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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:07,974 --> 00:00:11,778 [ Guitar plays ] 2 00:00:13,279 --> 00:00:15,549 [ Tempo quickens ] 3 00:00:20,186 --> 00:00:21,688 RODGERS: When I was a kid, I grew up 4 00:00:21,688 --> 00:00:24,324 with this television show called "American Bandstand." 5 00:00:24,324 --> 00:00:26,226 And every time they rated a record, 6 00:00:26,226 --> 00:00:27,694 if it was a good record, they would say, 7 00:00:27,694 --> 00:00:30,063 "It's got a good beat, and you can dance to it." 8 00:00:30,063 --> 00:00:31,632 And I would go, "Okay." [ Chuckles ] 9 00:00:31,632 --> 00:00:33,266 That's what I want my records to have ‐‐ 10 00:00:33,266 --> 00:00:35,068 a good beat, and you can dance to it. 11 00:00:36,102 --> 00:00:37,971 ♪ Sweat, sweat ♪ 12 00:00:37,971 --> 00:00:40,406 ‐♪ Lose yourself to dance ♪ ‐♪ Come on, come on, come on ♪ 13 00:00:40,406 --> 00:00:43,043 ♪ Come on, come on, come on, come on, come on ♪ 14 00:00:43,043 --> 00:00:44,444 ♪ Lose yourself to dance ♪ 15 00:00:44,444 --> 00:00:45,712 ♪ Come on, come on, come on, come on ♪ 16 00:00:45,712 --> 00:00:47,648 ♪ Come on, come on, come on, come on ♪ 17 00:00:47,648 --> 00:00:51,384 NARRATOR: Rhythm is at the root of the music we love. 18 00:00:51,384 --> 00:00:55,856 When the groove is good, it's irresistible. 19 00:00:55,856 --> 00:00:57,924 Music can get you wild. 20 00:00:57,924 --> 00:00:59,292 Music can make you funky. 21 00:00:59,292 --> 00:01:02,228 What makes music exciting is the counterpoint. 22 00:01:02,228 --> 00:01:04,531 It's this melding of opposites. 23 00:01:04,531 --> 00:01:07,868 It's about the punch, and it's about that thing 24 00:01:07,868 --> 00:01:10,070 that makes you want to stand up and dance. 25 00:01:10,070 --> 00:01:12,172 And it gets inside, and it fills you. 26 00:01:12,172 --> 00:01:14,541 And sometimes you can't articulate it. 27 00:01:14,541 --> 00:01:17,043 It's that primal thing in dance music 28 00:01:17,043 --> 00:01:18,812 that brings us all together. 29 00:01:18,812 --> 00:01:20,313 ♪ Oh, yeah ♪ 30 00:01:20,313 --> 00:01:22,649 ♪ Hey ♪ 31 00:01:22,649 --> 00:01:25,852 NARRATOR: Our world has changed, and so has the beat. 32 00:01:25,852 --> 00:01:29,523 It's gotten bigger, louder, and more exciting. 33 00:01:29,523 --> 00:01:31,291 James Brown ‐‐ You can't listen to James Brown 34 00:01:31,291 --> 00:01:33,259 without getting up and wanting to move. 35 00:01:33,259 --> 00:01:34,327 ROSEN: Brown said that everything 36 00:01:34,327 --> 00:01:35,596 sounded like a drum to him. 37 00:01:35,596 --> 00:01:38,131 This kind of symphony of percussion. 38 00:01:38,131 --> 00:01:39,566 Oh, my God! 39 00:01:39,566 --> 00:01:42,435 James Brown music just messed me up. 40 00:01:42,435 --> 00:01:44,470 ♪ Shake your groove thing ♪ 41 00:01:44,470 --> 00:01:46,439 ♪ Shake your groove thing, yeah, yeah ♪ 42 00:01:47,574 --> 00:01:49,710 ♪ Show 'em how they do it now ♪ 43 00:01:49,710 --> 00:01:51,712 ♪ Shake your groove thing ♪ 44 00:01:51,712 --> 00:01:55,882 I think that disco probably has a more lasting effect 45 00:01:55,882 --> 00:01:58,484 than historians are willing to admit. 46 00:01:58,484 --> 00:02:00,521 [ Avicii's "I Could Be the One" plays ] 47 00:02:05,526 --> 00:02:07,728 It's amazing and wonderful 48 00:02:07,728 --> 00:02:11,131 that EDM now almost sort of rules the planet. 49 00:02:11,131 --> 00:02:14,400 Computer‐driven music is the future. 50 00:02:14,400 --> 00:02:16,402 The main reason why EDM is so popular 51 00:02:16,402 --> 00:02:18,238 is because you just start to move. 52 00:02:18,238 --> 00:02:19,372 You can't sit still. 53 00:02:19,873 --> 00:02:22,643 NARRATOR: From the man‐made to the machine‐engineered, 54 00:02:22,643 --> 00:02:25,712 it's all about finding that perfect beat. 55 00:02:25,712 --> 00:02:32,118 Because that's what makes the people ‐‐ adrenaline go up. 56 00:02:32,118 --> 00:02:34,621 Huh‐huh‐huhhh, 57 00:02:34,621 --> 00:02:36,690 uhhh...bam! 58 00:02:42,963 --> 00:02:45,098 [ Guitar strumming ] 59 00:02:45,098 --> 00:02:47,501 ‐HARRISON: What key is it in? ‐MAN: What key is it... 60 00:02:47,501 --> 00:02:50,571 McCARTNEY: It'll be in F for you. 61 00:02:51,304 --> 00:02:53,540 SPECTOR: Here we go. 62 00:02:54,875 --> 00:02:57,177 FRANKLIN: Right after I say, "Are you sure?" 63 00:02:57,177 --> 00:02:58,745 Da da da ‐‐ yeah. 64 00:02:58,745 --> 00:02:59,846 MAN: Oh. 65 00:03:01,447 --> 00:03:04,184 WILSON: Hal, here's how I want to do it. It's like this. 66 00:03:04,184 --> 00:03:06,386 BOWIE: All right, it's fun time. Fun time. 67 00:03:06,386 --> 00:03:09,055 ‐MAN #1: Here we go. ‐MAN #2: Oh, really? 68 00:03:09,055 --> 00:03:11,324 MAN #1: 17, take one. 69 00:03:11,825 --> 00:03:14,094 MAN #3: This will be a keeper. 70 00:03:14,094 --> 00:03:15,862 [ Woman laughs ] 71 00:03:26,272 --> 00:03:28,742 ‐♪ All the single ladies ♪ ‐♪ All the single ladies ♪ 72 00:03:28,809 --> 00:03:31,411 ‐♪ All the single ladies ♪ ‐♪ All the single ladies ♪ 73 00:03:31,411 --> 00:03:32,646 ♪ All the single ladies ♪ 74 00:03:32,646 --> 00:03:33,980 ♪ Now, put your hands up ♪ 75 00:03:33,980 --> 00:03:36,617 ♪ Up in the club, we just broke up ♪ 76 00:03:36,617 --> 00:03:38,852 ♪ I'm doin' my own little thing ♪ 77 00:03:38,852 --> 00:03:41,955 Trick started this beat with just a drum 78 00:03:41,955 --> 00:03:44,257 and the quirky sound that we heard. 79 00:03:44,257 --> 00:03:46,226 [ Drum plays ] 80 00:03:46,226 --> 00:03:47,794 ♪ Uh, uh, uh ♪ 81 00:03:47,794 --> 00:03:49,930 ♪ I'm up on him, he up on me ♪ 82 00:03:49,930 --> 00:03:52,332 ♪ Don't pay him any attention ♪ 83 00:03:52,332 --> 00:03:54,267 And I just sat in the back. 84 00:03:54,267 --> 00:03:57,170 I just thought about if I was Beyoncé, 85 00:03:57,170 --> 00:03:58,939 I would say, "What?" 86 00:03:58,939 --> 00:04:00,841 ♪ 'Cause if you liked it, then you should've put a ring on it ♪ 87 00:04:00,841 --> 00:04:02,976 ♪ If you liked it, then you should've put a ring on it ♪ 88 00:04:02,976 --> 00:04:05,311 ♪ Don't be mad once you see that he want it ♪ 89 00:04:05,311 --> 00:04:07,681 ♪ If you liked it, then you should've put a ring on it ♪ 90 00:04:07,681 --> 00:04:10,316 ♪ Oh‐oh‐oh, oh‐oh‐oh ♪ 91 00:04:10,316 --> 00:04:11,685 I'm thinking. I'm quiet. 92 00:04:11,685 --> 00:04:13,887 STEWART: He's not giving me no love. 93 00:04:13,887 --> 00:04:16,890 He's not ‐‐ We're not in it together. He's just... 94 00:04:16,890 --> 00:04:19,425 I'm giving him nothing. I'm Jedi. 95 00:04:19,425 --> 00:04:22,028 Trick stopped the beat, and I look at him. 96 00:04:22,028 --> 00:04:23,630 It was like, "What's wrong with you, man?" 97 00:04:23,630 --> 00:04:24,865 ‐"What are you doin'?" ‐"What are you doin'?" 98 00:04:24,865 --> 00:04:26,633 And he's like, "What do you mean? 99 00:04:26,633 --> 00:04:28,101 I was gonna start another beat." 100 00:04:28,101 --> 00:04:30,537 I was like, "Yeah, you just go and sit in there. 101 00:04:30,537 --> 00:04:31,705 I'll be right..." 102 00:04:31,705 --> 00:04:33,406 It's like, "I got the whole thing." 103 00:04:33,406 --> 00:04:34,841 It's like, "I just wrote the whole song." 104 00:04:34,841 --> 00:04:36,877 ♪ I got gloss on my lips, a man on my hips ♪ 105 00:04:36,877 --> 00:04:39,680 ♪ Hold me tighter than my Deréon jeans ♪ 106 00:04:39,680 --> 00:04:41,047 THE‐DREAM: The anatomy is there. 107 00:04:41,047 --> 00:04:44,350 The heart's there, the lungs, the stomach. 108 00:04:44,350 --> 00:04:45,652 You know, the... 109 00:04:45,652 --> 00:04:47,453 I just have to put the legs on it. 110 00:04:47,453 --> 00:04:49,623 ♪ Don't pay him any attention ♪ 111 00:04:49,623 --> 00:04:51,958 ♪ 'Cause you had your turn, and now you gonna learn ♪ 112 00:04:51,958 --> 00:04:55,061 ♪ What it really feels like to miss me ♪ 113 00:04:55,061 --> 00:04:58,064 STEWART: She came by to just kind of poke her head in 114 00:04:58,064 --> 00:05:00,100 and kind of hear what it was, and she was like, "Oh." 115 00:05:00,100 --> 00:05:02,536 And she immediately ‐‐ There was no lyrics typed out. 116 00:05:02,536 --> 00:05:03,904 Like, there was no nothing. 117 00:05:03,904 --> 00:05:05,739 It was like, "Yeah, let me get with that." 118 00:05:05,739 --> 00:05:07,373 Like, and the next thing I knew, 119 00:05:07,373 --> 00:05:08,975 she was on the other side of the booth... 120 00:05:08,975 --> 00:05:10,410 ‐THE‐DREAM: Singing. ‐STEWART: ...singing. 121 00:05:10,410 --> 00:05:12,746 And we were like... 122 00:05:12,746 --> 00:05:15,916 ‐Yeah. ‐This is ‐‐ This is happening. 123 00:05:16,449 --> 00:05:19,019 ♪ If you liked it, then you should've put a ring on it ♪ 124 00:05:19,019 --> 00:05:23,489 He's thinking about how to connect the dots lyrically. 125 00:05:23,489 --> 00:05:25,892 I'm thinking about, "B is from Houston." 126 00:05:25,892 --> 00:05:28,829 I'm thinking about Southern. I'm thinking about... 127 00:05:28,829 --> 00:05:31,131 Like, to me, it's a church beat. 128 00:05:31,131 --> 00:05:32,465 So I just started with the... 129 00:05:32,465 --> 00:05:34,334 ♪ Chuh‐chuh chuh‐chuh chuh‐chuh chuh ♪ 130 00:05:34,334 --> 00:05:35,902 It's like, that's a sanctified beat. 131 00:05:35,902 --> 00:05:37,938 ‐'Cause she's a Southern girl. ‐She's a Southern girl. 132 00:05:37,938 --> 00:05:39,940 ‐♪ All the single ladies ♪ ‐[ Rhythmic clapping ] 133 00:05:39,940 --> 00:05:41,542 ♪ All the single ladies ♪ 134 00:05:41,542 --> 00:05:43,644 THE‐DREAM: I can see the paper fans in church 135 00:05:43,644 --> 00:05:46,279 and the wooden benches and the reverend 136 00:05:46,279 --> 00:05:48,148 and the baptisms that are going on 137 00:05:48,148 --> 00:05:49,783 and knowing what's happening after that. 138 00:05:49,783 --> 00:05:52,052 That's everything I get from one sound. 139 00:05:52,052 --> 00:05:54,521 So, I'm like, "How do I get this Southern girl 140 00:05:54,521 --> 00:05:56,022 on the dance floor?" 141 00:05:56,022 --> 00:05:57,958 ♪ Oh, oh, oh ♪ 142 00:05:57,958 --> 00:05:59,693 High five, man. Yeah, man. 143 00:05:59,693 --> 00:06:01,194 Yeah. Totally rad, man. 144 00:06:01,194 --> 00:06:04,097 ‐I think that one's a keeper. ‐It's randy. 145 00:06:04,831 --> 00:06:05,932 [ Chuckles ] 146 00:06:05,932 --> 00:06:10,170 ♪ Talk about little David ♪ 147 00:06:10,170 --> 00:06:12,238 ♪ Sit down ♪ 148 00:06:12,238 --> 00:06:16,543 ♪ He's a mighty man ♪ 149 00:06:16,543 --> 00:06:18,545 ♪ Sit down ♪ 150 00:06:18,545 --> 00:06:22,516 ♪ Well, he killed Goliath ♪ 151 00:06:22,516 --> 00:06:24,585 ♪ Sit down ♪ 152 00:06:24,585 --> 00:06:28,689 ♪ Took his head to the king, Lord ♪ 153 00:06:28,689 --> 00:06:34,360 ♪ Sit down, servant, and rest awhile ♪ 154 00:06:34,360 --> 00:06:36,429 KING: A lot of people, when they think of gospel music, 155 00:06:36,429 --> 00:06:39,533 think of the sound of the vocal. 156 00:06:39,533 --> 00:06:42,569 They think of spiritual aspects of gospel. 157 00:06:42,569 --> 00:06:44,370 But they very often don't think enough 158 00:06:44,370 --> 00:06:47,073 about the rhythmic aspects and the driving beat. 159 00:06:47,073 --> 00:06:51,311 ‐♪ Sit down, servant ♪ ‐♪ I can't sit down ♪ 160 00:06:51,311 --> 00:06:53,079 ♪ No, I can't sit down ♪ 161 00:06:53,079 --> 00:06:55,849 ‐♪ Sit down, servant ♪ ‐♪ I can't sit down ♪ 162 00:06:55,849 --> 00:06:58,318 ♪ I just got to heaven, and I can't sit down ♪ 163 00:06:58,318 --> 00:07:01,387 ♪ You can watch the sun, see how steady she run ♪ 164 00:07:01,387 --> 00:07:04,490 ♪ Don't let it catch you with your work undone ♪ 165 00:07:04,490 --> 00:07:07,160 ♪ Joshua, Joshua, the son of Nun ♪ 166 00:07:07,160 --> 00:07:09,830 ♪ Thank God Almighty, was a gospel son ♪ 167 00:07:09,830 --> 00:07:12,265 Gospel has a "dun, da‐dun, da‐dun, da‐dun, da‐dun." 168 00:07:12,265 --> 00:07:14,835 Right? It's influenced by boogie‐woogie and other styles. 169 00:07:14,835 --> 00:07:18,271 And that pounding, sort of frenzied aspect of gospel 170 00:07:18,271 --> 00:07:20,674 is really important to its spiritual aspects. 171 00:07:20,674 --> 00:07:22,809 It's what caused people in churches 172 00:07:22,809 --> 00:07:25,378 to catch the spirit and to go wild. 173 00:07:25,378 --> 00:07:26,980 ♪ Come later ♪ 174 00:07:26,980 --> 00:07:29,683 ♪ When I get to heaven, I'm gonna put on my shoes ♪ 175 00:07:29,683 --> 00:07:32,318 ♪ And walk around heaven and tell my news ♪ 176 00:07:32,318 --> 00:07:35,155 ♪ I'll look up David at the end of the day ♪ 177 00:07:35,155 --> 00:07:38,158 ♪ Tune up my harp and begin to play ♪ 178 00:07:38,158 --> 00:07:41,494 But it directly got transferred into rock 'n' roll music 179 00:07:41,494 --> 00:07:42,796 through the gospel fervor and energy 180 00:07:42,796 --> 00:07:44,064 of people like Little Richard. 181 00:07:47,033 --> 00:07:49,469 Oh, my soul! [ Chuckles ] 182 00:07:49,469 --> 00:07:51,104 We gonna do a little thing for you. 183 00:07:51,104 --> 00:07:52,238 [ Piano plays ] 184 00:07:52,238 --> 00:07:54,207 ♪ Saturday night, and I just got paid ♪ 185 00:07:54,207 --> 00:07:56,109 ♪ I'm a fool about my money, don't try to save ♪ 186 00:07:56,109 --> 00:07:57,978 ♪ My heart says, "Go, go have a time" ♪ 187 00:07:57,978 --> 00:07:59,746 ♪ Saturday night, and I'm feelin' fine ♪ 188 00:07:59,746 --> 00:08:01,682 ♪ I'm gonna rock it up ♪ 189 00:08:01,682 --> 00:08:03,483 ♪ I'm gonna rip it up ♪ 190 00:08:03,483 --> 00:08:05,351 ♪ I'm gonna shake it up ♪ 191 00:08:05,351 --> 00:08:07,020 ♪ Gonna ball it up ♪ 192 00:08:07,020 --> 00:08:10,356 ♪ I'm gonna rock it up and ball tonight ♪ 193 00:08:10,356 --> 00:08:12,693 A guy like Little Richard, 194 00:08:12,693 --> 00:08:15,461 as with any sort of black artist from that era, 195 00:08:15,461 --> 00:08:18,565 is giving you the black church, 196 00:08:18,565 --> 00:08:21,535 as well as the black juke joint. 197 00:08:21,535 --> 00:08:23,870 ♪ Gonna shake it up ♪ 198 00:08:23,870 --> 00:08:24,871 ♪ Gonna ball it up ♪ 199 00:08:25,471 --> 00:08:28,274 ♪ I'm gonna rock it up and ball tonight ♪ 200 00:08:28,274 --> 00:08:29,776 ♪ Everybody ♪ 201 00:08:29,776 --> 00:08:32,412 Richard said, "I want to bring you to this train station. 202 00:08:32,412 --> 00:08:33,680 I want you to hear something." 203 00:08:33,680 --> 00:08:35,481 [ Train chugging ] 204 00:08:35,481 --> 00:08:38,251 Said, "Now, listen to the train. The train's going all, 205 00:08:38,251 --> 00:08:40,687 "Choo‐choo, choo‐choo, choo‐choo, choo‐choo." 206 00:08:40,687 --> 00:08:42,689 He said, "Now watch when they pick up speed." 207 00:08:42,689 --> 00:08:44,525 Choo‐choo, choo‐choo, choo‐choo, choo‐choo. 208 00:08:44,525 --> 00:08:47,093 [ Train chugging ] 209 00:08:47,093 --> 00:08:49,295 He said, "What kind of notes are those?" 210 00:08:49,295 --> 00:08:50,931 I say, "Those are eighth notes." 211 00:08:50,931 --> 00:08:53,567 He said, "Well, that's what I want you to play behind me." 212 00:08:53,567 --> 00:08:55,035 [ Drum plays chugging rhythm ] 213 00:08:55,035 --> 00:08:57,571 ♪ Keep a‐knockin', but you can't come in ♪ 214 00:08:57,638 --> 00:09:00,006 ♪ You keep a‐knockin', but you can't come in ♪ 215 00:09:00,073 --> 00:09:02,576 ♪ You keep a‐knockin', but you can't come in ♪ 216 00:09:02,576 --> 00:09:05,111 ♪ Come back tomorrow night and try it again ♪ 217 00:09:05,111 --> 00:09:07,648 I mean, Little Richard, man. Shit exciting. 218 00:09:07,648 --> 00:09:09,282 ♪ ...come in ♪ 219 00:09:09,282 --> 00:09:11,384 ♪ You said you love me, but you can't come in, whoo ♪ 220 00:09:11,384 --> 00:09:13,854 And the beat was contagious. 221 00:09:13,854 --> 00:09:16,056 ♪ Come back tomorrow night and try it again ♪ 222 00:09:16,056 --> 00:09:17,558 ♪ Wah ♪ 223 00:09:17,558 --> 00:09:19,092 The power, the sheer power, 224 00:09:19,092 --> 00:09:22,162 the visceral power of the beat of that driving rhythm ‐‐ 225 00:09:22,162 --> 00:09:24,164 He actually had two drum kits onstage. 226 00:09:24,164 --> 00:09:26,332 And as soon as the music started, 227 00:09:26,332 --> 00:09:27,701 I mean, it was just pounding. 228 00:09:27,701 --> 00:09:30,504 And it was ‐‐ You could feel it in your chest. 229 00:09:30,504 --> 00:09:31,872 ♪ I'm goin' downtown ♪ 230 00:09:31,872 --> 00:09:35,909 Here was a swinging, tough Southern beat... 231 00:09:37,611 --> 00:09:39,646 ♪ Yeah, you rock too fast ♪ 232 00:09:39,646 --> 00:09:41,014 Too fast, too fast. 233 00:09:41,014 --> 00:09:43,517 ...that was coming out of New Orleans. 234 00:09:43,517 --> 00:09:45,552 LITTLE RICHARD: Listen to me. Listen to me, you guitar. 235 00:09:45,552 --> 00:09:46,787 Listen to the way I'm playing. 236 00:09:46,787 --> 00:09:48,254 KING: So many of Little Richard's 237 00:09:48,254 --> 00:09:50,557 most famous records were recorded at J&M Studios 238 00:09:50,557 --> 00:09:52,893 ‐by the engineer Cosimo Matassa. ‐LITTLE RICHARD: Bass do... 239 00:09:52,893 --> 00:09:55,028 ♪ Bom, bom‐bom, bom, bom‐bom, bom... ♪ 240 00:09:55,028 --> 00:09:57,097 KING: There wasn't a lot of advanced technology 241 00:09:57,097 --> 00:09:58,599 in that studio, so they basically had 242 00:09:58,599 --> 00:10:01,034 to just record performances 243 00:10:01,034 --> 00:10:02,636 as if there was a kind of live audience. 244 00:10:02,636 --> 00:10:06,773 LITTLE RICHARD: May I get that ‐‐ that hillbilly thing? 245 00:10:06,773 --> 00:10:08,474 It's a riff, you know? 246 00:10:08,474 --> 00:10:13,747 What it did for rock 'n' roll was plant a stone in history ‐‐ 247 00:10:13,747 --> 00:10:15,048 "We started here." 248 00:10:15,749 --> 00:10:17,784 ♪ And you know just what I mean ♪ 249 00:10:17,784 --> 00:10:22,188 It was a sound and a flavor all unto itself. 250 00:10:22,188 --> 00:10:23,990 And they took it out in the world. 251 00:10:23,990 --> 00:10:26,092 ♪ Wop bop‐a‐loo bop a‐lop ba ♪ 252 00:10:26,092 --> 00:10:27,828 ♪ Tutti frutti, oh, rutti ♪ 253 00:10:27,828 --> 00:10:29,329 GOLDMAN: It was really an awakening. 254 00:10:29,329 --> 00:10:30,964 Of course, we're talking about a time when, in America, 255 00:10:30,964 --> 00:10:34,500 it was so, so puritanical. 256 00:10:34,500 --> 00:10:37,704 SNOW: Rock 'n' roll music is a contributing factor 257 00:10:37,704 --> 00:10:40,340 to our juvenile delinquency of today... 258 00:10:40,340 --> 00:10:42,709 I 100% believe. 259 00:10:42,709 --> 00:10:44,110 Why I believe that 260 00:10:44,110 --> 00:10:46,446 is because I know how it feels when you sing it. 261 00:10:46,446 --> 00:10:48,515 If you talk to the average teenager of today 262 00:10:48,515 --> 00:10:51,317 and you ask them what it is about rock 'n' roll music 263 00:10:51,317 --> 00:10:52,853 that they like, 264 00:10:52,853 --> 00:10:54,354 the first thing they'll say is, "The beat, the beat, the beat." 265 00:10:54,354 --> 00:10:56,657 YOUNG WOMAN: Oh, my God! Richie over there! 266 00:10:56,657 --> 00:10:58,458 MAN: "Cross‐Canada Hit Parade" debut, 267 00:10:58,458 --> 00:11:01,494 jumping into 10th position this week, "Tutti Frutti." 268 00:11:01,494 --> 00:11:05,131 And here to sing it in person, Pat Boone. 269 00:11:05,131 --> 00:11:07,133 ♪ Wop bop‐a‐loo bop a‐lop bop bop ♪ 270 00:11:07,133 --> 00:11:09,570 ♪ I got a gal, her name's Sue ♪ 271 00:11:09,570 --> 00:11:11,705 ♪ Knows just what to do ♪ 272 00:11:11,705 --> 00:11:13,907 ♪ I got a gal, her name's Sue ♪ 273 00:11:13,907 --> 00:11:16,042 ♪ Knows just what to do ♪ 274 00:11:16,042 --> 00:11:18,078 ANKA: And then we would white‐ify it. 275 00:11:18,078 --> 00:11:20,614 And you'd have Little Richard and Fats Domino 276 00:11:20,614 --> 00:11:22,182 bustin' their hump with great songs. 277 00:11:22,182 --> 00:11:23,449 And then Pat Boone would cover it. 278 00:11:23,449 --> 00:11:25,285 I mean, how do you cover Little Richard? 279 00:11:25,285 --> 00:11:26,920 It's like suicide. [ Chuckles ] 280 00:11:26,920 --> 00:11:29,155 BECK: We were not allowed to hear the real thing. 281 00:11:29,155 --> 00:11:33,393 And it was like a sort of cloak of respectability 282 00:11:33,393 --> 00:11:34,528 put over the record. 283 00:11:34,528 --> 00:11:36,863 Pat Boone sold more records than we did. 284 00:11:36,863 --> 00:11:38,999 LITTLE RICHARD: He did a good version. You know, after all, 285 00:11:38,999 --> 00:11:40,500 for him to say, "Wop bopaloo bop a‐lop bam boom," 286 00:11:40,500 --> 00:11:42,068 that wasn't too easy. 287 00:11:42,068 --> 00:11:44,838 A lot of the new people want to hear the originators. 288 00:11:44,838 --> 00:11:46,306 They say, "Let us hear the real thing." 289 00:11:46,306 --> 00:11:48,208 Shoot, it just like if you been looking' for a girl, 290 00:11:48,208 --> 00:11:51,712 and you see a man every day, you want to see the real thing. 291 00:11:52,913 --> 00:11:55,181 That's enough. I can't look no better than that. 292 00:11:55,181 --> 00:11:57,383 BECK: Everything that I loved about rock 'n' roll ‐‐ 293 00:11:57,383 --> 00:12:00,887 the danger, the explosive sounds of those records ‐‐ 294 00:12:00,887 --> 00:12:04,725 was gone from about 1960 onwards. 295 00:12:04,725 --> 00:12:07,260 But it was just beginning. 296 00:12:07,260 --> 00:12:09,930 A new form of rock 'n' roll, as we call it, 297 00:12:09,930 --> 00:12:11,998 came into play during the '60s, 298 00:12:11,998 --> 00:12:16,202 when that was ushered in by companies like Motown. 299 00:12:19,272 --> 00:12:22,142 [ "Dancing in the Street" plays ] 300 00:12:22,142 --> 00:12:25,078 BECK: When there was a nice backbeat, beautifully sounding, 301 00:12:25,078 --> 00:12:27,981 good, balanced‐sounding records, all‐American. 302 00:12:27,981 --> 00:12:31,484 ♪ Calling out around the world ♪ 303 00:12:31,484 --> 00:12:35,922 ♪ Are you ready for a brand‐new beat? ♪ 304 00:12:35,922 --> 00:12:39,893 ♪ Summer's here, and the time is right ♪ 305 00:12:39,893 --> 00:12:42,395 ♪ For dancing in the street ♪ 306 00:12:42,395 --> 00:12:45,799 "Dancing in the Street" ‐‐ They would almost kick off the night 307 00:12:45,799 --> 00:12:47,033 at any club with that. 308 00:12:47,033 --> 00:12:48,735 One of the great Motown hits. 309 00:12:48,735 --> 00:12:50,971 Motown music brought my world 310 00:12:50,971 --> 00:12:55,241 into abundance of color and soulfulness... 311 00:12:55,241 --> 00:12:57,043 because those melodic lines 312 00:12:57,043 --> 00:12:59,580 and those fantastic chord changes and those beats... 313 00:12:59,580 --> 00:13:03,083 as soon as you heard the very first notes, 314 00:13:03,083 --> 00:13:06,019 you knew exactly what this was. 315 00:13:06,019 --> 00:13:08,689 It came out sounding like God. 316 00:13:08,689 --> 00:13:11,157 ♪ Doo‐doo, doo‐doo ♪ 317 00:13:11,224 --> 00:13:13,159 ♪ Doo‐doo, doo‐doo ♪ 318 00:13:13,727 --> 00:13:17,030 ♪ Doo‐doo, doo‐doo, doo‐doo ♪ 319 00:13:17,030 --> 00:13:20,166 ♪ Doo, doo, doo, doo ♪ 320 00:13:20,166 --> 00:13:24,304 ♪ People say I'm the life of the party ♪ 321 00:13:24,304 --> 00:13:28,542 ♪ 'Cause I tell a joke or two ♪ 322 00:13:28,542 --> 00:13:34,948 ♪ Although I might be laughin' loud and hearty ♪ 323 00:13:34,948 --> 00:13:38,484 ♪ Deep inside, I'm blue ♪ 324 00:13:38,484 --> 00:13:43,524 ♪ So take a good look at my face ♪ 325 00:13:43,524 --> 00:13:48,529 ♪ You'll see my smile looks out of place ♪ 326 00:13:48,529 --> 00:13:53,099 ♪ If you look closer, it's easy to trace ♪ 327 00:13:53,099 --> 00:13:56,837 ♪ The tracks of my tears ♪ 328 00:13:56,837 --> 00:13:58,939 ♪ Doo‐doo, doo‐doo ♪ 329 00:13:58,939 --> 00:14:01,708 On the very first day of Motown, 330 00:14:01,708 --> 00:14:04,678 Berry Gordy was there, and four other people. 331 00:14:04,678 --> 00:14:06,680 And I was among them. 332 00:14:06,680 --> 00:14:09,550 And he said, "Okay, I'm starting this record company. 333 00:14:09,550 --> 00:14:13,053 We are not gonna only make black music. 334 00:14:13,053 --> 00:14:15,121 We're gonna make music for everybody. 335 00:14:15,188 --> 00:14:17,157 We're gonna make music for the world. 336 00:14:17,223 --> 00:14:19,292 We're gonna make music with some great beats 337 00:14:19,292 --> 00:14:21,027 and some great stories. 338 00:14:21,027 --> 00:14:24,698 And we're gonna always do quality music." 339 00:14:24,698 --> 00:14:26,967 ♪ ...good look at my face ♪ 340 00:14:26,967 --> 00:14:28,434 ♪ Oh, oh, oh ♪ 341 00:14:28,434 --> 00:14:31,137 ♪ You'll see my smile looks out of place ♪ 342 00:14:31,137 --> 00:14:33,173 We would go places in the South, 343 00:14:33,173 --> 00:14:36,442 taking our Motortown Revues down there, you know. 344 00:14:36,442 --> 00:14:37,678 ♪ Whoo ♪ 345 00:14:37,678 --> 00:14:39,680 There's a big stage in the middle of the hall. 346 00:14:39,680 --> 00:14:40,981 And white people are on one side, 347 00:14:40,981 --> 00:14:42,448 and black people are on the other side. 348 00:14:42,448 --> 00:14:43,750 It's segregated. 349 00:14:43,750 --> 00:14:46,152 But, you know, maybe you can do something about it. 350 00:14:46,152 --> 00:14:48,354 The next time we got to those places, 351 00:14:48,354 --> 00:14:51,191 the kids, they were dancing with each other. 352 00:14:51,191 --> 00:14:56,329 They were talking, intermingling, holding hands. 353 00:14:57,063 --> 00:14:58,565 Here's a little black boy 354 00:14:58,565 --> 00:15:00,366 holding a little white girl's hand, or vice versa. 355 00:15:00,366 --> 00:15:04,938 That was his idea of what he wanted his record company to be. 356 00:15:04,938 --> 00:15:06,272 PHILLINGANES: The basic elements 357 00:15:06,272 --> 00:15:08,474 or the main elements of the Motown sound 358 00:15:08,474 --> 00:15:12,779 had to do with a very solid‐ but‐controlled gospel sound. 359 00:15:12,779 --> 00:15:16,016 It was rooted in a big beat. 360 00:15:16,016 --> 00:15:18,184 Lots of bass, tambourine, drums. 361 00:15:18,184 --> 00:15:19,753 You know ‐‐ very, very rhythmic. 362 00:15:19,753 --> 00:15:23,857 DOZIER: The Funk Brothers at Motown were very important. 363 00:15:23,857 --> 00:15:28,061 They had such a sense of music, a feeling for it. 364 00:15:28,061 --> 00:15:29,362 I used to give James Jamerson, 365 00:15:29,362 --> 00:15:32,298 the bass player in the Funk Brothers, 366 00:15:32,298 --> 00:15:34,568 the feeling of what I was going for. 367 00:15:34,568 --> 00:15:37,738 I would start sometimes on the piano. 368 00:15:37,738 --> 00:15:40,874 ♪ Dun‐bom‐bom‐ba, bom‐bom‐bom, bom, bom‐bom‐ba ♪ 369 00:15:40,874 --> 00:15:45,211 [ "I Can't Help Myself (Sugar Pie, Honey Bunch)" plays ] 370 00:15:45,211 --> 00:15:47,848 And then, when the changes would come in, 371 00:15:47,848 --> 00:15:50,483 eight bars later, he would follow that feeling. 372 00:15:50,483 --> 00:15:54,788 ♪ Ooh, sugar pie, honey bunch ♪ 373 00:15:54,788 --> 00:15:58,291 ♪ You know that I love you ♪ 374 00:15:58,291 --> 00:16:01,461 ♪ I can't help myself ♪ 375 00:16:01,461 --> 00:16:03,396 BAKER: Motown had their rhythm section 376 00:16:03,396 --> 00:16:05,131 that they used pretty consistently. 377 00:16:05,131 --> 00:16:08,334 They created a beat that they kept using over and over again. 378 00:16:08,334 --> 00:16:09,703 Beats were kind of this classic, like, 379 00:16:09,703 --> 00:16:11,738 ♪ Unh, unh, unh‐unh, unh‐unh, unh ♪ 380 00:16:11,738 --> 00:16:13,273 You know, those kind of beats 381 00:16:13,273 --> 00:16:16,042 where you have those, like, amazing rhythm sections 382 00:16:16,042 --> 00:16:17,544 with the James Jamerson bass line. 383 00:16:17,544 --> 00:16:19,179 And you start to think of the way it moves around, like... 384 00:16:19,179 --> 00:16:20,480 ♪ Doom, doom, ba‐doom ♪ 385 00:16:20,480 --> 00:16:22,115 ♪ Ba‐doo‐ba‐doo, doo‐doo, doom‐doom ♪ 386 00:16:22,115 --> 00:16:25,218 The drum sound and the bass, the backbone of that sound ‐‐ 387 00:16:25,218 --> 00:16:26,520 never to be equaled. 388 00:16:29,823 --> 00:16:32,593 BRIDGEWATER: I got a chance to see these acts. 389 00:16:32,593 --> 00:16:34,327 As a teenager, would sneak out of the house 390 00:16:34,327 --> 00:16:37,330 to go and see them, at age 14, up in Flint, Michigan. 391 00:16:37,330 --> 00:16:39,099 And that's where, you know, 392 00:16:39,099 --> 00:16:41,334 when people got big, like James Brown, 393 00:16:41,334 --> 00:16:42,803 that's where they would perform. 394 00:16:42,803 --> 00:16:44,538 BOYD: But when you're talking about James Brown, 395 00:16:44,538 --> 00:16:46,640 what he's doing in the '60s and what Motown's doing 396 00:16:46,640 --> 00:16:49,810 in the '60s is two very different things. 397 00:16:49,810 --> 00:16:52,412 There's no way a Motown artist 398 00:16:52,412 --> 00:16:55,081 would have put out a song called "I'm Black and I'm Proud." 399 00:16:55,081 --> 00:16:57,050 ♪ Say it loud ♪ 400 00:16:57,050 --> 00:16:58,852 ♪ I'm black, and I'm proud ♪ 401 00:16:58,852 --> 00:17:01,221 ♪ Say it loud ♪ 402 00:17:01,221 --> 00:17:03,624 ♪ I'm black, and I'm proud ♪ 403 00:17:03,624 --> 00:17:04,758 ♪ Looky here ♪ 404 00:17:04,758 --> 00:17:06,059 ♪ Some people say we got a lot of malice ♪ 405 00:17:06,059 --> 00:17:07,761 ♪ Some say it's a lot of nerve ♪ 406 00:17:07,761 --> 00:17:09,663 ♪ But I say we won't quit movin' ♪ 407 00:17:09,663 --> 00:17:10,564 Black power, brothers. 408 00:17:10,564 --> 00:17:13,099 ♪ Until we get what we deserve ♪ 409 00:17:13,099 --> 00:17:14,601 It was the vibe he put on the music. 410 00:17:14,601 --> 00:17:18,672 You know ‐‐ the grunts and the sound effects 411 00:17:18,672 --> 00:17:21,374 and just the way he ‐‐ I mean, it was really organic. 412 00:17:21,374 --> 00:17:22,943 I mean, that's exactly what it was. 413 00:17:22,943 --> 00:17:25,345 James took it back to the root. 414 00:17:25,345 --> 00:17:27,213 ♪ I said, "I lost someone" ♪ 415 00:17:27,213 --> 00:17:29,783 ♪ But I know where I'm gonna find them ♪ 416 00:17:29,783 --> 00:17:31,518 ‐♪ All aboard ♪ ‐♪ Yeah ♪ 417 00:17:31,518 --> 00:17:33,720 He brought it from the root to the fruit. 418 00:17:33,720 --> 00:17:35,922 ‐♪ All aboard ♪ ‐♪ Yeah ♪ 419 00:17:35,922 --> 00:17:37,223 ♪ For night train ♪ 420 00:17:37,223 --> 00:17:39,192 [ "Night Train" plays ] 421 00:17:41,762 --> 00:17:45,465 ♪ Miami, Florida ♪ 422 00:17:47,433 --> 00:17:51,638 GEORGE: James Brown and the J. B. s, in the mid‐'60s, 423 00:17:51,638 --> 00:17:55,909 changed the sound of what dance music is. 424 00:17:55,909 --> 00:18:00,747 If you listen to "Live at the Apollo," it's a great band. 425 00:18:00,747 --> 00:18:03,416 It's a great show. It's still very bluesy. 426 00:18:03,416 --> 00:18:06,319 Very churchy, the show is. 427 00:18:06,319 --> 00:18:07,654 Over the next couple of years, 428 00:18:07,654 --> 00:18:11,024 as the band begins touring, they have ‐‐ 429 00:18:11,024 --> 00:18:13,493 'cause Brown likes to dance. 430 00:18:13,493 --> 00:18:20,500 So we need to create a bed where we can have him dance. 431 00:18:20,500 --> 00:18:23,436 So they begin playing these instrumental things, 432 00:18:23,436 --> 00:18:27,774 which are interludes from song to song, 433 00:18:27,774 --> 00:18:29,743 so that Brown can do the Mashed Potato 434 00:18:29,743 --> 00:18:32,746 and the Hully Gully and the whatever. 435 00:18:32,746 --> 00:18:34,848 They're a part of a slow evolution 436 00:18:34,848 --> 00:18:37,217 that's happening as Brown tours the country. 437 00:18:37,217 --> 00:18:38,685 So basically, the road, 438 00:18:38,685 --> 00:18:40,787 they really kind of use it as a laboratory. 439 00:18:40,787 --> 00:18:44,090 They begin to influence the actual record. 440 00:18:44,090 --> 00:18:45,759 ♪ All aboard for New York ♪ 441 00:18:45,759 --> 00:18:47,427 Sometimes, they would just grab a studio wherever they were 442 00:18:47,427 --> 00:18:48,662 and make these records. 443 00:18:48,662 --> 00:18:50,063 ROSEN: One of the watershed moments 444 00:18:50,063 --> 00:18:53,233 in 20th‐century music history 445 00:18:53,233 --> 00:18:55,335 is the moment in 1965 446 00:18:55,335 --> 00:18:57,303 when James Brown went into the studio 447 00:18:57,303 --> 00:18:59,072 to record this new song he'd written, 448 00:18:59,072 --> 00:19:00,941 "Papa's Got a Brand New Bag." 449 00:19:00,941 --> 00:19:03,577 He wanted to make a record where the guitar sounded like drums, 450 00:19:03,577 --> 00:19:06,212 where the bass guitar sounded like drums, 451 00:19:06,212 --> 00:19:07,480 where the horn sounded like drums. 452 00:19:07,480 --> 00:19:10,350 This kind of symphony of percussion. 453 00:19:11,084 --> 00:19:13,687 ♪ Come here, sister ♪ 454 00:19:13,687 --> 00:19:15,255 ♪ Papa's in the swing ♪ 455 00:19:17,390 --> 00:19:20,026 ♪ He ain't too hip ♪ 456 00:19:20,026 --> 00:19:21,728 ♪ About that new breed, babe ♪ 457 00:19:23,263 --> 00:19:25,866 ♪ He ain't no drag ♪ 458 00:19:25,866 --> 00:19:26,800 Ow! 459 00:19:26,800 --> 00:19:29,836 ♪ Papa's got a brand‐new bag ♪ 460 00:19:31,004 --> 00:19:32,939 ROSEN: He went into the recording studio 461 00:19:32,939 --> 00:19:34,240 with this in mind. 462 00:19:34,240 --> 00:19:35,542 So he had his guitar ‐‐ His guitarist 463 00:19:35,542 --> 00:19:38,044 was playing this chicken‐scratch style 464 00:19:38,044 --> 00:19:39,546 that is now so famous. 465 00:19:39,546 --> 00:19:41,147 He wasn't singing the tune 466 00:19:41,147 --> 00:19:44,450 so much as he was a kind of, if you will, human beatbox, 467 00:19:44,450 --> 00:19:46,987 grunting and groaning and exclaiming. 468 00:19:46,987 --> 00:19:49,990 What he did was, he invented this music ‐‐ funk. 469 00:19:50,624 --> 00:19:52,125 ♪ He's doing the jerk ♪ 470 00:19:52,125 --> 00:19:53,326 ♪ He's doing the fly ♪ 471 00:19:53,326 --> 00:19:54,528 ♪ Don't play him cheap ♪ 472 00:19:54,528 --> 00:19:57,097 ♪ 'Cause you know he ain't shy ♪ 473 00:19:57,097 --> 00:19:58,865 ♪ Monkey ♪ 474 00:19:58,865 --> 00:20:00,200 ♪ Mashed Potato ♪ 475 00:20:00,200 --> 00:20:03,103 ♪ Jump back, Jack, see you later, alligator ♪ 476 00:20:03,103 --> 00:20:04,971 ♪ Come here, ooh ♪ 477 00:20:04,971 --> 00:20:06,773 HART: James Brown had a rhythm band. 478 00:20:06,773 --> 00:20:08,408 I mean, you couldn't resist it. 479 00:20:08,408 --> 00:20:10,677 You had all those rhythms coming out 480 00:20:10,677 --> 00:20:13,413 with a strong backbeat, which they called funk. 481 00:20:13,413 --> 00:20:15,616 That was a funky thing. Mnh‐mnh‐mnh. 482 00:20:15,616 --> 00:20:18,484 You know, and he was screaming over the top of it! 483 00:20:18,484 --> 00:20:21,154 ♪ Oh, like the boomerang ♪ 484 00:20:21,154 --> 00:20:23,990 He was on fire. 485 00:20:23,990 --> 00:20:27,160 ♪ Hey, come on ♪ 486 00:20:27,160 --> 00:20:29,596 ♪ Come on, come on ♪ 487 00:20:29,596 --> 00:20:32,332 ♪ You uptight, you out of... ♪ 488 00:20:32,332 --> 00:20:34,167 Oh, my God! 489 00:20:34,167 --> 00:20:37,270 James Brown music just messed me up, 490 00:20:37,270 --> 00:20:39,973 I think, in a good way. 491 00:20:39,973 --> 00:20:41,608 ♪ Come on ♪ 492 00:20:41,608 --> 00:20:42,909 ♪ See what you know ♪ 493 00:20:42,909 --> 00:20:45,411 ♪ Just put it here, bring it on ♪ 494 00:20:45,411 --> 00:20:46,479 ♪ Come on ♪ 495 00:20:46,479 --> 00:20:49,215 It was the drum playing, the... 496 00:20:49,215 --> 00:20:50,951 [ Scatting ] 497 00:20:55,188 --> 00:20:57,658 It was funkier than Motown. 498 00:20:57,658 --> 00:20:59,726 Motown wasn't really funk. 499 00:20:59,726 --> 00:21:03,196 That, to me, is the hypnotic power 500 00:21:03,196 --> 00:21:05,465 of the James Brown effect. 501 00:21:05,465 --> 00:21:08,034 Q‐TIP: He influenced Sly. He influenced Stevie. 502 00:21:08,034 --> 00:21:11,972 He influenced Prince. He influenced dance music. 503 00:21:11,972 --> 00:21:15,576 He brought the rhythm together in this new idiom in a big way. 504 00:21:15,576 --> 00:21:17,310 At one time, he had three drummers 505 00:21:17,310 --> 00:21:20,681 in his band, maybe even four, in the very beginning. 506 00:21:20,681 --> 00:21:23,784 And that's kind of where I got the idea 507 00:21:23,784 --> 00:21:26,252 of, you know, maybe multiple drummers. 508 00:21:26,252 --> 00:21:27,688 That would really be great. 509 00:21:27,688 --> 00:21:31,357 ♪ Please don't dominate the rap, Jack ♪ 510 00:21:31,357 --> 00:21:34,595 ♪ You've got nothing new to say ♪ 511 00:21:34,595 --> 00:21:36,429 You know, wow! What a sound. 512 00:21:36,429 --> 00:21:38,331 Sometimes they play in tandem. 513 00:21:38,331 --> 00:21:40,500 Sometimes they're splitting the rhythms up. 514 00:21:40,500 --> 00:21:43,504 But there's rhythm all over. 515 00:21:43,504 --> 00:21:47,473 We were trying to create that state of mind 516 00:21:47,473 --> 00:21:49,643 that changed all the priorities. 517 00:21:49,643 --> 00:21:51,945 It's a trance band. 518 00:21:51,945 --> 00:21:54,515 We weren't after the beginnings and endings 519 00:21:54,515 --> 00:21:56,750 or even the right notes. 520 00:21:56,750 --> 00:22:00,253 ♪ One step done and another begun ♪ 521 00:22:00,253 --> 00:22:03,724 ♪ And I wonder how many miles ♪ 522 00:22:03,724 --> 00:22:06,159 [ Instrumental music plays ] 523 00:22:06,159 --> 00:22:10,631 There is not a culture that does not have its dance, 524 00:22:10,631 --> 00:22:13,700 has its own rhythm, its own music. 525 00:22:13,700 --> 00:22:19,472 I could see a Led Zeppelin audience or The Beatles 526 00:22:19,472 --> 00:22:22,442 or the Grateful Dead or Santana. 527 00:22:25,478 --> 00:22:27,981 [ Drums play, rhythmic clapping ] 528 00:22:27,981 --> 00:22:30,350 Just keep that going. 529 00:22:50,837 --> 00:22:53,273 SHEILA E.: Carlos Santana really brought 530 00:22:53,273 --> 00:22:54,675 something totally different 531 00:22:54,675 --> 00:22:58,712 that none of us had experienced or heard before. 532 00:22:58,712 --> 00:23:01,147 You know, it was a big deal. It was like, "Wow." 533 00:23:01,147 --> 00:23:03,650 This guy playing rock guitar, 534 00:23:03,650 --> 00:23:06,553 in a sense, with drums, you know, 535 00:23:06,553 --> 00:23:08,822 timbales, congas, bongos, 536 00:23:08,822 --> 00:23:11,592 and then all of the singers 537 00:23:11,592 --> 00:23:13,594 playing hand percussion, as well. 538 00:23:13,594 --> 00:23:16,863 It was something that changed music. 539 00:23:16,863 --> 00:23:19,633 Carlos Santana's story is good timing ‐‐ 540 00:23:19,633 --> 00:23:22,669 the fact that his family moved into San Francisco 541 00:23:22,669 --> 00:23:26,139 just before the youth‐culture explosion 542 00:23:26,139 --> 00:23:27,307 of the late '60s. 543 00:23:28,108 --> 00:23:31,545 There were the jazz clubs. There was the rock emporiums. 544 00:23:31,545 --> 00:23:34,615 There was places where the blues was happening. 545 00:23:34,615 --> 00:23:37,217 [ Conga music plays ] 546 00:23:37,217 --> 00:23:40,821 And then there were these conga parties. 547 00:23:40,821 --> 00:23:44,591 You started to hear certain conga players ‐‐ 548 00:23:44,591 --> 00:23:46,993 Willie Bobo, Ray Barretto. 549 00:23:46,993 --> 00:23:49,262 And that's how he comes to the music. 550 00:23:49,262 --> 00:23:52,633 And then the band becomes this little laboratory 551 00:23:52,633 --> 00:23:55,335 trying to put together electric blues 552 00:23:55,335 --> 00:23:56,570 and Latin percussion 553 00:23:56,570 --> 00:23:58,539 and getting these different languages 554 00:23:58,539 --> 00:24:00,707 to talk one language together. 555 00:24:00,707 --> 00:24:03,810 [ "Fried Neck Bones and Some Home Fries" plays ] 556 00:24:15,656 --> 00:24:17,357 SANTANA: This Latin radio station, 557 00:24:17,357 --> 00:24:20,393 all night they used to have, "Let's party! Party time." 558 00:24:20,393 --> 00:24:21,962 And they put on Joe Cuba 559 00:24:21,962 --> 00:24:24,230 and Eddie Palmieri and Ray Barretto and Tito Puente... 560 00:24:24,230 --> 00:24:26,032 'cause at that time, like today, 561 00:24:26,032 --> 00:24:28,769 I play to everything, the radio or anything, 562 00:24:28,769 --> 00:24:31,905 just to learn what's happening. 563 00:24:31,905 --> 00:24:34,240 And I say, "This is not too far from B. B. King. 564 00:24:34,240 --> 00:24:36,309 You know, this is ‐‐ This can work together." 565 00:24:36,309 --> 00:24:38,244 But, of course, how does that translate 566 00:24:38,244 --> 00:24:39,780 to a radio single? 567 00:24:39,780 --> 00:24:41,915 How does that translate to a recording? 568 00:24:41,915 --> 00:24:43,984 Bill Graham was one of the first 569 00:24:43,984 --> 00:24:46,953 to actually go up to them and say, "Guys, 570 00:24:46,953 --> 00:24:49,289 let me tell you about song structure." 571 00:24:49,289 --> 00:24:53,493 And he plays them Willie Bobo's recording "Evil Ways." 572 00:24:53,493 --> 00:24:56,563 [ "Evil Ways" plays ] 573 00:24:59,833 --> 00:25:06,406 ♪ You got to change your evil ways, baby ♪ 574 00:25:07,073 --> 00:25:09,209 And they take this tune "Evil Ways," 575 00:25:09,209 --> 00:25:13,179 and they figure out a way to bring in the electric guitar, 576 00:25:13,179 --> 00:25:16,316 bring in the rock rhythms just enough 577 00:25:16,316 --> 00:25:20,286 so that it's gonna be palatable for a rock audience, 578 00:25:20,286 --> 00:25:22,889 but it's gonna be true to what "Evil Ways" was, 579 00:25:22,889 --> 00:25:25,559 which was this Latin boogaloo, you know, 580 00:25:25,559 --> 00:25:28,762 irresistible dance‐rhythm kind of tune. 581 00:25:29,963 --> 00:25:33,266 [ Santana's "Evil Ways" plays ] 582 00:25:43,309 --> 00:25:48,314 ♪ You got to change your evil ways, baby ♪ 583 00:25:48,849 --> 00:25:50,216 ♪ Before... ♪ 584 00:25:50,216 --> 00:25:52,619 KAHN: The Carlos Santana view of rhythms, 585 00:25:52,619 --> 00:25:54,154 what he is talking about there 586 00:25:54,154 --> 00:25:57,558 is Afro‐Cuban, Afro‐Caribbean rhythms, 587 00:25:57,558 --> 00:25:58,925 which eventually, you know, 588 00:25:58,925 --> 00:26:01,494 if you trace it back, all goes back to Africa. 589 00:26:01,494 --> 00:26:04,097 ♪ Baby ♪ 590 00:26:04,097 --> 00:26:07,033 ♪ With Gene and Joe and‐a who knows who ♪ 591 00:26:07,033 --> 00:26:08,635 KAYE: And a lot of people don't know 592 00:26:08,635 --> 00:26:10,704 the influence of Latin music. 593 00:26:10,704 --> 00:26:14,007 When I was growing up, you saw films, I mean, 594 00:26:14,007 --> 00:26:15,876 that had bands from South America. 595 00:26:15,876 --> 00:26:18,378 I mean, the Carmen Miranda thing, the samba. 596 00:26:18,378 --> 00:26:19,813 ♪ Bo‐boo‐bing‐ba‐ba‐doo ♪ 597 00:26:19,813 --> 00:26:21,548 ♪ Brazil ♪ 598 00:26:21,548 --> 00:26:23,684 ♪ Ba‐ba‐bi, ba‐do‐ba‐ba‐ba ♪ 599 00:26:23,684 --> 00:26:25,185 ♪ Ba‐ba‐ba‐bi‐do ♪ 600 00:26:25,185 --> 00:26:28,789 SHEILA E.: When I hear Latin, Latin jazz, salsa music, 601 00:26:28,789 --> 00:26:31,825 it's just like, it warms my heart, it makes me feel good. 602 00:26:31,825 --> 00:26:34,027 That's my DNA. That's who I am. 603 00:26:34,027 --> 00:26:35,929 That's the foundation of who I am. 604 00:26:35,929 --> 00:26:40,901 ♪ When I come home, baby ♪ 605 00:26:40,901 --> 00:26:43,804 ♪ My house is dark, and my pots are cold ♪ 606 00:26:43,804 --> 00:26:46,973 ♪ You're hangin' 'round, baby ♪ 607 00:26:46,973 --> 00:26:48,709 SANTANA: Woodstock was probably the biggest door 608 00:26:48,709 --> 00:26:50,343 I ever walked into. 609 00:26:50,343 --> 00:26:54,548 I remember that I was under the influence of LSD. 610 00:26:54,548 --> 00:27:00,086 Damn, why did I take LSD before I went on, you know? 611 00:27:00,086 --> 00:27:02,723 The guitar neck, 612 00:27:02,723 --> 00:27:06,693 it felt like an electric snake that wouldn't stand still. 613 00:27:06,693 --> 00:27:08,128 That's why I'm making ugly faces, 614 00:27:08,128 --> 00:27:10,163 trying to make this snake stand still 615 00:27:10,163 --> 00:27:11,665 so I can, like, play it, you know? 616 00:27:11,665 --> 00:27:13,299 I remember saying over and over, 617 00:27:13,299 --> 00:27:16,402 "God, I'll never do this again, ever. 618 00:27:16,402 --> 00:27:18,905 If you can just keep me in time and in tune, 619 00:27:18,905 --> 00:27:20,340 that's all I ask." 620 00:27:20,340 --> 00:27:22,142 That was my first mantra. 621 00:27:22,142 --> 00:27:24,110 [ Instrumental music plays ] 622 00:27:24,110 --> 00:27:26,346 SHEILA E.: Seeing those instruments, 623 00:27:26,346 --> 00:27:30,050 not just in salsa traditional, but mainstream now. 624 00:27:30,050 --> 00:27:33,086 Now it's crossing over to not just the Latin community 625 00:27:33,086 --> 00:27:35,488 but, you know, everyone else. 626 00:27:35,488 --> 00:27:37,891 [ Instrumental music plays ] 627 00:27:53,406 --> 00:27:56,643 [ Music ends, cheers and applause ] 628 00:27:56,643 --> 00:27:58,044 SANTANA: Thank you. 629 00:27:58,044 --> 00:28:00,113 HART: We're groupists. 630 00:28:00,113 --> 00:28:02,015 The group makes us stronger. 631 00:28:02,015 --> 00:28:05,786 When one person is playing in the groove, that's good. 632 00:28:05,786 --> 00:28:08,054 When two people are playing in the groove, 633 00:28:08,054 --> 00:28:09,556 that gives more power. 634 00:28:09,556 --> 00:28:12,926 Three people, four people, that's the groove. 635 00:28:12,926 --> 00:28:16,997 So, things change. Needs change in a culture. 636 00:28:16,997 --> 00:28:18,965 Why wouldn't the music change? 637 00:28:21,968 --> 00:28:24,104 RODGERS: I grew up, I was a hippie 638 00:28:24,104 --> 00:28:26,773 with embroidered jeans and big platform shoes 639 00:28:26,773 --> 00:28:28,208 and flower power and stuff like that. 640 00:28:28,208 --> 00:28:30,276 I was a Greenwich Village kid. 641 00:28:30,276 --> 00:28:32,345 So everybody who hung out down there 642 00:28:32,345 --> 00:28:35,649 sort of looked like us and were hippies or beatniks 643 00:28:35,649 --> 00:28:36,917 or cool people. 644 00:28:36,917 --> 00:28:39,620 And it was like total, total hippie. 645 00:28:39,620 --> 00:28:43,990 ♪ Woman, take me in your arms ♪ 646 00:28:43,990 --> 00:28:46,593 ♪ Rock your baby ♪ 647 00:28:46,593 --> 00:28:49,763 When I became aware of disco, like, the last thing 648 00:28:49,763 --> 00:28:52,398 I wanted to do was play dance music. 649 00:28:52,398 --> 00:28:55,602 Well, my girlfriend worked at a jazz club. 650 00:28:55,602 --> 00:28:59,272 So I went to a disco with her. And I walked in. 651 00:28:59,272 --> 00:29:02,275 And they were playing the song "I Love to Love You Baby" 652 00:29:02,275 --> 00:29:03,409 by Donna Summer. 653 00:29:03,409 --> 00:29:05,445 ♪ Ahh ♪ 654 00:29:05,512 --> 00:29:07,848 ♪ Ahh ♪ 655 00:29:07,848 --> 00:29:09,850 ♪ When you're layin' so close to me ♪ 656 00:29:09,850 --> 00:29:14,655 ♪ There's no place I'd rather you be than with me ♪ 657 00:29:14,655 --> 00:29:20,226 ♪ Oh, I love to love you, baby ♪ 658 00:29:20,226 --> 00:29:25,398 When the song ended, the deejay segued it into another song. 659 00:29:25,398 --> 00:29:30,236 And I saw people dancing from disparate backgrounds. 660 00:29:30,236 --> 00:29:33,473 We saw gay people, straight people in the traditional sense, 661 00:29:33,473 --> 00:29:35,976 and they were all dancing to the same music. 662 00:29:35,976 --> 00:29:37,443 And I was like, "Whoa!" 663 00:29:37,443 --> 00:29:40,413 And it felt orgasmic to me to hear continuous music. 664 00:29:40,413 --> 00:29:44,117 I went into a trance, and I was like, "Check this out." 665 00:29:44,117 --> 00:29:47,554 And all of a sudden, we fit into this disco crowd. 666 00:29:47,554 --> 00:29:49,756 And I said to myself, 667 00:29:49,756 --> 00:29:51,725 "I want to be a part of that crowd 668 00:29:51,725 --> 00:29:53,259 where the music never stops." 669 00:29:53,259 --> 00:29:57,163 And I wrote "Everybody Dance" maybe three weeks later. 670 00:29:57,163 --> 00:29:59,733 ♪ Everybody dance ♪ 671 00:29:59,733 --> 00:30:01,034 ♪ Doo‐doo, doo, doo ♪ 672 00:30:01,034 --> 00:30:03,236 ♪ Clap your hands, clap your hands ♪ 673 00:30:04,571 --> 00:30:06,973 ♪ Everybody dance ♪ 674 00:30:06,973 --> 00:30:08,274 ♪ Doo‐doo, doo‐doo ♪ 675 00:30:08,274 --> 00:30:10,644 ♪ Clap your hands, clap your hands ♪ 676 00:30:10,644 --> 00:30:12,278 It was the first time 677 00:30:12,278 --> 00:30:15,516 that I knew I could do this for a living. 678 00:30:15,516 --> 00:30:18,351 It was all about the groove. It was all about the sound. 679 00:30:18,351 --> 00:30:20,521 It was all about the vibe and the feel. 680 00:30:20,521 --> 00:30:24,190 And, also, we have a virtuoso bass performance 681 00:30:24,190 --> 00:30:26,960 by Bernard Edwards, but it's still grooving. 682 00:30:26,960 --> 00:30:30,296 [ Bass solo ] 683 00:30:37,137 --> 00:30:38,639 ♪ Everybody dance ♪ 684 00:30:38,639 --> 00:30:42,175 Hello! There are bits of Motown. There's bits of soul. 685 00:30:42,175 --> 00:30:43,777 There's bits of Memphis. 686 00:30:43,777 --> 00:30:46,780 There's all sorts of stuff in that music that Nile did. 687 00:30:46,780 --> 00:30:51,184 CHUCK D: Disco was a very funky, soulful beat, you know, 688 00:30:51,184 --> 00:30:54,621 you was able to dance and glide to. 689 00:30:54,621 --> 00:30:56,222 It wasn't really stuck‐up. 690 00:30:56,222 --> 00:30:59,225 It was like ‐‐ It was like a different beat than the funk 691 00:30:59,225 --> 00:31:01,461 and even what James Brown was puttin' down. 692 00:31:01,461 --> 00:31:03,496 It was just different. It was graceful. 693 00:31:03,496 --> 00:31:05,265 But it wasn't snooty. 694 00:31:05,265 --> 00:31:09,469 ♪ Don't leave me this way ♪ 695 00:31:10,336 --> 00:31:13,439 ♪ I can't survive ♪ 696 00:31:13,439 --> 00:31:16,176 KING: One of the things we have to remember about disco 697 00:31:16,176 --> 00:31:18,078 is that when you went to the dance floor 698 00:31:18,078 --> 00:31:21,214 and you listened to "Don't Leave Me This Way" 699 00:31:21,214 --> 00:31:22,883 by Harold Melvin & The Blue Notes 700 00:31:22,883 --> 00:31:24,785 or Thelma Houston's version, 701 00:31:24,785 --> 00:31:26,186 it was possible for you to have 702 00:31:26,186 --> 00:31:28,555 a spiritually transcendent experience 703 00:31:28,555 --> 00:31:31,925 that would be akin to what you might feel in a church. 704 00:31:31,925 --> 00:31:34,561 ♪ Ah, baby ♪ 705 00:31:34,561 --> 00:31:38,665 ♪ My heart is full of love and desire for you ♪ 706 00:31:38,665 --> 00:31:40,567 HADLEY: One of the most important things 707 00:31:40,567 --> 00:31:45,071 about the emergence of that era is that this was a safe place 708 00:31:45,071 --> 00:31:48,308 for black and Latino gay men to gather. 709 00:31:48,308 --> 00:31:50,544 It was cool to ‐‐ If you dressed differently, 710 00:31:50,544 --> 00:31:53,413 it didn't matter. You were embraced in this world. 711 00:31:53,413 --> 00:31:55,616 The beat brings people together. 712 00:31:55,616 --> 00:31:59,586 It integrates communities ‐‐ black, Latino communities, 713 00:31:59,586 --> 00:32:01,354 gay communities, women. 714 00:32:01,354 --> 00:32:04,257 And it gives those voices cultural capital. 715 00:32:04,257 --> 00:32:07,260 BENITEZ: Disco, for the most part, was very underground. 716 00:32:07,260 --> 00:32:08,962 It remained pretty much underground 717 00:32:08,962 --> 00:32:10,296 until "Saturday Night Fever." 718 00:32:10,296 --> 00:32:13,700 [ The Bee Gees' "Stayin' Alive" plays ] 719 00:32:13,700 --> 00:32:16,537 ♪ Well, you can tell by the way I use my walk ♪ 720 00:32:16,537 --> 00:32:19,205 ♪ I'm a woman's man, no time to talk ♪ 721 00:32:19,205 --> 00:32:21,274 ♪ The music loud, the women warm ♪ 722 00:32:21,274 --> 00:32:23,409 ♪ I've been kicked around since I was born ♪ 723 00:32:23,409 --> 00:32:26,446 ROBIN: "Saturday Night Fever," when an established producer 724 00:32:26,446 --> 00:32:28,214 called from L. A. and said, "You know, 725 00:32:28,214 --> 00:32:30,383 John Travolta, he's this new guy 726 00:32:30,383 --> 00:32:31,685 out of 'Welcome Back, Kotter'" ‐‐ 727 00:32:31,685 --> 00:32:34,054 He's in this film, and he's rehearsing 728 00:32:34,054 --> 00:32:35,822 to 'You Should Be Dancing' on the set. 729 00:32:35,822 --> 00:32:37,057 Have you got any others?" 730 00:32:37,057 --> 00:32:38,792 We'd never heard of the word "disco." 731 00:32:38,792 --> 00:32:42,462 And what we considered what we were writing was just R&B. 732 00:32:42,462 --> 00:32:44,631 BARRY: From the time we first heard Otis Redding, 733 00:32:44,631 --> 00:32:46,700 we became obsessed with R&B music. 734 00:32:46,700 --> 00:32:49,736 ROBIN: So, in a sense, what you are essentially hearing 735 00:32:49,736 --> 00:32:52,739 with the Bee Gees is this black American rhythms 736 00:32:52,739 --> 00:32:54,675 that were going on in the '50s 737 00:32:54,675 --> 00:32:58,745 and that came to fruition in the '60s and '70s. 738 00:32:58,745 --> 00:33:00,180 MAN: Beautiful. 739 00:33:00,180 --> 00:33:01,414 Okay, let's do it again. Second half of the chorus. 740 00:33:01,414 --> 00:33:02,983 But bring that sound in. That's great. 741 00:33:02,983 --> 00:33:04,918 Dance grooves, things like that, 742 00:33:04,918 --> 00:33:06,953 even in our day, you had to play it. 743 00:33:06,953 --> 00:33:08,321 You had to play it. 744 00:33:08,321 --> 00:33:10,757 And we found a way of creating a drum loop 745 00:33:10,757 --> 00:33:13,493 that made rhythm accurate before drum machines. 746 00:33:13,493 --> 00:33:15,896 We had a downbeat and backbeat. 747 00:33:15,896 --> 00:33:19,933 It was like a 2‐inch tape that went 'round a brush. 748 00:33:19,933 --> 00:33:21,501 And it was dead‐on. 749 00:33:21,501 --> 00:33:24,070 And so we could do "A Woman in Love," 750 00:33:24,070 --> 00:33:25,438 "More Than a Woman," 751 00:33:25,438 --> 00:33:27,207 and perhaps two or three other songs ‐‐ 752 00:33:27,207 --> 00:33:29,442 have exactly the same loop. 753 00:33:29,442 --> 00:33:32,813 So right through that whole era, right through "Fever," 754 00:33:32,813 --> 00:33:34,848 we'd found another sound. 755 00:33:34,848 --> 00:33:39,385 [ The Bee Gees' "You Should Be Dancing" plays ] 756 00:33:39,385 --> 00:33:40,654 ROBIN: And then the film 757 00:33:40,654 --> 00:33:42,889 exploded in Christmas of that year. 758 00:33:42,889 --> 00:33:44,558 It just blew wide open. 759 00:33:44,558 --> 00:33:47,093 And it's still the biggest‐selling soundtrack 760 00:33:47,093 --> 00:33:50,063 in history. 761 00:33:58,238 --> 00:34:01,642 ♪ My baby moves at midnight ♪ 762 00:34:01,642 --> 00:34:03,977 KAHN: This looping of that four‐beat 763 00:34:03,977 --> 00:34:08,615 or eight‐beat moments really preserves the magic, 764 00:34:08,615 --> 00:34:09,916 finds the magic, 765 00:34:09,916 --> 00:34:14,721 and then creates that tension that never resolves. 766 00:34:14,721 --> 00:34:17,257 The disco period affected all of us. 767 00:34:17,257 --> 00:34:20,927 McDANIELS: Studio 54. Disco was huge. 768 00:34:20,927 --> 00:34:24,230 Everybody was coming, partying, and life was good. 769 00:34:24,230 --> 00:34:26,833 Fur coats and Rolls‐Royces and movie stars 770 00:34:26,833 --> 00:34:28,401 and sex and drugs, 771 00:34:28,401 --> 00:34:30,804 and, oh, it's okay in the '70s! 772 00:34:30,804 --> 00:34:32,973 MAN: It was billed as teen night at Comiskey Park 773 00:34:32,973 --> 00:34:35,776 for the twi‐night doubleheader between the Chicago White Sox 774 00:34:35,776 --> 00:34:37,043 and the Detroit Tigers. 775 00:34:37,043 --> 00:34:41,381 BOYD: I think it was 1979 in Chicago, Comiskey Park. 776 00:34:41,381 --> 00:34:43,316 And a local Chicago deejay 777 00:34:43,316 --> 00:34:45,752 asked people who were coming to the game 778 00:34:45,752 --> 00:34:49,656 this particular night to bring their disco records. 779 00:34:49,656 --> 00:34:51,792 MAN: Between games, Dahl was to lead the crowd 780 00:34:51,792 --> 00:34:53,193 in song and chants 781 00:34:53,193 --> 00:34:55,729 and then finish by blowing up a boxful of disco records, 782 00:34:55,729 --> 00:34:58,264 which the fans were to bring with them to the ballpark. 783 00:34:58,264 --> 00:35:00,266 And they did, and he did. 784 00:35:00,266 --> 00:35:01,501 [ Explosions ] 785 00:35:01,501 --> 00:35:04,004 [ Cheers and applause ] 786 00:35:04,004 --> 00:35:05,772 [ Indistinct shouting ] 787 00:35:05,772 --> 00:35:10,276 BOYD: And this turned into just a huge riot. 788 00:35:10,276 --> 00:35:12,613 RODGERS: We were actually on tour. 789 00:35:12,613 --> 00:35:16,650 And we couldn't believe how all‐encompassing 790 00:35:16,650 --> 00:35:18,885 the "disco sucks" backlash was, 791 00:35:18,885 --> 00:35:21,588 because we didn't think of ourselves as a disco band. 792 00:35:21,588 --> 00:35:23,557 We were just being opportunistic. 793 00:35:23,557 --> 00:35:26,593 We were a funk band taking advantage of a movement 794 00:35:26,593 --> 00:35:29,596 that was totally open, that would let us in the door. 795 00:35:29,596 --> 00:35:31,431 Our first record came out in '77. 796 00:35:31,431 --> 00:35:34,134 Now, summer of '79, we sucked. 797 00:35:34,134 --> 00:35:36,269 We had gone from being the darlings 798 00:35:36,269 --> 00:35:37,838 to sucking in two years. 799 00:35:37,838 --> 00:35:42,375 It felt like it just reeked of racism, sexism, 800 00:35:42,375 --> 00:35:44,110 homophobia, everything. 801 00:35:44,110 --> 00:35:45,411 It was like, "Holy shit." 802 00:35:45,411 --> 00:35:48,381 And it was really ugly to watch. 803 00:35:48,381 --> 00:35:50,951 Chic never had another hit record again. 804 00:35:50,951 --> 00:35:55,355 ♪ I know your eyes in the morning sun ♪ 805 00:35:55,355 --> 00:36:00,627 ♪ I feel you touch me in the pouring rain ♪ 806 00:36:00,627 --> 00:36:05,198 ♪ And the moment that you wander far from me ♪ 807 00:36:05,198 --> 00:36:07,033 ♪ I want to feel you in my... ♪ 808 00:36:07,033 --> 00:36:09,603 I've often found conflict with the word "backlash." 809 00:36:09,603 --> 00:36:11,538 But it's real. It's real. 810 00:36:11,538 --> 00:36:14,675 And you have to move on from that. 811 00:36:14,675 --> 00:36:17,077 And I think that that's what led 812 00:36:17,077 --> 00:36:19,880 to our own self‐realization 813 00:36:19,880 --> 00:36:22,382 that we couldn't be this all our lives. 814 00:36:22,382 --> 00:36:23,950 ♪ How deep is your love? ♪ 815 00:36:23,950 --> 00:36:29,089 ♪ How deep is your love? How deep is your love? ♪ 816 00:36:29,089 --> 00:36:31,958 ♪ I really mean to learn ♪ 817 00:36:31,958 --> 00:36:34,394 You can't wear white suits all your life. 818 00:36:34,460 --> 00:36:36,362 And you can't be a kid all your life. 819 00:36:36,362 --> 00:36:39,232 ‐This bubble will burst. ‐♪ Breaking us down ♪ 820 00:36:39,232 --> 00:36:41,301 ♪ When they all should... ♪ 821 00:36:41,301 --> 00:36:44,070 Nothing ever lasts forever. 822 00:36:44,070 --> 00:36:48,041 ♪ We belong to you and me ♪ 823 00:36:48,041 --> 00:36:50,210 ♪ La‐la‐la, la‐la ♪ 824 00:36:50,210 --> 00:36:53,113 [ Vocalizing ] 825 00:36:53,113 --> 00:36:58,619 ♪ How deep is your love? How deep is your love? ♪ 826 00:36:58,619 --> 00:37:00,420 RODGERS: Even though Chic's career 827 00:37:00,420 --> 00:37:02,689 was derailed by "disco sucks," 828 00:37:02,689 --> 00:37:06,627 my personal growth was inspired by it. 829 00:37:06,627 --> 00:37:09,963 But still, the heart of my music was groove, 830 00:37:09,963 --> 00:37:12,298 was funk, was dance, disco, 831 00:37:12,298 --> 00:37:13,834 whatever name you want to call it. 832 00:37:13,834 --> 00:37:16,503 BARRY: There was an urge to break the mold, 833 00:37:16,503 --> 00:37:21,041 to try and find various rhythms and changing sounds. 834 00:37:21,041 --> 00:37:24,511 That's what led us into production of other people. 835 00:37:24,511 --> 00:37:26,379 RODGERS: I did Bowie's biggest record. 836 00:37:26,379 --> 00:37:28,114 I did INXS' biggest record. 837 00:37:28,114 --> 00:37:30,884 I did Duran's biggest record. I did Madonna's biggest record. 838 00:37:30,884 --> 00:37:32,519 BARRY: Working with Barbra was great fun. 839 00:37:32,586 --> 00:37:34,688 Working with Kenny and Dolly was great fun. 840 00:37:34,688 --> 00:37:37,023 Having Diana Ross have an enormous hit, 841 00:37:37,023 --> 00:37:38,659 for us, was incredible. 842 00:37:38,659 --> 00:37:40,493 We were able to apply those different styles 843 00:37:40,493 --> 00:37:43,063 because, you know, we'd lived through all of them. 844 00:37:43,063 --> 00:37:45,866 And we were able to emulate them. 845 00:37:45,866 --> 00:37:50,003 My experience is that the word "disco" was gone. 846 00:37:50,003 --> 00:37:53,239 But the sound and the way to record, 847 00:37:53,239 --> 00:37:57,778 the way to sing the lyrics, they were still disco. 848 00:38:00,681 --> 00:38:04,050 [ Drum plays up‐tempo rhythm ] 849 00:38:06,386 --> 00:38:08,689 BENITEZ: New York City, the venues 850 00:38:08,689 --> 00:38:11,625 opened at 9:00 or 10:00 and went till 4:00. 851 00:38:11,625 --> 00:38:15,996 So when I was playing a 7‐, 8‐, 9‐hour shift, 852 00:38:15,996 --> 00:38:18,331 to play a 2‐1/2‐minute version of a song, 853 00:38:18,331 --> 00:38:19,900 I mean, you needed a lot of records. 854 00:38:19,900 --> 00:38:21,902 So the remix thing really helped in that, 855 00:38:21,902 --> 00:38:23,904 you know, you sort of created, like, 856 00:38:23,904 --> 00:38:25,506 almost like a symphony, in a way. 857 00:38:25,506 --> 00:38:27,140 You took a song that was three minutes long 858 00:38:27,140 --> 00:38:28,842 and made it seven or eight minutes long. 859 00:38:28,842 --> 00:38:30,343 It still felt ‐‐ On the dance floor, 860 00:38:30,343 --> 00:38:32,445 it felt like it was three minutes. 861 00:38:32,445 --> 00:38:33,980 BAKER: It was more done cutting things up. 862 00:38:33,980 --> 00:38:37,183 So you'd get the vocal, you'd get the instrumental. 863 00:38:37,183 --> 00:38:40,821 And you'd extend bits and sort of make something new 864 00:38:40,821 --> 00:38:43,156 out of two things that already existed. 865 00:38:43,156 --> 00:38:44,758 All of a sudden, 866 00:38:44,758 --> 00:38:47,794 every song that was worthy of a moment on the dance floor 867 00:38:47,794 --> 00:38:50,063 should also have a remix that would go along with it. 868 00:38:50,063 --> 00:38:51,965 So you'd not only have the original song 869 00:38:51,965 --> 00:38:53,634 as it would come out on an actual album, 870 00:38:53,634 --> 00:38:55,135 but you'd also have the remix version, 871 00:38:55,135 --> 00:38:57,771 usually in the form of a 12‐inch single. 872 00:38:57,771 --> 00:39:00,206 The brilliance, you know, in what they did 873 00:39:00,206 --> 00:39:01,708 to create the remixes 874 00:39:01,708 --> 00:39:04,845 is that they really created a real musical experience 875 00:39:04,845 --> 00:39:06,713 that the music just never stopped. 876 00:39:06,713 --> 00:39:08,782 And you never left that euphoria. 877 00:39:08,782 --> 00:39:10,517 You were always in that space. 878 00:39:10,517 --> 00:39:13,453 Hi. I'm Madonna. 879 00:39:13,453 --> 00:39:15,021 And this is New York. 880 00:39:15,021 --> 00:39:18,825 BENITEZ: Madonna was, you know, just like a club kid. 881 00:39:18,825 --> 00:39:21,461 Wanted to be a singer and had a lot of ambition, you know? 882 00:39:21,461 --> 00:39:22,963 Madonna was a New York scenester. 883 00:39:22,963 --> 00:39:26,633 She's dancing in the most alt clubs in New York, 884 00:39:26,633 --> 00:39:28,802 singing, dancing, doing track dates. 885 00:39:28,802 --> 00:39:32,506 ♪ Don't give me up, 'cause I'm on fire ♪ 886 00:39:32,506 --> 00:39:35,742 ♪ And I can't quench my desire ♪ 887 00:39:35,742 --> 00:39:37,944 BENITEZ: We met while I was deejaying at the Fun House. 888 00:39:37,944 --> 00:39:41,314 And she had just released "Everybody," 889 00:39:41,314 --> 00:39:43,483 which I had been playing for a while, 890 00:39:43,483 --> 00:39:45,218 and was a big record at the club, 891 00:39:45,218 --> 00:39:46,887 and just came by to say hi 892 00:39:46,887 --> 00:39:48,955 and then asked me if I'd be interested 893 00:39:48,955 --> 00:39:52,125 in working on a remix for her next single. 894 00:39:52,125 --> 00:39:55,829 [ Madonna's "Physical Attraction" plays ] 895 00:40:03,970 --> 00:40:06,707 When she heard what I did with "Physical Attraction," 896 00:40:06,707 --> 00:40:08,274 she thought that it would be a good idea 897 00:40:08,274 --> 00:40:11,745 to bring me in and work on the other songs on the album. 898 00:40:11,745 --> 00:40:13,580 I was remixing the other songs on her record. 899 00:40:13,580 --> 00:40:15,582 So she said, "Oh, I only have seven songs. 900 00:40:15,582 --> 00:40:16,817 I need one more song." 901 00:40:16,817 --> 00:40:19,786 I had a piano‐vocal demo of "Holiday." 902 00:40:19,786 --> 00:40:21,087 And I played it for her, and I said, 903 00:40:21,087 --> 00:40:23,223 "If I could put a groove underneath this, 904 00:40:23,223 --> 00:40:24,758 this could be a big record." 905 00:40:24,758 --> 00:40:26,459 I had never produced a record from scratch. 906 00:40:26,459 --> 00:40:29,462 But I had, I don't know, maybe 20 number‐one dance records. 907 00:40:29,462 --> 00:40:31,798 So I knew all the things 908 00:40:31,798 --> 00:40:34,868 to fix a record [Chuckles] after someone recorded it. 909 00:40:34,868 --> 00:40:38,338 But I had actually never recorded all the basic tracks. 910 00:40:38,338 --> 00:40:39,706 I used a LinnDrum machine 911 00:40:39,706 --> 00:40:43,109 and a bunch of digital synthesizers. 912 00:40:43,109 --> 00:40:46,847 I basically didn't sleep for five days, working on it. 913 00:40:46,847 --> 00:40:49,816 [ Madonna's "Holiday" plays ] 914 00:40:53,153 --> 00:40:55,388 I mean, Madonna loved it. 915 00:40:55,388 --> 00:40:57,558 I was so thrilled 916 00:40:57,558 --> 00:40:59,626 that I actually got to produce a record. 917 00:40:59,626 --> 00:41:02,328 I was playing it at the Fun House. 918 00:41:02,328 --> 00:41:03,797 ♪ Holiday ♪ 919 00:41:06,266 --> 00:41:08,902 ♪ Celebrate ♪ 920 00:41:08,902 --> 00:41:10,436 And the record company would come by. 921 00:41:10,436 --> 00:41:13,239 And I think they were caught completely by surprise. 922 00:41:13,239 --> 00:41:15,776 I don't believe they truly understood 923 00:41:15,776 --> 00:41:19,112 what was happening on the streets of New York. 924 00:41:19,112 --> 00:41:21,314 I mean, but most record companies at that point didn't. 925 00:41:21,314 --> 00:41:23,049 You know, they kept saying dance was dead. 926 00:41:23,049 --> 00:41:25,251 "They went from disco to dance. 927 00:41:25,251 --> 00:41:26,687 House music's a fad, you know. 928 00:41:26,687 --> 00:41:28,555 None of this stuff is gonna last." 929 00:41:30,824 --> 00:41:32,893 ♪ It would be ♪ 930 00:41:32,893 --> 00:41:35,929 ♪ It would be so nice ♪ 931 00:41:35,929 --> 00:41:39,533 There were, you know, thousands of clubs in New York 932 00:41:39,533 --> 00:41:41,167 with thousands of people in them 933 00:41:41,167 --> 00:41:43,537 dancing every Friday and Saturday night. 934 00:41:43,537 --> 00:41:45,539 The dance floor and those rooms 935 00:41:45,539 --> 00:41:47,340 are the best teachers in the world, 936 00:41:47,340 --> 00:41:50,410 to sit and watch and see what makes people move. 937 00:41:50,410 --> 00:41:52,345 There are certain beats that make them move. 938 00:41:52,345 --> 00:41:54,781 And it's really apparent when you play some stuff 939 00:41:54,781 --> 00:41:56,416 and you watch it and you just see, "Oh, that works. 940 00:41:56,416 --> 00:41:59,185 Oh, that sucks," you know? And you can see it. 941 00:41:59,185 --> 00:42:00,987 When they started adding percussion instruments 942 00:42:00,987 --> 00:42:03,289 to the disco, I wanted to dance, as well. 943 00:42:03,289 --> 00:42:06,893 And I thought it was kind of cool to add those elements 944 00:42:06,893 --> 00:42:11,031 of the Latin percussion in pop and disco music. 945 00:42:11,031 --> 00:42:14,735 ♪ She wears a long fur coat of mink ♪ 946 00:42:14,735 --> 00:42:16,970 ♪ Even in the summertime ♪ 947 00:42:18,371 --> 00:42:22,208 ♪ Everybody knows from the coy little wink ♪ 948 00:42:22,208 --> 00:42:24,377 ♪ The girl's got a lot on her mind ♪ 949 00:42:24,377 --> 00:42:29,583 "Glamorous Life" was a song that didn't have any lyrics. 950 00:42:29,583 --> 00:42:34,020 And it was more of an instrumental. 951 00:42:34,020 --> 00:42:37,958 My intent was to do something very percussive and dance. 952 00:42:37,958 --> 00:42:39,893 I played congas and timbales, 953 00:42:39,893 --> 00:42:42,696 bongos, hand percussion, maracas. 954 00:42:42,696 --> 00:42:44,097 ♪ The glamorous life ♪ 955 00:42:44,097 --> 00:42:48,301 ♪ She don't need a man's touch ♪ 956 00:42:48,301 --> 00:42:52,172 "Glamorous Life," the scene was a big Linn machine ‐‐ 957 00:42:52,172 --> 00:42:53,607 LinnDrum machine. 958 00:42:53,607 --> 00:42:57,277 I embraced the drum machine because it was something new. 959 00:42:57,277 --> 00:42:58,378 I love technology. 960 00:42:58,378 --> 00:43:00,781 I loved that something in this machine 961 00:43:00,781 --> 00:43:03,449 was doing something different. 962 00:43:03,449 --> 00:43:04,818 ♪ The glamorous life ♪ 963 00:43:04,818 --> 00:43:07,521 ♪ Without love, it ain't much ♪ 964 00:43:07,521 --> 00:43:09,289 [ Instrumental music plays ] 965 00:43:15,295 --> 00:43:17,097 [ Drum machine plays ] 966 00:43:18,565 --> 00:43:21,702 WANG: The early drum machines were not programmable. 967 00:43:21,702 --> 00:43:23,303 In other words, they had set rhythms. 968 00:43:23,303 --> 00:43:27,007 You could play a rumba beat, or you could play a cha‐cha‐cha. 969 00:43:27,007 --> 00:43:30,110 So the intervention of something like the LinnDrum machines 970 00:43:30,110 --> 00:43:33,113 or the DMX or the 808 is that these were programmable. 971 00:43:33,113 --> 00:43:35,315 You could say, "Well, okay, I want a kick drum here. 972 00:43:35,315 --> 00:43:36,517 I want the snare here. 973 00:43:36,517 --> 00:43:39,319 I want the weird, doinky cowbell here instead." 974 00:43:39,319 --> 00:43:41,888 CONNOR: Drum machine don't have no soul. 975 00:43:41,888 --> 00:43:44,490 It just a machine. It don't lose time. 976 00:43:44,490 --> 00:43:46,993 It don't pick up the tempo. It don't drop the tempo. 977 00:43:46,993 --> 00:43:49,162 It just... [ Slapping legs rhythmically ] 978 00:43:49,162 --> 00:43:51,231 I'm a drummer. My first instrument. 979 00:43:51,231 --> 00:43:54,467 But I grew up playing drums my whole life. 980 00:43:54,467 --> 00:43:58,071 So I play drum machines like the drums. 981 00:43:58,071 --> 00:44:01,141 We're paying attention that it can't be perfect, 982 00:44:01,141 --> 00:44:02,809 you know, because it shouldn't be. 983 00:44:02,809 --> 00:44:05,211 Like, it shouldn't be right on time. 984 00:44:05,211 --> 00:44:07,814 There's something just unhuman about it. 985 00:44:07,814 --> 00:44:10,116 Music is peppered with purists, 986 00:44:10,116 --> 00:44:11,852 populated with purists, isn't it? 987 00:44:11,852 --> 00:44:14,988 And every genre has its own particular notion 988 00:44:14,988 --> 00:44:17,390 about how it has to be this and that's not authentic 989 00:44:17,390 --> 00:44:19,125 and this is the real deal and... 990 00:44:19,125 --> 00:44:21,027 So, drum machines are fantastic. 991 00:44:21,027 --> 00:44:24,030 ROBERTS: The technology made it so much easier 992 00:44:24,030 --> 00:44:25,465 for creative people 993 00:44:25,465 --> 00:44:27,668 to sit wherever they want to and create. 994 00:44:27,668 --> 00:44:31,638 And it gave people the freedom to actually make more records. 995 00:44:31,638 --> 00:44:33,006 And it created more genres. 996 00:44:33,006 --> 00:44:35,008 It made specific genres of dance. 997 00:44:35,008 --> 00:44:38,612 The rise of house and techno, and hip‐hop, too ‐‐ 998 00:44:38,612 --> 00:44:39,980 These are all happening, you know, 999 00:44:39,980 --> 00:44:42,248 contemporaneous with one another in the 1980s. 1000 00:44:42,248 --> 00:44:44,951 [ Up‐tempo instrumental music plays ] 1001 00:44:50,390 --> 00:44:53,293 KING: You've got the rise of rave music. 1002 00:44:53,293 --> 00:44:56,362 It's creating these different sort of experiences 1003 00:44:56,362 --> 00:44:58,699 for young people on the dance floor. 1004 00:45:00,133 --> 00:45:05,105 It was certainly a much harder and more aggressive sound 1005 00:45:05,105 --> 00:45:07,307 than some of the earlier sounds we've heard 1006 00:45:07,307 --> 00:45:10,476 in gospel‐influenced or blues‐influenced house music. 1007 00:45:10,476 --> 00:45:13,980 I want to thank all the stormtroopers in the house. 1008 00:45:13,980 --> 00:45:16,249 Most raves were not happening in real clubs. 1009 00:45:16,249 --> 00:45:18,018 They were not happening in concert halls. 1010 00:45:18,018 --> 00:45:22,455 They were happening in warehouses and VFW halls. 1011 00:45:22,455 --> 00:45:25,826 So, they would find these off‐venues and these lofts. 1012 00:45:25,826 --> 00:45:27,393 A lot of them were illegal. 1013 00:45:27,393 --> 00:45:30,363 That was a big part of the aura of it, as well. 1014 00:45:31,164 --> 00:45:34,668 The "See the Light" tour featured Moby as the headliner. 1015 00:45:34,668 --> 00:45:38,505 "See the Light" was this bridge into the mainstream. 1016 00:45:38,505 --> 00:45:40,306 A lot of the kids who were going to the parties, 1017 00:45:40,306 --> 00:45:42,142 writing about them on the mailing lists, 1018 00:45:42,142 --> 00:45:43,610 were really against that. 1019 00:45:43,610 --> 00:45:47,781 And for a lot of them, Moby was a sellout. 1020 00:45:47,781 --> 00:45:49,816 Hey! 1021 00:45:49,816 --> 00:45:53,854 My approach to making music and loving music 1022 00:45:53,854 --> 00:45:56,122 has never been a loyalty to a genre. 1023 00:45:56,122 --> 00:45:59,425 It's a loyalty to how the music affects me emotionally. 1024 00:45:59,425 --> 00:46:03,029 I'm way more interested in how I respond to a piece of music 1025 00:46:03,029 --> 00:46:05,699 than who made it or how it was made. 1026 00:46:05,699 --> 00:46:09,435 [ "Go" plays ] 1027 00:46:12,706 --> 00:46:14,775 ♪ Go! ♪ 1028 00:46:18,111 --> 00:46:19,479 MATOS: "Go" was significant 1029 00:46:19,479 --> 00:46:22,082 because it was the first American dance record 1030 00:46:22,082 --> 00:46:24,985 to cross over to the rave scene in England. 1031 00:46:24,985 --> 00:46:26,720 That song went top 10 in England. 1032 00:46:26,720 --> 00:46:28,121 That was the dance song 1033 00:46:28,121 --> 00:46:30,624 that the people who hated dance music liked. 1034 00:46:30,624 --> 00:46:36,029 What Moby brought to it was a really defined melodic sense. 1035 00:46:36,029 --> 00:46:38,364 Early house music and early techno music 1036 00:46:38,364 --> 00:46:41,001 were aimed at the dance floor specifically. 1037 00:46:41,001 --> 00:46:43,236 They weren't necessarily made for listening. 1038 00:46:43,236 --> 00:46:45,271 And Moby had been a songwriter. 1039 00:46:45,271 --> 00:46:47,173 He'd been playing in rock bands. 1040 00:46:47,173 --> 00:46:50,611 He was coming to it from a composer 1041 00:46:50,611 --> 00:46:51,912 and a songwriter's perspective, 1042 00:46:51,912 --> 00:46:53,479 as opposed to a deejay's perspective. 1043 00:46:53,479 --> 00:46:56,917 MOBY: As a record maker, it's funny. 1044 00:46:56,917 --> 00:47:00,320 I really feel like I should do a better job 1045 00:47:00,320 --> 00:47:04,891 of pretending that I have broad and diverse intentions 1046 00:47:04,891 --> 00:47:06,359 behind making music. 1047 00:47:06,359 --> 00:47:09,229 All I want to do is make music that I love. 1048 00:47:09,229 --> 00:47:12,032 And I truly don't care how it's made. 1049 00:47:12,032 --> 00:47:14,868 Drums from the late 20th century, 1050 00:47:14,868 --> 00:47:18,572 live bass, programmed bass, analog synths, digital synths, 1051 00:47:18,572 --> 00:47:22,275 all these different compositional elements ‐‐ 1052 00:47:22,275 --> 00:47:24,410 It simply makes people curious. 1053 00:47:24,410 --> 00:47:29,616 And if you have art that makes people curious, 1054 00:47:29,616 --> 00:47:31,552 they're gonna lean towards it. 1055 00:47:31,552 --> 00:47:35,088 [ Up‐tempo music plays ] 1056 00:47:37,624 --> 00:47:40,360 TIESTO: "EDM" stands for "electronic dance music," 1057 00:47:40,360 --> 00:47:44,364 every music that has been made electronically or with keyboards 1058 00:47:44,364 --> 00:47:48,334 and on computers which you can dance to. 1059 00:47:48,334 --> 00:47:50,370 The deejay producer is like a conductor. 1060 00:47:50,370 --> 00:47:52,573 He puts everything together. 1061 00:47:52,573 --> 00:47:54,808 And he makes sure every piece of the puzzle 1062 00:47:54,808 --> 00:47:57,110 in the song does his thing. 1063 00:47:58,579 --> 00:48:00,480 When I build a track, it's my vision 1064 00:48:00,480 --> 00:48:02,716 of what I want to hear, what I want to see on the dance floor, 1065 00:48:02,716 --> 00:48:05,919 and how it would hit people, so extra beats, 1066 00:48:05,919 --> 00:48:08,722 extra bass line, an extra piano line. 1067 00:48:08,722 --> 00:48:12,058 It is very hard for a techno producer to do exactly that ‐‐ 1068 00:48:12,058 --> 00:48:14,294 that it doesn't sound like a computer made it. 1069 00:48:14,294 --> 00:48:16,563 Then, when you have it, like, alter it. 1070 00:48:16,563 --> 00:48:20,133 Give it, like, dirt and stuff so that it sounds ‐‐ 1071 00:48:20,133 --> 00:48:22,368 It gets a human touch, a human feel, 1072 00:48:22,368 --> 00:48:24,404 even though you need to have, like [Smacks lips] 1073 00:48:24,404 --> 00:48:25,438 four‐to‐the‐floor bass drums. 1074 00:48:25,438 --> 00:48:27,040 So it has to be in the pattern 1075 00:48:27,040 --> 00:48:29,442 without sounding just like pattern music. 1076 00:48:29,442 --> 00:48:32,779 TIESTO: The big thing back then was that you could compare me 1077 00:48:32,779 --> 00:48:37,450 to, like, what the Grateful Dead does in America back then. 1078 00:48:37,450 --> 00:48:39,219 It was just the music that was so different 1079 00:48:39,219 --> 00:48:42,055 because you could never hear it on the radio. 1080 00:48:42,055 --> 00:48:44,057 And you could not even buy it in the stores. 1081 00:48:44,057 --> 00:48:46,292 You have to be there to experience it. 1082 00:48:47,127 --> 00:48:48,061 ♪ Yeah ♪ 1083 00:48:48,061 --> 00:48:50,430 [ Up‐tempo music plays ] 1084 00:48:53,066 --> 00:48:55,301 Instrumental songs are so full of life 1085 00:48:55,301 --> 00:48:57,470 because they are the actual emotions, 1086 00:48:57,470 --> 00:49:00,073 because vocals never can be true emotions 1087 00:49:00,073 --> 00:49:01,942 because they are in words. 1088 00:49:01,942 --> 00:49:03,610 Only sounds can transport it. 1089 00:49:03,610 --> 00:49:05,411 That's why it's such a global movement, 1090 00:49:05,411 --> 00:49:08,815 because it goes beyond all borders of language. 1091 00:49:08,815 --> 00:49:11,752 I think the EDM thing is sort of, like ‐‐ It's interesting. 1092 00:49:11,752 --> 00:49:14,187 I know why kids like it. It's like, it's an event. 1093 00:49:14,187 --> 00:49:15,689 It's a communal kind of music. 1094 00:49:15,689 --> 00:49:17,624 When you see thousands and thousands of people 1095 00:49:17,624 --> 00:49:19,392 dancing and losing their mind to a song, 1096 00:49:19,392 --> 00:49:21,828 I mean, obviously, it may not be for me, 1097 00:49:21,828 --> 00:49:23,229 but they like it. 1098 00:49:23,229 --> 00:49:24,531 So there's nothing wrong with that. 1099 00:49:24,531 --> 00:49:27,534 I mean, we can't speak about the dance 1100 00:49:27,534 --> 00:49:30,070 unless you speak about the trance. 1101 00:49:30,070 --> 00:49:33,006 It really lends itself to people escaping. 1102 00:49:33,006 --> 00:49:35,876 And those qualities are found in today's dance music. 1103 00:49:35,876 --> 00:49:40,280 ROBERTS: EDM is like Woodstock. EDM is like Studio 54. 1104 00:49:40,280 --> 00:49:44,184 EDM is like a rock concert. EDM is an experience. 1105 00:49:44,184 --> 00:49:46,419 It's the same thing as dance. It is dance. 1106 00:49:46,419 --> 00:49:48,454 You know, it's just different initials. 1107 00:49:48,454 --> 00:49:50,490 At the same time, I think people also have a hunger 1108 00:49:50,490 --> 00:49:53,026 and a desire to hear acoustic sounds, 1109 00:49:53,026 --> 00:49:55,529 to honor and respect musicians 1110 00:49:55,529 --> 00:49:58,098 who can play their instruments and so on. 1111 00:49:58,098 --> 00:50:00,166 So the rise of singers like Bruno Mars 1112 00:50:00,166 --> 00:50:02,769 reminds us that is still very important. 1113 00:50:02,769 --> 00:50:05,872 ‐♪ Whoo, whoo, whoo ♪ ‐♪ Oh, yeah, yeah ♪ 1114 00:50:05,872 --> 00:50:08,474 ♪ Oh, yeah, yeah, yeah, yeah ♪ 1115 00:50:08,474 --> 00:50:09,876 RONSON: Bruno, pound for pound, 1116 00:50:09,876 --> 00:50:14,180 is absolutely the best entertainer, musician, 1117 00:50:14,180 --> 00:50:17,450 kind of all‐around pop star that's out there. 1118 00:50:17,450 --> 00:50:20,821 ♪ ...faith in love or miracles ♪ 1119 00:50:20,821 --> 00:50:22,889 When Bruno first asked me if I wanted to come and work 1120 00:50:22,889 --> 00:50:25,826 on his second album, he had a few demos around. 1121 00:50:25,826 --> 00:50:28,428 And "Locked Out of Heaven" was this song that he knew 1122 00:50:28,428 --> 00:50:30,330 there was something super‐special about the chorus. 1123 00:50:30,330 --> 00:50:33,133 Looking back on it now, the rhythm section 1124 00:50:33,133 --> 00:50:34,968 sort of wanted to be, you know, Chic, 1125 00:50:34,968 --> 00:50:36,469 like, you know, Nile Rodgers. 1126 00:50:36,469 --> 00:50:39,072 It was definitely the beat that drew me in first. 1127 00:50:39,072 --> 00:50:40,607 The sound of the drums 1128 00:50:40,607 --> 00:50:42,475 is always the most important kind of building block. 1129 00:50:45,411 --> 00:50:47,614 ♪ Yeah, yeah, yeah ♪ 1130 00:50:47,614 --> 00:50:50,651 ♪ 'Cause you make me feel like ♪ 1131 00:50:50,651 --> 00:50:53,554 ♪ I've been locked out of heaven ♪ 1132 00:50:53,554 --> 00:50:56,456 HART: It seems as though the music 1133 00:50:56,456 --> 00:50:58,525 of the future and of the present 1134 00:50:58,525 --> 00:51:01,261 has to do with rhythmic accuracy. 1135 00:51:01,261 --> 00:51:03,830 And there's a monolithic groove. 1136 00:51:03,830 --> 00:51:06,066 Mono, mono, mono, mono. 1137 00:51:06,066 --> 00:51:09,770 One, one, one, one. 1138 00:51:09,770 --> 00:51:13,540 Q‐TIP: You know why dance music and disco music works so well? 1139 00:51:13,540 --> 00:51:18,011 Because the human heartbeat beats around 120 BPM. 1140 00:51:18,011 --> 00:51:20,013 So that's the music of the soul. 1141 00:51:20,681 --> 00:51:23,850 RODGERS: I've played with an extraordinary amount 1142 00:51:23,850 --> 00:51:25,451 of people in my life. 1143 00:51:25,451 --> 00:51:30,724 And the ones I always love the best are the groovers. 1144 00:51:30,724 --> 00:51:32,959 I describe it as a flock of birds. 1145 00:51:32,959 --> 00:51:34,861 You've ever watched a flock of birds fly, 1146 00:51:34,861 --> 00:51:38,231 and they all know when to turn, and they do that thing together? 1147 00:51:38,231 --> 00:51:39,365 And there can be hundreds of them, 1148 00:51:39,365 --> 00:51:40,967 but they all do that together. 1149 00:51:40,967 --> 00:51:44,170 It's almost telepathic. It's ‐‐ It's magical. 1150 00:51:44,170 --> 00:51:45,772 ♪ ...see the light ♪ 1151 00:51:45,772 --> 00:51:47,974 GAMBLE: You got to have a beat. You got to have a beat. 1152 00:51:47,974 --> 00:51:52,546 I mean, if you get sick and they call in the paramedics, 1153 00:51:52,546 --> 00:51:54,080 and you're laying on the floor, 1154 00:51:54,080 --> 00:51:57,818 the first thing they want to know ‐‐ Do you have a beat? 1155 00:51:58,885 --> 00:52:00,721 You got to have the beat. 1156 00:52:02,422 --> 00:52:04,925 HART: If you're in the creational mode, 1157 00:52:04,925 --> 00:52:06,993 you look for the new. 1158 00:52:06,993 --> 00:52:09,295 That's what a rhythmist is. 1159 00:52:09,295 --> 00:52:12,165 You're constantly scanning for new rhythms 1160 00:52:12,165 --> 00:52:14,535 because the world is changing. 1161 00:52:14,535 --> 00:52:18,338 It makes you whole, gives you happiness. 1162 00:52:18,338 --> 00:52:20,874 Good rhythm, good life. 1163 00:52:22,543 --> 00:52:25,779 ♪ Oh, yeah, yeah, yeah, yeah ♪ 1164 00:52:25,779 --> 00:52:27,681 ♪ Ooh! ♪ 91840

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