All language subtitles for SOUNDBREAKING - 6 - Storires From The Cutting Edge Of Recorded Music - Documentary – (2016) -

WOMAN: I'm in Grandmaster
Flash's dressing room,

which is why
I'm talking a bit funny,

'cause it's making me
actually quite nervous. Aah!

And they're doing
things like bodybuilding.

And they're wearing
surgical trusses.

So they're obviously ready
for the Tube.

How did you get
your scratch act together?

We used to to this
out in the parks for free.

And for the way that I mix,
I needed vocal entertainment

in between the way
that I played.

So what it was is the vocals

had to complement
with what I was doing.

So, at the time, throughout
the span of maybe...

NARRATOR: Hip hop had barely
learned to crawl back in 1982.

But it was about
to jumpstart a revolution,

made possible by a cutting‐edge
technique known as sampling.

[ "Me, Myself and I" plays ]

♪ Play it now ♪

♪ Mirror, mirror on the wall ♪

♪ Tell me, mirror,
what is wrong? ♪

♪ Can it be my... ♪

RZA:
When hip hop came into my life,

I became immediately
just enamored by it.

It was so much about
taking it and making it

and breaking some rules
and telling your own story.

It was being able
to actually make something

that seemed like a live
recording with recordings

‐that already existed.
‐♪ Me, myself and I ♪

They're using music
to create new music.

There's no more important
feeling in the world

than that "War of the Worlds"
moment.

♪ One style ♪

♪ Work it, make it, do it ♪

♪ Makes us harder, better,
faster, stronger ♪

They weren't just
sampling one sound.

They realized they could sample,
you know, dozens of sounds.

Q‐TIP:
We just had the advantage

of hearing
all different types of music.

We created the world we lived in
through our music,

through our art,
and through our culture

and it all was good.

I didn't want to make
a rap record.

I wanted to create a revolution.

‐♪ I need ya right now ♪
‐I think most of the best music

was probably created by pushing
the envelope of technology.

NARRATOR: Sampling has gone
far beyond hip hop.

New styles have been
built on it;

the whole idea of songwriting,
changed by it.

For the last 40 years,

no single technique has had
a bigger impact on recording.

Sampling is ‐‐
it's ‐‐ it's deep.

For people to just write if off
as like,

"Oh, you're just stealing
people's music,"

like, they don't actually know
what they're talking about.

[ Guitar strumming ]

‐HARRISON: What key is it in?
‐MAN: What key is it...

McCARTNEY:
It'll be in F for you.

SPECTOR: Here we go.
Just one more time.

FRANKLIN: Right after I say,
"Are you sure?"

Da da da ‐‐ yeah.

MAN: Oh.

WILSON: Hal, here's how
I want to do it. It's like this.

BOWIE: All right, it's fun time.
Fun time.

‐MAN #1: Here we go.
‐MAN #2: Oh, really?

MAN #1: 17, take one.

MAN #3:
This will be a keeper.

[ Mid‐tempo music plays ]

MAN:
Yeah... turn around and...

JAM: Sampling is basically
the ability

to take a piece of a song
and then loop it...

You make it go
over and over again,

and then create a new song.

SIMPSON:
Which most people equate

with stealing
other people's music.

This isn't exclusive to hip hop.

This has been going on
since the beginning of time.

[ "Mary Had a Little Lamb"
plays ]

[ Mid‐tempo rock 'n' roll
plays ]

[ Crowd cheers ]

There's really
a limited number of notes

and a limited number of chords.

And these have all been
replayed throughout history.

Generally, we just
assimilate the information,

or the inspiration, and then
disseminate it as our own bag.

♪ We‐e‐e‐e‐e‐ll ♪

♪ I can't quit you, baby ♪

♪ But I gotta put you down
for a while ♪

KRAMER: Led Zeppelin,
rightly or wrongly,

have taken the very best
of the great blues guys

‐and made it their own.
‐♪ I can't quit you, baby ♪

♪ But I've gotta put you down
for a while ♪

The goal of sampling
is not sampling.

The goal of sampling
is creating compelling music.

[ Deejay scratches record ]

My first encounter
with hip hop,

for me, was probably,
like, 1976.

I was doing it in Brooklyn.

You know, they were doing it
up in the Bronx.

BAMBAATAA:
South Bronx was an area

that was having many problems
at the time.

It was going through
a street‐gang age.

It also was an area
that just came out

of the drug scene
that was happening at the time.

And also it was an area
that had

good people
who was hard workers.

The one thing that
never escaped us, though, was

our love for music and
our need to express ourselves.

Even though we didn't have much,
we put something together

so that we could have
a little bit more self‐esteem.

Hip hop and rap was
like the equivalent of ‐‐

of folk music ‐‐ 'cause
folk music was always about,

you know, problems ‐‐ social
problems, political problems.

And this actually was
a voice in a new way.

The holy trinity
of hip hop and rap music

happened to be three deejays ‐‐

Kool DJ Herc, Afrika Bambaataa,
and Grandmaster Flash.

Two of the three
actually have Caribbean roots.

[ Singing reggae music ]

The art of toasting
comes out of the Caribbean,

which is the guy
who's the deejay

would speak on top of the
microphone on top of records.

That over‐dubbing process
is the same reason

they call reggae "dub music."

[ Reggae music playing ]

DJ SPOOKY: Some of the most
incredible innovators,

Lee "Scratch" Perry,
King Tubby,

they were producers who would do
a whole album of one rhythm

and then have different MCs,
you know, rhyme over it.

KING: I often describe hip hop
as a kind of result

of the Caribbean‐ization
of global popular culture.

You had immigrants
coming from Latin America,

and particularly from
the Caribbean, in larger numbers

and very often, they were moving
to lower‐income neighborhoods,

like the Bronx, in the 1970s.

They also brought their culture
to the Bronx.

And in particular, one of
the things that they brought ‐‐

or Jamaicans brought,
in particular ‐‐

was the culture
of sound systems ‐‐

mobile portable sound systems.

When Kuhar give a party,
everybody be there.

HADLEY:
If you talk to Kuhar,

or a lot of those guys
from the early era,

they were literally drawing on
the content that was around them

and just experimenting

and managed to create something
that changed the musical world.

‐Is Manhattan in the house?
‐Yeah!

‐Is the Bronx in the house?
‐Yeah!

‐Is everybody in the house?
‐Q‐TIP: Everybody kind of knows

about
the traditional block party.

Growing up, you know, black,
the block party involved

speakers and deejays and party

and party punch
and all that stuff.

When we formulated this whole
movement called hip hop,

we was usin' turntables
that we would bring

that your mom and pop
used to have in the house.

‐♪ EZ ♪
‐♪ Ay, D ♪

♪ Makin' your girl scream,
but get on... ♪

Rap is about
two aspects of music.

It's the deejay and it's the MC.

The deejay is the one
that gave birth to the MC.

But it's the MCs that
gave popularity to the deejay.

Q‐TIP: You had people who
would be like, "Yes, indeed,

in the place to be,
New York Ci‐ty.

You know we cooler
than a blade of grass.

And, you know,
we showin' up for your ass.

This is what we gonna do
tonight.

Everybody's gonna get right.

We gonna make sure
that everybody gets up

and get tight
to this jam right here."

I used to pay $20
for a live recording

of African Bambaataa
before rap was ever out there.

But we used to rap
over James Brown big beats,

because on a James Brown record,

it was always
a funky drummer beat for the MC.

♪ Oh, let me tell ya ♪

♪ What ya gotta do ♪

♪ TCB so mellow ♪

♪ Nobody can get through ♪

♪ When he asks do you love him ♪

♪ Smile and kiss his cheek ♪

♪ Walk away and twist your hip ♪

♪ Make sure you keep him weak ♪

RZA: James Brown was called
the Godfather of Soul, right?

You know,
I used to buy his records

and scratch them all day.

Some of his kicks,
some of his snares,

has found its way
into all of our music.

You know, if you think of a song
like "Funky Drummer."

[ As Brown ]
One, two, three, four...

♪ Buh‐doo‐doo‐doo,
ah‐ah, tik‐ah‐ah‐ah ♪

♪ Tik‐uh‐‐uh ah ah, uh‐eh ah ♪

I mean, we used to cut that up
all day

and then rap on it,
slow it down,

‐speed it up.
‐♪ Ain't it funky ♪

♪ Ha! Ain't it funky ♪

BAMBAATAA: James Brown.

What he played
in his role in hip hop ‐‐

let's put it this way.

All music would stink
if there wasn't no James Brown.

[ Mid‐tempo music plays ]

CHUCK D.: I thought it was
inconceivable in 1978,

and even the beginnings of 1979,

that there ever could be
a rap record,

because to me,
rap was a big event.

It was a hip‐hop party.

[ "Good Times" plays ]

♪ Good times ♪

♪ These are the good times ♪

♪ Our new state of mind ♪

♪ These are the good times ♪

CHUCK D.: Chic comes out
with "Good Times,"

this slow, funky record

which was totally different
than anything else they did,

which just knocked off
their disco following

and said, "Y'all got to get
funky like this."

Everywhere I went that summer,
you heard, you know,

that beat and,
you know, those vocals.

♪ Let's all do it again ♪

♪ Boys will be boys ♪

♪ Better let them
have their toys ♪

♪ Girls will be girls ♪

♪ Cute ponytails and curls ♪

RODGERS: After "Good Times"
went number one,

you saw a slew
of "Good Times" imitators.

BOYD: 1979, Sylvia Robinson,
former R&B singer,

is in New York.

She's got a son.

They want to do a record

that sort of replicates
the party experience

that's taking place in, like,
you know, the South Bronx.

Sylvia Robinson tended to be

somewhat of an unsung, you know,
pioneer in a lot of ways.

She just knew what was
happening in the clubs

and in these other places
in New York.

And so she, in a sensible way,

approached people
like Grandmaster Flash

and approached Lovebug Starski,
who are all these top deejays,

and they all said,
"This is never gonna work.

We're not interested.
Move on."

The story goes that her son ‐‐
I think his name's Joey ‐‐

is in a pizza parlor
in New Jersey.

He hears this guy who's, like,
rapping along to a tape.

WANG: And said, "Well,
do you know anyone else

who can recite rhymes
like you do?"

And this guy thought about it

and went and recruited
a bunch of his friends,

and auditioned for the Robinsons
in the back of a car.

And the Robinsons
seemed satisfied,

so they brought them out
to Sugar Hill Studios,

where they had a band
replaying the groove

‐to Chic's "Good Times."
‐♪ Clams on the half‐shell ♪

And that became the sound bit
for the song "Rapper's Delight."

[ "Rapper's Delight" plays ]

♪ I said a hip, hop,
the hippie ♪

♪ The hippie
to the hip hip hop ♪

♪ And you don't stop
the rockin' ♪

♪ To the bang‐bang boogie,
say, up jump the boogie ♪

♪ To the rhythm
of the boogity beat ♪

♪ Now, what you hear
is not a test ♪

♪ I'm rappin' to the beat ♪

I used to hang out at this club
and typically, at clubs,

when the deejay
needs to go to the bathroom,

they'll put on
a reel‐to‐reel tape recorder

or they'll put
on a very long record.

I heard this song
that I knew wasn't us playing,

but I knew it was
derivative of our record.

So I thought that they had
gotten a band to copy our groove

so that the rapper,
meaning the deejay,

‐could rap over it.
‐♪ I brought two friends along ♪

♪ And next on the mike
is my man Hank ♪

♪ Come on, Hank,
sing that song ♪

♪ Check it out ♪

RODGERS: I looked in the deejay
booth, and it was empty.

I was like, "Whoa.
How the hell is he doing that?"

I look at the bar,
and I see the deejay.

And I said, "What is that?"

And he says, "Man, it's
the hottest record in town.

I just bought this,
this afternoon, up in Harlem."

I said, "You bought that?"

'Cause it really was clearly
the "Good Times" bassline.

♪ I got a Lincoln Continental
and a sunroof Cadillac ♪

♪ So after school,
I take a dip in the pool ♪

‐♪ Which is really on the wall ♪
‐CHUCK D.: It was like

a Big Bang Theory
when the rap record came out.

But it was
like people were headed

towards something
that they didn't know.

It sounds like "Good Times"

with percussion
from this other record.

And I'm like,
"What the fuck is that?"

It's hard to describe whether
it kind of blew my mind

or it was just, like, "Shit,
I've been waiting for this."

It was
a "War of the Worlds" moment.

It was the first
official rap record.

CHUCK D.: And that right there
is the beginning

of rap music
going into overdrive.

♪ Then you take her friend ♪

♪ Uh, Master Gee, am I mellow? ♪

♪ It's on you,
so whatcha gonna do? ♪

♪ Well, it's on and on,
and on, on, and on ♪

♪ The beat don't stop
until the break of dawn ♪

WANG: The success
of "Rapper's Delight"

took everyone by surprise.

No one expected it to be
as globally popular as it was.

Hip hop, in the early '80s,
you could say was divided

between the uptown,
which was the Bronx,

which was the origin of hip hop,

and it was gritty,
it was street.

And then you had
the downtown scene

where you have, kind of ‐‐

graffiti now enters
into these art spaces.

♪ Fab 5 Freddy
told me everybody's fly ♪

♪ Deejay spinnin',
I said my, my ♪

♪ Flash is fast,
Flash is cool ♪

And it was really the work
of a couple of people

that helped bridge that gap.

Obviously, Fab 5 Freddy,

namechecked by Debbie Harry
in a Blondie song,

who helped bridge
that huge social‐cultural gap

between 160‐something‐th Street
and below 14th Street.

The hip‐hop thing sort of
came out with, you know,

"Oh, man, you know, it's like
this is that and this is that,

and it's fucked up
and blah, blah, blah."

And it was just
a different kind of voice.

You know,
it was a fresh voice.

[ Mid‐tempo techno music plays ]

I was in Brooklyn
at the Record Factory shop

in Brooklyn at Atlantic Avenue.

And when I heard that,
I was like, "What is that?"

I went to the guys
who ran the shop,

and they went,
"Oh, that's the new Kraftwerk."

"God, that ‐‐" I said,
"That beat's unbelievable."

I want to, you know,
I want to use that beat.

And that was pretty much
"Planet Rock."

[ "Planet Rock" plays ]

McDANIELS: Afrika Bambaataa
and the Zulu Nation ‐‐

Afrika Bambaataa was the leader

of the biggest street gang
in New York City.

They didn't make a record
talking about

how many gang fights they won,
how many guns they had,

how much drugs they did move
through their own communities.

They wrote "Planet Rock"

because they were envisioning
a better life

for all those people in
the South Bronx who had nothing.

BAMBAATAA: I used hip hop
as a cultural movement

to bring many people together
to be part of

what we call the one race ‐‐
the human race.

I think the first time
I heard "Planet Rock"

was in a club in New York.

And the tune just had ‐‐
was just heavy in a way

that I had, like, never heard
a track sound like before.

BAKER:
When Bambaataa deejayed,

he would play the Monkees,
he'd play Aerosmith.

He'd just play records
that no one else would play.

He just cared
that the beats were funky

and he would find
funky beats anywhere.

WANG: Sampling technology
by the 1980s

were, you know,
intrepid producers.

Afrika Bambaataa, Arthur Baker

discovered that you can now
use this ability

to take a few seconds
from a song, from a record,

from any kind of sound source,

and replay it endlessly
because of digital technology.

MAN: They know she's pushing
the word "like."

So you'll all go,
"Like," real strong.

♪ Electronic jams, like... ♪

One, two, three...

‐♪ Like! ♪
‐Yeah.

RZA: The first sampler only
sampled maybe 1 or 2 seconds.

What it allowed
a producer to do

was to actually capture
a snare or a sound

from the records
he used to scratch.

And that was
a revolutionary thing for us

as hip‐hop producers,
because now, you know,

we could take the same thing
that we would deejay all day ‐‐

'cause before you had
to have a 4‐track,

two turntables and you'll ‐‐
you'll keep scratchin'

back and forth
and you'll overdub.

But now, you just
capture the loop,

loop it,
and actually create a song

and the template of your music
with these samplers.

Technology has just taken
a giant leap forward.

Hello, I'm Roger Linn,

and this is the MPC60
Midi Production Center,

created by myself
and Akai Professional.

MILNER: Roger Linn foresaw
that sampling could be something

that people would really
want to get behind.

What he didn't really foresee ‐‐

and that goes for a lot of
the early sampling people ‐‐

which was sampling complete,
you know, sections of music,

actual audio, and using that
as the basis of songs.

‐♪ We have ♪
‐♪ We have ♪

‐♪ We have ♪
‐♪ Say what? ♪

♪ A whole lot of superstars
on this stage here tonight ♪

♪ But I want y'all to know
one thing ♪

♪ This is my house ♪

♪ And when I say,
"Whose house?" ♪

♪ Y'all know what time it is ♪

♪ Whose house? ♪

McDANIELS: Some people think
Run‐D. M. C. started hip hop.

Before Run‐D. M. C. came along,

everybody
was rapping over disco.

When we came along,
we looked and said,

"Okay, how we gonna fit in?"

So Run‐D. M. C. said,

"Ain't nobody rockin'
over rock records."

♪ Gan‐ing, boom‐ba‐bam‐boom ♪

♪ I'm the king of rock,
there is none higher ♪

♪ Sucker MCs
should call me sire ♪

♪ To burn my kingdom,
you must use fire ♪

♪ I won't stop rockin'
till I retire ♪

♪ Now we rock the party
and come correct ♪

♪ Our cuts are on time
and rhymes connect ♪

♪ Got the right to vote
and will elect ♪

♪ And other rappers can't
stand us but give us respect ♪

We used creativity,

which created innovation,
what created evolution.

♪ I am from around the way ♪

♪ And Run goes to school
every day ♪

We didn't say
we were the kings of rap.

We said the the kings of rock,

because we wanted to go
take the throne

from Mick Jagger, Elvis Presley,
and Michael Jackson.

Imitating is not allowed
in hip hop or music.

♪ She said, walk this way,
talk this way ♪

♪ Walk this way,
talk this way ♪

♪ Just gimme a kiss ♪

RUBIN: The original Aerosmith
version of "Walk this Way"

was a popular break beat used
by deejays in the hip‐hop world.

"Walk this Way"
was just gonna be

me and Run rapping
about how good we were.

♪ Tss da doo‐doo‐doo da ♪

♪ Buh‐duh‐duh duh‐duh‐duh‐duh ♪

♪ I'm D. M. C., the K‐I‐N‐G ♪

♪ Been rhymin'
on the mike since '83 ♪

♪ There will never be
an MC like me ♪

♪ I'll be rhymin' and rulin'
for eternity ‐‐ ♪ Whatever.

Rick Rubin, who was producing
us at the time,

walks in the studio and goes,
"Guys, y'all know who this is?"

♪ Seesaw swingin'
with the boys in the school ♪

♪ With your feet
flyin' up in the air ♪

‐♪ Singin' "Hey diddle‐diddle" ♪
‐RUBIN: When I suggested

to Run‐D. M. C. that we do a song
using "Walk this Way,"

I played them the beat
and they were like,

"Oh, yeah, we rap over that
all the time."

McDANIELS:
"This is 'Toys in the Attic.'"

"Nah, the name of this group
is Aerosmith.

The name of that song is
'Walk this Way.'"

He gives us the 411.

He finishes and we looking
at him like this: "And?"

And I said, "But instead
of writing new words to it,

let's use the original words
that Aerosmith used

as a way to demonstrate
the connection

between rap music
and rock 'n' roll."

[ "Walk This Way" plays ]

Jay goes ‐‐
Rest in peace, Jay ‐‐

being the great innovator
he was,

[as Jay]
"Yo, that might be a good idea."

We had never heard the lyrics.

Rick Rubin says,
"Here, take the record.

Go to your basement, and you
and Run learn the lyrics."

Me and Run put the needle
on the record.

So that shit said...

♪ Da‐na‐na‐na nu‐na‐na nu‐nu ♪

♪ Backstroke lover
hidin' under the cover ♪

Me and Run get on the phone.

"Yo, Rick and Jay,
this isn't rap.

This isn't hip hop.
We are not doing this record."

Russell's screaming at us.
Rick's screaming at us.

Jay's screaming at us.
"We're not doing this record."

We had to sit there and learn
Steven Tyler's records.

♪ ...she was foolin', 'cause
she knew what she was doin' ♪

♪ When she told me to
walk this way ♪

‐♪ The ho told me to ♪
‐[Falsetto] ♪ Walk this way ♪

‐♪ And the bitch said ♪
‐McDANIELS: We did those lyrics,

their record, over.

♪ Seesaw swingin'
with the boys in the school ♪

♪ With your feet flyin'
up in the air ♪

♪ Singin' "Hey diddle diddle"
with your kitty in the middle ♪

♪ Of the swing
like you just don't care ♪

♪ So I took a big chance
at the high‐school dance ♪

♪ With a missy
who was ready to play ♪

♪ Wasn't me she was foolin' ♪

♪ 'Cause she knew
what was she was doin' ♪

♪ When she told me
how to walk this way ♪

‐♪ She told me to ♪
‐♪ Walk this way ♪

♪ Talk this way ♪

♪ Walk this way ♪

‐♪ Talk this way ♪
‐♪ She told me to ♪

So when they first played that
in Boston,

on the rock radio station,

20% of the people was,
"This is blasphemy.

Who the hell do these rap guys
think they are?"

But 80% was like,
"Yo, this is cool."

Because we didn't talk about
weed and bitches and hoes

on the record.
We did the record over.

It helped connect the dots
for people to understand,

"Oh, this is ‐‐
I know this song.

And here are
these rappers doing it,

and it sounds like a rap record.

But it's not so different
than when Aerosmith did it.

And maybe I'm allowed
to like this."

BOYD: I hate that song.
I can't stand it.

The idea
that rappers needed to link up

with these rock musicians,
personally, didn't work for me.

It was a smart move

in terms of expanding
the reach of the music,

but when I think about,
like, D. M. C.,

that's probably the last song
that I think about.

[ Electronic music plays ]

McVEY: There was a machine
called the Fairlight,

which was a big,
expensive sampling machine.

It would have a keyboard

and you could record
the sound of anything

and then have it
play back that sound.

‐Want to do me a favor?
‐What?

Could you just say your name
into this microphone?

‐Tatyana Ali.
‐Watch this.

[ Distorted ] Tatyana Ali.

[ Laughter ]

McVEY: Like, for instance,
pour water into a glass.

You could record it
with a microphone,

put it into the Fairlight,

and the Fairlight
would play that back.

But across a keyboard,
and you could change the key,

the chord, the speed, the time,
where it fell on the beat.

And then there were
subsequent machines

that followed the Fairlight

which became more affordable
for kids.

So you were able to make music

for the first time
in your bedroom.

WANG: The first major sampler
that enters into the market,

at least in hip hop,
is the E‐mu SP 1200.

HOROVITZ: The SP 1200
is my sampler of choice.

It's a very limited amount
of sample time.

And you have to chop things up,
which I like.

So I would just spend all day,
every day

with the sampler, the SP 1200.

RZA: I had an SP 1200
with no instruction manual.

And I stayed up for days
until I figured it out.

And that same SP 1200 produced
songs like "Bring the Pain."

♪ I came to bring the pain
hardcore from the brain ♪

♪ Let's go inside
my astral plane ♪

♪ Find out my metal's
based on instrumental ♪

Hundreds of thousands
of records sold ‐‐

millions of records sold
off the "Method Man" album.

Two million records,
we sold on that record.

And that came from a guy

who kept putting
his energy and time into it.

So you can say
that's a natural talent,

to sample and then
break something down,

but the willpower of it

is also important,
I think, in the artist.

♪ The dark side of the Force ♪

♪ Of course it's the Method Man
from the Wu Tang Clan ♪

The producers using
the SP 1200, producers like

Marley Marl, Pete Rock,
Large Professor,

were making
some of the most amazing,

sort of groundbreaking,
music of the day.

WANG: Marley Marl
is this producer out of Queens

and he has been in the mix
since the early 1980s.

And he's fiddling
with a sampler,

realizing that he can not just
loop up an existing drum sound,

but that he
could actually replay it,

he could deconstruct it
and then reconstruct it

to create
a whole new drum pattern.

You know, he always
added his own groove.

That's what's really incredible
about him, to me.

If you think about a song
like "The Bridge."

♪ The bridge, bridge‐bridge ♪

♪ T‐T‐The bridge, the ‐‐
the bridge, bridge‐bridge ♪

♪ The‐The‐The‐The bridge,
the‐the bridge, bridge‐bridge ♪

He does samples of a break beat

called "Impeach the President,"
right?

It's been sampled
by many rappers

in the course of history.

But he did it, then he added
his own drums on top of it.

And then he also added
a synth sound

that I still don't know
where he got it from.

♪ The ‐‐ The bridge,
the bridge ♪

♪ The bridge, the bridge,
bridge‐bridge ♪

♪ The bridge, the bridge,
the bridge, the bridge ♪

He was able to find and use
break beats that was rare

before anybody else
knew to use them.

♪ Everyplace that said his name,
it rang an alarm ♪

♪ Otherwise known as
Mean Team Tom ♪

The second week of May of '88,

when "It Takes a Nation
of Millions to Hold Us Back"

came out,
I purchased this cassette

on the way to work
at my short‐order‐cook job,

frying French fries,

and I had to walk 10 blocks
to get to this job

and, by the time
I got to this job,

I was at the end of side one.

And I was just like,
"There's no way that I can...

I got to hear this record."

And so on my lunch break,
I told my boss,

"Okay, I'll be back at 3:00."

I never came back.

♪ Don't ♪

♪ Don't, don't ♪

♪ Don't, don't, don't, don't ♪

♪ Now here's what
I want y'all to do for me ♪

♪ Back ♪

BOYD:
Late '80s, you have

what is known as
the Golden Age of Hip Hop.

SIMPSON:
Public Enemy's first record,

"Yo! Bum Rush the Show,"
was amazing to me.

It didn't sound
like any other rap record

that had been out at the time.

BOYD:
Chuck D, the group's leader,

you have a person
who is making music

and talking
about black nationalism

♪ Number one, not born to run ♪

♪ About the gun,
I wasn't licensed to have one ♪

They perform at Rikers Island.
They go to jails.

They're making
socially conscious music.

And that's the thing about
Public Enemy and the Bomb Squad

is that we just wanted
to destroy

the predictability of music.

Q‐TIP: They put out their "Rebel
Without a Pause" as a 12‐inch.

And I remember that coming out
probably in the fall.

And when that hit with the...

♪ Brothers and sisters,
brothers and sisters ♪

♪ I don't know
what this world is coming to ♪

from Jesse Jackson.

[ Imitates
turntable scratching ]

♪ Yes, the rhythm, the rebel ♪

♪ Without a pause,
I'm lowering my level ♪

♪ The hard rhymer ♪

♪ Where you never been, I'm in ♪

♪ You want stylin'?
You know it's time again ♪

It was haunting.
It was eerie.

It was ‐‐ It was rabble‐rousing.

It was just agitating.

And his voice ‐‐

[baritone] ♪ Yes!
The rhythm, the rebel ♪

♪ Without a pause,
I'm lowering... ♪

And I see all these names
and I'm like, "The Bomb Squad."

I'm like, "Yo, this is dope."

The Bomb Squad

is a group of producers
I happened to work with.

That's Hank Shocklee,
Keith Shocklee,

Eric "Vietnam" Sadler,
Gary G‐Wiz,

that made the sonic sounds
for Public Enemy.

SHOCKLEE: The first element
of Public Enemy

that has to be there,
it has to be the beat.

And because my library
was so big

that I can take snatches
from anywhere,

not only did I collect
the Beatles's records

but I was collecting
Rolling Stones,

Blood, Sweat & Tears,
Three Dog Night.

And then at the same time,
I'm collecting

Kool & The Gang,
Parliament Funkadelic,

Earth, Wind & Fire.

And then at the same time,
I'm collecting jazz, as well ‐‐

David Sanborn, Chick Corea,
you know, Return to Forever.

They're sampling
television programs

‐and speeches.
‐...land on Plymouth Rock.

BOYD: And it's just a much more
complicated soundscape.

SHOCKLEE: I remember Flavor
come up to me in the studio,

tellin' me, he said,

"Hank, this is the worst record
I've ever heard in my life!"

They weren't just
sampling one sound.

They realized they could sample,
you know, dozens of sounds.

‐♪ Bring the noise! ♪
‐[ Turntable scratches ]

WANG: Which was all about, you
know, hitting you in the face.

It's kind of this
wall of noise ‐‐

"Bring the noise,"
as they would say.

♪ Yo, I don't understand
what they're saying ♪

SHOCKLEE: When we first did
the Public Enemy records,

nobody liked the records.

Matter of fact, they were

the worst records
anybody's ever heard

when I brought them
for people to listen to.

But the difference was
that those records resonated.

I always admire
what Hank Shocklee did.

He brought a lot to sampling.

Q‐TIP: Public Enemy, to me, is,
like, the perfect hip‐hop group.

I mean, it was hip hop.
It was crazy.

♪ 1989, the number ♪

‐♪ Another summer ♪
‐♪ Get down ♪

♪ Sound of a funky drummer ♪

RZA: When you think about a song
like "Fight the Power,"

the energy that that brings out,
Hank Shocklee and P. E.,

they was able to kind of have,
like, the horns of that song,

the voice in the background,
the scratching ‐‐

everything was at such a unique
level with sonic fusion

and with Chuck D's voice
heavy on top of it.

I mean, that song made you feel
like fighting the power.

♪ Fight the power ♪

♪ Fight the power ♪

♪ Fight the power ♪

♪ Fight the power ♪

♪ Fight the power ♪

♪ Fight the power ♪

♪ Fight the power ♪

BOYD: "Fight the Power"
was a great song, you know.

"Elvis was a hero to most,
but he never meant shit to me.

You see straight‐out racist,
the sucker was simple and plain.

Motherfuck him and John Wayne,"

‐right?
‐♪ ... and John Wayne ♪

♪ 'Cause I'm black
and I'm proud ♪

♪ I'm ready, I'm hyped,
plus I'm amped ♪

♪ Most of my heroes
don't appear on no stamps ♪

SHOCKLEE: "Fight the Power"
started with just a little loop.

And then we'll go back in
and start embellishing it.

And by embellishing it
is by putting in

all kinds of little samples,
snippets, vocal hits.

And then Chuck would go in and
start writing to the basic beat.

And then also adding in Flavor
at the same time.

RUBIN: The idea of having

someone like Flavor Flav
in the group,

who is so the antithesis
of Chuck ‐‐ like, Chuck had

this serious message
and this voice of a grownup.

And then he had Flavor Flav,
who was ridiculous.

The seriousness could get old

without having Flavor Flav
to lighten it up.

‐♪ Don't believe the hype ♪
‐♪ Rock the house ♪

‐♪ Don't believe the hype ♪
‐♪ Come on ♪

‐♪ Don't believe the hype ♪
‐♪ Do or die ♪

♪ Don't believe the hype ♪

KING: There's a kind
of political aspect

to the sampling of Public Enemy.

They were sampling
particular artists

and particular sounds that
referenced the entire history,

I think,
of black musical materials.

They're connecting the past
to the present to the future.

HOROVITZ: Back in '86,
I didn't know what sampling was.

Like, it was like, you know,
a magician just made it.

‐Yo!
‐And then Chuck D rapped on it.

Aah‐aah‐aah!

What's up?!

We're the Beastie Boys!

WANG: The Beastie Boys first
explode on the scene in 1986

with their Rick Rubin‐produced
album called "Licensed to Ill."

And this puts them on the map.
It's a multi‐million seller.

And it's mostly built off
of drum‐machine sounds,

because, in 1986, that was
the dominant production tool.

Come on now.
Let's get busy, y'all.

[ "No Sleep Till Brooklyn"
plays ]

Are y'all ready to get busy?

Yeah!

♪ Foot on the pedal,
never, ever false metal ♪

♪ Engine running hotter
than a boiling kettle ♪

HOROVITZ:
We were a hardcore band,

and we used to play
hardcore songs.

All our songs would fit

into like 9 minutes
or something like that.

And then we were, like, "Hey,
we should rap. Like, why not?

That's all we listen to anymore
is rap records.

So why not?
We should do it."

♪ No... sleep... till Brooklyn ♪

♪ Aw, yeah ♪

♪ No... sleep... till Brooklyn ♪

BAKER: They were exactly
what they looked like

when they became big.

They were
punk rockers who rapped.

They came from wealthy families.

They loved music.
They loved rock. They loved rap.

And they had
a good sense of humor.

Ad‐Rock, you forgot to tell me
where you were from.

I'm from moneymaking Manhattan.

‐And you?
‐Yeah.

I'm from Manhattan.
And I'm not a bum.

Well, that's ‐‐
that's plain to see.

RONSON:
I, like all kids my age,

love, like,
the kind of rebellious,

sort of angsty vibe of,
like, "Fight for Your Right."

♪ You gotta fight ♪

♪ For your right ♪

♪ To party ♪

It was kind of Meathead‐y,
but, like, in a good way.

And, you know, they were
so charming and captivating.

You wanted that
to sort of be your life.

♪ You gotta fight ♪

The early days of hip hop

really reminded me
of the early days of punk rock.

It was a very similar energy.

Music had been taken back
to where anybody could do it.

You didn't have to be
a virtuoso

in either field
to be good at it.

You had to have a point of view

and be able to express
this point of view,

both in punk rock
and in hip hop.

BAKER: I think a lot
of the Beastie Boys stuff

sounded like you went to a gig
and you recorded it live.

♪ Not like a fever,
not like a cold ♪

♪ The beats are clear,
and the rhymes are bold ♪

Now, well, I remember
seeing the Beasties play

the Embassy Club in London

and there being beer
everywhere, and vomit.

And it just ended in a riot.

And thinking, "Wow.
This is really out‐there."

♪ It's time to party,
so have a ball ♪

BAKER:
I was with them in Paris

in a show that ended up
being a riot.

Russell was throwing
cans of beer in the audience,

like, to stir up the audience.

And people thought
it was the Beastie Boys,

so people started getting
totally rowdy.

And then when we left,
we get in the tour bus

and the tour bus had been ‐‐
It was on fire, basically.

It was on fire.
The fans trashed the tour bus.

HOROVITZ: We were, like,
into this idea now

of, like, samples or tape loops.

And we were just, like,
buying a lot of records

and trying to come up
with different ideas and stuff.

And then I went
to a party in L. A.

And there was
this crazy music playing.

And I just happened to meet
these guys at this party

and it was the Dust Brothers.

He asked us if we had
any more music

like the track we were playing
and we said we did

and we ended up sending him a CD

and waiting patiently for three
weeks to get a response.

And then, on a Sunday night,
we get a call from Mike D

and he says, "We're coming out
on a red‐eye. Book studio time.

We want to make a record
with you guys."

[ Beastie Boys' "Shadrach"
plays ]

HOROVITZ: "Paul's Boutique,"
for the most part,

was either us making the tracks
or them making the tracks.

And, you know, their tracks

were probably
a little bit better [Chuckles]

'cause they're
really good at making them.

♪ Riddle me this, my brother ♪

‐♪ Can you handle it? ♪
‐♪ Your style to my style ♪

♪ You can't hold a candle
to it ♪

♪ Equinox symmetry,
and the balance is right ♪

♪ Smokin' and drinkin'
on a Tuesday night ♪

It's not how you play...♪

SIMPSON: On "Paul's Boutique,"
I think the Beastie Boys

really wanted to make
a statement.

They wanted to get away from the
sort of one‐hit‐wonder aspect

of "Fight for Your Right
to Party"

and prove to the world
that they were real artists,

because they were.

♪ ...three MCs,
and we're on the go ♪

♪ Shadrach, Meshach, Abednego ♪

♪ Shadrach, Meshach, Abednego ♪

♪ Shadrach, Meshach, Abednego ♪

♪ Shadrach, Meshach, Abednego ♪

WANG: If you go back
and listen to "Paul's Boutique"

and you identify the sources

where all these different
samples are coming from,

they're coming from dozens
if not, you know,

well over 100 different records.

SIMPSON: There's "Machine Gun,"
which was a Commodores song.

"Shake Your Rump"
was from Afrika Bambaataa.

There's a whole bunch
of Beatles samples,

and some of them
are recognizable

and some of them aren't.

‐♪ The Patty Duke Show ♪
‐♪ The wrench ♪

♪ And then I bust the tango ♪

♪ Got more rhymes
than Jamaica got mangoes ♪

♪ I got the peg leg
at the end of my stump‐a ♪

♪ Shake your rump‐a ♪

SIMPSON: So, this took forever.
I mean, that's why

"Paul's Boutique"
took two years to make.

RUBIN: I remember the first time
I heard "Paul's Boutique."

I was with Chuck D and we were
at the Mondrian Hotel,

and we listened to it together.

I think we got a cassette
and listened to it on a boombox.

And both of us said,
"That's the future of hip hop."

It blew our minds.

We loved it.
We loved it.

RZA: When the Beasties came back
with the Dust Brothers,

they had actually left
the hip‐hop hemisphere

and took this sound
to other musicians.

And for a minute, you know,
I don't think other musicians

knew how to get
to where the Beasties were at.

♪ You got what I need ♪

WANG: In the early '90s, there
were a series of key lawsuits

that were brought about
by artists

or by rights holders who felt

like sampling was, in essence,
you know, stealing from them.

It was plagiarizing their work,

and that they had
a right to assert

that they should be
compensated for this.

♪ But you say
he's just a friend ♪

♪ So I took blah‐blah's
word for it at this time ♪

♪ I thought just having a friend
couldn't be no crime ♪

WANG: And this had very much a
chilling effect on the industry,

because now you had to clear
every sample.

If you failed to do so, it
was gonna be really expensive.

So labels were very gun‐shy

about allowing
excessive sampling.

WOMAN:
Remember that traditional...

Q‐TIP: You know, people take
recipes and rework recipes

and add their own seasoning
and shit like that.

Then it becomes
something totally different.

And the person who did
the original benefits.

So it's basically,
in theory, "a co‐write."

Sampling is not
a fucking bad word. It's not.

HOROVITZ: I believe ‐‐ and
I could be wrong with this ‐‐

that Beastie Boys had
a lawsuit ‐‐ against us ‐‐

from the Jimmy Castor Bunch,

and that was the first legal
document of the word "sample."

Who gets paid,
how much do they get paid...

... and how do they get paid ‐‐

Those are really complicated
questions.

A record like "The Funky
Drummer" is complicated,

because the part
that you're sampling

is Clyde Stubblefield's work,
but he is not the person

who will get paid
those royalties.

But that part that he played

is so pivotal
in all of these other records.

SIMPSON: Now it's become
cost‐prohibitive to use samples.

Usually, if you get to use
one sample

on your record, you're lucky.

Just getting the clearance
can be a nightmare, too,

because you have to track down
all of the publishers

and I don't think
you could make a record

like "Paul's Boutique" today.

You'd need more lawyers
than producers

to make that record today.

This is what a sample is worth.

The original song,
and the classic,

a true classic
being made out of it.

[ Beat plays ]

Can I have some more amp?

SHOCKLEE:
Now sampling is only available

for the elite, if you would ‐‐

those that can pay
the exorbitant fees, you know.

A Kanye West can sample

because he can afford to pay
$100,000 for a sample,

whereas the average kid now
that's in their bedroom

that wants to come up,
they can't do that.

If you look at hip hop
on the whole ‐‐

and I mean, including
every place, every facet,

of not only America but abroad
and people who do it ‐‐

sampling
is a very small percentage

of what, you know, is going on
in hip hop currently

and it has been like that
for some time.

And then I think you have
things that happened

a lot more in the '90s,

where people were obviously
cashing in on a sample

because they were like,
"Well, that's already a hit.

Let's take that.
That'll be easy."

♪ In the future,
I can't wait to see ♪

♪ If you open up the gates
for me ♪

♪ Reminisce sometimes,
the night they took my friend ♪

Q‐TIP:
Puffy had a huge success

with obvious samples
that sold millions of records.

♪ Give anything to hear
half a breath ♪

♪ I know you're still living

‐your life after death ♪
‐♪ Every step I take ♪

♪ Every move I make ♪

♪ Every single day,
every time I pray ♪

♪ I'll be missin' you ♪

BOYD: The best producers

are able to take
really familiar songs

and sample them in such a way

that you don't even recognize
what they are.

And then there are other people
who are like,

"I'm gonna just loop this and
find somebody to rap over it,"

and they're letting the old song
do all the work for them.

♪ I know you in heaven,
smilin' down ♪

♪ Watchin' us
while we pray for you ♪

BOYD: Like anything else,
sampling is creative.

It can be really interesting
and compelling,

or it can be simply

a rehashing of something
that already existed.

♪ ...I make ♪

‐♪ I miss you ♪
‐♪ Every single day ♪

♪ Every time I pray ♪

♪ I'll be missin' you ♪

♪ Yeah, yeah, yeah ♪

♪ Thinkin' of the day ♪

♪ When you went away ♪

RONSON: I started deejaying
in the spring of 1993

and I went to Rock and Soul,

the old record store
on 35th and 7th,

where everyone went to get
their vinyl in Manhattan.

And there was ‐‐

I have the original 12‐inch
of "Protect Ya Neck."

It was on Wu‐Tang Records.

Like, this kind of
cheap‐looking, you know,

just pressed up in
a black sleeve, nothing fancy.

And it felt
like this exciting thing.

Like, "Who the hell
are these guys?"

There's 11 people rapping,

and every single verse
is better than the last.

The Wu‐Tang was everything,
sort of, when it came out.

♪ I grew up on the crime side ♪

♪ The New York Times side ♪

♪ Staying alive was no jive ♪

♪ Had secondhands ♪

♪ Moms bounced on old man ♪

♪ So then we moved
to Shaolin land ♪

♪ A young youth, yo,
rockin' the gold tooth ♪

HOROVITZ: Wu‐Tang Clan is
different from anybody else.

Like, they're just ‐‐
They're different.

You can't put them in...

There's no category
that the Wu‐Tang Clan goes in.

We developed our skills
and our techniques

on Staten Island, New York.

Now, Staten Island is a place
that's surrounded by water.

It's isolated
from the rest of the city.

In science‐fiction movies,

you'll see something
like King Kong,

and they have to take
a big boat to some island.

And on this island, there exists
something that's that old.

Being isolated from Manhattan
and Brooklyn and Queens,

it helped us to develop
our own style,

our own New York slang.

It was New York, but it was
a different New York.

♪ So I got with a sick,
tight clique ♪

♪ And went all‐out ♪

♪ Catchin' keys
from across seas ♪

♪ Rollin' in MPVs ♪

♪ Every week, we made 40 G's ♪

Your wisdom is a manifestation
of your knowledge.

Once you know that you're sure
without approval,

that's the understanding.

So we know what time it is.

We gonna show y'all niggas
what time it is

and we gonna prove
what time it is.

That's right.

And for the hip‐hop world,
it's Wu‐Tang time, nigga.

WANG: RZA from the Wu‐Tang Clan
is a really interesting figure

in this, because by the time
we start hearing

the first Wu‐Tang songs,
around 1993, '94,

he was still using
older sampling technologies

such as, like, the SP 1200,

because that gave him
a grittier sound.

It wasn't cleaned up.
It wasn't pretty.

It wasn't, you know,
at the cutting edge.

They would take Ultimate Beats
and Breaks hip hop.

They will take jazz music.

They will take...
any noise whatsoever.

They will take dialogue
from other films and loop it,

and sound sloppy as hell
doing it.

He's, like,
"The dirtier, the better."

That dirty,
stank, crusty feeling.

He just likes the agitation.

He likes to get
your blood boiling.

RZA: It don't have to be
always on beat.

I heard the CD skippin',

'cause I was trying to get
a sample off of something,

and the fuckin' CD was scratched
and was like...

♪ Dun dun, duh dun dun,
dun dun dun, duh dun dun ♪

I was like, "I like that."

♪ Can it be that
it was all so simple then? ♪

[ Cheers and applause ]

♪ Or has time
rewritten every line? ♪

When you look at songs
like Gladys Knight,

we sampled on "Memories,"
"The Way We Were,"

on "Can It Be So Simple?"

It starts off

exactly how I programmed it
in my beat machine.

KNIGHT: Hey, you know,
everybody's talking

about the good old days, right?

Everybody, the good old days,
the good old days.

RZA:
I programmed it with her intro,

a long intro,
and then my beat drops.

♪ Can it be that it
was all so simple then? ♪

[ Indistinct rapping ]

That was my thing.

When I had the power
to sample longer,

I was able to kind of make
my idea more cinematic.

♪ Can it be that it
was all so simple then? ♪

♪ Yo, started off
on the Island, AK Shaolin ♪

♪ Brothers wilin' ♪

♪ Gunshots thrown,
the phone dialin' ♪

HADLEY: It's like, how did you
make "Can It All Be So Simple"

so dark and make it sound
like this was its original home,

this is where it was
supposed to be,

as opposed to how it
was originally constructed?

I think it's truly a gift.

♪ That's the life of grimey ♪

RZA's just, like, creative.

He makes music
that sounds historical

and from the future,
all at the same time,

which is something
I really love.

♪ Can it be that it was all
so simple then? ♪

♪ Ah ♪

♪ Can it be that it
was all so simple then? ♪

♪ Ah ♪

♪ Can it be that it
was all so simple then? ♪

AUERBACH: That's what made
the Wu‐Tang the Wu‐Tang.

WEST: Always talking about,
you know, "You biting.

You biting my style. You bite
everything that I did a lot."

But hip hop itself
is based off of bite.

I think what you've seen

over the last,
especially 10, 15 years,

is just the explosion
in not just sampling technology,

but just production technology
and software in general.

RZA: First, we had
the drum‐machine sampler,

then it went
to the keyboard sampler.

And then from there,
you know, the synthesizer

and the workstations.

And now we at the level
of digital audio workstations,

which gives you
your tape machine, your sampler,

your drum machine,
all on your computer screen.

♪ Where it's at ♪

♪ I got two turntables
and a microphone ♪

Technology is humanity's
response to its own dreams.

I mean, if we can think
of something, we can make it.

♪ Got two turntables
and a microphone ♪

‐[ Turntable scratches ]
‐♪ That was a good drum break ♪

SIMPSON: Beck's "Odelay" was
really the most successful use

of this new technology for us.

Instead of
actually sampling records,

we were just going for sounds.

So we would listen to a record,
and Beck would say,

"Oh, I love the way
this record sounds!

I think I can get
that guitar sound."

And so Beck would dial up
that guitar sound,

and we would take
the very best sections,

and we would cut and paste those
together within the computer

and create our own loops,

instead of sampling them
off records.

♪ Don't stop, get it, get it ♪

♪ I don't wanna be a player
no more ♪

♪ Punisher, Big Punisher ♪

♪ Big Punisher, still got

‐what you're lookin' for ♪
‐♪ Big Punisher ♪

ROSEN: The radical innovations
of hip‐hop producers

created in the 1980s,

and perfected in kind of
the late '80s and early '90s,

have disseminated
throughout the musical world.

♪ I got a bad boy,
I must admit it ♪

♪ You got my heart,
don't know how you did it ♪

Almost all pop‐music producers

make their records
like hip‐hop guys once did.

♪ I love the way,
I love the way ♪

♪ I love the way ♪

Music has a foundation.
It has a circle of notes.

It has been tried over and over
from the Egyptians

to, you know, the Renaissance
to American music ‐‐

to jazz, folk, hip hop.

There's been ways
that's always been tried.

It's so crazy
to dismiss sampling.

Some of the most ingenious,
progressive music

of the past 20 years
has come from combining

the use of sampling
with original material.

Bjork, one of those great things
she does, like, you know,

"Dancer in the Dark"
and all these things

with found sounds ‐‐
I mean, that's sampling.

♪ I have seen
the willow leaves ♪

♪ Dancin' in the breeze ♪

RUBIN: It's the same thing
the Beatles did

when they wrote songs.

They would get inspired
by a Roy Orbison song

and then write a song.

You know, "Please Please Me"

was their version
of a Roy Orbison song.

Doesn't sound like that to us,
but that's how they wrote it.

I remember people saying,
"This isn't music.

Like, the Sugar Hill Gang,

like, people would say,
"They're not even singing.

They've used some ‐‐
They've used a Chic song

and they're talking over it ‐‐
How is that even their record?"

And now we hear it at weddings,
and we just dance along to it

because it's the most familiar
piece of music we can imagine.

If the idea is an original song,

where is the line
that divides what is original?

People like Kanye West,
who very creatively sample.

And it's kind of ‐‐
It's tough sometimes to tell,

how much of that
is the songwriting

and how much of that
is the production?

♪ Lost in the world ♪

♪ Been down my whole life ♪

The recording experience
is never finished.

It just goes on and on,
and people cut and mix records.

They take them,
recontextualize them.

Turn them into new moments,
into new meaning.

♪ You're my devil,
you're my angel ♪

♪ You're my heaven,
you're my hell ♪

♪ You're my now,
you're my forever ♪

♪ You're my freedom,
you're my jail ♪

BAMBAATAA: Well, we got to say,
many of the youth

always grab a new language
to whatever music.

Then we got to look at,
is it really new?

Is anything really new
under the sun?

McDANIELS: The beautiful thing
about that great era,

that great generation,
that time of music

is everything
that they said was truth.

It was our truth.

HOROVITZ: To me, and to us,
like, it never mattered.

Like, there's no,
like, real music.

The real music is what you like.

RZA: It's been very helpful.
It has grown us.

It has made musicians
out of non‐musicians.

It has made producers
out of those

who wouldn't normally
be producers.

ROSEN:
The production techniques,

the sampling technology,

the types of recordmaking that
were forms that were invented

by hip‐hop producers,
have become ubiquitous.

It's now changed the way
we listen to music

and what we regard as music.

♪ I'm new in the city ♪

♪ And I'm down for the night ♪

♪ I'm down for the night ♪

♪ I'm down for the night ♪