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806 00:36:20,966 --> 00:36:25,300 SHING! 807 00:36:25,366 --> 00:36:28,233 >> LL IS PHENOMENAL BECAUSE HE 808 00:36:28,300 --> 00:36:28,733 EXISTED, DOMINATED, AND 809 00:36:28,800 --> 00:36:31,900 SUCCEEDED IN AN ERA THAT WAS 810 00:36:31,966 --> 00:36:33,766 MOSTLY GROUPS. 811 00:36:33,833 --> 00:36:42,366 ♪ ♪ 812 00:36:42,433 --> 00:36:45,066 HE COULD DO "GOING BACK TO 813 00:36:45,133 --> 00:36:47,966 CALAIS," IT WAS SO AVANT-GARDE. 814 00:36:48,033 --> 00:37:00,866 >> FLYING AT ME, BLACK AND 815 00:37:00,933 --> 00:37:01,533 WHITE, THE MUSIC, IT WAS, LIKE, 816 00:37:01,600 --> 00:37:01,966 FAST AND DIFFERENT. 817 00:37:02,033 --> 00:37:02,400 I LIKE WHAT LL SAID. 818 00:37:02,466 --> 00:37:06,600 >> SHE SAID SHE LIKE -- 819 00:37:06,666 --> 00:37:08,366 >> I FELT LIKE PEOPLE MIGHT HAVE 820 00:37:08,433 --> 00:37:11,633 THOUGHT, THIS IS A LITTLE SOFT, 821 00:37:11,700 --> 00:37:14,666 BUT LL, WHERE IS IT GOING WITH 822 00:37:14,733 --> 00:37:17,266 THIS? 823 00:37:17,333 --> 00:37:20,400 >> ♪ I'M NOT SAYING NO NAMES ♪ 824 00:37:20,466 --> 00:37:24,266 >> THE SONG "I NEED LOVE." 825 00:37:24,333 --> 00:37:27,033 >> I NEEDED IT. 826 00:37:27,100 --> 00:37:28,300 >> IT'S CALLED BEING REAL, YOU 827 00:37:28,366 --> 00:37:29,633 KNOW WHAT I'M SAYING? 828 00:37:29,700 --> 00:37:31,233 EVERYBODY NEEDS LOVE. 829 00:37:31,300 --> 00:37:32,533 ONLY SUCKERS ARE SCARED OF LOVE. 830 00:37:32,600 --> 00:37:34,966 >> IT MADE THE WOMEN MELT, THAT 831 00:37:35,033 --> 00:37:37,433 WAS THE FIRST TIME HEARING OF 832 00:37:37,500 --> 00:37:38,500 VULNERABILITY, THAT OPENED THE 833 00:37:38,566 --> 00:37:41,266 DOOR F HOLE ANOTHER LANE. 834 00:37:41,333 --> 00:37:42,333 >> I FELT LIKE MAYBE I WAS 835 00:37:42,400 --> 00:37:45,366 LOSING IT OR SLIPPING BECAUSE I 836 00:37:45,433 --> 00:37:47,433 FELT LIKE THERE IS A BACKLASH 837 00:37:47,500 --> 00:37:48,066 AGAINST EVERYTHING I REPRESENTED 838 00:37:48,133 --> 00:37:49,666 IN HIP-HOP, AND I TOLD MY 839 00:37:49,733 --> 00:37:51,633 GRANDMOTHER THAT, AND SHE WAS 840 00:37:51,700 --> 00:37:54,066 LIKE, LOOK, JUST GO DOWN IN THE 841 00:37:54,133 --> 00:37:56,066 BASEMENT, MAKE YOURSELF A SONG, 842 00:37:56,133 --> 00:37:57,366 KNOCK THEM OUT. 843 00:37:57,433 --> 00:37:59,933 >> ♪ DON'T CALL IT A COMEBACK 844 00:38:00,000 --> 00:38:05,400 MAMA I'VE BEEN HERE FOR YEARS ♪ 845 00:38:05,466 --> 00:38:07,900 ♪ MAKING THE BASE GO BOOM, 846 00:38:07,966 --> 00:38:08,233 EXPLODING ♪ 847 00:38:08,300 --> 00:38:12,933 >> LL HAS HAD ABOUT FIVE MAJOR 848 00:38:13,000 --> 00:38:15,000 COMEBACKS IN HIP-HOP. 849 00:38:15,066 --> 00:38:17,733 >> LL'S GREATEST STRENGTH AS A 850 00:38:17,800 --> 00:38:18,833 RAPPER IS CONFIDENCE. 851 00:38:18,900 --> 00:38:20,166 >> I NEVER GIVE UP. 852 00:38:20,233 --> 00:38:21,400 >> HE IS NOT AN OG. 853 00:38:21,466 --> 00:38:27,600 HE IS THE G. 854 00:38:27,666 --> 00:38:30,233 >> ♪ I'M GOING TO KNOCK YOU 855 00:38:30,300 --> 00:38:30,433 OUT ♪ 856 00:38:30,500 --> 00:38:32,833 ♪ MAMA SAID KNOCK YOU OUT ♪ 857 00:38:32,900 --> 00:38:35,466 >> HE HAS THIS HOLE, ON SEXY BUT 858 00:38:35,533 --> 00:38:37,100 NOT TRYING TO BE SEXY. 859 00:38:37,166 --> 00:38:39,666 ♪ ♪ 860 00:38:39,733 --> 00:38:41,766 YOU FELT LIKE, THAT COULD BE 861 00:38:41,833 --> 00:38:42,866 MADE. 862 00:38:42,933 --> 00:38:44,700 I'VE GOT THE BAD BLUE EARRINGS 863 00:38:44,766 --> 00:38:44,866 ON. 864 00:38:44,933 --> 00:38:50,166 IT WAS HIP-HOP, BUT IT WAS SEXY 865 00:38:50,233 --> 00:38:50,400 SEXY. ♪ 866 00:38:50,466 --> 00:38:56,300 .♪ RAISE DR. BROOKLYN ♪ 867 00:38:56,366 --> 00:39:00,966 >> LL HAS ALWAYS BEEN MY 868 00:39:01,033 --> 00:39:03,100 FORECAST FOR WHERE HIP-HOP IS 869 00:39:03,166 --> 00:39:03,300 GOING. 870 00:39:03,366 --> 00:39:08,133 >> ♪ WIN THE LOTTERY ♪ 871 00:39:08,200 --> 00:39:09,833 ♪ FREE, BUT WASN'T A ROBBERY ♪ 872 00:39:09,900 --> 00:39:16,466 >> LL NOT ONLY SUCCEEDED, HE 873 00:39:16,533 --> 00:39:18,666 DOMINATED, HE INFLUENCED, AND HE 874 00:39:18,733 --> 00:39:19,666 INTIMIDATED. 875 00:39:19,733 --> 00:39:21,800 >> I THINK LL'S GREATEST 876 00:39:21,866 --> 00:39:24,133 CHARACTER TRAIT IS THE FACT THAT 877 00:39:24,200 --> 00:39:26,200 HE LISTENS TO HIS MUSICAL 878 00:39:26,266 --> 00:39:27,833 COLLABORATORS. 879 00:39:27,900 --> 00:39:30,433 YOU CAN TELL HE LISTENS TO RICK 880 00:39:30,500 --> 00:39:33,000 RUBIN, THAT HE LISTENED TO 881 00:39:33,066 --> 00:39:33,900 MARLEY, THAT HE LISTEN TO THE 882 00:39:33,966 --> 00:39:37,633 TRACK MASTERS. 883 00:39:37,700 --> 00:39:40,400 THEY BOTH WROTE EACH OTHER INTO 884 00:39:40,466 --> 00:39:41,866 GLORY. 885 00:39:41,933 --> 00:39:43,866 >> I DON'T KNOW WHAT HAPPENED. 886 00:39:43,933 --> 00:39:44,866 I'M NOT SMART ENOUGH TO 887 00:39:44,933 --> 00:39:45,266 ORCHESTRATE THIS. 888 00:39:45,333 --> 00:39:49,566 I WAS JUST BLESSED. 889 00:39:49,633 --> 00:39:51,000 YOUR MAN IS VERY GRATEFUL. 890 00:39:51,066 --> 00:39:52,400 BECAUSE I KNOW IT DOESN'T HAVE 891 00:39:52,466 --> 00:39:53,400 TO BE LIKE THAT. 892 00:39:53,466 --> 00:39:55,000 I KNOW THAT I DON'T EVEN HAVE TO 893 00:39:55,066 --> 00:39:57,033 HAVE A CAREER RIGHT NOW. 894 00:39:57,100 --> 00:39:58,233 YOU KNOW HOW MANY RECORD 895 00:39:58,300 --> 00:39:59,666 COMPANIES OUTBACK TO PUT ME ON 896 00:39:59,733 --> 00:40:02,166 BEFORE I GOT THE DEMO WITH 897 00:40:02,233 --> 00:40:03,733 DEF JAM? 898 00:40:03,800 --> 00:40:04,666 I WANT TO MAX OUT EVERYTHING 899 00:40:04,733 --> 00:40:06,500 THAT'S INSIDE ME. 900 00:40:06,566 --> 00:40:11,000 I WANT TO DIE EMPTY. 901 00:40:11,066 --> 00:40:16,933 >> ♪ LL COOL J IS HARD AS -- ♪ 902 00:40:17,000 --> 00:40:21,533 ♪ ♪ 903 00:40:21,600 --> 00:40:22,433 >> ♪ 1, 2, 3 'O' CLOCK 904 00:40:22,500 --> 00:40:22,866 4 'O' CLOCK ROCK ♪ 905 00:40:22,933 --> 00:40:23,400 ♪ 5, 6, 7 'O' CLOCK 906 00:40:23,466 --> 00:40:23,866 8 'O' CLOCK ROCK ♪ 907 00:40:23,933 --> 00:40:24,566 ♪ 9, 10, 11 'O' CLOCK 908 00:40:24,633 --> 00:40:25,100 12 'O' CLOCK ROCK ♪ 909 00:40:25,166 --> 00:40:25,733 ♪ GONNA ROCK ♪ 910 00:40:25,800 --> 00:40:26,633 ♪ ROCK, ROCK AROUND THE CLOCK ♪ 911 00:40:26,700 --> 00:40:27,666 ♪ THREE YEARS AGO IN ST. ALBANS, 912 00:40:27,733 --> 00:40:28,000 QUEENS ♪ 913 00:40:28,066 --> 00:40:28,900 ♪ I WAS ROCKIN AT A PARK CALLED 914 00:40:28,966 --> 00:40:29,533 ONE EIGHTEEN ♪ 915 00:40:29,600 --> 00:40:30,166 ♪ LITTLE KIDS STOOD AND WATCHED 916 00:40:30,233 --> 00:40:33,366 AS I ROCKED THE SPOT ♪ 917 00:40:33,433 --> 00:40:34,266 ♪ DIDN'T KNOW THAT YEARS LATER 918 00:40:34,333 --> 00:40:36,633 I'LL BE STANDIN ON TOP ♪ 919 00:40:36,700 --> 00:40:37,500 ♪ LIVIN NEAR FARMERS BOULEVARD 920 00:40:37,566 --> 00:40:38,233 I WAS BORN AND BASE-SHAW ♪ 921 00:40:38,300 --> 00:40:38,800 ♪ STOPPED THE RICH 922 00:40:38,866 --> 00:40:40,100 AND SHAKED HANDS WITH THE POOR ♪ 923 00:40:40,166 --> 00:40:41,166 ♪ THIS IS A STORY ABOUT 924 00:40:41,233 --> 00:40:42,766 A BROTHER I KNOW ♪ 925 00:40:42,833 --> 00:40:43,333 ♪ CUT CREATOR ON THE FADER 926 00:40:43,400 --> 00:40:47,800 NO, WATCH HIM GO ♪ 927 00:40:47,866 --> 00:40:51,600 ♪ ♪ 928 00:40:51,666 --> 00:40:53,133 ♪ GO, GO CUT CREATOR GO ♪ 929 00:40:53,200 --> 00:40:55,033 ♪ GO CUT CREATOR GO ♪ 930 00:40:55,100 --> 00:40:59,366 ♪ GO CUT CREATOR GO ♪ 931 00:40:59,433 --> 00:41:02,033 ♪ GO, GO CUT CREATOR GO ♪ 932 00:41:02,100 --> 00:41:04,166 ♪ GO CUT CREATOR GO ♪ 933 00:41:04,233 --> 00:41:10,500 ♪ GO CUT CREATOR GO ♪ 934 00:41:10,566 --> 00:41:18,166 ♪ ♪ 935 00:41:18,233 --> 00:41:38,300 ♪ ♪ 936 00:41:38,366 --> 00:41:39,633 ♪ GOING BACK TO CALI ♪ 937 00:41:39,700 --> 00:41:42,100 ♪ GOING BACK TO CALI ♪ 938 00:41:42,166 --> 00:41:42,733 I DON'T THINK SO. 939 00:41:42,800 --> 00:41:43,466 ♪ GOING BACK TO CALI ♪ 940 00:41:43,533 --> 00:41:46,033 ♪ GOING BACK TO CALI ♪ 941 00:41:46,100 --> 00:41:47,933 I DON'T THINK SO. 942 00:41:48,000 --> 00:41:49,033 ♪ LL COOL J IS HARD AS HELL ♪ 943 00:41:49,100 --> 00:41:49,666 ♪ BATTLE ANYBODY I DON'T CARE 944 00:41:49,733 --> 00:41:50,166 WHO YOU TELL ♪ 945 00:41:50,233 --> 00:41:51,366 ♪ I EXCEL, THEY ALL FAIL ♪ 946 00:41:51,433 --> 00:41:52,900 ♪ GONNA CRACK SHELLS, DOUBLE-L 947 00:41:52,966 --> 00:42:00,800 MUST ROCK THE BELLS ♪ 948 00:42:00,866 --> 00:42:02,633 CLEVELAND, PUT YOUR HANDS UP, 949 00:42:02,700 --> 00:42:03,533 HANDS UP, HANDS UP! 950 00:42:03,600 --> 00:42:04,300 ♪ YOU'VE BEEN WAITIN' AND 951 00:42:04,366 --> 00:42:05,000 DEBATIN' FOR OH SO LONG ♪ 952 00:42:05,066 --> 00:42:05,733 ♪ JUST STARVIN' LIKE MARVIN FOR 953 00:42:05,800 --> 00:42:07,100 A COOL J SONG ♪ 954 00:42:07,166 --> 00:42:08,400 ♪ IF YOU CRIED AND THOUGHT I 955 00:42:08,466 --> 00:42:10,033 DIED, YOU DEFINITELY WAS WRONG ♪ 956 00:42:10,100 --> 00:42:10,700 ♪ IT TOOK A THOUGHT, PLUS I 957 00:42:10,766 --> 00:42:11,900 BROUGHT CUT CREATOR ALONG ♪ 958 00:42:11,966 --> 00:42:12,533 ♪ THINKING OF E-LOVE DOWN WITH 959 00:42:12,600 --> 00:42:13,466 THE COOL J FORCE ♪ 960 00:42:13,533 --> 00:42:14,833 ♪ SPECIALIZIN' IN THE RHYMIN' 961 00:42:14,900 --> 00:42:15,833 FOR THE RECORD, OF COURSE ♪ 962 00:42:15,900 --> 00:42:16,966 ♪ I'M A TOWER FULL OF POWER WITH 963 00:42:17,033 --> 00:42:17,866 RAIN AND HAIL ♪ 964 00:42:17,933 --> 00:42:19,666 ♪ CUT CREATOR SCRATCH THE RECORD 965 00:42:19,733 --> 00:42:20,833 WITH HIS FINGERNAIL ♪ 966 00:42:20,900 --> 00:42:27,733 ♪ ROCK THE BELLS ♪ 967 00:42:27,800 --> 00:42:29,500 ♪ ♪ 968 00:42:29,566 --> 00:42:30,766 ♪ THE KING OF CROWD ROCKERS 969 00:42:30,833 --> 00:42:31,866 FINALLY IS BACK ♪ 970 00:42:31,933 --> 00:42:33,400 ♪ MY VOICE IS YOUR CHOICE AS THE 971 00:42:33,466 --> 00:42:39,233 HOTTEST WAX ♪ 972 00:42:39,300 --> 00:42:39,966 ♪ TRUE AS A WIZARD, JUST A 973 00:42:40,033 --> 00:42:41,833 BLIZZARD ♪ 974 00:42:41,900 --> 00:42:42,466 ♪ I AIN'T TAKEN NO CRAP ♪ 975 00:42:42,533 --> 00:42:43,366 ♪ I'M RHYMIN' AND DESIGNIN' WITH 976 00:42:43,433 --> 00:42:43,966 YOUR GIRL IN MY LAP ♪ 977 00:42:44,033 --> 00:42:44,900 ♪ THE BASS IS KICKIN' ALWAYS 978 00:42:44,966 --> 00:42:45,566 STICKIN' 'CAUSE YOU LIKE IT THAT 979 00:42:45,633 --> 00:42:46,233 WAY ♪ 980 00:42:46,300 --> 00:42:47,200 ♪ YOU THINK IT'S HOTTER PLUS 981 00:42:47,266 --> 00:42:47,866 IT'S DEF 'CAUSE IT'S BY COOL J ♪ 982 00:42:47,933 --> 00:42:48,733 ♪ CUT CREATOR ON THE FADER, MY 983 00:42:48,800 --> 00:42:51,766 RIGHT-HAND MAN ♪ 984 00:42:51,833 --> 00:42:55,566 ♪ ROCK THE BELLS ♪ 985 00:42:55,633 --> 00:43:01,733 CLEVELAND, MAKE SOME NOISE. 986 00:43:01,800 --> 00:43:02,500 ♪ SOME GIRLS WILL LIKE THIS JAM 987 00:43:02,566 --> 00:43:03,000 AND SOME GIRLS WON'T ♪ 988 00:43:03,066 --> 00:43:03,800 ♪ 'CAUSE I MAKE A LOT OF MONEY 989 00:43:03,866 --> 00:43:04,366 AND YOUR BOYFRIEND DON'T ♪ 990 00:43:04,433 --> 00:43:05,133 ♪ LL, GO TO HELL, GONNA ROCK THE 991 00:43:05,200 --> 00:43:05,633 BELLS ♪ 992 00:43:05,700 --> 00:43:06,266 ♪ ALL YOU WASHED UP RAPPERS 993 00:43:06,333 --> 00:43:07,000 WANNA DO THIS WELL ♪ 994 00:43:07,066 --> 00:43:09,733 ♪ ROCK THE BELLS ♪ 995 00:43:09,800 --> 00:43:26,700 ♪ ♪ 996 00:43:26,766 --> 00:43:29,700 ♪ AW ♪ 997 00:43:29,766 --> 00:43:30,633 ♪ NO RAPPER CAN RAP 998 00:43:30,700 --> 00:43:31,433 QUITE LIKE I CAN ♪ 999 00:43:31,500 --> 00:43:32,200 ♪ I'LL TAKE A MUSCLEBOUND MAN 1000 00:43:32,266 --> 00:43:33,366 AND PUT HIS FACE IN THE SAND ♪ 1001 00:43:33,433 --> 00:43:34,233 ♪ NOT THE LAST MAFIOSO, 1002 00:43:34,300 --> 00:43:34,800 I'M A MC COP ♪ 1003 00:43:34,866 --> 00:43:35,866 ♪ MAKE YOU SAY, "GO LL" 1004 00:43:35,933 --> 00:43:37,133 AND DO THE WOP ♪ 1005 00:43:37,200 --> 00:43:38,133 ♪ IF YOU THINK YOU CAN 1006 00:43:38,200 --> 00:43:39,500 OUTRHYME ME, YEAH, BOY, I BET ♪ 1007 00:43:39,566 --> 00:43:40,900 ♪ 'CAUSE I AIN'T MET 1008 00:43:40,966 --> 00:43:43,700 A MOTHERFUCKER ♪ 1009 00:43:43,766 --> 00:43:44,500 ♪ WHO CAN DO THAT YET ♪ 1010 00:43:44,566 --> 00:43:45,066 ♪ TRENDSETTER, I'M BETTER, 1011 00:43:45,133 --> 00:43:45,800 MY RHYMES ARE GOOD ♪ 1012 00:43:45,866 --> 00:43:47,500 ♪ I GOT A GOURMET PLATE THAT 1013 00:43:47,566 --> 00:43:48,700 SAYS "I WISH YOU WOULD" ♪ 1014 00:43:48,766 --> 00:43:49,266 ♪ AND WHEN BATTLES BEGIN 1015 00:43:49,333 --> 00:43:50,200 THEN I GOTTA JOIN IN AND ♪ 1016 00:43:50,266 --> 00:43:51,000 ♪ BEFORE MY RHYME IS OVER, 1017 00:43:51,066 --> 00:43:52,233 YOU KNOW I'MA WIN ♪ 1018 00:43:52,300 --> 00:43:53,366 ♪ COOL J HAS ARRIVED, 1019 00:43:53,433 --> 00:43:54,733 SO YOU BETTER MAKE WAY ♪ 1020 00:43:54,800 --> 00:43:55,566 ♪ ASK ANYBODY IN THE CROWD, 1021 00:43:55,633 --> 00:43:56,966 THEY SAY THE KID DON'T PLAY ♪ 1022 00:43:57,033 --> 00:43:57,900 ♪ SLAUGHTER COMPETITION, 1023 00:43:57,966 --> 00:43:59,266 THAT'S MY HOBBY AND JOB ♪ 1024 00:43:59,333 --> 00:44:00,533 ♪ I DON'T WEAR A DISGUISE 1025 00:44:00,600 --> 00:44:02,266 BECAUSE I DON'T OWE THE MOB ♪ 1026 00:44:02,333 --> 00:44:03,433 ♪ GOT A PINPOINT RAP THAT MAKES 1027 00:44:03,500 --> 00:44:05,000 YOU FEEL TRAPPED ♪ 1028 00:44:05,066 --> 00:44:06,333 ♪ SO MANY GIRLS ON MY JOCK, 1029 00:44:06,400 --> 00:44:10,000 I THINK MY PHONE IS TAPPED ♪ 1030 00:44:10,066 --> 00:44:10,600 ♪ I'M -- ♪ 1031 00:44:10,666 --> 00:44:11,166 ♪ I'M -- ♪ 1032 00:44:11,233 --> 00:44:11,766 ♪ I'M -- ♪ 1033 00:44:11,833 --> 00:44:14,766 ♪ I'M -- ♪ 1034 00:44:14,833 --> 00:44:19,500 ♪ I'M BAD ♪ 1035 00:44:19,566 --> 00:44:23,900 [CHEERS AND APPLAUSE] 1036 00:44:23,966 --> 00:44:33,633 ♪ ♪ 1037 00:44:33,700 --> 00:44:35,233 >> ♪ BABY, DON'T GO OUT ♪ 1038 00:44:35,300 --> 00:44:39,866 ♪ BABY, DON'T GO ♪ 1039 00:44:39,933 --> 00:44:48,833 >> ♪ IT'S SUCH A SHAME, AND 1040 00:44:48,900 --> 00:44:50,966 IT'S CRAZY, BUT, BABY ♪ 1041 00:44:51,033 --> 00:44:53,866 ♪ IT DON'T MATTER, DON'T PHASE 1042 00:44:53,933 --> 00:44:54,100 ME. 1043 00:44:54,166 --> 00:44:57,933 >> ♪ I DON'T BELIEVE ♪ 1044 00:44:58,000 --> 00:44:58,566 ♪ I DON'T BELIEVE I JUST HAD MY 1045 00:44:58,633 --> 00:45:05,800 LAST REAL CASE LET'S TALK ABOUT 1046 00:45:05,866 --> 00:45:06,466 THIS ♪ 1047 00:45:06,533 --> 00:45:11,766 ♪ I'M BOUNCING, AND BOUNCING, 1048 00:45:11,833 --> 00:45:14,500 AND I'M GOOD ♪ 1049 00:45:14,566 --> 00:45:18,233 ♪ AND I'M GOOD ♪ 1050 00:45:18,300 --> 00:45:24,633 ♪ SO WITHOUT ME YOU'LL BE FINE, 1051 00:45:24,700 --> 00:45:25,600 MY BODY IS ALL I HAVE ♪ 1052 00:45:25,666 --> 00:45:30,866 >> ♪ I'M WHAT YOU HAD ♪ 1053 00:45:30,933 --> 00:45:32,066 ♪ ♪ 1054 00:45:32,133 --> 00:45:34,633 ♪ YOU'LL BE NEEDING ME BUT TOO 1055 00:45:34,700 --> 00:45:34,833 BAD ♪ 1056 00:45:34,900 --> 00:45:40,333 ♪ THE PATH YOU CHOSE TO RUN 1057 00:45:40,400 --> 00:45:40,833 ALONE ♪ 1058 00:45:40,900 --> 00:45:44,033 ♪ HERE WITH ME, YOU HAD A HOME ♪ 1059 00:45:44,100 --> 00:45:45,700 ♪ TIME IS OF THE ESSENCE WHY 1060 00:45:45,766 --> 00:45:48,200 SPEND IT ALONE ♪ 1061 00:45:48,266 --> 00:45:55,700 ♪ ♪ ♪ 1062 00:45:55,766 --> 00:45:59,933 ♪ OUT I HAVE ♪ 1063 00:46:00,000 --> 00:46:02,866 ♪ ALL I HAVE ♪ 1064 00:46:02,933 --> 00:46:06,933 ♪ ALL I HAVE ♪ 1065 00:46:07,000 --> 00:46:14,333 ♪ ALL I HAVE ♪ 1066 00:46:14,400 --> 00:46:17,366 ♪ YEAR VERY SPECIAL ♪ 1067 00:46:17,433 --> 00:46:18,700 YES, YOU ARE. 1068 00:46:18,766 --> 00:46:21,400 YES YOU ARE! 1069 00:46:21,466 --> 00:46:21,733 >> YES, M. 1070 00:46:21,800 --> 00:46:26,033 >> LOVE YOU, JENNIFER LOPEZ. 1071 00:46:26,100 --> 00:46:27,900 >> COME ON, GIVE IT TO HIM, GIVE 1072 00:46:27,966 --> 00:46:37,500 IT TO HIM. 1073 00:46:37,566 --> 00:46:37,666 ♪ 1074 00:46:37,733 --> 00:46:43,433 ♪ ♪ 1075 00:46:43,500 --> 00:46:44,033 ♪ DON'T CALL IT A COMEBACK, 1076 00:46:44,100 --> 00:46:44,700 I BEEN HERE FOR YEARS 1077 00:46:44,766 --> 00:46:45,233 I'M ROCKIN' MY PEERS ♪ 1078 00:46:45,300 --> 00:46:46,000 ♪ PUTTIN' SUCKERS IN FEAR 1079 00:46:46,066 --> 00:46:46,533 MAKIN' THE TEARS RAIN DOWN 1080 00:46:46,600 --> 00:46:46,933 ♪ LIKE A MONSOON 1081 00:46:47,000 --> 00:46:47,633 ♪ LISTEN TO THE BASS GO BOOM 1082 00:46:47,700 --> 00:46:48,133 EXPLOSIONS, OVERPOWERIN' 1083 00:46:48,200 --> 00:46:48,700 OVER THE COMPETITION ♪ 1084 00:46:48,766 --> 00:46:49,400 ♪ I'M TOWERIN' 1085 00:46:49,466 --> 00:46:50,300 WRECKING SHOP ♪ 1086 00:46:50,366 --> 00:46:51,233 ♪ WHEN I DROP THESE LYRICS ♪ 1087 00:46:51,300 --> 00:46:51,966 ♪ THAT'LL MAKE YOU CALL THE COPS 1088 00:46:52,033 --> 00:46:52,433 DON'T YOU DARE STARE 1089 00:46:52,500 --> 00:46:53,000 YOU BETTER MOVE ♪ 1090 00:46:53,066 --> 00:46:54,000 ♪ DON'T EVER COMPARE 1091 00:46:54,066 --> 00:46:54,966 ME TO THE REST THAT'LL 1092 00:46:55,033 --> 00:46:58,133 ♪ ALL GET SLICED AND DICED 1093 00:46:58,200 --> 00:46:59,100 COMPETITION'S PAYIN' THE PRICE ♪ 1094 00:46:59,166 --> 00:47:00,566 ♪ I'M GONNA KNOCK YOU OUT ♪ 1095 00:47:00,633 --> 00:47:01,266 ♪ HUUH ♪ 1096 00:47:01,333 --> 00:47:02,133 ♪ MAMA SAID KNOCK YOU OUT ♪ 1097 00:47:02,200 --> 00:47:02,900 ♪ HUUH ♪ 1098 00:47:02,966 --> 00:47:03,900 ♪ I'M GONNA KNOCK YOU OUT ♪ 1099 00:47:03,966 --> 00:47:04,166 ♪ HUUH ♪ 1100 00:47:04,233 --> 00:47:05,400 ♪ MAMA SAID KNOCK YOU OUT ♪ 1101 00:47:05,466 --> 00:47:06,466 ♪ HUUH ♪ 1102 00:47:06,533 --> 00:47:07,633 ♪ I'M GONNA KNOCK YOU OUT ♪ 1103 00:47:07,700 --> 00:47:08,600 ♪ HUUH ♪ 1104 00:47:08,666 --> 00:47:10,100 ♪ MAMA SAID KNOCK YOU OUT ♪ 1105 00:47:10,166 --> 00:47:11,066 ♪ HUUH ♪ 1106 00:47:11,133 --> 00:47:12,233 ♪ I'M GONNA KNOCK YOU OUT ♪ 1107 00:47:12,300 --> 00:47:13,300 ♪ HUUH ♪ 1108 00:47:13,366 --> 00:47:14,433 ♪ MAMA SAID KNOCK YOU OUT ♪ 1109 00:47:14,500 --> 00:47:21,766 ♪ HUUH ♪ 1110 00:47:21,833 --> 00:47:25,833 BREAKDOWN! 1111 00:47:25,900 --> 00:47:27,600 ♪ AND I'M JUST GETTING WARM ♪ 1112 00:47:27,666 --> 00:47:28,133 ♪ JUST LIKE MUHAMMAD ALI 1113 00:47:28,200 --> 00:47:29,533 THEY CALLED HIM CASSIUS ♪ 1114 00:47:29,600 --> 00:47:30,500 ♪ WATCH ME BASH THIS BEAT 1115 00:47:30,566 --> 00:47:32,733 LIKE A SKULL ♪ 1116 00:47:32,800 --> 00:47:34,100 ♪ DON'TCHA KNOW I HAD 1117 00:47:34,166 --> 00:47:36,033 BEEF WIT' ♪ 1118 00:47:36,100 --> 00:47:37,133 ♪ WHY DO YOU RIFF WITH ME, 1119 00:47:37,200 --> 00:47:37,700 A MANIAC PSYCHO ♪ 1120 00:47:37,766 --> 00:47:38,900 ♪ AND WHEN I PULL OUT MY JAMMY, 1121 00:47:38,966 --> 00:47:40,000 GET READY 'CAUSE IT MIGHT GO ♪ 1122 00:47:40,066 --> 00:47:42,600 ♪ BLAUH! HOW YA LIKE ME NOW? ♪ 1123 00:47:42,666 --> 00:47:44,500 ♪ THE RIPPER WILL NOT ALLOW ♪ 1124 00:47:44,566 --> 00:47:46,066 ♪ YOU TO GET WIT' MR. SMITH 1125 00:47:46,133 --> 00:47:47,500 DON'T RIFF ♪ 1126 00:47:47,566 --> 00:47:49,333 ♪ LISTEN TO MY GEAR SHIFT ♪ 1127 00:47:49,400 --> 00:47:52,566 ♪ I'M BLASTIN', OUTLASTIN' ♪ 1128 00:47:52,633 --> 00:47:53,666 ♪ KINDA LIKE SHAFT, SO YOU COULD 1129 00:47:53,733 --> 00:47:54,333 SAY I'M SHAFTIN' ♪ 1130 00:47:54,400 --> 00:47:56,933 ♪ OLDE ENGLISH FILLED MY MIND ♪ 1131 00:47:57,000 --> 00:47:58,000 ♪ AND I CAME UP 1132 00:47:58,066 --> 00:47:58,566 WITH A FUNKY RHYME ♪ 1133 00:47:58,633 --> 00:48:03,633 ♪ I'M GONNA KNOCK YOU OUT ♪ 1134 00:48:03,700 --> 00:48:04,133 ♪ HUUH ♪ 1135 00:48:04,200 --> 00:48:05,466 ♪ MAMA SAID KNOCK YOU OUT ♪ 1136 00:48:05,533 --> 00:48:05,733 ♪ HUUH ♪ 1137 00:48:05,800 --> 00:48:06,533 ♪ I'M GONNA KNOCK YOU OUT ♪ 1138 00:48:06,600 --> 00:48:07,566 ♪ HUUH ♪ 1139 00:48:07,633 --> 00:48:08,300 ♪ MAMA SAID KNOCK YOU OUT ♪ 1140 00:48:08,366 --> 00:48:08,866 ♪ HUUH ♪ 1141 00:48:08,933 --> 00:48:09,633 ♪ I'M GONNA KNOCK YOU OUT ♪ 1142 00:48:09,700 --> 00:48:10,133 ♪ HUUH ♪ 1143 00:48:10,200 --> 00:48:11,200 ♪ MAMA SAID KNOCK YOU OUT ♪ 1144 00:48:11,266 --> 00:48:12,233 ♪ HUUH ♪ 1145 00:48:12,300 --> 00:48:13,166 ♪ I'M GONNA KNOCK YOU OUT ♪ 1146 00:48:13,233 --> 00:48:14,333 ♪ HUUH ♪ 1147 00:48:14,400 --> 00:48:15,400 ♪ MAMA SAID KNOCK YOU OUT ♪ 1148 00:48:15,466 --> 00:48:26,933 ♪ HUUH ♪ 1149 00:48:27,000 --> 00:48:29,066 >> HALL OF FAMER, MAMA, I MADE 1150 00:48:29,133 --> 00:48:33,300 IT! 1151 00:48:33,366 --> 00:48:40,000 [CHEERS AND APPLAUSE] 1152 00:48:40,066 --> 00:48:42,100 >> LADIES AND GENTLEMEN, IT IS 1153 00:48:42,166 --> 00:48:44,200 MY HONOR AND PRIVILEGE TO INDUCT 1154 00:48:44,266 --> 00:48:46,733 MY FRIEND JAMES TODD SMITH, 1155 00:48:46,800 --> 00:48:52,933 BETTER KNOWN AS LL COOL J INTO 1156 00:48:53,000 --> 00:48:54,933 THE ROCK & ROLL HALL OF FAME. 1157 00:48:55,000 --> 00:49:00,366 LOVE YOU, JAY. 1158 00:49:00,433 --> 00:49:04,000 [CHEERS AND APPLAUSE] 1159 00:49:04,066 --> 00:49:04,633 >> SO THE FIRST WORD THAT COMES 1160 00:49:04,700 --> 00:49:07,466 TO MIND WHEN I THINK ABOUT A 1161 00:49:07,533 --> 00:49:10,500 NIGHT LIKE THIS IS HUMILITY. 1162 00:49:10,566 --> 00:49:15,000 I'M NOT TALKING ABOUT THAT 1163 00:49:15,066 --> 00:49:16,333 FALSE, SELF-DEPRECATING, I BOW 1164 00:49:16,400 --> 00:49:19,833 TO YOU, BUT I THINK I'M BETTER 1165 00:49:19,900 --> 00:49:20,066 THAN YOU 1166 00:49:20,133 --> 00:49:20,900 SHIT. 1167 00:49:20,966 --> 00:49:22,466 I'M TALKING ABOUT REAL HUMILITY, 1168 00:49:22,533 --> 00:49:23,100 WHERE YOU HAVE THE CONFIDENCE TO 1169 00:49:23,166 --> 00:49:23,700 COLLABORATE, THE CONFIDENCE TO 1170 00:49:23,766 --> 00:49:24,200 WORK WITH OTHER PEOPLE. 1171 00:49:24,266 --> 00:49:24,900 THE CONFIDENCE TO CELEBRATE 1172 00:49:24,966 --> 00:49:29,766 OTHERS. 1173 00:49:29,833 --> 00:49:32,433 SO FIRST I WANT THANK, OF 1174 00:49:32,500 --> 00:49:36,033 COURSE, GOD. 1175 00:49:36,100 --> 00:49:37,133 MY MOTHER, WHO TOLD ME, YOU 1176 00:49:37,200 --> 00:49:37,766 KNOW, "TODD YOU CAN DO ANYTHING 1177 00:49:37,833 --> 00:49:38,600 YOU PUT YOUR MIND TO." 1178 00:49:38,666 --> 00:49:39,566 YOU KNOW, I'M A LITTLE KID. 1179 00:49:39,633 --> 00:49:40,166 SHE TRIED TO GET ME TO WORK AT 1180 00:49:40,233 --> 00:49:43,466 THE SUPERMARKET. 1181 00:49:43,533 --> 00:49:44,733 I DIDN'T LIKE IT. 1182 00:49:44,800 --> 00:49:49,733 WASN'T WORKING FOR ME. 1183 00:49:49,800 --> 00:49:52,766 I WANT TO THANK MY WIFE SIMONE, 1184 00:49:52,833 --> 00:49:54,800 MY CHILDREN, ITALIA, SAMARIA, 1185 00:49:54,866 --> 00:49:56,400 NINA SIMONE. 1186 00:49:56,466 --> 00:49:58,500 YES, THAT'S HER REAL NAME, SHE'S 1187 00:49:58,566 --> 00:50:01,533 A SINGER, NINA SIMONE. 1188 00:50:01,600 --> 00:50:04,933 NAJEE, MY SON, AND ITALIA, 1189 00:50:05,000 --> 00:50:09,633 -- I WANT TO THANK 1190 00:50:09,700 --> 00:50:11,233 DRE, EMINEM AND J-LO FOR JOINING 1191 00:50:11,300 --> 00:50:13,533 ME. 1192 00:50:13,600 --> 00:50:14,533 LOOK, I WANT TO THANK MARLEY 1193 00:50:14,600 --> 00:50:15,300 MARL AND RICK RUBIN AND ALL THE 1194 00:50:15,366 --> 00:50:15,966 PRODUCERS I'VE WORKED WITH. 1195 00:50:16,033 --> 00:50:17,000 THE TRACKMASTERS. 1196 00:50:17,066 --> 00:50:17,800 I WANT TO THANK THE TREACHEROUS 1197 00:50:17,866 --> 00:50:19,233 THREE, ESPECIALLY KOOL MOE DEE, 1198 00:50:19,300 --> 00:50:28,566 FOR PUSHING ME. 1199 00:50:28,633 --> 00:50:30,233 MY MANAGER, THE ONLY PERSON I 1200 00:50:30,300 --> 00:50:31,733 KNOW WHO WORKS A LITTLE HARDER 1201 00:50:31,800 --> 00:50:32,500 THAN ME. 1202 00:50:32,566 --> 00:50:35,466 AND I WANT TO THANK ALL OF YOU, 1203 00:50:35,533 --> 00:50:36,533 RIGHT? 1204 00:50:36,600 --> 00:50:37,833 I'D LIKE TO THANK ALL OF THE 1205 00:50:37,900 --> 00:50:42,233 PEOPLE WHO VOTED FOR LL TO BE IN 1206 00:50:42,300 --> 00:50:42,800 THE ROCK & ROLL HALL OF FAME 1207 00:50:42,866 --> 00:50:43,333 YEAR AFTER YEAR. 1208 00:50:43,400 --> 00:50:44,233 A LOT PEOPLE, WHEN I TOLD THEM 1209 00:50:44,300 --> 00:50:45,666 WHEN I TOLD THEM I GOT INDUCTED, 1210 00:50:45,733 --> 00:50:46,666 THEY'D SAY TO ME, "ISN'T IT IS 1211 00:50:46,733 --> 00:50:47,800 ABOUT TIME?" 1212 00:50:47,866 --> 00:50:49,233 YOU SEE, WHAT PEOPLE DON'T 1213 00:50:49,300 --> 00:50:49,833 REALIZE IS, I WASN'T THINKING 1214 00:50:49,900 --> 00:50:50,366 ABOUT THE PEOPLE WHO VOTED 1215 00:50:50,433 --> 00:50:54,300 AGAINST ME. 1216 00:50:54,366 --> 00:50:55,133 I WAS THINKING ABOUT THE PEOPLE 1217 00:50:55,200 --> 00:50:57,766 WHO VOTED FOR ME. 1218 00:50:57,833 --> 00:50:58,833 SO IT WAS LOVE. 1219 00:50:58,900 --> 00:50:59,466 LIKE, WHAT I WAS FEELING WAS, 1220 00:50:59,533 --> 00:51:00,133 "WOW, HERE'S SOME PEOPLE OVER 1221 00:51:00,200 --> 00:51:00,766 THERE WHO WON'T TAKE NO FOR AN 1222 00:51:00,833 --> 00:51:04,433 ANSWER." 1223 00:51:04,500 --> 00:51:05,433 THEY LIKE, "YO, THIS GUY GOT TO 1224 00:51:05,500 --> 00:51:06,033 BE IN HERE AND WE'RE GOING TO 1225 00:51:06,100 --> 00:51:06,633 KEEP FIGHTING FOR YOU TILL WE 1226 00:51:06,700 --> 00:51:07,200 GET HIM IN HERE." 1227 00:51:07,266 --> 00:51:12,566 SO I THANK YOU. 1228 00:51:12,633 --> 00:51:13,133 ALL RIGHT? 1229 00:51:13,200 --> 00:51:13,900 THE LAST THING I'LL SAY IS, 1230 00:51:13,966 --> 00:51:14,900 ROCK AND ROLL, 1231 00:51:14,966 --> 00:51:17,166 HIP-HOP LOVES YOU. 1232 00:51:17,233 --> 00:51:18,100 WE BORROW YOUR BEATS. 1233 00:51:18,166 --> 00:51:18,900 WE SAMPLE 'EM. 1234 00:51:18,966 --> 00:51:20,100 WE TURN THEM INTO HITS. 1235 00:51:20,166 --> 00:51:21,500 AND WE KNOW WHERE WE CAME FROM. 1236 00:51:21,566 --> 00:51:26,033 WE KNOW WHERE THINGS COME FROM. 1237 00:51:26,100 --> 00:51:27,933 WE RESPECT YOU AS MUSICIANS. 1238 00:51:28,000 --> 00:51:31,100 AND WE LOVE AND APPRECIATE YOU 1239 00:51:31,166 --> 00:51:32,200 AS MUSICIANS. 1240 00:51:32,266 --> 00:51:33,766 WE ARE ARTIST ALSO. 1241 00:51:33,833 --> 00:51:36,700 WE LOVE YOU, THANK YOU, 1242 00:51:36,766 --> 00:51:39,400 GOD BLESS. 1243 00:51:39,466 --> 00:51:42,033 MAMA, I MADE IT! 1244 00:51:42,100 --> 00:51:43,800 [CHEERS AND APPLAUSE] 1245 00:51:43,866 --> 00:51:45,366 >> HEY, EVERYBODY, I'M TOM, I'M 1246 00:51:45,433 --> 00:51:47,400 HERE TO TALK ABOUT ONE OF THE 1247 00:51:47,466 --> 00:51:48,000 GREATEST ROCK 'N' ROLL GUITAR 1248 00:51:48,066 --> 00:51:52,900 PLAYERS OF ALL TIME. 1249 00:51:52,966 --> 00:51:54,000 >> [LAUGHS] 1250 00:51:54,066 --> 00:51:55,900 >> RANDY RHOADS IS A PEERLESS 1251 00:51:55,966 --> 00:51:57,800 TALENT WHO FUSED TIMELESS RIFFS 1252 00:51:57,866 --> 00:51:59,433 WITH SOLOS OF INGENIOUS BEAUTY 1253 00:51:59,500 --> 00:52:00,633 AND EMOTIONAL FIRE. 1254 00:52:00,700 --> 00:52:02,566 HE REVIVED OZZY OSBORNE'S CAREER 1255 00:52:02,633 --> 00:52:05,000 AS HIS GUNSLINGER SIDEMEN, AND 1256 00:52:05,066 --> 00:52:05,800 IT WAS A RANDY RHOADS POSTER 1257 00:52:05,866 --> 00:52:07,600 THAT I HAD ON MY WALL WHILE 1258 00:52:07,666 --> 00:52:11,766 PRACTICING EIGHT HOURS A DAY. 1259 00:52:11,833 --> 00:52:12,766 ♪ ♪ 1260 00:52:12,833 --> 00:52:15,166 I VIVIDLY REMEMBER AT FIRST 1261 00:52:15,233 --> 00:52:16,700 HEARING "CRAZY TRAIN" ON A 1262 00:52:16,766 --> 00:52:19,233 CHICAGO RADIO STATION. 1263 00:52:19,300 --> 00:52:22,600 I THOUGHT, THIS GUITAR PLAYER IS 1264 00:52:22,666 --> 00:52:22,966 FUCKING INSANE. 1265 00:52:23,033 --> 00:52:28,533 ♪ ♪ 1266 00:52:28,600 --> 00:52:31,000 HE SPAWNED A WHOLE GENERATION OF 1267 00:52:31,066 --> 00:52:32,500 GUITAR PLAYERS. 1268 00:52:32,566 --> 00:52:32,966 HE CHANGED EVERYBODY. 1269 00:52:33,033 --> 00:52:35,233 ♪ ♪ 1270 00:52:35,300 --> 00:52:39,900 >> GRANDES LICKS ARE ALL OVER 1271 00:52:39,966 --> 00:52:43,000 METALLICA ALBUMS. 1272 00:52:43,066 --> 00:52:45,266 GUESS WHAT, I CAUGHT THAT, FOR 1273 00:52:45,333 --> 00:52:45,433 ONE. 1274 00:52:45,500 --> 00:52:53,033 ♪ ♪ 1275 00:52:53,100 --> 00:52:55,300 >> YOU COULD STUDY HIS SONGS IN 1276 00:52:55,366 --> 00:52:57,400 A UNIVERSITY LEVEL COLLEGE 1277 00:52:57,466 --> 00:52:59,666 COURSE AND BANG YOUR HEAD TO 1278 00:52:59,733 --> 00:53:03,933 THEM IN A 7-ELEVEN PARKING LOT. 1279 00:53:04,000 --> 00:53:06,133 >> HE TURNED TO ME AND SAID HE 1280 00:53:06,200 --> 00:53:07,166 WANTED TO ROCK 'N' ROLL AND GO 1281 00:53:07,233 --> 00:53:10,300 TO UCLA AND GET A DEGREE. 1282 00:53:10,366 --> 00:53:12,766 AND I SAID TO HIM, ARE YOU 1283 00:53:12,833 --> 00:53:15,566 FUCKING CRAZY? 1284 00:53:15,633 --> 00:53:17,000 >> I'VE GOT A LOT OF WORK TO DO, 1285 00:53:17,066 --> 00:53:18,233 AND IT MAKES YOU REALIZE, 1286 00:53:18,300 --> 00:53:20,866 THERE'S A LOT OF RESPONSIBILITY. 1287 00:53:20,933 --> 00:53:24,066 AND I DON'T WANT TO STOP THERE. 1288 00:53:24,133 --> 00:53:27,833 ♪ ♪ 1289 00:53:27,900 --> 00:53:35,133 ♪ ♪ 1290 00:53:35,200 --> 00:53:37,033 RANDY TRAGICALLY PASSED AWAY 25 1291 00:53:37,100 --> 00:53:39,333 YEARS OF AGE IN 1992. 1292 00:53:39,400 --> 00:53:40,433 >> WHEN HE DIED, A PART OF ME 1293 00:53:40,500 --> 00:53:43,233 DIED WITH HIM. 1294 00:53:43,300 --> 00:53:45,800 I LOST A DEAR FRIEND IN MY LIFE, 1295 00:53:45,866 --> 00:53:48,700 AND I MISS HIM TERRIBLY. 1296 00:53:48,766 --> 00:53:50,500 >> THE SHOW WAS OVER EVEN BEFORE 1297 00:53:50,566 --> 00:53:54,533 IT REALLY, REALLY GOT GOING. 1298 00:53:54,600 --> 00:53:57,866 >> I NAMED MY FIRSTBORN SON 1299 00:53:57,933 --> 00:53:59,500 RHOADS IN HIS HONOR AS A 1300 00:53:59,566 --> 00:54:02,433 THANK YOU FOR SHOWING ME THE WA 1301 00:54:02,500 --> 00:54:06,133 WAY. 1302 00:54:06,200 --> 00:54:08,200 >> BRILLIANT. 1303 00:54:08,266 --> 00:54:10,933 >> YOU MADE GUYS THAT SIT AT THE 1304 00:54:11,000 --> 00:54:13,933 ROUNDTABLE OF GREATNESS, THE 1305 00:54:14,000 --> 00:54:14,900 HALL OF FAME, HENDRIX, JIMMY 1306 00:54:14,966 --> 00:54:17,166 PAGE, ERIC CLAPTON, EDDIE 1307 00:54:17,233 --> 00:54:19,100 VAN HALEN, RANDY, HANDS DOWN, IT 1308 00:54:19,166 --> 00:54:21,766 IS AT THAT TABLE. 1309 00:54:21,833 --> 00:54:24,066 >> NOW THE INCOMPARABLE RANDY 1310 00:54:24,133 --> 00:54:25,466 RHOADS STANDS WHERE HE BELONGS 1311 00:54:25,533 --> 00:54:26,866 IN THE PANTHEON OF GREATS. 1312 00:54:26,933 --> 00:54:28,500 IT'S MY HONOR TO WELCOME RANDY 1313 00:54:28,566 --> 00:54:30,733 RHOADS TO THE ROCK & ROLL 1314 00:54:30,800 --> 00:54:34,733 HALL OF FAME. 1315 00:54:34,800 --> 00:54:39,266 [CHEERS AND APPLAUSE] 1316 00:54:39,333 --> 00:54:40,766 >> PEACE AND LOVE, EVERYBODY 1317 00:54:40,833 --> 00:54:42,200 PAID RINGO HERE, AND GIVES ME 1318 00:54:42,266 --> 00:54:43,533 GREAT JOY TO INDUCT MY FRIEND, 1319 00:54:43,600 --> 00:54:47,733 THE INCREDIBLE BILLY PRESTON, 1320 00:54:47,800 --> 00:54:49,833 INTO THE ROCK & ROLL 1321 00:54:49,900 --> 00:54:51,366 HALL OF FAME. 1322 00:54:51,433 --> 00:54:53,066 >> IT ALL STARTED WHEN I WAS 1323 00:54:53,133 --> 00:54:54,900 3 YEARS OLD, I CAME FROM A 1324 00:54:54,966 --> 00:54:55,900 MUSICAL FAMILY AND I GREW UP 1325 00:54:55,966 --> 00:54:59,500 PLAYING IN CHURCH. 1326 00:54:59,566 --> 00:55:00,600 >> OPENED UP AN WHOLE WORLD FOR 1327 00:55:00,666 --> 00:55:00,766 ME. 1328 00:55:00,833 --> 00:55:02,800 I WAS IN HIGH SCHOOL AND HAD 1329 00:55:02,866 --> 00:55:03,766 NEVER PLAYED ROCK 'N' ROLL FOR 1330 00:55:03,833 --> 00:55:05,300 ME. 1331 00:55:05,366 --> 00:55:07,400 >> NOW HERE IS MR. BILLY PRESTON 1332 00:55:07,466 --> 00:55:09,233 TO LEAD A SONG. 1333 00:55:09,300 --> 00:55:11,366 >> I LOVED RAY CHARLES. 1334 00:55:11,433 --> 00:55:19,333 HE IS MY MUSICAL JESUS. 1335 00:55:19,400 --> 00:55:20,933 >> ONE, TWO, THREE, FOUR. 1336 00:55:21,000 --> 00:55:22,166 >> LIKE PART OF THE BAND. 1337 00:55:22,233 --> 00:55:23,966 IT GAVE US A DIFFERENT FIELD 1338 00:55:24,033 --> 00:55:24,500 BECAUSE HE'S BILLY. 1339 00:55:24,566 --> 00:55:26,266 THAT'S WHY HE PLAYED ON A COUPLE 1340 00:55:26,333 --> 00:55:26,900 OF TRACKS. 1341 00:55:26,966 --> 00:55:29,066 >> I WENT DOWN TO SAY HELLO, AND 1342 00:55:29,133 --> 00:55:30,100 THEY WERE RECORDING AT THE 1343 00:55:30,166 --> 00:55:31,833 TEMPLATE SITTING THERE AND PAUL 1344 00:55:31,900 --> 00:55:34,333 SAYS, GET ON THE ELECTRIC PIANO. 1345 00:55:34,400 --> 00:55:37,033 STARTED PLAYING, AND JOHN SAYS, 1346 00:55:37,100 --> 00:55:37,600 TAKE A SOLO. 1347 00:55:37,666 --> 00:55:38,966 >> IT'S INTERESTING TO SEE HOW 1348 00:55:39,033 --> 00:55:41,400 PEOPLE BEHAVE NICELY WHEN YOU 1349 00:55:41,466 --> 00:55:43,133 BRING A GUEST IN. 1350 00:55:43,200 --> 00:55:45,433 STRAIGHTAWAY, IT JUST BECAME 1351 00:55:45,500 --> 00:55:47,366 100% IMPROVEMENT IN THE FIVE IN 1352 00:55:47,433 --> 00:55:48,366 THE ROOM. 1353 00:55:48,433 --> 00:55:50,400 >> HE WAS SO GREAT AT OUR GET 1354 00:55:50,466 --> 00:55:51,033 BACK SESSIONS. 1355 00:55:51,100 --> 00:55:53,200 WE EVEN CREDITED THAT SINGLE AS 1356 00:55:53,266 --> 00:55:56,333 THE BEATLES WITH BILLY PRESTON. 1357 00:55:56,400 --> 00:55:57,666 >> THAT DAY WE BROKE UP, BILLY 1358 00:55:57,733 --> 00:56:00,766 WENT ON TO PLAY WITH ME, GEORGE, 1359 00:56:00,833 --> 00:56:03,066 AND JOHN ON OUR SOLO RECORDS. 1360 00:56:03,133 --> 00:56:04,933 >> I'D LIKE TO CONTINUE WITH AN 1361 00:56:05,000 --> 00:56:07,333 OLD FRIEND OF MINE, BILLY 1362 00:56:07,400 --> 00:56:09,066 PRESTON. 1363 00:56:09,133 --> 00:56:12,766 ♪ ♪ 1364 00:56:12,833 --> 00:56:16,366 >> GEORGE WAS VERY EASY TO WORK 1365 00:56:16,433 --> 00:56:18,400 WITH. 1366 00:56:18,466 --> 00:56:22,966 VERY ENCOURAGING TO ME. 1367 00:56:23,033 --> 00:56:24,433 >> THE FIRST TIME I GOT A CHANCE 1368 00:56:24,500 --> 00:56:25,833 TO COPRODUCE WAS WITH GEORGE. 1369 00:56:25,900 --> 00:56:30,233 WE DID THREE ALBUMS TOGETHER. 1370 00:56:30,300 --> 00:56:32,400 >> BILLY WAS A BEATLE AND BILLY 1371 00:56:32,466 --> 00:56:34,733 WAS A ROLLING STONE. 1372 00:56:34,800 --> 00:56:36,066 >> IT'S ALWAYS BEEN FUN WORKING 1373 00:56:36,133 --> 00:56:37,166 WITH THE STONES. 1374 00:56:37,233 --> 00:56:38,833 >> BUT KNOWING THE GUYS FOR 1375 00:56:38,900 --> 00:56:40,600 ABOUT 14 YEARS. 1376 00:56:40,666 --> 00:56:46,233 ♪ ♪ 1377 00:56:46,300 --> 00:56:46,933 >> EVERY TIME I GET TOGETHER, 1378 00:56:47,000 --> 00:56:49,166 AND IT'S LIKE A FAMILY, REALLY 1379 00:56:49,233 --> 00:56:50,366 HAVING A GOOD TIME. 1380 00:56:50,433 --> 00:56:52,366 >> WHEN I PUT THE OLD SONGS 1381 00:56:52,433 --> 00:56:54,233 TOGETHER, I ASKED BILLY TO PLAY 1382 00:56:54,300 --> 00:56:55,300 ALONG, BRING IN THOSE GREAT 1383 00:56:55,366 --> 00:56:58,133 NUMBER ONE HITS OF HIS. 1384 00:56:58,200 --> 00:57:08,533 ♪ ♪ 1385 00:57:08,600 --> 00:57:11,400 ♪ NOTHING FROM NOTHING LEAVES 1386 00:57:11,466 --> 00:57:11,666 NOTHING ♪ 1387 00:57:11,733 --> 00:57:12,933 ♪ YOU GOT TO HAVE SOMETHING IF 1388 00:57:13,000 --> 00:57:16,000 YOU WANT TO BE WITH ME. 1389 00:57:16,066 --> 00:57:17,833 >> RAY CHARLES, YOU ALWAYS THINK 1390 00:57:17,900 --> 00:57:19,633 OF GENIUS, BUT I THINK BILLY WAS 1391 00:57:19,700 --> 00:57:23,366 TOO IN HIS OWN WAY. 1392 00:57:23,433 --> 00:57:25,133 HE WAS A NATURAL PLAYER. 1393 00:57:25,200 --> 00:57:28,200 >> ♪ YOU ARE SO BEAUTIFUL TO 1394 00:57:28,266 --> 00:57:28,433 ME ♪ 1395 00:57:28,500 --> 00:57:30,233 >> I BELIEVE THAT EVERYTHING 1396 00:57:30,300 --> 00:57:31,466 GOOD THAT HAS HAPPENED FOR ME 1397 00:57:31,533 --> 00:57:33,033 HAS BEEN A BLESSING FROM GOD. 1398 00:57:33,100 --> 00:57:34,966 IT'S NOT BECAUSE I'VE BEEN SO 1399 00:57:35,033 --> 00:57:35,166 GOOD. 1400 00:57:35,233 --> 00:57:37,700 IT'S BECAUSE GOD HAS BEEN GOOD 1401 00:57:37,766 --> 00:57:38,533 TO ME. 1402 00:57:38,600 --> 00:57:40,933 >> ♪ I REALLY WANT TO SEE YOU 1403 00:57:41,000 --> 00:57:43,166 MAMA I REALLY WANT TO BE WITH 1404 00:57:43,233 --> 00:57:43,400 YOU ♪ 1405 00:57:43,466 --> 00:57:45,866 >> I'M THRILLED TO WELCOME BILLY 1406 00:57:45,933 --> 00:57:49,266 INTO THE ROCK & ROLL 1407 00:57:49,333 --> 00:57:49,700 HALL OF FAME. 1408 00:57:49,766 --> 00:57:50,900 MUSICAL EXCELLENCE. 1409 00:57:51,000 --> 00:57:51,966 CLEARLY, THAT'S THE WAY GOD 1410 00:57:52,033 --> 00:57:52,900 PLANNED IT. 1411 00:57:52,966 --> 00:57:57,933 PEACE AND LOVE, BROTHER. 1412 00:57:58,000 --> 00:58:02,333 >> HERE TO HONOR TINA TURNER, 1413 00:58:02,400 --> 00:58:09,366 ANGELA BASSETT. 1414 00:58:09,433 --> 00:58:13,433 >> IMAGINE A BLACK GIRL IN 1415 00:58:13,500 --> 00:58:15,733 TENNESSEE WHO EMBODIED MORE 1416 00:58:15,800 --> 00:58:16,633 TALENT THAN HER SMALL TOWN COULD 1417 00:58:16,700 --> 00:58:19,500 HAVE EVER DREAMED. 1418 00:58:19,566 --> 00:58:21,566 IMAGINE THAT SAME GIRL BREAKING 1419 00:58:21,633 --> 00:58:23,366 THROUGH EVERY BARRIER TO ONE DAY 1420 00:58:23,433 --> 00:58:23,866 MAKE HISTORY. 1421 00:58:23,933 --> 00:58:26,733 THAT WOMAN, THAT QUEEN, 1422 00:58:26,800 --> 00:58:35,333 TINA TURNER, IS WHO WE ARE HERE 1423 00:58:35,400 --> 00:58:35,500 -- 1424 00:58:35,566 --> 00:58:37,266 TINA TURNER. 1425 00:58:37,333 --> 00:58:38,433 [CHEERS AND APPLAUSE] 1426 00:58:38,500 --> 00:58:39,600 WHAT A LIFE TINA HAS LED. 1427 00:58:39,666 --> 00:58:40,200 HER STORY HAS BECOME A FILM, 1428 00:58:40,266 --> 00:58:40,900 A DOCUMENTARY, A BLOCKBUSTER 1429 00:58:40,966 --> 00:58:41,500 BROADWAY SHOW, AND A 1430 00:58:41,566 --> 00:58:49,033 BEST-SELLING AUTOBIOGRAPHY. 1431 00:58:49,100 --> 00:58:49,800 PEOPLE STILL TELL ME 1432 00:58:49,866 --> 00:58:50,933 HOW MUCH TINA HAS MEANT TO THEM. 1433 00:58:51,000 --> 00:58:53,033 I KNOW EXACTLY WHAT THEY MEAN. 1434 00:58:53,100 --> 00:58:54,533 BECAUSE SHE HAS MEANT THAT MUCH, 1435 00:58:54,600 --> 00:58:56,200 AND MORE, TO ME. 1436 00:58:56,266 --> 00:59:00,100 I, TOO, AM ONE OF THOSE PEOPLE 1437 00:59:00,166 --> 00:59:01,900 BLESSED BY TINA'S REMARKABLE 1438 00:59:01,966 --> 00:59:06,466 GIFT TO INSPIRE. 1439 00:59:06,533 --> 00:59:10,200 WHEN I PLAYED TINA IN "WHAT'S 1440 00:59:10,266 --> 00:59:13,400 LOVE GOT TO DO WITH IT," 1441 00:59:13,466 --> 00:59:13,866 [CHEERS AND APPLAUSE] 1442 00:59:13,933 --> 00:59:16,033 I HAD THE TERRIFYING OPPORTUNITY 1443 00:59:16,100 --> 00:59:20,100 OF TRYING TO FIGURE OUT HOW SHE 1444 00:59:20,166 --> 00:59:21,400 BECAME THE EXTRAORDINARY WOMAN 1445 00:59:21,466 --> 00:59:23,033 THAT WE'VE COME TO KNOW. 1446 00:59:23,100 --> 00:59:24,733 FORTUNATELY, I HAD THE GENEROUS 1447 00:59:24,800 --> 00:59:26,600 GUIDANCE OF TINA HERSELF 1448 00:59:26,666 --> 00:59:28,033 TO HELP ME. 1449 00:59:28,100 --> 00:59:29,266 IT WAS ONE OF THE MOST DEMANDING 1450 00:59:29,333 --> 00:59:33,433 ROLES I'VE EVER PLAYED. 1451 00:59:33,500 --> 00:59:34,500 BUT IT WAS ALSO ONE OF THE MOST 1452 00:59:34,566 --> 00:59:37,733 FULFILLING. 1453 00:59:37,800 --> 00:59:39,400 BECAUSE JUST LIKE TINA, 1454 00:59:39,466 --> 00:59:41,133 I TOO WAS A LITTLE BLACK GIRL 1455 00:59:41,200 --> 00:59:43,100 WHO HAD DREAMS FAR BEYOND WHAT 1456 00:59:43,166 --> 00:59:54,333 THE WORLD EXPECTED OF ME. 1457 00:59:54,400 --> 00:59:57,500 AS A BLACK WOMAN, TINA REACHED 1458 00:59:57,566 --> 01:00:00,033 DEEP INTO HER SPIRITUAL CORE 1459 01:00:00,100 --> 01:00:02,766 WITH THE DETERMINATION TO 1460 01:00:02,833 --> 01:00:03,766 HEADLINE ARENAS AND STADIUMS 1461 01:00:03,833 --> 01:00:05,200 JUST LIKE THE GREAT ROCK BANDS 1462 01:00:05,266 --> 01:00:07,900 DID. 1463 01:00:07,966 --> 01:00:09,966 NO ONE WHO LOOKED LIKE HER HAD 1464 01:00:10,033 --> 01:00:11,600 EVER DONE IT, BUT SHE BELIEVED 1465 01:00:11,666 --> 01:00:15,000 THAT SHE COULD. 1466 01:00:15,066 --> 01:00:17,766 MICK JAGGER, DAVID BOWIE, 1467 01:00:17,833 --> 01:00:20,233 ROD STEWART, BRYAN ADAMS ALL 1468 01:00:20,300 --> 01:00:21,666 WANTED TO DUET WITH TINA, AND 1469 01:00:21,733 --> 01:00:26,733 THEY DID. 1470 01:00:26,800 --> 01:00:27,466 SOON, SHE WAS PLAYING TO CROWDS 1471 01:00:27,533 --> 01:00:33,166 EVERY BIT AS LARGE AS THEIRS. 1472 01:00:33,233 --> 01:00:34,266 SHE BROKE GROUND FOR WOMEN 1473 01:00:34,333 --> 01:00:35,966 AND SERVED AS A ROLE MODEL FOR 1474 01:00:36,033 --> 01:00:36,566 YOUNGER ARTISTS JUST AS THOSE 1475 01:00:36,633 --> 01:00:43,900 ROCK STARS HAD DONE FOR HER. 1476 01:00:43,966 --> 01:00:46,400 TINA IS A BRILLIANT ARTIST WHO 1477 01:00:46,466 --> 01:00:48,200 HAS WON NINE GRAMMY AWARDS AND 1478 01:00:48,266 --> 01:00:48,966 SOLD MORE THAN 200 MILLION 1479 01:00:49,033 --> 01:00:54,133 RECORDS. 1480 01:00:54,200 --> 01:00:58,466 HER VOICE -- 1481 01:00:58,533 --> 01:01:00,200 [CHEERS AND APPLAUSE] 1482 01:01:00,266 --> 01:01:00,933 HER VOICE IS INSTANTLY 1483 01:01:01,000 --> 01:01:01,533 RECOGNIZABLE BECAUSE IT COMES 1484 01:01:01,600 --> 01:01:02,633 DIRECTLY FROM HER SOUL. 1485 01:01:02,700 --> 01:01:03,433 AND THOSE SONGS "WE DON'T NEED 1486 01:01:03,500 --> 01:01:08,166 ANOTHER HERO," "PRIVATE DANCER," 1487 01:01:08,233 --> 01:01:11,133 "BETTER BE GOOD TO ME." 1488 01:01:11,200 --> 01:01:13,266 I DIDN'T MENTION ONE OF HER 1489 01:01:13,333 --> 01:01:14,700 GREATEST SONGS, THE ONE THAT 1490 01:01:14,766 --> 01:01:15,800 GAVE OUR MOVIE ITS TITLE. 1491 01:01:15,866 --> 01:01:16,800 THAT'S BECAUSE AS FAR AS TINA IS 1492 01:01:16,866 --> 01:01:18,566 CONCERNED LOVE ALWAYS HAS 1493 01:01:18,633 --> 01:01:23,066 EVERYTHING TO DO WITH IT. 1494 01:01:23,133 --> 01:01:28,200 [CHEERS AND APPLAUSE] 1495 01:01:28,266 --> 01:01:29,166 SHE BRINGS DEPTHS OF LOVE TO 1496 01:01:29,233 --> 01:01:29,800 EVERYTHING SHE DOES, 1497 01:01:29,866 --> 01:01:31,933 ON AND OFF THE STAGE. 1498 01:01:32,000 --> 01:01:33,300 NOW LET US REMEMBER, TINA IS 1499 01:01:33,366 --> 01:01:34,500 ALREADY A MEMBER OF THE 1500 01:01:34,566 --> 01:01:36,066 ROCK AND ROLL HALL OF FAME FROM 1501 01:01:36,133 --> 01:01:36,533 HER EARLIER WORK WITH 1502 01:01:36,600 --> 01:01:40,633 IKE TURNER. 1503 01:01:40,700 --> 01:01:42,300 HOWEVER, WHAT BRINGS US HERE 1504 01:01:42,366 --> 01:01:43,166 TONIGHT IS TINA'S JOURNEY TO 1505 01:01:43,233 --> 01:01:49,033 INDEPENDENCE. 1506 01:01:49,100 --> 01:01:50,300 [CHEERS AND APPLAUSE] 1507 01:01:50,366 --> 01:01:51,966 FOR TINA, HOPE TRIUMPHED 1508 01:01:52,033 --> 01:01:55,433 OVER HATE. 1509 01:01:55,500 --> 01:01:56,900 FAITH WON OVER FEAR. 1510 01:01:56,966 --> 01:02:03,033 AND AMBITION ECLIPSED ADVERSITY. 1511 01:02:03,100 --> 01:02:06,000 IN THE WORDS OF THE LATE 1512 01:02:06,066 --> 01:02:07,500 MAYA ANGELOU, "YOU MAY SHOOT ME 1513 01:02:07,566 --> 01:02:08,366 WITH YOUR WORDS. 1514 01:02:08,433 --> 01:02:09,933 YOU MAY CUT ME WITH YOUR EYES. 1515 01:02:10,000 --> 01:02:10,900 YOU MAY KILL ME WITH YOUR 1516 01:02:10,966 --> 01:02:13,666 HATEFULNESS. 1517 01:02:13,733 --> 01:02:19,633 BUT STILL, LIKE AIR, I'LL RISE." 1518 01:02:19,700 --> 01:02:20,100 [CHEERS AND APPLAUSE] 1519 01:02:20,166 --> 01:02:25,766 AND TINA ROSE. 1520 01:02:25,833 --> 01:02:33,233 TINA, WELCOME -- ON YOUR OWN -- 1521 01:02:33,300 --> 01:02:34,333 TO THE ROCK & ROLL HALL OF 1522 01:02:34,400 --> 01:02:37,300 FAME! 1523 01:02:37,366 --> 01:02:43,100 YOU ARE SIMPLY THE BEST. 1524 01:02:43,166 --> 01:02:43,900 >> YOU KNOW THE SAYING, BEHIND 1525 01:02:43,966 --> 01:02:49,300 EVERY GREAT MAN, THERE IS A 1526 01:02:49,366 --> 01:02:50,400 WOMAN? 1527 01:02:50,466 --> 01:02:52,533 WHAT'S BEHIND THE GREAT WOMAN 1528 01:02:52,600 --> 01:02:52,866 TINA TURNER? 1529 01:02:52,933 --> 01:03:00,800 ♪ ♪ 1530 01:03:00,866 --> 01:03:04,733 >> I STARTED WITH IKE IN 1960. 1531 01:03:04,800 --> 01:03:06,600 AN INSECURE MAN, VERY 1532 01:03:06,666 --> 01:03:06,900 POSSESSIVE. 1533 01:03:06,966 --> 01:03:08,433 THINKING ABOUT IT, IT WAS A FORM 1534 01:03:08,500 --> 01:03:12,700 OF IMPRISONMENT. 1535 01:03:12,766 --> 01:03:13,433 REALIZED THAT WE COULD NOT WORK 1536 01:03:13,500 --> 01:03:20,366 TOGETHER FOR ALL TIME. 1537 01:03:20,433 --> 01:03:22,200 >> I THOUGHT HE WOULD BE THE ONE 1538 01:03:22,266 --> 01:03:28,633 TO GO TO. 1539 01:03:28,700 --> 01:03:29,700 >> LIKE A BIRD THAT GETS OUT OF 1540 01:03:29,766 --> 01:03:31,266 THE CAGE, IT WAS A FREEDOM TO DO 1541 01:03:31,333 --> 01:03:41,333 SOMETHING DIFFERENT. 1542 01:03:41,400 --> 01:03:41,833 ♪ ♪ 1543 01:03:41,900 --> 01:03:43,800 >> HE WAS TAKING MY RANCH, DOING 1544 01:03:43,866 --> 01:03:45,000 EVERYTHING WITH MY VOICE, I WAS 1545 01:03:45,066 --> 01:03:50,466 FINDING OUT THINGS ABOUT MYSELF. 1546 01:03:50,533 --> 01:03:52,700 >> A GREAT SINGER KNOWS HOW TO 1547 01:03:52,766 --> 01:03:56,066 EMOTE AND PUT EVERY MEMORY AND 1548 01:03:56,133 --> 01:03:58,000 EVERY FEELING INTO THOSE WORDS, 1549 01:03:58,066 --> 01:03:59,433 AND TINA MADE EVERY SONG THAT 1550 01:03:59,500 --> 01:04:05,800 SHE SAYING HER SONG -- SANG HER 1551 01:04:05,866 --> 01:04:07,300 SONG. 1552 01:04:07,366 --> 01:04:09,500 >> I WAS ASKED TO "TONIC." 1553 01:04:09,566 --> 01:04:10,266 >> I FOUND OUT WHAT I KNEW 1554 01:04:10,333 --> 01:04:15,566 BECAUSE I WAS ON MY OWN. 1555 01:04:15,633 --> 01:04:18,766 >> AND THAT REALLY WENT A LONG 1556 01:04:18,833 --> 01:04:20,166 WAY FOR ME. 1557 01:04:20,233 --> 01:04:20,800 >> IS IT ALL RIGHT FOR ME TO ASK 1558 01:04:20,866 --> 01:04:25,133 YOU IF YOU YOU AND IKE ARE TOGER 1559 01:04:25,200 --> 01:04:27,100 OR SEPARATED OR DIVORCED? 1560 01:04:27,166 --> 01:04:28,300 >> SEPARATED AND DIVORCED. 1561 01:04:28,366 --> 01:04:30,233 >> A LOT OF PEOPLE FELT THAT 1562 01:04:30,300 --> 01:04:32,900 TINA TURNER COULD NOT DO A SHOW 1563 01:04:32,966 --> 01:04:33,333 WITHOUT EGG. 1564 01:04:33,400 --> 01:04:36,433 >> SHE HAD THAT REALLY TOUGH 1565 01:04:36,500 --> 01:04:37,800 TIME, AND I LOVED HER, AND SO I 1566 01:04:37,866 --> 01:04:42,900 WANTED HER TO BE ON MY SHOW. 1567 01:04:42,966 --> 01:04:45,966 ♪ I'VE GOT THE MUSIC IN ME ♪ 1568 01:04:46,033 --> 01:04:48,300 ♪ I'VE GOT THE MUSIC IN ME ♪ 1569 01:04:48,366 --> 01:04:50,500 >> I ALWAYS TOOK FROM MY 1570 01:04:50,566 --> 01:04:51,133 EXPERIENCES TO DO WHAT I NEEDED 1571 01:04:51,200 --> 01:04:55,933 TO DO. 1572 01:04:56,000 --> 01:04:58,633 I STARTED TO PLAY HOTEL CIRCLES 1573 01:04:58,700 --> 01:05:01,366 IN LAS VEGAS AND SOME TELEVISION 1574 01:05:01,433 --> 01:05:05,500 SHOWS. 1575 01:05:05,566 --> 01:05:06,166 >> I REALIZE THAT IT WAS 1576 01:05:06,233 --> 01:05:08,466 MANAGEMENT THAT WAS MISSING. 1577 01:05:08,533 --> 01:05:11,000 THAT'S WHY I WASN'T GOING IN THE 1578 01:05:11,066 --> 01:05:12,266 WAY, I'D BE IN LAS VEGAS ALL MY 1579 01:05:12,333 --> 01:05:12,933 LIFE. 1580 01:05:13,000 --> 01:05:14,366 >> YOU KNOW WHEN YOU MADE AN 1581 01:05:14,433 --> 01:05:17,300 ARTIST, IF THAT THAT CHARISMA, 1582 01:05:17,366 --> 01:05:17,833 SHE WAS ALWAYS INCREDIBLY 1583 01:05:17,900 --> 01:05:18,233 DETERMINED. 1584 01:05:18,300 --> 01:05:21,466 >> THEN SHE GOT A RECORD DEAL. 1585 01:05:21,533 --> 01:05:23,133 NOBODY WOULD TOUCH TINA TURNER. 1586 01:05:23,200 --> 01:05:27,066 >> ♪ CAN I INTRODUCE MYSELF ♪ 1587 01:05:27,133 --> 01:05:29,733 >> SHE WANTED TO BE WITH THE 1588 01:05:29,800 --> 01:05:30,600 ROCK VOICE. 1589 01:05:30,666 --> 01:05:31,166 >> SOMETHING STARTED TO TURN 1590 01:05:31,233 --> 01:05:33,233 INSIDE OF ME. 1591 01:05:33,300 --> 01:05:35,500 I'VE BEEN RUNNING AROUND SINGING 1592 01:05:35,566 --> 01:05:36,266 FOREVER. 1593 01:05:36,333 --> 01:05:39,400 HOW CAN I FEEL STADIUMS? 1594 01:05:39,466 --> 01:05:39,733 I WANTED IT. 1595 01:05:39,800 --> 01:05:41,200 I WANTED TO DO IT MICK JAGGER 1596 01:05:41,266 --> 01:05:41,833 AND ALL OF THE GUYS AT THE TIME 1597 01:05:41,900 --> 01:05:45,033 WERE DOING. 1598 01:05:45,100 --> 01:05:50,933 ♪ ♪ 1599 01:05:51,000 --> 01:05:52,466 >> ROGER SAID TO ME, YOU WANT TO 1600 01:05:52,533 --> 01:05:52,700 DO THAT? 1601 01:05:52,766 --> 01:05:54,900 YOU'VE GOT TO MAKE SOME RECORDS. 1602 01:05:54,966 --> 01:05:58,400 ♪ ♪ 1603 01:05:58,466 --> 01:06:01,466 >> LET'S TRY IT. 1604 01:06:01,533 --> 01:06:02,366 DON'T FORGET -- 1605 01:06:02,433 --> 01:06:08,700 THAT ONE, THAT ONE. 1606 01:06:08,766 --> 01:06:11,700 IT'S WONDERFUL, THAT WHEN HIS. 1607 01:06:11,766 --> 01:06:16,966 IT'S SO, SO MISTY. 1608 01:06:17,033 --> 01:06:18,033 MWAH. 1609 01:06:18,100 --> 01:06:20,533 ♪ YOU MUST UNDERSTAND THAT THE 1610 01:06:20,600 --> 01:06:22,600 TOUCH OF YOUR HAND MAKES MY 1611 01:06:22,666 --> 01:06:23,100 PULSE REACT ♪ 1612 01:06:23,166 --> 01:06:26,100 >> THE FIRST SONG, "WHAT'S LOVE 1613 01:06:26,166 --> 01:06:29,100 GOT TO DO WITH IT," IT WAS SO 1614 01:06:29,166 --> 01:06:29,700 DIFFERENT, ONE OF THOSE SONGS 1615 01:06:29,766 --> 01:06:37,700 YOU GET MAYBE ONCE A DECADE. 1616 01:06:37,766 --> 01:06:40,133 >> AND THE RECORD OF THE YEAR 1617 01:06:40,200 --> 01:06:40,766 IS, "WHAT'S LOVE GOT TO DO WITH 1618 01:06:40,833 --> 01:06:41,866 IT," TINA TURNER. 1619 01:06:41,933 --> 01:06:45,700 >> ♪ WHAT'S LOVE GOT TO DO, GOT 1620 01:06:45,766 --> 01:06:47,800 TO DO WITH IT POST ♪ 1621 01:06:47,866 --> 01:06:51,200 >> SHE'S INCREDIBLE, TO JUST BE 1622 01:06:51,266 --> 01:06:53,966 REACHING HER PEAK AT 50. 1623 01:06:54,033 --> 01:06:56,200 IT'S NOT ONLY INSPIRING TO US 1624 01:06:56,266 --> 01:06:57,100 WOMEN BUT IT CHANGES THE RULES 1625 01:06:57,166 --> 01:07:01,933 IN THE PLAYBOOK. 1626 01:07:02,000 --> 01:07:04,300 >> ♪ WE DON'T NEED TO FIGHT ♪ 1627 01:07:04,366 --> 01:07:06,466 >> A BLACK WOMAN OWNING THAT 1628 01:07:06,533 --> 01:07:07,266 STAGE ALL BY HERSELF. 1629 01:07:07,333 --> 01:07:12,900 THAT'S THE DREAM RIGHT THERE. 1630 01:07:12,966 --> 01:07:13,566 >> ♪ YOU KEEP TELLING ME THAT 1631 01:07:13,633 --> 01:07:16,866 YOU LOVE ME ♪ AND I REALLY DO 1632 01:07:16,933 --> 01:07:22,566 WANT TO BELIEVE ♪ 1633 01:07:22,633 --> 01:07:33,233 ♪ ♪ 1634 01:07:33,300 --> 01:07:35,100 >> THE JEAN JACKET AND THE 1635 01:07:35,166 --> 01:07:37,233 LEATHER DRESS, THE BIG HAIR, 1636 01:07:37,300 --> 01:07:39,400 THAT WAS ME BECOMING WHAT I 1637 01:07:39,466 --> 01:07:41,900 ALWAYS WANTED. 1638 01:07:41,966 --> 01:07:44,100 >> SHE BECAME A ROCK 'N' ROLL 1639 01:07:44,166 --> 01:07:46,600 STAR. 1640 01:07:46,666 --> 01:07:57,700 ♪ ♪ 1641 01:07:57,766 --> 01:07:58,300 >> LEGEND WAS THAT TINA TURNER 1642 01:07:58,366 --> 01:07:58,933 WAS THE WOMAN WHO TAUGHT MICK 1643 01:07:59,000 --> 01:08:00,166 JAGGER HAD TO DANCE. 1644 01:08:00,233 --> 01:08:03,200 >> IT WAS AN EXCHANGE. 1645 01:08:03,266 --> 01:08:03,666 THE SONG INSPIRED ME. 1646 01:08:03,733 --> 01:08:05,300 IT CAME TOGETHER. 1647 01:08:05,366 --> 01:08:09,333 >> I USED TO WATCH HER. 1648 01:08:09,400 --> 01:08:16,833 ♪ ♪ 1649 01:08:16,900 --> 01:08:19,700 ♪ GOT A GOOD JOB IN THE CITY, 1650 01:08:19,766 --> 01:08:21,900 WORKING FOR THE MAN EVERY NIGHT 1651 01:08:21,966 --> 01:08:23,366 AND DAY ♪ 1652 01:08:23,433 --> 01:08:26,966 ♪ I NEVER LOST A BIT OF SLEEP ♪ 1653 01:08:27,033 --> 01:08:28,733 >> SHE WAS AN INNOVATOR OF 1654 01:08:28,800 --> 01:08:32,366 HAVING POWERFUL WOMEN ON STAGE 1655 01:08:32,433 --> 01:08:33,366 GOING ABSOLUTELY CRAZY. 1656 01:08:33,433 --> 01:08:34,233 NO ONE HAD EVER SEEN ANYTHING 1657 01:08:34,300 --> 01:08:36,766 LIKE THAT. 1658 01:08:36,833 --> 01:08:39,500 >> ♪ IT ROLLING, ROLLING, 1659 01:08:39,566 --> 01:08:40,200 ROLLING ON THE RIVER 7 1660 01:08:40,266 --> 01:08:43,500 ♪ ROLLING, ROLLING, ROLLING ON 1661 01:08:43,566 --> 01:08:43,833 THE RIVER ♪ 1662 01:08:43,900 --> 01:08:44,933 >> THE DEFINITION OF INSANITY IS 1663 01:08:45,000 --> 01:08:46,833 TO GET ON STAGE WITH 1664 01:08:46,900 --> 01:08:47,133 TINA TURNER. 1665 01:08:47,200 --> 01:08:55,300 ♪ ♪ 1666 01:08:55,366 --> 01:08:59,466 ♪ WE DON'T NEED ANOTHER HERO, H♪ 1667 01:08:59,533 --> 01:09:00,733 >> YOU'RE NOT GOING TO BREAK 1668 01:09:00,800 --> 01:09:02,166 HER, YOU'RE NOT GOING TO DO 1669 01:09:02,233 --> 01:09:03,166 ANYTHING TO HER. 1670 01:09:03,233 --> 01:09:04,133 I DON'T THINK THERE'S EVER GOING 1671 01:09:04,200 --> 01:09:07,533 TO BE A WOMAN THAT CAN TOUCH HE 1672 01:09:07,600 --> 01:09:08,066 HER. 1673 01:09:08,133 --> 01:09:10,366 >> SHE IS THE EPITOME OF NEVER 1674 01:09:10,433 --> 01:09:13,400 GIVING UP ON YOURSELF AND ON 1675 01:09:13,466 --> 01:09:14,066 YOUR STORY AND WHAT YOU WANT TO 1676 01:09:14,133 --> 01:09:16,566 DO IN YOUR LIFE. 1677 01:09:16,633 --> 01:09:20,200 >> ♪ WE DON'T NEED ANOTHER 1678 01:09:20,266 --> 01:09:20,466 HERO ♪ 1679 01:09:20,533 --> 01:09:21,033 >> EVERYTHING SHE HAD BEEN 1680 01:09:21,100 --> 01:09:22,366 THROUGH AND TO STILL BE HERE AND 1681 01:09:22,433 --> 01:09:26,066 TO HAVE A METAMORPHOSIS JUST 1682 01:09:26,133 --> 01:09:28,466 GOES TO SHOW THAT TINA TURNER IS 1683 01:09:28,533 --> 01:09:29,066 UNDENIABLE. 1684 01:09:29,133 --> 01:09:32,500 >> ♪ YOU ARE SIMPLY THE BEST ♪ 1685 01:09:32,566 --> 01:09:38,633 ♪ BETTER THAN ALL THE REST ♪ 1686 01:09:38,700 --> 01:09:42,933 ♪ BETTER THAN ANYONE ♪ 1687 01:09:43,000 --> 01:09:46,900 >> HAPPENED THAT I NEVER KNEW 1688 01:09:46,966 --> 01:09:51,433 THAT THAT IS WHAT HAPPENED. 1689 01:09:51,500 --> 01:09:58,233 ♪ ♪ 1690 01:09:58,300 --> 01:09:59,733 SEMI LEGACY IS A PERSON THAT 1691 01:09:59,800 --> 01:10:01,200 STRIVES FOR WANTING IT BETTER 1692 01:10:01,266 --> 01:10:05,533 AND GOT IT. 1693 01:10:05,600 --> 01:10:11,100 ♪ YOU'RE THE BEST ♪ 1694 01:10:11,166 --> 01:10:11,566 [CHEERS AND APPLAUSE] 1695 01:10:11,633 --> 01:10:13,766 >> HI, EVERYBODY. 1696 01:10:13,833 --> 01:10:15,066 IT WAS REALLY SPECIAL WHEN I 1697 01:10:15,133 --> 01:10:17,466 HEARD THAT THE HALL OF FAME WAS 1698 01:10:17,533 --> 01:10:21,066 GIVING ME A TROPHY. 1699 01:10:21,133 --> 01:10:24,233 THEY'RE STILL GETTING THE AWARDS 1700 01:10:24,300 --> 01:10:26,100 AT 81, I MUST HAVE DONE 1701 01:10:26,166 --> 01:10:26,466 SOMETHING RIGHT. 1702 01:10:26,533 --> 01:10:29,266 YEAH, THIS IS MINE. 1703 01:10:29,333 --> 01:10:31,433 ONLY I DON'T -- 1704 01:10:31,500 --> 01:10:31,666 [LAUGHS] 1705 01:10:31,733 --> 01:10:34,233 I'M VERY HAPPY TO HAVE THIS. 1706 01:10:34,300 --> 01:10:39,333 AND TO HAVE ACHIEVED THIS 1707 01:10:39,400 --> 01:10:40,200 ROCK & ROLL HALL OF FAME, IT'S 1708 01:10:40,266 --> 01:10:41,066 GREAT. 1709 01:10:41,133 --> 01:10:43,600 THANK YOU. 1710 01:10:43,666 --> 01:10:45,333 [CHEERS AND APPLAUSE] 1711 01:10:45,400 --> 01:10:47,266 >> HERE TO PAY TRIBUTE TO THE 1712 01:10:47,333 --> 01:10:49,200 ROCK 'N' ROLL HALL OF FAMER 1713 01:10:49,266 --> 01:10:53,266 TINA TURNER, CHRISTINA AGUILERA. 1714 01:10:53,333 --> 01:10:55,366 MICKEY GUYTON. 1715 01:10:55,433 --> 01:11:02,700 AND TO START IT OFF, H.E.R. AND 1716 01:11:02,766 --> 01:11:04,133 KEITH URBAN. 1717 01:11:04,200 --> 01:11:13,133 ♪ ♪ 1718 01:11:13,200 --> 01:11:18,600 ♪ ♪ 1719 01:11:18,666 --> 01:11:19,666 >> ♪ WHEN THE FEELIN' IS 1720 01:11:19,733 --> 01:11:21,300 ENDED ♪ 1721 01:11:21,366 --> 01:11:22,233 ♪ THERE AIN'T NO USE 1722 01:11:22,300 --> 01:11:24,133 PRETENDIN' ♪ 1723 01:11:24,200 --> 01:11:27,100 ♪ DON'T YA WORRY, 1724 01:11:27,166 --> 01:11:27,800 IT'S ONLY LOVE ♪ 1725 01:11:27,866 --> 01:11:29,333 ♪ WHEN YOUR WORLD HAS BEEN 1726 01:11:29,400 --> 01:11:29,966 SHATTERED ♪ 1727 01:11:30,033 --> 01:11:33,733 ♪ AIN'T NOTHIN' ELSE MATTERS ♪ 1728 01:11:33,800 --> 01:11:35,833 ♪ IT AIN'T OVER, 1729 01:11:35,900 --> 01:11:40,300 IT'S ONLY LOVE ♪ 1730 01:11:40,366 --> 01:11:41,533 INTO THAT RIGHT, H.E.R.? 1731 01:11:41,600 --> 01:11:50,866 ♪ ♪ 1732 01:11:50,933 --> 01:11:52,066 >> ♪ WHEN YOUR HEART HAS BEEN 1733 01:11:52,133 --> 01:11:52,333 BROKEN ♪ 1734 01:11:52,400 --> 01:11:53,466 ♪ HARD WORDS HAVE BEEN SPOKEN ♪ 1735 01:11:53,533 --> 01:11:54,233 ♪ IT AIN'T EASY BUT IT'S ONLY 1736 01:11:54,300 --> 01:11:59,066 LOVE ♪ 1737 01:11:59,133 --> 01:11:59,833 ♪ WHEN IF YOUR LIFE 1738 01:11:59,900 --> 01:12:00,833 AIN'T WORTH LIVIN' ♪ 1739 01:12:00,900 --> 01:12:05,500 ♪ AND YOU'RE READY TO GIVE IN ♪ 1740 01:12:05,566 --> 01:12:06,800 ♪ JUST REMEMBER, BABY, 1741 01:12:06,866 --> 01:12:10,200 THAT IT'S ONLY LOVE ♪ 1742 01:12:10,266 --> 01:12:17,266 ♪ ♪ 1743 01:12:17,333 --> 01:12:21,233 ♪ ONLY LOVE, BABY, YEAH ♪ 1744 01:12:21,300 --> 01:12:26,633 ♪ ♪ 1745 01:12:26,700 --> 01:12:28,033 >> ♪ YOU CAN LIVE WITHOUT 1746 01:12:28,100 --> 01:12:29,266 THE AGGRAVATION ♪ 1747 01:12:29,333 --> 01:12:30,300 ♪ YA GOTTA WANNA WIN 1748 01:12:30,366 --> 01:12:34,566 YA GOTTA WANNA WIN ♪ 1749 01:12:34,633 --> 01:12:35,900 ♪ YA GOTTA WANNA WIN ♪ 1750 01:12:35,966 --> 01:12:37,166 ♪ YOU KEEP LOOKIN' BACK 1751 01:12:37,233 --> 01:12:38,800 IN DESPERATION ♪ 1752 01:12:38,866 --> 01:12:58,266 ♪ OVER AND OVER AND OVER AGAIN ♪ 1753 01:12:58,333 --> 01:13:15,633 ♪ ♪ 1754 01:13:15,700 --> 01:13:22,300 ♪ ♪ 1755 01:13:22,366 --> 01:13:23,200 >> ♪ WHEN YOUR WORLD IS 1756 01:13:23,266 --> 01:13:23,633 SHATTERED ♪ 1757 01:13:23,700 --> 01:13:26,366 ♪ AIN'T NOTHIN' ELSE MATTERS ♪ 1758 01:13:26,433 --> 01:13:27,933 ♪ IT AIN'T OVER, 1759 01:13:28,000 --> 01:13:34,233 IT'S ONLY LOVE ♪ 1760 01:13:34,300 --> 01:13:40,500 ♪ IT'S ONLY LOVE, BABY ♪ 1761 01:13:40,566 --> 01:13:57,366 [CHEERS AND APPLAUSE] 1762 01:13:57,433 --> 01:14:06,033 ♪ ♪ 1763 01:14:06,100 --> 01:14:07,833 >> ♪ YOU MUST UNDERSTAND, 1764 01:14:07,900 --> 01:14:08,466 THOUGH THE TOUCH OF YOUR HAND ♪ 1765 01:14:08,533 --> 01:14:10,400 ♪ MAKES MY PULSE REACT ♪ 1766 01:14:10,466 --> 01:14:11,800 ♪ THAT IT'S ONLY THE THRILL 1767 01:14:11,866 --> 01:14:12,433 OF BOY MEETING GIRL ♪ 1768 01:14:12,500 --> 01:14:23,166 ♪ OPPOSITES ATTRACT ♪ 1769 01:14:23,233 --> 01:14:24,066 ♪ IT'S PHYSICAL ♪ 1770 01:14:24,133 --> 01:14:28,233 ♪ ONLY LOGICAL ♪ 1771 01:14:28,300 --> 01:14:29,266 ♪ YOU MUST TRY TO IGNORE THAT IT 1772 01:14:29,333 --> 01:14:31,133 MEANS MORE THAN THAT ♪ 1773 01:14:31,200 --> 01:14:32,733 ♪ OH-OH, WHAT'S LOVE GOT TO DO, 1774 01:14:32,800 --> 01:14:35,933 GOT TO DO WITH IT? ♪ 1775 01:14:36,000 --> 01:14:39,300 ♪ WHAT'S LOVE BUT A SECOND-HAND 1776 01:14:39,366 --> 01:14:41,100 EMOTION? ♪ 1777 01:14:41,166 --> 01:14:43,066 ♪ WHAT'S LOVE GOT TO DO, 1778 01:14:43,133 --> 01:14:45,200 GOT TO DO WITH IT? ♪ 1779 01:14:45,266 --> 01:14:46,466 ♪ WHO NEEDS A HEART 1780 01:14:46,533 --> 01:14:58,700 WHEN A HEART CAN BE BROKEN? ♪ 1781 01:14:58,766 --> 01:15:08,566 ♪ OH-OH ♪ 1782 01:15:08,633 --> 01:15:11,600 ♪ I'VE BEEN TAKING ON A NEW 1783 01:15:11,666 --> 01:15:11,900 DIRECTION ♪ 1784 01:15:11,966 --> 01:15:14,333 ♪ BUT I HAVE TO SAY ♪ 1785 01:15:14,400 --> 01:15:17,600 ♪ I'VE BEEN THINKING ABOUT MY 1786 01:15:17,666 --> 01:15:21,533 OWN PROTECTION ♪ 1787 01:15:21,600 --> 01:15:24,433 ♪ WHAT'S LOVE GOT TO DO, 1788 01:15:24,500 --> 01:15:25,700 GOT TO DO WITH IT? ♪ 1789 01:15:25,766 --> 01:15:29,100 ♪ WHAT'S LOVE 1790 01:15:29,166 --> 01:15:31,633 BUT A SECOND-HAND EMOTION ♪ 1791 01:15:31,700 --> 01:15:32,833 ♪ WHAT'S LOVE GOT TO DO, 1792 01:15:32,900 --> 01:15:34,033 GOT TO DO WITH IT? ♪ 1793 01:15:34,100 --> 01:15:35,933 ♪ WHO NEEDS A HEART 1794 01:15:36,000 --> 01:15:40,533 WHEN A HEART CAN BE BROKEN? ♪ 1795 01:15:40,600 --> 01:15:42,000 ♪ WHAT'S LOVE GOT TO DO, 1796 01:15:42,066 --> 01:15:43,333 GOT TO DO WITH IT? ♪ 1797 01:15:43,400 --> 01:15:48,433 ♪ WHAT'S LOVE 1798 01:15:48,500 --> 01:15:50,833 BUT A SWEET OLD-FASHIONED 1799 01:15:50,900 --> 01:15:52,033 NOTION ♪ 1800 01:15:52,100 --> 01:15:53,233 ♪ WHAT'S LOVE ♪ 1801 01:15:53,300 --> 01:15:57,700 ♪ WHO NEEDS A HEART 1802 01:15:57,766 --> 01:16:08,766 WHEN A HEART CAN BE BROKEN? ♪ 1803 01:16:08,833 --> 01:16:17,600 [CHEERS AND APPLAUSE] 1804 01:16:17,666 --> 01:16:26,100 ♪ ♪ 1805 01:16:26,166 --> 01:16:27,200 >> ♪ WHEN I WAS A LITTLE GIRL, 1806 01:16:27,266 --> 01:16:27,633 I HAD A RAG DOLL ♪ 1807 01:16:27,700 --> 01:16:28,133 ♪ IT WAS THE ONLY DOLL 1808 01:16:28,200 --> 01:16:34,266 THAT I'VE EVER OWNED ♪ 1809 01:16:34,333 --> 01:16:35,533 ♪ NOW I LOVE YOU JUST THE WAY 1810 01:16:35,600 --> 01:16:38,833 I LOVED THAT RAG DOLL ♪ 1811 01:16:38,900 --> 01:16:40,066 ♪ BUT ONLY NOW MY LOVE 1812 01:16:40,133 --> 01:16:42,800 HAS GROWN ♪ 1813 01:16:42,866 --> 01:16:45,033 ♪ AND IT GETS STRONGER 1814 01:16:45,100 --> 01:16:56,800 IN EVERY WAY ♪ 1815 01:16:56,866 --> 01:16:59,533 ♪ AND IT GETS DEEPER, BABY ♪ 1816 01:16:59,600 --> 01:16:59,933 ♪ LET ME SAY ♪ 1817 01:17:00,000 --> 01:17:00,866 ♪ THEN IT GETS HIGHER, 1818 01:17:00,933 --> 01:17:01,966 DAY BY DAY ♪ 1819 01:17:02,033 --> 01:17:13,566 ♪ AND DO I LOVE YOU, MY OH MY ♪ 1820 01:17:13,633 --> 01:17:15,533 ♪ YEAH ♪ 1821 01:17:15,600 --> 01:17:16,166 ♪ OH NO, NO, IF I EVER, EVER 1822 01:17:16,233 --> 01:17:21,300 LOST YOU WOULD I CRY ♪ 1823 01:17:21,366 --> 01:17:27,733 ♪ OH, HOW I LOVE YOU BABY ♪ 1824 01:17:27,800 --> 01:17:31,966 ♪ BABY, BABY, BABY ♪ 1825 01:17:32,033 --> 01:17:32,633 ♪ WHEN YOU WERE 1826 01:17:32,700 --> 01:17:33,466 A YOUNG BOY ♪ 1827 01:17:33,533 --> 01:17:36,066 ♪ DID YOU HAVE A PUPPY? ♪ 1828 01:17:36,133 --> 01:17:42,300 ♪ THAT ALWAYS FOLLOWED YOU 1829 01:17:42,366 --> 01:17:43,133 AROUND ♪ 1830 01:17:43,200 --> 01:17:44,033 ♪ WELL, I'M GONNA BE AS FAITHFUL 1831 01:17:44,100 --> 01:17:49,100 AS THAT PUPPY ♪ 1832 01:17:49,166 --> 01:17:50,133 ♪ NO, I AIN'T NEVER GONNA 1833 01:17:50,200 --> 01:17:53,266 LET YOU DOWN ♪ 1834 01:17:53,333 --> 01:17:54,833 ♪ 'CAUSE IT GOES ON AND ON 1835 01:17:54,900 --> 01:18:02,066 LIKE A RIVER FLOWS ♪ 1836 01:18:02,133 --> 01:18:03,966 ♪ LORD, IT GETS SWEETER, BABY ♪ 1837 01:18:04,033 --> 01:18:07,100 ♪ AND HEAVEN KNOWS ♪ 1838 01:18:07,166 --> 01:18:09,333 ♪ AND IT GETS SWEETER, 1839 01:18:09,400 --> 01:18:11,800 BABY, OH, AS IT GROWS ♪ 1840 01:18:11,866 --> 01:18:22,566 ♪ DO I LOVE YOU, MY OH MY ♪ 1841 01:18:22,633 --> 01:18:29,000 ♪ YEAH ♪ 1842 01:18:29,066 --> 01:18:29,733 ♪ IF I LOST YOU 1843 01:18:29,800 --> 01:18:30,500 WOULD I CRY ♪ 1844 01:18:30,566 --> 01:18:36,366 ♪ OH, I LOVE YOU BABY ♪ 1845 01:18:36,433 --> 01:18:40,633 ♪ BABY, BABY, BABY ♪ 1846 01:18:40,700 --> 01:18:45,466 [VOCALIZING] 1847 01:18:45,533 --> 01:18:46,533 ♪ AND I LOVE YOU, BABY ♪ 1848 01:18:46,600 --> 01:18:54,566 ♪ LIKE FLOWERS LOVE THE SPRING ♪ 1849 01:18:54,633 --> 01:18:54,733 ♪ 1850 01:18:54,800 --> 01:18:57,833 ♪ ♪ 1851 01:18:57,900 --> 01:18:58,000 ♪ 1852 01:18:58,066 --> 01:19:00,266 ♪ AND I LOVE YOU LIKE A 1853 01:19:00,333 --> 01:19:01,600 SCHOOLBOY HE LOVES HIS PET ♪ 1854 01:19:01,666 --> 01:19:07,366 ♪ AND I LOVE YOU, BABY ♪ 1855 01:19:07,433 --> 01:19:11,600 ♪ ♪ 1856 01:19:11,666 --> 01:19:16,466 [VOCALIZING] 1857 01:19:16,533 --> 01:19:16,633 ♪ 1858 01:19:16,700 --> 01:19:22,600 ♪ HONEY, YOU'VE GOT TO BELIEVE, 1859 01:19:22,666 --> 01:19:28,333 BELIEVE ♪ 1860 01:19:28,400 --> 01:19:41,400 ♪ DO LOVE YOU ♪ 1861 01:19:41,466 --> 01:19:49,966 ♪ ♪ 1862 01:19:50,033 --> 01:19:52,400 ♪ BABY, BABY, BABY ♪ 1863 01:19:52,466 --> 01:19:55,866 ♪ ♪ 1864 01:19:55,933 --> 01:19:59,200 [CHEERS AND APPLAUSE] 1865 01:19:59,266 --> 01:20:03,033 THANK YOU. 1866 01:20:03,100 --> 01:20:08,266 >> TWO PRESENTS THE AHMET 1867 01:20:08,333 --> 01:20:09,500 ERTEGUN AWARD FOR LIFETIME 1868 01:20:09,566 --> 01:20:11,200 ACHIEVEMENT, LIONEL RICHIE. 1869 01:20:11,266 --> 01:20:13,400 >> I'M NOT GOING TO TELL YOU 1870 01:20:13,466 --> 01:20:15,700 ABOUT WHAT YOU CAN FIND ON 1871 01:20:15,766 --> 01:20:15,966 WIKIPEDIA. 1872 01:20:16,033 --> 01:20:19,166 I'M GOING TO TELL YOU BEHIND THE 1873 01:20:19,233 --> 01:20:22,666 SCENES OF WHO CLARENCE AVANT IS. 1874 01:20:22,733 --> 01:20:24,000 HE'S A TEACHER. 1875 01:20:24,066 --> 01:20:26,400 HE IS A MASTER COMMUNICATOR. 1876 01:20:26,466 --> 01:20:28,833 HE IS THE PERFECT MARRIAGE 1877 01:20:28,900 --> 01:20:34,000 BETWEEN STREET SENSE AND COMMON 1878 01:20:34,066 --> 01:20:36,333 SENSE. 1879 01:20:36,400 --> 01:20:40,100 >> HE IS THIS MYSTERIOUS FIGURE 1880 01:20:40,166 --> 01:20:42,266 THAT EVERYBODY RESPECTED. 1881 01:20:42,333 --> 01:20:43,566 >> CLARENCE WAS ONE OF MY 1882 01:20:43,633 --> 01:20:46,433 FAVORITE GUYS. 1883 01:20:46,500 --> 01:20:47,066 >> IF YOU ARE IMPORTANT TO THE 1884 01:20:47,133 --> 01:20:49,366 OVERALL GREATER GOOD, HE'S GOING 1885 01:20:49,433 --> 01:20:54,066 TO STEP IN LIKE SUPER BLACK MAN. 1886 01:20:54,133 --> 01:20:56,533 >> THEY COMBINATION OF REVEREND 1887 01:20:56,600 --> 01:21:04,200 SHARP, MALCOLM X, OF THE MUSIC 1888 01:21:04,266 --> 01:21:04,966 BUSINESS. 1889 01:21:05,033 --> 01:21:05,933 >> WHAT HE DID FOR US, HE WAS 1890 01:21:06,000 --> 01:21:09,966 THE ONE THAT BROUGHT US TO SOME 1891 01:21:10,033 --> 01:21:11,066 UNDERSTANDING OF WHAT THE MUSIC 1892 01:21:11,133 --> 01:21:13,266 BUSINESS WAS ALL ABOUT. 1893 01:21:13,333 --> 01:21:16,366 THERE IS TWO PARTS TO THIS 1894 01:21:16,433 --> 01:21:16,633 INDUSTRY. 1895 01:21:16,700 --> 01:21:18,266 THE MUSIC BUSINESS IN THE 1896 01:21:18,333 --> 01:21:21,766 BUSINESS OF MUSIC. 1897 01:21:21,833 --> 01:21:26,900 ONE, USE WHAT YOU ASS OFF. 1898 01:21:26,966 --> 01:21:28,933 TWO, YOU MAKE THE MONEY. 1899 01:21:29,000 --> 01:21:32,433 HE TAUGHT US HOW TO MAKE THE 1900 01:21:32,500 --> 01:21:32,866 MONEY. 1901 01:21:32,933 --> 01:21:35,266 >> LIFE WAS ABOUT ONE THING, 1902 01:21:35,333 --> 01:21:35,900 NUMBERS, NOTHING ELSE. 1903 01:21:35,966 --> 01:21:40,433 WHAT DID TINA TURNER SAY? 1904 01:21:40,500 --> 01:21:42,633 WHAT'S LOVE GOT TO DO WITH IT? 1905 01:21:42,700 --> 01:21:45,300 NOT A FUCKING THING, MAN. 1906 01:21:45,366 --> 01:21:46,633 >> IS KEY NEGOTIATING RATES THAT 1907 01:21:46,700 --> 01:21:50,133 HE LIKED TO GO TO RIGHT AWAY. 1908 01:21:50,200 --> 01:21:57,133 "GO FUCK YOURSELF AND GO TO HEL 1909 01:21:57,200 --> 01:21:57,333 HELL." 1910 01:21:57,400 --> 01:22:04,466 AND THAT MEANT ELECTIVE. 1911 01:22:04,533 --> 01:22:07,033 >> CALL YOU A SON OF A BITCH, SO 1912 01:22:07,100 --> 01:22:07,866 WHAT? 1913 01:22:07,933 --> 01:22:10,500 >> I HAVE A LOT OF RESPECT FOR 1914 01:22:10,566 --> 01:22:12,600 CLARENCE. 1915 01:22:12,666 --> 01:22:16,300 HE PROVIDED LEAP FOR ME FROM 1916 01:22:16,366 --> 01:22:16,966 BEING PROFESSIONAL AIRCRAFT 1917 01:22:17,033 --> 01:22:20,200 MECHANIC OVER INTO THIS WORLD. 1918 01:22:20,266 --> 01:22:22,933 >> CLARENCE MANAGING JIMMY AND 1919 01:22:23,000 --> 01:22:23,900 TERRY HELPED MAKE THE "JANET" 1920 01:22:23,966 --> 01:22:25,833 ALBUM. 1921 01:22:25,900 --> 01:22:26,666 >> SET OF GOT A PROBLEM WITH 1922 01:22:26,733 --> 01:22:28,300 WHAT YOU'RE ASKING FOR. 1923 01:22:28,366 --> 01:22:33,633 OH, NO, MR. AVANT, WE ASK FOR 1924 01:22:33,700 --> 01:22:33,933 TOO MUCH? 1925 01:22:34,000 --> 01:22:37,033 >> HE SAID, NO, YOU HAVEN'T ASKD 1926 01:22:37,100 --> 01:22:37,800 FOR ENOUGH. 1927 01:22:37,866 --> 01:22:40,266 YOU CAN'T DO A RECORD ON THAT. 1928 01:22:40,333 --> 01:22:41,466 >> THAT TOLD YOU EVERYTHING YOU 1929 01:22:41,533 --> 01:22:43,233 NEEDED TO KNOW ABOUT HIM RIGHT 1930 01:22:43,300 --> 01:22:43,700 IN THAT FIRST MEETING. 1931 01:22:43,766 --> 01:22:46,466 ♪ ♪ 1932 01:22:46,533 --> 01:22:48,800 >> AFTER THE "CONTROL" ALBUM, 1933 01:22:48,866 --> 01:22:50,633 THE PHONE WAS RINGING, PEOPLE 1934 01:22:50,700 --> 01:22:51,200 WERE AT THE HOUSE. 1935 01:22:51,266 --> 01:22:53,900 ONE DAY I WOULD WALK IN, IT WAS 1936 01:22:53,966 --> 01:22:54,900 WHITNEY HOUSTON. 1937 01:22:54,966 --> 01:22:55,666 QUESTIONS, QUESTIONS, CAN YOU 1938 01:22:55,733 --> 01:22:57,000 HELP ME WITH THIS DEAL. 1939 01:22:57,066 --> 01:22:58,466 IT JUST HAPPENED. 1940 01:22:58,533 --> 01:23:00,100 >> I COULDN'T FIGURE OUT FOR THE 1941 01:23:00,166 --> 01:23:01,300 LIFE OF ME, WHY DO SO MANY 1942 01:23:01,366 --> 01:23:04,000 PEOPLE LIKE HIM? 1943 01:23:04,066 --> 01:23:07,300 AND I FIGURED IT OUT. 1944 01:23:07,366 --> 01:23:09,066 HE TOLD THE TRUTH. 1945 01:23:09,133 --> 01:23:12,600 AND, BY THE WAY, IN THE MUSIC 1946 01:23:12,666 --> 01:23:14,033 INDUSTRY, THAT IS A RARE 1947 01:23:14,100 --> 01:23:16,466 COMMODITY. 1948 01:23:16,533 --> 01:23:18,166 >> I HELPED A LOT OF PEOPLE. 1949 01:23:18,233 --> 01:23:20,600 BUT MY JOB, SO FAR AS I'M 1950 01:23:20,666 --> 01:23:23,000 CONCERNED, IS TO MOVE US 1951 01:23:23,066 --> 01:23:23,333 FORWARD. 1952 01:23:23,400 --> 01:23:25,266 >> CLARENCE AND OTHERS, THEY ARE 1953 01:23:25,333 --> 01:23:29,066 REALLY THE BRIDGE FROM A TIME 1954 01:23:29,133 --> 01:23:32,966 WHERE THERE WAS ALMOST NO 1955 01:23:33,033 --> 01:23:33,833 OPPORTUNITY TO A TIME WHERE 1956 01:23:33,900 --> 01:23:34,933 DORIS BEGAN TO OPEN, AND THEY 1957 01:23:35,000 --> 01:23:39,066 LED THE WAY IN POLITICS, IN 1958 01:23:39,133 --> 01:23:42,400 BUSINESS, IN THE ARTS, AND 1959 01:23:42,466 --> 01:23:44,666 SAYING, NOW MAKE ROOM FOR US. 1960 01:23:44,733 --> 01:23:48,200 ♪ ♪ 1961 01:23:48,266 --> 01:23:52,200 >> HE WAS AN ADVOCATE FOR ALL OF 1962 01:23:52,266 --> 01:23:54,433 THE CREATIVE PEOPLE, YOU KNOW, 1963 01:23:54,500 --> 01:23:56,033 THE WRITERS, THE PRODUCERS, THE 1964 01:23:56,100 --> 01:23:56,966 RANGERS. 1965 01:23:57,033 --> 01:23:59,200 >> THEY WILL NEVER BE ANOTHER 1966 01:23:59,266 --> 01:23:59,566 CLARENCE AVANT. 1967 01:23:59,633 --> 01:24:03,066 HOWEVER, HIS GOAL TO PLANT SEED 1968 01:24:03,133 --> 01:24:04,233 SO THEY CAN BE INDIVIDUALS JUST 1969 01:24:04,300 --> 01:24:05,100 LIKE IN. 1970 01:24:05,166 --> 01:24:07,233 >> HE IS LIKE, BABY, YOU'VE GOT 1971 01:24:07,300 --> 01:24:09,000 TO GET YOUR GENERATION TO BE 1972 01:24:09,066 --> 01:24:09,500 ACTIVE. 1973 01:24:09,566 --> 01:24:10,533 I'M TIRED. 1974 01:24:10,600 --> 01:24:10,766 [LAUGHS] 1975 01:24:10,833 --> 01:24:14,633 >> IF YOU LEFT THIS PLANET 1976 01:24:14,700 --> 01:24:15,633 TOMORROW, YOU FULFILLED YOUR 1977 01:24:15,700 --> 01:24:16,866 PURPOSE. 1978 01:24:16,933 --> 01:24:18,566 DIDN'T MATTER HE WAS PROMOTING A 1979 01:24:18,633 --> 01:24:20,166 TOUR, RUNNING A RADIO STATION, 1980 01:24:20,233 --> 01:24:22,233 HE KNEW HIS PURPOSE. 1981 01:24:22,300 --> 01:24:24,533 BLACK PEOPLE ARE GOING TO MOVE 1982 01:24:24,600 --> 01:24:25,966 FORWARD. 1983 01:24:26,033 --> 01:24:28,533 >> ♪ FOR IT WON'T BE LONG UNTIL 1984 01:24:28,600 --> 01:24:32,933 I'M GOING TO NEED ♪ 1985 01:24:33,000 --> 01:24:34,333 ♪ SOMEBODY TO LEAN ON ♪ 1986 01:24:34,400 --> 01:24:39,233 >> SOMETIMES I SAY TO MYSELF, 1987 01:24:39,300 --> 01:24:41,533 HOW THE FUCK DID I GET INVOLVED 1988 01:24:41,600 --> 01:24:45,966 WITH ALL OF THE SHIT? 1989 01:24:46,033 --> 01:24:47,766 [CHEERS AND APPLAUSE] 1990 01:24:47,833 --> 01:24:48,333 >> CLARENCE, IT IS MY GREAT 1991 01:24:48,400 --> 01:24:53,000 PRIVILEGE TO INDUCT YOU INTO THE 1992 01:24:53,066 --> 01:24:57,300 ROCK & ROLL HALL OF FAME. 1993 01:24:57,366 --> 01:25:29,200 [CHEERS AND APPLAUSE] 1994 01:25:29,266 --> 01:25:29,966 >> THANK YOU, LIONEL. 1995 01:25:30,033 --> 01:25:32,133 GOOD EVENING, LADIES AND 1996 01:25:32,200 --> 01:25:34,100 GENTLEMEN. 1997 01:25:34,166 --> 01:25:36,933 I WANT TO THANK -- WELL, YOU 1998 01:25:37,000 --> 01:25:40,066 KNOW, HIS NAME IS BIG JOHN. 1999 01:25:40,133 --> 01:25:44,766 AND HE CALLED ME AND HE SAID 2000 01:25:44,833 --> 01:25:44,966 THIS. 2001 01:25:45,033 --> 01:25:49,400 MY ORGANIZATION IS GOING TO BE 2002 01:25:49,466 --> 01:25:52,466 IN OHIO, AND YOU'RE GOING TO GET 2003 01:25:52,533 --> 01:25:53,133 AN AWARD. 2004 01:25:53,200 --> 01:25:56,266 AND I SAID, WAIT A MINUTE. 2005 01:25:56,333 --> 01:25:59,000 AND HE SAID, NO, KEEP YOUR MOUTH 2006 01:25:59,066 --> 01:25:59,966 SHUT. 2007 01:26:00,033 --> 01:26:02,866 >> SO I HAD NO CHOICE, BECAUSE 2008 01:26:02,933 --> 01:26:05,566 WHEN YOU DEAL WITH BIG JOHN, YOU 2009 01:26:05,633 --> 01:26:06,533 KNOW, HE IS BIG, AND I DIDN'T 2010 01:26:06,600 --> 01:26:09,366 WANT NO TROUBLE. 2011 01:26:09,433 --> 01:26:12,033 YOU KNOW, I'M NOT A YOUNG MAN 2012 01:26:12,100 --> 01:26:12,600 ANYMORE. 2013 01:26:12,666 --> 01:26:14,800 WHEN YOU GET THIS AGE IN LIFE, 2014 01:26:14,866 --> 01:26:15,600 YOU'VE GOT TO BE VERY CAREFUL 2015 01:26:15,666 --> 01:26:19,733 WHEN YOU TALK TO THESE -- THEY 2016 01:26:19,800 --> 01:26:23,100 ARE NOT HOODS, BUT THEY ARE -- 2017 01:26:23,166 --> 01:26:23,433 [LAUGHTER] 2018 01:26:23,500 --> 01:26:27,600 THEY ARE BUSINESS PEOPLE. 2019 01:26:27,666 --> 01:26:27,866 [LAUGHTER] 2020 01:26:27,933 --> 01:26:31,733 THANK YOU, LADIES AND GENTLEMEN. 2021 01:26:31,800 --> 01:26:36,466 THANK YOU, EVERYBODY FOR BEING 2022 01:26:36,533 --> 01:26:38,633 HERE. 2023 01:26:38,700 --> 01:26:40,133 I HAVE NEVER SEEN A CROWD LIKE 2024 01:26:40,200 --> 01:26:42,366 THIS BEFORE IN MY LIFE. 2025 01:26:42,433 --> 01:26:43,133 BIG JOHN, THANK YOU FOR 2026 01:26:43,200 --> 01:26:46,600 THREATENING ME. 2027 01:26:46,666 --> 01:26:53,266 GOOD NIGHT. 2028 01:26:53,333 --> 01:26:55,366 >> HELLO, EVERYBODY, AND PATTY 2029 01:26:55,433 --> 01:27:00,166 SMITH, T TODD RUDGREN IS AMONG E 2030 01:27:00,233 --> 01:27:01,633 ARTISTS BEING HONORED TONIGHT. 2031 01:27:01,700 --> 01:27:04,266 TODD AND I MET IN OUR EARLY 2032 01:27:04,333 --> 01:27:07,000 20s, WE WERE BOTH FROM THE 2033 01:27:07,066 --> 01:27:10,033 PHILADELPHIA, THE RENT AND THE 2034 01:27:10,100 --> 01:27:10,666 WALLFLOWER. 2035 01:27:10,733 --> 01:27:13,033 I WAS WORKING IN A BOOKSTORE 2036 01:27:13,100 --> 01:27:14,733 WRITING POETRY, AND TODD WAS 2037 01:27:14,800 --> 01:27:20,666 ALREADY QUITE ACCOMPLISHED AT 2. 2038 01:27:20,733 --> 01:27:25,100 AS HIS FRIEND, I WAS PRIVY TO 2039 01:27:25,166 --> 01:27:26,666 THE STAGES OF HIS WORK ON HIS 2040 01:27:26,733 --> 01:27:30,000 SOLO ALBUMS. 2041 01:27:30,066 --> 01:27:31,366 SUCH A SWIFT EVOLUTION FROM 2042 01:27:31,433 --> 01:27:35,033 SHIMMERING POP SONGS TO SOARING 2043 01:27:35,100 --> 01:27:36,133 EXPERIMENTAL PIECES, AND HE WAS 2044 01:27:36,200 --> 01:27:36,800 UNFLINCHING IN THE FACE OF NEW 2045 01:27:36,866 --> 01:27:39,566 TECHNOLOGY. 2046 01:27:39,633 --> 01:27:40,033 HE WOULD JUST BEND IT 2047 01:27:40,100 --> 01:27:43,133 IN HIS HANDS. 2048 01:27:43,200 --> 01:27:43,933 TODD WAS OUR PRODUCER ON MY LAST 2049 01:27:44,000 --> 01:27:44,633 ALBUM WITH THE PATTI SMITH 2050 01:27:44,700 --> 01:27:47,166 GROUP. 2051 01:27:47,233 --> 01:27:48,233 HE WOULD TELL THE BAND, "IF YOU 2052 01:27:48,300 --> 01:27:49,200 KNOW WHAT YOU WANT, I WILL HELP 2053 01:27:49,266 --> 01:27:52,400 YOU GET IT. 2054 01:27:52,466 --> 01:27:53,566 IF YOU DON'T KNOW WHAT YOU WANT, 2055 01:27:53,633 --> 01:27:56,733 I'LL DO IT FOR YOU." 2056 01:27:56,800 --> 01:27:59,166 TODD AND I HAVE OUR OWN PERSONAL 2057 01:27:59,233 --> 01:28:04,433 MANTRA: "NO GROWN-UPS ALLOWED." 2058 01:28:04,500 --> 01:28:05,366 AND THAT IS TODD RUNDGREN, THE 2059 01:28:05,433 --> 01:28:08,066 PETER PAN PRODIGY, EVER CURIOUS, 2060 01:28:08,133 --> 01:28:13,066 EVER YOUTHFUL, EVER DEFIANT. 2061 01:28:13,133 --> 01:28:15,000 HE HAS BEEN OUR ALCHEMIST, 2062 01:28:15,066 --> 01:28:19,366 OUR WIZARD, OUR TRUE STAR. 2063 01:28:19,433 --> 01:28:22,266 AND IT IS MY PRIVILEGE TO 2064 01:28:22,333 --> 01:28:29,700 WELCOME TODD RUNDGREN INTO THE 2065 01:28:29,766 --> 01:28:35,200 ROCK & ROLL HALL OF FAME. 2066 01:28:35,266 --> 01:28:39,433 [CHEERS AND APPLAUSE] 2067 01:28:39,500 --> 01:28:42,600 >> I'M TODD RUNDGREN. 2068 01:28:42,666 --> 01:28:50,166 ♪ ♪ 2069 01:28:50,233 --> 01:28:52,366 >> HI, REMEMBER ME? 2070 01:28:52,433 --> 01:28:53,566 MY NAME IS TODD RUNDGREN. 2071 01:28:53,633 --> 01:28:55,400 GOING TO DO THE GREATEST HITS OF 2072 01:28:55,466 --> 01:28:57,866 THE ' 60s END '70s. 2073 01:28:57,933 --> 01:28:59,433 GREAT TUNES LIKE THIS ONE. 2074 01:28:59,500 --> 01:29:01,200 SEE IF YOU REMEMBER THIS ONE, 2075 01:29:01,266 --> 01:29:02,133 LADIES AND GENTLEMEN. 2076 01:29:02,200 --> 01:29:03,666 GOES LIKE THIS. 2077 01:29:03,733 --> 01:29:07,733 ♪ LOVE YOU BEST ♪ 2078 01:29:07,800 --> 01:29:16,166 ♪ LOVE, LOVE, LA-LA-LA ♪ 2079 01:29:16,233 --> 01:29:23,200 ♪ CAN WE STILL GET TOGETHER 2080 01:29:23,266 --> 01:29:23,733 SOMETIME ♪ 2081 01:29:23,800 --> 01:29:28,800 ♪ BUT WHEN THE SHIT HITS THE 2082 01:29:28,866 --> 01:29:29,000 FAN ♪ 2083 01:29:29,066 --> 01:29:32,833 ♪ YOU KNOW I HAVE TO FIND MY 2084 01:29:32,900 --> 01:29:33,100 WAY ♪ 2085 01:29:33,166 --> 01:29:35,333 ♪ LIKE THE SUNSET BOULEVARD ♪ 2086 01:29:35,400 --> 01:29:37,066 >> MOST ARTISTS JUST LOOKED TOO 2087 01:29:37,133 --> 01:29:39,266 SURVIVING TO THE NEXT HITS. 2088 01:29:39,333 --> 01:29:42,300 THAT WASN'T HIS NORTHSTAR. 2089 01:29:42,366 --> 01:29:43,600 >> SO MANY MUSICIANS ARE FUCKING 2090 01:29:43,666 --> 01:29:45,233 BORING AND YOU KNOW WHAT THEY 2091 01:29:45,300 --> 01:29:46,066 ARE GOING TO DO. 2092 01:29:46,133 --> 01:29:49,033 YOU NEVER KNOW WHAT TODD IS 2093 01:29:49,100 --> 01:29:49,333 GOING TO DO. 2094 01:29:49,400 --> 01:29:52,366 >> ♪ WE'VE GOT TO GET YOU A 2095 01:29:52,433 --> 01:29:52,633 MOMENT ♪ 2096 01:29:52,700 --> 01:29:55,233 ♪ IT'S LIKE NOTHING ELSE CAN LET 2097 01:29:55,300 --> 01:29:55,966 YOU ENJOY YOUR LIFE ♪ 2098 01:29:56,033 --> 01:29:58,233 >> MY COMPANY NEXT YEAR, I'M 2099 01:29:58,300 --> 01:30:00,333 SURE YOU'LL RECOGNIZE THE 2100 01:30:00,400 --> 01:30:03,533 INTENTION, IT GOES LIKE THIS. 2101 01:30:03,600 --> 01:30:04,566 >> THE GREAT IRONY OF MY CAREER 2102 01:30:04,633 --> 01:30:06,766 HAS BEEN THE FACT THAT MY 2103 01:30:06,833 --> 01:30:08,833 BIGGEST HITS ARE SORT OF ON THE 2104 01:30:08,900 --> 01:30:12,633 BALLAD SIDE, ON THE SOFT SIDE. 2105 01:30:12,700 --> 01:30:17,766 >> ♪ HELLO, IT'S ME, HELLO ♪ 2106 01:30:17,833 --> 01:30:19,466 >> BUT MY ORIGINAL MUSICAL ROOTS 2107 01:30:19,533 --> 01:30:20,200 WERE KIND OF LIKE THE BEATLES 2108 01:30:20,266 --> 01:30:23,433 AND THE WHO, A BIT OF BEACH BOYS 2109 01:30:23,500 --> 01:30:24,833 IN THERE, ALTHOUGH THERE WAS A 2110 01:30:24,900 --> 01:30:26,866 LOT OF VOCALIZATION, IT WAS 2111 01:30:26,933 --> 01:30:28,266 ALWAYS ACCOMPANIED WITH A 2112 01:30:28,333 --> 01:30:32,200 WELL-DISTORTED GUITAR. 2113 01:30:32,266 --> 01:30:33,633 >> THIS NEXT MUSICAL TREND 2114 01:30:33,700 --> 01:30:34,033 CALLED POWER POP. 2115 01:30:34,100 --> 01:30:41,000 ♪ ♪ 2116 01:30:41,066 --> 01:30:41,900 >> PART OF THE PERSONALITY OF 2117 01:30:41,966 --> 01:30:44,133 HIS MUSIC IS THAT HE'S DOING AND 2118 01:30:44,200 --> 01:30:44,600 ALL. 2119 01:30:44,666 --> 01:30:45,533 HE KNOWS WHAT HE WANTS AND HE 2120 01:30:45,600 --> 01:30:47,800 KNOWS HOW TO GET IT. 2121 01:30:47,866 --> 01:30:48,666 >> YOU WANT THINGS TO COME OUT A 2122 01:30:48,733 --> 01:30:52,200 CERTAIN WAY, AND INSTEAD OF 2123 01:30:52,266 --> 01:30:53,800 STRANGLING THE CREATIVITY OUT OF 2124 01:30:53,866 --> 01:30:54,500 ANOTHER MUSICIAN BECAUSE HE WAS 2125 01:30:54,566 --> 01:30:56,633 SO PARTICULAR ABOUT IT, YOU DO 2126 01:30:56,700 --> 01:30:59,000 IT YOURSELF, AND THAT WAY IT 2127 01:30:59,066 --> 01:31:01,500 DOES BECOME, IN SOME WAYS, MORE 2128 01:31:01,566 --> 01:31:02,900 EXPRESSIVE. 2129 01:31:02,966 --> 01:31:08,033 ♪ ♪ 2130 01:31:08,100 --> 01:31:11,800 ♪ KEEPING MY LOVE INSIDE ♪ 2131 01:31:11,866 --> 01:31:14,300 >> I STARTED TO SING MUSIC AS 2132 01:31:14,366 --> 01:31:14,900 SOMETHING IS WHAT I HAD 2133 01:31:14,966 --> 01:31:17,233 PREVIOUSLY ASSUMED. 2134 01:31:17,300 --> 01:31:18,700 I MADE THIS CRAZY RECORD IN 2135 01:31:18,766 --> 01:31:21,366 WHICH I THREW OUT ALL THE RULES 2136 01:31:21,433 --> 01:31:22,233 OF RECORD MAKING AND DECIDED 2137 01:31:22,300 --> 01:31:24,233 THAT I WOULD TRY TO IMPRINT AS 2138 01:31:24,300 --> 01:31:26,066 MUCH AS POSSIBLE THE CHAOS IN MY 2139 01:31:26,133 --> 01:31:31,066 HEAD RIGHT ONTO A RECORD. 2140 01:31:31,133 --> 01:31:33,833 ♪ JUST ANOTHER ONION HAD ♪ 2141 01:31:33,900 --> 01:31:36,566 >> I ALWAYS HAD THIS FEELING 2142 01:31:36,633 --> 01:31:38,600 THAT HE WAS A WIZARD, A TRUE 2143 01:31:38,666 --> 01:31:40,800 STAR, THIS MAKER OF MAGIC. 2144 01:31:40,866 --> 01:31:42,733 >> COME TAKE A BREAK NO? 2145 01:31:42,800 --> 01:31:43,933 >> SURE. 2146 01:31:44,000 --> 01:31:45,900 >> LADIES AND GENTLEMEN! 2147 01:31:46,000 --> 01:31:53,333 >> ♪ TURNED THE WORLD AROUND ♪ 2148 01:31:53,400 --> 01:32:00,100 ♪ ♪ 2149 01:32:00,166 --> 01:32:01,733 ♪ FIGHTING FOR IT ALL DAY ♪ 2150 01:32:01,800 --> 01:32:04,766 ♪ FIGHTING FOR IT ALL NIGHT MAMA 2151 01:32:04,833 --> 01:32:09,933 WE'LL BE ALL RIGHT ♪ 2152 01:32:10,000 --> 01:32:11,566 ♪ CAN'T REMEMBER WHY YOU ARE 2153 01:32:11,633 --> 01:32:23,233 STILL IN THE RACE ♪ 2154 01:32:23,300 --> 01:32:23,566 ♪ ♪ 2155 01:32:23,633 --> 01:32:26,433 ♪ I DON'T WANT TO WORK, I WANT 2156 01:32:26,500 --> 01:32:28,033 TO BANG ON THE DRUM ALL DAY ♪ 2157 01:32:28,100 --> 01:32:29,800 >> THERE'S NEVER ANY GUARANTEE 2158 01:32:29,866 --> 01:32:31,666 THAT YOU WILL HAVE A COMMERCIAL 2159 01:32:31,733 --> 01:32:33,166 SUCCESS OR SO-CALLED HIT SINGLE. 2160 01:32:33,233 --> 01:32:36,000 IF YOU COMPROMISE YOUR APPROACH, 2161 01:32:36,066 --> 01:32:37,933 AND IT DIDN'T BECOME A HIT 2162 01:32:38,000 --> 01:32:39,733 RECORD, THEN YOU FAILED TWICE, 2163 01:32:39,800 --> 01:32:41,433 YOU FEEL YOURSELF AND YOU FAILED 2164 01:32:41,500 --> 01:32:43,366 TO MAKE A HIT OUT OF IT. 2165 01:32:43,433 --> 01:32:44,900 ♪ ♪ 2166 01:32:44,966 --> 01:32:52,600 ♪ SO I SENT YOU THE GIFT ♪ 2167 01:32:52,666 --> 01:32:53,833 >> THE ULTIMATE REALIZATION OF A 2168 01:32:53,900 --> 01:32:56,866 MUSICIANS TALENT IS TO PUT 2169 01:32:56,933 --> 01:32:57,966 LYRICS AND MUSIC IN A WAY THAT 2170 01:32:58,033 --> 01:33:03,666 MAKES THEM SEEM INSEPARABLE. 2171 01:33:03,733 --> 01:33:06,733 >> ♪ ABOUT MY DREAM IS GONE 2172 01:33:06,800 --> 01:33:07,033 FOREVER ♪ 2173 01:33:07,100 --> 01:33:08,666 >> HISTORY SONGS WILL LIVE ON 2174 01:33:08,733 --> 01:33:08,900 FOREVER. 2175 01:33:08,966 --> 01:33:12,566 EACH ONE IS A BEAUTIFUL WORK OF 2176 01:33:12,633 --> 01:33:14,000 ART WILL WANT TO SHARE IT WITH 2177 01:33:14,066 --> 01:33:16,033 EACH OTHER AND GO BACK TO AGAIN 2178 01:33:16,100 --> 01:33:17,366 AND AGAIN AND AGAIN AS NEEDED. 2179 01:33:17,433 --> 01:33:19,466 >> HE IS ONE OF THE GREATS. 2180 01:33:19,533 --> 01:33:20,200 HE SHINES. 2181 01:33:20,266 --> 01:33:21,100 HE'S UNIQUE. 2182 01:33:21,166 --> 01:33:21,866 HE'S RIGHT THERE IN THE MIDDLE 2183 01:33:21,933 --> 01:33:25,366 OF IT ALL BUT YET OUTSIDE OF IT. 2184 01:33:25,433 --> 01:33:27,566 THE MAN DESERVES TO BE IN THE 2185 01:33:27,633 --> 01:33:31,766 ROCK & ROLL HALL OF FAME. 2186 01:33:31,833 --> 01:33:35,000 ♪ ♪ 2187 01:33:35,066 --> 01:33:37,533 ♪ NOTHING TO FALL BACK ON ♪ 2188 01:33:37,600 --> 01:33:39,566 >> OUT OF EVERYTHING, TODD IS 2189 01:33:39,633 --> 01:33:41,233 JUST A PHILADELPHIAN, AND THAT 2190 01:33:41,300 --> 01:33:45,833 IS JUST WHAT WE DO. 2191 01:33:45,900 --> 01:33:47,800 [CHEERS AND APPLAUSE] 2192 01:33:47,866 --> 01:33:50,300 >> I HAVE NEVER A NUMBER ONE 2193 01:33:50,366 --> 01:33:52,600 RECORD, SINGLE OR ALBUM, 2194 01:33:52,666 --> 01:33:54,133 PERSONALLY. 2195 01:33:54,200 --> 01:33:57,533 I'VE NEVER BEEN NOMINATED FOR A 2196 01:33:57,600 --> 01:33:58,400 GRAMMY. 2197 01:33:58,466 --> 01:33:59,700 I'VE NEVER BEEN NOMINATED, 2198 01:33:59,766 --> 01:34:03,566 THANKFULLY, FOR THE ROCK 2199 01:34:03,633 --> 01:34:04,466 HALL OF FAME. 2200 01:34:04,533 --> 01:34:06,100 IF NOMINATED, I WILL NOT RUN, 2201 01:34:06,166 --> 01:34:09,433 AND IF ELECTED, I WILL NOT SERV 2202 01:34:09,500 --> 01:34:12,433 SERVE. 2203 01:34:12,500 --> 01:34:14,833 >> HERE TO PAY TRIBUTE TO EARLY 2204 01:34:14,900 --> 01:34:15,500 INFLUENCER CHARLEY PATTON, GARY 2205 01:34:15,566 --> 01:34:20,833 CLARK JR. 2206 01:34:20,900 --> 01:34:21,833 >> THANK YOU. 2207 01:34:21,900 --> 01:34:22,800 CHARLEY PATTON HAS OFTEN BEEN 2208 01:34:22,866 --> 01:34:24,333 CALLED THE FATHER OF THE DELTA 2209 01:34:24,400 --> 01:34:27,966 BLUES, AND HE DESERVES THAT 2210 01:34:28,033 --> 01:34:28,166 TITLE. 2211 01:34:28,233 --> 01:34:29,200 THE MAGNIFICENT SONGS HE 2212 01:34:29,266 --> 01:34:33,466 RECORDED BETWEEN 1929 AND 1935 2213 01:34:33,533 --> 01:34:34,833 EXERTED A DECISIVE INFLUENCE ON 2214 01:34:34,900 --> 01:34:36,700 ROBERT JOHNSON, ALAN WOLFE, AND 2215 01:34:36,766 --> 01:34:37,600 EVERY BLUES PLAYER THAT CAME 2216 01:34:37,666 --> 01:34:40,366 AFTER HIM. 2217 01:34:40,433 --> 01:34:41,933 HIS BLUES, IN THAT SENSE, 2218 01:34:42,000 --> 01:34:42,800 CONTAIN EVERYTHING. 2219 01:34:42,866 --> 01:34:45,233 THEY ARE SONGS OF THEIR TIMES 2220 01:34:45,300 --> 01:34:47,033 AND OF OUR TIMES. 2221 01:34:47,100 --> 01:34:47,933 I'M PROUD TO INDUCT CHARLEY 2222 01:34:48,000 --> 01:34:49,200 PATTON INTO THE ROCK & ROLL 2223 01:34:49,266 --> 01:34:49,533 HALL OF FAME. 2224 01:34:49,600 --> 01:34:53,366 AND IN HIS HONOR, I'LL PLAY ONE 2225 01:34:53,433 --> 01:34:57,600 OF HIS MOST INFLUENTIAL TUNES. 2226 01:34:57,666 --> 01:35:00,766 IT'S CALLED "HIGH WATER 2227 01:35:00,833 --> 01:35:03,300 EVERYWHERE." 2228 01:35:03,366 --> 01:35:05,566 ♪ ♪ 2229 01:35:05,633 --> 01:35:08,066 >> ♪ BACKWATER AT BLYTHEVILLE, 2230 01:35:08,133 --> 01:35:14,000 BACKED UP ALL AROUND ♪ 2231 01:35:14,066 --> 01:35:16,500 ♪ ♪ 2232 01:35:16,566 --> 01:35:19,800 ♪ BACKWATER AT BLYTHEVILLE, 2233 01:35:19,866 --> 01:35:22,066 DONE TOOK JOINER TOWN ♪ 2234 01:35:22,133 --> 01:35:26,066 ♪ ♪ 2235 01:35:26,133 --> 01:35:28,333 ♪ IT WAS FIFTY FAMILIES 2236 01:35:28,400 --> 01:35:30,833 AND CHILDREN ♪ 2237 01:35:30,900 --> 01:35:32,866 ♪ COME TO SINK AND DROWN ♪ 2238 01:35:32,933 --> 01:35:43,133 ♪ ♪ 2239 01:35:43,200 --> 01:35:44,166 ♪ I SAID THE WATER WAS RISIN' UP 2240 01:35:44,233 --> 01:35:46,233 AT MY FRIEND'S DOOR ♪ 2241 01:35:46,300 --> 01:35:49,966 ♪ ♪ 2242 01:35:50,033 --> 01:35:53,366 ♪ I SAID THE WATER WAS RISIN' UP 2243 01:35:53,433 --> 01:35:55,700 AT MY FRIEND'S FRONT DOOR ♪ 2244 01:35:55,766 --> 01:36:00,800 ♪ ♪ 2245 01:36:00,866 --> 01:36:01,833 ♪ THE MAN SAID TO HIS WOMENFOLK, 2246 01:36:01,900 --> 01:36:05,800 "LORD, WE'D BETTER GO" ♪ 2247 01:36:05,866 --> 01:36:10,966 ♪ ♪ 2248 01:36:11,033 --> 01:36:16,733 ♪ LORD, THE WATER WAS ROLLIN', 2249 01:36:16,800 --> 01:36:22,700 WATER UPON MY DOOR ♪ 2250 01:36:22,766 --> 01:36:25,033 ♪ WAS SINKIN' DOWN ♪ 2251 01:36:25,100 --> 01:36:30,166 ♪ WAS SINKIN' DOWN ♪ 2252 01:36:30,233 --> 01:36:31,766 ♪ I COULDN'T GET NO BOATS THERE, 2253 01:36:31,833 --> 01:36:38,366 MARION CITY GONE DOWN ♪ 2254 01:36:38,433 --> 01:36:43,166 ♪ ♪ 2255 01:36:43,233 --> 01:36:43,933 ♪ SO HIGH THE WATER WAS RISIN', 2256 01:36:44,000 --> 01:36:45,766 MEN SINKIN' DOWN ♪ 2257 01:36:45,833 --> 01:36:53,433 ♪ ♪ 2258 01:36:53,500 --> 01:36:54,800 ♪ I SAID, THE WATER WAS RISIN' 2259 01:36:54,866 --> 01:36:56,266 AT PLACES ALL AROUND ♪ 2260 01:36:56,333 --> 01:37:00,400 ♪ ♪ 2261 01:37:00,466 --> 01:37:04,133 ♪ IT WAS FIFTY MEN AND CHILDREN 2262 01:37:04,200 --> 01:37:07,933 COME TO SINK AND DROWN ♪ 2263 01:37:08,000 --> 01:37:13,766 ♪ ♪ 2264 01:37:13,833 --> 01:37:16,266 ♪ OH, LORDY, LORDY, LORD, WOMEN 2265 01:37:16,333 --> 01:37:18,766 AND GROWN MEN DROWN ♪ 2266 01:37:18,833 --> 01:37:24,733 ♪ ♪ 2267 01:37:24,800 --> 01:37:28,466 ♪ I SAID, WOMEN AND CHILDREN 2268 01:37:28,533 --> 01:37:30,433 THEY WERE SINKIN' DOWN ♪ 2269 01:37:30,500 --> 01:37:32,800 ♪ ♪ 2270 01:37:32,866 --> 01:37:37,000 ♪ I COULDN'T SEE NOBODY'S HOME 2271 01:37:37,066 --> 01:37:38,900 AND WASN'T NO ONE TO BE FOUND ♪ 2272 01:37:38,966 --> 01:37:58,300 ♪ ♪ 2273 01:37:58,366 --> 01:38:12,166 [CHEERS AND APPLAUSE] 2274 01:38:12,233 --> 01:38:14,500 >> HI, EVERYBODY, TE MET PHARREL 2275 01:38:14,566 --> 01:38:16,333 WILLIAMS, ELECTRONIC MUSIC IS 2276 01:38:16,400 --> 01:38:18,966 EVERYWHERE, BUT WHAT KRAFTWERK 2277 01:38:19,033 --> 01:38:19,500 DID WAS GROUNDBREAKING AND 2278 01:38:19,566 --> 01:38:20,533 REVOLUTIONARY. 2279 01:38:20,600 --> 01:38:22,000 >> SOMETIMES WE PLAY OUR 2280 01:38:22,066 --> 01:38:23,633 MACHINES AND SOMETIMES THEY PLAY 2281 01:38:23,700 --> 01:38:24,333 US. 2282 01:38:24,400 --> 01:38:25,566 >> WHEN YOU THINK ABOUT WHAT 2283 01:38:25,633 --> 01:38:27,366 KRAFTWERK IS, YOU THINK ABOUT 2284 01:38:27,433 --> 01:38:30,233 THE MANNER. 2285 01:38:30,300 --> 01:38:32,666 KIND OF, LIKE, PEOPLE THAT DRESS 2286 01:38:32,733 --> 01:38:35,000 LIKE ROBOTS AND TRY TO HAVE A 2287 01:38:35,066 --> 01:38:35,533 HIGH CONCEPT. 2288 01:38:35,600 --> 01:38:36,900 WE ARE I THINK THEY ARE SO GOOD 2289 01:38:36,966 --> 01:38:40,033 AS THEY ARE GREAT INSTINCTIVE 2290 01:38:40,100 --> 01:38:42,200 MUSICIANS AND MILITARISTS. 2291 01:38:42,266 --> 01:38:45,966 >> THEY CREATED FRAT MET 2292 01:38:46,033 --> 01:38:46,766 KRAFTWERK IN DUESSELDORF IN 2293 01:38:46,833 --> 01:38:49,133 GERMANY AND IN THE EARLY 20s 2294 01:38:49,200 --> 01:38:50,766 STARTED MAKING EXPERIMENTAL 2295 01:38:50,833 --> 01:38:51,566 MUSIC THAT WAS UNLIKE ANYTHING 2296 01:38:51,633 --> 01:38:53,233 THE WORLD HAD EVER HEARD. 2297 01:38:53,300 --> 01:39:00,533 ♪ ♪ 2298 01:39:00,600 --> 01:39:02,433 >> THE GERMANS HAD FOUND THEIR 2299 01:39:02,500 --> 01:39:04,733 FORTE, AND IT WAS CALLED 2300 01:39:04,800 --> 01:39:05,933 KRAFTWERK. 2301 01:39:06,000 --> 01:39:07,933 ♪ ♪ 2302 01:39:08,000 --> 01:39:10,900 ♪ SHE'S A MODEL AND SHE'S 2303 01:39:10,966 --> 01:39:13,300 LOOKING GOOD ♪ 2304 01:39:13,366 --> 01:39:17,200 >> WHO ARE YOUR INFLUENCES? 2305 01:39:17,266 --> 01:39:18,733 >> QUITE BY KRAFTWERK. 2306 01:39:18,800 --> 01:39:19,733 >> SINCE, MAINLY INSPIRED BY 2307 01:39:19,800 --> 01:39:22,533 KRAFTWERK, THE OTHERS FOLLOWED 2308 01:39:22,600 --> 01:39:23,300 SUIT, REALIZED YOU COULD DO SO 2309 01:39:23,366 --> 01:39:25,900 MUCH MORE WITH IT. 2310 01:39:25,966 --> 01:39:28,300 >> FOR MANY OF US, WE WERE 2311 01:39:28,366 --> 01:39:28,933 INFLUENCED BY KRAFTWERK WITHOUT 2312 01:39:29,000 --> 01:39:31,966 EVEN REALIZING IT. 2313 01:39:32,033 --> 01:39:33,833 REACHING INTO A CRATE OF RECORDS 2314 01:39:33,900 --> 01:39:35,833 AND FOUND KRAFTWERK, THAT'S WHEN 2315 01:39:35,900 --> 01:39:37,133 MILLIONS OF HIP-HOP FANS AROUND 2316 01:39:37,200 --> 01:39:39,700 THE WORLD, INCLUDING MYSELF, 2317 01:39:39,766 --> 01:39:42,033 HEARD KRAFTWERK'S INFECTIOUS 2318 01:39:42,100 --> 01:39:44,466 BEATS FOR THE VERY FIRST TIME. 2319 01:39:44,533 --> 01:39:45,966 >> I STARTED NOTICING THE BLOCK 2320 01:39:46,033 --> 01:39:48,100 PARTIES, AND THEY WOULD PUT THIS 2321 01:39:48,166 --> 01:39:51,733 RECORD ON. 2322 01:39:51,800 --> 01:39:54,500 HYOU WOULD JUST HERE... 2323 01:39:54,566 --> 01:39:56,800 ♪ ♪ 2324 01:39:56,866 --> 01:39:57,800 PEOPLE WOULD HEAR THIS MUSIC AND 2325 01:39:57,866 --> 01:40:00,733 THEY WOULD TURN AND WALK TOWARD 2326 01:40:00,800 --> 01:40:02,166 THE PARK LIKE SOMEBODY'S IN 2327 01:40:02,233 --> 01:40:04,433 "THE WALKING DEAD." 2328 01:40:04,500 --> 01:40:07,200 >> JUST WENT CRAZY AND STARTED 2329 01:40:07,266 --> 01:40:07,866 GETTING THE JAM AT EVERY PARTY 2330 01:40:07,933 --> 01:40:09,233 WE PLAYED. 2331 01:40:09,300 --> 01:40:12,066 ♪ ♪ 2332 01:40:12,133 --> 01:40:15,566 >> THESE WHITE DUDES WERE IN THE 2333 01:40:15,633 --> 01:40:19,000 HEART OF BLACK CULTURE. 2334 01:40:19,066 --> 01:40:20,666 THAT WILL LET YOU KNOW WHO WAS 2335 01:40:20,733 --> 01:40:23,100 INFLUENCING US. 2336 01:40:23,166 --> 01:40:25,566 ♪ IT'S LIKE THAT, AND THAT'S 2337 01:40:25,633 --> 01:40:31,300 THE WAY IT ♪ 2338 01:40:31,366 --> 01:40:34,966 THAT'S KRAFTWERK. 2339 01:40:35,033 --> 01:40:36,333 >> YOU DON'T HAVE TO THINK ABOUT 2340 01:40:36,400 --> 01:40:37,533 KRAFTWERK AT ALL AND STILL BE 2341 01:40:37,600 --> 01:40:42,600 COMPLETELY INDEBTED TO IT. 2342 01:40:42,666 --> 01:40:42,800 ♪ ♪ 2343 01:40:42,866 --> 01:40:44,800 ♪ MUSIC NONSTOP ♪ 2344 01:40:44,866 --> 01:40:48,966 >> THE INFLUENCE WAS SO 2345 01:40:49,033 --> 01:40:49,233 GIGANTIC. 2346 01:40:49,300 --> 01:40:51,033 >> I'M SO GLAD I GOT TO MEET THE 2347 01:40:51,100 --> 01:40:52,466 LATE, GREAT FLORIAN SCHNEIDER 2348 01:40:52,533 --> 01:40:53,600 AND LET HIM KNOW WHAT IS MUSIC 2349 01:40:53,666 --> 01:40:54,633 MEANT TO US. 2350 01:40:54,700 --> 01:40:56,733 WE SHOULD ALL BE GRATEFUL TO 2351 01:40:56,800 --> 01:40:57,000 KRAFTWERK. 2352 01:40:57,066 --> 01:40:59,300 THAT'S WHY THIS RECOGNITION IS 2353 01:40:59,366 --> 01:40:59,566 IMPORTANT. 2354 01:40:59,633 --> 01:41:02,533 WELCOME KRAFTWERK TO THE 2355 01:41:02,600 --> 01:41:03,900 ROCK & ROLL HALL OF FAME. 2356 01:41:03,966 --> 01:41:05,666 ♪ ♪ 2357 01:41:05,733 --> 01:41:17,766 ♪ MUSIC NONSTOP." 2358 01:41:17,833 --> 01:41:19,400 >> HELLO, EVERYONE, AND 2359 01:41:19,466 --> 01:41:20,366 DREW BARRYMORE, HERE TO INDUCT 2360 01:41:20,433 --> 01:41:22,933 THE GO GOES INTO 'N' ROLL 2361 01:41:23,000 --> 01:41:23,266 HALL OF FAME. 2362 01:41:23,333 --> 01:41:23,900 THIS IS SUCH AN HONOR, AND 2363 01:41:23,966 --> 01:41:24,766 HONESTLY, IT'S REALLY EASY TO DO 2364 01:41:24,833 --> 01:41:25,800 BECAUSE THE GO-GO'S HAVE BEEN IN 2365 01:41:25,866 --> 01:41:26,433 MY PERSONAL HALL OF FAME SINCE I 2366 01:41:26,500 --> 01:41:27,866 WAS SIX YEARS OLD. 2367 01:41:27,933 --> 01:41:29,833 IN FACT, IF YOU'D TOLD TINY ME 2368 01:41:29,900 --> 01:41:31,600 THAT I'D BE UP HERE INTRODUCING 2369 01:41:31,666 --> 01:41:33,200 MY HEROES INTO THE MOST NOTABLE 2370 01:41:33,266 --> 01:41:35,533 ROCK CLUB IN HUMAN HISTORY, 2371 01:41:35,600 --> 01:41:37,466 I WOULD SAY, "WELL, I WILL DO MY 2372 01:41:37,533 --> 01:41:43,100 BEST TO HONOR THESE WOMEN." 2373 01:41:43,166 --> 01:41:44,133 DO YOU REMEMBER THE FIRST RECORD 2374 01:41:44,200 --> 01:41:44,800 THAT YOU EVER GOT? 2375 01:41:44,866 --> 01:41:51,033 IF YOU DO, SHOUT IT OUT TO ME. 2376 01:41:51,100 --> 01:41:52,233 YOU KNOW WHAT MINE WAS? 2377 01:41:52,300 --> 01:41:58,033 IT WAS "BEAUTY AND THE BEAT." 2378 01:41:58,100 --> 01:42:03,033 IT WAS MY VERY FIRST RECORD. 2379 01:42:03,100 --> 01:42:06,000 "BEAUTY AND THE BEAT" BLUE 2380 01:42:06,066 --> 01:42:07,200 THE DOORS OF MY LIFE OFF. 2381 01:42:07,266 --> 01:42:07,900 IT OPENED ME UP TO A WHOLE NEW 2382 01:42:07,966 --> 01:42:08,166 DIMENSION. 2383 01:42:08,233 --> 01:42:08,966 I DROPPED THE NEEDLE AND I FELT 2384 01:42:09,033 --> 01:42:09,600 INSTANTLY CONNECTED TO THE PUNK 2385 01:42:09,666 --> 01:42:14,666 PULSE OF THIS RECORD. 2386 01:42:14,733 --> 01:42:15,133 IT SOUNDED LIKE 2387 01:42:15,200 --> 01:42:15,866 PURE POSSIBILITY. 2388 01:42:15,933 --> 01:42:16,733 IT RATTLED UP MY WALLS AND 2389 01:42:16,800 --> 01:42:21,533 STRAIGHT THROUGH TO MY HEART. 2390 01:42:21,600 --> 01:42:23,600 I SPENT HOURS STARING AT THAT 2391 01:42:23,666 --> 01:42:24,233 COVER AND THE BACK SIDE, ALL OF 2392 01:42:24,300 --> 01:42:27,933 THEM IN THE BATHTUB. 2393 01:42:28,000 --> 01:42:29,633 THE COOLEST GIRLS IN THE WORLD 2394 01:42:29,700 --> 01:42:30,766 TAKING A SPA DAY IN COOL-GIRL 2395 01:42:30,833 --> 01:42:37,300 HEAVEN. 2396 01:42:37,366 --> 01:42:38,200 IT WAS ALWAYS A PARTY FOR GUYS, 2397 01:42:38,266 --> 01:42:40,900 FOR SO LONG WITH THESE GIRLS. 2398 01:42:40,966 --> 01:42:43,700 THEY WERE CRUSHING IT. 2399 01:42:43,766 --> 01:42:44,500 I SANG ALONG TO "THIS TOWN" AND 2400 01:42:44,566 --> 01:42:45,433 I FELT INVITED TO THE PARTY AND 2401 01:42:45,500 --> 01:42:46,066 I LOVED THAT THESE GIRLS 2402 01:42:46,133 --> 01:42:47,866 WERE FROM MY HOMETOWN. 2403 01:42:47,933 --> 01:42:48,733 I WAS A WEST HOLLYWOOD KID AND 2404 01:42:48,800 --> 01:42:50,233 THE GO-GO'S WERE BORN OUT OF 2405 01:42:50,300 --> 01:42:54,300 L.A. PUNK. 2406 01:42:54,366 --> 01:42:56,833 AND THEY PLAYED THEIR FIRST SHOW 2407 01:42:56,900 --> 01:42:58,300 AT MASQUE, A CLUB IN THE 2408 01:42:58,366 --> 01:43:00,300 BASEMENT OF THE PUSSYCAT. 2409 01:43:00,366 --> 01:43:02,766 OH, YEAH, IF YOU WERE IN L.A. IN 2410 01:43:02,833 --> 01:43:03,800 THE '70s, YOU KNEW WHAT THE 2411 01:43:03,866 --> 01:43:04,500 PUSSYCAT IS. 2412 01:43:04,566 --> 01:43:06,333 IT'S AN ADULT THEATER AND IT WAS 2413 01:43:06,400 --> 01:43:06,933 JUST A STONE'S THROW AWAY FROM 2414 01:43:07,000 --> 01:43:09,966 MY CHILDHOOD BEDROOM. 2415 01:43:10,033 --> 01:43:11,766 AND IT WAS IN THAT BEDROOM THAT 2416 01:43:11,833 --> 01:43:14,266 I WORE THAT RECORD OUT. 2417 01:43:14,333 --> 01:43:14,933 AND IT TOOK ONE ALBUM AND I WAS 2418 01:43:15,000 --> 01:43:17,033 HOOKED. 2419 01:43:17,100 --> 01:43:19,800 I WAS GAGA FOR THE GO-GO'S. 2420 01:43:19,866 --> 01:43:20,333 AND, DAMN, THEIR OUTFITS! 2421 01:43:20,400 --> 01:43:23,166 GOD, THEY WERE INCREDIBLE! 2422 01:43:23,233 --> 01:43:25,566 I MEAN, TAKE ONE LOOK AT ME 2423 01:43:25,633 --> 01:43:26,233 IN THE '80s AND YOU'LL SEE WHERE 2424 01:43:26,300 --> 01:43:31,133 I GOT MY INSPIRATION. 2425 01:43:31,200 --> 01:43:31,866 YES! 2426 01:43:31,933 --> 01:43:32,666 AND IMAGINE MEETING 2427 01:43:32,733 --> 01:43:34,233 BELINDA CARLISLE 2428 01:43:34,300 --> 01:43:37,800 WHEN YOU'RE KIND OF DRESSED LIKE 2429 01:43:37,866 --> 01:43:44,533 A LITTLE, MINI BELINDA CARLISLE. 2430 01:43:44,600 --> 01:43:45,833 THAT WAS ME IN 1984 AND I WAS 2431 01:43:45,900 --> 01:43:46,300 JUST NINE YEARS OLD. 2432 01:43:46,366 --> 01:43:46,733 LOOKING AT MY HERO. 2433 01:43:46,800 --> 01:43:47,966 JUST LAST NIGHT, I DANCED WITH 2434 01:43:48,033 --> 01:43:48,600 MY NINE-YEAR-OLD DAUGHTER OLIVE 2435 01:43:48,666 --> 01:43:49,333 AND HER SISTER FRANKIE TO "WE 2436 01:43:49,400 --> 01:43:49,966 GOT THE BEAT" AND I FELT LIKE MY 2437 01:43:50,033 --> 01:43:53,133 WHOLE LIFE CAME FULL-CIRCLE, 2438 01:43:53,200 --> 01:43:59,766 KNOWING THAT I WAS COMING HERE. 2439 01:43:59,833 --> 01:44:00,366 THEY CHANGED MY LIFE. 2440 01:44:00,433 --> 01:44:01,033 THEY MADE ME BELIEVE IN THINGS 2441 01:44:01,100 --> 01:44:01,633 I DIDN'T THINK WERE POSSIBLE. 2442 01:44:01,700 --> 01:44:02,266 AND TONIGHT, WE'RE GOING TO SHOW 2443 01:44:02,333 --> 01:44:06,233 THEM HOW THEY CHANGED THE WORLD. 2444 01:44:06,300 --> 01:44:07,133 40 YEARS OF MAKING MUSIC, 2445 01:44:07,200 --> 01:44:07,733 COUNTLESS WORLD TOURS, SELLING 2446 01:44:07,800 --> 01:44:09,266 OUT EIGHT SHOWS AT THE WHISKEY, 2447 01:44:09,333 --> 01:44:11,600 PLAYING THE BOWL, THE GARDEN, 2448 01:44:11,666 --> 01:44:12,200 GETTING TANKED AND PLAYING SNL 2449 01:44:12,266 --> 01:44:13,133 FOR 60 MILLION, OPENING FOR THE 2450 01:44:13,200 --> 01:44:14,933 STONES, INFLUENCING SO MANY 2451 01:44:15,000 --> 01:44:18,333 KICK-ASS FANS TO COME. 2452 01:44:18,400 --> 01:44:19,600 AND THAT'S JUST A TINY SAMPLER 2453 01:44:19,666 --> 01:44:21,766 OF THIS BAND'S LEGACY. 2454 01:44:21,833 --> 01:44:23,733 AND IT DOESN'T EVEN TOUCH WHAT 2455 01:44:23,800 --> 01:44:24,333 THEY MUSCLED THROUGH IN THEIR 2456 01:44:24,400 --> 01:44:26,633 WILD CHAPTERS. 2457 01:44:26,700 --> 01:44:27,733 AND, TRUST ME, I KNOW A THING 2458 01:44:27,800 --> 01:44:32,300 OR TWO ABOUT WILD CHAPTERS. 2459 01:44:32,366 --> 01:44:34,666 I ALWAYS THOUGHT THE GO-GO'S 2460 01:44:34,733 --> 01:44:41,700 WAS SUCH A PERFECT NAME. 2461 01:44:41,766 --> 01:44:42,833 FOR THAT BAND. 2462 01:44:42,900 --> 01:44:46,433 SO FULL OF KINETIC ENERGY. 2463 01:44:46,500 --> 01:44:48,466 IT FITS THEIR MUSIC AND THEIR 2464 01:44:48,533 --> 01:44:49,333 SPIRIT AND MINE TOO. 2465 01:44:49,400 --> 01:44:51,233 AND YOU KNOW WHAT? 2466 01:44:51,300 --> 01:44:52,233 YOU ALWAYS HAVE TO JUST 2467 01:44:52,300 --> 01:44:54,600 GO FOR IT. 2468 01:44:54,666 --> 01:44:56,100 SO I LOOKED UP THE WORD "GO" 2469 01:44:56,166 --> 01:44:57,100 IN THE DICTIONARY AND THERE ARE 2470 01:44:57,166 --> 01:45:00,033 SO MANY DEFINITIONS. 2471 01:45:00,100 --> 01:45:12,700 "TO MOVE ON A COURSE." 2472 01:45:12,766 --> 01:45:14,133 [CHEERS AND APPLAUSE] 2473 01:45:14,200 --> 01:45:16,933 "TO BEGIN AN ACTION OR EMOTION." 2474 01:45:17,000 --> 01:45:18,000 MY FAVORITE DEFINITION OF THE 2475 01:45:18,066 --> 01:45:19,000 WORD "GO" IS TO PROCEED WITHOUT 2476 01:45:19,066 --> 01:45:30,633 DELAY. 2477 01:45:30,700 --> 01:45:34,500 [CHEERS AND APPLAUSE] 2478 01:45:34,566 --> 01:45:36,266 "IN AN OFTEN THOUGHTLESS AND 2479 01:45:36,333 --> 01:45:48,433 RECKLESS MANNER. 2480 01:45:48,500 --> 01:45:52,900 [CHEERS AND APPLAUSE] 2481 01:45:52,966 --> 01:45:53,800 NOW MY CHILDHOOD FANTASY IS 2482 01:45:53,866 --> 01:45:57,533 FULFILLED. 2483 01:45:57,600 --> 01:46:02,366 BUT IT ISN'T ABOUT ME. 2484 01:46:02,433 --> 01:46:04,000 THIS IS AS TRUE BLUE OF A 2485 01:46:04,066 --> 01:46:04,633 LOVE LETTER FROM THEIR BIGGEST 2486 01:46:04,700 --> 01:46:07,933 FAN. 2487 01:46:08,000 --> 01:46:09,800 FROM THE FIRST BAND I EVER 2488 01:46:09,866 --> 01:46:10,166 LOVED. 2489 01:46:10,233 --> 01:46:12,533 HERE'S A LOOK AT THE GO-GO'S. 2490 01:46:12,600 --> 01:46:16,366 >> THESE ARE THE GO-GO'S, 2491 01:46:16,433 --> 01:46:16,900 CHARLOTTE CAFFEY CHARLOTTE 2492 01:46:16,966 --> 01:46:19,500 CAFFEY, GINA SCHOCK, JANE 2493 01:46:19,566 --> 01:46:21,600 WIEDLIN, KATHY VALENTINE, AND 2494 01:46:21,666 --> 01:46:22,133 BELINDA CARLISLE. 2495 01:46:22,200 --> 01:46:23,833 >> THE GREATEST DOLL-GIRL GROUP 2496 01:46:23,900 --> 01:46:27,266 OF ALL TIME, THE GO-GO'S. 2497 01:46:27,333 --> 01:46:29,400 >> THE GO-GO'S! 2498 01:46:29,466 --> 01:46:31,566 >> THE GO-GO'S! 2499 01:46:31,633 --> 01:46:33,500 >> AS A YOUNG GIRL GOING INTO A 2500 01:46:33,566 --> 01:46:37,733 SPACE WHERE WOMEN ON THE STAGE, 2501 01:46:37,800 --> 01:46:38,366 UNAPOLOGETICALLY, TO ME IT 2502 01:46:38,433 --> 01:46:40,366 REPRESENTED A MOMENT OF 2503 01:46:40,433 --> 01:46:41,700 POSSIBILITY. 2504 01:46:41,766 --> 01:46:43,466 >> THANK YOU FOR BEING SO NICE. 2505 01:46:43,533 --> 01:46:44,933 >> THEY WOULD JUST THIS 2506 01:46:45,000 --> 01:46:46,466 PHENOMENON, AND WE WERE ALL, 2507 01:46:46,533 --> 01:46:50,233 LIKE, IN LOVE WITH THEM. 2508 01:46:50,300 --> 01:46:53,500 >> WE ARE THE FIRST-GIRL BAND, 2509 01:46:53,566 --> 01:46:54,633 THEY PLAYED THEIR OWN 2510 01:46:54,700 --> 01:46:56,666 INSTRUMENTS, TO BE REALLY 2511 01:46:56,733 --> 01:46:58,100 SUCCESSFUL. 2512 01:46:58,166 --> 01:47:01,933 ♪ ♪ 2513 01:47:02,000 --> 01:47:04,433 >> AND MAKE IT ON STAGE, WE 2514 01:47:04,500 --> 01:47:04,966 DON'T KNOW WHAT THE FUCK IS 2515 01:47:05,033 --> 01:47:08,900 GOING TO HAPPEN, AND I LOVE THA 2516 01:47:08,966 --> 01:47:10,066 THAT. 2517 01:47:10,133 --> 01:47:12,700 >> PEOPLE AUTOMATICALLY ASSUMED 2518 01:47:12,766 --> 01:47:13,933 THAT WE WERE ALWAYS A POP BAND 2519 01:47:14,000 --> 01:47:16,466 AND WE ARE PROBABLY PUT TOGETHER 2520 01:47:16,533 --> 01:47:20,766 BY SOME GUY, BUT WE DID IT ALL 2521 01:47:20,833 --> 01:47:22,433 OURSELVES. 2522 01:47:22,500 --> 01:47:23,066 >> GOT ON STAGE AND HAPPENED TO 2523 01:47:23,133 --> 01:47:27,566 BE A GROUP OF WOMEN REALLY 2524 01:47:27,633 --> 01:47:28,766 KICKING ASS. 2525 01:47:28,833 --> 01:47:29,533 IT WAS GREAT. 2526 01:47:29,600 --> 01:47:30,533 WE KNEW IT. 2527 01:47:30,600 --> 01:47:32,033 >> ONE IN A MILLION TICKET TO 2528 01:47:32,100 --> 01:47:36,566 WHERE WE GOT. 2529 01:47:36,633 --> 01:47:38,800 >> BECAUSE I COME FROM, LIKE, 2530 01:47:38,866 --> 01:47:44,266 THE MTB GENERATION, IT'S, LIKE, 2531 01:47:44,333 --> 01:47:45,666 THOSE FIRST SONGS I THINK GOT 2532 01:47:45,733 --> 01:47:49,766 BRANDED IN MY BRAIN. 2533 01:47:49,833 --> 01:47:51,933 >> THAT'S WHAT THE INDUSTRY IS, 2534 01:47:52,000 --> 01:47:54,166 EVEN IN THE NAME OF THE SONG, 2535 01:47:54,233 --> 01:47:55,600 YOU CAN CONJURE A WHOLE WORLD, 2536 01:47:55,666 --> 01:47:58,933 AND THE GO-GO'S DID THAT. 2537 01:47:59,000 --> 01:48:01,900 >> THERE NEVER WOULD HAVE BEEN 2538 01:48:01,966 --> 01:48:03,400 THE GO-GO'S WITHOUT THE PUNK 2539 01:48:03,466 --> 01:48:05,766 ROCK SCENE IN LOS ANGELES. 2540 01:48:05,833 --> 01:48:06,733 >> BASICALLY THE ONLY PEOPLE 2541 01:48:06,800 --> 01:48:08,866 LEFT THAT WEREN'T IN A BAND, SO 2542 01:48:08,933 --> 01:48:12,966 WE DECIDED TO DO IT TOO. 2543 01:48:13,033 --> 01:48:13,500 >> ONE PROBLEM. 2544 01:48:13,566 --> 01:48:15,466 >> WE DIDN'T KNOW HOW TO PLAY NO 2545 01:48:15,533 --> 01:48:17,366 INSTRUMENTS. 2546 01:48:17,433 --> 01:48:18,900 YOU KNOW, HAD A COUPLE WEEKS OF 2547 01:48:18,966 --> 01:48:20,200 FOLK GUITAR LESSONS WHEN I WAS 2548 01:48:20,266 --> 01:48:20,366 12. 2549 01:48:20,433 --> 01:48:25,066 I'LL JUST PLAY GUITAR. 2550 01:48:25,133 --> 01:48:26,033 >> I CERTAINLY THOUGHT I COULD 2551 01:48:26,100 --> 01:48:26,700 SING. 2552 01:48:26,766 --> 01:48:30,566 I THOUGHT I SOUNDED LIKE JULIE 2553 01:48:30,633 --> 01:48:31,800 ANDREWS. 2554 01:48:31,866 --> 01:48:32,766 >> I THINK THAT DEEP DOWN INSIDE 2555 01:48:32,833 --> 01:48:35,500 WE KNEW THAT WE HAD SOMETHING 2556 01:48:35,566 --> 01:48:36,833 REALLY SPECIAL, BUT WE NEEDED 2557 01:48:36,900 --> 01:48:38,866 SOMEONE THAT ACTUALLY KNEW HOW 2558 01:48:38,933 --> 01:48:42,700 TO DO IT. 2559 01:48:42,766 --> 01:48:44,100 >> LET'S TRY PLUGGING THE AMPS 2560 01:48:44,166 --> 01:48:45,866 INTO THE WALL FIRST. 2561 01:48:45,933 --> 01:48:54,266 ♪ ♪ 2562 01:48:54,333 --> 01:48:57,266 >> AT THE EVOLUTION TO GO FROM 2563 01:48:57,333 --> 01:49:00,766 MAKING JUST LITERAL NOISE TO 2564 01:49:00,833 --> 01:49:01,966 CRAFTING SONGS THAT ARE SOME OF 2565 01:49:02,033 --> 01:49:05,133 THE BEST SONGS EVER WRITTEN. 2566 01:49:05,200 --> 01:49:07,733 "WE GOT THE BEAT," THAT SONG IS 2567 01:49:07,800 --> 01:49:11,566 ON FIRE. 2568 01:49:11,633 --> 01:49:12,833 THAT ENERGY IS ALWAYS GOING TO 2569 01:49:12,900 --> 01:49:14,700 BE RELEVANT. 2570 01:49:14,766 --> 01:49:21,733 ♪ ♪ 2571 01:49:21,800 --> 01:49:25,333 >> WE WERE PUNKS, AND I THINK WE 2572 01:49:25,400 --> 01:49:27,100 WERE READY TO TAKE IT TO THE 2573 01:49:27,166 --> 01:49:29,000 NEXT LEVEL. WERE AFRAID 2574 01:49:29,066 --> 01:49:31,333 TO TAKE A CHANCE ON AN ALL-GIRL 2575 01:49:31,400 --> 01:49:32,833 BAND BECAUSE NONE HAD REALLY 2576 01:49:32,900 --> 01:49:33,233 SUCCEEDED BEFORE. 2577 01:49:33,300 --> 01:49:38,366 BUT OURS SIGNED APRIL 1ST. 2578 01:49:38,433 --> 01:49:42,600 THE NEXT DAY, WE FLEW TO 2579 01:49:42,666 --> 01:49:43,000 NEW YORK. 2580 01:49:43,066 --> 01:49:45,866 >> I LOVED THIS TOWN. 2581 01:49:45,933 --> 01:49:47,666 THIS IS LIKE A SPY MOVIE, AND 2582 01:49:47,733 --> 01:49:49,433 HERE COMES THE GUITAR. 2583 01:49:49,500 --> 01:49:53,733 ♪ ♪ 2584 01:49:53,800 --> 01:49:54,266 JAMES BOND. 2585 01:49:54,333 --> 01:49:56,700 THE GO-GO'S WERE DOING THEIR OWN 2586 01:49:56,766 --> 01:49:57,833 THING, BUT THEY WERE ALSO 2587 01:49:57,900 --> 01:49:59,800 CHANNELING '60s MUSIC. 2588 01:49:59,866 --> 01:50:03,533 ♪ ♪ 2589 01:50:03,600 --> 01:50:05,266 >> WITH THE GO-GO'S AS A PUNK 2590 01:50:05,333 --> 01:50:07,466 BAND, THEY DIDN'T HAVE THE 2591 01:50:07,533 --> 01:50:10,200 EXPERIENCE TO KNOW THEY COULD DO 2592 01:50:10,266 --> 01:50:13,766 MORE THAN JUST EXECUTE THE 2593 01:50:13,833 --> 01:50:16,166 MOMENT. 2594 01:50:16,233 --> 01:50:22,466 ♪ WE ARE ALL DREAMERS ♪ 2595 01:50:22,533 --> 01:50:26,866 >> WHEN HE GOT A HOLD OF US, HE 2596 01:50:26,933 --> 01:50:28,700 SAID, SLOW EVERYTHING DOWN. 2597 01:50:28,766 --> 01:50:29,533 THAT'S WHEN I REALIZED, THESE 2598 01:50:29,600 --> 01:50:32,966 ARE ALL POP SONGS. 2599 01:50:33,033 --> 01:50:37,166 >> ♪ CAN YOU HEAR THEM, THEY 2600 01:50:37,233 --> 01:50:37,633 TALK ABOUT US ♪ 2601 01:50:37,700 --> 01:50:38,833 ♪ TELLING LIES ♪ 2602 01:50:38,900 --> 01:50:40,400 >> THE GO-GO'S, THEY LOOK LIKE 2603 01:50:40,466 --> 01:50:42,466 THEIR MUSIC, THEY LOOK LIKE 2604 01:50:42,533 --> 01:50:42,766 THEIR SOUND. 2605 01:50:42,833 --> 01:50:46,766 IT'S PRETTY TOUGH AND BOUNCY. 2606 01:50:46,833 --> 01:50:48,500 PEOPLE NOW TRIED TO GET THE 2607 01:50:48,566 --> 01:50:49,700 SOUND THAT THE GO-GO'S WERE 2608 01:50:49,766 --> 01:50:58,066 PUTTING OUT AN '81, '82, '83. 2609 01:50:58,133 --> 01:50:59,200 ♪ ♪ 2610 01:50:59,266 --> 01:51:00,033 THAT'S WHY IT STANDS THE TEST OF 2611 01:51:00,100 --> 01:51:01,000 TIME. 2612 01:51:01,066 --> 01:51:02,800 IT'S PURE. 2613 01:51:02,866 --> 01:51:11,033 ♪ ♪ 2614 01:51:11,100 --> 01:51:13,133 >> WHEN WE TOURED WITH THE 2615 01:51:13,200 --> 01:51:13,800 POLICE, AND TOOK US FROM PLAYING 2616 01:51:13,866 --> 01:51:17,000 CLUBS TO ARENAS. 2617 01:51:17,066 --> 01:51:20,166 >> WHEN I WALKED OUT ON STAGE, I 2618 01:51:20,233 --> 01:51:25,333 ALMOST DIED. 2619 01:51:25,400 --> 01:51:26,966 >> DURING THAT POLICE TOUR, OUR 2620 01:51:27,033 --> 01:51:28,900 ALBUM KEPT GOING UP AND UP AND 2621 01:51:28,966 --> 01:51:30,600 UP IN THE CHART. 2622 01:51:30,666 --> 01:51:32,300 >> THEIR ALBUM WAS LIKE A 2623 01:51:32,366 --> 01:51:32,733 SKYROCKET. 2624 01:51:32,800 --> 01:51:34,100 >> STING CAME IN THE DRESSING 2625 01:51:34,166 --> 01:51:37,500 ROOM AND HE'S GOT CHAMPAGNE. 2626 01:51:37,566 --> 01:51:38,033 "CONGRATULATIONS, GIRLS." 2627 01:51:38,100 --> 01:51:40,233 WE ARE LOOKING AT HIM LIKE, 2628 01:51:40,300 --> 01:51:41,033 WHAT? 2629 01:51:41,100 --> 01:51:42,900 HE SAID, YOUR RECORD HAS PASSED 2630 01:51:42,966 --> 01:51:43,100 OURS. 2631 01:51:43,166 --> 01:51:44,800 THEY WERE NUMBER SIX AND THEN WE 2632 01:51:44,866 --> 01:51:46,700 WENT TO NUMBER ONE. 2633 01:51:46,766 --> 01:51:48,200 FOR THE GO-GO'S TO HAVE A DEBUT 2634 01:51:48,266 --> 01:51:51,566 ALBUM GO TO NUMBER ONE, THAT 2635 01:51:51,633 --> 01:51:52,166 SOMETHING THAT RELATIVELY FEW 2636 01:51:52,233 --> 01:51:54,333 ARTISTS HAVE DONE. 2637 01:51:54,400 --> 01:51:56,633 LIKE, THE BIGGEST, ELVIS, THE 2638 01:51:56,700 --> 01:51:57,600 BEATLES. 2639 01:51:57,666 --> 01:52:00,500 >> DO YOU STILL GET ALONG HIS 2640 01:52:00,566 --> 01:52:02,366 FRIENDS? 2641 01:52:02,433 --> 01:52:03,600 >> THERE WOULD BE A LOT OF 2642 01:52:03,666 --> 01:52:04,266 QUESTIONS ABOUT WHAT OUR 2643 01:52:04,333 --> 01:52:07,266 RELATIONSHIP WITH EACH OTHER WAS 2644 01:52:07,333 --> 01:52:08,133 LIKE. 2645 01:52:08,200 --> 01:52:10,533 "OH, WE LOVE EACH OTHER, WE ARE 2646 01:52:10,600 --> 01:52:11,733 LIKE SISTERS." 2647 01:52:11,800 --> 01:52:13,900 YEAH, LIKE SISTERS THAT FUCKING 2648 01:52:13,966 --> 01:52:17,300 STAB EACH OTHER IN THE BACK. 2649 01:52:17,366 --> 01:52:21,066 >> THAT VOLATILITY AND TENSION 2650 01:52:21,133 --> 01:52:22,500 ARE TWO INGREDIENTS THAT MAKE 2651 01:52:22,566 --> 01:52:23,600 THE BAND GREAT. 2652 01:52:23,666 --> 01:52:25,366 AND THAT CAN BE WONDERFUL FOR 2653 01:52:25,433 --> 01:52:26,966 MUSIC. 2654 01:52:27,033 --> 01:52:28,166 THAT CAN BE WONDERFUL FOR 2655 01:52:28,233 --> 01:52:30,700 SONGCRAFT, AND IT CAN BE 2656 01:52:30,766 --> 01:52:31,433 DEVASTATING AND HEARTBREAKING 2657 01:52:31,500 --> 01:52:34,000 FOR INTERPERSONAL DYNAMICS. 2658 01:52:34,066 --> 01:52:41,100 ♪ ♪ 2659 01:52:41,166 --> 01:52:42,766 >> THERE IS FIVE PEOPLE THIS 2660 01:52:42,833 --> 01:52:46,966 BAND, AND EVERYBODY WAS SET ON 2661 01:52:47,033 --> 01:52:48,800 THEIR OWN SORT OF COURSE. 2662 01:52:48,866 --> 01:52:51,300 BUT THEN WE GOT BACK TOGETHER. 2663 01:52:51,366 --> 01:52:51,633 [LAUGHS] 2664 01:52:51,700 --> 01:52:57,966 BECAUSE THE STORY NEVER ENDS. 2665 01:52:58,033 --> 01:53:00,533 >> ♪ SEE THE PEOPLE WALKING 2666 01:53:00,600 --> 01:53:01,066 DOWN THE STREET ♪ 2667 01:53:01,133 --> 01:53:03,566 >> I DON'T KNOW HOW THIS KEEPS 2668 01:53:03,633 --> 01:53:03,933 GOING. 2669 01:53:04,000 --> 01:53:07,000 I SWEAR TO CHRIST I DON'T. 2670 01:53:07,066 --> 01:53:09,166 >> YOU GET OLDER AND YOU DROP A 2671 01:53:09,233 --> 01:53:10,266 LOT OF THE BULLSHIT. 2672 01:53:10,333 --> 01:53:11,833 WE ARE A FAMILY, THAT IS WHAT IT 2673 01:53:11,900 --> 01:53:13,933 IS. 2674 01:53:14,000 --> 01:53:14,533 >> ONE OF THE GREAT AMERICAN 2675 01:53:14,600 --> 01:53:15,033 ROCK BANDS OF ALL TIME. 2676 01:53:15,100 --> 01:53:17,333 THE FACT THAT THEY ARE FINALLY 2677 01:53:17,400 --> 01:53:19,333 GETTING ANOINTED IN THE 2678 01:53:19,400 --> 01:53:20,100 ROCK & ROLL HALL OF FAME, BETTER 2679 01:53:20,166 --> 01:53:21,733 LATE THAN NEVER, BUT 2680 01:53:21,800 --> 01:53:22,600 WELL-DESERVED. 2681 01:53:22,666 --> 01:53:24,166 >> ♪ WE GOT THE BEAT ♪ 2682 01:53:24,233 --> 01:53:27,266 ♪ GET ON YOUR FEET ♪ 2683 01:53:27,333 --> 01:53:35,700 >> ARE YOU DRUNK? 2684 01:53:35,766 --> 01:53:41,033 >> OH, MY GOD, DO WE HAVE THE 2685 01:53:41,100 --> 01:53:42,033 MOTHERFUCKING BEAT. 2686 01:53:42,100 --> 01:53:46,933 >> IT IS MY PRIVILEGE TO INDUCT 2687 01:53:47,000 --> 01:53:47,500 INTO THE ROCK & ROLL 2688 01:53:47,566 --> 01:53:49,200 HALL OF FAME BELINDA CARLISLE, 2689 01:53:49,266 --> 01:53:52,133 JANE WIEDLIN, CHARLOTTE CAFFEY, 2690 01:53:52,200 --> 01:53:53,633 GINA SCHOCK, AND KATHY 2691 01:53:53,700 --> 01:53:53,900 VALENTINE. 2692 01:53:53,966 --> 01:53:58,566 EVERYONE GIVE IT UP FOR THE 2693 01:53:58,633 --> 01:53:59,433 GO-GO'S! 2694 01:53:59,500 --> 01:54:00,866 [SCREAMS] 2695 01:54:00,933 --> 01:54:09,966 ♪ ♪ 2696 01:54:10,033 --> 01:54:15,366 ♪ ♪ 2697 01:54:15,433 --> 01:54:17,133 >> ♪ CAN'T SEEM TO GET MY MIND 2698 01:54:17,200 --> 01:54:20,633 OFF OF YOU ♪ 2699 01:54:20,700 --> 01:54:22,833 ♪ BACK HERE AT HOME THERE'S 2700 01:54:22,900 --> 01:54:27,200 NOTHIN' TO DO ♪ 2701 01:54:27,266 --> 01:54:29,400 ♪ NOW THAT I'M AWAY ♪ 2702 01:54:29,466 --> 01:54:33,233 ♪ I WISH I'D STAYED ♪ 2703 01:54:33,300 --> 01:54:35,600 ♪ TOMORROW'S A DAY OF MINE 2704 01:54:35,666 --> 01:54:39,800 THAT YOU WON'T BE IN ♪ 2705 01:54:39,866 --> 01:54:41,100 ♪ WHEN YOU LOOKED AT ME 2706 01:54:41,166 --> 01:54:45,000 I SHOULD'VE RUN ♪ 2707 01:54:45,066 --> 01:54:46,900 ♪ BUT I THOUGHT IT WAS JUST 2708 01:54:46,966 --> 01:54:51,333 FOR FUN ♪ 2709 01:54:51,400 --> 01:54:54,533 ♪ I SEE I WAS WRONG ♪ 2710 01:54:54,600 --> 01:54:58,000 ♪ AND I'M NOT SO STRONG ♪ 2711 01:54:58,066 --> 01:54:59,800 ♪ I SHOULD HAVE KNOWN ALL ALONG 2712 01:54:59,866 --> 01:55:03,466 THAT TIME WOULD TELL ♪ 2713 01:55:03,533 --> 01:55:06,533 ♪ ONE WEEK WITHOUT YOU ♪ 2714 01:55:06,600 --> 01:55:15,300 ♪ I THOUGHT I'D FORGET ♪ 2715 01:55:15,366 --> 01:55:15,966 ♪ TWO WEEKS WITHOUT YOU 2716 01:55:16,033 --> 01:55:16,866 AND I STILL HAVEN'T 2717 01:55:16,933 --> 01:55:17,533 GOTTEN OVER YOU YET ♪ 2718 01:55:17,600 --> 01:55:19,166 ♪ VACATION, ALL I EVER WANTED ♪ 2719 01:55:19,233 --> 01:55:23,666 ♪ VACATION, HAD TO GET AWAY ♪ 2720 01:55:23,733 --> 01:55:25,366 ♪ VACATION, MEANT TO BE SPENT 2721 01:55:25,433 --> 01:55:28,833 ALONE ♪ 2722 01:55:28,900 --> 01:55:31,833 ♪ VACATION, ALL I EVER WANTED ♪ 2723 01:55:31,900 --> 01:55:34,800 ♪ VACATION, HAD TO GET AWAY ♪ 2724 01:55:34,866 --> 01:55:37,200 ♪ VACATION, MEANT TO BE SPENT 2725 01:55:37,266 --> 01:55:43,500 ALONE ♪ 2726 01:55:43,566 --> 01:55:55,366 ♪ ♪ 2727 01:55:55,433 --> 01:55:56,033 ♪ CAN YOU HEAR THEM? ♪ 2728 01:55:56,100 --> 01:55:57,000 ♪ THEY TALK ABOUT US ♪ 2729 01:55:57,066 --> 01:55:57,433 ♪ TELLING LIES ♪ 2730 01:55:57,500 --> 01:56:00,033 ♪ WELL, THAT'S NO SURPRISE ♪ 2731 01:56:00,100 --> 01:56:01,300 ♪ CAN YOU SEE THEM? ♪ 2732 01:56:01,366 --> 01:56:03,433 ♪ SEE RIGHT THROUGH THEM ♪ 2733 01:56:03,500 --> 01:56:04,733 ♪ THEY HAVE NO SHIELD ♪ 2734 01:56:04,800 --> 01:56:07,533 ♪ NO SECRETS TO REVEAL ♪ 2735 01:56:07,600 --> 01:56:10,633 ♪ DOESN'T MATTER WHAT THEY SAY ♪ 2736 01:56:10,700 --> 01:56:12,300 ♪ IN THE JEALOUS GAMES 2737 01:56:12,366 --> 01:56:13,233 PEOPLE PLAY ♪ 2738 01:56:13,300 --> 01:56:16,066 ♪ HEY, HEY, HEY ♪ 2739 01:56:16,133 --> 01:56:24,500 ♪ OUR LIPS ARE SEALED ♪ 2740 01:56:24,566 --> 01:56:28,133 ♪ ♪ 2741 01:56:28,200 --> 01:56:31,400 ♪ HUSH, MY DARLING ♪ 2742 01:56:31,466 --> 01:56:37,566 ♪ DON'T YOU CRY ♪ 2743 01:56:37,633 --> 01:56:38,333 ♪ GUARDIAN ANGEL ♪ 2744 01:56:38,400 --> 01:56:45,266 ♪ FORGET THEIR LIES ♪ 2745 01:56:45,333 --> 01:56:45,466 YEAH! 2746 01:56:45,533 --> 01:56:47,366 ♪ CAN YOU HEAR THEM? ♪ 2747 01:56:47,433 --> 01:56:47,866 ♪ THEY TALK ABOUT US ♪ 2748 01:56:47,933 --> 01:56:48,333 ♪ TELLING LIES ♪ 2749 01:56:48,400 --> 01:56:51,400 ♪ WELL, THAT'S NO SURPRISE ♪ 2750 01:56:51,466 --> 01:56:52,600 ♪ CAN YOU SEE THEM? ♪ 2751 01:56:52,666 --> 01:56:54,000 ♪ SEE RIGHT THROUGH THEM ♪ 2752 01:56:54,066 --> 01:56:54,533 ♪ THEY HAVE NO SHIELD ♪ 2753 01:56:54,600 --> 01:56:56,600 ♪ NO SECRETS TO REVEAL ♪ 2754 01:56:56,666 --> 01:56:58,766 ♪ DOESN'T MATTER WHAT THEY SAY ♪ 2755 01:56:58,833 --> 01:56:59,966 ♪ IN THE JEALOUS GAMES 2756 01:57:00,033 --> 01:57:02,966 PEOPLE PLAY ♪ 2757 01:57:03,033 --> 01:57:04,200 ♪ HEY, HEY, HEY ♪ 2758 01:57:04,266 --> 01:57:09,900 ♪ OUR LIPS ARE SEALED ♪ 2759 01:57:09,966 --> 01:57:14,600 ♪ OUR LIPS ARE SEALED ♪ 2760 01:57:14,666 --> 01:57:16,933 ♪ OUR LIPS ARE SEALED ♪ 2761 01:57:17,000 --> 01:57:22,166 ♪ OUR LIPS ARE SEALED ♪ 2762 01:57:22,233 --> 01:57:29,866 ♪ ♪ 2763 01:57:29,933 --> 01:57:35,333 [CHEERS AND APPLAUSE] 2764 01:57:35,400 --> 01:57:41,066 HERE IT COMES! 2765 01:57:41,133 --> 01:57:42,200 WHOO! 2766 01:57:42,266 --> 01:57:46,700 LET'S GO. 2767 01:57:46,766 --> 01:57:58,066 ♪ ♪ 2768 01:57:58,133 --> 01:58:02,900 ♪ ♪ 2769 01:58:02,966 --> 01:58:04,066 ♪ SEE THE PEOPLE WALKING DOWN 2770 01:58:04,133 --> 01:58:06,300 THE STREET ♪ 2771 01:58:06,366 --> 01:58:08,000 ♪ FALL IN LINE JUST WATCHING 2772 01:58:08,066 --> 01:58:08,900 ALL THEIR FEET ♪ 2773 01:58:08,966 --> 01:58:10,233 ♪ THEY DON'T KNOW WHERE THEY 2774 01:58:10,300 --> 01:58:11,400 WANT TO GO ♪ 2775 01:58:11,466 --> 01:58:14,633 ♪ BUT THEY'RE WALKING IN TIME ♪ 2776 01:58:14,700 --> 01:58:15,833 ♪ THEY GOT THE BEAT ♪ 2777 01:58:15,900 --> 01:58:16,833 ♪ THEY GOT THE BEAT ♪ 2778 01:58:16,900 --> 01:58:20,333 ♪ THEY GOT THE BEAT ♪ 2779 01:58:20,400 --> 01:58:24,300 ♪ YEAH, THEY GOT THE BEAT ♪ 2780 01:58:24,366 --> 01:58:25,233 COME ON! 2781 01:58:25,300 --> 01:58:33,700 ♪ ♪ 2782 01:58:33,766 --> 01:58:36,033 ♪ ALL THE KIDS JUST GETTING OUT 2783 01:58:36,100 --> 01:58:37,300 OF SCHOOL ♪ 2784 01:58:37,366 --> 01:58:38,233 ♪ THEY CAN'T WAIT TO HANG OUT 2785 01:58:38,300 --> 01:58:40,466 AND BE COOL ♪ 2786 01:58:40,533 --> 01:58:42,166 ♪ HANG AROUND 'TIL QUARTER AFTER 2787 01:58:42,233 --> 01:58:42,666 TWELVE ♪ 2788 01:58:42,733 --> 01:58:43,266 ♪ THAT'S WHEN THEY FALL IN 2789 01:58:43,333 --> 01:58:45,200 LINE ♪ 2790 01:58:45,266 --> 01:58:46,200 ♪ THAT'S WHEN THEY FALL IN 2791 01:58:46,266 --> 01:58:46,900 LINE ♪ 2792 01:58:46,966 --> 01:58:47,866 ♪ THEY GOT THE BEAT ♪ 2793 01:58:47,933 --> 01:58:49,266 ♪ THEY GOT THE BEAT ♪ 2794 01:58:49,333 --> 01:58:50,933 ♪ KIDS GOT THE BEAT ♪ 2795 01:58:51,000 --> 01:58:56,033 ♪ YEAH, KIDS GOT THE BEAT ♪ 2796 01:58:56,100 --> 01:59:08,833 ♪ ♪ 2797 01:59:08,900 --> 01:59:22,166 ♪ ♪ 2798 01:59:22,233 --> 01:59:23,200 ♪ GO-GO MUSIC REALLY MAKES US 2799 01:59:23,266 --> 01:59:25,233 DANCE ♪ 2800 01:59:25,300 --> 01:59:26,033 ♪ DOING THE PONY PUTS US 2801 01:59:26,100 --> 01:59:28,933 IN A TRANCE ♪ 2802 01:59:29,000 --> 01:59:30,033 ♪ THE WATUSI, JUST GIVE US 2803 01:59:30,100 --> 01:59:30,533 A CHANCE ♪ 2804 01:59:30,600 --> 01:59:32,400 ♪ THAT'S WHEN WE FALL IN LINE ♪ 2805 01:59:32,466 --> 01:59:34,533 ♪ THAT'S WHEN WE FALL IN LINE ♪ 2806 01:59:34,600 --> 01:59:35,200 ♪ WE GOT THE BEAT ♪ 2807 01:59:35,266 --> 01:59:35,800 ♪ WE GOT THE BEAT ♪ 2808 01:59:35,866 --> 01:59:39,266 ♪ WE GOT THE BEAT ♪ 2809 01:59:39,333 --> 01:59:41,066 ♪ YEAH, WE GOT IT! ♪ 2810 01:59:41,133 --> 01:59:42,100 ♪ ♪ 2811 01:59:42,166 --> 01:59:45,866 ♪ WE GOT THE BEAT ♪ 2812 01:59:45,933 --> 01:59:47,233 COME ON, I WANT TO HEAR YOU! 2813 01:59:47,300 --> 01:59:49,366 ♪ WE GOT THE BEAT ♪ 2814 01:59:49,433 --> 01:59:49,600 COME ON. 2815 01:59:49,666 --> 01:59:51,733 ♪ WE GOT THE BEAT ♪ 2816 01:59:51,800 --> 01:59:53,233 ♪ WE GOT THE BEAT ♪ 2817 01:59:53,300 --> 01:59:54,200 ♪ EVERYBODY GET ON YOUR FEET ♪ 2818 01:59:54,266 --> 01:59:55,533 ♪ WE GOT THE BEAT ♪ 2819 01:59:55,600 --> 01:59:56,033 ♪ WE KNOW YOU CAN DANCE 2820 01:59:56,100 --> 01:59:59,366 TO THE BEAT ♪ 2821 01:59:59,433 --> 01:59:59,900 ♪ WE GOT THE BEAT ♪ 2822 01:59:59,966 --> 02:00:00,800 ♪ JUMP BACK, GET DOWN ♪ 2823 02:00:00,866 --> 02:00:01,833 ♪ WE GOT THE BEAT ♪ 2824 02:00:01,900 --> 02:00:03,933 ♪ ROUND AND ROUND AND ROUND ♪ 2825 02:00:04,000 --> 02:00:06,266 ♪ WE GOT THE BEAT ♪ 2826 02:00:06,333 --> 02:00:08,233 ♪ WE GOT THE BEAT ♪ 2827 02:00:08,300 --> 02:00:11,600 ♪ WE GOT THE BEAT ♪ 2828 02:00:11,666 --> 02:00:14,900 ♪ WE GOT THE BEAT ♪ 2829 02:00:14,966 --> 02:00:17,600 ♪ WE GOT THE BEAT ♪ 2830 02:00:17,666 --> 02:00:20,566 ♪ WE GOT THE BEAT ♪ 2831 02:00:20,633 --> 02:00:27,633 ♪ WE GOT THE BEAT ♪ 2832 02:00:27,700 --> 02:00:45,666 [CHEERS AND APPLAUSE] 2833 02:00:45,733 --> 02:00:47,833 >> THANK YOU, DREW. 2834 02:00:47,900 --> 02:00:52,700 I'M KATHY VALENTINE, AND I CAN 2835 02:00:52,766 --> 02:00:53,633 SPEAK FOR ALL THE GO-GO'S WHEN I 2836 02:00:53,700 --> 02:00:57,333 SAY WE ARE SO HAPPY AND EXCITED 2837 02:00:57,400 --> 02:00:58,566 AND PROUD TO BE INDUCTED INTO 2838 02:00:58,633 --> 02:01:06,866 THE ROCK & ROLL HALL OF FAME. 2839 02:01:06,933 --> 02:01:09,566 OUR BAND HAS BEEN, AT DIFFERENT 2840 02:01:09,633 --> 02:01:12,333 TIMES, LIKE THE MOST RINKY-DINK 2841 02:01:12,400 --> 02:01:14,866 TRAVELING CIRCUS YOU COULD EVER 2842 02:01:14,933 --> 02:01:17,333 IMAGINE, LIKE A SNARLING WOLF 2843 02:01:17,400 --> 02:01:21,333 PACK, AND VERY MUCH LIKE FAMILY. 2844 02:01:21,400 --> 02:01:23,500 BUT WE ARE SISTERHOOD AND WOMEN 2845 02:01:23,566 --> 02:01:25,833 IS SIGNIFICANT. 2846 02:01:25,900 --> 02:01:28,466 WE BECAME A COMMERCIALLY 2847 02:01:28,533 --> 02:01:29,800 SUCCESSFUL BAND EXCEPT WE 2848 02:01:29,866 --> 02:01:31,466 STARTED AT THE BOTTOM, WHERE ALL 2849 02:01:31,533 --> 02:01:34,500 ROCK 'N' ROLL BANDS START, AND 2850 02:01:34,566 --> 02:01:37,766 OUR MUSIC FOUND ITS WAY INTO OUR 2851 02:01:37,833 --> 02:01:42,466 FANS' HEARTS AND INTO THEIR 2852 02:01:42,533 --> 02:01:46,200 LIVES. 2853 02:01:46,266 --> 02:01:47,300 BY HONORING OUR HISTORICAL 2854 02:01:47,366 --> 02:01:48,333 CONTRIBUTION, THE DOORS TO THIS 2855 02:01:48,400 --> 02:01:54,233 ESTABLISHMENT HAVE OPENED WIDER. 2856 02:01:54,300 --> 02:01:55,866 AND THE GO-GO'S WILL BE 2857 02:01:55,933 --> 02:01:57,333 ADVOCATING FOR THE INCLUSION OF 2858 02:01:57,400 --> 02:01:59,866 MORE WOMEN. 2859 02:01:59,933 --> 02:02:03,266 [CHEERS AND APPLAUSE] 2860 02:02:03,333 --> 02:02:05,300 BECAUSE HERE IS THE THING, THERE 2861 02:02:05,366 --> 02:02:06,766 WOULD NOT BE LESS OF US IF MORE 2862 02:02:06,833 --> 02:02:15,300 OF US WERE VISIBLE. 2863 02:02:15,366 --> 02:02:18,266 SO TO ALL THE LITTLE GIRLS, THE 2864 02:02:18,333 --> 02:02:20,233 TEENAGERS, THE YOUNG LADIES, ANY 2865 02:02:20,300 --> 02:02:23,100 WOMAN, ANY H OUT THERE IN THE 2866 02:02:23,166 --> 02:02:24,666 WORLD WHO IS WANTING AND HOPING 2867 02:02:24,733 --> 02:02:26,966 AND DREAMING TO BE HEARD, 2868 02:02:27,033 --> 02:02:28,266 HOPEFULLY LOUDLY COME OUT WITH 2869 02:02:28,333 --> 02:02:32,533 AND DRUMS AND BASES, AND YOUR 2870 02:02:32,600 --> 02:02:35,866 UNIQUE, WONDERFUL VOICES, 2871 02:02:35,933 --> 02:02:38,000 THE GO-GO'S ARE HERE TO SAY 2872 02:02:38,066 --> 02:02:44,133 DREAM, DREAM, BABY, AND ROCK ON! 2873 02:02:44,200 --> 02:02:48,400 >> HI, YOU GUYS, I'M GINA, AND 2874 02:02:48,466 --> 02:02:51,266 I -- 2875 02:02:51,333 --> 02:02:51,866 YEAH, RIGHT! 2876 02:02:51,933 --> 02:02:52,233 FUCK YEAH! 2877 02:02:52,300 --> 02:02:52,700 I CAN'T BELIEVE. 2878 02:02:52,766 --> 02:02:55,133 I WANT TO THANK ALL OF OUR 2879 02:02:55,200 --> 02:02:56,766 FAMILIES, ESPECIALLY ALL OF OUR 2880 02:02:56,833 --> 02:02:57,700 MOMS AND DADS WHO SUPPORTED US 2881 02:02:57,766 --> 02:02:59,566 AND ALLOWED US TO FOLLOW OUR 2882 02:02:59,633 --> 02:02:59,966 DREAMS. 2883 02:03:00,033 --> 02:03:02,133 THEY WERE THERE FROM THE START. 2884 02:03:02,200 --> 02:03:03,366 OUR FAMILY OF MUSICIANS WHO ARE 2885 02:03:03,433 --> 02:03:05,366 OUT THERE, YOU ARE EVERYWHERE. 2886 02:03:05,433 --> 02:03:06,833 YOU ARE PART OF US. 2887 02:03:06,900 --> 02:03:09,500 WE ARE PART OF YOU. 2888 02:03:09,566 --> 02:03:12,633 AND NOW I'M GOING TO INTRODUCE 2889 02:03:12,700 --> 02:03:17,400 OUR FABULOUS SINGER, BABE 2890 02:03:17,466 --> 02:03:18,700 CARLISLE. 2891 02:03:18,766 --> 02:03:19,866 >> WE HAVE HAD SO MUCH LOVE AND 2892 02:03:19,933 --> 02:03:22,333 GUIDANCE IN OUR 43 YEARS 2893 02:03:22,400 --> 02:03:25,200 TOGETHER, OUR FIRST MANAGER, WHO 2894 02:03:25,266 --> 02:03:29,066 WAS LIKE OUR MOM, BRADFORD COBB, 2895 02:03:29,133 --> 02:03:32,266 WHO WAS ALWAYS KIND, SWEET, AND 2896 02:03:32,333 --> 02:03:34,133 SMART, BRUCE PATRON, SOMEWHERE 2897 02:03:34,200 --> 02:03:36,866 UP THERE, WE LOVE YOU, AND ALSO 2898 02:03:36,933 --> 02:03:39,066 OUR MANAGER MIKE HAYES AND, OF 2899 02:03:39,133 --> 02:03:41,466 COURSE, OUR CHEERLEADER AND 2900 02:03:41,533 --> 02:03:46,466 MANAGER, ART CISNEROS. 2901 02:03:46,533 --> 02:03:49,433 THE NEXT PERSON IS CHARLOTTE 2902 02:03:49,500 --> 02:03:49,833 CAFFEY, GUITARIST 2903 02:03:49,900 --> 02:03:50,866 EXTRAORDINAIRE. 2904 02:03:50,933 --> 02:03:52,933 >> HELLO. 2905 02:03:53,000 --> 02:03:54,200 THANK YOU. 2906 02:03:54,266 --> 02:03:56,433 WHEN WE WERE UP AND UNABLE TO 2907 02:03:56,500 --> 02:04:00,400 GET A RECORD DEAL, IRS RECORDS 2908 02:04:00,466 --> 02:04:03,133 TOOK A CHANCE ON US. 2909 02:04:03,200 --> 02:04:04,733 MILES COPELAND, YOU ARE A MAD 2910 02:04:04,800 --> 02:04:06,666 GENIUS. 2911 02:04:06,733 --> 02:04:07,866 OUR FIRST PRODUCER, RICHARD, 2912 02:04:07,933 --> 02:04:08,800 HEARD SOMETHING IN US THAT MANY 2913 02:04:08,866 --> 02:04:11,466 OTHER PEOPLE DIDN'T. 2914 02:04:11,533 --> 02:04:17,133 AND OUR BELOVED CREW, CHRIS AND 2915 02:04:17,200 --> 02:04:19,400 TRAVIS, THANK YOU FOR TAKING 2916 02:04:19,466 --> 02:04:22,066 CARE OF US ON STAGE AND ON THE 2917 02:04:22,133 --> 02:04:22,266 ROAD. 2918 02:04:22,333 --> 02:04:27,233 LOVE AND THANKS TO YOU ALL. 2919 02:04:27,300 --> 02:04:31,633 AND NOW, AT LAST, BUT NOT LEAST, 2920 02:04:31,700 --> 02:04:34,500 THE ICONIC JANE WIEDLIN. 2921 02:04:34,566 --> 02:04:37,666 [CHEERS AND APPLAUSE] 2922 02:04:37,733 --> 02:04:40,366 >> HEY! 2923 02:04:40,433 --> 02:04:44,333 AW, GEE WHIZ. 2924 02:04:44,400 --> 02:04:47,066 WELL, WE'VE BEEN AT IT FOR 43 2925 02:04:47,133 --> 02:04:51,366 YEARS SO FAR. 2926 02:04:51,433 --> 02:04:52,500 GO FIGURE! 2927 02:04:52,566 --> 02:04:54,633 ANYWAYS, IN THIS MILLENNIUM, I 2928 02:04:54,700 --> 02:04:55,300 DON'T THINK ANYONE HAS HAD MORE 2929 02:04:55,366 --> 02:05:00,300 OF AN IMPACT ON OUR BAND'S 2930 02:05:00,366 --> 02:05:02,666 CAREER LEGACY THEN THE DIRECTOR 2931 02:05:02,733 --> 02:05:08,466 ALLISON -- JESUS CHRIST -- 2932 02:05:08,533 --> 02:05:10,900 ALISON OWEN, WHO CREATED OUR 2933 02:05:10,966 --> 02:05:11,566 DOCUMENTARY. 2934 02:05:11,633 --> 02:05:12,233 SHE REALLY UNDERSTOOD US AND 2935 02:05:12,300 --> 02:05:16,100 INTRODUCED THE WORLD TO A BAND, 2936 02:05:16,166 --> 02:05:18,566 YOU KNOW, THAT REALLY WAS MAYBE 2937 02:05:18,633 --> 02:05:19,933 FADING AWAY OR WHATEVER AND THEN 2938 02:05:20,000 --> 02:05:22,366 SHE BROUGHT IT OUT RIGHT BACK, 2939 02:05:22,433 --> 02:05:24,200 AND WE ARE SO GRATEFUL TO HER. 2940 02:05:24,266 --> 02:05:25,633 BUT THE PEOPLE WE ARE MOST 2941 02:05:25,700 --> 02:05:28,433 GRATEFUL TO EVOLVE ARE THE FANS 2942 02:05:28,500 --> 02:05:31,933 WHO HAVE BEEN WITH US FOR OVER 2943 02:05:32,000 --> 02:05:34,466 FOUR DECADES. 2944 02:05:34,533 --> 02:05:35,166 [CHEERS AND APPLAUSE] 2945 02:05:35,233 --> 02:05:37,266 AND THEY KEEP COMING BACK. 2946 02:05:37,333 --> 02:05:39,966 AND WE LOVE YOU GUYS WE WOULDN'T 2947 02:05:40,033 --> 02:05:41,233 BE ANYTHING WITHOUT YOU. 2948 02:05:41,300 --> 02:05:43,866 AND THANK YOU SO MUCH FOR THIS 2949 02:05:43,933 --> 02:05:44,800 HONOR. 2950 02:05:44,866 --> 02:05:49,833 IT'S JUST UNBELIEVABLE. 2951 02:05:49,900 --> 02:05:54,533 PRKEW, HEAD EXPLOSION. 2952 02:05:54,600 --> 02:05:55,566 >> MY NAME IS COMMON AND I'M 2953 02:05:55,633 --> 02:05:59,566 HERE TO TALK ABOUT THE GRAPE, 2954 02:05:59,633 --> 02:06:01,466 INCOMPARABLE GIL SCOTT HAMMOND, 2955 02:06:01,533 --> 02:06:05,100 POET, AUTHOR, GIL SCOTT-HERON 2956 02:06:05,166 --> 02:06:06,500 REDEFINED OUR UNDERSTANDING OF C 2957 02:06:06,566 --> 02:06:07,633 WITH WORDS SO TRUE THEY 2958 02:06:07,700 --> 02:06:10,200 STUNG AND A SOUND SO POWERFUL 2959 02:06:10,266 --> 02:06:12,666 IT COULDN'T BE IGNORED. 2960 02:06:12,733 --> 02:06:14,066 SETTING HIS GRIPPING POETRY TO A 2961 02:06:14,133 --> 02:06:16,166 BEAT CAUGHT THE ATTENTION OF A 2962 02:06:16,233 --> 02:06:18,733 NATION, AND THAT SIMPLE ACT 2963 02:06:18,800 --> 02:06:20,733 WOULD EVENTUALLY BECOME A 2964 02:06:20,800 --> 02:06:21,500 CORNERSTONE OF WHAT WE NOW KNOW 2965 02:06:21,566 --> 02:06:23,733 AS HIP-HOP. 2966 02:06:23,800 --> 02:06:27,466 IN 1970, HE ASKED, WHO WILL 2967 02:06:27,533 --> 02:06:28,666 SURVIVE IN AMERICA? 2968 02:06:28,733 --> 02:06:30,733 A QUESTION WE ASK WITH 2969 02:06:30,800 --> 02:06:32,066 INCREASING URGENCY DAILY 50 2970 02:06:32,133 --> 02:06:32,400 YEARS LATER. 2971 02:06:32,466 --> 02:06:35,666 I'M SO PROUD TO PAY HOMAGE TO 2972 02:06:35,733 --> 02:06:36,466 THE BRILLIANCE OF GIL 2973 02:06:36,533 --> 02:06:37,433 SCOTT-HERON. 2974 02:06:37,500 --> 02:06:39,800 PLEASE JOIN ME IN CELEBRATING 2975 02:06:39,866 --> 02:06:41,933 HIM TONIGHT WITH HIS INDUCTION 2976 02:06:42,000 --> 02:06:44,066 INTO THE ROCK & ROLL 2977 02:06:44,133 --> 02:06:46,133 HALL OF FAME. 2978 02:06:46,200 --> 02:06:55,133 ♪ ♪ 2979 02:06:55,200 --> 02:06:58,433 >> ♪ A ♪ 2980 02:06:58,500 --> 02:06:59,866 >> THIS IS AS CLOSE AS YOU GET 2981 02:06:59,933 --> 02:07:01,466 TO FREEDOM RIGHT HERE. 2982 02:07:01,533 --> 02:07:02,400 I DON'T KNOW IF I'M LOCKED IN 2983 02:07:02,466 --> 02:07:07,533 OUR LOCKED OUT. 2984 02:07:07,600 --> 02:07:07,733 ♪ ♪ 2985 02:07:07,800 --> 02:07:13,633 ♪ WHAT'S THE WORD ♪ 2986 02:07:13,700 --> 02:07:17,700 >> DID ONE CALLED THE VULTURE, 2987 02:07:17,766 --> 02:07:19,266 THE FIRST THINGS THAT EVER 2988 02:07:19,333 --> 02:07:21,433 APPEARED IN PUBLIC THAT I WAS 2989 02:07:21,500 --> 02:07:23,100 RESPONSIBLE, FIRST CHANCERY 2990 02:07:23,166 --> 02:07:25,533 COURT CAME AFTER I DONE SOME 2991 02:07:25,600 --> 02:07:26,500 BOOKS. 2992 02:07:26,566 --> 02:07:35,133 >> HAD A POEM CALLED "WHITEY ON 2993 02:07:35,200 --> 02:07:39,200 THE MOON." 2994 02:07:39,266 --> 02:07:42,433 IT WAS INSPIRED BY SOME WHITEYS. 2995 02:07:42,500 --> 02:07:45,600 >> I CAN'T PAY NO DOCTOR BILLS 2996 02:07:45,666 --> 02:07:47,133 FOR WHITEYS ON THE MOM. 2997 02:07:47,200 --> 02:07:49,633 TEN YEARS FROM NOW I'LL BE 2998 02:07:49,700 --> 02:07:50,366 PAYING STILL FOR WHITEY ON THE 2999 02:07:50,433 --> 02:07:51,733 MOON. 3000 02:07:51,800 --> 02:07:54,900 >> THEY WERE STILL LISTENING TO 3001 02:07:55,000 --> 02:07:56,933 A POEM DELIVERED ORALLY AND WITH 3002 02:07:57,000 --> 02:07:59,466 THE RHYTHMS THAT MEAN SO MUCH TO 3003 02:07:59,533 --> 02:08:00,466 US. 3004 02:08:00,533 --> 02:08:06,033 >> ♪ SEEMS LIKE A WINTER IN 3005 02:08:06,100 --> 02:08:06,333 AMERICA ♪ 3006 02:08:06,400 --> 02:08:08,733 >> GIL SCOTT-HERON WITH THAT 3007 02:08:08,800 --> 02:08:10,200 SOOTHING BARITONE, TELLING THE 3008 02:08:10,266 --> 02:08:13,466 POLITICAL TRUTH THAT AMERICA 3009 02:08:13,533 --> 02:08:15,766 DIDN'T WANT TO HEAR, SETTING THE 3010 02:08:15,833 --> 02:08:17,333 WORD TO THE DRUM, THE BEAT. 3011 02:08:17,400 --> 02:08:21,433 ♪ ♪ 3012 02:08:21,500 --> 02:08:24,833 ♪ AND IT MIGHT NOT BE SUCH A 3013 02:08:24,900 --> 02:08:27,600 BAD IDEA IF I NEVER, NEVER WENT 3014 02:08:27,666 --> 02:08:28,000 HOME AGAIN ♪ 3015 02:08:28,066 --> 02:08:30,300 >> THE PEOPLE WHO WERE MY 3016 02:08:30,366 --> 02:08:34,033 INSTRUCTORS, THE LANGSTON HUGHE 3017 02:08:34,100 --> 02:08:35,166 HUGHES, NOT ONLY KNEW THE ISSUES 3018 02:08:35,233 --> 02:08:38,866 AND THE IDEAS IN THE EMOTION 3019 02:08:38,933 --> 02:08:40,300 CONTENT OF WHERE THE COMMUNITY 3020 02:08:40,366 --> 02:08:41,666 WAS COMING FROM, BUT THEY 3021 02:08:41,733 --> 02:08:42,966 DISPLAYED IT IN A MANNER THAT 3022 02:08:43,033 --> 02:08:45,066 THE COMMUNITY WOULD DO IT. 3023 02:08:45,133 --> 02:08:46,766 >> WE'D LIKE TO DO A POEM CALLED 3024 02:08:46,833 --> 02:08:49,700 "THE TELEVISION WILL NOT BE 3025 02:08:49,766 --> 02:08:50,400 TELEVISED," PRIMARILY BECAUSE IT 3026 02:08:50,466 --> 02:08:50,833 WON'T BE. 3027 02:08:50,900 --> 02:08:52,600 YOU WILL NOT BE ABLE TO STAY 3028 02:08:52,666 --> 02:08:52,933 HOME, BROTHER. 3029 02:08:53,000 --> 02:08:54,800 YOU WILL NOT BE ABLE TO PLUG IN, 3030 02:08:54,866 --> 02:08:56,600 TURN ON, AND COP OUT. 3031 02:08:56,666 --> 02:09:00,233 HE WILL NOT BE ABLE TO LOSE 3032 02:09:00,300 --> 02:09:02,033 YOURSELF AND SKIP OUT DURING 3033 02:09:02,100 --> 02:09:03,233 COMMERCIALS BECAUSE THE 3034 02:09:03,300 --> 02:09:04,166 REVOLUTION WILL NOT BE 3035 02:09:04,233 --> 02:09:04,433 TELEVISED. 3036 02:09:04,500 --> 02:09:06,833 THE REVOLUTION WILL BE NO RERUN, 3037 02:09:06,900 --> 02:09:07,166 BROTHERS. 3038 02:09:07,233 --> 02:09:12,433 THE REVOLUTION WILL BE LIVE. 3039 02:09:12,500 --> 02:09:17,466 [CHEERS AND APPLAUSE] 3040 02:09:17,533 --> 02:09:18,533 >> THE GREATEST BAND IN ALL THE 3041 02:09:18,600 --> 02:09:22,633 WORLD, THE ROLLING STONES. 3042 02:09:22,700 --> 02:09:25,366 >> I AM CHARLIE WATTS, I AM THE 3043 02:09:25,433 --> 02:09:30,600 DRUMMER. 3044 02:09:30,666 --> 02:09:36,533 >> ON THE DRUM, CHARLIE WATTS. 3045 02:09:36,600 --> 02:09:42,966 >> HELLO. 3046 02:09:43,033 --> 02:09:43,600 >> CHARLIE, ONE OF THE GREATEST 3047 02:09:43,666 --> 02:09:49,133 DRUMMERS IN THE WORLD TO EVER 3048 02:09:49,200 --> 02:09:50,433 SAY. 3049 02:09:50,500 --> 02:09:50,900 >> I CAN'T READ. 3050 02:09:50,966 --> 02:09:53,166 I'M NOT A MUSICIAN OF THE 3051 02:09:53,233 --> 02:09:53,400 CALIBER. 3052 02:09:53,466 --> 02:09:55,033 JUST AN INFERIOR ARTICLE. 3053 02:09:55,100 --> 02:09:58,633 MAYBE I'M GREAT AFTER ALL. 3054 02:09:58,700 --> 02:10:01,166 >> I LOVE PLAYING THE DRUMS. 3055 02:10:01,233 --> 02:10:03,466 I LOVE PLAYING WITH THE 3056 02:10:03,533 --> 02:10:03,833 ROLLING STONES. 3057 02:10:03,900 --> 02:10:05,166 >> HOW LONG DO YOU WANT TO DO 3058 02:10:05,233 --> 02:10:07,100 IT? 3059 02:10:07,166 --> 02:10:10,200 >> DO WHAT, BE ON THE ROAD? 3060 02:10:10,266 --> 02:10:14,100 >> BE IN THE ROLLING STONES. 3061 02:10:14,166 --> 02:10:22,333 ♪ ♪ 3062 02:10:22,400 --> 02:10:31,800 ♪ ♪ 3063 02:10:31,866 --> 02:10:39,233 ♪ THERE IS A HOMELESS IN 3064 02:10:39,300 --> 02:10:39,766 NEW ORLEANS ♪ 3065 02:10:39,833 --> 02:10:46,133 ♪ THEY CALL THE RISING SUN ♪ 3066 02:10:46,200 --> 02:10:49,800 ♪ AND ITS BEEN THE RUIN OF MANY 3067 02:10:49,866 --> 02:10:53,733 A POOR BOY ♪ 3068 02:10:53,800 --> 02:10:58,166 ♪ AND I KNOW I'VE WON ♪ 3069 02:10:58,233 --> 02:11:05,133 ♪ WITHOUT YOU, BABE, WITHOUT 3070 02:11:05,200 --> 02:11:07,333 YOU, BABE ♪ 3071 02:11:07,400 --> 02:11:09,733 ♪ WITHOUT YOU, BABE, WITHOUT 3072 02:11:09,800 --> 02:11:11,933 YOU, BABE ♪ 3073 02:11:12,000 --> 02:11:16,933 ♪ I WAS STANDING WHEN I HEARD MY 3074 02:11:17,000 --> 02:11:19,733 BULLDOG BARK ♪ 3075 02:11:19,800 --> 02:11:21,666 ♪ HE WAS THE PARKING AT THE TWO 3076 02:11:21,733 --> 02:11:26,433 MEN WHO WERE GAMBLING IN THE 3077 02:11:26,500 --> 02:11:28,133 DARK ♪ 3078 02:11:28,200 --> 02:11:37,000 ♪ ♪ 3079 02:11:37,066 --> 02:11:42,833 OPEN YOU'VE GOT WHAT I NEED, BUT 3080 02:11:42,900 --> 02:11:46,733 YOU SAY HE IS A FRIEND ♪ 3081 02:11:46,800 --> 02:11:51,900 ♪ OH, BABY, YOU'VE GOT WHAT I 3082 02:11:51,966 --> 02:11:52,133 NEED ♪ 3083 02:11:52,200 --> 02:11:55,733 ♪ BUT YOU SAY HE'S JUST A 3084 02:11:55,800 --> 02:11:56,000 FRIEND ♪ 3085 02:11:56,066 --> 02:12:00,966 ♪ BUT YOU SAY HE IS A FRIEND ♪ 3086 02:12:01,033 --> 02:12:06,633 ♪ OH, NO ♪ 3087 02:12:06,700 --> 02:12:09,133 ♪ MISSISSIPPI QUEEN ♪ 3088 02:12:09,200 --> 02:12:12,366 ♪ YOU KNOW WHAT I MEAN ♪ 3089 02:12:12,433 --> 02:12:18,733 ♪ LEFT CHICAGO ♪ 3090 02:12:18,800 --> 02:12:24,066 ♪ ON A FLIGHT FOR NEW ORLEANS ♪ 3091 02:12:24,133 --> 02:12:30,300 ♪ LEFT CHICAGO ♪ 3092 02:12:30,366 --> 02:12:36,166 ♪ AND IS BOUND FOR NEW ORLEANS ♪ 3093 02:12:36,233 --> 02:12:41,166 ♪ HEY ♪ 3094 02:12:41,233 --> 02:12:49,733 ♪ DON'T LET THE SUN CATCH YOU 3095 02:12:49,800 --> 02:12:51,033 CRYING ♪ 3096 02:12:51,100 --> 02:12:58,366 ♪ TONIGHT'S THE TIME FOR ALL 3097 02:12:58,433 --> 02:12:59,600 YOUR TEARS ♪ 3098 02:12:59,666 --> 02:13:04,966 ♪ YOUR HEART MAY BE BROKEN 3099 02:13:05,033 --> 02:13:06,333 TONIGHT ♪ 3100 02:13:06,400 --> 02:13:09,566 ♪ BUT TOMORROW IN THE MORNING 3101 02:13:09,633 --> 02:13:10,066 LIGHT ♪ 3102 02:13:10,133 --> 02:13:17,166 ♪ DON'T LET THE SUN CATCH YOU 3103 02:13:17,233 --> 02:13:17,600 CRYING ♪ 3104 02:13:17,666 --> 02:13:19,400 A COUPLE OF GREAT GUYS WHO ARE 3105 02:13:19,466 --> 02:13:22,266 GREAT TALENTS AND YOU'RE GOING . 3106 02:13:22,333 --> 02:13:25,200 THE EVERLY BROTHERS, BILL AND 3107 02:13:25,266 --> 02:13:27,000 DON. 3108 02:13:27,066 --> 02:13:33,300 >> ♪ BYE-BYE, LOVE, BYE-BYE, 3109 02:13:33,366 --> 02:13:33,666 SWEET GRASS ♪ 3110 02:13:33,733 --> 02:13:35,066 >> WHAT ARE YOUR NAMES? 3111 02:13:35,133 --> 02:13:36,800 >> BILL AND I, WE WERE SOMETHING 3112 02:13:36,866 --> 02:13:39,066 ELSE, A WHOLE NEW BREED OF 3113 02:13:39,133 --> 02:13:40,633 PEOPLE, I SING HARMONY FIRST, 3114 02:13:40,700 --> 02:13:42,666 THEN HE GOT OLDER AND TOOK OVER 3115 02:13:42,733 --> 02:13:44,700 THE HARMONY, NATURAL HARMONY 3116 02:13:44,766 --> 02:13:50,333 SINGER, AND IT JUST CLICKED. 3117 02:13:50,400 --> 02:13:51,900 ♪ ♪ 3118 02:13:51,966 --> 02:13:52,866 >> THE EVERLYS WERE VERY 3119 02:13:52,933 --> 02:13:53,100 SPECIAL. 3120 02:13:53,166 --> 02:13:57,200 I THINK IT'S WHERE THE BEATLES 3121 02:13:57,266 --> 02:13:59,166 GOT THEIR TWO PEOPLE IN HARMONY 3122 02:13:59,233 --> 02:14:01,833 THING, JOHN AND I WERE THE 3123 02:14:01,900 --> 02:14:02,266 EVERLY'S. ♪ 3124 02:14:02,333 --> 02:14:10,566 .>> ♪ WAKE UP, LITTLE SUSIE, 3125 02:14:10,633 --> 02:14:11,733 WAKE UP, LITTLE SUSIE ♪ 3126 02:14:11,800 --> 02:14:12,633 >> ROCK 'N' ROLL HAS BEEN GOOD 3127 02:14:12,700 --> 02:14:17,233 TO US, I HOPE IT IS GOOD TO YOU. 3128 02:14:17,300 --> 02:14:21,433 ♪ ♪ 3129 02:14:21,500 --> 02:14:24,233 >> HERE TO PAY TRIBUTE TO THE 3130 02:14:24,300 --> 02:14:28,166 EVERLY BROTHERS, BRANDI CARLILE. 3131 02:14:28,233 --> 02:14:29,633 >> ♪ DREAM, DREAM, DREAM, 3132 02:14:29,700 --> 02:14:31,700 DREAM ♪ 3133 02:14:31,766 --> 02:14:37,300 ♪ DREAM, DREAM, DREAM, DREAM ♪ 3134 02:14:37,366 --> 02:14:41,200 ♪ WHEN I WANT YOU IN MY ARMS ♪ 3135 02:14:41,266 --> 02:14:43,800 ♪ WHEN I WANT YOU 3136 02:14:43,866 --> 02:14:46,733 AND ALL YOUR CHARMS ♪ 3137 02:14:46,800 --> 02:14:48,766 ♪ WHENEVER I WANT YOU, 3138 02:14:48,833 --> 02:14:51,566 ALL I HAVE TO DO IS ♪ 3139 02:14:51,633 --> 02:14:57,833 ♪ DREAM, DREAM, DREAM, DREAM ♪ 3140 02:14:57,900 --> 02:15:01,466 ♪ WHEN I FEEL BLUE 3141 02:15:01,533 --> 02:15:04,866 IN THE NIGHT ♪ 3142 02:15:04,933 --> 02:15:05,700 ♪ WHEN I NEED YOU 3143 02:15:05,766 --> 02:15:09,266 TO HOLD ME TIGHT ♪ 3144 02:15:09,333 --> 02:15:10,400 ♪ WHENEVER I WANT YOU, 3145 02:15:10,466 --> 02:15:11,766 ALL I HAVE TO DO IS ♪ 3146 02:15:11,833 --> 02:15:18,133 ♪ DREAM ♪ 3147 02:15:18,200 --> 02:15:19,600 ♪ I CAN MAKE YOU MINE, 3148 02:15:19,666 --> 02:15:23,833 TASTE YOUR LIPS OF WINE ♪ 3149 02:15:23,900 --> 02:15:30,233 ♪ ANYTIME NIGHT OR DAY ♪ 3150 02:15:30,300 --> 02:15:32,133 ♪ THE ONLY TROUBLE IS, 3151 02:15:32,200 --> 02:15:36,600 GEE WHIZ ♪ 3152 02:15:36,666 --> 02:15:38,733 ♪ I'M DREAMIN' MY LIFE AWAY ♪ 3153 02:15:38,800 --> 02:15:42,500 ♪ I NEED YOU 3154 02:15:42,566 --> 02:15:43,933 ♪ I NEED YOU SO 3155 02:15:44,000 --> 02:15:45,000 THAT I COULD DIE ♪ 3156 02:15:45,066 --> 02:15:46,466 ♪ I LOVE YOU SO 3157 02:15:46,533 --> 02:15:51,366 AND THAT IS WHY ♪ 3158 02:15:51,433 --> 02:15:52,000 ♪ WHENEVER I WANT YOU, 3159 02:15:52,066 --> 02:15:55,700 ALL I HAVE TO DO IS ♪ 3160 02:15:55,766 --> 02:15:58,700 ♪ DREAM, DREAM, DREAM, DREAM ♪ 3161 02:15:58,766 --> 02:16:05,100 ♪ DREAM ♪ 3162 02:16:05,166 --> 02:16:09,433 ♪ I CAN MAKE YOU MINE, 3163 02:16:09,500 --> 02:16:11,400 TASTE YOUR LIPS OF WINE ♪ 3164 02:16:11,466 --> 02:16:17,866 ♪ ANYTIME NIGHT OR DAY ♪ 3165 02:16:17,933 --> 02:16:19,000 ♪ THE ONLY TROUBLE IS, 3166 02:16:19,066 --> 02:16:20,633 GEE WHIZ ♪ 3167 02:16:20,700 --> 02:16:24,833 ♪ I'M DREAMIN' MY LIFE AWAY ♪ 3168 02:16:24,900 --> 02:16:27,700 ♪ I NEED YOU SO 3169 02:16:27,766 --> 02:16:30,166 THAT I COULD DIE ♪ 3170 02:16:30,233 --> 02:16:32,533 ♪ I LOVE YOU SO 3171 02:16:32,600 --> 02:16:34,966 AND THAT IS WHY ♪ 3172 02:16:35,033 --> 02:16:37,433 ♪ WHENEVER I WANT YOU, 3173 02:16:37,500 --> 02:16:40,100 ALL I HAVE TO DO IS ♪ 3174 02:16:40,166 --> 02:16:51,133 ♪ DREAM, DREAM, DREAM, DREAM ♪ 3175 02:16:51,200 --> 02:16:58,533 ♪ DREAM, DREAM, DREAM, DREAM ♪ 3176 02:16:58,600 --> 02:17:01,100 ♪ DREAM ♪ 3177 02:17:01,166 --> 02:17:09,166 ♪ DREAM ♪ 3178 02:17:09,233 --> 02:17:17,766 [CHEERS AND APPLAUSE] 3179 02:17:17,833 --> 02:17:19,400 >> CONGRATULATIONS TO MY FRIEND 3180 02:17:19,466 --> 02:17:20,466 J.C. ON THIS INCREDIBLE HONOR. 3181 02:17:20,533 --> 02:17:22,100 I'VE ALWAYS HAD THE TWO OF US 3182 02:17:22,166 --> 02:17:23,000 HAVE MORE IN COMMON THAT MEETS 3183 02:17:23,066 --> 02:17:24,966 THE EYE. 3184 02:17:25,033 --> 02:17:27,966 NOBODY WHO MET EITHER OF US AS 3185 02:17:28,033 --> 02:17:28,633 YOUNGER MEN WOULD HAVE EXPECTED 3186 02:17:28,700 --> 02:17:30,800 US TO BE WHERE WE ARE TODAY. 3187 02:17:30,866 --> 02:17:32,733 WE BOTH FEEL RESPONSIBLE BILL 3188 02:17:32,800 --> 02:17:33,966 NUMB NECK RESPONSIBILITY TO 3189 02:17:34,033 --> 02:17:34,900 CREATE LETTERS FOR THOSE COMING 3190 02:17:34,966 --> 02:17:36,400 UP BEHIND US. 3191 02:17:36,466 --> 02:17:38,800 LET'S FACE IT, WE ALSO BOTH HAVE 3192 02:17:38,866 --> 02:17:40,300 WIVES WHO ARE SIGNIFICANTLY MORE 3193 02:17:40,366 --> 02:17:41,433 POPULAR THAN WE ARE. 3194 02:17:41,500 --> 02:17:42,666 IN PART BECAUSE WE'VE BEEN ON 3195 02:17:42,733 --> 02:17:45,366 SIMILAR JOURNEYS. 3196 02:17:45,433 --> 02:17:46,733 I'VE TURNED TO JAY-Z'S WORDS AT 3197 02:17:46,800 --> 02:17:48,500 DIFFERENT POINTS IN MY LIFE, 3198 02:17:48,566 --> 02:17:49,833 WHETHER I WAS BRUSHING DIRT OFF 3199 02:17:49,900 --> 02:17:51,766 MY SHOULDER ON THE CAMPAIGN 3200 02:17:51,833 --> 02:17:54,666 TRAIL OR SAMPLING HIS LYRICS ON 3201 02:17:54,733 --> 02:17:57,100 THE BRIDGE ON THE 50TH 3202 02:17:57,166 --> 02:17:59,066 ANNIVERSARY OF THE SELMA MARCH 3203 02:17:59,133 --> 02:18:00,400 TO MONTGOMERY. 3204 02:18:00,466 --> 02:18:02,033 TODAY, JAY-Z IS ONE OF THE MOST 3205 02:18:02,100 --> 02:18:04,933 RENOWNED ARTISTS IN HISTORY AND 3206 02:18:05,000 --> 02:18:06,333 AN EMBODIMENT OF THE AMERICAN 3207 02:18:06,400 --> 02:18:06,533 DREAM. 3208 02:18:06,600 --> 02:18:08,900 A DREAM HE HAS HELPED MAKE REAL 3209 02:18:08,966 --> 02:18:10,400 FOR OTHER YOUNG PEOPLE LIKE HIM. 3210 02:18:10,466 --> 02:18:11,766 SO THAT MAY BE ONE OF THE FIRST 3211 02:18:11,833 --> 02:18:23,333 TO WELCOME THE KID FROM -- TO 3212 02:18:23,400 --> 02:18:24,733 THE HOS, HALL OF FAME. 3213 02:18:24,800 --> 02:18:25,333 IT'S A TESTAMENT TO ONE OF THE 3214 02:18:25,400 --> 02:18:27,433 MOST REMARKABLE CAREERS IN 3215 02:18:27,500 --> 02:18:28,933 HISTORY OF MUSIC. 3216 02:18:29,033 --> 02:18:30,666 A CAREER WHOSE STORY IS STILL 3217 02:18:30,733 --> 02:18:32,100 BEING WRITTEN. 3218 02:18:32,166 --> 02:18:35,666 CONGRATULATIONS, JAY. 3219 02:18:35,733 --> 02:18:45,833 ♪ ♪ 3220 02:18:45,900 --> 02:18:47,700 >> IN MY LIFETIME, MORE THAN A 3221 02:18:47,766 --> 02:18:50,600 MILLION RHYMES, NO JOKING. 3222 02:18:50,666 --> 02:18:53,300 >> HEY, JAY, CAN I IT OPEN? 3223 02:18:53,366 --> 02:18:55,566 >> BEYOND A REASONABLE DOUBT, 3224 02:18:55,633 --> 02:18:57,633 THE INDUSTRY MADE ME. 3225 02:18:57,700 --> 02:18:59,733 WHAT'S CRAZY IS, I'M STILL 3226 02:18:59,800 --> 02:19:02,300 SPENDING MONEY FROM '88. 3227 02:19:02,366 --> 02:19:03,700 >> CAN I LIVE AND SURPRISE THE 3228 02:19:03,766 --> 02:19:04,133 GAME? 3229 02:19:04,200 --> 02:19:05,300 THINK HARDER. 3230 02:19:05,366 --> 02:19:07,700 >> YOU KNOW THIS, BROTHER. 3231 02:19:07,766 --> 02:19:09,133 >> JAY-Z. 3232 02:19:09,200 --> 02:19:09,500 >> SHAWN CARTER. 3233 02:19:09,566 --> 02:19:11,033 >> FRIENDS OR FOES CAN GET IT 3234 02:19:11,100 --> 02:19:11,900 QUICK. 3235 02:19:11,966 --> 02:19:13,466 >> I SUGGEST YOU ALL ROLL WITH 3236 02:19:13,533 --> 02:19:15,533 THE CLICK, WHERE YOU AT? 3237 02:19:15,600 --> 02:19:17,133 >> IT'S ALL RIGHT, JUST USE YOUR 3238 02:19:17,200 --> 02:19:18,233 WITS. 3239 02:19:18,300 --> 02:19:18,900 >> TO KNOW THE DIFFERENCE 3240 02:19:18,966 --> 02:19:23,633 BETWEEN A 4.0 AND -- >> YOUNG 3241 02:19:23,700 --> 02:19:25,000 HOV. 3242 02:19:25,066 --> 02:19:25,800 >> I'M A HUSTLER, BABY. 3243 02:19:25,866 --> 02:19:30,400 >> I CAN SELL WATER TO A WHEEL. 3244 02:19:30,466 --> 02:19:32,033 >> THE TRUTH IN EVERY WORLD 3245 02:19:32,100 --> 02:19:32,566 WORD. 3246 02:19:32,633 --> 02:19:34,900 >> IT'S A HARD KNOCK LIFE BUT 3247 02:19:34,966 --> 02:19:37,600 IT'S ALL RIGHT, YOU HEARD? 3248 02:19:37,666 --> 02:19:38,766 >> HERE TO TRACK AND TAKE 3249 02:19:38,833 --> 02:19:39,400 FLIGHT. 3250 02:19:39,466 --> 02:19:41,700 >> ON THE BUSINESS, MAN. 3251 02:19:41,766 --> 02:19:43,166 WHO HE WHO WRITES CHECKS WITH A 3252 02:19:43,233 --> 02:19:46,433 HAND THAT DON'T WRITE. 3253 02:19:46,500 --> 02:19:47,666 >> I'M RELOADING. 3254 02:19:47,733 --> 02:19:49,100 >> TOO MANY CLASSICS. 3255 02:19:49,166 --> 02:19:52,200 >> IT'S THE ROC, AND WE WRITING 3256 02:19:52,266 --> 02:19:54,466 THIS RAP SHIT. 3257 02:19:54,533 --> 02:19:58,166 >> JACKSON, TYSON, JORDAN, IN 3258 02:19:58,233 --> 02:19:59,033 GAME SIX. 3259 02:19:59,100 --> 02:20:00,866 >> IN THE ZONE LIKE TO HAVE BEEN 3260 02:20:00,933 --> 02:20:03,966 THREE, MADE IT LOOK TOO EASY. 3261 02:20:04,033 --> 02:20:05,866 >> CAN'T LEAVE RAP ALONE, THE 3262 02:20:05,933 --> 02:20:06,833 GAME NEEDS ME. 3263 02:20:06,900 --> 02:20:08,766 >> FROM THE OTHER SIDE WITH 3264 02:20:08,833 --> 02:20:09,166 OTHER GUYS. 3265 02:20:09,233 --> 02:20:12,566 >> ARGUE ABOUT WHO IS THE BEST 3266 02:20:12,633 --> 02:20:12,866 MC. 3267 02:20:12,933 --> 02:20:13,300 >> BIGGIE. 3268 02:20:13,366 --> 02:20:16,333 >> JAY-Z. 3269 02:20:16,400 --> 02:20:17,300 >> AND NAS. 3270 02:20:17,366 --> 02:20:21,200 >> IT'S COOL, DEAD PRESIDENTS TO 3271 02:20:21,266 --> 02:20:22,866 REPRESENT ME. 3272 02:20:22,933 --> 02:20:24,100 >> AT THE BREAK IS OVER. 3273 02:20:24,166 --> 02:20:25,966 >> SO YOU CAN GET BACK. 3274 02:20:26,033 --> 02:20:27,833 >> DIRT OFF YOUR SHOULDER. 3275 02:20:27,900 --> 02:20:30,233 >> BECAUSE IF I HIT YOU, I'M 3276 02:20:30,300 --> 02:20:31,066 BRINGING THIS. 3277 02:20:31,133 --> 02:20:32,333 >> IF YOU GET ME, AND THEY MISS, 3278 02:20:32,400 --> 02:20:37,233 WHAT'S UP BROTHER TO DO, DAMN, 3279 02:20:37,300 --> 02:20:38,000 IT GETS TEDIOUS. 3280 02:20:38,066 --> 02:20:41,366 >> SO I KEEP ONE EYE OPEN LIKE 3281 02:20:41,433 --> 02:20:41,533 CBS. 3282 02:20:41,600 --> 02:20:43,266 >> I'M FOCUSED, MAN. 3283 02:20:43,333 --> 02:20:44,600 >> THE HUSTLER'S POSTER CHILD. 3284 02:20:44,666 --> 02:20:46,900 >> ALSO HOW TO DO THIS, SOME. 3285 02:20:46,966 --> 02:20:49,766 >> SEE WHAT WAS WHAT. 3286 02:20:49,833 --> 02:20:50,333 >> AND WHO WAS PUT. 3287 02:20:50,400 --> 02:20:55,033 >> DOWN TO 22 TWOS. 3288 02:20:55,100 --> 02:20:56,233 >> NOBODY WINS WHEN THE FAMILY 3289 02:20:56,300 --> 02:20:56,933 FEUDS. 3290 02:20:57,000 --> 02:20:58,266 >> MY MOTTO IS SIMPLE. 3291 02:20:58,333 --> 02:21:00,000 I WILL NOT LOSE. 3292 02:21:00,066 --> 02:21:03,800 >> ALLOW ME REINTRODUCE MYSELF. 3293 02:21:03,866 --> 02:21:11,000 MY NAME IS HOV, H TO THE OV. 3294 02:21:11,066 --> 02:21:12,766 >> WHEN I SHOOT, MEET YOUR 3295 02:21:12,833 --> 02:21:13,000 DESTINY. 3296 02:21:13,066 --> 02:21:15,000 >> I'M FROM A PLACE FOR THE NEWS 3297 02:21:15,066 --> 02:21:15,600 CAMERAS NEVER COME. 3298 02:21:15,666 --> 02:21:17,000 >> WHERE YOU CAN HAVE 99 3299 02:21:17,066 --> 02:21:23,400 PROBLEMS, BUT A BITCH AND ONE. 3300 02:21:23,466 --> 02:21:26,833 >> YEAH, I'M OUT THAT, BROOKLYN. 3301 02:21:26,900 --> 02:21:28,433 >> ALWAYS SEEN IT WRAPPING, 3302 02:21:28,500 --> 02:21:29,833 BECAUSE YOU CAN'T KNOCK THE 3303 02:21:29,900 --> 02:21:30,833 HUSTLE. 3304 02:21:30,900 --> 02:21:32,633 >> ALL WE ASK IS TRUST. 3305 02:21:32,700 --> 02:21:33,500 >> THAT'S WHY I OVERCHARGE THEM 3306 02:21:33,566 --> 02:21:35,866 FOR WHAT THEY DID TO THE COLD 3307 02:21:35,933 --> 02:21:36,433 CRUSH. 3308 02:21:36,500 --> 02:21:38,833 >> BECAUSE WHAT IS BETTER THAN 3309 02:21:38,900 --> 02:21:39,733 ONE BLACK BILLIONAIRE? 3310 02:21:39,800 --> 02:21:40,933 >> TWO. 3311 02:21:41,000 --> 02:21:41,566 >> THEY SAID I COULDN'T DO IT 3312 02:21:41,633 --> 02:21:44,966 AGAIN SO I DID IT AGAIN. 3313 02:21:45,033 --> 02:21:46,000 >> REWRITE HISTORY WITH NO MAN. 3314 02:21:46,066 --> 02:21:52,833 >> JIGGA, MAN, WE DID IT, MAN. 3315 02:21:52,900 --> 02:21:54,633 >> UP MY GAME HAS GROWN. 3316 02:21:54,700 --> 02:21:56,166 PREFER YOU CALL ME WILLIAM. 3317 02:21:56,233 --> 02:21:58,066 >> AND IF YOU CAN'T RESPECT 3318 02:21:58,133 --> 02:21:59,633 THAT, THEN YOUR WHOLE 3319 02:21:59,700 --> 02:22:00,133 PERSPECTIVE IS WHACK. 3320 02:22:00,200 --> 02:22:02,600 MAYBE YOU LOVE ME WHEN I FADE TO 3321 02:22:02,666 --> 02:22:03,566 BLACK. 3322 02:22:03,633 --> 02:22:04,233 >> YOU'RE WITNESSING THE 3323 02:22:04,300 --> 02:22:06,033 BLUEPRINT OF HOW TO PITCH WITH 3324 02:22:06,100 --> 02:22:07,000 NO MOM. 3325 02:22:07,066 --> 02:22:08,933 >> SO GATHER ROUND, HUSTLERS, 3326 02:22:09,000 --> 02:22:14,133 BECAUSE IT'S ABOUT TO GO DOWN. 3327 02:22:14,200 --> 02:22:15,200 >> YOU PAID THE RIGHT PRICE, SO 3328 02:22:15,266 --> 02:22:20,300 WE JUST MADE YOUR HITS TIGHTER. 3329 02:22:20,366 --> 02:22:22,200 [LAUGHS] 3330 02:22:22,266 --> 02:22:24,333 ♪ ♪ 3331 02:22:24,400 --> 02:22:28,033 >> TO INDUCT JAY-Z, DAVE 3332 02:22:28,100 --> 02:22:30,900 CHAPPELLE. 3333 02:22:30,966 --> 02:22:37,800 [CHEERS AND APPLAUSE] 3334 02:22:37,866 --> 02:22:43,000 >> O.H. 3335 02:22:43,066 --> 02:22:44,333 I WOULD LIKE TO APOLOGIZE. 3336 02:22:44,400 --> 02:22:53,933 I'M JUST FUCKING WITH YOU. 3337 02:22:54,000 --> 02:22:57,133 [LAUGHTER] 3338 02:22:57,200 --> 02:23:00,333 [LAUGHS] 3339 02:23:00,400 --> 02:23:03,266 THIS IS AN INCREDIBLE HONOR TO 3340 02:23:03,333 --> 02:23:04,433 INDUCT THIS NEXT MAN INTO THE 3341 02:23:04,500 --> 02:23:12,666 ROCK & ROLL HALL OF FAME. 3342 02:23:12,733 --> 02:23:13,566 BUT I NEED EVERYBODY IN ROCK 'N' 3343 02:23:13,633 --> 02:23:14,333 ROLL KNOW THAT EVEN THOUGH WE 3344 02:23:14,400 --> 02:23:15,133 ARE HONORING HIM, HE IS OURS. 3345 02:23:15,200 --> 02:23:18,566 HE IS HIP-HOP. 3346 02:23:18,633 --> 02:23:21,733 FOREVER AND EVER AND A DAY. 3347 02:23:21,800 --> 02:23:25,766 I COULD SIT UP HERE TONIGHT, 3348 02:23:25,833 --> 02:23:27,666 I COULD TALK ABOUT HIS ACUMEN 3349 02:23:27,733 --> 02:23:29,500 AS A BUSINESSMAN. 3350 02:23:29,566 --> 02:23:31,700 I COULD TALK ABOUT HIS 3351 02:23:31,766 --> 02:23:33,333 ACCOMPLISHMENTS IN MUSIC. 3352 02:23:33,400 --> 02:23:34,300 BUT I THINK WHAT'S MOST 3353 02:23:34,366 --> 02:23:35,233 IMPORTANT FOR EVERYONE IN THIS 3354 02:23:35,300 --> 02:23:36,500 ROOM TO KNOW IS WHAT IT MEANS 3355 02:23:36,566 --> 02:23:38,766 TO US, WHAT HE MEANS TO HIS 3356 02:23:38,833 --> 02:23:46,233 CULTURE. 3357 02:23:46,300 --> 02:23:49,000 BEING BLACK IN AMERICA IS NOT AS 3358 02:23:49,066 --> 02:24:00,633 EASY AS IT LOOKS. 3359 02:24:00,700 --> 02:24:02,133 IT'S ALWAYS... 3360 02:24:02,200 --> 02:24:03,733 DON'T DO THIS OR ELSE. 3361 02:24:03,800 --> 02:24:09,200 DON'T SAY THIS OR ELSE. 3362 02:24:09,266 --> 02:24:15,300 LIKE SEAN CARTER SAID ABOUT 3363 02:24:15,366 --> 02:24:17,466 HIMSELF, "I'M SO BRAZEN, I'M SO 3364 02:24:17,533 --> 02:24:18,100 BRAZEN, I'M 'RAISIN IN THE SUN,' 3365 02:24:18,166 --> 02:24:18,466 SIR." 3366 02:24:18,533 --> 02:24:20,466 WE DO IT ANYWAY. 3367 02:24:20,533 --> 02:24:27,666 WHENEVER WE HAVE TO. 3368 02:24:27,733 --> 02:24:28,566 WE DON'T HAVE A COMPLICATED 3369 02:24:28,633 --> 02:24:29,033 EMOTIONAL VOCABULARY. 3370 02:24:29,100 --> 02:24:29,966 WE HAVE TO MAKE EVERYTHING LOOK 3371 02:24:30,033 --> 02:24:30,566 EASY. 3372 02:24:30,633 --> 02:24:31,666 AND THIS MAN IS A DIAMOND THAT 3373 02:24:31,733 --> 02:24:37,133 WAS BORN OF PRESSURE. 3374 02:24:37,200 --> 02:24:38,266 TO COIN A PHRASE THAT FELLOW 3375 02:24:38,333 --> 02:24:39,133 HALL OF FAMER MADE, TUPAC SHAKUR 3376 02:24:39,200 --> 02:24:40,033 CALLED IT A ROSE THAT ROSE FROM 3377 02:24:40,100 --> 02:24:45,766 THE CONCRETE. 3378 02:24:45,833 --> 02:24:53,166 THAT TO US IS WHAT HIP-HOP IS. 3379 02:24:53,233 --> 02:24:53,900 YOU HEARD OUR STORIES COME BACK 3380 02:24:53,966 --> 02:24:54,300 TO US. 3381 02:24:54,366 --> 02:24:55,966 OUR STRESSES AND OUR STRENGTHS. 3382 02:24:56,033 --> 02:24:58,466 AND THE WHOLE TIME THAT HE SAID 3383 02:24:58,533 --> 02:25:00,066 IT, MY GOD, JAY, YOU LOOKED SO 3384 02:25:00,133 --> 02:25:03,766 COOL. 3385 02:25:03,833 --> 02:25:06,000 YOU LOOK SO CALM, SO COLLECTED. 3386 02:25:06,066 --> 02:25:07,033 "IF I SHOOT YOU, I'M BRAINLESS. 3387 02:25:07,100 --> 02:25:13,033 BUT IF YOU SHOOT ME, YOU FAMOUS, 3388 02:25:13,100 --> 02:25:14,533 WHAT A NIGGA TO DO." 3389 02:25:14,600 --> 02:25:15,500 MY GOD, MAN. 3390 02:25:15,566 --> 02:25:16,566 IT'S BEAUTIFUL TO WATCH. 3391 02:25:16,633 --> 02:25:17,666 IN THE MUSIC INDUSTRY THEY CALL 3392 02:25:17,733 --> 02:25:18,500 HIM "ONE-TAKE HOV." 3393 02:25:18,566 --> 02:25:20,000 HE SAID IT ABOUT HIMSELF, BUT 3394 02:25:20,066 --> 02:25:26,333 YOU DON'T KNOW WHY HE SAID IT. 3395 02:25:26,400 --> 02:25:27,200 'CAUSE WHEN HE WAS HUSTLING, 3396 02:25:27,266 --> 02:25:28,033 'CAUSE HE USED TO SELL CRACK. 3397 02:25:28,100 --> 02:25:29,100 OH, DON'T GET IT TWISTED. 3398 02:25:29,166 --> 02:25:30,200 AMERICAN PIE IS NOT MADE OUT OF 3399 02:25:30,266 --> 02:25:34,200 APPLES. 3400 02:25:34,266 --> 02:25:35,500 IT'S MADE OUT OF WHATEVER YOU 3401 02:25:35,566 --> 02:25:47,033 GET YOUR FUCKING HANDS ON. 3402 02:25:47,100 --> 02:25:48,200 HE USED TO SELL CRACK. 3403 02:25:48,266 --> 02:25:49,766 HE DIDN'T HAVE ANYTHING TO WRITE 3404 02:25:49,833 --> 02:25:50,533 HIS RHYMES ON AND HE WOULD SIT 3405 02:25:50,600 --> 02:25:52,666 THERE AND HE WOULD JUST WRITE 3406 02:25:52,733 --> 02:25:53,500 DOWN WHATEVER. 3407 02:25:53,566 --> 02:25:54,333 HE WOULD MEMORIZE ALL THESE 3408 02:25:54,400 --> 02:25:55,133 THOUGHTS THAT CAME TO HIS MIND, 3409 02:25:55,200 --> 02:25:55,600 AN AVALANCHE OF IDEAS. 3410 02:25:55,666 --> 02:25:56,366 AND HE WOULD JUST BE CATCHIN' 3411 02:25:56,433 --> 02:25:57,200 RAINWATER. 3412 02:25:57,266 --> 02:25:59,766 AND WHEN HE GOT IN THE STUDIO, 3413 02:25:59,833 --> 02:26:01,666 LIKE GOD, HE WOULD DO THE VERSE. 3414 02:26:01,733 --> 02:26:06,366 HE WOULD LET IT BE. 3415 02:26:06,433 --> 02:26:07,433 AND IT WOULD BE. 3416 02:26:07,500 --> 02:26:08,066 AND THE STREETS ADMIRED HIM FOR 3417 02:26:08,133 --> 02:26:12,166 THIS. 3418 02:26:12,233 --> 02:26:12,766 THE STREETS LOVED HIM FOR THIS 3419 02:26:12,833 --> 02:26:13,466 FOR THIS FOR THIS, BECAUSE HE 3420 02:26:13,533 --> 02:26:18,433 RHYMED A RECIPE FOR SURVIVAL. 3421 02:26:18,500 --> 02:26:19,266 THE WAY A WHITE PERSON MIGHT 3422 02:26:19,333 --> 02:26:19,900 HEAR HIS MUSIC IS NOT THE SAME 3423 02:26:19,966 --> 02:26:20,600 THE WAY SOMEONE FROM MARCY 3424 02:26:20,666 --> 02:26:24,800 WOULD. 3425 02:26:24,866 --> 02:26:25,533 WHEN HE SAID, "THIS IS JAY IS 3426 02:26:25,600 --> 02:26:25,900 EVERY DAY." 3427 02:26:25,966 --> 02:26:26,900 HE TOLD US HE'D NEVER CHANGE. 3428 02:26:26,966 --> 02:26:27,733 YOU HEARD THIS. 3429 02:26:27,800 --> 02:26:28,433 PROBABLY SAYS THE WHITE PERSON, 3430 02:26:28,500 --> 02:26:29,000 "WELL, MAYBE THIS GUY SHOULD 3431 02:26:29,066 --> 02:26:36,066 FOCUS ON THIS DEVELOPMENT." 3432 02:26:36,133 --> 02:26:36,700 BUT WHAT WE HEARD IS THAT HE'LL 3433 02:26:36,766 --> 02:26:40,100 NEVER FORGET US. 3434 02:26:40,166 --> 02:26:40,766 HE WILL ALWAYS REMEMBER US. 3435 02:26:40,833 --> 02:26:41,533 THAT WE ARE HIS POINT OF 3436 02:26:41,600 --> 02:26:42,700 REFERENCE, THAT HE IS GOING TO 3437 02:26:42,766 --> 02:26:44,266 SHOW US HOW FAR WE CAN GO IF WE 3438 02:26:44,333 --> 02:26:45,266 JUST GET HOLD OF THE 3439 02:26:45,333 --> 02:26:49,666 OPPORTUNITY. 3440 02:26:49,733 --> 02:26:50,300 FOR THIS, WE WILL ALWAYS LOVE 3441 02:26:50,366 --> 02:27:01,900 HIM, WE ALWAYS TREASURE HIM. 3442 02:27:01,966 --> 02:27:02,533 AND AS IMPORTANT AS THIS WAR IS 3443 02:27:02,600 --> 02:27:03,133 FOR SOME, YOU MUST UNDERSTAND 3444 02:27:03,200 --> 02:27:05,066 THAT HE HAS HIS PEOPLE'S HEARTS. 3445 02:27:05,133 --> 02:27:05,666 AND WE LOVE HIM MORE THAN YOU 3446 02:27:05,733 --> 02:27:06,266 COULD EVER RECOGNIZE OR EVEN 3447 02:27:06,333 --> 02:27:10,166 REALIZE BECAUSE HE EMBODIES THE 3448 02:27:10,233 --> 02:27:11,066 POTENTIAL OF WHAT OUR LIVES CAN 3449 02:27:11,133 --> 02:27:17,200 BE AND WHAT SUCCESS CAN BE. 3450 02:27:17,266 --> 02:27:17,833 THERE'S SO MUCH POETRY IF YOU'VE 3451 02:27:17,900 --> 02:27:18,266 GOTTEN TO KNOW HIM. 3452 02:27:18,333 --> 02:27:21,466 JUST THE WAY HE SPEAKS. 3453 02:27:21,533 --> 02:27:24,633 I REMEMBER ONE TIME. 3454 02:27:24,700 --> 02:27:26,800 THE ROOTS WAS HAVING A JAM 3455 02:27:26,866 --> 02:27:32,233 SESSION IN L.A. 3456 02:27:32,300 --> 02:27:33,600 HELLO, AMIR. 3457 02:27:33,666 --> 02:27:34,466 AND BACKSTAGE, I SAW JAY-Z AND A 3458 02:27:34,533 --> 02:27:35,066 PHOTOGRAPHER CAME UP AND SAID, 3459 02:27:35,133 --> 02:27:35,666 "GUYS, CAN WE GET A PICTURE?" 3460 02:27:35,733 --> 02:27:36,166 IT WAS HIM AND HIS WIFE, 3461 02:27:36,233 --> 02:27:41,033 BEYONCE. 3462 02:27:41,100 --> 02:27:43,566 AND RIAL -- 3463 02:27:43,633 --> 02:27:45,400 [CHEERS AND APPLAUSE] 3464 02:27:45,466 --> 02:27:46,966 ALL RIGHT, GUYS, RELAX. 3465 02:27:47,033 --> 02:27:49,100 WOULD YOU? 3466 02:27:49,166 --> 02:27:50,200 AND WE ALL GROUPED TOGETHER FOR 3467 02:27:50,266 --> 02:27:51,733 A PICTURE, ME, JAY AND BEYONCE, 3468 02:27:51,800 --> 02:27:52,333 AND I STOOD BETWEEN THEM AND I 3469 02:27:52,400 --> 02:27:54,200 PUT MY ARMS AROUND THEM AND JAY 3470 02:27:54,266 --> 02:27:55,766 GRABBED ME AND MOVED ME TO THE 3471 02:27:55,833 --> 02:27:57,200 SIDE AND GRABBED HIS WIFE BY THE 3472 02:27:57,266 --> 02:27:59,600 HAND AND SAID, "THE ROSE BETWEEN 3473 02:27:59,666 --> 02:28:06,933 THE THORNS." 3474 02:28:07,000 --> 02:28:08,066 AND AS THEY'RE TAKING THE 3475 02:28:08,133 --> 02:28:09,533 PICTURE JAY SAYS TO ME, 3476 02:28:09,600 --> 02:28:11,866 "YOU MUST HAVE A LOT OF PRESSURE 3477 02:28:11,933 --> 02:28:12,500 ON YOU TO SAY FUNNY SHIT ALL THE 3478 02:28:12,566 --> 02:28:17,133 TIME." 3479 02:28:17,200 --> 02:28:18,766 AND I LOOK AT JAY AND SAY TO 3480 02:28:18,833 --> 02:28:19,900 HIM, "WELL, YOU MUST HAVE A LOT 3481 02:28:19,966 --> 02:28:21,100 OF PRESSURE ON YOU TO SAY COOL 3482 02:28:21,166 --> 02:28:29,866 SHIT ALL THE TIME." 3483 02:28:29,933 --> 02:28:31,566 [LAUGHS] 3484 02:28:31,633 --> 02:28:33,866 AND JAY LOOKED AT ME AND SAID, 3485 02:28:33,933 --> 02:28:35,300 "IT AIN'T NO PRESSURE. 3486 02:28:35,366 --> 02:28:41,200 I JUST DO IT." 3487 02:28:41,266 --> 02:28:41,666 [CHEERS AND APPLAUSE] 3488 02:28:41,733 --> 02:28:44,033 THAT'S RIGHT. 3489 02:28:44,100 --> 02:28:44,666 AND I LOOKED AT JAY AND SAID, 3490 02:28:44,733 --> 02:28:45,633 "MY GOD, MAN, YOU JUST DID IT 3491 02:28:45,700 --> 02:28:52,500 AGAIN." 3492 02:28:52,566 --> 02:28:53,533 HOVA, MY FRIEND. 3493 02:28:53,600 --> 02:28:54,400 I'M A FAN. 3494 02:28:54,466 --> 02:28:55,433 I'M HONORED THAT I GOT A CHANCE 3495 02:28:55,500 --> 02:28:59,466 TO KNOW YOU. 3496 02:28:59,533 --> 02:29:00,433 YOU EMBODY BLACK EXCELLENCE, 3497 02:29:00,500 --> 02:29:08,766 HOW GREAT WE CAN BE. 3498 02:29:08,833 --> 02:29:13,333 AND I AM HONORED TO BE THE NIGGA 3499 02:29:13,400 --> 02:29:14,266 THAT GETS TO SAY, "MY NIGGA, 3500 02:29:14,333 --> 02:29:15,633 WELCOME TO THE ROCK AND ROLL 3501 02:29:15,700 --> 02:29:23,766 HALL OF FAME." 3502 02:29:23,833 --> 02:29:24,333 >> U.S. THREE YEARS YEARS IN 3503 02:29:24,400 --> 02:29:26,766 HIP-HOP, YOU FANTASTIC. 3504 02:29:26,833 --> 02:29:29,533 YOU LAST FIVE YEARS, IT'S LIKE, 3505 02:29:29,600 --> 02:29:31,700 WHILE MATT, THAT'S AMAZING. 3506 02:29:31,766 --> 02:29:33,166 BUT IF YOU WOULD LAST THROUGH A 3507 02:29:33,233 --> 02:29:36,000 DECADE AND BEYOND, IT'S ALMOST 3508 02:29:36,066 --> 02:29:37,700 UNHEARD OF. 3509 02:29:37,766 --> 02:29:43,533 >> NOW TUNE INTO THE 3510 02:29:43,600 --> 02:29:44,600 MOTHERFUCKING GREATEST. 3511 02:29:44,666 --> 02:29:48,233 >> WHEN YOU SAY TOP FIVE, TOP 3512 02:29:48,300 --> 02:29:51,233 THREE, JAY IS AT THE TOP OF MOST 3513 02:29:51,300 --> 02:29:53,700 PEOPLE'S LISTS. 3514 02:29:53,766 --> 02:29:55,000 >> CHARISMA, STORYTELLING, 3515 02:29:55,066 --> 02:29:56,333 WORDPLAY, THE ABILITY TO MAKE 3516 02:29:56,400 --> 02:29:57,300 YOU THINK. 3517 02:29:57,366 --> 02:29:59,266 YOU TAKE ALL THOSE THINGS AND 3518 02:29:59,333 --> 02:30:02,200 EXECUTE IT AT THE HIGHEST LEVEL. 3519 02:30:02,266 --> 02:30:04,133 THAT'S JAY. 3520 02:30:04,200 --> 02:30:06,566 >> MAKE SOME NOISE OUT THERE! 3521 02:30:06,633 --> 02:30:07,800 >> WHAT MAKES A RAPPER GREAT IS 3522 02:30:07,866 --> 02:30:09,766 HOW CLOSE HE CAN BRING YOU TO 3523 02:30:09,833 --> 02:30:11,500 HIS EXPERIENCE, LIKE YOU JUST 3524 02:30:11,566 --> 02:30:12,800 CLOSE YOUR EYES AND YOU ARE JUST 3525 02:30:12,866 --> 02:30:13,600 RIGHT THERE. 3526 02:30:13,666 --> 02:30:16,033 >> LET ME TAKE Y'ALL BACK TO THE 3527 02:30:16,100 --> 02:30:16,800 BEGINNING. 3528 02:30:16,866 --> 02:30:18,800 >> I'M A KID FROM MARCY PROJECTS 3529 02:30:18,866 --> 02:30:19,300 IN BROOKLYN. 3530 02:30:19,366 --> 02:30:21,600 ONLY WAY I WAS GOING TO ACHIEVE 3531 02:30:21,666 --> 02:30:23,033 THESE THINGS WAS THROUGH ILLEGAL 3532 02:30:23,100 --> 02:30:24,466 ACTIVITY. 3533 02:30:24,533 --> 02:30:27,166 THERE WAS NO OTHER WAY OUT. 3534 02:30:27,233 --> 02:30:29,333 LUCKILY FOR ME, I HAD A 3535 02:30:29,400 --> 02:30:31,166 GOD-GIVEN TALENT. 3536 02:30:31,233 --> 02:30:32,500 >> PRACTICE, PRACTICE, NEVER 3537 02:30:32,566 --> 02:30:35,100 REENACT THIS, THE THE SIMPLE 3538 02:30:35,166 --> 02:30:38,733 FACT IS, I'M REAL GOOD AT THIS. 3539 02:30:38,800 --> 02:30:39,800 >> SPEAKING ABOUT EMOTIONS AND 3540 02:30:39,866 --> 02:30:40,633 FEELINGS, THAT'S HOW I STARTED 3541 02:30:40,700 --> 02:30:43,800 WRITING MUSIC. 3542 02:30:43,866 --> 02:30:45,566 >> ♪ YOU ALL KNOW ME ♪ 3543 02:30:45,633 --> 02:30:50,866 >> RAP, I USED TO DO IT AS A 3544 02:30:50,933 --> 02:30:51,666 HOBBY, BUT MY MAN INTRODUCED ME 3545 02:30:51,733 --> 02:30:54,000 TO THE WHOLE BUSINESS. 3546 02:30:54,066 --> 02:30:55,733 >> WHEN WE GOT A DEAL IT WAS 3547 02:30:55,800 --> 02:30:57,966 LIKE, WHAT, WE CAN GET PAID FOR 3548 02:30:58,033 --> 02:30:58,800 THIS? 3549 02:30:58,866 --> 02:31:00,366 >> ADD TO THAT FORK IN THE ROAD, 3550 02:31:00,433 --> 02:31:01,566 BE AN ENTERTAINER OR STATE IN 3551 02:31:01,633 --> 02:31:01,966 THE STREET. 3552 02:31:02,033 --> 02:31:03,733 ONCE I TOOK THAT RIGHT TURN TO 3553 02:31:03,800 --> 02:31:05,900 BE AN ENTERTAINER, I NEVER 3554 02:31:05,966 --> 02:31:06,200 LOOKED BACK. 3555 02:31:06,266 --> 02:31:12,166 ♪ ♪ 3556 02:31:12,233 --> 02:31:18,500 >> ENOUGH BAIL MONEY TO FREE, 3557 02:31:18,566 --> 02:31:23,000 THAT, I WANTED TO BE THAT. 3558 02:31:23,066 --> 02:31:24,800 >> IT IS ARGUABLY ONE OF THE 3559 02:31:24,866 --> 02:31:26,766 GREATEST DOCUMENTS ABOUT THE 3560 02:31:26,833 --> 02:31:27,466 HUSTLING LIFE THAT ANY HUMAN 3561 02:31:27,533 --> 02:31:30,133 BEING HAS EVER CREATED. 3562 02:31:30,200 --> 02:31:32,933 >> I'M NOT REALLY WITH THAT MANY 3563 02:31:33,000 --> 02:31:34,033 STREETS RIGHT NOW, WE WENT AND 3564 02:31:34,100 --> 02:31:35,666 MADE OUR OWN COMPANY, 3565 02:31:35,733 --> 02:31:36,100 ROCKEFELLER RECORD. 3566 02:31:36,166 --> 02:31:38,100 WE DON'T DEPEND ON THE INDUSTRY 3567 02:31:38,166 --> 02:31:38,566 FOR NOTHING. 3568 02:31:38,633 --> 02:31:40,133 YOU DON'T PLAY MY STUFF ON THE 3569 02:31:40,200 --> 02:31:43,566 RADIO, IT'S GOING TO BE HEARD. 3570 02:31:43,633 --> 02:31:45,733 >> ♪ IT'S A HARD KNOCK LIFE FOR 3571 02:31:45,800 --> 02:31:45,933 US ♪ 3572 02:31:46,000 --> 02:31:47,300 ♪ IT'S A HARD KNOCK LIFE FOR 3573 02:31:47,366 --> 02:31:49,333 US." 3574 02:31:49,400 --> 02:31:50,800 >> THAT IS TOUGH FOR SOMEONE TO 3575 02:31:50,866 --> 02:31:51,733 SAY YOU ARE WRONG. 3576 02:31:51,800 --> 02:31:53,500 AND I'M GOING TO PROVE THEM 3577 02:31:53,566 --> 02:31:53,700 WRONG. 3578 02:31:53,766 --> 02:31:58,966 ♪ ♪ 3579 02:31:59,033 --> 02:32:00,166 >> I'M NOT GOING TO LIVE. 3580 02:32:00,233 --> 02:32:01,933 WHEN HE DROPPED THAT RECORD, 3581 02:32:02,000 --> 02:32:03,000 THAT'S WHEN THE WORLD HAD TO 3582 02:32:03,066 --> 02:32:05,033 RECOGNIZE WHO HE WAS AND WHAT IT 3583 02:32:05,100 --> 02:32:06,466 WAS ABOUT. 3584 02:32:06,533 --> 02:32:07,500 >> I KNEW THEN THAT EVERYTHING 3585 02:32:07,566 --> 02:32:08,766 HAD CHANGED IN THAT MOMENT. 3586 02:32:08,833 --> 02:32:13,966 ♪ ♪ 3587 02:32:14,033 --> 02:32:15,700 >> MISE SINGLES ARE MORE GEARED 3588 02:32:15,766 --> 02:32:17,966 TOWARD HAVING FUN, DANCING, 3589 02:32:18,033 --> 02:32:19,933 THOSE ARE RECORDS THAT PEOPLE 3590 02:32:20,000 --> 02:32:21,833 ENJOY LISTENING TO WHILE THEY IN 3591 02:32:21,900 --> 02:32:22,166 THE NIGHTCLUB. 3592 02:32:22,233 --> 02:32:27,133 ♪ ♪ 3593 02:32:27,200 --> 02:32:28,600 >> I MOST DEFINITELY HEAR SONGS 3594 02:32:28,666 --> 02:32:33,066 AS A WOMAN AND BE LIKE, OH, YOU, 3595 02:32:33,133 --> 02:32:39,566 BUT I LOVE "BIG PIMPIN'," WHEN 3596 02:32:39,633 --> 02:32:42,800 THAT COMES ON, I'M JUST LIKE, O 3597 02:32:42,866 --> 02:32:42,966 OH. 3598 02:32:43,033 --> 02:32:49,133 ♪ ♪ 3599 02:32:49,200 --> 02:32:51,933 >> SEE YOU START HAVING A 3600 02:32:52,000 --> 02:32:59,533 RELATIONSHIP, "BIG PIMPIN'" 3601 02:32:59,600 --> 02:33:00,033 WOULD BECOME SOUNDCLOUD. 3602 02:33:00,100 --> 02:33:00,466 YOU SEE THE GROWTH. 3603 02:33:00,533 --> 02:33:04,500 ♪ ♪ 3604 02:33:04,566 --> 02:33:06,566 >> "DON'T CRY," THAT'S A SPECIAL 3605 02:33:06,633 --> 02:33:07,766 SONG. 3606 02:33:07,833 --> 02:33:09,500 I FEEL LIKE THAT'S MAN WITH NO 3607 02:33:09,566 --> 02:33:12,566 EMOTIONS USING MUSIC AS A WAY TO 3608 02:33:12,633 --> 02:33:14,133 VENT. 3609 02:33:14,200 --> 02:33:15,666 ♪ I SEE HER WALKING DOWN THE 3610 02:33:15,733 --> 02:33:17,466 AISLE MOMENT BUT I'VE GOT TO LET 3611 02:33:17,533 --> 02:33:23,166 THE SONG CRY ♪ 3612 02:33:23,233 --> 02:33:23,366 ♪ 3613 02:33:23,433 --> 02:33:26,100 >> TELL ME, YOU JUST SAVED MY 3614 02:33:26,166 --> 02:33:26,766 RELATIONSHIP. 3615 02:33:26,833 --> 02:33:32,433 ♪ ♪ 3616 02:33:32,500 --> 02:33:38,833 ♪ H-O-V-A ♪ 3617 02:33:38,900 --> 02:33:41,933 ♪ THAT'S THE END THEM, GET YOUR 3618 02:33:42,000 --> 02:33:42,266 HANDS UP ♪ 3619 02:33:42,333 --> 02:33:44,800 >> SHOW I COULD MATURE, I WAS A 3620 02:33:44,866 --> 02:33:45,533 PRODUCT OF MY ENVIRONMENT, BUT 3621 02:33:45,600 --> 02:33:48,266 AS I GREW AND IT GOT TO SEE 3622 02:33:48,333 --> 02:33:49,466 OTHER THINGS, MY SOPHISTICATION 3623 02:33:49,533 --> 02:33:50,900 LEVEL, IT ROSE. 3624 02:33:50,966 --> 02:33:53,366 ♪ ♪ 3625 02:33:53,433 --> 02:33:57,500 >> YOU KNOW, WHAT JAY DOES WITH 3626 02:33:57,566 --> 02:33:58,666 THE MULTIPLICITY OF CADENCES 3627 02:33:58,733 --> 02:34:00,933 HE'S ABLE TO PUT FOURTH, IT'S 3628 02:34:01,000 --> 02:34:02,133 LIKE A JAZZ MUSICIAN. 3629 02:34:02,200 --> 02:34:04,400 >> I DON'T BELIEVE IN THE LINES 3630 02:34:04,466 --> 02:34:05,600 PEOPLE PUT UP FOR MUSIC. 3631 02:34:05,666 --> 02:34:07,133 I'M REALLY A STUDENT OF MUSIC, 3632 02:34:07,200 --> 02:34:11,800 AND EVERY CHANCE THAT I GET, I 3633 02:34:11,866 --> 02:34:12,766 TRY TO CROSS GENRES. 3634 02:34:12,833 --> 02:34:13,233 ♪ ♪ 3635 02:34:13,300 --> 02:34:14,200 I AM AN ARTIST. 3636 02:34:14,266 --> 02:34:14,966 IT'S MY MUSIC. 3637 02:34:15,033 --> 02:34:17,266 I CAN DO WHAT I WANT WITH IT. 3638 02:34:17,333 --> 02:34:19,533 ♪ ♪ 3639 02:34:19,600 --> 02:34:21,566 THAT'S THE GREAT THING ABOUT 3640 02:34:21,633 --> 02:34:23,133 HIP-HOP, WHEN YOU'RE IN A 3641 02:34:23,200 --> 02:34:24,533 POSITION TO STRETCH THE GENRE, 3642 02:34:24,600 --> 02:34:26,566 YOU HAVE TO DO IT. 3643 02:34:26,633 --> 02:34:28,866 >> HE ACTUALLY BRINGS ANOTHER 3644 02:34:28,933 --> 02:34:30,266 SET OUT OF THE PRODUCERS. 3645 02:34:30,333 --> 02:34:32,966 HE WASN'T AFRAID TO TRY NEW 3646 02:34:33,033 --> 02:34:33,400 SOUNDS. 3647 02:34:33,466 --> 02:34:46,533 ♪ ♪ 3648 02:34:46,600 --> 02:34:47,833 >> IN HIP-HOP, WE USE OUR VOICE 3649 02:34:47,900 --> 02:34:51,233 AS OUR MAIN INSTRUMENT. 3650 02:34:51,300 --> 02:34:53,366 YOU FOUND A PLACE IN THAT TRACK 3651 02:34:53,433 --> 02:34:56,833 TO TOKEN, AND YOU JUST DON'T 3652 02:34:56,900 --> 02:34:57,600 DISTURB THE GROUP WHERE IT'S 3653 02:34:57,666 --> 02:35:01,200 JUST SMOOTH AND IT JUST FLOWS. 3654 02:35:01,266 --> 02:35:02,166 >> 94 AND THE TRUNK IS WRONG, IN 3655 02:35:02,233 --> 02:35:05,333 MY REARVIEW MIRROR IS THE 3656 02:35:05,400 --> 02:35:07,366 MOTHERFUCKING LAW, GOT TWO 3657 02:35:07,433 --> 02:35:10,700 CHALLENGES, PUT THE PEDAL TO THE 3658 02:35:10,766 --> 02:35:10,933 FLOOR. 3659 02:35:11,000 --> 02:35:13,800 PLUS I GOT A FEW DOLLARS. 3660 02:35:13,866 --> 02:35:15,566 >> I DON'T KNOW IF YOU EVER 3661 02:35:15,633 --> 02:35:16,800 DOUBT IT, LIKE CLIMBING A 3662 02:35:16,866 --> 02:35:18,000 MOUNTAIN AND YOU SEE ANOTHER 3663 02:35:18,066 --> 02:35:19,666 MOUNTAIN AND YOU GO TO THE NEXT 3664 02:35:19,733 --> 02:35:23,800 ONE AND THE NEXT ONE. 3665 02:35:23,866 --> 02:35:28,500 >> ♪ 99 PROBLEMS BUT IT'S BEEN 3666 02:35:28,566 --> 02:35:30,433 241." 3667 02:35:30,500 --> 02:35:37,400 >THAT TYPE OF RUN IS LIKE ALIEN 3668 02:35:37,466 --> 02:35:37,633 STATUS. 3669 02:35:37,700 --> 02:35:44,966 YOU'VE GOT TO BE A JEDI. 3670 02:35:45,033 --> 02:35:49,666 >> ♪ ALLOW ME TO INTRODUCE 3671 02:35:49,733 --> 02:35:53,600 MYSELF ♪ 3672 02:35:53,666 --> 02:35:59,433 ♪ MY NAME IS H TO THE O-V A ♪ 3673 02:35:59,500 --> 02:36:01,066 >> YOU KNOW, JAY ALWAYS SHOWED A 3674 02:36:01,133 --> 02:36:03,366 SPEAKS OF HIS PERSONAL STORY, 3675 02:36:03,433 --> 02:36:06,466 BUT I THINK WITH "4:44," THIS IS 3676 02:36:06,533 --> 02:36:07,833 WHERE YOU SEEM COMPLETELY 3677 02:36:07,900 --> 02:36:08,133 VULNERABLE. 3678 02:36:08,200 --> 02:36:09,633 HE TOOK THE CAPE OF. 3679 02:36:09,700 --> 02:36:10,933 >> IF YOU WOULD HAVE TOLD ME 20 3680 02:36:11,000 --> 02:36:12,966 YEARS AGO THAT MY LIFE WOULD BE 3681 02:36:13,033 --> 02:36:14,200 LIKE THIS, I'M NOT SURE I WOULD 3682 02:36:14,266 --> 02:36:17,333 HAVE BELIEVED YOU. 3683 02:36:17,400 --> 02:36:19,633 >> THEY ARE NOT GOING TO STOP US 3684 02:36:19,700 --> 02:36:19,833 EVER! 3685 02:36:19,900 --> 02:36:25,400 ♪ ♪ 3686 02:36:25,466 --> 02:36:26,700 >> AS YOU GREW, WE GREW. 3687 02:36:26,766 --> 02:36:28,000 EACH STEP YOU TAKE, THE STREETS 3688 02:36:28,066 --> 02:36:29,733 TAKE IT WITH YOU. 3689 02:36:29,800 --> 02:36:30,800 YOU'VE GOT NOTHING BUT LOVE OUT 3690 02:36:30,866 --> 02:36:32,200 HERE. 3691 02:36:32,266 --> 02:36:33,966 >> THANK YOU, I APPRECIATE IT, 3692 02:36:34,033 --> 02:36:34,133 BRO. 3693 02:36:34,200 --> 02:36:37,566 ♪ ♪ 3694 02:36:37,633 --> 02:36:38,700 >> HISTORY IT SHALL RECORD YOUR 3695 02:36:38,766 --> 02:36:39,466 GREATNESS. 3696 02:36:39,533 --> 02:36:41,100 >> YOU'LL LEAVE YOUR NAME HERE, 3697 02:36:41,166 --> 02:36:42,633 LONG AFTER YOU ARE GONE, THEY 3698 02:36:42,700 --> 02:36:44,500 ARE LOOKING AT YOUR NAME, THIS 3699 02:36:44,566 --> 02:36:46,100 GUY STOOD FOR THAT, HE MEANT 3700 02:36:46,166 --> 02:36:47,633 THAT TO US AND HE DID THIS TO 3701 02:36:47,700 --> 02:36:48,066 US. 3702 02:36:48,133 --> 02:36:49,566 I WOULD LOVE TO AFFECT CULTURE 3703 02:36:49,633 --> 02:36:52,300 IN SUCH A WAY THAT YOU WILL 3704 02:36:52,366 --> 02:36:53,200 REMEMBER IT LIKE THAT. 3705 02:36:53,266 --> 02:36:57,666 ♪ ♪ 3706 02:36:57,733 --> 02:37:00,000 [CHEERS AND APPLAUSE] 3707 02:37:00,066 --> 02:37:05,100 >> IT IS MY HONOR TO WELCOME TO 3708 02:37:05,166 --> 02:37:09,266 THE ROCK ROCK & ROLL 3709 02:37:09,333 --> 02:37:11,666 HALL OF FAME JAY-Z. 3710 02:37:11,733 --> 02:37:24,800 ♪ ♪ 3711 02:37:24,866 --> 02:37:28,000 >> WOW, WOW. 3712 02:37:28,066 --> 02:37:28,866 TRYING TO MAKE ME CRY IN FRONT 3713 02:37:28,933 --> 02:37:33,166 OF ALL OF THESE WHITE PEOPLE. 3714 02:37:33,233 --> 02:37:36,800 [LAUGHTER] 3715 02:37:36,866 --> 02:37:38,733 >> WE LOVE YOU! 3716 02:37:38,800 --> 02:37:39,633 >> I FEEL SO HONORED TO BE 3717 02:37:39,700 --> 02:37:41,033 CELEBRATED IN SUCH A WAY. 3718 02:37:41,100 --> 02:37:41,966 THANK YOU, ROCK & ROLL HALL 3719 02:37:42,033 --> 02:37:42,900 OF FAME, FOR THIS INCREDIBLE 3720 02:37:42,966 --> 02:37:43,700 HONOR. 3721 02:37:43,766 --> 02:37:44,633 AND YOU KNOW, GROWING UP, 3722 02:37:44,700 --> 02:37:47,566 WE DIDN'T THINK WE COULD BE 3723 02:37:47,633 --> 02:37:48,166 INDUCTED INTO THE ROCK & ROLL 3724 02:37:48,233 --> 02:37:48,766 HALL OF FAME. 3725 02:37:48,833 --> 02:37:49,400 WE WERE TOLD THAT HIP-HOP 3726 02:37:49,466 --> 02:37:53,466 WAS A FAD. 3727 02:37:53,533 --> 02:37:55,633 MUCH LIKE PUNK ROCK, IT GAVE US 3728 02:37:55,700 --> 02:37:57,166 THIS ANTICULTURE, THIS SUBGENRE, 3729 02:37:57,233 --> 02:37:59,633 AND THERE WERE HEROES IN IT. 3730 02:37:59,700 --> 02:38:00,933 WHEN THINKING ABOUT WHAT I WAS 3731 02:38:01,000 --> 02:38:02,466 GOING TO SAY TONIGHT, THESE 3732 02:38:02,533 --> 02:38:06,033 HEROES JUST KEPT COMING TO MY 3733 02:38:06,100 --> 02:38:10,833 MIND, RAKIM AND BIG DADDY KANE 3734 02:38:10,900 --> 02:38:12,933 AND KRS-ONE AND CHUCK D, AND, 3735 02:38:13,000 --> 02:38:16,000 OF COURSE, A FELLOW INDUCTEE, 3736 02:38:16,066 --> 02:38:21,866 LL COOL J. 3737 02:38:21,933 --> 02:38:24,666 I WATCH THESE GUYS, AND THEY 3738 02:38:24,733 --> 02:38:27,033 HAVE BIG CHAINS AND LEATHER 3739 02:38:27,100 --> 02:38:30,266 AND SOMETIMES EVEN THE RED, 3740 02:38:30,333 --> 02:38:31,166 BLACK, GREEN MEDALLIONS, AND 3741 02:38:31,233 --> 02:38:31,900 WHATEVER THEY WORE, EVERYBODY 3742 02:38:31,966 --> 02:38:33,233 WOULD WEAR THE NEXT DAY. 3743 02:38:33,300 --> 02:38:34,333 I WAS LIKE, "THAT'S WHAT I WANT 3744 02:38:34,400 --> 02:38:34,666 TO DO. 3745 02:38:34,733 --> 02:38:38,366 I WANT TO BE LIKE THOSE GUYS." 3746 02:38:38,433 --> 02:38:43,766 AND SO I SET OUT ON MY JOURNEY. 3747 02:38:43,833 --> 02:38:47,600 I WAS WRITING AT MY TABLE. 3748 02:38:47,666 --> 02:38:48,933 SHOUT OUT TO DR. GLORIA CARTER 3749 02:38:49,000 --> 02:38:50,200 IN THE HOUSE, SHE BOUGHT ME A 3750 02:38:50,266 --> 02:38:53,066 GREEN NOTEBOOK. 3751 02:38:53,133 --> 02:38:56,600 MY SISTER, ANNIE, RIGHT THERE, 3752 02:38:56,666 --> 02:38:57,900 SHE TOLD ME TO SAY THAT SHE 3753 02:38:57,966 --> 02:38:58,800 WROTE MY FIRST RAP, BUT I 3754 02:38:58,866 --> 02:39:04,933 ACTUALLY WROTE HER FIRST RAP. 3755 02:39:05,000 --> 02:39:05,933 [LAUGHTER] 3756 02:39:06,000 --> 02:39:07,266 WE NAMED IT "SUGARLOAF." 3757 02:39:07,333 --> 02:39:08,033 SHE HAS A REALLY NICE HAT ON 3758 02:39:08,100 --> 02:39:13,600 TONIGHT AND I WANT EVERYONE 3759 02:39:13,666 --> 02:39:18,300 TO ACKNOWLEDGE HER HAT. 3760 02:39:18,366 --> 02:39:19,200 [CHEERS AND APPLAUSE] 3761 02:39:19,266 --> 02:39:19,966 NOW BACK TO ROCK 'N' ROLL. 3762 02:39:20,033 --> 02:39:20,633 AND I WOULD SIT AT THE TABLE AND 3763 02:39:20,700 --> 02:39:21,500 WRITE ALL THESE RAPS AND THEN I 3764 02:39:21,566 --> 02:39:22,433 WOULD GO OUT IN THE STREET AND I 3765 02:39:22,500 --> 02:39:25,266 WOULD TRY THESE RAPS OUT, HAVE 3766 02:39:25,333 --> 02:39:27,400 LITTLE BATTLES IN THE STREET AND 3767 02:39:27,466 --> 02:39:28,166 I WOULD GO TO TY TY AND BE LIKE, 3768 02:39:28,233 --> 02:39:29,333 "YO, I'M THE BEST, I'M TELLING 3769 02:39:29,400 --> 02:39:32,900 YOU. 3770 02:39:32,966 --> 02:39:34,133 I'M THE GREATEST. 3771 02:39:34,200 --> 02:39:36,000 WELL, ONE OF THE GREATEST, 3772 02:39:36,066 --> 02:39:38,033 I DON'T WANT NO PROBLEMS. 3773 02:39:38,100 --> 02:39:38,733 ONE OF THE GREATEST, ONE OF THE 3774 02:39:38,800 --> 02:39:39,233 GREATEST." 3775 02:39:39,300 --> 02:39:39,966 AND I'D GO TO TY TY AND SAY, 3776 02:39:40,033 --> 02:39:41,133 "YO, I'M THE GREATEST." 3777 02:39:41,200 --> 02:39:41,800 AND TY TY WOULD BE LIKE, "YEAH, 3778 02:39:41,866 --> 02:39:44,866 YOU ARE THE GREATEST." 3779 02:39:44,933 --> 02:39:46,833 I LOOK BACK AT SOME OF THOSE 3780 02:39:46,900 --> 02:39:50,433 RAPS AND IT WAS LIKE... 3781 02:39:50,500 --> 02:39:53,533 IT WAS TRASH. 3782 02:39:53,600 --> 02:39:56,600 BUT SOMEHOW WE KNEW. 3783 02:39:56,666 --> 02:39:59,500 AND THEN I WENT AND RECORDED A 3784 02:39:59,566 --> 02:40:01,100 DEMO WITH -- SHOUTOUT TO 3785 02:40:01,166 --> 02:40:02,800 CLARK KENT, BROOKLYN DJ, 3786 02:40:02,866 --> 02:40:06,300 LEGENDARY CLARK KENT -- AND I 3787 02:40:06,366 --> 02:40:07,833 RECORDED A DEMO AND I WENT TO 3788 02:40:07,900 --> 02:40:08,433 EVERY SINGLE RECORD COMPANY. 3789 02:40:08,500 --> 02:40:09,066 AND YOU KNOW WHAT THEY SAY, 3790 02:40:09,133 --> 02:40:12,166 RIGHT? 3791 02:40:12,233 --> 02:40:15,400 "THAT SHIT IS TRASH." 3792 02:40:15,466 --> 02:40:16,233 BUT THE AUDACITY OF HIP-HOP, 3793 02:40:16,300 --> 02:40:17,866 WE DIDN'T BELIEVE THEM. 3794 02:40:17,933 --> 02:40:18,933 I FOR NOT ONE SECOND 3795 02:40:19,000 --> 02:40:22,833 GOT DEPRESSED. 3796 02:40:22,900 --> 02:40:24,400 FOR ONE SECOND, I DIDN'T CHANGE 3797 02:40:24,466 --> 02:40:26,533 MY COURSE. 3798 02:40:26,600 --> 02:40:27,333 IT WAS LIKE, "WE'RE GOING TO 3799 02:40:27,400 --> 02:40:30,633 CREATE OUR OWN COMPANY." 3800 02:40:30,700 --> 02:40:30,900 YOU KNOW? 3801 02:40:30,966 --> 02:40:34,100 THAT'S HIP-HOP. 3802 02:40:34,166 --> 02:40:44,433 SO WE MADE AN ALBUM. 3803 02:40:44,500 --> 02:40:46,300 AND WE CAME OUT AND WE SOLD 3804 02:40:46,366 --> 02:40:48,100 ABOUT -- NO COPIES, BUT WE 3805 02:40:48,166 --> 02:40:49,066 THOUGHT WE MADE THE GREATEST 3806 02:40:49,133 --> 02:40:50,633 THING OF ALL TIME. 3807 02:40:50,700 --> 02:40:51,233 I ACTUALLY REMEMBER AT A SOUL 3808 02:40:51,300 --> 02:40:51,933 TRAIN PARTY, I RUN INTO LL -- 3809 02:40:52,000 --> 02:40:53,433 YOU KNOW LL SAYS "BANANAS" 3810 02:40:53,500 --> 02:40:54,433 A LOT. 3811 02:40:54,500 --> 02:40:59,766 HE SAID, "YO, ‘CAN I LIVE,' 3812 02:40:59,833 --> 02:41:00,566 THAT'S JUST BANANAS, B." 3813 02:41:00,633 --> 02:41:01,066 I WAS LIKE, "WOW. 3814 02:41:01,133 --> 02:41:01,933 LIKE, YOU KNOW, ONE OF MY HEROES 3815 02:41:02,000 --> 02:41:02,533 IS LIKE REPEATING THIS THING 3816 02:41:02,600 --> 02:41:02,733 BACK." 3817 02:41:02,800 --> 02:41:03,366 SO I KNEW I WAS 3818 02:41:03,433 --> 02:41:03,900 ON THE RIGHT TRACK. 3819 02:41:03,966 --> 02:41:04,733 AND THEN WE DROPPED THE SECOND 3820 02:41:04,800 --> 02:41:05,366 ALBUM. 3821 02:41:05,433 --> 02:41:14,066 OOPS. 3822 02:41:14,133 --> 02:41:15,266 I GOT TOO AMBITIOUS AND I WAS 3823 02:41:15,333 --> 02:41:16,466 DOING SOME THINGS THAT I 3824 02:41:16,533 --> 02:41:17,066 SHOULDN'T HAVE BEEN DOING. 3825 02:41:17,133 --> 02:41:17,666 AND AGAIN, THOSE HEROES HELPED 3826 02:41:17,733 --> 02:41:21,066 ME AGAIN. 3827 02:41:21,133 --> 02:41:21,833 I THOUGHT BACK TO, YOU KNOW, 3828 02:41:21,900 --> 02:41:22,800 WHAT MADE THEM SO GREAT. 3829 02:41:22,866 --> 02:41:23,466 AND WHAT MADE THEM GREAT IS THEY 3830 02:41:23,533 --> 02:41:24,100 WAS A HUNDRED PERCENT AUTHENTIC 3831 02:41:24,166 --> 02:41:27,233 TO WHO THEY WERE. 3832 02:41:27,300 --> 02:41:29,200 LL, HE OPENED UP THE DOORS FOR 3833 02:41:29,266 --> 02:41:32,366 US TO BE VULNERABLE. 3834 02:41:32,433 --> 02:41:37,033 ♪ WHEN I'M ALONE IN MY ROOM ♪ ♪ 3835 02:41:37,100 --> 02:41:37,700 HE GAVE US 3836 02:41:37,766 --> 02:41:38,233 EMOTIONAL INTELLIGENCE. 3837 02:41:38,300 --> 02:41:38,766 AND THEN KRS-ONE, HE WAS A 3838 02:41:38,833 --> 02:41:42,166 TEACHER. 3839 02:41:42,233 --> 02:41:43,000 AND AT THE TIME, IT WASN'T EVEN 3840 02:41:43,066 --> 02:41:43,866 COOL TO BE SMART. 3841 02:41:43,933 --> 02:41:46,966 LIKE, IF YOU HAD A BOOK, THEY'D 3842 02:41:47,033 --> 02:41:47,900 BE LIKE, "LOOK AT THIS NIGGA 3843 02:41:47,966 --> 02:41:48,766 WITH A BOOK!" 3844 02:41:48,833 --> 02:41:50,000 HE MADE IT COOL FOR US TO HAVE 3845 02:41:50,066 --> 02:41:53,433 BOOKS AND BE SMART. 3846 02:41:53,500 --> 02:41:54,100 RAKIM GAVE US KNOWLEDGE 3847 02:41:54,166 --> 02:41:54,666 ITSELF. 3848 02:41:54,733 --> 02:41:55,666 HE HAD A BIG VAST VOCABULARY 3849 02:41:55,733 --> 02:41:56,133 AND NEVER CURSED. 3850 02:41:56,200 --> 02:41:56,766 SO I WAS LIKE, "HOW IS HE SAYING 3851 02:41:56,833 --> 02:41:59,666 ALL THIS RAD SHIT WITHOUT 3852 02:41:59,733 --> 02:42:02,366 CURSING?" 3853 02:42:02,433 --> 02:42:04,033 AND CHUCK D, HE GAVE US SOCIAL 3854 02:42:04,100 --> 02:42:05,666 COMMENTARY. 3855 02:42:05,733 --> 02:42:07,800 AND THAT SHIT WAS SLAPPED. 3856 02:42:07,866 --> 02:42:08,700 ALL THE SONGS WERE AMAZING. 3857 02:42:08,766 --> 02:42:12,700 LIKE SLAPPERS. 3858 02:42:12,766 --> 02:42:14,166 AND BIG DADDY KANE, HE WAS JUST 3859 02:42:14,233 --> 02:42:14,766 LIKE A BLACK EXPLOITATION FILM 3860 02:42:14,833 --> 02:42:24,000 WALKING. 3861 02:42:24,066 --> 02:42:25,166 IT WAS LIKE THE BLACKEST PERSON 3862 02:42:25,233 --> 02:42:28,233 OF ALL TIME. 3863 02:42:28,300 --> 02:42:29,766 SO I WAS LIKE, "OH, I GOT IT. 3864 02:42:29,833 --> 02:42:31,033 I GOT TO BE A HUNDRED PERCENT 3865 02:42:31,100 --> 02:42:36,133 AUTHENTICALLY MYSELF." 3866 02:42:36,200 --> 02:42:37,466 THAT SET THE COURSE OF WHAT I 3867 02:42:37,533 --> 02:42:39,800 WOULD DO FOR THE REST OF MY 3868 02:42:39,866 --> 02:42:40,233 CAREER. 3869 02:42:40,300 --> 02:42:46,133 THEN THE NEXT ALBUM CAME, '99, 3870 02:42:46,200 --> 02:42:48,300 2000, 2001, BEAUTIFUL 3871 02:42:48,366 --> 02:42:51,233 ACCOMPLISHMENTS. 3872 02:42:51,300 --> 02:42:52,766 AND THEN I GOT A PHONE CALL. 3873 02:42:52,833 --> 02:42:55,266 IT WAS LIKE, HELLO KRISTA MIKE 3874 02:42:55,333 --> 02:42:59,933 JAY, IT'S YOUR MAMA. 3875 02:43:00,000 --> 02:43:03,533 I'VE GOT TO WORK MY MAMA ACCENT. 3876 02:43:03,600 --> 02:43:09,833 AND HE CALLED ME -- OBAMA ACCEN 3877 02:43:09,900 --> 02:43:10,066 ACCENT. 3878 02:43:10,133 --> 02:43:10,666 AND HE CALLED ME AND HE SAID, 3879 02:43:10,733 --> 02:43:11,233 "YOU KNOW, IT'S THE FOURTH 3880 02:43:11,300 --> 02:43:11,700 QUARTER. 3881 02:43:11,766 --> 02:43:12,433 WE'RE DOWN TWO. 3882 02:43:12,500 --> 02:43:13,233 I NEED YOU TO ASSIST ME, GIVE ME 3883 02:43:13,300 --> 02:43:13,866 THE BALL, I'M MICHAEL JORDAN AND 3884 02:43:13,933 --> 02:43:14,700 I'LL GET THIS DONE. 3885 02:43:14,766 --> 02:43:15,700 I NEED YOU TO GO TO MIAMI, 3886 02:43:15,766 --> 02:43:24,766 PHILLY, ATLANTA, AND OHIO. 3887 02:43:24,833 --> 02:43:29,766 AND I THOUGHT LIKE, "MAN, 3888 02:43:29,833 --> 02:43:30,533 HIP-HOP WAS REALLY AN AGENT FOR 3889 02:43:30,600 --> 02:43:31,200 CHANGE AND HOW AMAZING IS ITS 3890 02:43:31,266 --> 02:43:34,733 REACH THAT THIS MAN IS CALLING 3891 02:43:34,800 --> 02:43:40,900 ME TO HELP OUT WITH A 3892 02:43:40,966 --> 02:43:41,433 I'M LYING. 3893 02:43:41,500 --> 02:43:42,400 I DIDN'T THINK THAT. 3894 02:43:42,466 --> 02:43:42,666 I THOUGHT 3895 02:43:42,733 --> 02:43:43,633 I THOUGHT, "NIGGA, 3896 02:43:43,700 --> 02:43:44,400 I'M MICHAEL JORDAN." 3897 02:43:44,466 --> 02:43:45,466 THAT'S WHAT I REALLY THOUGHT. 3898 02:43:45,533 --> 02:43:46,200 BUT I MET HIM IN OHIO 3899 02:43:46,266 --> 02:43:47,033 AND WE WON. 3900 02:43:47,100 --> 02:43:54,600 WE GOT IT DONE HERE IN OHIO. 3901 02:43:54,666 --> 02:43:55,866 THAT JUST SHOWS ME THE POWER OF 3902 02:43:55,933 --> 02:43:56,533 HIP-HOP, THE POWER OF THESE 3903 02:43:56,600 --> 02:43:57,300 HEROES WHO LET ME KNOW THAT 3904 02:43:57,366 --> 02:44:03,666 THESE THINGS ARE POSSIBLE. 3905 02:44:03,733 --> 02:44:05,300 WE ARE GOING TO ENJOY TONIGHT. 3906 02:44:05,366 --> 02:44:05,933 I APPRECIATE THIS HONOR. 3907 02:44:06,000 --> 02:44:09,300 SORRY FOR THIS LONG-ASS SPEECH. 3908 02:44:09,366 --> 02:44:13,100 BUT I HAD TO GET IT ALL. 3909 02:44:13,166 --> 02:44:19,533 WE DID IT, BROOKLYN! 3910 02:44:19,600 --> 02:44:24,066 ♪ ♪ 3911 02:44:24,133 --> 02:44:26,533 >> TO INDUCT FOO FIGHTERS, PAUL 3912 02:44:26,600 --> 02:44:32,066 McCARTNEY. 3913 02:44:32,133 --> 02:44:35,633 >> HELLO, HELLO, HELLO. 3914 02:44:35,700 --> 02:44:38,166 CLEVELAND, OHIO. 3915 02:44:38,233 --> 02:44:40,500 YEAH. 3916 02:44:40,566 --> 02:44:41,166 WOW. 3917 02:44:41,233 --> 02:44:45,333 HOW COOL IS THIS SHOW? 3918 02:44:45,400 --> 02:44:45,800 [CHEERS AND APPLAUSE] 3919 02:44:45,866 --> 02:44:49,900 EXCELLENT, EXCELLENT. 3920 02:44:49,966 --> 02:44:53,866 SO ME, A TEENAGE KID, IN 3921 02:44:53,933 --> 02:44:54,133 LIVERPOOL, 3922 02:44:54,200 --> 02:44:54,933 JUST AN ORDINARY KID 3923 02:44:55,000 --> 02:44:55,900 GOING TO SCHOOL LIKE EVERYBODY 3924 02:44:55,966 --> 02:44:57,600 ELSE, AND THEN ONE DAY, I HEARD 3925 02:44:57,666 --> 02:45:03,300 SOME MUSIC, AND I FELL INTO 3926 02:45:03,366 --> 02:45:07,500 ROCK 'N' ROLL. 3927 02:45:07,566 --> 02:45:09,233 SUDDENLY, THE WORLD CHANGED, 3928 02:45:09,300 --> 02:45:10,633 AND I JUST FELL, LIKE, THROUGH 3929 02:45:10,700 --> 02:45:11,533 A HOLE IN TIME. 3930 02:45:11,600 --> 02:45:15,566 AND SUDDENLY, I WAS IN 3931 02:45:15,633 --> 02:45:18,833 ROCK 'N' ROLL. 3932 02:45:18,900 --> 02:45:19,966 BY THE SAME TIME IN HIS LIFE, 3933 02:45:20,033 --> 02:45:25,366 DAVE DID THE SAME KIND OF THING. 3934 02:45:25,433 --> 02:45:31,033 [CHEERS AND APPLAUSE] 3935 02:45:31,100 --> 02:45:32,133 HE'S IN ROCK 'N' ROLL AND IT'S 3936 02:45:32,200 --> 02:45:32,766 GONNA BE HIS LIFE. 3937 02:45:32,833 --> 02:45:33,933 IT'S GONNA TAKE OVER EVERYTHING. 3938 02:45:34,000 --> 02:45:34,566 IT'S SO MAGICAL. 3939 02:45:34,633 --> 02:45:35,333 EVERYONE WHO KNOWS, EVERYONE 3940 02:45:35,400 --> 02:45:36,000 WHO'S CONNECTED WITH IT, 3941 02:45:36,066 --> 02:45:38,800 EVERYONE WHO LOVES 3942 02:45:38,866 --> 02:45:39,333 ROCK 'N' ROLL. 3943 02:45:39,400 --> 02:45:43,733 IT REALLY IS A MAGICAL THING 3944 02:45:43,800 --> 02:45:46,300 THAT CONTAINS SO MANY ELEMENTS, 3945 02:45:46,366 --> 02:45:47,000 LIKE ALL OF THE PEOPLE 3946 02:45:47,066 --> 02:45:49,166 WE'VE HEARD TONIGHT. 3947 02:45:49,233 --> 02:45:53,233 I MEAN, IT'S JUST UNBELIEVABLE. 3948 02:45:53,300 --> 02:45:56,433 SO WHEN THAT HAPPENED, AND I 3949 02:45:56,500 --> 02:45:57,200 FELL INTO ROCK 'N' ROLL, I 3950 02:45:57,266 --> 02:45:58,533 JOINED A GROUP. 3951 02:45:58,600 --> 02:46:03,033 MY GROUP WAS THE BEATLES. 3952 02:46:03,100 --> 02:46:05,766 [CHEERS AND APPLAUSE] 3953 02:46:05,833 --> 02:46:06,633 DAVE DID A SIMILAR KIND OF 3954 02:46:06,700 --> 02:46:09,266 THING. 3955 02:46:09,333 --> 02:46:14,066 HE JOINED A GROUP, NIRVANA. 3956 02:46:14,133 --> 02:46:15,100 [CHEERS AND APPLAUSE] 3957 02:46:15,166 --> 02:46:18,866 WE HAD A GREAT TIME WITH OUR 3958 02:46:18,933 --> 02:46:20,433 GROUPS, BUT THEN EVENTUALLY 3959 02:46:20,500 --> 02:46:21,466 TRAGEDY HAPPENED AND MY GROUP 3960 02:46:21,533 --> 02:46:24,566 BROKE UP. 3961 02:46:24,633 --> 02:46:27,866 SAME HAPPENED WITH DAVE. 3962 02:46:27,933 --> 02:46:29,000 HIS GROUP BROKE UP UNDER TRAGIC 3963 02:46:29,066 --> 02:46:34,033 CIRCUMSTANCES. 3964 02:46:34,100 --> 02:46:35,766 SO THEN THE QUESTION IS, WHAT DO 3965 02:46:35,833 --> 02:46:36,566 YOU DO NOW? 3966 02:46:36,633 --> 02:46:37,700 IN MY CASE, I SAID, "WELL, I'LL 3967 02:46:37,766 --> 02:46:39,233 MAKE AN ALBUM WHERE I PLAY ALL 3968 02:46:39,300 --> 02:46:44,366 THE INSTRUMENTS MYSELF." 3969 02:46:44,433 --> 02:46:45,200 DAVE'S GROUP BROKE UP, 3970 02:46:45,266 --> 02:46:47,366 WHAT'S HE DO? 3971 02:46:47,433 --> 02:46:48,800 HE MAKES AN ALBUM WHERE HE PLAYS 3972 02:46:48,866 --> 02:46:53,166 ALL THE INSTRUMENTS HIMSELF. 3973 02:46:53,233 --> 02:46:53,633 [CHEERS AND APPLAUSE] 3974 02:46:53,700 --> 02:46:57,200 DO YOU THINK THIS GUY'S 3975 02:46:57,266 --> 02:47:00,966 STALKING ME? 3976 02:47:01,033 --> 02:47:02,266 ANYWAY, ME, I'M GONNA NAME 3977 02:47:02,333 --> 02:47:02,866 MY NEW GROUP, AND I CALL THEM 3978 02:47:02,933 --> 02:47:07,700 WINGS. 3979 02:47:07,766 --> 02:47:09,133 [CHEERS AND APPLAUSE] 3980 02:47:09,200 --> 02:47:09,333 YEAH. 3981 02:47:09,400 --> 02:47:11,400 DAVE'S GOT THE SAME PROBLEM, 3982 02:47:11,466 --> 02:47:13,066 AND HE'S GOT TO THINK OF A NAME 3983 02:47:13,133 --> 02:47:14,633 FOR THE GROUP, SO HE COMES UP 3984 02:47:14,700 --> 02:47:19,733 WITH "FOO FIGHTERS." 3985 02:47:19,800 --> 02:47:23,433 [CHEERS AND APPLAUSE] 3986 02:47:23,500 --> 02:47:24,133 I WAS JUST SAYING TO THEM IN THE 3987 02:47:24,200 --> 02:47:25,166 DRESSING ROOM, 3988 02:47:25,233 --> 02:47:26,100 "GUYS, THIS IS IT. 3989 02:47:26,166 --> 02:47:28,033 YOU'RE HERE IN CLEVELAND, 3990 02:47:28,100 --> 02:47:32,300 AND TONIGHT, YOU'RE GONNA BE 3991 02:47:32,366 --> 02:47:33,000 INDUCTED INTO THE ROCK & ROLL 3992 02:47:33,066 --> 02:47:33,566 HALL OF FAME." 3993 02:47:33,633 --> 02:47:34,200 I MEAN, IT'S NOT JUST ANY HALL 3994 02:47:34,266 --> 02:47:39,666 OF FAME. 3995 02:47:39,733 --> 02:47:40,866 IT'S THE FUCKING ROCK & ROLL 3996 02:47:40,933 --> 02:47:45,133 HALL OF FAME. 3997 02:47:45,200 --> 02:47:45,600 [CHEERS AND APPLAUSE] 3998 02:47:45,666 --> 02:47:51,833 COME ON. 3999 02:47:51,900 --> 02:47:54,466 THIS BAND IS ONE OF THE GREATEST 4000 02:47:54,533 --> 02:47:55,033 ROCK 'N' ROLL BANDS IN THE 4001 02:47:55,100 --> 02:47:58,733 WORLD. 4002 02:47:58,800 --> 02:47:59,333 OKAY, LET'S ROCK AND ROLL THE 4003 02:47:59,400 --> 02:48:02,733 FILM. 4004 02:48:02,800 --> 02:48:04,166 >> THERE WERE SOME PEOPLE WHO 4005 02:48:04,233 --> 02:48:05,000 RESENTED ME FOR STARTING THIS 4006 02:48:05,066 --> 02:48:05,466 BAND. 4007 02:48:05,533 --> 02:48:07,366 HOW DARE YOU START ANOTHER BAND? 4008 02:48:07,433 --> 02:48:08,600 THEY ASKED, LIKE, WHY DID YOU 4009 02:48:08,666 --> 02:48:11,066 DECIDE TO CARRY ON AND MAKE 4010 02:48:11,133 --> 02:48:12,200 MUSIC THAT SOUNDS LIKE NIRVANA? 4011 02:48:12,266 --> 02:48:13,366 AND I SAID, BECAUSE THAT'S WHAT 4012 02:48:13,433 --> 02:48:13,900 I DO. 4013 02:48:13,966 --> 02:48:15,000 I WAS IN THAT BAND. 4014 02:48:15,066 --> 02:48:17,066 THAT'S WHAT I DO. 4015 02:48:17,133 --> 02:48:19,500 WHAT DO YOU WANT ME TO DO, MAKE 4016 02:48:19,566 --> 02:48:25,200 A FUCKING REGGAE RECORD? 4017 02:48:25,266 --> 02:48:26,733 WHEN WE FIRST STARTED THIS BAND, 4018 02:48:26,800 --> 02:48:28,833 PAT AND I HAD BEEN PLAYING A 4019 02:48:28,900 --> 02:48:29,900 NIRVANA, AND WHEN KURT PASSED 4020 02:48:29,966 --> 02:48:31,500 AWAY, NO ONE COULD IMAGINE 4021 02:48:31,566 --> 02:48:33,400 PLAYING MUSIC EVER AGAIN, THEN I 4022 02:48:33,466 --> 02:48:34,966 REALIZED, THERE IS HEALING AND 4023 02:48:35,033 --> 02:48:35,766 MUSIC, MAYBE THAT IS WHAT IS 4024 02:48:35,833 --> 02:48:37,566 GOING TO MAKE ME FEEL BETTER. 4025 02:48:37,633 --> 02:48:39,966 I DECIDED I WAS GOING TO TAKE MY 4026 02:48:40,033 --> 02:48:41,500 FAVORITE SONGS THAT I HAD 4027 02:48:41,566 --> 02:48:42,900 WRITTEN OVER THE LAST FOUR OR 4028 02:48:42,966 --> 02:48:45,866 FIVE YEARS AND RECORD THEM IN A 4029 02:48:45,933 --> 02:48:48,233 STUDIO DOWN THE STREET FROM MY 4030 02:48:48,300 --> 02:48:55,066 HOUSE. 4031 02:48:55,133 --> 02:48:55,633 PLAYED THE DRUMS FIRST, PLAY 4032 02:48:55,700 --> 02:48:56,266 GUITAR OVER IT, ANOTHER GUITAR, 4033 02:48:56,333 --> 02:48:56,900 PLAY BASS OVER IT, THEN YOU DO 4034 02:48:56,966 --> 02:48:57,200 THE VOCALS. 4035 02:48:57,266 --> 02:48:57,733 THAT'S WHEN IT GETS HARD. 4036 02:48:57,800 --> 02:48:58,233 THAT'S WHEN IT'S SCARY. 4037 02:48:58,300 --> 02:48:59,366 >> AT THE END OF THE WEEK, I HAD 4038 02:48:59,433 --> 02:49:01,200 13 OR 14 SONGS ON A CASSETTE, 4039 02:49:01,266 --> 02:49:03,400 AND IT SOUNDED GOOD, AND I 4040 02:49:03,466 --> 02:49:04,400 STARTED THINKING, I WANT TO PUT 4041 02:49:04,466 --> 02:49:05,766 MY NAME ON IT. 4042 02:49:05,833 --> 02:49:07,266 PEOPLE WILL THINK IT'S JUST A 4043 02:49:07,333 --> 02:49:07,466 BAND. 4044 02:49:07,533 --> 02:49:08,933 THEY WON'T KNOW IT'S THE GUY 4045 02:49:09,000 --> 02:49:09,500 FROM NIRVANA. 4046 02:49:09,566 --> 02:49:11,266 THERE IS A BAND IN SEATTLE 4047 02:49:11,333 --> 02:49:12,533 CALLED SUNNY DAY REAL ESTATE, 4048 02:49:12,600 --> 02:49:14,333 AND THEY WERE BREAKING UP. 4049 02:49:14,400 --> 02:49:15,100 MY BAND WAS FALLING APART AT 4050 02:49:15,166 --> 02:49:17,066 ABOUT THE SAME TIME THAT DAVE 4051 02:49:17,133 --> 02:49:19,200 FOUND HIMSELF WITHOUT A BAND. 4052 02:49:19,266 --> 02:49:21,100 DAVE GOES, YOU WANT TO BE IN THE 4053 02:49:21,166 --> 02:49:21,300 BAND? 4054 02:49:21,366 --> 02:49:26,533 I WAS LIKE, HELL YEAH, SOUNDS 4055 02:49:26,600 --> 02:49:26,733 GREAT. 4056 02:49:26,800 --> 02:49:27,633 >> THE FIRST TIME I PLAYED, 4057 02:49:27,700 --> 02:49:29,266 THAT'S WHEN I KNEW, FEELING IT 4058 02:49:29,333 --> 02:49:32,166 BEHIND YOU IS SO DIFFERENT. 4059 02:49:32,233 --> 02:49:36,666 ♪ ♪ 4060 02:49:36,733 --> 02:49:38,166 >> DAVE BRINGS UP THAT HE WANTS 4061 02:49:38,233 --> 02:49:39,133 TO HAVE A SECOND GUITAR PLAYER 4062 02:49:39,200 --> 02:49:40,933 AND THINKS IT SHOULD BE PAT 4063 02:49:41,000 --> 02:49:42,266 SMEAR WHO I KNEW FROM HIM HAVING 4064 02:49:42,333 --> 02:49:43,766 PLAYED NIRVANA AND BEEN IN THE 4065 02:49:43,833 --> 02:49:44,900 GERMS. 4066 02:49:44,966 --> 02:49:46,766 >> PAT IS FROM THIS LEGENDARY 4067 02:49:46,833 --> 02:49:47,566 PUNK ROCK BAND CALLED THE GERMS 4068 02:49:47,633 --> 02:49:50,033 THAT WE ALL GREW UP LISTENING 4069 02:49:50,100 --> 02:49:50,200 TO. 4070 02:49:50,266 --> 02:49:54,900 THERE WAS NO ONE MORE BADASS 4071 02:49:54,966 --> 02:49:55,533 THAN THE GERMS. 4072 02:49:55,600 --> 02:49:57,500 GERMS DIDN'T GIVE A FUCK. 4073 02:49:57,566 --> 02:49:59,166 >> WE PLAYED SIX DAYS A WEEK AND 4074 02:49:59,233 --> 02:50:00,566 FOO FIGHTERS WERE MAKING, I 4075 02:50:00,633 --> 02:50:03,466 THINK, 500 BUCKS A NIGHT. 4076 02:50:03,533 --> 02:50:08,266 ♪ ♪ 4077 02:50:08,333 --> 02:50:09,366 >> AS THE TOUR WAS GOING ON, THE 4078 02:50:09,433 --> 02:50:12,966 VENUES WERE GETTING BIGGER, IT 4079 02:50:13,033 --> 02:50:14,133 STARTED HAVING THAT REALLY NICE 4080 02:50:14,200 --> 02:50:17,166 BUT WEIRD SORT OF PRESSURE. 4081 02:50:17,233 --> 02:50:18,366 >> MAKING THE TELEVISION DEBUT, 4082 02:50:18,433 --> 02:50:21,200 LADIES AND GENTLEMEN, FOO 4083 02:50:21,266 --> 02:50:24,300 FIGHTERS. 4084 02:50:24,366 --> 02:50:32,566 ♪ ♪ 4085 02:50:32,633 --> 02:50:35,033 ♪ ALL HE EVER WANTED WAS A 4086 02:50:35,100 --> 02:50:39,700 BROTHER." 4087 02:50:39,766 --> 02:50:44,400 >> THE FOOS GO FULL THROTTLE. 4088 02:50:44,466 --> 02:50:45,000 >> IT IS FULL, UNADULTERATED 4089 02:50:45,066 --> 02:50:46,633 ROCK 'N' ROLL. 4090 02:50:46,700 --> 02:50:49,033 IT IS METHODICAL, IT IS RAGE, IT 4091 02:50:49,100 --> 02:50:49,900 IS FUN. 4092 02:50:49,966 --> 02:50:51,000 IT MAKES YOU FEEL GOOD. 4093 02:50:51,066 --> 02:50:54,266 >> THERE WERE SOME SONGS THAT WE 4094 02:50:54,333 --> 02:50:55,800 HAD JUST START WRITING AND THROW 4095 02:50:55,866 --> 02:50:58,166 IT INTO THE SET. 4096 02:50:58,233 --> 02:51:00,466 >> GOING TO DO A SONG FOR YOU I 4097 02:51:00,533 --> 02:51:02,066 WROTE THREE DAYS AGO. 4098 02:51:02,133 --> 02:51:03,566 >> I HEARD THE FOO FIGHTERS 4099 02:51:03,633 --> 02:51:05,000 DRUMMER HAS LEFT THE BAND. 4100 02:51:05,066 --> 02:51:06,400 >> AROUND THAT TIME, TAYLOR IS 4101 02:51:06,466 --> 02:51:08,966 PLAYING DRUMS WITH ALANNA SMARR 4102 02:51:09,033 --> 02:51:10,066 SAID, AND SHE WAS BLOWING. 4103 02:51:10,133 --> 02:51:12,500 >> I CALLED DAVE MYSELF AND I 4104 02:51:12,566 --> 02:51:15,933 SAID, I'M YOUR TREMOR. 4105 02:51:16,000 --> 02:51:16,633 ALANIS IS A SOLO ACT, AND THIS 4106 02:51:16,700 --> 02:51:21,333 IS A BAND, AND I WANT TO BE A 4107 02:51:21,400 --> 02:51:21,966 DRUMMER AND A BAND. 4108 02:51:22,033 --> 02:51:25,066 >> TAYLOR IS IN THAT JOHN BOTTOM 4109 02:51:25,133 --> 02:51:27,300 SCHOOL OF DRUMMING, NOT THE 4110 02:51:27,366 --> 02:51:29,300 PERSNICKETY STUFF, BUT THE 4111 02:51:29,366 --> 02:51:29,900 FUNDAMENTAL WHERE IT SOUNDS 4112 02:51:29,966 --> 02:51:31,966 REALLY IMPORTANT. 4113 02:51:32,033 --> 02:51:33,300 >> TAYLOR HAS THE TOUGHEST JOB 4114 02:51:33,366 --> 02:51:35,500 BECAUSE HE IS THE DRUMMER IN A 4115 02:51:35,566 --> 02:51:36,766 BAND THAT INCLUDES THE GREATEST 4116 02:51:36,833 --> 02:51:39,633 DRUMMER ALIVE, AND HE'S GOT 4117 02:51:39,700 --> 02:51:41,933 TECHNIQUE THAT DAVE ONLY DREAMS 4118 02:51:42,000 --> 02:51:43,600 ABOUT. 4119 02:51:43,666 --> 02:51:45,633 >> ♪ DON'T WANT TO BE YOUR 4120 02:51:45,700 --> 02:51:46,033 MONKEY WRENCH ♪ 4121 02:51:46,100 --> 02:51:49,466 >> RIGHT WHEN WE ARE ABOUT TO GO 4122 02:51:49,533 --> 02:51:52,266 START OUR TOUR, PAT QUITS THE 4123 02:51:52,333 --> 02:51:53,033 BAND. 4124 02:51:53,100 --> 02:51:54,900 >> PAT SAYS, I'VE GOT TO LEAVE 4125 02:51:54,966 --> 02:51:56,100 THE BAND. 4126 02:51:56,166 --> 02:51:56,433 WHY? 4127 02:51:56,500 --> 02:51:59,066 I WANT TO GO OUT ANOTHER 4128 02:51:59,133 --> 02:52:03,166 BAZILLION-SHOW TOUR. 4129 02:52:03,233 --> 02:52:03,766 WE HAD TO HAVE OPEN ADDITIONS 4130 02:52:03,833 --> 02:52:04,200 FOR A GUITAR PLAYER. 4131 02:52:04,266 --> 02:52:07,266 WE WOUND UP IN THIS REHEARSAL 4132 02:52:07,333 --> 02:52:08,933 SPACE, I REMEMBER THE LINE OF 4133 02:52:09,000 --> 02:52:09,866 GUITAR PLAYERS. 4134 02:52:09,933 --> 02:52:10,766 >> THE PHONE RANG AND IT WAS 4135 02:52:10,833 --> 02:52:12,866 DAVE AND TAYLOR, THEY SAID, 4136 02:52:12,933 --> 02:52:14,566 YOU'VE GOT THE GIG. 4137 02:52:14,633 --> 02:52:15,700 WE START REHEARSING TOMORROW. 4138 02:52:15,766 --> 02:52:16,300 SAY GOODBYE TO YOUR FRIENDS. 4139 02:52:16,366 --> 02:52:17,900 YOU'RE NOT GOING TO SEE ANYBODY 4140 02:52:17,966 --> 02:52:19,433 AT THE NEXT YEAR. 4141 02:52:19,500 --> 02:52:20,633 >> WHEN YOU GET TAPPED TO BE 4142 02:52:20,700 --> 02:52:22,066 DELETE ELECTRIC GUITAR PLAYER 4143 02:52:22,133 --> 02:52:24,700 FOR ONE OF THE BIGGEST ROCK 4144 02:52:24,766 --> 02:52:26,400 BANDS, THAT'S DAUNTING. 4145 02:52:26,466 --> 02:52:30,566 THOSE CLOUDS, THEY COME HUNGRY, 4146 02:52:30,633 --> 02:52:32,900 AND YOU'VE GOT TO FEED THEM THE 4147 02:52:32,966 --> 02:52:33,300 RIFFS. 4148 02:52:33,366 --> 02:52:35,900 >> ♪ LOOKING FOR A SIGN TO 4149 02:52:35,966 --> 02:52:36,200 STATEMENT ♪ 4150 02:52:36,266 --> 02:52:39,266 ♪ LOOKING FOR A SIGN OF LIFE ♪ 4151 02:52:39,333 --> 02:52:42,233 >> YOU CAN'T DENY HOW MUCH THEY 4152 02:52:42,300 --> 02:52:43,933 LOVE IT, THE HEART IS THERE AND 4153 02:52:44,000 --> 02:52:47,533 THE HEART IS AT OF WHAT MAKES 4154 02:52:47,600 --> 02:52:48,866 ROCK AND ROLL. 4155 02:52:48,933 --> 02:52:49,633 >> SOMETIMES THINGS ARE COME OUT 4156 02:52:49,700 --> 02:52:51,133 OF SPONTANEOUS JAMS, AND THINGS 4157 02:52:51,200 --> 02:52:53,566 GET BILLED. 4158 02:52:53,633 --> 02:52:54,866 ALL MY LIFE WAS SOMETHING, JUST 4159 02:52:54,933 --> 02:52:57,200 HAD THAT LITTLE RIFF, AND WE 4160 02:52:57,266 --> 02:52:59,000 JUST BUILT IT. 4161 02:52:59,066 --> 02:53:00,533 >> WHY DIDN'T I THINK OF IT, 4162 02:53:00,600 --> 02:53:02,733 JUST ONE NOTE, ONE NOTE, DUDE, 4163 02:53:02,800 --> 02:53:06,066 AND IT BUILDS SO MUCH TENSION. 4164 02:53:06,133 --> 02:53:07,866 >> "ALL MY LIFE," WE JUST HAVE 4165 02:53:07,933 --> 02:53:13,166 TO PLAY. 4166 02:53:13,233 --> 02:53:13,800 >> ONLY GET TO THAT PART OF THE 4167 02:53:13,866 --> 02:53:15,033 SET, IT ALWAYS GOES BANANAS. 4168 02:53:15,100 --> 02:53:21,200 ♪ ♪ 4169 02:53:21,266 --> 02:53:23,033 >> THESE GUYS BURN, THEY ARE 4170 02:53:23,100 --> 02:53:23,800 LIKE, IT'S UNSAFE, AND TO MAKE 4171 02:53:23,866 --> 02:53:24,966 YOU FEEL LIKE THE SHOW WOULD BE 4172 02:53:25,033 --> 02:53:30,066 GOOD IF YOU WEREN'T THERE. 4173 02:53:30,133 --> 02:53:30,700 >> MOST FOO FIGHTERS SONGS 4174 02:53:30,766 --> 02:53:32,500 WRITTEN ON AN ACOUSTIC GUITAR. 4175 02:53:32,566 --> 02:53:34,000 >> THE BAND'S FOCAL PEOPLE BUT 4176 02:53:34,066 --> 02:53:35,466 WE HAVE THIS EXTENDED LINEUP 4177 02:53:35,533 --> 02:53:39,300 WHEN WE DO THESE EXTENDED SHOWS, 4178 02:53:39,366 --> 02:53:40,400 PAT SMEAR, OUR ACOUSTIC GUITAR 4179 02:53:40,466 --> 02:53:44,566 PLAYER, HE IS BACK. 4180 02:53:44,633 --> 02:53:45,566 >> WATCHING THE FOO FIGHTERS 4181 02:53:45,633 --> 02:53:47,033 PLAY LIVE, IT'S LIKE YOU CAN 4182 02:53:47,100 --> 02:53:47,433 HEAR EACH MEMBER. 4183 02:53:47,500 --> 02:53:49,266 YOU CAN HEAR WHAT THEY HAVE TO 4184 02:53:49,333 --> 02:53:52,933 SAY THROUGH THEIR INSTRUMENT. 4185 02:53:53,000 --> 02:53:54,066 >> PLAYING PIANO, LOOK AT THAT 4186 02:53:54,133 --> 02:53:55,033 GUY RIGHT THERE. 4187 02:53:55,100 --> 02:53:56,566 >> THE CONTRIBUTION EVERYONE 4188 02:53:56,633 --> 02:53:57,900 MAKES IS THE REASON WHY THE BAND 4189 02:53:57,966 --> 02:53:59,600 SOUNDS LIKE THE BAND. 4190 02:53:59,666 --> 02:54:00,666 OTHER DEMO TAPES WERE ALL PLAYED 4191 02:54:00,733 --> 02:54:02,866 DRUMS AND BASS, AND WHEN THE 4192 02:54:02,933 --> 02:54:04,300 BAND GETS TOGETHER, IT SOUNDS 4193 02:54:04,366 --> 02:54:06,533 COMPLETELY DIFFERENT. 4194 02:54:06,600 --> 02:54:11,233 ♪ ♪ 4195 02:54:11,300 --> 02:54:13,100 >> PART OF THE SOUND OF THE 4196 02:54:13,166 --> 02:54:14,033 FOO FIGHTERS IS A LOT OF 4197 02:54:14,100 --> 02:54:14,333 GUITARS. 4198 02:54:14,400 --> 02:54:16,433 EVERY TIME WE MIX THE RECORD, I 4199 02:54:16,500 --> 02:54:18,733 ALWAYS WANT THE DRUMS LOUDER. 4200 02:54:18,800 --> 02:54:20,466 >> CHRIS HAS A SHARP AND CLEAN 4201 02:54:20,533 --> 02:54:23,400 SENSE OF MELODIC PLAYING. 4202 02:54:23,466 --> 02:54:25,233 >> SORT OF PLAYS IT STRAIGHT UP 4203 02:54:25,300 --> 02:54:25,766 THE MIDDLE. 4204 02:54:25,833 --> 02:54:29,200 WHEN PAT GETS ON THE GUITAR, 4205 02:54:29,266 --> 02:54:30,866 IT'S ALL OF THOSE THINGS, IF 4206 02:54:30,933 --> 02:54:32,500 THEY ARE BALANCED, IT SOUNDS 4207 02:54:32,566 --> 02:54:38,333 LIKE THE FOO FIGHTERS. 4208 02:54:38,400 --> 02:54:48,700 ♪ ♪ 4209 02:54:48,766 --> 02:54:50,433 >> WE'RE SORT OF THE UNDERDOGS, 4210 02:54:50,500 --> 02:54:52,166 BECAUSE WE'VE ALWAYS BEEN A 4211 02:54:52,233 --> 02:54:54,300 LITTLE BIT OUTSIDE OF COOL, AND 4212 02:54:54,366 --> 02:54:56,700 I'M PROUD OF THAT. 4213 02:54:56,766 --> 02:54:57,600 >> THERE WILL PROBABLY ALWAYS, 4214 02:54:57,666 --> 02:54:59,400 TO SOME EXTENT, BE THAT FEELING 4215 02:54:59,466 --> 02:55:00,633 OF THIS COULD END TOMORROW. 4216 02:55:00,700 --> 02:55:02,266 I'VE HAD PEOPLE SAY IN AN 4217 02:55:02,333 --> 02:55:03,933 INTERVIEW, WHAT IS IT LIKE TO BE 4218 02:55:04,000 --> 02:55:04,466 A ROCK STAR? 4219 02:55:04,533 --> 02:55:07,766 I'M NOT A ROCK STAR, A MUSICIAN. 4220 02:55:07,833 --> 02:55:10,566 >> I GO TO WORK, AND A FUCKING 4221 02:55:10,633 --> 02:55:11,333 LAUGH ALL DAY. 4222 02:55:11,400 --> 02:55:12,300 IT'S NOT A JOB. 4223 02:55:12,366 --> 02:55:15,466 >> I AM AN ADULT THAT PLAYS IN A 4224 02:55:15,533 --> 02:55:15,733 ROCK BAND. 4225 02:55:15,800 --> 02:55:19,300 >> ♪ IF EVERYTHING COULD EVER 4226 02:55:19,366 --> 02:55:24,100 FEEL THIS REAL FOREVER ♪ 4227 02:55:24,166 --> 02:55:26,733 ♪ IF ANYTHING COULD EVER BE THIS 4228 02:55:26,800 --> 02:55:29,266 GOOD ♪ 4229 02:55:29,333 --> 02:55:29,666 ♪ 4230 02:55:29,733 --> 02:55:30,566 GOT TO PROMISE NOT TO STOP WHEN 4231 02:55:30,633 --> 02:55:35,633 I SAY WHEN." 4232 02:55:35,700 --> 02:55:36,866 >> THAT FIRST CASSETTE, MADE IN 4233 02:55:36,933 --> 02:55:37,800 FIVE FUCKING DAYS OR WHATEVER, 4234 02:55:37,866 --> 02:55:42,800 AND HERE WE ARE, IT'S LIKE, WOW. 4235 02:55:42,866 --> 02:55:50,200 >> CAN YOU TELL ME THAT? 4236 02:55:50,266 --> 02:55:53,733 >> LADIES AND GENTLEMEN, THE 4237 02:55:53,800 --> 02:56:03,300 INCREDIBLE FOO FIGHTERS! 4238 02:56:03,366 --> 02:56:04,566 >> ♪ I'VE GOT ANOTHER 4239 02:56:04,633 --> 02:56:05,166 CONFESSION TO MAKE ♪ 4240 02:56:05,233 --> 02:56:05,966 ♪ I'M YOUR FOOL ♪ 4241 02:56:06,033 --> 02:56:07,300 ♪ EVERYONE'S GOT THEIR CHAINS 4242 02:56:07,366 --> 02:56:08,033 TO BREAK ♪ 4243 02:56:08,100 --> 02:56:11,400 ♪ HOLDIN' YOU ♪ 4244 02:56:11,466 --> 02:56:13,966 ♪ WERE YOU BORN TO RESIST, 4245 02:56:14,033 --> 02:56:18,633 OR BE ABUSED? ♪ 4246 02:56:18,700 --> 02:56:19,900 ♪ IS SOMEONE GETTING THE BEST ♪ 4247 02:56:19,966 --> 02:56:20,833 ♪ THE BEST, THE BEST, THE BEST 4248 02:56:20,900 --> 02:56:24,100 OF YOU? ♪ 4249 02:56:24,166 --> 02:56:26,966 ♪ IS SOMEONE GETTING THE BEST ♪ 4250 02:56:27,033 --> 02:56:28,500 ♪ THE BEST, THE BEST, THE BEST 4251 02:56:28,566 --> 02:56:34,100 OF YOU? ♪ 4252 02:56:34,166 --> 02:56:35,300 ♪ OR ARE YOU GONE AND ONTO 4253 02:56:35,366 --> 02:56:42,333 SOMEONE NEW? ♪ 4254 02:56:42,400 --> 02:56:43,366 ♪ I NEEDED SOMEWHERE 4255 02:56:43,433 --> 02:56:44,200 TO HANG MY HEAD ♪ 4256 02:56:44,266 --> 02:56:47,466 ♪ WITHOUT YOUR NOOSE ♪ 4257 02:56:47,533 --> 02:56:48,100 ♪ YOU GAVE ME SOMETHING THAT I 4258 02:56:48,166 --> 02:56:50,766 DIDN'T HAVE ♪ 4259 02:56:50,833 --> 02:56:55,833 ♪ BUT HAD NO USE ♪ 4260 02:56:55,900 --> 02:56:57,033 ♪ I WAS TOO WEAK TO GIVE IN ♪ 4261 02:56:57,100 --> 02:57:02,733 ♪ TOO STRONG TO LOSE ♪ 4262 02:57:02,800 --> 02:57:03,566 ♪ MY HEART IS UNDER ARREST 4263 02:57:03,633 --> 02:57:03,866 AGAIN ♪ 4264 02:57:03,933 --> 02:57:09,500 ♪ BUT I'LL BREAK LOOSE ♪ 4265 02:57:09,566 --> 02:57:10,466 ♪ MY HEAD IS GIVING ME LIFE 4266 02:57:10,533 --> 02:57:12,266 OR DEATH ♪ 4267 02:57:12,333 --> 02:57:16,666 ♪ BUT I CAN'T CHOOSE ♪ 4268 02:57:16,733 --> 02:57:18,800 ♪ I SWEAR I'LL NEVER GIVE IN ♪ 4269 02:57:18,866 --> 02:57:23,866 ♪ I REFUSE ♪ 4270 02:57:23,933 --> 02:57:24,500 HERE WE GO! 4271 02:57:24,566 --> 02:57:26,133 ♪ IS SOMEONE GETTING THE BEST ♪ 4272 02:57:26,200 --> 02:57:26,766 ♪ THE BEST, THE BEST, THE BEST 4273 02:57:26,833 --> 02:57:30,333 OF YOU? ♪ 4274 02:57:30,400 --> 02:57:31,333 ♪ IS SOMEONE GETTING THE BEST ♪ 4275 02:57:31,400 --> 02:57:32,500 ♪ THE BEST, THE BEST, THE BEST 4276 02:57:32,566 --> 02:57:36,533 OF YOU? ♪ 4277 02:57:36,600 --> 02:57:37,600 ♪ HAS SOMEONE TAKEN YOUR 4278 02:57:37,666 --> 02:57:39,033 FAITH? ♪ 4279 02:57:39,100 --> 02:57:40,666 ♪ IT'S REAL, THE PAIN YOU FEEL ♪ 4280 02:57:40,733 --> 02:57:42,600 ♪ YOU TRUST, YOU MUST CONFESS ♪ 4281 02:57:42,666 --> 02:57:45,500 ♪ IS SOMEONE GETTING THE BEST ♪ 4282 02:57:45,566 --> 02:57:48,066 ♪ THE BEST, THE BEST, THE BEST 4283 02:57:48,133 --> 02:57:57,866 OF YOU? ♪ 4284 02:57:57,933 --> 02:58:10,266 ♪ ♪ 4285 02:58:10,333 --> 02:58:20,666 ♪ ♪ 4286 02:58:20,733 --> 02:58:21,400 ♪ HAS SOMEONE TAKEN YOUR 4287 02:58:21,466 --> 02:58:22,000 FAITH? ♪ 4288 02:58:22,066 --> 02:58:23,200 ♪ IT'S REAL, THE PAIN YOU FEEL ♪ 4289 02:58:23,266 --> 02:58:24,000 ♪ THE LIFE, THE LOVE ♪ 4290 02:58:24,066 --> 02:58:27,100 ♪ YOU'D DIE TO HEAL ♪ 4291 02:58:27,166 --> 02:58:28,300 ♪ THE HOPE THAT STARTS ♪ 4292 02:58:28,366 --> 02:58:30,300 ♪ THE BROKEN HEARTS ♪ 4293 02:58:30,366 --> 02:58:35,133 ♪ YOU TRUST, YOU MUST CONFESS ♪ 4294 02:58:35,200 --> 02:58:36,033 ♪ GETTING THE BEST ♪ 4295 02:58:36,100 --> 02:58:37,133 ♪ THE BEST, THE BEST, THE BEST 4296 02:58:37,200 --> 02:58:39,700 OF YOU? ♪ 4297 02:58:39,766 --> 02:58:41,000 ♪ IS SOMEONE GETTING THE BEST ♪ 4298 02:58:41,066 --> 02:58:43,500 ♪ THE BEST, THE BEST, THE BEST 4299 02:58:43,566 --> 02:58:50,600 OF YOU? ♪ 4300 02:58:50,666 --> 02:59:00,033 ♪ ♪ 4301 02:59:00,100 --> 02:59:01,200 IF YOU KNOW THIS, YOU'VE GOT 4302 02:59:01,266 --> 02:59:03,366 SING IT WITH ME. 4303 02:59:03,433 --> 02:59:07,033 ♪ ♪ 4304 02:59:07,100 --> 02:59:18,933 IT'S CALLED "MY HERO." 4305 02:59:19,000 --> 02:59:21,900 ♪ ♪ 4306 02:59:21,966 --> 02:59:23,200 ♪ TOO ALARMING NOW 4307 02:59:23,266 --> 02:59:27,766 TO TALK ABOUT ♪ 4308 02:59:27,833 --> 02:59:28,466 ♪ TAKE YOUR PICTURES DOWN 4309 02:59:28,533 --> 02:59:32,800 AND SHAKE IT OUT ♪ 4310 02:59:32,866 --> 02:59:35,100 ♪ TRUTH OR CONSEQUENCE, 4311 02:59:35,166 --> 02:59:38,733 SAY IT ALOUD ♪ 4312 02:59:38,800 --> 02:59:40,300 ♪ USE THAT EVIDENCE, 4313 02:59:40,366 --> 02:59:44,766 RACE IT AROUND ♪ 4314 02:59:44,833 --> 02:59:50,166 SING IT WITH ME NOW! 4315 02:59:50,233 --> 02:59:50,966 ♪ THERE GOES MY HERO ♪ 4316 02:59:51,033 --> 02:59:56,966 ♪ WATCH HIM AS HE GOES ♪ 4317 02:59:57,033 --> 02:59:58,700 ♪ THERE GOES MY HERO ♪ 4318 02:59:58,766 --> 03:00:05,800 ♪ HE'S ORDINARY ♪ 4319 03:00:05,866 --> 03:00:09,500 I WANT TO HEAR YOU SING IT RIGHT 4320 03:00:09,566 --> 03:00:09,900 NOW! 4321 03:00:09,966 --> 03:00:10,500 ♪ ♪ 4322 03:00:10,566 --> 03:00:13,300 ♪ THERE GOES MY HERO ♪ 4323 03:00:13,366 --> 03:00:19,366 ♪ WATCH HIM AS HE GOES ♪ 4324 03:00:19,433 --> 03:00:22,900 ♪ THERE GOES MY HERO ♪ 4325 03:00:22,966 --> 03:00:30,866 ♪ HE'S ORDINARY ♪ 4326 03:00:30,933 --> 03:00:31,233 ♪ ♪ 4327 03:00:31,300 --> 03:00:35,166 >> I WANT TO HEAR YOU 4328 03:00:35,233 --> 03:00:36,866 MOTHERFUCKERS OVER HERE SING IT. 4329 03:00:36,933 --> 03:00:38,033 ♪ THERE GOES MY HERO ♪ 4330 03:00:38,100 --> 03:00:41,600 ♪ WATCH HIM AS HE GOES ♪ 4331 03:00:41,666 --> 03:00:42,866 ONE MORE TIME, I'LL SING IT WITH 4332 03:00:42,933 --> 03:00:43,366 YOU, READY? 4333 03:00:43,433 --> 03:00:45,833 ♪ THERE GOES MY HERO ♪ 4334 03:00:45,900 --> 03:00:56,466 ♪ HE'S ORDINARY ♪ 4335 03:00:56,533 --> 03:01:09,233 ♪ ♪ 4336 03:01:09,300 --> 03:01:11,800 ALL RIGHT NOW! 4337 03:01:11,866 --> 03:01:14,700 LET'S DO A LITTLE DANCE. 4338 03:01:14,766 --> 03:01:17,700 READY? 4339 03:01:17,766 --> 03:01:18,000 ALL RIGHT! 4340 03:01:18,066 --> 03:01:25,500 ♪ ♪ 4341 03:01:25,566 --> 03:01:28,000 ♪ HELLO ♪ 4342 03:01:28,066 --> 03:01:32,100 ♪ I'VE WAITED HERE FOR YOU ♪ 4343 03:01:32,166 --> 03:01:35,166 ♪ EVERLONG ♪ 4344 03:01:35,233 --> 03:01:40,666 ♪ TONIGHT, I THROW MYSELF INTO ♪ 4345 03:01:40,733 --> 03:01:48,800 ♪ AND OUT OF THE RED ♪ 4346 03:01:48,866 --> 03:01:49,666 ♪ ♪ 4347 03:01:49,733 --> 03:01:52,933 ♪ OUT OF HER HEAD, SHE SANG ♪ 4348 03:01:53,000 --> 03:01:56,933 ♪ ♪ 4349 03:01:57,000 --> 03:01:59,133 ♪ COME DOWN AND WASTE AWAY 4350 03:01:59,200 --> 03:02:02,333 WITH ME ♪ 4351 03:02:02,400 --> 03:02:07,533 ♪ DOWN WITH ME ♪ 4352 03:02:07,600 --> 03:02:09,600 ♪ SLOW, HOW YOU WANTED IT 4353 03:02:09,666 --> 03:02:12,400 TO BE ♪ 4354 03:02:12,466 --> 03:02:14,400 ♪ I'M OVER MY HEAD ♪ 4355 03:02:14,466 --> 03:02:18,633 ♪ OUT OF HER HEAD, SHE SANG ♪ 4356 03:02:18,700 --> 03:02:21,333 HERE WE GO! 4357 03:02:21,400 --> 03:02:25,033 ♪ AND I WONDER ♪ 4358 03:02:25,100 --> 03:02:29,333 ♪ WHEN I SING ALONG WITH YOU ♪ 4359 03:02:29,400 --> 03:02:30,833 SING IT! 4360 03:02:30,900 --> 03:02:31,833 ♪ IF EVERYTHING COULD EVER BE 4361 03:02:31,900 --> 03:02:35,400 THIS REAL FOREVER ♪ 4362 03:02:35,466 --> 03:02:36,966 ♪ IF ANYTHING COULD EVER BE 4363 03:02:37,033 --> 03:02:40,366 THIS GOOD AGAIN ♪ 4364 03:02:40,433 --> 03:02:41,633 ♪ THE ONLY THING I'LL EVER ASK 4365 03:02:41,700 --> 03:02:44,833 OF YOU ♪ 4366 03:02:44,900 --> 03:02:45,633 ♪ YOU'VE GOT TO PROMISE 4367 03:02:45,700 --> 03:02:47,500 NOT TO STOP WHEN I SAY WHEN ♪ 4368 03:02:47,566 --> 03:02:51,200 ♪ SHE SANG ♪ 4369 03:02:51,266 --> 03:02:59,000 ♪ ♪ 4370 03:02:59,066 --> 03:03:03,066 ♪ BREATHE OUT ♪ 4371 03:03:03,133 --> 03:03:06,533 ♪ SO I CAN BREATHE YOU IN ♪ 4372 03:03:06,600 --> 03:03:10,766 ♪ HOLD YOU IN ♪ 4373 03:03:10,833 --> 03:03:15,433 ♪ AND NOW ♪ 4374 03:03:15,500 --> 03:03:16,566 ♪ I KNOW YOU'VE ALWAYS BEEN ♪ 4375 03:03:16,633 --> 03:03:19,033 ♪ OUT OF YOUR HEAD ♪ 4376 03:03:19,100 --> 03:03:23,633 ♪ OUT OF YOUR HEAD ♪ 4377 03:03:23,700 --> 03:03:24,166 ALL RIGHT! 4378 03:03:24,233 --> 03:03:27,733 ♪ AND I WONDER ♪ 4379 03:03:27,800 --> 03:03:31,033 ♪ WHEN I SING ALONG WITH YOU ♪ 4380 03:03:31,100 --> 03:03:33,100 ♪ IF EVERYTHING COULD EVER FEEL 4381 03:03:33,166 --> 03:03:36,666 THIS REAL FOREVER ♪ 4382 03:03:36,733 --> 03:03:37,900 ♪ IF ANYTHING COULD EVER BE 4383 03:03:37,966 --> 03:03:42,233 THIS GOOD AGAIN ♪ 4384 03:03:42,300 --> 03:03:43,800 ♪ THE ONLY THING I'LL EVER ASK 4385 03:03:43,866 --> 03:03:44,766 OF YOU ♪ 4386 03:03:44,833 --> 03:03:46,766 ♪ YOU'VE GOT TO PROMISE 4387 03:03:46,833 --> 03:03:49,666 NOT TO STOP WHEN I SAY WHEN ♪ 4388 03:03:49,733 --> 03:03:56,133 ♪ SHE SANG ♪ 4389 03:03:56,200 --> 03:04:07,066 [CHEERS AND APPLAUSE] 4390 03:04:07,133 --> 03:04:13,700 ♪ ♪ 4391 03:04:13,766 --> 03:04:18,600 ONE MORE TIME. 4392 03:04:18,666 --> 03:04:19,033 ONE MORE TIME! 4393 03:04:19,100 --> 03:04:23,266 HERE WE GO! 4394 03:04:23,333 --> 03:04:23,600 HERE IT GOES! 4395 03:04:23,666 --> 03:04:32,400 ♪ ♪ 4396 03:04:32,466 --> 03:04:35,466 ♪ AND I WONDER ♪ 4397 03:04:35,533 --> 03:04:37,300 SING IT! 4398 03:04:37,366 --> 03:04:38,366 ♪ IF EVERYTHING COULD EVER BE 4399 03:04:38,433 --> 03:04:39,633 THIS REAL FOREVER ♪ 4400 03:04:39,700 --> 03:04:40,733 ♪ IF ANYTHING COULD EVER BE 4401 03:04:40,800 --> 03:04:44,400 THIS GOOD AGAIN ♪ 4402 03:04:44,466 --> 03:04:45,133 ♪ THE ONLY THING I'LL EVER ASK 4403 03:04:45,200 --> 03:04:54,100 OF YOU ♪ 4404 03:04:54,166 --> 03:04:55,466 ♪ ♪ 4405 03:04:55,533 --> 03:04:56,666 ♪ YOU'VE GOT TO PROMISE 4406 03:04:56,733 --> 03:04:59,366 NOT TO STOP WHEN I SAY WHEN ♪ 4407 03:04:59,433 --> 03:05:18,866 ♪ ♪ 4408 03:05:18,933 --> 03:05:19,500 YES! 4409 03:05:19,566 --> 03:05:28,800 THAT'S WHAT I'M TALKING ABOUT. 4410 03:05:28,866 --> 03:05:31,266 WHOO! 4411 03:05:31,333 --> 03:05:45,633 [CHEERS AND APPLAUSE] 4412 03:05:45,700 --> 03:05:47,166 >> COME ON, MAN. 4413 03:05:47,233 --> 03:05:51,100 YOU GOT IT. 4414 03:05:51,166 --> 03:05:51,533 SPEECH, MAN. 4415 03:05:51,600 --> 03:05:53,766 >> OH, YEAH. 4416 03:05:53,833 --> 03:05:58,300 WELL, GODDAMN, THIS IS HUGE, AND 4417 03:05:58,366 --> 03:06:00,166 A LONG WAY FROM THE PARTY HELD 4418 03:06:00,233 --> 03:06:01,700 AT THE HOEDOWN CENTER, AND A 4419 03:06:01,766 --> 03:06:03,866 LONG WAY FROM THERE TO HERE, IT 4420 03:06:03,933 --> 03:06:04,566 REQUIRED THE ASSISTANCE OF SOME 4421 03:06:04,633 --> 03:06:06,433 PEOPLE I WOULD LIKE TO THANK 4422 03:06:06,500 --> 03:06:07,000 BRIEFLY. 4423 03:06:07,066 --> 03:06:12,600 KATE, MY LOVE, YOUR MY HEART. 4424 03:06:12,666 --> 03:06:16,200 MY ORIGINAL PARTNER IN MUSICAL 4425 03:06:16,266 --> 03:06:18,666 PRIME, AND THIS IS FOR YOU, JEFF 4426 03:06:18,733 --> 03:06:22,166 AND CLARA, AND THESE WEIRDOS, 4427 03:06:22,233 --> 03:06:22,933 THE HONOR OF MY LIFE HAS BEEN 4428 03:06:23,000 --> 03:06:25,700 PLAYING MUSIC MUSIC WITH THEM 4429 03:06:25,766 --> 03:06:28,500 FOR THE LAST 20 PLUS YEARS. 4430 03:06:28,566 --> 03:06:32,033 THANK YOU. 4431 03:06:32,100 --> 03:06:37,233 FIRST I'D LIKE TO THANK DAVE, 4432 03:06:37,300 --> 03:06:38,733 BECAUSE NONE OF THIS SHIT WOULD 4433 03:06:38,800 --> 03:06:40,633 HAPPEN IF IT WASN'T FOR DAVE. 4434 03:06:40,700 --> 03:06:41,733 SO THANK YOU FOR LETTING ME BE 4435 03:06:41,800 --> 03:06:44,733 IN YOUR BAND. 4436 03:06:44,800 --> 03:06:47,800 I WANT TO THANK SAM, OUR 4437 03:06:47,866 --> 03:06:52,366 MANAGEMENT, JOHN AND YOUR BADASS 4438 03:06:52,433 --> 03:06:56,633 TEAM FOR MAKING US A SHITTON OF 4439 03:06:56,700 --> 03:06:57,400 MONEY. 4440 03:06:57,466 --> 03:06:57,666 THANK YOU. 4441 03:06:57,733 --> 03:07:01,033 MY BEAUTIFUL WIFE, MY BEAUTIFUL 4442 03:07:01,100 --> 03:07:03,466 CHILDREN, SHANE AND ANNABELLE 4443 03:07:03,533 --> 03:07:04,866 HAWKINS, BEVERLY, I LOVE YOU 4444 03:07:04,933 --> 03:07:05,633 GUYS SO MUCH. 4445 03:07:05,700 --> 03:07:07,266 I'D LIKE TO SHARE THIS AWARD 4446 03:07:07,333 --> 03:07:08,366 WITH A COUPLE BANDS THAT I'D 4447 03:07:08,433 --> 03:07:10,800 LIKE TO SEE GET IN THERE SOMEDAY 4448 03:07:10,866 --> 03:07:11,533 TOO. 4449 03:07:11,600 --> 03:07:12,866 I'D LIKE TO SEE GEORGE MICHAEL 4450 03:07:12,933 --> 03:07:13,666 IN THEIR ONE DAY. 4451 03:07:13,733 --> 03:07:17,000 LOVE THAT. 4452 03:07:17,066 --> 03:07:18,333 I'D LIKE TO SEE JANE'S ADDICTION 4453 03:07:18,400 --> 03:07:18,766 IN THERE. 4454 03:07:18,833 --> 03:07:21,366 I REALLY LIKE THAT. 4455 03:07:21,433 --> 03:07:22,366 I'D LIKE TO SEE SOUNDGARDEN IN 4456 03:07:22,433 --> 03:07:22,566 THERE. 4457 03:07:22,633 --> 03:07:26,466 I'D REALLY LIKE THAT. 4458 03:07:26,533 --> 03:07:32,366 AND THANKS TO EVERYONE. 4459 03:07:32,433 --> 03:07:34,333 [CHEERS AND APPLAUSE] 4460 03:07:34,400 --> 03:07:39,800 >> I'D LIKE TO THINK FIVE PEOPL 4461 03:07:39,866 --> 03:07:40,133 PEOPLE. 4462 03:07:40,200 --> 03:07:41,466 AND YOU ARE LOOKING AT THEM 4463 03:07:41,533 --> 03:07:43,966 RIGHT NOW. 4464 03:07:44,033 --> 03:07:44,433 [CHEERS AND APPLAUSE] 4465 03:07:44,500 --> 03:07:52,566 MAKE IT SIX. 4466 03:07:52,633 --> 03:07:54,100 >> ALL RIGHT, I'VE GOT TO THINK 4467 03:07:54,166 --> 03:07:57,166 MY MOM, DAD, BROTHER, MIKE, 4468 03:07:57,233 --> 03:07:58,666 BROTHER, SCOTT, BROTHER STEELE, 4469 03:07:58,733 --> 03:08:00,966 AND MY BEAUTIFUL WIFE CARA, AND 4470 03:08:01,033 --> 03:08:06,233 HER BEAUTIFUL BOYS, LIAM, EVAN, 4471 03:08:06,300 --> 03:08:08,233 AND DASHIELL, AND A BIG 4472 03:08:08,300 --> 03:08:09,600 THANKS TO EVERY SINGLE PERSON I 4473 03:08:09,666 --> 03:08:10,700 PLAYED IN A BAND WITH, BECAUSE 4474 03:08:10,766 --> 03:08:13,066 IF IT WASN'T FOR YOU GUYS, I 4475 03:08:13,133 --> 03:08:14,900 WOULD HAVE NEVER BEEN READY IN 4476 03:08:14,966 --> 03:08:16,333 AUGUST WHEN I GOT THE CHANCE TO 4477 03:08:16,400 --> 03:08:18,966 TRAP FOR MY FAVORITE BAND, THE 4478 03:08:19,033 --> 03:08:24,766 FOO FIGHTERS. 4479 03:08:24,833 --> 03:08:27,800 [CHEERS AND APPLAUSE] 4480 03:08:27,866 --> 03:08:28,033 >> OKAY. 4481 03:08:28,100 --> 03:08:38,700 I'M TRYING TO TALK. 4482 03:08:38,766 --> 03:08:41,333 REBECCA SCARLETT, I LOVE YOU. 4483 03:08:41,400 --> 03:08:44,466 SCARLETT, MAYBE FOR YOURSELF OR 4484 03:08:44,533 --> 03:08:45,466 SOMETHING. 4485 03:08:45,533 --> 03:08:52,133 I WILL THINK THE GERMS, THE 4486 03:08:52,200 --> 03:08:52,833 ADOLESCENCE, 45 GRAVE, TWISTED 4487 03:08:52,900 --> 03:08:59,633 RUTH'S CELEBRITY SKIN, NIRVANA, 4488 03:08:59,700 --> 03:09:03,900 AND MOST OF ALL, THAT 4489 03:09:03,966 --> 03:09:06,166 MOTHERFUCKER DAVE GROHL, AND 4490 03:09:06,233 --> 03:09:07,133 YOU, AND YOU, AND YOU. 4491 03:09:07,200 --> 03:09:08,033 AND YOU. 4492 03:09:08,100 --> 03:09:10,133 AND YOU THREE LADIES OVER THERE, 4493 03:09:10,200 --> 03:09:10,400 THANK YOU. 4494 03:09:10,466 --> 03:09:18,200 THAT'S ALL. 4495 03:09:18,266 --> 03:09:27,500 [CHEERS AND APPLAUSE] 4496 03:09:27,566 --> 03:09:31,666 FIRST OF ALL, WHAT'S UP, OHIO! 4497 03:09:31,733 --> 03:09:35,533 I WAS BORN HERE, WHAT ABOUT THA 4498 03:09:35,600 --> 03:09:41,566 THAT! 4499 03:09:41,633 --> 03:09:43,433 I'M USUALLY THE GUY WHO TALKS 4500 03:09:43,500 --> 03:09:47,233 TOO MUCH. 4501 03:09:47,300 --> 03:09:49,866 I DIDN'T PREPARE ANY SORT OF 4502 03:09:49,933 --> 03:09:51,066 SPEECH BECAUSE I FIGURED THAT 4503 03:09:51,133 --> 03:09:53,066 I'D MAKE IT SHORT BECAUSE THE 4504 03:09:53,133 --> 03:09:55,233 LAST 25 YEARS HAS BEEN ME JUST 4505 03:09:55,300 --> 03:09:59,266 LIKE "BLAH, BLAH, BLAH, 4506 03:09:59,333 --> 03:09:59,900 ROCK 'N' ROLL, BLAH, BLAH, BLAH, 4507 03:09:59,966 --> 03:10:02,233 ROCK 'N' ROLL." 4508 03:10:02,300 --> 03:10:06,066 SO I WOULD LIKE TO SAY THAT THE 4509 03:10:06,133 --> 03:10:10,466 BEST THING ABOUT BEING HERE 4510 03:10:10,533 --> 03:10:12,233 TONIGHT IS BEING SURROUNDED BY 4511 03:10:12,300 --> 03:10:15,233 OUR FAMILY, AND WHEN I SAY THAT, 4512 03:10:15,300 --> 03:10:18,033 I MEAN, IF ANYBODY KNOWS HOW THE 4513 03:10:18,100 --> 03:10:19,566 FOO FIGHTERS WORK, THE PEOPLE 4514 03:10:19,633 --> 03:10:20,266 THAT WE ARE WITH AND WE'VE 4515 03:10:20,333 --> 03:10:24,366 WORKED WITH, IT'S BEEN 20, 25, 4516 03:10:24,433 --> 03:10:26,666 30 YEARS, AND WE STICK TOGETHER 4517 03:10:26,733 --> 03:10:27,633 LIKE A FAMILY. 4518 03:10:27,700 --> 03:10:30,533 AND I THINK THAT'S IMPORTANT. 4519 03:10:30,600 --> 03:10:32,400 BECAUSE THEN YOU ARE DOING IT 4520 03:10:32,466 --> 03:10:33,166 TOGETHER NOT JUST BECAUSE IT'S 4521 03:10:33,233 --> 03:10:35,466 WORK BUT BECAUSE YOU LOVE EACH 4522 03:10:35,533 --> 03:10:36,033 OTHER. 4523 03:10:36,100 --> 03:10:38,333 AND SO THERE'S A WHOLE SECTION 4524 03:10:38,400 --> 03:10:39,033 OVER HERE OF OUR EXTENDED FAMILY 4525 03:10:39,100 --> 03:10:44,333 FROM THE LAST YEARS THAT I HAVE 4526 03:10:44,400 --> 03:10:50,433 TO THANK. 4527 03:10:50,500 --> 03:10:51,966 BUT I ALSO HAVE TO THANK MY 4528 03:10:52,033 --> 03:10:54,200 BEAUTIFUL FAMILY WHO, WITHOUT MY 4529 03:10:54,266 --> 03:10:55,233 BEAUTIFUL FAMILY, I WOULD NOT BE 4530 03:10:55,300 --> 03:10:56,700 AS HAPPY AS I AM. 4531 03:10:56,766 --> 03:10:58,700 I LOVE YOU GUYS SO MUCH. 4532 03:10:58,766 --> 03:11:01,566 AND THANK YOU VERY MUCH. 4533 03:11:01,633 --> 03:11:05,233 AND I HAVE TO THINK THESE PEOPL 4534 03:11:05,300 --> 03:11:06,366 PEOPLE, BECAUSE WE WOULDN'T BE 4535 03:11:06,433 --> 03:11:07,733 HERE TONIGHT IF IT WEREN'T FOR 4536 03:11:07,800 --> 03:11:12,800 EACH ONE OF THESE FOO FIGHTERS. 4537 03:11:12,866 --> 03:11:15,466 AND WE DID IT. 4538 03:11:15,533 --> 03:11:17,766 [CHEERS AND APPLAUSE] 4539 03:11:17,833 --> 03:11:18,733 THANK YOU ALL VERY MUCH FOR 4540 03:11:18,800 --> 03:11:20,966 HANGING OUT FOR US FOR THE LAST 4541 03:11:21,033 --> 03:11:21,233 26 YEARS. 4542 03:11:21,300 --> 03:11:23,700 THANK YOU. 4543 03:11:23,766 --> 03:11:33,666 [CHEERS AND APPLAUSE] 4544 03:11:33,733 --> 03:11:35,400 AND, YOU KNOW WHAT, I DIDN'T SAY 4545 03:11:35,466 --> 03:11:37,366 IT IN MY SPEECH, BUT, LISTEN, I 4546 03:11:37,433 --> 03:11:39,366 NEVER TOOK LESSONS TO LEARN HOW 4547 03:11:39,433 --> 03:11:40,200 TO PLAY MUSIC. 4548 03:11:40,266 --> 03:11:41,400 YOU KNOW WHAT I HAD? 4549 03:11:41,466 --> 03:11:43,500 I HAD A BEATLES SONGBOOK, A 4550 03:11:43,566 --> 03:11:44,933 BEATLES RECORD, AND A RECORD 4551 03:11:45,000 --> 03:11:46,266 PLAYER, AND SO EVERYTHING I 4552 03:11:46,333 --> 03:11:47,900 LEARNED ABOUT ROCK 'N' ROLL WAS 4553 03:11:47,966 --> 03:11:50,766 FROM THIS MAN RIGHT HERE. 4554 03:11:50,833 --> 03:11:52,033 HE IS MY MUSIC TEACHER RIGHT 4555 03:11:52,100 --> 03:11:52,233 THERE. 4556 03:11:52,300 --> 03:11:54,900 THAT'S IT. 4557 03:11:54,966 --> 03:12:01,466 ♪ ♪ 4558 03:12:01,533 --> 03:12:01,933 [CHEERS AND APPLAUSE] 4559 03:12:02,000 --> 03:12:03,966 ♪ ♪ 4560 03:12:04,033 --> 03:12:05,366 >> ♪ JOJO WAS A MAN WHO THOUGHT 4561 03:12:05,433 --> 03:12:07,833 HE WAS A LONER ♪ 4562 03:12:07,900 --> 03:12:10,100 ♪ BUT HE KNEW IT COULDN'T LAST ♪ 4563 03:12:10,166 --> 03:12:11,400 ♪ JOJO LEFT HIS HOME IN TUCSON, 4564 03:12:11,466 --> 03:12:13,100 ARIZONA ♪ 4565 03:12:13,166 --> 03:12:17,533 ♪ FOR SOME CALIFORNIA GRASS ♪ 4566 03:12:17,600 --> 03:12:19,733 ♪ GET BACK, GET BACK ♪ 4567 03:12:19,800 --> 03:12:21,166 ♪ GET BACK TO WHERE YOU ONCE 4568 03:12:21,233 --> 03:12:24,500 BELONGED ♪ 4569 03:12:24,566 --> 03:12:26,800 ♪ GET BACK, GET BACK ♪ 4570 03:12:26,866 --> 03:12:28,600 ♪ GET BACK TO WHERE YOU ONCE 4571 03:12:28,666 --> 03:12:33,733 BELONGED ♪ 4572 03:12:33,800 --> 03:12:48,466 ♪ ♪ 4573 03:12:48,533 --> 03:12:53,666 ♪ GET BACK, GET BACK ♪ 4574 03:12:53,733 --> 03:12:54,600 ♪ GET BACK TO WHERE YOU ONCE 4575 03:12:54,666 --> 03:12:55,833 BELONGED ♪ 4576 03:12:55,900 --> 03:12:57,533 ♪ GET BACK, GET BACK ♪ 4577 03:12:57,600 --> 03:12:58,933 ♪ GET BACK TO WHERE YOU ONCE 4578 03:12:59,033 --> 03:13:03,200 BELONGED ♪ 4579 03:13:03,266 --> 03:13:07,300 ♪ GET BACK, JO ♪ 4580 03:13:07,366 --> 03:13:20,566 ♪ ♪ 4581 03:13:20,633 --> 03:13:21,566 ♪ SWEET LORETTA MARTIN 4582 03:13:21,633 --> 03:13:23,133 THOUGHT SHE WAS A WOMAN ♪ 4583 03:13:23,200 --> 03:13:26,200 ♪ BUT SHE WAS ANOTHER MAN ♪ 4584 03:13:26,266 --> 03:13:27,333 ♪ ALL THE GIRLS AROUND HER 4585 03:13:27,400 --> 03:13:28,733 SAY SHE'S GOT IT COMING ♪ 4586 03:13:28,800 --> 03:13:30,200 ♪ BUT SHE GETS IT 4587 03:13:30,266 --> 03:13:32,600 WHILE SHE CAN ♪ 4588 03:13:32,666 --> 03:13:35,966 ♪ GET BACK, GET BACK ♪ 4589 03:13:36,033 --> 03:13:37,666 ♪ GET BACK TO WHERE YOU 4590 03:13:37,733 --> 03:13:40,000 ONCE BELONGED ♪ 4591 03:13:40,066 --> 03:13:43,833 ♪ GET BACK, GET BACK ♪ 4592 03:13:43,900 --> 03:13:44,733 ♪ GET BACK TO WHERE YOU 4593 03:13:44,800 --> 03:13:52,266 ONCE BELONGED ♪ 4594 03:13:52,333 --> 03:14:04,166 ♪ ♪ 4595 03:14:04,233 --> 03:14:06,633 ♪ GET BACK, GET BACK ♪ 4596 03:14:06,700 --> 03:14:07,533 ♪ GET BACK TO WHERE YOU 4597 03:14:07,600 --> 03:14:09,866 ONCE BELONGED ♪ 4598 03:14:09,933 --> 03:14:13,000 ♪ OH, GET BACK, YEAH, GET BACK ♪ 4599 03:14:13,066 --> 03:14:14,800 ♪ GET BACK TO WHERE YOU ONCE 4600 03:14:14,866 --> 03:14:20,366 BELONGED ♪ 4601 03:14:20,433 --> 03:14:24,766 ♪ ♪ 4602 03:14:24,833 --> 03:14:26,166 ♪ OOH ♪ 4603 03:14:26,233 --> 03:14:30,233 ♪ OOH ♪ 4604 03:14:30,300 --> 03:14:34,333 ♪ WHOO ♪ 4605 03:14:34,400 --> 03:14:37,966 >> DO YOU WANT TO GO BACK? 4606 03:14:38,033 --> 03:14:38,566 >> LET'S GET BACK. 4607 03:14:38,633 --> 03:14:38,866 >> COME ON. 4608 03:14:38,933 --> 03:14:44,300 ♪ ♪ 4609 03:14:44,366 --> 03:14:45,100 ♪ YEAH, SAID GET BACK, 4610 03:14:45,166 --> 03:14:46,733 GET BACK ♪ 4611 03:14:46,800 --> 03:14:47,566 ♪ GET BACK TO WHERE YOU ONCE 4612 03:14:47,633 --> 03:14:51,066 BELONGED ♪ 4613 03:14:51,133 --> 03:14:52,633 ♪ GET BACK, GET BACK ♪ 4614 03:14:52,700 --> 03:14:54,600 ♪ GET BACK TO WHERE YOU ONCE 4615 03:14:54,666 --> 03:14:56,033 BELONGED ♪ 4616 03:14:56,100 --> 03:14:59,266 ♪ GET BACK, GET BACK ♪ 4617 03:14:59,333 --> 03:15:00,733 ♪ GET BACK TO WHERE YOU ONCE 4618 03:15:00,800 --> 03:15:07,200 BELONGED ♪ 4619 03:15:07,266 --> 03:15:12,233 ♪ GET BACK ♪ 4620 03:15:12,300 --> 03:15:12,500 OH, YEAH. 4621 03:15:12,566 --> 03:15:21,366 OH, YEAH. 4622 03:15:21,433 --> 03:15:23,100 [CHEERS AND APPLAUSE] 4623 03:15:23,166 --> 03:15:27,500 GET BACK. 4624 03:15:27,566 --> 03:15:31,300 THANK YOU, FOO FIGHTERS. 4625 03:15:31,366 --> 03:15:35,766 [CHEERS AND APPLAUSE] 4626 03:15:35,833 --> 03:15:54,966 ♪ ♪ 4627 03:15:58,566 --> 03:16:07,333 ♪ ♪