE TRUE ♪ 75 00:04:52,210 --> 00:04:56,085 THE LEVEL OF INFLUENCE THATRE AMERICAN ROCK AND ROLL, BLUES, BECOME PLACES WHERE ALL A LOT OF THE SAILORS AND PEOPLE COMING BACK TO AMERICA 76 00:04:56,168 --> 00:05:00,085 COUNTRY AND WESTERN, MOTOWN HAD ON THOSE KIDS GROWING UP 77 00:05:00,168 --> 00:05:02,376 IN ENGLAND WAS REALLY AMAZING. 78 00:05:02,460 --> 00:05:04,335 ♪ ALL MY LOVE, ALL MY KISSES, ♪ 79 00:05:04,418 --> 00:05:08,168 ♪ YOU DON'T KNOW WHAT YOU'VE BEEN MISSING, OH, BOY ♪ 80 00:05:08,251 --> 00:05:10,168 ♪ ALL MY LOVE, ALL MY KISSES, ♪ ♪ WHEN YOU'RE WITH ME, OH, BOY ♪ 81 00:05:10,251 --> 00:05:14,001 SO, I WOULD LISTEN TO BUDDY HOLLY AND GENE VINCENT AND JERRY 82 00:05:14,043 --> 00:05:17,126 LEE LEWIS, FATS DOMINO, ALL OF THE GREAT ROCK AND ROLLERS. 83 00:05:17,210 --> 00:05:19,335 ♪ BLUEBERRY HILL ♪ 84 00:05:19,418 --> 00:05:21,376 IT WAS A NEW LANGUAGE FOR US. THE GREAT ROCK AND ROLLERS. 85 00:05:21,460 --> 00:05:24,126 THE POWER OF THE JUKEBOX, 86 00:05:24,210 --> 00:05:26,376 THERE'S NOTHING QUITE LIKE IT. 87 00:05:26,460 --> 00:05:27,585 ♪ 88 00:05:27,668 --> 00:05:31,543 ♪ MY DREAM CAME TRUE ♪ 89 00:05:31,626 --> 00:05:34,626 THE BEATLES TOOK A BUNCH OF THOSE STRAINS, ♪ 90 00:05:34,710 --> 00:05:36,168 THE EVERLY BROTHERS FROM THE '50s, 91 00:05:36,251 --> 00:05:39,126 A BIG INFLUENCE FOR THEM WITH THE HARMONIES. ♪ 92 00:05:39,210 --> 00:05:42,293 ♪ WAKE UP, LITTLE SUSIE, WAKE UP ♪ 93 00:05:44,210 --> 00:05:47,210 ♪ WAKE UP, LITTLE SUSIE, WAKE UP ♪ 94 00:05:47,043 --> 00:05:48,626 SO, THE BEATLES IN LIVERPOOL 95 00:05:48,710 --> 00:05:52,043 ARE TAKING THIS POP SOUND BUT PUTTING THEIR OWN SPIN ON IT. 96 00:05:52,126 --> 00:05:59,043 ♪ SO, THE BEATLES IN LIVERPOOL 97 00:06:02,251 --> 00:06:04,043 WHAT IS THE SOUND? 98 00:06:04,126 --> 00:06:06,168 HOW DOES IT DIFFER FROM OTHER ROCK AND ROLL AND POP? 99 00:06:06,251 --> 00:06:10,001 IT JUST HAPPENED THAT, ALL OF A SUDDEN, HUNDREDS OF ROCK 100 00:06:10,085 --> 00:06:14,210 GROUPS ALL FROM LIVERPOOL MADE RECORDS, AND IT WAS A BIT MORE 101 00:06:14,293 --> 00:06:16,043 LIKE THE ORIGINAL ROCK AND ROLL 102 00:06:16,126 --> 00:06:18,293 THAN THE STUFF THEY'VE HAD OVER 103 00:06:18,376 --> 00:06:19,210 LIKE TTHE LAST FEW MONTHS. ROLL 104 00:06:19,293 --> 00:06:21,251 ♪ 105 00:06:21,335 --> 00:06:23,043 INITIALLY, THERE WAS NOOLL 106 00:06:23,126 --> 00:06:26,418 TRADITION OF GREAT BRITISH BANDS CONQUERING AMERICA. 107 00:06:26,501 --> 00:06:30,168 THAT HAD NOT HAPPENED, BUT IT'S THAT MOMENT WHERE EVERYTHING TURNS. 108 00:06:42,168 --> 00:06:46,126 THERE'S NO SINGLE MOMENT THAT MORE EMBODIES THE MOMENT WHEN 109 00:06:46,210 --> 00:06:50,043 ROCK AND ROLL BECAME THE PROVINCE OF TEENAGERS. 110 00:06:50,126 --> 00:06:53,126 THAT'S SOMETHING THAT YOU WOULD NOT JUST LOVE BUT THAT YOU WOULD 111 00:06:53,210 --> 00:06:54,293 GO CRAZY FOR. 112 00:06:54,376 --> 00:06:55,876 THERE'S THE BEATLES! 113 00:06:55,960 --> 00:07:00,918 ♪ CAN'T BUY ME LOVE, LOVE ♪ 114 00:07:01,001 --> 00:07:02,710 ♪ CAN'T BUY ME LOVE ♪ 115 00:07:02,793 --> 00:07:05,251 THE BEATLES HAVE COME TO THIS COUNTRY THAT TAKE ALL THE ♪ CAN'TWOMEN AWAYVE, LOVE ♪ 116 00:07:05,335 --> 00:07:07,876 AND EVERYBODY'S GOING CRAZY ABOUT THEM! 117 00:07:07,960 --> 00:07:11,168 ♪ 118 00:07:11,251 --> 00:07:12,460 AND EVERYBODY'S GOING CRAZY IT WAS LIKE ALIENS LANDED. 119 00:07:12,543 --> 00:07:15,751 LOOK AT HOW THEY LOOK AND HOW THEY ACT, AND WOW! 120 00:07:15,835 --> 00:07:21,168 ♪ I DON'T CARE TOO MUCH FOR MONEY, MONEY CAN'T BUY ME LOVE ♪ 121 00:07:21,251 --> 00:07:24,335 LOOK AT HOW THEY LOOK AND HOW THEY ACT, AND WOW! WE CAME AT 6:00 IN THE MORNING TO SEE THEM 122 00:07:24,418 --> 00:07:26,543 ♪ I DON'T CARE TOO MUCH FOR MONEY, MONEY CAN'T BUY ME LOVE ♪ AND ALL THEY DO IS PUSH THEM FARTHER AND FARTHER AWAY 123 00:07:26,626 --> 00:07:29,585 AND THEN THEY DON'T EVEN LET YOU SEE THEM! 124 00:07:29,668 --> 00:07:30,710 I'VE GOT EVERY BEATLE RECORD AT HOME, 125 00:07:30,793 --> 00:07:32,585 AND WE DIDN'T GET TO SEE THEM! 126 00:07:32,668 --> 00:07:34,543 WHAT KIND OF POLICE PROTECTION? 127 00:07:34,626 --> 00:07:37,460 I DIDN'T EVEN GET TO GET A PIECE OF THE BEATLES, AT LEAST! 128 00:07:37,543 --> 00:07:40,168 THE WAY THEY GOT THEM OUT OF WHAT KIND OF HERE!E PROTECTION? 129 00:07:40,251 --> 00:07:45,376 ♪ 130 00:07:45,460 --> 00:07:52,251 PAUL, RINGO, GEORGE, JOHN. 131 00:07:52,085 --> 00:07:55,585 THE REPORTERS HAD THE SAME ATTITUDE THAT MOST ADULTS IN 132 00:07:55,668 --> 00:07:58,376 AMERICA HAD, WHICH WAS NO ONE TOOK MUSICIANS SERIOUSLY. 133 00:07:58,460 --> 00:08:02,543 THEY DIDN'T UNDERSTAND ANYTHING ABOUT YOUTH CULTURE. 134 00:08:02,626 --> 00:08:06,251 AMERICUT THAT CRAP OUT!NO ONE TOOCUT THAT CRAP OUT!SLY. 135 00:08:06,085 --> 00:08:07,793 HEY, MURRAY. 136 00:08:07,876 --> 00:08:11,126 THE PRESS HAD GONE INTO THIS WITH THE IDEA THAT THIS WAS A 137 00:08:11,210 --> 00:08:14,335 YOUTHFUL NOVELTY THAT COULD BE DISMISSED AND MAYBE EVEN 138 00:08:14,418 --> 00:08:16,460 DEFLATED IN A PRESS CONFERENCE. 139 00:08:18,043 --> 00:08:19,210 NO, NO. 140 00:08:19,043 --> 00:08:21,251 I HAD ONE YESTERDAY. 141 00:08:23,710 --> 00:08:25,585 NO, NO. NOTHING BUT A BUNCH OF BRITISH ELVIS PRESLEYS. 142 00:08:25,668 --> 00:08:31,251 IT'S NOT TRUE, IT'S NOT TRUE! 143 00:08:31,085 --> 00:08:32,210 WILL YOU SING SOMETHING? 144 00:08:32,293 --> 00:08:34,210 IT'S NOT TRUENO!T'S NOT TRUE! 145 00:08:34,043 --> 00:08:37,251 SORRY! 146 00:08:37,085 --> 00:08:39,585 WE NEED MONEY FIRST. 147 00:08:39,668 --> 00:08:42,626 SORRY! WHEN YOU SAW THEM SPARRING WITH THE PRESS IT WAS JUST 148 00:08:42,710 --> 00:08:45,751 ANOTHER ASPECT OF THEM THAT MADE THEM EVEN MORE UNIQUE. 149 00:08:47,043 --> 00:08:50,210 SORRY! TOMORROW NIGHT AT 7:00, THE BEATLES READ POETRY ON AT 150 00:08:50,293 --> 00:08:53,251 DOCUMENTARY "MEET THE BEATLES," ALL OVER THE WORLD -- 151 00:08:53,085 --> 00:08:54,876 SORRY! TOMORROOH, REALLY?7:00, THE BEAI DON'T GET THAT.ON AT 152 00:08:54,960 --> 00:08:56,210 I DON'T UNDERSTAND THIS. 153 00:08:56,293 --> 00:09:00,835 IF ELVIS WAS THE FIRST WAVE OF MEGA FANDOM, THEN THE BEATLES 154 00:09:00,918 --> 00:09:03,668 SORT OF BLEW THAT OUT OF THE WATER, TO THE POINT WHERE EVEN I DON'T UNDERSTAND THIS. 155 00:09:03,751 --> 00:09:06,751 ELVIS WAS LOSING SLEEP. 156 00:09:12,126 --> 00:09:14,793 THE CITY'S NEVER WITNESSED THE EXCITEMENT STIRRED BY THESE 157 00:09:14,876 --> 00:09:16,001 YOUNGSTERS FROM LIVERPOOL. 158 00:09:16,085 --> 00:09:19,210 LADIES AND GENTLEMEN, THE BEATLES! 159 00:09:26,710 --> 00:09:27,918 LADIES AND GENTLEMEN -- 160 00:09:29,835 --> 00:09:31,460 ONE, TWO, THREE, FOUR! 161 00:09:31,543 --> 00:09:35,876 ♪ 162 00:09:35,960 --> 00:09:42,043 ♪ WELL, SHE WAS JUST SEVENTEEN, YOU KNOW WHAT I MEAN ♪ 163 00:09:42,126 --> 00:09:43,751 ♪ AND THE WAY SHE LOOKED ♪ 164 00:09:43,835 --> 00:09:47,085 THE BEATLES SHOWED UP WITH THEIR GREAT SENSE OF HUMOR, 165 00:09:47,168 --> 00:09:51,918 THEIR COMPLETELY INFECTIOUS POP SONGS, THEIR "WHOO," YOU KNOW, 166 00:09:52,001 --> 00:09:53,668 THEIR EVERYTHING. 167 00:09:53,751 --> 00:09:57,835 IT WAS JUST IMPOSSIBLE NOT TO FALL IN LOVE WITH THEM. 168 00:09:57,918 --> 00:09:59,835 AS SOON AS THEY STARTED PLAYING ON THE "ED SULLIVAN 169 00:09:59,918 --> 00:10:02,293 SHOW," WE ALL KNEW, THEY'RE PLAYING LIVE, BECAUSE THAT 170 00:10:02,376 --> 00:10:03,710 DOESN'T SOUND LIKE THE RECORD. 171 00:10:03,793 --> 00:10:04,918 [ CHEERS AND APPLAUSE ] 172 00:10:05,001 --> 00:10:10,126 ♪ 173 00:10:10,210 --> 00:10:14,960 THE IDEA OF DRIVING, SWINGING R&B MIXED WITH IMAGINATIVE 174 00:10:15,043 --> 00:10:17,876 WORDPLAY AND LYRICS AND HARMONIES AND THE PERFECT 175 00:10:17,960 --> 00:10:22,126 THREE-MINUTE RECORD, THEY DEFINED IT. THE IDEA OF DRIVING, SWINGING R&B MIXED WITH IMAGINATIVE 176 00:10:22,210 --> 00:10:26,126 ♪ WHOO, WHEN I SAW HER STANDING THERE ♪ 177 00:10:26,210 --> 00:10:29,960 THE BEATLES TOOK THIS DREAM OF WHAT AMERICA REPRESENTED, THE 178 00:10:30,043 --> 00:10:33,543 FREEDOM THAT WAS IN AMERICAN MUSIC, AND THEY BROUGHT IT BACK 179 00:10:33,626 --> 00:10:37,626 TO US WITH AN EXCITEMENT AND A FEROCITY THAT WE DIDN'T HAVE, 180 00:10:37,710 --> 00:10:38,835 AND WITH LONGER HAIR. 181 00:10:38,918 --> 00:10:40,960 ♪ 182 00:10:41,043 --> 00:10:44,626 ♪ AND THE WAY SHE LOOKED WAS WAY BEYOND COMPARE ♪ 183 00:10:44,710 --> 00:10:49,168 73 MILLION PEOPLE WATCHED THAT NIGHT. 184 00:10:49,251 --> 00:10:53,793 ♪ SINCE I SAW HER STANDING THERE ♪ 185 00:10:53,876 --> 00:10:55,168 YEAH! 186 00:10:57,293 --> 00:11:01,126 WHEN THE BEATLES DID THE SULLIVAN SHOW, EVERYTHING AT THE RADIO STATION CHANGED. 187 00:11:01,210 --> 00:11:03,793 THERE WERE NO MORE REQUESTS OTHER THAN THE BEATLES. 188 00:11:07,251 --> 00:11:10,168 LOOKING BACK, I BELIEVE WITHOUT ED SULLIVAN, THERE 189 00:11:10,251 --> 00:11:12,376 WOULDN'T HAVE BEEN A BRITISH INVASION. 190 00:11:12,460 --> 00:11:15,126 ♪ 191 00:11:18,085 --> 00:11:20,168 WGERRY AND THE PACEMAKERS.SH INVASION. 192 00:11:20,251 --> 00:11:27,251 ♪ 193 00:11:28,751 --> 00:11:30,376 WGERRY AND THE PACEMAKERS.SH INVASION. IT WASN'T JUST THE BEATLES. 194 00:11:30,460 --> 00:11:34,168 THE BRITISH INVASION HAD LEGS BECAUSE THERE WAS MORE GREAT 195 00:11:34,251 --> 00:11:35,293 MUSIC TO BACK IT UP. 196 00:11:36,668 --> 00:11:38,835 A BIG HELLO FROM US. 197 00:11:38,918 --> 00:11:41,043 -RICK. -I'M LARRY. 198 00:11:41,126 --> 00:11:44,251 A BIG HELLO FROM US. -I'M DENNIS. -I'M DAVE. 199 00:11:44,335 --> 00:11:46,376 FOR THE FIRST SIX MONTHS THEY WERE SINGING, THEY SOLD OVER A 200 00:11:46,460 --> 00:11:49,043 MILLION RECORDS A MONTH. -I'M DENNIS. -I'M DAVE. 201 00:11:49,126 --> 00:11:51,710 AND IN THE WORDS OF ONE OF THEIR BIGGEST HIT SONGS, WE'RE MIGHTY 202 00:11:51,793 --> 00:11:53,876 GLAD ALL OVER TO HAVE YOU WITH US TONIGHT. 203 00:11:53,960 --> 00:11:57,251 LADIES AND GENTLEMEN, THE DAVE CLARK FIVE. 204 00:11:57,085 --> 00:12:01,710 ♪ GLAD ALL OVER TO HAVE YOU WITH US TONIGHT. 205 00:12:01,793 --> 00:12:05,418 ♪ YOU SAY THAT YOU LOVE ME, SAY THAT YOU LOVE ME, ALL OF THE ♪ LADIES AND GENTLEMEN, THE DAVE CLARK FIVE. 206 00:12:05,501 --> 00:12:08,043 ♪ TIME, ALL OF THE TIME ♪ 207 00:12:08,126 --> 00:12:12,168 ♪ YOU SAY THAT YOU NEED ME, SAY YOU NEED ME, YOU'LL ALWAYS BE ♪ 208 00:12:12,251 --> 00:12:14,626 ♪ MINE, ALWAYS BE MINE ♪♪ 209 00:12:14,710 --> 00:12:21,710 ♪ I'LL BE GLAD ALL OVER, YES, I'M GLAD ALL OVER, BABY, I'M ♪ 210 00:12:23,168 --> 00:12:25,085 ♪ GLAD ALL OVER ♪ 211 00:12:25,168 --> 00:12:27,293 ♪ SO GLAD YOU'RE MINE ♪ 212 00:12:27,376 --> 00:12:30,335 THEY'RE RIVALING THE BEATLES NOW AS THE TOP SINGING GROUP IN BRITAIN. 213 00:12:30,418 --> 00:12:32,626 HOW DO YOU FEEL ABOUT THAT? ♪ SO GLAD YOU'RE MINE ♪ 214 00:12:32,710 --> 00:12:36,293 WE'RE REALLY VERY PLEASED, BUT I DON'T THINK YOU CAN SAY WE'RE RIVALS. 215 00:12:36,376 --> 00:12:38,293 WE'VE GOT A COMPLETELY DIFFERENT SOUND. 216 00:12:38,376 --> 00:12:40,460 WE'RE REALLY VERY PLEASED, BUT I DON'T THINK YOU CAN SAY WE'RE RIVALS. WE WERE THE FIRST BAND TO TOUR AMERICA. 217 00:12:40,543 --> 00:12:42,085 WE'VE GOT A COMPLETELY WE DID 46 CITIES. 218 00:12:42,168 --> 00:12:45,293 THEN YOU REALIZED YOU HAD MADE IT. 219 00:12:45,376 --> 00:12:48,960 WE'VE GOT A COMPLETELY WE DID ♪6 CITIES. 220 00:12:49,043 --> 00:12:51,293 SUDDENLY, IT'S LIKE THE GATES OF HELL ARE OPENED. 221 00:12:51,376 --> 00:12:55,335 ♪ SOMETHING TELLS ME I'M INTO SOMETHING GOOD, SOMETHING TELLS ME ♪ WE'VE GOT A COMPLETELY WE DID ♪6 CITIES. 222 00:12:55,418 --> 00:12:58,335 I MEAN, EVERY TRANSATLANTIC OCEAN LINER SEEMS TO HAVE 223 00:12:58,418 --> 00:13:00,751 ANOTHER BRITISH BAND THAT ROCKETS UP TO THE TOP OF THE 224 00:13:00,835 --> 00:13:02,126 I MEAN, EVERY TRANSATLANTIC AMERICAN CHARTS. HAVE 225 00:13:02,210 --> 00:13:06,751 ♪ SO, FERRY 'CROSS THE MERSEY ♪ 226 00:13:06,835 --> 00:13:10,168 ♪ AND ALWAYS TAKE ME THERE ♪ 227 00:13:10,251 --> 00:13:13,126 THERE WAS THIS POWDER KEG OF ENERGY FROM THE YOUNG PEOPLE IN 228 00:13:13,210 --> 00:13:16,793 ENGLAND AND IT TOUCH THE FLAME TO THE FUSE AND BOOM. 229 00:13:16,876 --> 00:13:18,543 ♪ 230 00:13:18,626 --> 00:13:23,210 ♪ WE ARE WALKING DOWN THE HIGHWAYS AND BYWAYS ♪ 231 00:13:23,293 --> 00:13:29,585 ♪ 232 00:13:29,668 --> 00:13:34,126 MAYBE SHE'S NOT THERE, BUT THEY'RE HERE AND THEY'RE THE ZOMBIES! 233 00:13:34,210 --> 00:13:37,376 ♪ BUT IT'S TOO LATE TO SAY YOU'RE SORRY ♪ ♪ 234 00:13:37,460 --> 00:13:41,210 ♪ HOW WOULD I KNOW WHY SHOULD I CARE ♪ 235 00:13:41,293 --> 00:13:47,251 ♪ BUT IT'S TOO LATE TO SAY YOU'RE SORRY ♪ ♪ PLEASE DON'T BOTHER TRYING TO FIND HER, SHE'S NOT THERE ♪ 236 00:13:47,085 --> 00:13:50,210 ♪ WELL, LET ME TELL YOU ABOUT THE WAY SHE LOOKED ♪ 237 00:13:50,043 --> 00:13:53,210 ♪ THE WAY SHE HAD TO HAVE THE COLOR OF HER HAIR ♪ 238 00:13:53,043 --> 00:13:54,960 ♪ HER VOICE WAS SOFT AND COOL ♪ 239 00:13:55,043 --> 00:13:59,210 ♪ HER EYES WERE CLEAR AND BRIGHT, BUT SHE'S NOT THERE ♪ 240 00:13:59,293 --> 00:14:02,876 I LOVED THE ZOMBIES, BECAUSE THEY WERE KEYBOARD-ORIENTED. 241 00:14:05,043 --> 00:14:09,376 ROD ARGENT, THE FIRST GUY TO REALLY DEVELOP THE IDEA OF ROCK 242 00:14:09,460 --> 00:14:12,210 AND ROLL SOLOING ON A KEYBOARD. 243 00:14:12,293 --> 00:14:15,460 A FIRST-TIME WELCOME NOW FOR THE TOP FOUR WITH THEIR TOP HIT 244 00:14:15,543 --> 00:14:20,251 "YOU REALLY GOT ME GOING," THE KINKS! 245 00:14:20,085 --> 00:14:26,251 ♪ GIRL, YOU REALLY GOT ME GOING, YOU GOT ME SO I DON'T KNOW WHAT I'M DOING ♪ 246 00:14:26,085 --> 00:14:30,085 THE KINKS WERE ALREADY A VERY BIG BAND IN THE UK. 247 00:14:30,168 --> 00:14:34,085 BUT IF YOU BREAK IN AMERICA, YOU BREAK BIG AND YOU SELL A LOT OF RECORDS. ♪ GIRL, YOU REALLY GOT ME GOING, YOU GOT ME SO I DON'T KNOW WHAT I'M DOING ♪ 248 00:14:34,168 --> 00:14:36,710 ♪ YEAH, YOU REALLY GOT ME NOW ♪ 249 00:14:36,793 --> 00:14:40,251 BUT IF YOU BREAK IN AMERICA, YOU BREAK BIG AND YOU SELL A LOT OF RECORDS. ♪ GIRL, YOU REALLY GOT ME ♪ YOU GOT ME SO I DON'T KNOW WHAT I'M DOING ♪ ♪ 250 00:14:40,335 --> 00:14:42,876 ♪ OH, YEAH, YOU REALLY GOT ME ♪ 251 00:14:42,960 --> 00:14:46,251 BUT IF YOU BREAK IN AMERICA, YOU BREAK BIG AND YOU SELL A LOT OF RECORDS. ♪ GIRL, YOU REALLY GOT ME ♪ NOW, YOU GOT ME SO I CAN'T SLEEP AT NIGHT ♪ ♪ 252 00:14:46,335 --> 00:14:51,210 ♪ YOU REALLY GOT ME, YOU REALLY GOT ME, YOU REALLY GOT ME ♪ 253 00:14:55,251 --> 00:14:57,293 BEFORE YOU WERE CALLED THE ANIMALS, YOU HAD ANOTHER NAME. 254 00:14:57,376 --> 00:14:59,043 WHAT MADE YOU CHANGE IT TO THE ANIMALS? 255 00:14:59,126 --> 00:15:01,501 WELL, BECAUSE WE WERE A BUNCH OF ANIMALS. 256 00:15:01,585 --> 00:15:06,751 WHAT MADE YOU CHANGE IT TO THE ANIMALS? THE ANIMALS WERE A GRITTIER, R&B-BASED BAND WITH ERIC BURDON, 257 00:15:06,835 --> 00:15:08,876 WHO WASN'T CUTE LIKE A BEATLE. 258 00:15:08,960 --> 00:15:11,085 HE WAS A LITTLE MORE DANGEROUS. 259 00:15:11,168 --> 00:15:13,543 NOW YOU'RE GOING TO DO THE NEW RECORD FOR US? 260 00:15:13,626 --> 00:15:15,043 -YEAH. -AND IT'S CALLED? 261 00:15:15,126 --> 00:15:17,210 "THE HOUSE OF THE RISING SUN." 262 00:15:19,168 --> 00:15:22,126 THAT SONG WAS A SONG THAT BOB DYLAN HAD ALREADY RECORDED A 263 00:15:22,210 --> 00:15:25,460 YEAR OR TWO EARLIER, LIKE A FOLK TRADITIONAL SONG. 264 00:15:25,543 --> 00:15:28,876 BOB CAME ALONG WITH HIS ALBUM, "HOUSE OF THE RISING SUN." 265 00:15:28,960 --> 00:15:30,501 IT WAS CRYING OUT TO BE ROCKED. 266 00:15:30,585 --> 00:15:36,543 ♪ MY MOTHER WAS A TAILOR ♪ 267 00:15:36,626 --> 00:15:42,418 ♪ SHE SEWED MY NEW BLUEED. JEANS, YEAH ♪ 268 00:15:43,168 --> 00:15:48,543 ♪ MY FATHER WAS A GAMBLING MAN ♪ 269 00:15:48,626 --> 00:15:53,126 ♪ DOWN IN NEW ORLEANS ♪ 270 00:15:53,210 --> 00:15:55,126 THE ENGLISH GROUP MUSIC THING 271 00:15:55,210 --> 00:15:59,126 ALSO AROSE WHERE GROUPS NOT ONLY PERFORMING THEIR OWN STUFF 272 00:15:59,210 --> 00:16:01,585 COMPACT ON THE STAGE, THEY DIDN'T NEED ANYONE ELSE. 273 00:16:01,668 --> 00:16:03,710 THEY JUST HAD THE FOUR BLOKES ONWITH THEIR AMPLIFIERS ANDTUFF 274 00:16:03,793 --> 00:16:06,001 GUITARS AND THEY COULD THE LOT. 275 00:16:07,168 --> 00:16:11,710 THE WHO ARE JUST SORT OF IN THAT CATALYTIC CONVERTER OF ROCK AND ROLL. 276 00:16:11,793 --> 00:16:14,793 THEY WERE MAYBE THE MOST EXPLOSIVE MUSICAL UNIT. 277 00:16:14,876 --> 00:16:19,668 ♪ 278 00:16:22,376 --> 00:16:24,543 YEAH, IT WAS INTERESTING. THE BEATLES ALL LOCK IN AND PLAY 279 00:16:24,626 --> 00:16:26,793 TOGETHER AND HELP EACH OTHER. 280 00:16:28,126 --> 00:16:29,793 ♪ I'M DADDY ROLLING STONE ♪ 281 00:16:29,876 --> 00:16:32,418 THE WHO IS LIKE FOUR DIFFERENT CREATURES WHO WEREN'T 282 00:16:32,501 --> 00:16:36,751 EVEN, LIKE, NOTICING EACH OTHER. EVERYONE IN THE WHO WAS LIKE THETONE ♪ 283 00:16:36,835 --> 00:16:38,585 LEAD PLAYER IN THE WHO. 284 00:16:38,668 --> 00:16:42,418 EVEN, LIKE, NOTICING EACH OTHER. EVERYONE IN THE WHO WAS♪LIKE THETONE ♪ 285 00:16:42,501 --> 00:16:45,626 ALL THESE GREAT BANDS CREATED THIS THIRST IN MUSIC, BUT THE 286 00:16:45,710 --> 00:16:49,210 ONES WHO REALLY HAD THE TRUE, TRUE TALENT HAVE REALLY STOOD EVEN, LIKE, NOTICING EACH OTHER. EVERYONE IN THE WHO WAS♪LIKE THETONE ♪ 287 00:16:49,293 --> 00:16:51,043 THE TEST OF TIME. 288 00:16:51,126 --> 00:16:55,210 FIVE SINGING BOYS FROM ENGLAND WHO HAVE SOLD A LOT OF "ALBIUMS". 289 00:16:55,293 --> 00:16:57,210 ALBUMS. [ LAUGHTER ] 290 00:16:57,293 --> 00:16:58,876 THEY'RE CALLED THE ROLLING STONES. 291 00:16:58,960 --> 00:17:02,835 I'VE BEEN ROLLED WHILE I WAS STONED MYSELF. 292 00:17:02,918 --> 00:17:06,960 I DON'T KNOW WHAT THEY'RE SINGING ABOUT, BUT HERE THEY ARE AT. 293 00:17:07,043 --> 00:17:08,210 [ APPLAUSE ] 294 00:17:08,043 --> 00:17:11,460 ♪ 295 00:17:11,543 --> 00:17:14,626 [ APPLAUSE ] ♪ I DON'T WANT YOU TO BE NO SLAVE, ♪ 296 00:17:14,710 --> 00:17:19,085 ♪ I DON'T WANT YOU TO WORK ALL DAY ♪ 297 00:17:19,168 --> 00:17:22,835 [ APPLAUSE ] ♪ I DON'T WANT YOU TO BE NO ♪ I DON'T WANT YOU TO BE TRUE ♪ 298 00:17:22,918 --> 00:17:26,876 ♪ I JUST WANT TO MAKE LOVE TO YOU ♪♪ 299 00:17:26,960 --> 00:17:30,418 HERE COME THE STONES. WE'RE THE BAD BOYS OF THIS 300 00:17:30,501 --> 00:17:33,876 BRITISH INVASION, AND THE GIRLS WENT CRAZY. 301 00:17:33,960 --> 00:17:35,460 ♪ LOVE YOU BABY ♪ 302 00:17:37,126 --> 00:17:40,293 - IS IT A SEX THING, OR -- -YES, IT'S SEXUAL, COMPLETELY. 303 00:17:40,376 --> 00:17:46,251 ♪ LOVE TO YOU, LOVE TO YOU, BABY, LOVE TO YOU ♪ 304 00:17:46,335 --> 00:17:48,626 YOU'VE BEEN DOING THIS FOR HOW LONG, HOW MANY YEARS IS IT? 305 00:17:48,710 --> 00:17:50,251 -TWO YEARS. -TWO YEARS. 306 00:17:50,335 --> 00:17:52,876 HOW MUCH LONGER DO YOU GIVE YOURSELF DOING THIS THING, GOING 307 00:17:52,960 --> 00:17:56,543 -AROUND BEING, SORT OF -- -I DON'T KNOW. 308 00:17:56,626 --> 00:17:59,460 I NEVER THOUGHT I WOULD BE DOING IT FOR TWO YEARS EVEN. 309 00:17:59,543 --> 00:18:03,168 I THINK WE'RE PRETTY WELL SET UP FOR AT LEAST ANOTHER YEAR. 310 00:18:10,126 --> 00:18:12,126 WHEN WE FIRST STARTED PLAYING TOGETHER, WE STARTED 311 00:18:12,210 --> 00:18:14,126 PLAYING BECAUSE WE WANTED TO PLAY RHYTHM AND BLUES, AND 312 00:18:14,210 --> 00:18:18,085 HOWLIN' WOLF WAS ONE OF OUR IDOLS, AND IT'S GREAT HE'S BEING 313 00:18:18,168 --> 00:18:20,710 BOOKED ON THE SHOW, IT'S A PLEASURE. 314 00:18:20,793 --> 00:18:24,001 SO, I THINK IT'S TIME WE SHUT UP AND WE LET HOWLIN' WOLF ON STAGE. 315 00:18:26,376 --> 00:18:30,251 ♪ HOW MANY MORE YEARS THAT I ♪ BOOKED ON THE SHOW, IT'S A PLEASURE. 316 00:18:30,335 --> 00:18:34,335 ♪ HAVE TO LET YOU DOG ME AROUND ♪ 317 00:18:34,418 --> 00:18:37,918 THE ROLLING STONES INVITE HOWLIN' WOLF, WHO IS A 318 00:18:38,001 --> 00:18:41,918 60-YEAR-OLD BLACK MAN FROM THE SOUTH SIDE OF CHICAGO WHO NEVER 319 00:18:42,001 --> 00:18:43,168 IN A MILLION YEARS WOULD HAVE THE ROLLING STONES INVITE HOWLIN' WOLF, WHO IS A 320 00:18:43,251 --> 00:18:46,168 BEEN ON "SHINDIG," AND THERE HE IS. 321 00:18:46,251 --> 00:18:49,126 ♪ YOU DON'T BELIEVE A WORD I SAID ♪ 322 00:18:49,210 --> 00:18:51,043 THE STONES CLEARLY WORE THEIR THERE HE IS. 323 00:18:51,126 --> 00:18:53,918 HEART ON THEIR SLEEVE FOR BLUES AND R&B. ♪ YOU DON'T BELIEVE A WORD I SAID ♪ 324 00:18:54,001 --> 00:18:59,085 YOU CAN HEAR TRACES OF DELTA BLUES INSIDE OF KEITH'S GUITAR. 325 00:19:01,085 --> 00:19:05,001 THEY TRIED TO BE AS AUTHENTIC TO THE CORE AS POSSIBLE, EVEN SO 326 00:19:05,085 --> 00:19:09,918 MUCH THAT THEIR FIRST FEW AMERICAN RECORDINGS WERE DONE IN CHESS IN CHICAGO. 327 00:19:15,043 --> 00:19:19,585 ♪ THE HOUNDS BEGIN TO HOWL ♪ 328 00:19:19,668 --> 00:19:22,001 WE'VE GOT TO GET THE CHICAGO KIDS USED TO RHYTHM AND BLUES, 329 00:19:22,085 --> 00:19:23,126 THAT'S WHERE IT STARTED. 330 00:19:23,210 --> 00:19:24,793 WYOU KNOW, THE WHITE PEOPLEO KIDS USED OVER THEREAND BLUES, 331 00:19:24,876 --> 00:19:27,210 KNOW NOTHING ABOUT RHYTHM AND BLUES AT ALL. 332 00:19:27,043 --> 00:19:28,751 WYOU KNOW, THE WHITE PEOPLEO KIDS USED OVER THEREAND BLUES, IT'S NEGRO MUSIC, ISN'T IT? 333 00:19:28,835 --> 00:19:32,376 IN AMERICA, EVEN IN THE BLACK COMMUNITY, HAD ABANDONED CERTAIN 334 00:19:32,460 --> 00:19:34,876 ASPECTS OF BLACK CULTURE. EVEN BY THE MID-'60s. 335 00:19:34,960 --> 00:19:38,251 THE BLUES IN PARTICULAR HAD BEEN SORT OF PUSHED ASIDE BY SOUL 336 00:19:38,335 --> 00:19:41,251 MUSIC AND R&B, WHICH WAS CONSIDERED MORE MODERN. 337 00:19:43,501 --> 00:19:46,626 ♪ PRETTY LITTLE WOMEN STAND IN A LINE ♪ 338 00:19:50,335 --> 00:19:54,210 THE STONES, THE ANIMALS, THE YARDBIRDS, THE BRITISH GROUPS 339 00:19:54,293 --> 00:19:57,210 PICKED UP THE AMERICAN BLUES, WHERE THE AMERICANS WERE KIND OF 340 00:19:57,293 --> 00:19:58,418 LETTING IT GO. 341 00:20:00,293 --> 00:20:03,585 AND IN A STRANGE WAY, WE WERE TAKING BACK TO AMERICA WHAT 342 00:20:03,668 --> 00:20:07,085 AMERICA HAD GIVEN US, WHICH WAS AMERICAN MUSIC. 343 00:20:07,168 --> 00:20:10,251 ♪ 344 00:20:10,335 --> 00:20:13,001 ♪ GONNA HAVE A LOT OF FUN, OH ♪ 345 00:20:13,085 --> 00:20:15,376 ♪ YEAH, BABY, WHOO ♪ 346 00:20:15,460 --> 00:20:17,835 YOU AND CHUCK HAVE KIND OF TAKEN ENGLAND BY STORM. 347 00:20:17,918 --> 00:20:20,210 HOW DO YOU FEEL ABOUT OTHER PEOPLE BORROWING YOUR MATERIAL? 348 00:20:20,293 --> 00:20:24,501 I'M VERY GRATEFUL TO KNOW THAT MY MATERIAL IS THE TYPE OF 349 00:20:24,585 --> 00:20:28,251 MATERIAL THAT THE ENTERTAINERS TODAY WOULD LIKE TO USE. 350 00:20:28,335 --> 00:20:30,543 ♪ LONG TALL SALLY ♪ 351 00:20:33,460 --> 00:20:37,460 ♪ OH, BABY, YEAH, OH, BABY, OOH, BABY ♪ 352 00:20:37,543 --> 00:20:41,751 ♪ 353 00:20:48,543 --> 00:20:51,751 ♪ OH, BABY, YEAH, OH, BABY, OOH, BABY ♪ THE BRITISH INVASION PLAYED A HUGE ROLE IN NOT JUST 354 00:20:51,835 --> 00:20:55,418 INTRODUCING THEMSELVES TO AMERICA, BUT REINTRODUCING A LOT 355 00:20:55,501 --> 00:20:57,668 OF BLACK MUSIC TO MAINSTREAM AMERICA. 356 00:20:57,751 --> 00:21:03,501 ♪ 357 00:21:03,585 --> 00:21:06,210 ♪ IT'S GONNA BE ALL RIGHT, ALL RIGHT, ALL RIGHT, IT'S GONNA BE ♪ OF BLACK MUSIC TO MAINSTREAM AMERICA. 358 00:21:06,293 --> 00:21:07,751 ♪ ALL RIGHT ♪ 359 00:21:11,543 --> 00:21:18,168 ♪ GET MY WAY, I WILL STAY, TO KEEP YOU SATISFIED, ALL RIGHT ♪ 360 00:21:18,251 --> 00:21:21,543 ♪ ALL RIGHT, IT'S GONNA BE ALL RIGHT ♪ 361 00:21:21,626 --> 00:21:24,710 THE SAME YEAR THE BEATLES PLAY ON "THE ED SULLIVAN SHOW" 362 00:21:24,793 --> 00:21:26,085 IS THE FIRST YEAR THAT THE "T.A.M.I. SHOW" COMES OUT AS A 363 00:21:26,168 --> 00:21:30,751 MOVIE, AND "T.A.M.I. SHOW'S" GOT EVERYBODY. 364 00:21:30,835 --> 00:21:33,960 IT WAS THE FIRST ROCK AND ROLL CONCERT MOVIE. 365 00:21:34,043 --> 00:21:38,210 MTHE STONES HEADLINING, AND THET FIRST TIME THAT US WHITE KIDS 366 00:21:38,043 --> 00:21:42,751 GOT TO SEE JAMES BROWN AND NOBODY WILL EVER GET OVER IT. 367 00:21:42,835 --> 00:21:45,376 ♪ 368 00:21:45,460 --> 00:21:48,126 ♪ GOT YOUR HIGH HEELS ON ♪ NOBODY WILL EVER GET OVER IT. 369 00:21:51,835 --> 00:21:53,543 EVERYONE REMEMBERS JAMES BROWN'S PERFORMANCE. 370 00:21:53,626 --> 00:21:56,418 HE GAVE THEM WHAT BLACK AUDIENCES HAD BEEN SEEING FOR 371 00:21:56,501 --> 00:21:59,210 YEARS, BUT HAD NOT REALLY BEEN SEEN OUTSIDE OF THE BLACK 372 00:21:59,043 --> 00:22:02,710 COMMUNITY, AND PEOPLE WERE ELECTRIFIED BY IT. 373 00:22:06,251 --> 00:22:08,251 JAMES BROWN JUST KILLS THEEN SHOW. THE BLACK 374 00:22:08,085 --> 00:22:10,585 JUST, LIKE, WHAT'S THE PHRASE THEY HAVE IN GOSPEL MUSIC? 375 00:22:10,668 --> 00:22:12,335 HE WRECKS HOUSE. 376 00:22:12,418 --> 00:22:19,376 ♪ JUST, LIKE, WHAT'S THE PHRASE THEY HAVE IN GOSPEL MUSIC? 377 00:22:20,543 --> 00:22:23,793 AND IT REALLY BEGAN HIS JOURNEY INTO BECOMING A 378 00:22:23,876 --> 00:22:25,793 MAINSTREAM FIGURE. 379 00:22:25,876 --> 00:22:29,626 ♪ BABE, BABE, BABE, BABE ♪ 380 00:22:29,710 --> 00:22:36,626 ♪ 381 00:22:47,876 --> 00:22:50,835 THE STONES THEN CLOSE AND THEY WERE AFRAID IT WAS THE 382 00:22:50,918 --> 00:22:54,626 BIGGEST MISTAKE THEY EVER MADE FOLLOWING JAMES BROWN. 383 00:22:54,710 --> 00:23:01,668 ♪ 384 00:23:03,376 --> 00:23:10,210 ♪ WHAT A CRAZY SOUND, NEVER STOP ROCKIN' UNTIL THE MOON WENT DOWN ♪ 385 00:23:10,293 --> 00:23:12,835 WE SEE, YOU KNOW, JAGGER COMING ALIVE, YOU KNOW, DOING 386 00:23:12,918 --> 00:23:15,001 THINGS THAT HE HADN'T DONE BEFORE. 387 00:23:15,085 --> 00:23:18,668 IT WAS GREAT, BECAUSE YOU'RE SEEING A SEASONED PROFESSIONAL 388 00:23:18,751 --> 00:23:22,710 WITH JAMES BROWN, AND A YOUNG PERFORMER AND BAND FIGURING OUT 389 00:23:22,793 --> 00:23:24,126 WHO THE HELL THEY ARE. 390 00:23:24,210 --> 00:23:26,251 ♪ 391 00:23:40,751 --> 00:23:42,918 WHEN I SAY STAPLES, I MEAN STAPLES. 392 00:23:43,001 --> 00:23:45,251 IT'S OKAY, MISTER. I WAS LED ASTRAY. 393 00:23:45,085 --> 00:23:46,460 WHEN I SAY STAPLES, I MEAN STAPLES. OH, SHUT UP, JOHN. 394 00:23:46,543 --> 00:23:48,210 THEY'RE WAITING FOR YOU IN THE STUDIO. 395 00:23:48,293 --> 00:23:50,751 -I'M DYING TO DO BETTER WORK. -OH, TEACHER'S PET. 396 00:23:50,835 --> 00:23:54,043 -OH, LAY OFF. -GET A MOVE ON. 397 00:23:54,126 --> 00:23:55,251 THEY'RE WAITING FOR YOU. 398 00:23:57,210 --> 00:24:00,001 ♪ IT'S BEEN A HARD DAY'S NIGHT ♪ 399 00:24:00,085 --> 00:24:02,960 "HARD DAY'S NIGHT" PERFECTLY ENCAPSULATED BEATLEMANIA. 400 00:24:03,043 --> 00:24:08,376 IT'S THE MOST PERFECT REPRESENTATION OF 1964 BEATLES. 401 00:24:08,460 --> 00:24:11,710 BRIAN EPSTEIN SAID, IF THEY BEATLES WERE GOING TO GO, THEY 402 00:24:11,793 --> 00:24:12,876 WERE GOING TO GO BIG. 403 00:24:12,960 --> 00:24:14,751 AND THEY WENT BIG. 404 00:24:14,835 --> 00:24:17,585 THE FACT THAT THE BEATLES WERE EXPOSED AS WRITERS OF HIT 405 00:24:17,668 --> 00:24:22,126 SONGS, EXPOSED THEN TO THE PUBLIC EVEN MORE THAN PERHAPS 406 00:24:22,210 --> 00:24:24,876 JUST A POP SINGING IDOL WOULD. 407 00:24:24,960 --> 00:24:26,585 SONGS, EXPOSE♪ THEN TO THE PUBLIC EVEN MORE THAN PERHAPS 408 00:24:26,668 --> 00:24:30,168 THEY MADE THE ANNOUNCEMENT THAT THEY WERE GOING TO TOUR AMERICA. 409 00:24:30,251 --> 00:24:32,626 THE BEATLES WANTED $25,000. 410 00:24:32,710 --> 00:24:35,210 WELL, I DIDN'T HAVE $25,000. 411 00:24:35,293 --> 00:24:39,210 AND SO, I BORROWED $25,000 ON THE HOUSE. 412 00:24:39,043 --> 00:24:43,001 THERE WERE NO COMPUTERS, BUT WE SOLD IT OUT IN 3 1/2 HOURS. 413 00:24:43,085 --> 00:24:45,585 17,000 SCREAMING YOUNGSTERS 414 00:24:45,668 --> 00:24:48,543 HAVE JAMMED THEIR WAY INTO THE HUGE AMPHITHEATER.URS. 415 00:24:48,626 --> 00:24:50,418 BUT THEY'RE THE LUCKY ONES. 416 00:24:50,501 --> 00:24:53,626 OUTSIDE, THOUSANDS OF OTHERS WERE NOT SO FORTUNATE. 417 00:24:55,043 --> 00:24:57,585 HERE THEY ARE, THE BEATLES! 418 00:24:57,668 --> 00:24:59,210 ♪ 419 00:24:59,293 --> 00:25:03,460 ♪ LET YOU DOWN, LET YOU DOWN ♪ 420 00:25:05,668 --> 00:25:08,626 ♪ BECAUSE I TOLD YOU BEFORE, OH, ♪ 421 00:25:08,710 --> 00:25:11,210 ♪ YOU CAN'T DO THAT ♪ 422 00:25:14,918 --> 00:25:17,585 THE BEATLES' OUTPUT WAS PHENOMENAL. ♪ BECAUSE I TOLD YOU BEFORE, OH, ♪ 423 00:25:17,668 --> 00:25:20,460 THEY SEEMED TO ALWAYS BE EITHER TOURING, MAKING A MOVIE OR 424 00:25:20,543 --> 00:25:21,793 MAKING A RECORD. 425 00:25:21,876 --> 00:25:22,668 ♪ NO, YOU CAN'T DO THAT ♪ 426 00:25:22,751 --> 00:25:29,251 ♪ 427 00:25:29,085 --> 00:25:31,793 HELLO. SEE THESE LITTLE FELLOWS? 428 00:25:31,876 --> 00:25:34,460 THEY'RE THE BEATLES. INFLATABLE BEATLES. 429 00:25:34,543 --> 00:25:38,043 THEY'RE YOURS FOR JUST $2. 430 00:25:38,126 --> 00:25:40,835 ♪ THE BEST THINGS IN LIFE ARE FREE ♪ 431 00:25:40,918 --> 00:25:45,043 THEY HAD POSTERS AND MAGAZINES AND STICKERS AND DOLLS 432 00:25:45,126 --> 00:25:46,876 AND CARTOONS. 433 00:25:46,960 --> 00:25:51,251 LIKE THIS IS THE START OF WHERE THE TEENAGER BECOMES THE MOST 434 00:25:51,085 --> 00:25:54,126 DESIRABLE TARGET FOR THE DOLLAR. 435 00:25:55,210 --> 00:25:57,585 I LIVED IN THE PROJECTS IN BROOKLYN, YOU KNOW, IN A BLACK 436 00:25:57,668 --> 00:25:59,876 COMMUNITY, AND THE BEATLES WERE EVERYWHERE. 437 00:25:59,960 --> 00:26:03,043 SO, IT WASN'T LIKE THIS WAS A WHITE PHENOMENON, THEY WERE EVERYWHERE. 438 00:26:03,126 --> 00:26:04,876 COMMUNITY, AND THE BEATLES WERE EVER♪WHERE. 439 00:26:04,960 --> 00:26:06,793 SO, IT WASN'T LIKE THIS WAS A WHITE PHENOMENON, THEY WERE EVERYWHERE. THE BEATLES CREATED A ROCK INDUSTRY. 440 00:26:06,876 --> 00:26:09,251 THEY WERE SELLING IN WAYS NO ONE HAD EVER SOLD BEFORE, AND THEY 441 00:26:09,335 --> 00:26:13,293 WERE PLAYING VENUES THAT WERE BIGGER THAN ANYONE HAD EVER PLAYED BEFORE. 442 00:26:13,376 --> 00:26:17,085 LADIES AND GENTLEMEN, HONORED 443 00:26:17,168 --> 00:26:21,335 BY THEIR COUNTRY, DECORATED BY WERE BIGGER THAN ANYONE HAD EVER PLAYED BEFORE. 444 00:26:21,418 --> 00:26:24,085 THEIR QUEEN AND LOVED HERE IN 445 00:26:24,168 --> 00:26:27,710 AMERICA, HERE ARE THE BEATLES! 446 00:26:27,793 --> 00:26:29,918 [ CHEERS AND APPLAUSE ] 447 00:26:30,001 --> 00:26:34,460 ♪ HELP ME IF YOU CAN, I'M FEELING DOWN ♪ 448 00:26:34,543 --> 00:26:39,918 ♪ AND I DO APPRECIATE YOU BEING 'ROUND ♪ 449 00:26:40,001 --> 00:26:42,126 ♪ HELP ME GET MY FEET BACK ON ♪ 450 00:26:42,210 --> 00:26:45,960 THE GROUND, WON'T YOU PLEASE, 451 00:26:46,043 --> 00:26:47,793 ♪ PLEASE HELP ME ♪CK ON ♪ 452 00:26:47,876 --> 00:26:54,835 ♪ HELP ME, HELP ME, OOH ♪ 453 00:26:57,210 --> 00:26:59,168 HAVE YOU GOT TIME TO ACTUALLY SPEND THIS MONEY? 454 00:26:59,251 --> 00:27:02,751 - WHAT MONEY? - DOESN'T HE GIVE ANY TO YOU? 455 00:27:02,835 --> 00:27:04,126 -NO, NO. -NO, NO. 456 00:27:04,210 --> 00:27:06,293 HAVE YOU SEEN THAT CAR OF HIS? 457 00:27:06,376 --> 00:27:09,126 THE BEATLES TAUGHT EVERY OTHER BAND THAT WRITING YOUR OWN 458 00:27:09,210 --> 00:27:12,126 MUSIC MADE YOU MORE POWERFUL. 459 00:27:12,210 --> 00:27:19,251 THE BEATLES TAUGHT EVERY OTHER BAND THAT♪WRITING YOUR OWN 460 00:27:19,835 --> 00:27:21,918 THAT LAST LINE'S GOT TO RHYME. 461 00:27:22,001 --> 00:27:23,751 I THINK WHAT'S REALLY FUNNY 462 00:27:23,835 --> 00:27:25,126 ABOUT A BAND LIKE THE STONES IS THEY DID TONS OF COVERS ON THEIR 463 00:27:25,210 --> 00:27:27,168 FIRST COUPLE ALBUMS. 464 00:27:27,251 --> 00:27:29,376 IT WASN'T UNTIL THEY FIGURED OUT HOW TO WRITE THEIR OWN SONGS 465 00:27:29,460 --> 00:27:31,043 THAT THEY BECAME A REAL BAND. 466 00:27:31,126 --> 00:27:32,835 THEY HAD TO FIND THEIR OWN VOICE. 467 00:27:32,918 --> 00:27:39,835 ♪ 468 00:27:46,876 --> 00:27:53,626 ♪ I CAN'T GET NO SATISFACTION ♪ 469 00:27:53,710 --> 00:27:59,585 ♪ I CAN'T GET NO SATISFACTION ♪ 470 00:27:59,668 --> 00:28:03,168 ♪ 'CAUSE I TRIED AND I TRIED AND ♪SFACTION ♪ 471 00:28:03,251 --> 00:28:06,210 ♪ I TRIED AND I TRIED ♪ON ♪ 472 00:28:06,293 --> 00:28:13,251 ♪ I CAN'T GET NO, I CAN'T GET NO ♪ 473 00:28:13,085 --> 00:28:17,085 ♪ WHEN I'M DRIVING IN MY CAR AND ♪ 474 00:28:17,168 --> 00:28:21,001 ♪ MAN COMES ON THE RADIO, HE'S ♪ 475 00:28:21,085 --> 00:28:23,460 ♪ TELLING ME MORE AND MORE ♪ 476 00:28:23,543 --> 00:28:27,251 ♪ ABOUT SOME USELESS INFORMATION ♪ 477 00:28:27,085 --> 00:28:30,043 ♪ SUPPOSED TO BUY MY IMAGINATION ♪ 478 00:28:30,126 --> 00:28:34,668 ♪ I CAN'T GET NO, NO, NO, NO ♪ 479 00:28:34,751 --> 00:28:39,085 THERE WAS A DIALOGUE GOING ON BETWEEN SOUL MUSIC AND THE BRITISH INVASION. 480 00:28:39,168 --> 00:28:42,210 A, BECAUSE THIS IS A WAY FOR ME TO MAKE A NOD TO THE MAINSTREAM. 481 00:28:42,293 --> 00:28:45,043 AND B, BECAUSE THE SONGS WERE GOOD. 482 00:28:45,126 --> 00:28:50,251 ♪ I CAN'T GET NO, OH, NO, I CAN'T GET NO, OH, NO ♪ 483 00:28:50,085 --> 00:28:51,460 "SATISFACTION'S" FANTASTIC. 484 00:28:51,543 --> 00:28:53,251 HE DOESN'T EVEN KNOW THE WORDS EVEN, HE DOESN'T CARE. 485 00:28:53,085 --> 00:28:55,210 HE'S JUST KIND OF SINGING THE "SATISFACTSONG." FANTASTIC. 486 00:28:55,043 --> 00:28:58,918 ♪ KEEP TRYING TO FIND ME SOMEBODY, SOMEBODY TO LOVE ME ♪ 487 00:28:59,001 --> 00:29:02,085 ♪ GET ME SOME ACTION ♪ ♪ I CAN'T FIND NOBODY ♪ 488 00:29:02,168 --> 00:29:05,085 AT THE TIME, MOTOWN AND THE BRITISH INVASION, THEY'RE GOING 489 00:29:05,168 --> 00:29:08,668 HAND IN HAND WITH SORT OF REDEFINING WHAT AMERICA DANCES 490 00:29:08,751 --> 00:29:10,126 AND LISTENS AND SOCIALIZES TO. 491 00:29:10,210 --> 00:29:15,168 ♪ 492 00:29:15,251 --> 00:29:17,626 MOTOWN, IT EVOLVED WITH THE REST OF THE WORLD, BUT WE DID 493 00:29:17,710 --> 00:29:21,960 HAVE TO COMPETE WITH THIS BRITISH INVASION FOR PLACES ON 494 00:29:22,043 --> 00:29:24,251 THE CHARTS. 495 00:29:24,085 --> 00:29:31,251 ♪ REALLY GOT A HOLD ON ME, I SAID YOU REALLY GOT A HOLD ON ME ♪ 496 00:29:35,251 --> 00:29:36,876 THE FIRST TIME I HEARD "YOU REALLY GOT A HOLD ON ME" BY THE 497 00:29:36,960 --> 00:29:39,793 BEATLES, I WAS VERY, VERY, VERY HAPPY. 498 00:29:39,876 --> 00:29:44,376 ♪ I DON'T LIKE YOU, BUT I LOVE YOU ♪ 499 00:29:44,460 --> 00:29:50,126 THE BEATLES CHOSE ONE OF MY SONGS, AND THEY WROTE GREAT SONGS! 500 00:29:50,210 --> 00:29:57,168 ♪ OH, I, I, I, I DID SOMETHING WRONG ♪ 501 00:30:04,418 --> 00:30:11,460 ♪ NOW I LONG FOR YESTERDAY ♪ 502 00:30:13,418 --> 00:30:19,418 ♪ 503 00:30:31,251 --> 00:30:34,335 THIS IS CALLED "HEY, MR. TAMBOURINE MAN." 504 00:30:34,418 --> 00:30:38,376 ♪ 505 00:30:38,460 --> 00:30:42,668 A LOT OF THE STUFF THAT DYLAN WROTE IN '63, '64, '65 WAS VERY POLITICAL. 506 00:30:42,751 --> 00:30:45,043 IT WASN'T WHAT THE BEATLES WERE DOING OR THE STONES WERE DOING 507 00:30:45,126 --> 00:30:47,251 OR THE KINKS WERE DOING OR ANY OF THOSE ROCK AND ROLL BANDS. 508 00:30:47,085 --> 00:30:50,251 IT WASN'T WHAT THE BEATLES WERE DOING OR THE STONES WERE DOING AND FOR A PERIOD OF TIME THERE WAS THIS DISTINCTION BETWEEN THE 509 00:30:50,335 --> 00:30:53,418 FOLK CULTURE AND THE ROCK AND ROLL CULTURE. 510 00:30:53,501 --> 00:30:59,960 ♪ HEY, MR. TAMBOURINE MAN, PLAY A SONG FOR ME, I'M NOT SLEEPY ♪ 511 00:31:00,043 --> 00:31:03,251 ♪ AND THERE IS NO PLACE I'M GOING TO ♪ 512 00:31:03,335 --> 00:31:05,960 IN 1964, DURING THAT FIRST TOUR, THE BEATLES HAD THE 513 00:31:06,043 --> 00:31:08,376 OPPORTUNITY TO MEET BOB DYLAN. 514 00:31:08,460 --> 00:31:11,418 HE UNDERSTOOD WHAT THEY WERE DOING MUSICALLY AND THEY WERE 515 00:31:11,501 --> 00:31:16,418 AWAKENED BY THE MORE PERSONAL PERSPECTIVE OF HIS SONGS.N. 516 00:31:16,501 --> 00:31:19,043 DYLAN WAS A HUGE INFLUENCE ON JOHN LENNON. 517 00:31:19,126 --> 00:31:22,501 HE INSPIRED THEM TO WRITE MORE SERIOUS SONGS, DEEPER SONGS AND 518 00:31:22,585 --> 00:31:24,585 BE MORE EXPERIMENTAL LYRICALLY. DYLAN WAS A HUGE INFLUENCE ON JOHN LENNON. 519 00:31:24,668 --> 00:31:31,501 ♪ I ONCE HAD A GIRL OR SHOULD I SAY SHE ONCE HAD ME ♪ 520 00:31:31,585 --> 00:31:34,085 BOB DYLAN GOING ELECTRIC IS ANOTHER ONE OF THOSE BIG, 521 00:31:34,168 --> 00:31:38,585 SEISMIC CHANGES IN THE POP MUSIC ERA IN THE '60s. 522 00:31:42,960 --> 00:31:47,335 HE WAS BOLD ENOUGH TO LEAVE HIS COMFORT ZONE. BOB DYLAN GOING ELECTRIC IS ANOTHER ONE OF THOSE BIG, 523 00:31:47,418 --> 00:31:52,168 ♪ I AIN'T GOING TO WORK ON MAGGIE'S FARM NO MORE ♪ 524 00:31:56,210 --> 00:31:58,293 IT'S NOT JUST ABOUT DYLAN GOING ELECTRIC, BUT IT'S ALSO 525 00:31:58,376 --> 00:32:02,668 ABOUT THE FUSION OF AN EMERGING TRADITION IN POPULAR MUSIC THAT 526 00:32:02,751 --> 00:32:05,918 WAS REALLY POLITICAL WITH ROCK AND ROLL, WHICH HAD LARGELY NOT 527 00:32:06,001 --> 00:32:09,168 BEEN OVERTLY POLITICAL. 528 00:32:10,793 --> 00:32:13,001 THANK YOU VERY MUCH. 529 00:32:14,710 --> 00:32:19,293 THERE'S NOTHING LIKE THE FEELING OF YOUR AUDIENCE NOT 530 00:32:19,376 --> 00:32:21,751 BEING WITH YOU AND WALKING OUT ON YOU. 531 00:32:21,835 --> 00:32:23,460 PEOPLE TOOK IT PERSONAL. 532 00:32:23,543 --> 00:32:25,460 YOU KNOW, WHO NEEDS HIM ANYMORE? 533 00:32:25,543 --> 00:32:29,543 HE'S PART OF YOUR ESTABLISHMENT AND FORGET HIM. 534 00:32:33,210 --> 00:32:36,043 THEY'RE ALL MY FRIENDS. 535 00:32:36,126 --> 00:32:38,126 THEY FELT BETRAYED, LIKE YOU'RE SUPPOSED TO BE OUR 536 00:32:38,210 --> 00:32:41,126 WOODY GUTHRIE, YOU KNOW, YOU SOLD OUT. 537 00:32:41,210 --> 00:32:45,335 ♪ HOW DOES IT FEEL, ♪ 538 00:32:45,418 --> 00:32:52,460 ♪ HOW DOES IT FEEL TO BE ON YOUR OWN ♪ 539 00:32:53,626 --> 00:32:56,543 ♪ WITH NO DIRECTION HOME ♪ 540 00:32:56,626 --> 00:33:00,210 NOT ONLY DID HE TAKE IT, BUT HE MANAGED TO JUST CHOKE HOLD 541 00:33:00,293 --> 00:33:03,126 THEM ALL AND MAKE THEM SEE HIS VISION. 542 00:33:03,210 --> 00:33:05,418 ♪ LIKE A ROLLING STONE ♪ 543 00:33:05,501 --> 00:33:10,210 ♪ 544 00:33:10,043 --> 00:33:14,960 OTHER MUSICIANS STARTED BRINGING POETRY AND POLITICS AND 545 00:33:15,043 --> 00:33:17,585 SOUL-SEARCHING TO POPULAR MUSIC. ♪ 546 00:33:17,668 --> 00:33:21,626 ♪ MEN SHALL KNOW AND MEN SHALL SEE WE ALL ARE BROTHERS AND WE ♪ 547 00:33:21,710 --> 00:33:23,210 ♪ ALL ARE FREE ♪ 548 00:33:23,085 --> 00:33:25,793 IT WAS OBVIOUS TO ME AND THE HOLLIES THAT WE HAD A 549 00:33:25,876 --> 00:33:30,043 RESPONSIBILITY AS ARTISTS TO REFLECT OUR WORLD AROUND US, AND FREE ♪ 550 00:33:30,126 --> 00:33:33,793 WE UTILIZED OUR MUSIC TO BE ABLE TO REACH PEOPLE. 551 00:33:33,876 --> 00:33:37,043 POP MUSICIANS IN TODAY'S GENERATION ARE IN A FANTASTIC POSITION. 552 00:33:37,126 --> 00:33:39,585 THEY CAN RULE THE WORLD MAN. 553 00:33:39,668 --> 00:33:41,126 -WELL, I DON'T ARGUE -- -THEY COULD RULE THE WORLD, SO 554 00:33:41,210 --> 00:33:42,793 WHY DON'T WE DO MORE OF IT? 555 00:33:42,876 --> 00:33:46,251 WE CAN STOP WORLD WARS BEFORE THEY EVER STARTED. 556 00:33:46,335 --> 00:33:50,793 -I DISAGREE. -YOU KNOW WHO STARTS WORLD WARS? 557 00:33:50,876 --> 00:33:52,376 PEOPLE THAT ARE OVER 40. 558 00:33:52,460 --> 00:33:53,460 -I DISAGREE. -YOU KNOW WHREALLY?S WORLD WARS? 559 00:33:53,543 --> 00:33:55,626 THAT CONVERSATION WAS UNSTOPPABLE. 560 00:33:55,710 --> 00:33:57,043 YOU COULDN'T SHUT IT DOWN. 561 00:33:57,126 --> 00:34:02,001 ♪ HE'S OH SO GOOD AND HE'S OH SO FINE ♪ 562 00:34:02,085 --> 00:34:07,085 ♪ AND HE'S OH SO HEALTHY IN HIS BODY AND HIS MIND ♪ 563 00:34:07,168 --> 00:34:13,126 ♪ HE'S A WELL RESPECTED MAN ABOUT TOWN ♪ 564 00:34:13,793 --> 00:34:16,876 ♪ AND HE'S OH SO HEALTHY IN HIS BODY AND HIS MIND ♪ I THINK RAY DAVIES FROM THE KINKS AND PETE TOWNSHEND FROM 565 00:34:16,960 --> 00:34:19,085 THE WHO WERE THE TWO SOCIAL COMMENTATORS. 566 00:34:19,168 --> 00:34:24,043 ♪ PEOPLE TRY TO PUT US DOWN, TALKING ABOUT MY GENERATION ♪ I THINK RAY DAVIES FROM THE KINKS AND PETE TOWNSHEND FROM 567 00:34:24,126 --> 00:34:28,876 ♪ JUST BECAUSE WE GET AROUND, TALKING ABOUT MY GENERATION ♪ 568 00:34:28,960 --> 00:34:33,876 ♪ THINGS THEY DO LOOK AWFUL COLD TALKING ABOUT MY GENERATION ♪ 569 00:34:33,960 --> 00:34:36,293 ♪ JUST BECAUSE WE GET AROUND, ♪ HOPE I DIE BEFORE I GET OLD ♪ 570 00:34:36,376 --> 00:34:38,293 ♪ TALKING ABOUT MY GENERATION ♪ 571 00:34:38,376 --> 00:34:43,918 ♪ JUST BECAUSE WE GET AROUND, ♪ IT'S MY GENERATION, BABY, ♪♪ 572 00:34:44,001 --> 00:34:49,085 ♪ DON'T YOU ALL FADE AWAY, TALKING ABOUT MY GENERATION ♪ 573 00:34:49,168 --> 00:34:53,960 ♪ YOU DON'T TRY TO DIG WHAT WE ALL SAY, TALKING ABOUTD, MY GENERATION ♪BABY, ♪♪ 574 00:34:54,043 --> 00:34:58,043 ♪ NOT TRYING TO CAUSE A BIG SENSATION ♪ 575 00:34:58,126 --> 00:35:02,918 EVERY POLITICAL MOVE, NATION TO NATION, IS REALLY TO TRY AND 576 00:35:03,001 --> 00:35:05,793 BREAK DOWN THESE BARRIERS BETWEEN PEOPLE. ♪ NOT TRYING TO CAUSE A BIG SENSATION ♪ 577 00:35:05,876 --> 00:35:08,085 ♪ MY GENERATION ♪ 578 00:35:08,168 --> 00:35:14,335 ♪ 579 00:35:14,418 --> 00:35:18,293 ALL OF THEM WERE OBSESSIVELY LISTENING TO ONE ANOTHER. 580 00:35:18,376 --> 00:35:23,168 AND WHAT BECAME THE GAME WAS, WHO CAN TAKE ROCK AND ROLL 581 00:35:23,251 --> 00:35:24,751 SOMEPLACE MORE INTERESTING? 582 00:35:24,835 --> 00:35:28,335 ♪ AND WHAT BECAME THE GAME WAS, WHO CAN TAKE ROCK AND ROLL 583 00:35:28,418 --> 00:35:35,418 ♪ IF I NEEDED SOMEONE TO LOVE, YOU'RE THE ONE THAT I'D BE THINKING OF ♪ 584 00:35:37,876 --> 00:35:40,210 ♪ IF I NEEDED SOMEONE ♪ 585 00:35:40,043 --> 00:35:43,376 YOU KNOW, RECORDS HAD BEEN TWO OR THREE OF YOUR SINGLES, 586 00:35:43,460 --> 00:35:49,210 SOME COVERS OF SOME OTHER ARTISTS' SONGS AND JUST A BUNCH OF FILLER. 587 00:35:49,043 --> 00:35:53,960 "RUBBER SOUL" BASICALLY STARTED THE IDEA OF THE RECORD AS A COMPLETE STATEMENT. 588 00:35:54,043 --> 00:35:56,001 THAT'S REALLY A GAME-CHANGER. 589 00:35:56,085 --> 00:36:00,168 ♪ IN MY LIFE I LOVE YOU MORE ♪ "RUBBER SOUL" BASICALLY STARTED THE IDEA OF THE RECORD AS A COMPLETE STATEMENT. 590 00:36:00,251 --> 00:36:04,751 ♪ 591 00:36:04,835 --> 00:36:07,626 I THINK THAT BRIAN AND THE BEACH BOYS FELT THAT HE DIDN'T 592 00:36:07,710 --> 00:36:13,001 FIT INTO THIS NEW BRITISH INVASION THING THAT WAS HAPPENING. 593 00:36:13,085 --> 00:36:15,960 ♪ ROUND ROUND I GET AROUND, I GET AROUND ♪ 594 00:36:16,043 --> 00:36:19,001 ♪ ROUND, ROUND, ROUND, ROUND, I GET AROUND ♪THING THAT WAS HAPPENING. 595 00:36:19,085 --> 00:36:24,210 ♪ 596 00:36:24,293 --> 00:36:28,168 ♪ ROUND, ROUND, ROUND, ROUND, I GET AROUND ♪THING THAT WAS HAPPENING. WHEN THE BEACH BOYS HEARD "RUBBER SOUL," BRIAN WILSON WAS 597 00:36:28,251 --> 00:36:31,668 INSPIRED TO TRY TO CREATE SOMETHING AS PURE AND BEAUTIFUL 598 00:36:31,751 --> 00:36:35,043 AND THIS ALBUM OF EVERYTHING WAS GREAT. 599 00:36:36,460 --> 00:36:39,626 I REMEMBER GOING OVER TO BRIAN'S HOUSE, AND I LOOKED INTO 600 00:36:39,710 --> 00:36:43,085 THE LIVING ROOM AND I SAW THAT EVERYTHING HAD BEEN TAKEN OUT 601 00:36:43,168 --> 00:36:45,043 I REMEMBER GOING OVER TO BRIAN'S HOUSE, AND I EXCEPT THE PIANO. 602 00:36:45,126 --> 00:36:48,626 AND THE LIVING ROOM WAS COMPLETELY FILLED WITH SAND. 603 00:36:48,710 --> 00:36:52,085 I REMEMBER GOING OVER TO BRIAN'S HOUSE, AND I EXC[ LAUGHTER ]O. 604 00:36:52,168 --> 00:36:55,210 HE SAID, "I'M GOING TO WRITE THE GREATESTAS ALBUM EVER RECORDED."AND. 605 00:36:55,293 --> 00:36:59,168 ♪ 606 00:37:06,293 --> 00:37:07,418 IT'S GETTING LIGHT. 607 00:37:07,501 --> 00:37:14,251 ♪ 608 00:37:14,085 --> 00:37:17,126 NICE, NICE. 609 00:37:20,793 --> 00:37:24,293 IN THE MID-'60s, YOU SEE BRIAN WILSON RETREATING INTO THE 610 00:37:24,376 --> 00:37:26,918 STUDIO, AND HE'S CONCENTRATING ON WRITING 611 00:37:27,001 --> 00:37:30,126 AND PRODUCING THESE AMAZING SONGS. 612 00:37:30,210 --> 00:37:37,085 ♪ I MAY NOT ALWAYS LOVE YOU, BUT AS LONG AS THERE ARE STARS ABOVE YOU ♪ 613 00:37:37,168 --> 00:37:39,293 THE RECORDING STUDIO HAD BEEN A RIGID PLACE WHERE THERE WERE 614 00:37:39,376 --> 00:37:43,043 ENGINEERS LITERALLY IN LIKE SUITS AND TIES AND LAB COATS. 615 00:37:43,126 --> 00:37:46,251 WHEN ALL OF THE SUDDEN THERE WERE THESE CRAZY YOUNG GENIUSES 616 00:37:46,335 --> 00:37:50,501 WHO REINVENTED THE STUDIO AS AN INSTRUMENT TO BE PLAYED WITH. 617 00:37:50,585 --> 00:37:56,960 ♪ GOD ONLY KNOWS WHAT I WOULD BE WITHOUT YOU ♪ 618 00:37:57,043 --> 00:38:00,335 TECHNOLOGY IS EVOLVING FOR HOW TO RECORD, AND BRIAN WILSON 619 00:38:00,418 --> 00:38:03,293 WAS ABSOLUTELY ON THE CUTTING EDGE OF THAT. 620 00:38:03,376 --> 00:38:08,335 ♪ WOULDN'T IT BE NICE IF WE WERE OLDER, THEN WEFOR WOULDN'T HAVE TO ♪ WILSON 621 00:38:08,418 --> 00:38:10,543 ♪ WAIT SO LONG ♪UTTING EDGE OF THAT. 622 00:38:10,626 --> 00:38:13,168 MUSIC IN THE '60s WAS LIKE ANY GREAT ART MOVEMENT. ♪ WOULDN'T IT BE NICE IF WE WERE OLDER, THEN WEFOR WOULDN'T HAVE TO ♪ WILSON 623 00:38:13,251 --> 00:38:17,168 THE GREATEST PRACTITIONERS OF IT PUSHED ONE ANOTHER TO BE BETTER. 624 00:38:17,251 --> 00:38:20,376 IT'S QUITE LOW, THE TONE. ANY GREAT ART MOVEMENT. ♪ WOULDN'T IT BE NICE IF WE WERE OLDER, THEN WEFOR WOULDN'T HAVE TO ♪ WILSON 625 00:38:20,460 --> 00:38:24,376 IN THE STUDIO, THE BEATLES' NATURAL CREATIVITY WAS SORT OF 626 00:38:24,460 --> 00:38:29,168 BRIMMING OVER, AND GEORGE MARTIN WAS A BRILLIANT COLLABORATOR 627 00:38:29,251 --> 00:38:31,126 AND CHAMPION OF THAT. 628 00:38:31,210 --> 00:38:34,001 RUN BACK THE TAPE, PLEASE, WOULD YOU? 629 00:38:34,085 --> 00:38:36,501 YOU CAN SLOW DOWN OR SPEED UP THE TAPE, YOU CAN PUT IN 630 00:38:36,585 --> 00:38:39,210 BACKWARDS STUFF, YOU CAN PUT IN ELECTRONIC SOUNDS, 631 00:38:39,293 --> 00:38:41,168 OR YOU CAN JUST BE LIVE. 632 00:38:41,251 --> 00:38:43,376 SOMETHING HAPPENS ON AIR, I COULDN'T TELL YOU WHAT BECAUSE 633 00:38:43,460 --> 00:38:46,418 WE HAVE A SPECIAL MAN WHO SITS HERE AND GOES LIKE THIS, AND THE 634 00:38:46,501 --> 00:38:50,543 GUITAR TURNS INTO A PIANO OR SOMETHING, YOU KNOW. 635 00:38:50,626 --> 00:38:53,210 AND THEN YOU MAY SAY, WHY DON'T YOU USE A PIANO, BECAUSE THE 636 00:38:53,293 --> 00:38:54,918 PIANO SOUNDS LIKE A GUITAR. 637 00:38:55,001 --> 00:38:59,251 ♪ WE'RE SERGEANT PEPPER'S LONELY HEARTS CLUB BAND ♪ 638 00:38:59,335 --> 00:39:01,210 THERE WERE RADIO STATIONS THAT DID NOTHING BUT PLAY 639 00:39:01,293 --> 00:39:05,001 "SERGEANT PEPPER'S LONELY HEARTS CLUB BAND" AFTER IT FIRST CAME 640 00:39:05,085 --> 00:39:07,210 OUT BECAUSE THAT'S ALL ANYBODY WANTED TO LISTEN TO. 641 00:39:07,293 --> 00:39:11,418 ♪ LUCY IN THE SKY WITH DIAMONDS ♪ 642 00:39:11,501 --> 00:39:14,376 "SERGEANT PEPPER'S" BECAME THE THING. 643 00:39:14,460 --> 00:39:17,168 ♪ LUCY IN THE SKY WITH DIAMONDS ♪ YOU DROPPED THE NEEDLE ON IT, YOU'D HEAR A LITTLE CRACKLE AND 644 00:39:17,251 --> 00:39:20,210 THEN YOU'D BE TAKEN AWAY ON THIS JOURNEY. 645 00:39:20,293 --> 00:39:25,210 ♪ I READ THE NEWS TODAY, OH, BOY ♪ 646 00:39:25,293 --> 00:39:28,168 "SERGEANT PEPPER" WAS OUR OPERA. 647 00:39:28,251 --> 00:39:31,251 IT SOUNDED UNLIKE ANYTHING WE WERE USED TO. 648 00:39:31,085 --> 00:39:34,251 ♪ 649 00:39:38,293 --> 00:39:43,251 IT SOTHE '60s, LYRICS AREG WE GENERALLY INFANTILE AND IT'S 650 00:39:43,335 --> 00:39:47,001 NOISE, NOT MUSIC. BUT THE "SERGEANT PEPPER" ALBUM 651 00:39:47,085 --> 00:39:50,668 WAS A BRILLIANT ALBUM, SIGNIFYING A BREAK FROM THE OLD 652 00:39:50,751 --> 00:39:53,251 WAYS OF BEING ENTERTAINED. 653 00:39:53,335 --> 00:39:56,376 WAS A BRILLIANT ALBUM, SIIT REALLY CAUGHT THE MOMENT.D 654 00:40:02,126 --> 00:40:06,543 POP MUSIC IS CRUCIAL TO TODAY'S ART, AND IT'S CRUCIAL 655 00:40:06,626 --> 00:40:10,293 THAT IT SHOULD REMAIN ART, AND IT IS CRUCIAL THAT IT SHOULD 656 00:40:10,376 --> 00:40:11,960 PROGRESS AS ART. 657 00:40:12,043 --> 00:40:16,960 ♪ PLEASED TO MEET YA, HOPE YOU GUESSED MY NAME ♪SHOULD 658 00:40:17,043 --> 00:40:19,293 THE BRITISH INVASION CHANGED PRETTY MUCH EVERYTHING. 659 00:40:19,376 --> 00:40:24,501 IT WAS NOT JUST A SOUND OR A BAND OR A PHENOMENON, BUT IT WAS 660 00:40:24,585 --> 00:40:28,751 THE BEGINNING OF THE MOST POWERFUL DECADE IN POPULAR MUSIC. 661 00:40:28,835 --> 00:40:30,918 ♪ CHILDREN DANCED NIGHT AND DAY ♪ 662 00:40:31,001 --> 00:40:36,335 ♪ RELIGION WAS BEING BORN DOWN IN MONTEREY ♪ 663 00:40:36,418 --> 00:40:39,501 ROCK AND ROLL MUSIC WAS VERY IMPORTANT IN THE GROWTH OF THE SOCIETY. 664 00:40:39,585 --> 00:40:45,168 WE WERE ABLE TO SPEAK OUR MINDS. WE DID SHAKE UP THE WORLD. 665 00:40:48,043 --> 00:40:51,751 THERE'S NO DESIRE IN ANY OF OUR HEADS TO SORT OF TAKE OVER 666 00:40:51,835 --> 00:40:55,793 THE WORLD, YOU KNOW. THERE IS, HOWEVER, A DESIRE TO 667 00:40:55,876 --> 00:41:00,085 GET POWER IN ORDER TO USE IT FOR GOOD. 668 00:41:00,168 --> 00:41:06,960 ♪ 669 00:41:07,043 --> 00:41:10,710 ♪ LOVE, LOVE, LOVE ♪IT FOR GOOD. 670 00:41:10,793 --> 00:41:15,168 ♪ HOW MANY PEOPLE THAT YOU STARTED LOVING IN 1964 DO YOU STILL LOVE? 671 00:41:15,251 --> 00:41:18,126 THE BEATLES AND THE BRITISH INVASION MAY BE THE GREATEST 672 00:41:18,210 --> 00:41:22,210 LOVE STORY, IN A CULTURAL SENSE, THAT'S EVER BEEN. 673 00:41:22,043 --> 00:41:24,418 ♪ ALL YOU NEED IS LOVE ♪ 674 00:41:24,501 --> 00:41:26,210 LOVE STORY, IN A CULTURAL SENSE, ALL TOGETHER NOW! 675 00:41:26,293 --> 00:41:28,960 ♪ ALL YOU NEED IS LOVE ♪ 676 00:41:29,043 --> 00:41:31,210 ♪ EVERYBODY! ♪ 677 00:41:31,043 --> 00:41:35,585 ♪ ALL YOU NEED IS LOVE, LOVE, ♪ 678 00:41:35,668 --> 00:41:37,793 ♪ LOVE IS ALL YOU NEED ♪ 679 00:41:37,876 --> 00:41:41,168 ♪ LOVE IS ALL YOU NEED, LOVE IS ALL YOU NEED ♪, LOVE, ♪ 680 00:41:41,251 --> 00:41:42,751 ♪ 681 00:41:42,835 --> 00:41:45,210 ♪ LOVE IS ALL YOU NEED, LOVE IS ALL YOU NEED ♪ 682 00:41:45,043 --> 00:41:50,085 ♪ 59769

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