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Downloaded from
YTS.MX

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GRACE FRASER:
The thrill of adultery

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Official YIFY movies site:
YTS.MX

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is that it exists in the shadow.

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-(CLOCK TICKING)
-♪ (TENSE MUSIC PLAYS) ♪

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JONATHAN FRASER: We can lose
ourselves sometimes.

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But it doesn't undo who we are.

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HALEY FITZGERALD: People conceal
the ugly truths...

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(CAMERA SHUTTERS FLASH)

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...to protect themselves.

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GRACE: (WHISPERING, ECHOING)
I will fix this.

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I'll fix this.

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DAVE GROHL:
The Rock and Roll Hall of Fame.

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It's not just a place,
it's an idea.

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It holds the stories,
the images,

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the sights, and the sounds
of decades and decades of music.

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The story of rock and roll
is really many stories.

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It's the story of pain
and beauty,

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the story
of rebellion and unity.

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The story of noise and harmony,
of resistance and community.

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Every year since 1986,
some of the greatest artists

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that music has produced
get inducted

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into the Rock and Roll
Hall of Fame.

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This rock and roll family
of ours,

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like so many others,

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unfortunately can't gather
together in person

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to induct
the Hall of Fame class of 2020.

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Still, we honor
this year's inductees

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by telling
their inspiring stories

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and showing how powerfully
they've affected us all.

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The lives and music
of this year's class

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is the story
of contemporary R&B,

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and the story of hip hop.

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The story of rock and soul,

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and the story of glam rock.

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The story of electronic music,

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and the story
of brutal industrial rock.

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The artists
are all very different,

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but they share
one crucial virtue in common:

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the undying spirit
of rock and roll.

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Tonight, we celebrate
this new class of the Rock Hall

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as we've never done before.

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And as we tell their stories,

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we tell ours, too.

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Welcome to the Rock and Roll
Hall of Fame 2020 Inductions.

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♪ (THEME MUSIC PLAYING) ♪

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♪ And I... ♪

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♪ Uh! Uh! ♪

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LUKE BRYAN: Is there anybody
who doesn't have

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a favorite Doobie Brothers song?

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The Doobies are one of those
iconic American bands

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that seem to have been
with us forever,

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making incredible music

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always streaming
out of the radio,

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and always playing
spectacular live shows.

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The Doobie Brothers would be
the first to tell you

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that their band's name
is the very definition

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of, "It seemed like a good idea
at the time."

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But when you're young
and having a great time

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playing biker bars,
there's no way to know

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that the music you're making
will still be loved

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half a century later.

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The band has been passed down
from generation

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to generation of fans,
because their music

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has never stopped
sounding fresh.

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It seems like
there isn't any style of music

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this band can't master
and incorporate

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into a sound
that is immediately identifiable

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as the Doobie Brothers.

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I've loved the Doobie Brothers
from the first time

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I heard them as a kid.

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I've had the privilege
of playing with them onstage,

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and I can honestly say
that they're great guys

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as well as great musicians.

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This year marks their
50th anniversary as a band,

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an amazing achievement
in itself.

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They've paid their dues,

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and they've worked
their asses off.

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But the Doobies always found
a way to evolve and progress,

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and their fans were always
out there waiting for them,

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because their songs
are built to last.

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You know, in my opinion,
this induction is...

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It's long overdue, boys.

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But I'm thrilled to be the guy
who gets to say,

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the Doobie Brothers
have made it.

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Welcome to the Rock and Roll
Hall of Fame.

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TOM JOHNSTON: We're what
you'd call an American band,

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I always think of the Doobies
as being an American band.

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PATRICK SIMMONS:
We were a hard-rockin' band,

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a hardworking band.

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ANNOUNCER: The Doobie Brothers!

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We just played
whatever tickled our fancy.

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There wasn't anything this band
could not play.

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It was the best group of people

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I'd ever worked with
in the music business.

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JOHN MCFEE: We do seem to make
people really have a great time.

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JUDD APATOW: They were just
the band that had

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the greatest hits album
where every song was

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the greatest song
you ever heard.

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JOHNSTON: San Jose is where the
Doobie Brothers came together.

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That's how it all started.

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JOHN HARTMAN: We got together
with a guy named Tom Johnston

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and played a lotta clubs
around San Jose

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for five dollars a night.
We worked once a week.

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JOHNSTON: Well, we played
the Chateau a lot,

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where the Hells Angels
would come up.

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SIMMONS: Somehow, we connected.

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I think because we were
bikers ourselves.

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HARTMAN: We got a break
with a production company

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in San Mateo who put us
on our first album.

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♪ Oh! ♪

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♪ Nobody ♪

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♪ Nobody gonna take my love
Away from me ♪

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We were playing live.
We were playing a lot

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of this heavy electric blues
and all this kinda stuff,

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but that's not what we played
on the album.

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The better part of the album
didn't fit the biker image

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by a long shot.

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The pressure increased
to produce a good song.

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Like most songs,
I was sitting in my bedroom

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and I had the acoustic.

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I came up with
the initial riff.

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♪ Don't you feel it growing
Day by day... ♪

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JOHNSTON: I call Teddy up,

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and usually about 3:00
in the morning,

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I'd usually wake him up.

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I said,
"This is a single, Teddy."

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It's the only time
I ever said that.

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TED TEMPLEMAN:
Tommy had "Listen to the Music"

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already completely finished.

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We didn't have to do anything
with that thing

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except just lay it down,
and then Pat had all these ideas

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to put layer upon layer
of guitars.

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♪ Whoa-oh
Listen to the music ♪

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♪ Whoa-oh
Listen to the music ♪

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♪ Whoa-oh
Listen to the music ♪

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♪ All the time... ♪

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BRAD PAISLEY:
It's so infectious.

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That's truly the recipe
for a big pop hit.

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When you establish your sound

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with something like
"Listen to the Music",

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the sky's the limit.

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JOHNSTON: We had the three-part
harmony thing going on,

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which was a big part
of what we've always done.

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And then I was doing
the chaka-chaka rhythm thing

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that I sort of invented,
trying to play drums

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on the guitar
while playing guitar.

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(SCATTING)

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The drums will be coming in
like this. (SCATTING)

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♪ Do-do-do do do do do do ♪

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♪ Do-do-do do do do do do ♪

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♪ Do-do-do do do do do do ♪

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APATOW: Probably my favorite
Doobie Brothers song

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is "Jesus Is Just Alright."

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Why? I don't know. I'm
a Jewish kid from Long Island.

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♪ Jesus is just
all right with me ♪

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♪ Jesus is just all right ♪

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♪ Oh, yeah ♪

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JOHNSTON: Between '72 and '73,

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we went from the Winnebago stage
to the public airline stage.

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And by '74,
we had the Doobieliner.

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♪ Without love ♪

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♪ Where would you be now? ♪

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SIMMONS: Party on the plane
every day.

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♪ Without love ♪

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-♪ Talking 'bout China Grove ♪
-♪ China Grove ♪

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♪ Whoa
Yeah, yeah ♪

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-♪ China Grove ♪
-♪ I believe you said ♪

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JOHNSTON:
The playing was better.

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The singing was better.
The whole concept was better.

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JEFF "SKUNK" BAXTER: The depth
of guitar playing was profound.

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Three guitar players

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all playing different styles,
but playing their parts.

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John was a big proponent
of two drummers.

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HARTMAN: The advantage of
playing with two drummers is

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that you have
the mass of acoustic viability.

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Now, the disadvantages
of course are,

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if he goes "eh",
you better go "eh" with him.

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If he goes "oom",
you better go "oom" with him!

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Because if not, you're gonna
get "eh, oom, uh,"

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all at the same time.
And that's no good.

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♪ Yeah ♪

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You know, every guitarist
in the world has to know...

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♪ (PLAYING RIFF FROM
"BLACK WATER") ♪

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(CROWD CHEERING)

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♪ Well, I built me a raft ♪

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♪ And she's ready
for floating... ♪

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NANCY WILSON: That's what
America feels like. That song.

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It just brought
so many good elements together

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that people
could really relate to.

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I mean, how many people
have ever written chord changes

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that are iconic?

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Pat Simmons' acoustic on that
is phenomenal.

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♪ Old black water
Keep on rollin' ♪

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♪ Mississippi moon ♪

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♪ Won't you keep on
Shinin' on me? ♪

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♪ Old black water
Keep on rollin' ♪

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♪ Mississippi moon ♪

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♪ Keep on shinin' on me ♪

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♪ Keep on shining
Your light... ♪

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JOHNSTON: Roanoke started
playing "Black Water"

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on their own.
Nobody asked them to.

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SIMMONS: All of a sudden,
out of this little station

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somewhere in the South,
"Black Water"

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was in their top-ten rotation.

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Next thing we know, it's our
first number-one record.

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And also, a real departure
in style from anything we'd done

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up to that point.

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It really featured
Pat's finger-pickin'.

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You had to dance.
You had to dance to that song.

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Everybody had to go...

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♪ Hear some funky Dixieland ♪

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♪ Pretty mama,
Come and take me by the hand ♪

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-♪ By the hand ♪
-♪ Hand ♪

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♪ Take me by the hand ♪

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♪ Pretty mama, come and dance
With your daddy ♪

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♪ All night long... ♪

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JOHNSTON: The crowds got
way larger.

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Crowds got more animated.
And pretty soon,

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we were on the road
all the time.

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♪ I know you're leavin' ♪

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♪ Leavin' me behind... ♪

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Being on the road's
a tough thing.

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And after a while,
it gets so crazy

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that you start
just going inward.

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♪ Take me in your arms ♪

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♪ Rock me
Rock me a little while ♪

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♪ Oh, with you, darling ♪

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♪ Rock me
Rock me a little while ♪

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♪ Oh, yeah, yeah ♪

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TIRAN PORTER: The Doobie
Brothers played everywhere

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where there was
an electrical outlet.

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Sometimes, it's just too much.

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MAN: Well, Tommy became
very ill.

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SIMMONS: We were out
promoting  Stampede

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and Tommy didn't show up
at the gig in Chicago.

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So, we didn't know what to do.

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I finally ended up in a hospital
and we found out,

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yeah, about a dime-sized hole
in your stomach.

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And they just barely pulled me
out of it.

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I was basically dead and I said,
"You know what?

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I'm burnt out on this.

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I gotta get away from it
for a while." And I did.

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It looked like we would have
to cancel the tour.

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00:11:23,633 --> 00:11:26,433
And Jeffrey Baxter said,
"I know this guy.

246
00:11:26,500 --> 00:11:29,533
He's a side man with Steely Dan.
His name is Michael McDonald."

247
00:11:29,600 --> 00:11:31,934
He's a really good piano player
and a wonderful singer.

248
00:11:32,000 --> 00:11:33,133
I think you'll like him.

249
00:11:33,200 --> 00:11:35,300
PORTER: So we brought Michael
out to New Orleans

250
00:11:35,367 --> 00:11:38,000
in early 1975.

251
00:11:38,066 --> 00:11:39,834
Heard him sing three notes
and we went,

252
00:11:39,900 --> 00:11:41,400
(GASPS) "That's the guy!"

253
00:11:44,567 --> 00:11:45,867
(AUDIENCE CHEERS)

254
00:11:45,934 --> 00:11:47,500
MICHAEL MCDONALD:
This was just like

255
00:11:47,567 --> 00:11:49,433
a dream come true.
You know, I got to play with

256
00:11:49,500 --> 00:11:52,233
a really great band,
record my own material.

257
00:11:52,300 --> 00:11:53,834
I thought I'd died
and went to Heaven.

258
00:11:53,900 --> 00:11:55,433
♪ Oh, you ♪

259
00:11:57,367 --> 00:12:00,633
♪ Tell me, please, the things
You're gonna do for me ♪

260
00:12:02,166 --> 00:12:03,667
♪ No, no ♪

261
00:12:03,734 --> 00:12:06,934
♪ I ain't blind and I don't like
What I think I see ♪

262
00:12:07,000 --> 00:12:08,667
♪ Taking it to the streets ♪

263
00:12:08,734 --> 00:12:10,400
♪ We're taking it
To the streets ♪

264
00:12:10,467 --> 00:12:11,934
♪ Taking it to the streets ♪

265
00:12:12,000 --> 00:12:13,133
MCDONALD:
It all happened so fast.

266
00:12:13,200 --> 00:12:15,967
I think I was expecting
at any time to be laid off.

267
00:12:16,033 --> 00:12:19,033
You know, and yet it just kept
going further and further.

268
00:12:19,100 --> 00:12:22,767
Michael McDonald is kinda
like adding a spice to a dish.

269
00:12:22,834 --> 00:12:24,467
And it's not a subtle spice.

270
00:12:24,533 --> 00:12:27,567
He's a sort
of wasabi-infused garlic.

271
00:12:27,633 --> 00:12:29,967
Immediately,
it changes everything.

272
00:12:30,033 --> 00:12:31,033
And he did.

273
00:12:31,633 --> 00:12:33,233
♪ No, no ♪

274
00:12:33,300 --> 00:12:35,767
-♪ Taking it to the streets ♪
-♪ No, no ♪

275
00:12:35,834 --> 00:12:37,967
♪ Taking it to the streets... ♪

276
00:12:38,033 --> 00:12:39,633
Wow! The Doobie Brothers!

277
00:12:39,700 --> 00:12:42,300
One of the key moments
of my television history

278
00:12:42,367 --> 00:12:44,033
was the  What's Happening!!
episode

279
00:12:44,100 --> 00:12:46,600
where they went to see
the Doobie Brothers

280
00:12:46,667 --> 00:12:48,600
and they bootlegged the show.

281
00:12:50,100 --> 00:12:52,900
You got to see
the Doobie Brothers act.

282
00:12:52,967 --> 00:12:54,767
I thought you guys
were our friends.

283
00:12:54,834 --> 00:12:56,367
How could you guys
do this to us?

284
00:12:56,433 --> 00:12:58,100
And I can't say it was strong!

285
00:12:58,166 --> 00:13:00,667
JACKSON BROWNE: Will you welcome
some really good friends
of all of ours,

286
00:13:00,734 --> 00:13:03,200
who helped us get
this whole thing started
from the beginning.

287
00:13:03,266 --> 00:13:05,200
Put it together
for the Doobie Brothers!

288
00:13:07,166 --> 00:13:10,700
♪ Darling, you're always there
At my rescue ♪

289
00:13:11,433 --> 00:13:13,333
♪ Dependin' on you ♪

290
00:13:13,400 --> 00:13:17,633
♪ Darling, you're always there
By my side ♪

291
00:13:17,700 --> 00:13:19,867
♪ You're always there
By my side... ♪

292
00:13:19,934 --> 00:13:22,233
Here was the biggest band
in the United States saying,

293
00:13:22,300 --> 00:13:24,333
"Yeah, we'll give you two nights
at Madison Square Garden."

294
00:13:24,400 --> 00:13:27,066
It let us go on sale
and say that our first nights

295
00:13:27,133 --> 00:13:28,700
were with the Doobie Brothers.

296
00:13:30,533 --> 00:13:33,033
PORTER: The Minute by Minute
album was probably the most

297
00:13:33,100 --> 00:13:35,433
fraught recording experience
of our career.

298
00:13:35,500 --> 00:13:38,867
♪ She came from somewhere
Back in her long ago ♪

299
00:13:38,934 --> 00:13:41,266
"What a Fool Believes,"
fifty-something takes.

300
00:13:41,333 --> 00:13:43,500
♪ The sentimental fool
Don't see ♪

301
00:13:43,567 --> 00:13:48,033
♪ Tryin' hard to recreate
What has yet to be created ♪

302
00:13:48,100 --> 00:13:49,467
PORTER: Michael had something
in his head,

303
00:13:49,533 --> 00:13:51,266
but he couldn't communicate it
to the rest of us.

304
00:13:51,333 --> 00:13:54,033
The quest for excellence
was out of control.

305
00:13:54,100 --> 00:13:56,066
PORTER: We were all
sick of one another.

306
00:13:56,133 --> 00:13:58,033
MCDONALD: Jeff and I butted
heads during that period

307
00:13:58,100 --> 00:13:59,500
more than anyone else
in the band.

308
00:13:59,567 --> 00:14:01,800
He was now in a lot
of ways driving

309
00:14:01,867 --> 00:14:03,166
the direction of the band.

310
00:14:03,233 --> 00:14:04,700
I don't think the album
could have ever been

311
00:14:04,767 --> 00:14:06,166
good enough,
you know, for any of us.

312
00:14:06,233 --> 00:14:08,700
And I think even a lot of people
at the label were going,

313
00:14:08,767 --> 00:14:12,000
"It's over. It's the band's,
you know, kiss of death."

314
00:14:12,066 --> 00:14:13,333
The Doobie Brothers!

315
00:14:13,400 --> 00:14:17,433
♪ What a fool believes ♪

316
00:14:17,500 --> 00:14:19,934
♪ He sees ♪

317
00:14:20,000 --> 00:14:22,667
♪ No wise man has the power... ♪

318
00:14:22,734 --> 00:14:26,400
So imagine our surprise
when the first single came out

319
00:14:26,467 --> 00:14:28,667
and the thing sold like
three million copies.

320
00:14:28,734 --> 00:14:30,033
No one expected it.

321
00:14:30,100 --> 00:14:32,500
Much less did we ever expect
to win a Grammy, you know.

322
00:14:32,567 --> 00:14:34,166
BOTH: The Doobie Brothers!

323
00:14:36,400 --> 00:14:38,867
We want to thank our fans
who made it all possible,

324
00:14:38,934 --> 00:14:40,600
stickin' with us
for all these years.

325
00:14:40,667 --> 00:14:42,000
Thanks. We appreciate it.

326
00:14:44,700 --> 00:14:48,000
♪ Call my name
And I'll be gone ♪

327
00:14:49,967 --> 00:14:53,734
♪ You'll reach out
And I won't be there ♪

328
00:14:55,033 --> 00:14:59,033
♪ Just my luck, you'll realize ♪

329
00:15:00,266 --> 00:15:04,333
♪ You should spend your life
With someone... ♪

330
00:15:04,400 --> 00:15:08,266
SIMMONS: It might have been me
that kinda was always pushing

331
00:15:08,333 --> 00:15:10,400
to kinda keep the band working.

332
00:15:10,467 --> 00:15:13,600
And I just kinda felt,
at that point,

333
00:15:13,667 --> 00:15:16,467
that maybe it was time
to give people a break.

334
00:15:16,533 --> 00:15:19,300
Goddammit, man.
The Doobie Brothers broke up.

335
00:15:19,367 --> 00:15:21,934
Shit! When did that happen?

336
00:15:22,000 --> 00:15:25,500
SIMMONS: Yo! Everybody knows
my friend, your good friend,

337
00:15:25,567 --> 00:15:28,000
-Mr. Tommy Johnston.
-(AUDIENCE CHEERING)

338
00:15:28,066 --> 00:15:31,066
♪ When the sun comes up
On a sleepy little town ♪

339
00:15:31,133 --> 00:15:33,667
♪ Down around San Antone ♪

340
00:15:33,734 --> 00:15:37,133
♪ And the folks are risin'
For another day ♪

341
00:15:37,200 --> 00:15:39,200
♪ Round about their homes... ♪

342
00:15:39,266 --> 00:15:41,700
SIMMONS: Because of the way
that we did things,

343
00:15:41,767 --> 00:15:46,100
it would enable us to come back
and play together again.

344
00:15:48,834 --> 00:15:51,066
-♪ Talking 'bout China Grove ♪
-♪ China Grove ♪

345
00:15:51,133 --> 00:15:54,300
WILSON: They're such a seminal
treasure of a rock band,

346
00:15:54,367 --> 00:15:57,367
and they belong in the Rock
and Roll Hall of Fame.

347
00:15:57,433 --> 00:15:59,100
Because they invented that shit.

348
00:15:59,166 --> 00:16:02,433
♪ Whoa, oh
Listen to the music ♪

349
00:16:02,500 --> 00:16:05,367
Now they've been together
50 years!

350
00:16:05,433 --> 00:16:08,333
I can't imagine rock and roll
without the Doobie Brothers.

351
00:16:08,734 --> 00:16:09,967
We were a band.

352
00:16:10,934 --> 00:16:12,233
And we're still that way.

353
00:16:12,300 --> 00:16:13,867
I mean,
this band is a live band.

354
00:16:13,934 --> 00:16:16,033
MCDONALD: You know, for me,
it was the greatest time

355
00:16:16,100 --> 00:16:19,433
in my career,
was being a Doobie Brother.

356
00:16:19,500 --> 00:16:20,967
As long as people
want to hear us,

357
00:16:21,033 --> 00:16:22,433
we'll be out there playing.

358
00:16:35,300 --> 00:16:39,467
(CHEERING AND APPLAUSE)

359
00:16:40,600 --> 00:16:42,867
Wow, it's been
a long time coming,

360
00:16:42,934 --> 00:16:45,533
but we are so grateful
and excited to be inducted

361
00:16:45,600 --> 00:16:47,800
into the Rock and Roll Hall
of Fame.

362
00:16:47,867 --> 00:16:50,934
A lot of our musical influences
are enshrined in the Hall,

363
00:16:51,000 --> 00:16:52,900
so we couldn't ask
for better company.

364
00:16:52,967 --> 00:16:56,033
It's been quite a ride
from playing clubs in San Jose

365
00:16:56,100 --> 00:16:58,000
to recording music
that we loved,

366
00:16:58,066 --> 00:17:01,100
then playing for people
in venues all over the world.

367
00:17:01,166 --> 00:17:03,800
It seems unreal,
but it's been quite a trip,

368
00:17:03,867 --> 00:17:05,266
and we aren't done yet.

369
00:17:05,333 --> 00:17:08,300
My deepest thanks
to the Doobie Brothers family

370
00:17:08,367 --> 00:17:10,333
and all the members
over the years

371
00:17:10,400 --> 00:17:12,166
who have been part
of this journey.

372
00:17:12,233 --> 00:17:14,000
It's always been about our love
of music,

373
00:17:14,066 --> 00:17:15,734
and because
of the band's success,

374
00:17:15,800 --> 00:17:18,700
we now celebrate this induction.

375
00:17:18,767 --> 00:17:21,467
I want to thank my family
for their support.

376
00:17:21,533 --> 00:17:25,033
My wife, Diane. My son,
Christopher, and his family.

377
00:17:25,100 --> 00:17:28,266
And my daughter, Lara.
You guys mean the world to me.

378
00:17:28,333 --> 00:17:31,567
And I'd like to thank
Irving Azoff and Karim Karmi

379
00:17:31,633 --> 00:17:33,934
for getting us to this level
in our career.

380
00:17:34,000 --> 00:17:35,266
You've been amazing.

381
00:17:35,333 --> 00:17:39,367
I'd also like to thank Rob Light
and the CAA team.

382
00:17:39,433 --> 00:17:42,533
And thanks to Ted Templeman
for his musical direction

383
00:17:42,600 --> 00:17:43,667
in the studio.

384
00:17:43,734 --> 00:17:46,100
And to all our fans
who have stood by the band

385
00:17:46,166 --> 00:17:48,567
through the years,
you are the best.

386
00:17:48,633 --> 00:17:49,934
Thank you all.

387
00:17:51,066 --> 00:17:53,233
I wish to thank first of all
the guys

388
00:17:53,300 --> 00:17:55,166
who I accept
this award with tonight,

389
00:17:55,233 --> 00:17:57,100
for their years of friendship
and the privilege

390
00:17:57,166 --> 00:17:59,767
of allowing me to be a member
of the Doobie Brothers.

391
00:17:59,834 --> 00:18:02,433
I'd also like to thank
the Rock and Roll Hall of Fame

392
00:18:02,500 --> 00:18:03,767
for this great honor.

393
00:18:03,834 --> 00:18:06,166
I'd like to thank the fans
for their continuous support

394
00:18:06,233 --> 00:18:08,166
over the years.
And I'd also like to thank

395
00:18:08,233 --> 00:18:10,900
all the managers,
record executives, producers,

396
00:18:10,967 --> 00:18:13,500
all the men and women
who worked hard along with us

397
00:18:13,567 --> 00:18:14,900
on the way to this moment.

398
00:18:14,967 --> 00:18:16,333
It's a great honor.

399
00:18:16,400 --> 00:18:17,600
On a personal note,

400
00:18:17,667 --> 00:18:20,567
I'd like to thank my lovely wife
Amy, and my two great kids,

401
00:18:20,633 --> 00:18:21,934
Dylan and Scarlett.

402
00:18:22,033 --> 00:18:24,133
Thank you
for always being there.

403
00:18:24,200 --> 00:18:26,233
Being a Doobie Brother
represents some of the best

404
00:18:26,300 --> 00:18:27,633
years of my life,

405
00:18:27,700 --> 00:18:30,000
so being inducted into the Rock
and Roll Hall of Fame tonight

406
00:18:30,066 --> 00:18:33,367
with these guys makes it all
the more special for me.

407
00:18:33,433 --> 00:18:34,800
Thank you.

408
00:18:34,867 --> 00:18:37,700
First of all, I want to thank
the Rock and Roll Hall of Fame

409
00:18:37,767 --> 00:18:39,000
for our induction.

410
00:18:39,066 --> 00:18:41,567
It's certainly a great honor
for us to be included

411
00:18:41,633 --> 00:18:43,400
among this
distinguished membership.

412
00:18:43,467 --> 00:18:45,233
I want to thank all
the Doobie Brothers

413
00:18:45,300 --> 00:18:48,533
past and present,
especially Tom Johnston,

414
00:18:48,600 --> 00:18:51,367
Michael McDonald, John McFee,

415
00:18:51,433 --> 00:18:54,400
Mike Hossack, John Hartman,

416
00:18:54,467 --> 00:18:56,967
Keith Knudsen, Tiran Porter,

417
00:18:57,033 --> 00:18:59,433
Bobby LaKind and Jeff Baxter.

418
00:18:59,500 --> 00:19:01,700
And it's truly an honor
to have been part

419
00:19:01,767 --> 00:19:04,867
of this great band
of amazingly talented musicians

420
00:19:04,934 --> 00:19:06,333
and wonderful friends.

421
00:19:06,400 --> 00:19:09,066
We have the greatest road crew
in rock 'n' roll:

422
00:19:09,133 --> 00:19:13,934
Joe, Tyler, Hoodie, Vid, Jeremy,
John, Coop, Keith and Steve.

423
00:19:14,000 --> 00:19:16,934
Thanks, guys.
And our incredible fans

424
00:19:17,000 --> 00:19:20,000
who got us here and stuck
with us for over 50 years,

425
00:19:20,066 --> 00:19:21,767
we owe you so much.

426
00:19:21,834 --> 00:19:24,667
I want to thank
my wonderful wife, Cris,

427
00:19:24,734 --> 00:19:27,567
forever patient,
wise and supportive.

428
00:19:27,633 --> 00:19:29,166
I love you so much.

429
00:19:29,233 --> 00:19:32,066
My children, Lindsey,
Josh and Pat Jr.,

430
00:19:32,133 --> 00:19:35,934
you have made all the work, long
hours and sacrifice worth it.

431
00:19:36,000 --> 00:19:39,133
My life has been a blessing
and I'm so lucky to be able

432
00:19:39,200 --> 00:19:40,400
to share it with you all.

433
00:19:40,467 --> 00:19:43,200
I want to wish all of you
watching the very best.

434
00:19:43,266 --> 00:19:46,967
Someday, we'll all be together
again, sharing the music

435
00:19:47,033 --> 00:19:49,867
and the love.
Thank you. Aloha.

436
00:19:59,767 --> 00:20:02,433
IGGY POP: When I first heard
about Nine Inch Nails

437
00:20:02,500 --> 00:20:04,767
and heard a little
of their music, I thought,

438
00:20:04,834 --> 00:20:08,567
"Well, who is this guy?"
So I took a look.

439
00:20:08,633 --> 00:20:12,834
And I saw a face straight
out of 15th-century Spain.

440
00:20:12,900 --> 00:20:15,500
I think Trent
could have played Zorro.

441
00:20:15,567 --> 00:20:17,500
If he'd been alive
at the right time,

442
00:20:17,567 --> 00:20:18,867
I think he could
have been painted

443
00:20:18,934 --> 00:20:20,867
by Velázquez or El Greco.

444
00:20:20,934 --> 00:20:22,934
And his portrait
would probably be hanging

445
00:20:23,000 --> 00:20:24,300
in the Prado today.

446
00:20:26,300 --> 00:20:29,467
Listening to Nine Inch Nails'
music, which is so often

447
00:20:29,533 --> 00:20:33,433
called industrial,
I actually hear a lot of funk.

448
00:20:33,500 --> 00:20:36,266
Just listen to "Closer",
and the foundation

449
00:20:36,333 --> 00:20:39,066
could be Stevie Wonder
or George Clinton.

450
00:20:39,133 --> 00:20:43,633
But on top of that is a focused
and relentless process

451
00:20:43,700 --> 00:20:48,200
of emotional destruction
which paints a portrait of pain,

452
00:20:48,266 --> 00:20:51,300
pressure and dissatisfaction.

453
00:20:51,367 --> 00:20:55,033
It's the soundtrack to the dark
and lonely party

454
00:20:55,100 --> 00:20:58,800
that was beginning to play out
in America at that period.

455
00:20:58,867 --> 00:21:01,166
So I would call it
not industrial,

456
00:21:01,233 --> 00:21:06,033
but the sound
of industrial, digital ambition.

457
00:21:06,100 --> 00:21:08,333
I went
to the Nine Inch Nails show

458
00:21:08,400 --> 00:21:10,300
in the Forum in Los Angeles,

459
00:21:10,367 --> 00:21:12,266
the one together
with David Bowie.

460
00:21:12,333 --> 00:21:14,367
And Trent held the center
of that room

461
00:21:14,433 --> 00:21:16,834
just by being
a kind of dark spot

462
00:21:16,900 --> 00:21:18,967
hunched behind the mic.

463
00:21:19,033 --> 00:21:22,233
I'd seen the same thing
accomplished in different ways

464
00:21:22,300 --> 00:21:26,800
by T. Rex at Wembley,
Nirvana at the Pyramid Club,

465
00:21:26,867 --> 00:21:29,200
and Bob Dylan in '65.

466
00:21:29,266 --> 00:21:32,200
This is the mark
of the master artist.

467
00:21:32,266 --> 00:21:34,266
Simply to connect.

468
00:21:34,333 --> 00:21:37,600
The controversial
and brilliant French novelist

469
00:21:37,667 --> 00:21:40,266
Michel Houellebecq,
when asked the secret

470
00:21:40,333 --> 00:21:43,433
of his success,
said, "It's easy.

471
00:21:43,500 --> 00:21:45,867
Just tell the truth."

472
00:21:45,934 --> 00:21:50,567
Listening to Nine Inch Nails
feels like hearing the truth.

473
00:21:50,633 --> 00:21:54,734
So it gets you a little bit
closer to God.

474
00:21:54,800 --> 00:21:59,367
It is my honor to assist
in inducting Trent Reznor

475
00:21:59,433 --> 00:22:05,500
and Nine Inch Nails into
the Rock and Roll Hall of Fame.

476
00:22:11,867 --> 00:22:13,033
TRENT REZNOR: Hello?

477
00:22:13,100 --> 00:22:14,100
INTERVIEWER: Hey, Trent.

478
00:22:14,767 --> 00:22:16,166
REZNOR: Yeah?

479
00:22:16,233 --> 00:22:17,667
INTERVIEWER:
Thanks for doing this.

480
00:22:18,367 --> 00:22:19,867
I'll jump in.

481
00:22:19,934 --> 00:22:24,633
How do you explain
what Nine Inch Nails is?

482
00:22:24,700 --> 00:22:26,700
REZNOR: That's a good question.
And it's one of those ones

483
00:22:26,767 --> 00:22:29,900
where, when asked,
my mind immediately goes blank,

484
00:22:29,967 --> 00:22:30,967
you know? (LAUGHS)

485
00:22:34,834 --> 00:22:36,800
ANNOUNCER: Ladies and gentlemen,
please welcome

486
00:22:36,867 --> 00:22:38,200
Nine Inch Nails.

487
00:22:41,333 --> 00:22:44,333
RICK RUBIN: Nine Inch Nails
was always outsider music.

488
00:22:44,400 --> 00:22:48,100
The rest of culture is moving
and changing in a certain way.

489
00:22:48,166 --> 00:22:50,900
And they were always
outside of it.

490
00:22:50,967 --> 00:22:52,567
MILEY CYRUS They're a testament
that you can make

491
00:22:52,633 --> 00:22:55,667
infectious music
that you can't get enough of.

492
00:22:55,734 --> 00:22:57,467
♪ Head like a hole ♪

493
00:22:57,533 --> 00:22:59,367
♪ Black as your soul... ♪

494
00:22:59,433 --> 00:23:03,400
JIMMY IOVINE: Trent has
an enormous impact culturally.

495
00:23:03,467 --> 00:23:06,467
His psyche is the lead
instrument of that band.

496
00:23:06,533 --> 00:23:10,400
♪ Bow down before
The one you serve... ♪

497
00:23:10,467 --> 00:23:13,900
"Head Like a Hole"
has two fucking choruses.

498
00:23:13,967 --> 00:23:15,734
If you're trying to think
of that song,

499
00:23:15,800 --> 00:23:16,967
it's the song that's like...

500
00:23:17,033 --> 00:23:18,500
♪ Bow down before... ♪

501
00:23:18,567 --> 00:23:19,800
Oh wait, no. Then it's...

502
00:23:19,867 --> 00:23:21,367
♪ Head like a... ♪
Oh, wait.

503
00:23:21,433 --> 00:23:23,700
Both of those
are great choruses,

504
00:23:23,767 --> 00:23:25,200
and they're in the same song.

505
00:23:25,266 --> 00:23:26,266
There's...

506
00:23:28,133 --> 00:23:29,700
SAUL WILLIAMS:
There's that similarity

507
00:23:29,767 --> 00:23:32,000
with an artist like Prince,
where you know

508
00:23:32,066 --> 00:23:36,567
that a lot of those songs came
from late-night solo ventures

509
00:23:36,633 --> 00:23:37,834
into the self.

510
00:23:37,900 --> 00:23:40,700
Trent brings in collaborators
and other players,

511
00:23:40,767 --> 00:23:43,834
but it is a singular vision,
and that vision is his.

512
00:23:46,633 --> 00:23:48,400
♪ Every time I get high... ♪

513
00:23:48,467 --> 00:23:50,734
REZNOR: What I always thought
rock should be is something

514
00:23:50,800 --> 00:23:52,000
that should be rebellious,

515
00:23:52,066 --> 00:23:53,800
and should have something
about it that your parents

516
00:23:53,867 --> 00:23:56,900
shouldn't like. You know,
it should be anti-establishment.

517
00:23:56,967 --> 00:23:58,734
It should have some sense
of danger.

518
00:23:58,800 --> 00:24:00,266
There should be some sense
of chaos.

519
00:24:03,367 --> 00:24:08,834
Nine Inch Nails is a pure,
raw-nerve emotion.

520
00:24:09,967 --> 00:24:13,700
It appeals to you and freaks you
out at the same time.

521
00:24:15,734 --> 00:24:17,900
DAVID FINCHER:
There are a lot of people
who can write a good lick,

522
00:24:17,967 --> 00:24:21,467
or produce something
that's eminently hummable.

523
00:24:21,533 --> 00:24:25,734
But it's when somebody drops
something into your lap...

524
00:24:25,800 --> 00:24:29,333
that has to be dealt with,
that's the difference.

525
00:24:31,233 --> 00:24:34,500
REZNOR: I spent a lot of time
growing up in Pennsylvania.

526
00:24:34,567 --> 00:24:36,500
You know, like a lot of time
by myself.

527
00:24:36,567 --> 00:24:38,533
And just time in my room,
listening to music.

528
00:24:41,367 --> 00:24:43,700
You know, worn-out records...

529
00:24:44,500 --> 00:24:46,667
helped me feel less alone.

530
00:24:46,734 --> 00:24:49,000
Helped me feel connected
to the world

531
00:24:49,066 --> 00:24:52,066
in an environment
where I felt far away

532
00:24:52,133 --> 00:24:53,633
from everything exciting.

533
00:24:54,633 --> 00:24:57,300
When I started
to express myself,

534
00:24:57,367 --> 00:25:01,533
there seemed to be a lot of
angst and anger and loneliness

535
00:25:01,600 --> 00:25:03,767
in journal entries.

536
00:25:03,834 --> 00:25:06,467
I realized
these could be the lyrics.

537
00:25:08,300 --> 00:25:11,500
♪ Why are you doing this to me ♪

538
00:25:11,567 --> 00:25:13,734
ANNIE CLARK: Nine Inch Nails
came out of the industrial scene

539
00:25:13,800 --> 00:25:19,100
of the '80s,
and made heavy, corrosive,

540
00:25:19,166 --> 00:25:23,133
industrial goth music
massively popular,

541
00:25:23,200 --> 00:25:25,433
and made it something
that suburban kids

542
00:25:25,500 --> 00:25:28,033
were wearing t-shirts of.

543
00:25:28,100 --> 00:25:31,367
WILLIAMS: It's a huge influence
on a generation of kids

544
00:25:31,433 --> 00:25:33,867
that needed direction.

545
00:25:33,934 --> 00:25:35,934
I mean, I could be funny
about it and say, "Yeah,

546
00:25:36,000 --> 00:25:37,934
he helped a lotta suburban
white kids make sense

547
00:25:38,000 --> 00:25:39,767
of their lives," you know?
(LAUGHS)

548
00:25:39,834 --> 00:25:43,166
And, um...
But in a great way though.

549
00:25:43,233 --> 00:25:44,700
In a great fuckin' way.

550
00:25:44,767 --> 00:25:49,800
♪ I still recall the taste
of your tears... ♪

551
00:25:49,867 --> 00:25:53,266
I was at that age, 14,
I was angsty as fuck,

552
00:25:53,333 --> 00:25:55,667
and I wanted
rebellion music too.

553
00:25:55,734 --> 00:25:57,834
It was really like one of those
records that you just hear,

554
00:25:57,900 --> 00:26:00,033
you go, "Oh, that's what
I like now."

555
00:26:00,100 --> 00:26:02,767
♪ My favorite dreams of you ♪

556
00:26:02,834 --> 00:26:04,066
♪ Still wash ashore... ♪

557
00:26:04,133 --> 00:26:05,834
REZNOR: Heading to a town
you've never been to,

558
00:26:05,900 --> 00:26:08,000
opening for a band
and seeing somebody in the back

559
00:26:08,066 --> 00:26:10,567
yelling your words
back at you...

560
00:26:10,633 --> 00:26:14,133
Like, I can't tell you how much
that really made me

561
00:26:14,200 --> 00:26:16,767
feel connected
to the world for once.

562
00:26:16,834 --> 00:26:18,967
♪ ...anymore ♪

563
00:26:20,233 --> 00:26:22,800
You feel a sense of,
"I'm not alone,

564
00:26:22,867 --> 00:26:24,533
'cause someone else
has felt this way."

565
00:26:24,600 --> 00:26:27,867
Their music kind of
erases loneliness in a way.

566
00:26:33,100 --> 00:26:36,867
To me, "Closer"
was a next jump for him.

567
00:26:36,934 --> 00:26:39,934
♪ Help me get away from myself ♪

568
00:26:40,000 --> 00:26:43,734
♪ I wanna fuck you
like an animal ♪

569
00:26:43,800 --> 00:26:46,400
REZNOR: "Here's a visual
in my head."

570
00:26:46,467 --> 00:26:49,033
"Let's get that sounding
like that place."

571
00:26:52,500 --> 00:26:54,367
HOST: The biggest noise
this year was made by

572
00:26:54,433 --> 00:26:55,800
a musical hermit
named Trent Reznor

573
00:26:55,867 --> 00:26:57,700
and the band he sometimes
surrounds himself with,

574
00:26:57,767 --> 00:26:59,000
Nine Inch Nails.

575
00:26:59,066 --> 00:27:01,567
Reznor was everywhere this year,
debuting at number two

576
00:27:01,633 --> 00:27:03,867
on the Billboard chart
with  The Downward Spiral  album,

577
00:27:03,934 --> 00:27:07,400
and taking many a luckless
keyboard to task on stage.

578
00:27:12,967 --> 00:27:17,166
I saw the video of that new band
and I thought,

579
00:27:17,233 --> 00:27:19,834
"That's really good.
That's a great video."

580
00:27:19,900 --> 00:27:21,834
Because of that,
I then really had gone in

581
00:27:21,900 --> 00:27:23,100
to what he was doing.

582
00:27:23,166 --> 00:27:24,900
And then  Downward Spiral
was really

583
00:27:24,967 --> 00:27:26,734
just an exceptional album.
Really excellent.

584
00:27:26,800 --> 00:27:29,834
♪ Devil speak of the way... ♪

585
00:27:29,900 --> 00:27:33,600
The performance
at Woodstock in the mud,

586
00:27:33,667 --> 00:27:37,934
that's gonna be
in my brain forever.

587
00:27:38,000 --> 00:27:41,166
They just created this world
that was tumbling towards hell

588
00:27:41,233 --> 00:27:43,066
in the best possible way.

589
00:27:45,734 --> 00:27:49,233
And at one point,
the one Nine Inch Nail, Trent...

590
00:27:49,300 --> 00:27:50,667
(AUDIENCE LAUGHS)

591
00:27:50,734 --> 00:27:54,133
He's just-- He's very disturbed.
He's emotio--

592
00:27:54,200 --> 00:27:56,300
This kid
is emotionally disturbed.

593
00:27:58,266 --> 00:28:02,433
REZNOR: Touring became
life-changing for good and bad.

594
00:28:03,600 --> 00:28:06,867
Surreal experience,
that I, as a human being,

595
00:28:06,934 --> 00:28:08,266
wasn't prepared for.

596
00:28:09,100 --> 00:28:11,800
To see your whole life
kinda change,

597
00:28:11,867 --> 00:28:14,767
fame brings
its weirdness to you.

598
00:28:15,533 --> 00:28:18,500
It was a strange, strange time.

599
00:28:18,567 --> 00:28:21,433
You know, I came out
the other end lost.

600
00:28:23,734 --> 00:28:27,500
♪ What have I become ♪

601
00:28:30,333 --> 00:28:33,500
♪ My sweetest friend ♪

602
00:28:36,166 --> 00:28:39,100
♪ What have I become ♪

603
00:28:41,900 --> 00:28:44,533
♪ My sweetest friend... ♪

604
00:28:44,600 --> 00:28:46,734
REZNOR: The whole Johnny Cash
thing came up at a time

605
00:28:46,800 --> 00:28:48,333
right when what was going
through my head

606
00:28:48,400 --> 00:28:50,667
was really questioning
my own relevance.

607
00:28:50,734 --> 00:28:54,467
And I was wondering
if I had anything to say,

608
00:28:54,533 --> 00:28:56,333
or if I was any good.

609
00:28:57,266 --> 00:28:59,967
♪ I would keep myself... ♪

610
00:29:02,667 --> 00:29:04,633
At the time,
it felt really comforting,

611
00:29:04,700 --> 00:29:08,400
and like a pat on the back
in the way of, like, you know,

612
00:29:08,467 --> 00:29:10,300
"You can do this. Get out there
and write an album."

613
00:29:14,200 --> 00:29:16,300
INTERVIEWER: How do you feel
when things you've done

614
00:29:16,367 --> 00:29:17,900
come back to you
from the culture?

615
00:29:17,967 --> 00:29:20,767
Like Miley Cyrus
covering one of your songs?

616
00:29:20,834 --> 00:29:23,367
Or Lil Nas X sampling
Nine Inch Nails?

617
00:29:23,433 --> 00:29:25,400
♪ I got the horses
in the back... ♪

618
00:29:25,467 --> 00:29:30,066
REZNOR: It's surprising
and it's flattering to hear

619
00:29:30,133 --> 00:29:31,600
when influence pops up.

620
00:29:31,667 --> 00:29:33,200
But I don't--
I don't spend much time

621
00:29:33,266 --> 00:29:34,533
thinking about it.

622
00:29:34,600 --> 00:29:36,767
I don't think it's healthy
to be caught up in that.

623
00:29:36,834 --> 00:29:39,133
♪ I'm gonna take my horse
to the old town road... ♪

624
00:29:39,200 --> 00:29:41,033
You really start to have
this deep appreciation

625
00:29:41,100 --> 00:29:42,166
for the melodies.

626
00:29:42,233 --> 00:29:43,800
And when you have
a great melody,

627
00:29:43,867 --> 00:29:46,000
it can lend itself to any genre.

628
00:29:46,066 --> 00:29:48,200
I think that's how a song
becomes classic.

629
00:29:48,266 --> 00:29:50,433
♪ Ride till I can't no more ♪

630
00:29:50,500 --> 00:29:53,500
PROFESSOR: Mr. Zuckerberg,
do I have your full attention?

631
00:29:54,667 --> 00:29:56,333
No.

632
00:29:56,400 --> 00:30:00,867
FINCHER: Ghosts was a collection
that I returned to often.

633
00:30:00,934 --> 00:30:03,900
And on Social Network,
we just kept temping it

634
00:30:03,967 --> 00:30:05,200
with stuff from Ghosts.

635
00:30:06,333 --> 00:30:08,834
REZNOR: Social Network,
the first film I'd ever scored.

636
00:30:08,900 --> 00:30:12,433
You know, the first few days
was, "I don't have any idea..."

637
00:30:12,500 --> 00:30:14,266
"How do you even start?"

638
00:30:15,767 --> 00:30:18,734
Once I started thinking
about the character,

639
00:30:18,800 --> 00:30:21,200
the sense of betrayal
and the sense of,

640
00:30:21,266 --> 00:30:23,066
here's somebody that believes
in something so much

641
00:30:23,133 --> 00:30:25,200
that they'll fuck over anybody
to do it,

642
00:30:25,266 --> 00:30:28,500
thinking it's gonna fix them,
and I know that story.

643
00:30:29,400 --> 00:30:30,867
I know what that feels like.

644
00:30:33,533 --> 00:30:35,533
When I'm sitting in the studio
with Atticus now,

645
00:30:35,600 --> 00:30:38,700
for the first time in my life,
I felt like

646
00:30:38,767 --> 00:30:43,333
it really is much better
than if I were by myself.

647
00:30:44,533 --> 00:30:46,834
IOVINE: I've now seen
all their movies.

648
00:30:46,900 --> 00:30:48,934
And music that they do
for those movies

649
00:30:49,000 --> 00:30:52,734
is as interesting and as
powerful as Nine Inch Nails.

650
00:31:04,200 --> 00:31:07,467
A good way to look
at music is to look on the past.

651
00:31:08,367 --> 00:31:12,166
NWA, The Clash, Patti Smith.

652
00:31:12,233 --> 00:31:17,133
We've have had those moments
where complete anarchy of music

653
00:31:17,200 --> 00:31:19,433
and the culture collide,

654
00:31:19,500 --> 00:31:22,133
and you get people
that are ahead of their time.

655
00:31:22,200 --> 00:31:24,867
That's where Nine Inch Nails,
to me, fits.

656
00:31:25,700 --> 00:31:29,533
♪ Doesn't it make you
Feel better ♪

657
00:31:39,500 --> 00:31:41,133
FINCHER: There are best hits,

658
00:31:41,200 --> 00:31:44,066
you know,
and then there's a body of work.

659
00:31:44,133 --> 00:31:48,367
It's a sense of a progression
through the not knowing,

660
00:31:48,433 --> 00:31:51,967
and the finding
the vulnerability of that,

661
00:31:52,033 --> 00:31:53,967
and the triumph of it.

662
00:31:54,367 --> 00:31:57,834
And it's rare.

663
00:32:01,233 --> 00:32:04,000
REZNOR: The best part of touring
for me now

664
00:32:04,066 --> 00:32:10,000
is the sense of pride of "Man,
I cannot wait to show this crowd

665
00:32:10,066 --> 00:32:11,200
this band."

666
00:32:12,734 --> 00:32:14,500
A lot of times I look
in the front row

667
00:32:14,567 --> 00:32:17,800
and it largely looks the same
as it did 25 years ago.

668
00:32:18,500 --> 00:32:19,900
It's not the same people.

669
00:32:19,967 --> 00:32:22,767
But it still looks like...
There's the same goth kid

670
00:32:22,834 --> 00:32:25,600
in the front row
who might be his son now.

671
00:32:29,467 --> 00:32:31,934
And I still feel like
there's so much I haven't done

672
00:32:32,000 --> 00:32:36,633
or so much I don't know
about music alone.

673
00:32:36,700 --> 00:32:39,400
I gotta get my shit together
and get going on this.

674
00:32:41,266 --> 00:32:42,467
INTERVIEWER: That's great.

675
00:32:43,567 --> 00:32:46,266
Well, thanks.
We'll leave it there.

676
00:32:46,333 --> 00:32:48,533
REZNOR: All right, man.
Take care. Bye.

677
00:32:50,667 --> 00:32:53,800
INTERCEPT MESSAGE:
We're sorry. Your call cannot
be completed as dialed.

678
00:32:53,867 --> 00:32:55,400
-Please check the number and--
-(BEEP)

679
00:32:59,233 --> 00:33:00,700
Thank you so much, Iggy.

680
00:33:02,467 --> 00:33:04,000
Hello, everyone.

681
00:33:04,066 --> 00:33:07,433
What a disorienting, strange
year we find ourselves in.

682
00:33:08,867 --> 00:33:10,900
As I've been wrapping
my head around Nine Inch Nails

683
00:33:10,967 --> 00:33:13,433
being welcomed into the
Rock and Roll Hall of Fame,

684
00:33:13,500 --> 00:33:17,066
I think I was most looking
forward to the ceremony itself,

685
00:33:17,133 --> 00:33:20,567
where hopefully the whole camp,
past and present,

686
00:33:20,633 --> 00:33:23,133
was going to get together
and have a moment.

687
00:33:23,200 --> 00:33:25,967
And we're all stuck
in our little boxes

688
00:33:26,033 --> 00:33:27,867
staring at our screens.

689
00:33:27,934 --> 00:33:31,033
Even now, music's always been
the thing that keeps me going,

690
00:33:31,100 --> 00:33:34,333
and as an artist, I think the
most significant accomplishment

691
00:33:34,400 --> 00:33:37,100
or feeling is realizing
something you've created

692
00:33:37,166 --> 00:33:40,367
from a fragile
and intimate place

693
00:33:40,433 --> 00:33:43,700
has reached out, resonated
and affected someone else,

694
00:33:43,767 --> 00:33:46,567
possibly changing how
they see the world.

695
00:33:46,633 --> 00:33:49,700
So, as to whatever being
in a Hall of Fame means,

696
00:33:49,767 --> 00:33:51,734
thank you for the recognition.

697
00:33:52,600 --> 00:33:54,567
With that said,
this has been far

698
00:33:54,633 --> 00:33:57,433
from a singular endeavor,
and I first want to introduce

699
00:33:57,500 --> 00:33:58,800
my fellow inductees.

700
00:33:59,967 --> 00:34:01,266
Atticus Ross.

701
00:34:01,734 --> 00:34:02,934
Robin Finck.

702
00:34:03,467 --> 00:34:05,133
Alessandro Cortini.

703
00:34:05,600 --> 00:34:06,767
Ilan Rubin.

704
00:34:07,233 --> 00:34:08,633
Danny Lohner.

705
00:34:08,700 --> 00:34:10,567
And Chris Vrenna.

706
00:34:10,633 --> 00:34:13,166
I love these guys,
and they've all been an integral

707
00:34:13,233 --> 00:34:15,467
and essential part
of why we're here.

708
00:34:15,533 --> 00:34:17,867
Additionally, there's been
a number of other key players

709
00:34:17,934 --> 00:34:20,367
involved over the years
I'd like to recognize and thank,

710
00:34:20,433 --> 00:34:23,500
including Charlie Clouser,
James Woolley,

711
00:34:23,567 --> 00:34:27,033
Rich Patrick, Josh Freese,
Justin Medal-Johnsen,

712
00:34:27,100 --> 00:34:31,300
Jerome Dillon, Aaron North,
Jeff Ward and Jeordie White.

713
00:34:31,367 --> 00:34:33,266
Throughout the years,
I've benefitted from a strong

714
00:34:33,333 --> 00:34:34,734
collection of people around me

715
00:34:34,800 --> 00:34:38,200
that have offered everything
from encouragement to guidance,

716
00:34:38,266 --> 00:34:40,867
to a kick in the ass
when needed.

717
00:34:40,934 --> 00:34:44,000
These include Jimmy Iovine,
John Silva,

718
00:34:44,066 --> 00:34:47,734
Marc Geiger, Ross Rossin,
Alan Moulder,

719
00:34:47,800 --> 00:34:52,533
Rick Rubin, Zia Modabber,
Bill Harper, David Fincher,

720
00:34:52,600 --> 00:34:57,600
Jerome Crooks, Steve Barnett,
Jim Guerinot, and John Malm.

721
00:34:57,667 --> 00:35:00,367
You're all appreciated
and this is for you, too.

722
00:35:00,433 --> 00:35:03,000
A special thank you to my wife,
Mariqueen, and my kids,

723
00:35:03,066 --> 00:35:05,700
who keep me humble
and make everything worthwhile.

724
00:35:05,767 --> 00:35:08,166
And for the Nine Inch Nails
fans out there,

725
00:35:08,233 --> 00:35:09,734
you guys are the best.

726
00:35:09,800 --> 00:35:12,033
We've wound up
in some weird places together,

727
00:35:12,100 --> 00:35:15,133
and you're an intense bunch that
can drive me out of my mind,

728
00:35:15,200 --> 00:35:17,767
but you're the best.

729
00:35:17,834 --> 00:35:20,233
This journey is far from over
if I have any say in it.

730
00:35:20,300 --> 00:35:22,066
So let's stop fucking around
and patting ourselves

731
00:35:22,133 --> 00:35:24,233
on the back and get to it.

732
00:35:24,300 --> 00:35:26,233
Hope to see you all
in the flesh soon.

733
00:35:26,300 --> 00:35:27,300
Thank you.

734
00:35:32,066 --> 00:35:33,266
CREW MEMBER: Quiet please.

735
00:35:33,333 --> 00:35:36,467
DIRECTOR: Irving Azoff
induction, take one.

736
00:35:38,333 --> 00:35:41,200
Irving Azoff in the
Rock and Roll Hall of Fame.

737
00:35:43,834 --> 00:35:45,100
Why not?

738
00:35:45,166 --> 00:35:47,100
It wouldn't be the first time
they've inducted somebody

739
00:35:47,166 --> 00:35:49,266
who can't sing
or play an instrument.

740
00:35:49,333 --> 00:35:54,133
(MAN SCATTING)

741
00:35:54,200 --> 00:35:56,066
(MAN SCREECHING)

742
00:35:56,133 --> 00:35:57,333
IRVING AZOFF:
I've been an agent,

743
00:35:57,400 --> 00:35:59,900
a personal manager
and a movie producer.

744
00:36:00,266 --> 00:36:01,600
You dick!

745
00:36:01,667 --> 00:36:03,834
You sound like a corporate
fucking dick!

746
00:36:03,900 --> 00:36:06,533
AZOFF: A music publisher
and a record company CEO.

747
00:36:06,934 --> 00:36:08,100
I love music.,

748
00:36:08,166 --> 00:36:10,767
And I like to protect
the people who make it.

749
00:36:10,834 --> 00:36:12,967
I love Irving's sense of play.

750
00:36:14,233 --> 00:36:17,467
I love his sense of mischief.
I love his enthusiasm.

751
00:36:17,533 --> 00:36:18,834
I love his optimism.

752
00:36:19,567 --> 00:36:20,867
His perseverance.

753
00:36:20,934 --> 00:36:24,233
And I love his loyalty to his
clients and to his friends.

754
00:36:24,300 --> 00:36:25,734
He makes you feel good

755
00:36:25,800 --> 00:36:28,166
about being a fan,
because he's a fan.

756
00:36:28,233 --> 00:36:29,967
You're important,
because he's important!

757
00:36:30,033 --> 00:36:31,300
He loves the shit out of music.

758
00:36:31,367 --> 00:36:34,000
The consummate professional,
and a big dealer.

759
00:36:34,367 --> 00:36:35,367
(LAUGHTER)

760
00:36:35,433 --> 00:36:37,767
His overall love
of what he does...

761
00:36:37,834 --> 00:36:40,166
I just am in awe
of it every day.

762
00:36:41,700 --> 00:36:43,934
AZOFF: As a kid growing up
in Danville, Illinois,

763
00:36:44,000 --> 00:36:47,667
my first concert was the Beatles
in Chicago's old Comiskey Park.

764
00:36:47,734 --> 00:36:51,333
I was bitten by the music bug,
but I was not a musician.

765
00:36:51,400 --> 00:36:54,467
My instrument was, and still is,
the telephone.

766
00:36:54,533 --> 00:36:57,033
I put myself through college
at the University of Illinois,

767
00:36:57,100 --> 00:36:58,300
booking bar bands.

768
00:36:58,367 --> 00:37:01,367
Together with my friend
singer/songwriter Dan Fogelberg,

769
00:37:01,433 --> 00:37:04,700
we quit school and headed west
to pursue our careers in music.

770
00:37:04,767 --> 00:37:07,600
One day, he came to me and said,

771
00:37:07,667 --> 00:37:11,667
"Hey, I really want to manage
somebody. Could I manage you?"

772
00:37:11,734 --> 00:37:14,567
And I said, "Sure.
Everybody else does."

773
00:37:14,633 --> 00:37:17,967
"No, no, no. they're all dumb.
I know what I'm doing."

774
00:37:18,033 --> 00:37:20,600
When David Geffen
and Elliott recruit me,

775
00:37:20,667 --> 00:37:24,133
I take Joe Walsh and Barnstorm,
REO Speedwagon and Dan Fogelberg

776
00:37:24,200 --> 00:37:26,233
with me to GR Management.

777
00:37:26,300 --> 00:37:29,533
Irving is the only manager
that I ever knew

778
00:37:29,600 --> 00:37:32,734
that said to David Geffen,
"Hey, David..."

779
00:37:32,800 --> 00:37:33,900
(BLOWS RASPBERRY)

780
00:37:33,967 --> 00:37:35,834
DON HENLEY: Things at Geffen/
Roberts Management

781
00:37:35,900 --> 00:37:38,433
were coming apart, and Elliott
suddenly dissolved the company.

782
00:37:38,500 --> 00:37:40,934
So Irving called us up one day
and he said, "Are you leaving?"

783
00:37:41,000 --> 00:37:42,300
And we said,
"Yeah, we're leaving."

784
00:37:42,367 --> 00:37:43,967
He said,
"Well, I'm going with you."

785
00:37:44,033 --> 00:37:46,967
He wanted to start
a new kind of management

786
00:37:47,033 --> 00:37:48,867
and level the playing field
for artists

787
00:37:48,934 --> 00:37:50,133
in the record business.

788
00:37:50,200 --> 00:37:55,467
♪ We ought to take it easy... ♪

789
00:37:55,533 --> 00:37:58,133
I grew up with a real
appreciation for a song

790
00:37:58,200 --> 00:38:01,333
in a distinct vocal.
And I loved vocal harmonies.

791
00:38:01,400 --> 00:38:03,600
That's what attracted me
to the Beatles,

792
00:38:03,667 --> 00:38:05,500
and it's what attracted me
to The Eagles.

793
00:38:05,567 --> 00:38:08,166
Perfection is not an accident.

794
00:38:08,233 --> 00:38:11,500
JOE WALSH: And then Irving
took a bunch of young men

795
00:38:11,567 --> 00:38:13,266
called The Eagles,
and turned them

796
00:38:13,333 --> 00:38:15,834
into a bunch of old men
called The Eagles.

797
00:38:15,900 --> 00:38:17,333
That was a good thing.

798
00:38:17,400 --> 00:38:21,033
And I see a guy
who is kind of in the band.

799
00:38:21,100 --> 00:38:24,033
What I loved and what I learned
from Irving is...

800
00:38:24,100 --> 00:38:27,100
get down with them.
Be with your people.

801
00:38:27,166 --> 00:38:29,834
Tonight, the promoter
gave us chopsticks.

802
00:38:29,900 --> 00:38:31,233
CAMERON CROWE:
He was this kind of...

803
00:38:32,333 --> 00:38:33,467
rocket.

804
00:38:34,333 --> 00:38:36,033
Not the tallest rocket.

805
00:38:36,867 --> 00:38:38,300
But a compact rocket.

806
00:38:38,367 --> 00:38:40,300
More powerful
than the taller rocket.

807
00:38:40,934 --> 00:38:42,066
HENLEY: Irving Azoff.

808
00:38:43,233 --> 00:38:45,600
He's short, and he's a story.

809
00:38:45,667 --> 00:38:47,367
CROWE: I wrote about him
for Rolling Stone

810
00:38:47,433 --> 00:38:49,567
and tried to like capture
what that was like.

811
00:38:49,633 --> 00:38:51,133
HENLEY: What Irving did
was basically genius.

812
00:38:51,200 --> 00:38:54,400
He turned a longstanding
animosity between the Eagles

813
00:38:54,467 --> 00:38:56,033
and Rolling Stone  magazine

814
00:38:56,100 --> 00:38:58,867
into a big feature piece
about himself.

815
00:38:58,934 --> 00:39:01,967
♪ You can check out
Any time you like ♪

816
00:39:02,033 --> 00:39:04,233
♪ But you can never leave ♪

817
00:39:05,533 --> 00:39:06,934
Then the Eagles broke up.

818
00:39:08,667 --> 00:39:10,467
Then we got back together...

819
00:39:12,000 --> 00:39:13,033
Then we broke up.

820
00:39:14,767 --> 00:39:16,100
♪ Nobody on the road ♪

821
00:39:16,166 --> 00:39:18,000
♪ The heat is on ♪

822
00:39:18,066 --> 00:39:19,700
NEWSREADER:
His reputation as a success

823
00:39:19,767 --> 00:39:23,467
recently led to his appointment
as head of MCA Records,

824
00:39:23,533 --> 00:39:25,800
forcing him to give up
his management company.

825
00:39:25,867 --> 00:39:28,433
This evening is really
a celebration of chutzpah,

826
00:39:28,500 --> 00:39:32,500
that spirit which has allowed
Irving Azoff to spend 16 years

827
00:39:32,567 --> 00:39:36,000
in a ruthless business and land
near the top of the heap.

828
00:39:36,066 --> 00:39:38,633
Fourteen years later,
back together.

829
00:39:38,700 --> 00:39:41,700
♪ Get over it!
Get over it! ♪

830
00:39:41,767 --> 00:39:44,900
A lot of my job was trying to
keep the band from breaking up.

831
00:39:44,967 --> 00:39:47,567
Or putting the band back
together after it broke up

832
00:39:47,633 --> 00:39:48,967
ten or 20 times.

833
00:39:49,033 --> 00:39:50,533
I want to thank Irving Azoff,

834
00:39:50,600 --> 00:39:52,900
without whom
we wouldn't be here today.

835
00:39:54,133 --> 00:39:56,433
We might still be here,
we wouldn't have made

836
00:39:56,500 --> 00:39:58,233
-as much money.
-Right.

837
00:39:58,300 --> 00:39:59,867
-(LAUGHTER)
-As I've said before,

838
00:39:59,934 --> 00:40:02,200
he may be Satan,
but he's our Satan.

839
00:40:02,266 --> 00:40:04,800
HENLEY: The whole Satan comment
has been widely misunderstood.

840
00:40:04,867 --> 00:40:06,033
What I meant was,

841
00:40:06,100 --> 00:40:07,834
if you mistreat one
of Irving's clients,

842
00:40:07,900 --> 00:40:09,967
then there will be consequences.

843
00:40:10,033 --> 00:40:11,734
Everything I learned
about the business

844
00:40:11,800 --> 00:40:13,533
I learned managing them.

845
00:40:13,600 --> 00:40:17,400
HENLEY: I think we taught him
about the dynamic in a band.

846
00:40:17,467 --> 00:40:21,033
He'd managed solo artists
like Fogelberg and Walsh,

847
00:40:21,100 --> 00:40:23,867
but not a band like
the Eagles, where there were

848
00:40:23,934 --> 00:40:26,100
a lot of chiefs and no Indians.

849
00:40:26,166 --> 00:40:29,433
It's been an incredible learning
experience to then apply

850
00:40:29,500 --> 00:40:32,333
to the other things that I've
done throughout my career.

851
00:40:32,400 --> 00:40:35,333
If you make a big list
of all the artists you know,

852
00:40:35,400 --> 00:40:37,767
Irving manages their managers.

853
00:40:37,834 --> 00:40:39,767
♪ Here's to the ones
That we got... ♪

854
00:40:39,834 --> 00:40:42,633
ADAM LEVINE: Irving is so
disarmingly honest.

855
00:40:42,700 --> 00:40:43,967
Since we started
working together,

856
00:40:44,033 --> 00:40:46,166
the one thing he did
very differently was

857
00:40:46,233 --> 00:40:47,834
told me the truth, man.

858
00:40:47,900 --> 00:40:49,934
And the truth
isn't always awesome.

859
00:40:50,000 --> 00:40:54,567
Irving came into my life
at the most crucial moment.

860
00:40:54,633 --> 00:40:56,367
I needed him so bad.

861
00:40:56,433 --> 00:40:58,633
♪ Thank God
that I found you... ♪

862
00:40:58,700 --> 00:41:01,233
It's just so great to be able
to have somebody in your life

863
00:41:01,300 --> 00:41:03,200
when you have so much coming
at you.

864
00:41:03,266 --> 00:41:04,800
I just trust him.

865
00:41:04,867 --> 00:41:07,300
He's so supportive.
He gives you great advice.

866
00:41:07,367 --> 00:41:09,100
And you always know
you're growing with Irving.

867
00:41:09,166 --> 00:41:10,467
That's what I love about Irving.

868
00:41:10,533 --> 00:41:13,533
Most people know Irving
as a powerful manager

869
00:41:13,600 --> 00:41:15,300
or a major executive.

870
00:41:15,367 --> 00:41:17,233
I know him as a friend.

871
00:41:17,300 --> 00:41:20,200
I've seen him go to any length
for his artists.

872
00:41:20,266 --> 00:41:23,100
And I've seen him be a warm
and compassionate

873
00:41:23,166 --> 00:41:25,834
father to his children.
And to me! (LAUGHS)

874
00:41:25,900 --> 00:41:28,467
I called my dad and he said,
"How's it going?"

875
00:41:28,533 --> 00:41:30,633
And I said,
"I gotta be honest with you,

876
00:41:30,700 --> 00:41:32,467
I don't know if I'm meant
for the music business."

877
00:41:32,533 --> 00:41:33,834
And he said,
"Listen to me carefully

878
00:41:33,900 --> 00:41:35,600
'cause I'm only gonna tell you
this once.

879
00:41:35,667 --> 00:41:37,767
You have my last name.
You have a phone.

880
00:41:37,834 --> 00:41:40,700
If you can't figure it out,
you're not my son." Click.

881
00:41:40,767 --> 00:41:42,700
And I never forgot that.

882
00:41:42,767 --> 00:41:44,900
One more thing.
What I do know is,

883
00:41:44,967 --> 00:41:49,233
if somebody in the entertainment
business does something good...

884
00:41:50,266 --> 00:41:54,033
Irving has always made
it possible for them, uh,

885
00:41:54,100 --> 00:41:57,133
to be able to do it better.

886
00:41:57,200 --> 00:41:58,834
I don't think there's anybody
in the music business

887
00:41:58,900 --> 00:42:00,734
who has made more
of a difference

888
00:42:00,800 --> 00:42:04,266
over as long a span of time
as Irving Azoff.

889
00:42:04,333 --> 00:42:05,900
Every place I've worked
in the business,

890
00:42:05,967 --> 00:42:09,033
whether it's been a label,
a publisher, a promoter,

891
00:42:09,100 --> 00:42:13,000
a manager, if you do what's
right for the creative person,

892
00:42:13,066 --> 00:42:16,467
the songwriter, the artist,
it will eventually be right

893
00:42:16,533 --> 00:42:18,600
for your company
and your career also.

894
00:42:18,667 --> 00:42:22,600
He has been instrumental
in bringing about a new order...

895
00:42:24,133 --> 00:42:25,500
about how things work.

896
00:42:25,567 --> 00:42:28,533
In terms of recording contracts.
In terms of management.

897
00:42:28,600 --> 00:42:31,600
In terms of touring.
In terms of copyright.

898
00:42:31,667 --> 00:42:33,567
In terms of artist rights.

899
00:42:33,633 --> 00:42:36,333
The economics in the business
have been so hurt,

900
00:42:36,400 --> 00:42:39,800
that for the first time, you've
got a united music industry

901
00:42:39,867 --> 00:42:43,834
of record companies, publishers,
writers, artists,

902
00:42:43,900 --> 00:42:45,467
you know, standing together.

903
00:42:45,533 --> 00:42:47,700
You know,
streaming is the future.

904
00:42:47,767 --> 00:42:49,433
So, larger than life,

905
00:42:49,500 --> 00:42:51,934
loving music the way
we love music.

906
00:42:52,000 --> 00:42:54,133
Come on, you gotta put him
in the Hall of Fame.

907
00:42:54,200 --> 00:42:56,567
He is one of the greatest
of all time

908
00:42:56,633 --> 00:42:58,033
when it comes to managers.

909
00:42:58,100 --> 00:43:02,500
There is truly no one
more deserving than Irving.

910
00:43:02,567 --> 00:43:07,033
And his impact on the industry
is literally profound.

911
00:43:07,100 --> 00:43:09,333
I've been really lucky
to have a front-row seat

912
00:43:09,400 --> 00:43:11,200
to this show my entire life.

913
00:43:11,266 --> 00:43:13,300
We love him. All the guys
in The Eagles love him.

914
00:43:13,367 --> 00:43:15,567
He has a beautiful house
that we bought him

915
00:43:15,633 --> 00:43:18,133
and a beautiful car
that we bought him.

916
00:43:18,200 --> 00:43:19,433
He has a wonderful life

917
00:43:19,500 --> 00:43:22,166
that we made possible
for him.

918
00:43:22,233 --> 00:43:24,834
Irving, my friend, we're coming
up on 47 years together.

919
00:43:24,900 --> 00:43:26,533
It's been a hell of a ride.

920
00:43:26,600 --> 00:43:28,867
I love ya.
I appreciate you,

921
00:43:28,934 --> 00:43:30,734
and congratulations
on your induction

922
00:43:30,800 --> 00:43:33,000
into the Rock and Roll
Hall of Fame.

923
00:43:33,066 --> 00:43:34,367
Well deserved.

924
00:43:36,900 --> 00:43:41,934
Hi, everyone, Irving here,
AKA Don Henley's Satan.

925
00:43:42,000 --> 00:43:44,934
I actually prefer Glenn Frey's
nickname for me better,

926
00:43:45,500 --> 00:43:46,600
"Big Shorty."

927
00:43:47,533 --> 00:43:49,667
We're all here
because we're fans.

928
00:43:49,734 --> 00:43:52,000
We hear a song or a melody
and think,

929
00:43:52,066 --> 00:43:54,233
this is where I belong.

930
00:43:54,300 --> 00:43:55,934
When I was growing up
in Illinois,

931
00:43:56,033 --> 00:43:59,333
my parents thought I was headed
for a career in medicine.

932
00:43:59,400 --> 00:44:01,900
As useful as that
would be right now,

933
00:44:01,967 --> 00:44:05,867
the moment music got
ahold of me, it never let go.

934
00:44:05,934 --> 00:44:08,867
I'm so lucky
to have had a front-row seat

935
00:44:08,934 --> 00:44:11,400
to watch my favorite artists
on and off the stage

936
00:44:11,467 --> 00:44:13,433
for nearly five decades now.

937
00:44:13,500 --> 00:44:15,867
These icons became a part
of my family

938
00:44:15,934 --> 00:44:17,667
and my very best friends.

939
00:44:17,734 --> 00:44:20,867
Don Henley, Glenn Frey,
Joe Walsh,

940
00:44:20,934 --> 00:44:23,133
Dan Fogelberg, Stevie Nicks,

941
00:44:23,200 --> 00:44:25,433
Donald Fagan and Walter Becker,

942
00:44:25,500 --> 00:44:27,300
you started it all.

943
00:44:27,367 --> 00:44:29,700
Three of you are no longer
with us in person,

944
00:44:29,767 --> 00:44:32,333
but you're always with me
in spirit.

945
00:44:32,400 --> 00:44:34,934
My mantra since day one
has been,

946
00:44:35,000 --> 00:44:36,333
"Do what's right for the artist,

947
00:44:36,400 --> 00:44:39,200
and in turn, that decision
will be right for you."

948
00:44:39,266 --> 00:44:43,367
I can honestly say that
strategy hasn't failed me once.

949
00:44:43,433 --> 00:44:45,567
No one has taught me more
about the importance

950
00:44:45,633 --> 00:44:48,467
of protecting artists' rights
than Don Henley.

951
00:44:48,533 --> 00:44:51,800
We've reached a crossroads
in the music business today.

952
00:44:51,867 --> 00:44:54,266
It's time for rules
to be broken,

953
00:44:54,333 --> 00:44:56,567
but they won't break themselves.

954
00:44:56,633 --> 00:44:59,033
If you are a young artist
or executive

955
00:44:59,100 --> 00:45:00,467
watching this today,

956
00:45:00,533 --> 00:45:04,133
and I can give you any advice,
it's be brave.

957
00:45:04,200 --> 00:45:06,033
Own as much as you can.

958
00:45:06,100 --> 00:45:08,467
Depend on no one but yourselves.

959
00:45:08,533 --> 00:45:11,533
Protect intellectual property
at all costs.

960
00:45:11,600 --> 00:45:14,834
Take the long road.
Fear nothing and no one.

961
00:45:14,900 --> 00:45:16,867
I promise you, it will pay off.

962
00:45:17,600 --> 00:45:20,734
To my family, my wife Shelli.

963
00:45:20,800 --> 00:45:22,700
You're my partner in crime.

964
00:45:22,767 --> 00:45:24,400
I love you more than anything.

965
00:45:24,467 --> 00:45:27,967
Plain and simple,
none of this exists without you.

966
00:45:28,033 --> 00:45:31,900
To my kids and grandkids,
Jay, Allison, Jeffrey,

967
00:45:31,967 --> 00:45:34,500
Cameron, Rich, Sydney,
Riley and Dylan,

968
00:45:34,567 --> 00:45:36,400
I'm so proud of you all.

969
00:45:36,467 --> 00:45:38,266
Thank you
for not being the fuckups

970
00:45:38,333 --> 00:45:40,834
your mother and I
worried you could be.

971
00:45:40,900 --> 00:45:43,033
Since partnering
with my son Jeffrey,

972
00:45:43,100 --> 00:45:45,066
working with him
breaking new artists

973
00:45:45,133 --> 00:45:48,133
has offered some of the most
exciting moments of my career.

974
00:45:48,200 --> 00:45:51,467
Look at it this way,
we could have had real jobs.

975
00:45:51,533 --> 00:45:53,533
To the Hall of Fame,
thank you.

976
00:45:53,600 --> 00:45:55,800
This organization
has come so far

977
00:45:55,867 --> 00:45:58,667
and found such an important
and needed place in the world,

978
00:45:58,734 --> 00:46:01,000
a place where we can all
celebrate the artists

979
00:46:01,066 --> 00:46:02,567
and the music we love.

980
00:46:03,266 --> 00:46:06,100
I hereby induct myself

981
00:46:06,166 --> 00:46:08,433
into the Rock and Roll
Hall of Fame.

982
00:46:08,500 --> 00:46:10,967
I will cherish
this moment forever.

983
00:46:20,400 --> 00:46:22,500
SEAN COMBS:
"It was all a dream"

984
00:46:22,567 --> 00:46:24,333
These are the most famous words

985
00:46:24,400 --> 00:46:27,233
from the greatest rapper
of all time,

986
00:46:27,300 --> 00:46:29,033
the Notorious B.I.G.

987
00:46:30,166 --> 00:46:33,233
And tonight, that dream
is turning into a reality.

988
00:46:34,400 --> 00:46:36,367
Big just wanted
to be the biggest.

989
00:46:36,433 --> 00:46:38,033
He wanted to be the best.

990
00:46:38,100 --> 00:46:40,533
He wanted to have influence
and impact people

991
00:46:40,600 --> 00:46:42,200
in a positive way.

992
00:46:42,266 --> 00:46:44,934
And that clearly has been done
all over the world.

993
00:46:45,000 --> 00:46:48,533
Nobody has come close
to the way Biggie sounds.

994
00:46:48,600 --> 00:46:52,533
To the way he raps.
To the frequency that he hits.

995
00:46:52,600 --> 00:46:56,967
Tonight, we are inducting
the greatest rapper of all time

996
00:46:57,033 --> 00:46:59,600
into the Rock and Roll
Hall of Fame,

997
00:46:59,667 --> 00:47:01,433
the Notorious B.I.G.

998
00:47:01,500 --> 00:47:05,033
Representin' Brooklyn, New York.
We up in here.

999
00:47:05,100 --> 00:47:08,300
Big, every day I wake up
I hear your voice

1000
00:47:08,367 --> 00:47:10,000
motivating me, pushing me,

1001
00:47:10,066 --> 00:47:12,734
pushing all of us
to be the greatest.

1002
00:47:12,800 --> 00:47:15,567
The sky's the limit.
You did it, king.

1003
00:47:15,633 --> 00:47:17,367
Rock and Roll Hall of Fame.

1004
00:47:17,433 --> 00:47:20,667
Notorious B.I.G.,
the greatest of all time!

1005
00:47:21,834 --> 00:47:23,000
♪ Notorious ♪

1006
00:47:25,367 --> 00:47:27,266
Who is the Notorious B.I.G.?

1007
00:47:28,166 --> 00:47:29,600
Some nigga
that's been stressed out

1008
00:47:29,667 --> 00:47:33,100
all his motherfuckin' life.
Single parent never home.

1009
00:47:33,166 --> 00:47:35,633
Fucked up in the game.
Got introduced to the drugs.

1010
00:47:35,700 --> 00:47:36,800
Jumped on the drugs.

1011
00:47:36,867 --> 00:47:39,433
Got paid off the drugs.
Fucked up off of drugs.

1012
00:47:39,500 --> 00:47:41,467
Now I got a record deal.

1013
00:47:41,533 --> 00:47:44,100
♪ Live from Bedford-Stuyvesant
The livest one ♪

1014
00:47:44,166 --> 00:47:46,467
♪ Representing B.K.
To the fullest... ♪

1015
00:47:46,533 --> 00:47:49,500
Biggie represents Bed-Stuy,
Brooklyn, New York City,

1016
00:47:49,567 --> 00:47:51,133
America, the world.

1017
00:47:51,200 --> 00:47:54,166
And he represents
the Black experience

1018
00:47:54,233 --> 00:47:55,667
where they tell him, "No,

1019
00:47:55,734 --> 00:47:58,100
your hair doesn't work,
you can't dress like that,

1020
00:47:58,166 --> 00:47:59,734
you can't talk like that."

1021
00:47:59,800 --> 00:48:01,233
"You can't be."

1022
00:48:01,300 --> 00:48:03,633
He said, "Fuck that.
Not only am I gonna be,

1023
00:48:03,700 --> 00:48:05,066
I'm gonna be the best."

1024
00:48:05,133 --> 00:48:08,734
♪ B-I-G, C-I-E
F-A-A, B-I-G ♪

1025
00:48:08,800 --> 00:48:10,734
-♪ Get it? ♪
-AUDIENCE: Biggie!

1026
00:48:19,767 --> 00:48:22,934
My son was the most
beautiful baby

1027
00:48:23,033 --> 00:48:24,967
you've ever seen in your life.

1028
00:48:26,100 --> 00:48:27,767
Catholic school
since he was six.

1029
00:48:28,900 --> 00:48:32,033
Christopher
was a gentle human being.

1030
00:48:32,700 --> 00:48:36,200
The street is not gentle.

1031
00:48:36,266 --> 00:48:39,400
I know they weren't sitting here
learning their ABCs.

1032
00:48:40,600 --> 00:48:42,333
♪This is a well of terror
Of filth ♪

1033
00:48:42,400 --> 00:48:44,600
♪ I have to pay my bills
And I will never forget ♪

1034
00:48:44,667 --> 00:48:46,500
♪ To sell, to set the scene ♪

1035
00:48:46,567 --> 00:48:48,900
NOTORIOUS B.I.G.: I've been
in the streets since I was
12 years old, man.

1036
00:48:48,967 --> 00:48:50,667
Beaten up by police,
everything, man.

1037
00:48:50,734 --> 00:48:53,367
Everything a motherfucker
imagine or see,

1038
00:48:53,433 --> 00:48:54,633
I done been through it.

1039
00:48:54,700 --> 00:48:57,300
(B.I.G. RAPPING)

1040
00:49:07,400 --> 00:49:09,567
(B.I.G. SPEAKING)

1041
00:49:13,700 --> 00:49:16,233
(RAPPING)

1042
00:49:34,367 --> 00:49:37,367
I heard him making noise
in his room,

1043
00:49:37,433 --> 00:49:40,233
and I would tell him,
"Please stop the noise."

1044
00:49:40,300 --> 00:49:43,333
He said, "I'm not making noise.
I'm rapping."

1045
00:49:43,400 --> 00:49:45,233
He said
it was gonna make him rich,

1046
00:49:45,300 --> 00:49:46,467
make him famous.

1047
00:49:48,000 --> 00:49:49,767
(B.I.G. RAPPING)

1048
00:49:51,467 --> 00:49:53,900
B.I.G.: Making tapes in
the basement with my nigga 50.

1049
00:49:53,967 --> 00:49:56,200
It just happened to get to Puffy
and Puffy heard it.

1050
00:49:56,266 --> 00:49:57,467
He signed me.

1051
00:49:57,533 --> 00:50:00,000
This is my new artist,
the Notorious B.I.G.

1052
00:50:00,066 --> 00:50:01,633
♪ I don't wanna live
no more... ♪

1053
00:50:01,700 --> 00:50:03,166
His voice, first and foremost,

1054
00:50:03,233 --> 00:50:05,033
was something
that was so unique.

1055
00:50:05,100 --> 00:50:08,700
And also his style.
His mental approach.

1056
00:50:08,767 --> 00:50:12,300
I was like, "Oh, my God."
I found something rare.

1057
00:50:12,367 --> 00:50:13,633
♪ Gimme the loot
Gimme the loot ♪

1058
00:50:13,700 --> 00:50:15,533
♪ I'm a bad bad ♪

1059
00:50:15,600 --> 00:50:17,834
LIN MANUEL MIRANDA:
It was the undisputed sound

1060
00:50:17,900 --> 00:50:21,266
of New York. It was this voice

1061
00:50:21,333 --> 00:50:24,433
with such authority and bravado.

1062
00:50:24,500 --> 00:50:27,066
♪ My man Inf left a TEC
And a nine at my crib ♪

1063
00:50:27,133 --> 00:50:29,200
♪ Turned himself in
He had to do a bid ♪

1064
00:50:29,266 --> 00:50:31,700
♪ A one to three
He be home the end of '93 ♪

1065
00:50:31,767 --> 00:50:34,233
♪ I'm ready to get this paper, G
You with me? ♪

1066
00:50:36,000 --> 00:50:37,467
COMBS: The way he
approached things,

1067
00:50:37,533 --> 00:50:39,000
it's like a mental game
of chess,

1068
00:50:39,066 --> 00:50:41,033
and every lyric
is a certain movement

1069
00:50:41,100 --> 00:50:43,633
to bring you in visually
and captivate you.

1070
00:50:43,700 --> 00:50:47,367
I'm just trying to rip
the hardest, hardest rhymes.

1071
00:50:47,433 --> 00:50:49,967
♪ Heart throb, never
Black and ugly as ever ♪

1072
00:50:50,033 --> 00:50:52,533
♪ However I stay Coogi
Down to the socks ♪

1073
00:50:52,600 --> 00:50:54,333
♪ Rings and watch filled
With rocks ♪

1074
00:50:54,400 --> 00:50:55,800
♪ And my jam... ♪

1075
00:50:55,867 --> 00:50:57,867
B.I.G.: Me and Puff was
real tight. That's my boy.

1076
00:50:57,934 --> 00:50:59,500
He took me out
of a dangerous game,

1077
00:50:59,567 --> 00:51:00,633
you know what I'm sayin'?

1078
00:51:00,700 --> 00:51:02,800
I mean, I was selling drugs
real hard, you know.

1079
00:51:02,867 --> 00:51:04,800
When I got the record deal,
all that got cut short.

1080
00:51:04,867 --> 00:51:06,800
♪ Bitches in the back
looking righteous ♪

1081
00:51:06,867 --> 00:51:09,266
♪ In a tight dress
I think I might just ♪

1082
00:51:09,333 --> 00:51:11,667
♪ Hit her with
a little Biggie 101 ♪

1083
00:51:11,734 --> 00:51:14,433
♪ How to tote a gun
And have fun with Jamaican rum ♪

1084
00:51:14,500 --> 00:51:18,000
COMBS: Two young men
that really had a chemistry,

1085
00:51:18,066 --> 00:51:20,266
and this dream that we had.

1086
00:51:20,333 --> 00:51:22,033
And it was a dream
that we had together

1087
00:51:22,100 --> 00:51:23,200
and we made happen together.

1088
00:51:23,266 --> 00:51:25,233
So it made our bond
extremely close.

1089
00:51:25,300 --> 00:51:27,400
♪ It's my nigga Pop
From the barbershop ♪

1090
00:51:27,467 --> 00:51:29,333
♪ Told me he was
in the gambling spot ♪

1091
00:51:29,400 --> 00:51:30,900
♪ Heard the intricate plot ♪

1092
00:51:30,967 --> 00:51:33,567
♪ Niggas wanna stick me
Like flypaper, neighbor ♪

1093
00:51:33,633 --> 00:51:36,467
♪ Slow down, love
Please chill, drop the caper ♪

1094
00:51:37,900 --> 00:51:39,266
You could tell, like,

1095
00:51:39,333 --> 00:51:41,000
"Oh, this guy's about to be
a superstar."

1096
00:51:41,066 --> 00:51:42,467
♪ It was all a dream ♪

1097
00:51:42,533 --> 00:51:44,633
♪ I used to read
Word Up! magazine ♪

1098
00:51:44,700 --> 00:51:47,266
♪ Salt-n-Pepa and Heavy D
Up in the limousine ♪

1099
00:51:47,333 --> 00:51:48,900
♪ Hangin' pictures on my wall ♪

1100
00:51:48,967 --> 00:51:52,033
♪ Every Saturday  Rap Attack,
Mr. Magic, Marley Marl... ♪

1101
00:51:52,100 --> 00:51:53,900
With "Juicy," my gold chart.

1102
00:51:55,066 --> 00:51:57,900
Straight out the hood,
a nigga did good.

1103
00:51:57,967 --> 00:51:59,867
♪ I made the change
From a common thief ♪

1104
00:51:59,934 --> 00:52:02,200
♪ To up close and personal
With Robin Leach ♪

1105
00:52:02,266 --> 00:52:03,433
♪ And I'm far from cheap... ♪

1106
00:52:03,500 --> 00:52:04,834
COMBS: The first record's a hit.

1107
00:52:04,900 --> 00:52:07,367
And everything
is happening so fast.

1108
00:52:08,433 --> 00:52:10,000
FAITH EVANS:
When I first met Big

1109
00:52:10,066 --> 00:52:12,133
at this Bad Boy photoshoot,

1110
00:52:12,200 --> 00:52:15,934
immediately, there was something
that I felt that was

1111
00:52:16,000 --> 00:52:17,633
really cool about him.

1112
00:52:17,700 --> 00:52:18,767
This is my woman.

1113
00:52:18,834 --> 00:52:20,867
EVANS: It may have been
about six weeks,

1114
00:52:20,934 --> 00:52:22,433
and he was like,
"I'm gonna marry you."

1115
00:52:22,500 --> 00:52:23,934
I'm like, "Are you serious?"

1116
00:52:24,000 --> 00:52:26,533
Less than a week,
we got married!

1117
00:52:26,600 --> 00:52:29,133
♪ To all the ladies in the place
with style and grace ♪

1118
00:52:29,200 --> 00:52:30,900
♪ Allow me to lace
These lyrical douches ♪

1119
00:52:30,967 --> 00:52:33,100
♪ In your bushes
Who rock grooves... ♪

1120
00:52:33,166 --> 00:52:34,300
INTERVIEWER:
Some people might say,

1121
00:52:34,367 --> 00:52:35,567
"Damn, this nigga's married,

1122
00:52:35,633 --> 00:52:37,600
and he's saying this stuff
about women."

1123
00:52:37,667 --> 00:52:39,834
Faith helped me--
She helped me write that.

1124
00:52:39,900 --> 00:52:41,934
When we was in the studio
listening to the beats,

1125
00:52:42,000 --> 00:52:44,200
I was like, "I don't know
what I wanna write about."

1126
00:52:44,266 --> 00:52:46,400
She was like,
"Write about your honeys."

1127
00:52:46,467 --> 00:52:48,533
So I just wrote about my honeys.

1128
00:52:48,600 --> 00:52:51,166
♪ I love it when you call me
Big Poppa ♪

1129
00:52:51,233 --> 00:52:54,266
♪Throw your hands in the air
If youse a true player ♪

1130
00:52:54,333 --> 00:52:56,767
♪ I love it when you call me
Big Poppa ♪

1131
00:52:56,834 --> 00:52:59,600
♪ To the honeys getting money
Playing fellas like dummies ♪

1132
00:52:59,667 --> 00:53:02,767
♪ I love it when you call me
Big Poppa ♪

1133
00:53:02,834 --> 00:53:04,333
♪ 'Cause I see some
ladies tonight ♪

1134
00:53:04,400 --> 00:53:06,433
-♪ That should be having what? ♪
-♪ Baby ♪

1135
00:53:06,500 --> 00:53:08,000
-♪ What? ♪
-♪ Baby ♪

1136
00:53:08,066 --> 00:53:10,133
B.I.G.: Everybody's showing
me love and bought the record,

1137
00:53:10,200 --> 00:53:12,100
and it's stayed on the charts
for a long time.

1138
00:53:12,166 --> 00:53:15,033
And I got love for them,
so I'mma keep doing it.

1139
00:53:15,100 --> 00:53:18,066
♪ It's mad
I get more butt than ashtrays ♪

1140
00:53:18,133 --> 00:53:20,300
♪ A fair one
I get mine the fast way ♪

1141
00:53:20,367 --> 00:53:22,900
♪ Ski mask way
You need a ransom note ♪

1142
00:53:22,967 --> 00:53:24,533
JAY-Z: Big was
a brilliant songwriter.

1143
00:53:24,600 --> 00:53:27,033
He just made movies
almost like Hitchcock.

1144
00:53:27,100 --> 00:53:29,333
You know, they was these tales
that were disturbing.

1145
00:53:29,400 --> 00:53:30,700
(B.I.G. RAPPING)

1146
00:53:31,367 --> 00:53:33,166
But they had all a purpose.

1147
00:53:33,233 --> 00:53:35,967
(B.I.G. RAPPING)

1148
00:53:38,700 --> 00:53:41,233
MIRANDA: He had this incredible,
deep bass voice,

1149
00:53:41,300 --> 00:53:44,533
but he wielded it
like a virtuoso.

1150
00:53:44,600 --> 00:53:48,834
And he could paint a picture
with as few words as possible,

1151
00:53:48,900 --> 00:53:50,700
and set the entire scene.

1152
00:53:50,767 --> 00:53:53,066
♪ B-I-G P-O-P-P-A ♪

1153
00:53:53,133 --> 00:53:55,533
COMBS: When we went into
makin' the next album,

1154
00:53:55,600 --> 00:53:57,633
the whole concept
was more positive.

1155
00:53:57,700 --> 00:53:59,266
B.I.G.: And when I started doing
Ready to Die,

1156
00:53:59,333 --> 00:54:01,066
there was a lot of anger,
you know what I'm saying?

1157
00:54:01,133 --> 00:54:03,100
I was just-- A lotta hatred
coming out.

1158
00:54:03,166 --> 00:54:04,367
You know?
It was real, though.

1159
00:54:04,433 --> 00:54:07,300
Life After Death
is the flip side of things.

1160
00:54:07,367 --> 00:54:09,467
I can't rhyme about
being broke no more.

1161
00:54:09,533 --> 00:54:10,967
I ain't broke! (LAUGHS)

1162
00:54:11,033 --> 00:54:14,567
♪ The more money we come across
The more problems we see ♪

1163
00:54:16,367 --> 00:54:18,667
Rap music is all about
who's gonna be the king.

1164
00:54:18,734 --> 00:54:20,467
B.I.G.: Nobody get in this game

1165
00:54:20,533 --> 00:54:22,333
to just be an average
motherfucker.

1166
00:54:22,400 --> 00:54:24,900
The West Coast, they were
selling millions of records.

1167
00:54:24,967 --> 00:54:26,100
Before Biggie,

1168
00:54:26,166 --> 00:54:28,200
I feel like there was
only so far New York rap

1169
00:54:28,266 --> 00:54:29,767
could go as far as sales.

1170
00:54:29,834 --> 00:54:31,400
Biggie changed all of that.

1171
00:54:31,467 --> 00:54:32,867
♪ Relax and take notes ♪

1172
00:54:32,934 --> 00:54:35,900
♪ While I take tokes
Of the marijuana smoke ♪

1173
00:54:35,967 --> 00:54:37,934
Everybody that starts this shit,

1174
00:54:38,000 --> 00:54:40,066
they wanna be the largest rapper
in the world

1175
00:54:40,133 --> 00:54:41,633
That's they dream.
You get into this shit

1176
00:54:41,700 --> 00:54:42,767
to be a celebrity.

1177
00:54:42,834 --> 00:54:45,300
You wanna be in the magazines,
you wanna be famous.

1178
00:54:45,367 --> 00:54:46,567
You wanna be rich.

1179
00:54:46,633 --> 00:54:48,767
♪ One, two, three, four
Five, six, seven, eight... ♪

1180
00:54:49,934 --> 00:54:52,000
The undisputed king of New York.

1181
00:54:52,066 --> 00:54:54,200
ANNOUNCER: The first rap artist
with a number one hit

1182
00:54:54,266 --> 00:54:56,066
the first week his single
was released,

1183
00:54:56,133 --> 00:54:58,767
Notorious B.I.G.!

1184
00:54:58,834 --> 00:55:00,200
My responsibility in rap

1185
00:55:00,266 --> 00:55:04,000
is just to-- to me, in my eyes,
just to keep making hits.

1186
00:55:04,066 --> 00:55:07,467
Keep selling records
so my family can be straight.

1187
00:55:07,533 --> 00:55:09,266
While at the same time,
make music

1188
00:55:09,333 --> 00:55:11,033
for the people who can
feel that shit.

1189
00:55:13,166 --> 00:55:14,934
♪ Ha, slicker than
Your average ♪

1190
00:55:15,000 --> 00:55:16,767
♪ Poppa twist
Cabbage off instinct ♪

1191
00:55:16,834 --> 00:55:18,667
♪ Niggas don't think
Shit stink ♪

1192
00:55:18,734 --> 00:55:20,734
♪ Pink gators
My Detroit players ♪

1193
00:55:20,800 --> 00:55:23,133
♪ Timbs for my hooligans
In Brooklyn ♪

1194
00:55:23,200 --> 00:55:25,200
JAY-Z: I remember when
he was doing  Life After Death.

1195
00:55:25,266 --> 00:55:26,734
And he sent me the demo.

1196
00:55:27,533 --> 00:55:28,867
It was incredible.

1197
00:55:28,934 --> 00:55:30,900
♪ Like Kobe
Lucky they don't owe me ♪

1198
00:55:30,967 --> 00:55:32,867
♪ Where the safe?
Show me, homie ♪

1199
00:55:33,667 --> 00:55:34,667
Oh, my...

1200
00:55:35,333 --> 00:55:36,734
Oh, we got a problem.

1201
00:55:36,800 --> 00:55:39,300
I was a little worried
for myself, as an artist.

1202
00:55:42,300 --> 00:55:45,000
It's just really unfortunate,
what happened after that.

1203
00:55:46,734 --> 00:55:48,867
B.I.G.: I just wanna give
a shoutout to my whole family.

1204
00:55:48,934 --> 00:55:51,667
T'yanna, and little CJ,
and my mom.

1205
00:55:51,734 --> 00:55:54,133
It feel good to just
have her at ease,

1206
00:55:54,200 --> 00:55:56,467
knowing her son
is doing no wrong.

1207
00:55:56,533 --> 00:55:59,100
-I'm staying out of trouble.
-(GUNSHOT)

1208
00:55:59,166 --> 00:56:00,633
-MAN: Y'all get down.
-WOMAN: Someone got shot.

1209
00:56:00,700 --> 00:56:01,667
MAN 2: It's Big in there.

1210
00:56:01,734 --> 00:56:03,834
(MAN SPEAKING)

1211
00:56:05,133 --> 00:56:07,600
NEWSREADER: The death of rapper
Notorious B.I.G.

1212
00:56:07,667 --> 00:56:09,600
is the second time
in six months

1213
00:56:09,667 --> 00:56:11,667
that a rap star
has been shot to death.

1214
00:56:11,734 --> 00:56:14,533
NEWSREADER 2:
And he was only 24 years old.

1215
00:56:14,600 --> 00:56:16,867
MAN: This news
just went through our body.

1216
00:56:16,934 --> 00:56:18,834
It gave us chills.

1217
00:56:18,900 --> 00:56:21,066
MIRANDA: It's one of
the most tragic what-ifs

1218
00:56:21,133 --> 00:56:22,567
in the history of hip hop.

1219
00:56:22,633 --> 00:56:24,700
You never thought that
hip hop could take it this far.

1220
00:56:24,767 --> 00:56:26,500
How much farther
could he have taken it?

1221
00:56:30,467 --> 00:56:31,967
VOLETTA WALLACE: He was my son.

1222
00:56:33,600 --> 00:56:34,767
My friend.

1223
00:56:35,734 --> 00:56:39,834
And there is not a day
that goes by...

1224
00:56:42,033 --> 00:56:43,734
that I don't think of him.

1225
00:56:46,300 --> 00:56:49,467
COMBS: They say, like,
time heals all wounds.

1226
00:56:49,533 --> 00:56:51,667
You know,
I kinda wait for that day.

1227
00:56:52,500 --> 00:56:53,767
But I also think that,

1228
00:56:53,834 --> 00:56:56,734
you know,
time doesn't heal some wounds.

1229
00:56:56,800 --> 00:56:58,667
Some things
you have to live with.

1230
00:57:01,233 --> 00:57:03,834
JAY-Z: The human side of him
came through his music,

1231
00:57:03,900 --> 00:57:06,734
and I think it moved
the molecules in the world.

1232
00:57:06,800 --> 00:57:09,600
I know for a fact it pointed me
in a direction,

1233
00:57:09,667 --> 00:57:11,533
and I'm sure this happened
to millions

1234
00:57:11,600 --> 00:57:13,633
and millions of people
worldwide.

1235
00:57:13,700 --> 00:57:15,900
HAKEEM JEFFRIES:
Notorious B.I.G.

1236
00:57:15,967 --> 00:57:20,200
We know he went from negative
to positive.

1237
00:57:20,266 --> 00:57:21,400
And emerged

1238
00:57:21,467 --> 00:57:26,633
as one of the world's
most important hip hop stars.

1239
00:57:26,700 --> 00:57:28,233
♪ I know you're
still living your life now ♪

1240
00:57:28,300 --> 00:57:29,834
♪ Every step I take ♪

1241
00:57:29,900 --> 00:57:32,266
B.I.G.: All my people's
gotta stay on a positive vibe.

1242
00:57:32,333 --> 00:57:34,166
♪ Every move I make ♪

1243
00:57:34,233 --> 00:57:36,367
B.I.G.: Negativity just
brings failure, you know?

1244
00:57:36,433 --> 00:57:38,000
♪ Every single day ♪

1245
00:57:38,066 --> 00:57:39,600
B.I.G.: We ain't trying
to fail in this thing.

1246
00:57:39,667 --> 00:57:40,800
We trying to succeed.

1247
00:57:40,867 --> 00:57:42,500
♪ I'll be missing you ♪

1248
00:57:42,567 --> 00:57:44,300
B.I.G.: Keepin' it real forever.

1249
00:57:44,367 --> 00:57:46,567
♪ Missing you ♪

1250
00:57:48,166 --> 00:57:51,066
When my dad passed away,
I was only three years old.

1251
00:57:51,133 --> 00:57:53,633
Even though I didn't get to
know him as well as I wanted,

1252
00:57:53,700 --> 00:57:55,333
through his fans and our family,

1253
00:57:55,400 --> 00:57:57,333
I was able to see
with my own eyes

1254
00:57:57,400 --> 00:58:00,000
that his music transcended
the hip hop industry.

1255
00:58:00,066 --> 00:58:01,734
And he was able to not
just become

1256
00:58:01,800 --> 00:58:04,233
the king of New York,
but the king of the culture.

1257
00:58:04,300 --> 00:58:05,533
I know if my dad was here,

1258
00:58:05,600 --> 00:58:07,400
he would want to thank his mom,
my grandma,

1259
00:58:07,467 --> 00:58:08,934
Voletta "Mema" Wallace,

1260
00:58:09,000 --> 00:58:11,934
Gigi, Uncle Dave, my mom Jan,

1261
00:58:12,000 --> 00:58:14,400
Faith, Todd, Puffy,

1262
00:58:14,467 --> 00:58:17,233
Wayne, Mark,
the Junior Mafia family,

1263
00:58:17,300 --> 00:58:19,066
everyone that helped bring
his music to life.

1264
00:58:19,133 --> 00:58:20,834
And of course,
the Rock and Roll Hall of Fame

1265
00:58:20,900 --> 00:58:22,133
for this tremendous honor.

1266
00:58:22,200 --> 00:58:23,633
CJ?

1267
00:58:23,700 --> 00:58:26,433
Christopher George
Latore Wallace.

1268
00:58:26,967 --> 00:58:29,266
AKA the Notorious B.I.G.

1269
00:58:29,333 --> 00:58:31,000
AKA Biggie Smalls.

1270
00:58:31,066 --> 00:58:33,133
AKA Frank Wyatt.

1271
00:58:33,200 --> 00:58:35,700
AKA the King of New York.

1272
00:58:35,767 --> 00:58:37,266
Our father was one
of the founding

1273
00:58:37,333 --> 00:58:38,934
fathers of hip hop.

1274
00:58:39,000 --> 00:58:41,166
He helped revolutionize
what was a young artform

1275
00:58:41,233 --> 00:58:43,567
for the Black community
and the world.

1276
00:58:43,633 --> 00:58:44,967
I'm honored to share his name

1277
00:58:45,033 --> 00:58:47,967
and his dedication
to Black music, creativity,

1278
00:58:48,033 --> 00:58:50,467
self-expression,
and Black freedom.

1279
00:58:50,934 --> 00:58:52,400
I love you, Mema.

1280
00:58:52,467 --> 00:58:54,734
Thanks for teaching us
who Christopher Wallace was,

1281
00:58:54,800 --> 00:58:58,867
as a son, friend,
poet, artist, and father.

1282
00:58:58,934 --> 00:59:01,967
BOTH: We love you, Mema.
We love you, Dad.

1283
00:59:02,033 --> 00:59:03,533
Brooklyn, we did it!

1284
00:59:15,200 --> 00:59:18,233
Depeche Mode is the soundtrack
of my adolescence.

1285
00:59:18,300 --> 00:59:19,500
I'm not kidding.

1286
00:59:19,567 --> 00:59:22,700
There was literally a song
for every occasion of my life.

1287
00:59:22,767 --> 00:59:26,266
My first date, my first time
leaving South Africa,

1288
00:59:26,333 --> 00:59:29,000
and, of course, the first time
I got my heart broken.

1289
00:59:29,066 --> 00:59:31,967
So when I finally got to see
them live a couple of years ago,

1290
00:59:32,033 --> 00:59:36,133
it was like this epic slap
in the face of nostalgia.

1291
00:59:36,200 --> 00:59:37,166
But more than that,

1292
00:59:37,233 --> 00:59:39,266
when I was at the show,
I realized what else

1293
00:59:39,333 --> 00:59:41,533
I loved about their music.

1294
00:59:41,600 --> 00:59:43,800
They celebrate the outsider.

1295
00:59:43,867 --> 00:59:45,600
Their music brings
people together

1296
00:59:45,667 --> 00:59:47,633
from all different
walks of life.

1297
00:59:47,700 --> 00:59:51,233
It makes them feel like
it's okay to be different.

1298
00:59:51,300 --> 00:59:54,100
That really hit me watching
the videos at the concert.

1299
00:59:54,166 --> 00:59:55,400
I was moved to tears.

1300
00:59:55,467 --> 00:59:57,667
I came home.
I told my daughters about it.

1301
00:59:57,734 --> 01:00:00,300
And I was also
really fucking pissed,

1302
01:00:00,367 --> 01:00:02,900
because I don't usually go
to rock concerts

1303
01:00:02,967 --> 01:00:04,400
to bawl my eyes out.

1304
01:00:05,200 --> 01:00:06,600
But truthfully though,

1305
01:00:06,667 --> 01:00:09,533
it just speaks
to the immense power

1306
01:00:09,600 --> 01:00:11,834
Depeche Mode has had
over the years.

1307
01:00:11,900 --> 01:00:15,066
It is also why, when I got
the chance to pick some songs

1308
01:00:15,133 --> 01:00:16,934
for the Atomic Blonde
soundtrack,

1309
01:00:17,000 --> 01:00:18,934
they were the first on my list.

1310
01:00:19,000 --> 01:00:21,333
It's no surprise
that they're joining the ranks

1311
01:00:21,400 --> 01:00:23,166
of the Rock and Roll
Hall of Fame.

1312
01:00:23,233 --> 01:00:25,133
I mean, they should have been
there 20 years ago

1313
01:00:25,200 --> 01:00:27,166
if it was up to me.

1314
01:00:27,233 --> 01:00:29,667
But what an incredibly
well-deserved honor.

1315
01:00:30,934 --> 01:00:33,533
Thank you, guys, for being
the soundtrack to my life.

1316
01:00:35,600 --> 01:00:38,867
(AUDIENCE CHEERING)

1317
01:00:53,066 --> 01:00:55,567
(CHANTING) Depeche Mode!
Depeche Mode!

1318
01:00:55,633 --> 01:00:56,834
Depeche Mode!

1319
01:01:08,934 --> 01:01:10,400
-We love this!
-Brilliant!

1320
01:01:11,734 --> 01:01:15,100
♪ Welcome to my world ♪

1321
01:01:18,533 --> 01:01:21,166
♪ And if you stay a while ♪

1322
01:01:22,000 --> 01:01:25,033
♪ Weep into your eyes ♪

1323
01:01:25,100 --> 01:01:27,800
♪ I'll make your vision sing ♪

1324
01:01:28,767 --> 01:01:31,967
♪ I'll open endless skies ♪

1325
01:01:32,033 --> 01:01:34,834
♪ And ride your broken wings ♪

1326
01:01:35,533 --> 01:01:38,100
♪ Welcome to my world ♪

1327
01:01:38,934 --> 01:01:43,333
♪ Welcome to my world ♪

1328
01:01:45,333 --> 01:01:47,400
♪ Get together right now ♪

1329
01:01:47,467 --> 01:01:50,867
♪ Yeah, let's get together ♪

1330
01:01:50,934 --> 01:01:53,433
DAVE GAHAN: The original band
was called Composition of Sound,

1331
01:01:53,500 --> 01:01:56,166
which was a bit of a mouthful.
When we decided that we wanted

1332
01:01:56,233 --> 01:01:58,500
to take it a bit seriously,
it was just something that I

1333
01:01:58,567 --> 01:02:01,200
picked up in college. It was
just the name of a magazine.

1334
01:02:01,266 --> 01:02:03,867
♪ Maybe I can
Show you just how ♪

1335
01:02:05,800 --> 01:02:07,433
VINCE CLARKE:
We just figured out that

1336
01:02:07,500 --> 01:02:09,100
for something
like a synthesizer,

1337
01:02:09,166 --> 01:02:10,533
you only needed
two fingers to play it.

1338
01:02:10,600 --> 01:02:13,500
We felt that music
had to move on and, yeah,

1339
01:02:13,567 --> 01:02:15,900
the punk explosion
had been really exciting

1340
01:02:15,967 --> 01:02:18,533
and it had to be taken on
a step from there.

1341
01:02:18,600 --> 01:02:21,000
Electronic music
and sequences

1342
01:02:21,066 --> 01:02:23,066
just seemed like
a natural progression.

1343
01:02:23,133 --> 01:02:25,500
You could sit
and program something

1344
01:02:25,567 --> 01:02:28,934
and it was more about ideas
than actual,

1345
01:02:29,000 --> 01:02:31,700
you know, being a technically
good musician.

1346
01:02:38,867 --> 01:02:40,934
♪ When I'm with you, baby ♪

1347
01:02:41,000 --> 01:02:44,233
-♪ I go out of my head ♪
-♪ And I just can't get enough ♪

1348
01:02:44,300 --> 01:02:46,400
♪ I just can't get enough ♪

1349
01:02:46,467 --> 01:02:50,066
♪ All the things you do to me
And everything you said ♪

1350
01:02:50,133 --> 01:02:51,967
♪ I just can't get enough ♪

1351
01:02:52,033 --> 01:02:53,967
♪ I just can't get enough ♪

1352
01:02:54,033 --> 01:02:57,467
♪ It's getting hotter
It's a burning love ♪

1353
01:02:57,533 --> 01:03:02,433
♪ I just can't seem
To get enough of you ♪

1354
01:03:02,500 --> 01:03:05,166
CHRIS MARTIN: I think,
sonically, Depeche Mode were

1355
01:03:05,233 --> 01:03:08,000
and are really
on the forefront of...

1356
01:03:08,934 --> 01:03:10,967
throwing away all rule books.

1357
01:03:11,033 --> 01:03:14,600
That freedom of sonics
I think is what defines them.

1358
01:03:14,667 --> 01:03:16,834
The idea is to roll the pebble

1359
01:03:16,900 --> 01:03:18,700
on this piece
of metal over here.

1360
01:03:19,667 --> 01:03:23,300
And the idea is
to take that sequence...

1361
01:03:23,367 --> 01:03:26,166
and to make
an interesting rhythm out of it.

1362
01:03:28,734 --> 01:03:30,066
BILLY GIBBONS: Early '80s,

1363
01:03:30,133 --> 01:03:32,900
there was this experimental
kind of exploration

1364
01:03:32,967 --> 01:03:36,900
of these new forms of ways
to make loud noise.

1365
01:03:39,200 --> 01:03:42,600
Depeche Mode was charging ahead
at the forefront.

1366
01:03:42,667 --> 01:03:46,567
♪ I don't want to start
Any blasphemous rumors ♪

1367
01:03:46,633 --> 01:03:50,867
♪ But I think that God's got
A sick sense of humor ♪

1368
01:03:50,934 --> 01:03:52,967
We play the same synths
that they play.

1369
01:03:53,033 --> 01:03:55,200
The reason we started
looking at those synths

1370
01:03:55,266 --> 01:03:56,233
when we were younger

1371
01:03:56,300 --> 01:03:57,800
is because we were like,
"What is that sound?"

1372
01:03:57,867 --> 01:04:00,333
"How do you get that sound?"

1373
01:04:00,400 --> 01:04:03,066
ALAN WILDER: We deliberately,
between albums, try to

1374
01:04:03,133 --> 01:04:04,967
make it different
to the previous one.

1375
01:04:05,033 --> 01:04:07,633
We were determined not to
just repeat the same album

1376
01:04:07,700 --> 01:04:08,867
over and over again.

1377
01:04:08,934 --> 01:04:11,767
So we were constantly trying
to change our approach.

1378
01:04:11,834 --> 01:04:17,700
♪ Let me see you
Stripped down to the bone ♪

1379
01:04:17,767 --> 01:04:20,000
GIBBONS: Martin Gore
is a gifted writer,

1380
01:04:20,066 --> 01:04:21,200
a gifted composer.

1381
01:04:21,266 --> 01:04:24,600
He said, "Let's not make always
a happy song."

1382
01:04:24,667 --> 01:04:28,000
Let's talk realistically
about the human condition.

1383
01:04:28,066 --> 01:04:29,834
♪ There'll be times ♪

1384
01:04:29,900 --> 01:04:31,233
♪ When my crimes ♪

1385
01:04:32,166 --> 01:04:35,967
♪ Will seem
Almost unforgivable ♪

1386
01:04:36,033 --> 01:04:39,700
♪ I give in to sin ♪

1387
01:04:39,767 --> 01:04:41,066
ANDREW FLETCHER:
We soon found that,

1388
01:04:41,133 --> 01:04:43,066
when we were playing
to people, they all came back

1389
01:04:43,133 --> 01:04:45,867
the next time, plus more.
You know, the word spread.

1390
01:04:45,934 --> 01:04:48,100
GAHAN: No one had sold out
the Rose Bowl.

1391
01:04:48,166 --> 01:04:50,300
A new wave band selling out
the Rose Bowl?

1392
01:04:50,367 --> 01:04:51,600
It wasn't gonna happen.

1393
01:04:54,867 --> 01:04:59,834
♪ I'm taking a ride
With my best friend ♪

1394
01:05:01,300 --> 01:05:04,100
WIN BUTLER: Dave Gahan is just
a prototypical front man.

1395
01:05:04,166 --> 01:05:06,200
You can't really
take your eyes off him.

1396
01:05:06,266 --> 01:05:10,900
And whether he wrote the song
or not, he's delivering the song

1397
01:05:10,967 --> 01:05:13,000
and sort of inviting
the audience to meet him.

1398
01:05:19,233 --> 01:05:20,734
FLETCHER:
It was one of those moments,

1399
01:05:20,800 --> 01:05:23,066
spiritual moments
when it's just like

1400
01:05:23,133 --> 01:05:24,800
50,000 people at that moment

1401
01:05:24,867 --> 01:05:26,867
just together doing something.

1402
01:05:26,934 --> 01:05:29,000
And that created a power
that was greater

1403
01:05:29,066 --> 01:05:31,200
than anything
that was going on onstage.

1404
01:05:31,767 --> 01:05:34,133
♪ Never let me down ♪

1405
01:05:42,600 --> 01:05:43,600
Thank you!

1406
01:05:46,133 --> 01:05:48,800
A Southland record store
turns into a mob scene tonight

1407
01:05:48,867 --> 01:05:51,467
when a popular rock band
shows up to sign autographs.

1408
01:05:51,533 --> 01:05:53,400
The band is called Depeche Mode,

1409
01:05:53,467 --> 01:05:55,700
the latest postmodern group
to retake the United States

1410
01:05:55,767 --> 01:05:58,166
-by storm.
-REPORTER: Over 15,000 people--

1411
01:05:58,233 --> 01:06:00,066
REPORTER 2:
Riot police, we are told,

1412
01:06:00,133 --> 01:06:02,000
have gathered
at the Beverly Center.

1413
01:06:02,066 --> 01:06:03,900
LAUREN MAYBERRY:
If you are in the wider

1414
01:06:03,967 --> 01:06:06,166
Depeche Mode community,
you're part of something.

1415
01:06:06,233 --> 01:06:08,533
And I think people want to feel
that they belong somewhere.

1416
01:06:08,600 --> 01:06:10,567
They want to feel...

1417
01:06:10,633 --> 01:06:14,533
understood for five minutes,
an hour-and-a-half, two hours

1418
01:06:14,600 --> 01:06:16,867
when they're listening to a song
or they're seeing a show.

1419
01:06:16,934 --> 01:06:19,633
And I think that's something
that we are very...

1420
01:06:20,033 --> 01:06:21,066
in awe of.

1421
01:06:21,133 --> 01:06:24,433
♪ Your own personal ♪

1422
01:06:25,166 --> 01:06:26,633
♪ Jesus ♪

1423
01:06:28,800 --> 01:06:31,467
♪ Someone to hear your prayers ♪

1424
01:06:31,533 --> 01:06:33,133
♪ Someone who's there ♪

1425
01:06:36,467 --> 01:06:39,567
♪ Oh, yeah ♪

1426
01:06:45,633 --> 01:06:47,600
It's the soundtrack of my life.

1427
01:06:47,667 --> 01:06:50,967
WOMAN: Going to a Depeche Mode
concert is like going to,

1428
01:06:51,033 --> 01:06:53,333
like, the best church
you've ever been to.

1429
01:06:54,667 --> 01:06:56,066
Never leaves my neck.

1430
01:06:56,133 --> 01:06:57,834
My boy.

1431
01:06:57,900 --> 01:07:01,934
MARTIN: I think some bands
exist, on a universal level,

1432
01:07:02,000 --> 01:07:04,667
solely to bring people together,

1433
01:07:04,734 --> 01:07:07,567
to make people that might feel
more outsidery

1434
01:07:07,633 --> 01:07:10,767
realize that they're part
of a bigger family.

1435
01:07:10,834 --> 01:07:14,400
Depeche Mode can make lost souls
feel a bit more found.

1436
01:07:17,633 --> 01:07:18,800
WOMAN: The music.

1437
01:07:19,900 --> 01:07:20,900
The notes.

1438
01:07:21,467 --> 01:07:22,500
The voice.

1439
01:07:23,166 --> 01:07:25,000
It touched us all.

1440
01:07:25,066 --> 01:07:29,467
That's why they have a fan
like 22-year-old girl like me.

1441
01:07:32,266 --> 01:07:33,633
I feel like...

1442
01:07:33,700 --> 01:07:36,166
Depeche Mode just sort of
talked about real shit.

1443
01:07:36,233 --> 01:07:38,567
I think most of us
have had times of depression

1444
01:07:38,633 --> 01:07:41,233
or times of not, you know,

1445
01:07:41,300 --> 01:07:43,333
not feeling the way society
tells you

1446
01:07:43,400 --> 01:07:45,100
you're supposed to feel
all the time.

1447
01:07:45,166 --> 01:07:48,033
Depeche Mode, in a way,
was just saying,

1448
01:07:48,100 --> 01:07:49,967
"It's okay wherever you're at.

1449
01:07:50,033 --> 01:07:52,900
If you feel different
from everyone around you,

1450
01:07:52,967 --> 01:07:55,066
you're kinda-- There's other
people that feel that way."

1451
01:07:55,133 --> 01:07:57,500
Which is sort of, I think,
a powerful thing.

1452
01:07:59,400 --> 01:08:04,033
♪ I feel you ♪

1453
01:08:04,100 --> 01:08:07,667
♪ Your sun, it shines ♪

1454
01:08:07,734 --> 01:08:10,700
♪ You take me there
You take me where ♪

1455
01:08:10,767 --> 01:08:12,333
♪ The kingdom comes ♪

1456
01:08:13,533 --> 01:08:16,500
♪ You take me to
And lead me through ♪

1457
01:08:16,567 --> 01:08:18,767
♪ Babylon ♪

1458
01:08:18,834 --> 01:08:20,433
Sing it!

1459
01:08:20,500 --> 01:08:23,767
Yeah, we started off being
total electronic purists.

1460
01:08:23,834 --> 01:08:26,133
And we gradually sort of
came around to being open

1461
01:08:26,200 --> 01:08:29,500
to using any instrument
that suits a part.

1462
01:08:29,567 --> 01:08:34,433
♪ It's only when I lose myself
With someone else ♪

1463
01:08:34,500 --> 01:08:37,166
♪ That I find myself ♪

1464
01:08:37,767 --> 01:08:40,433
♪ I find myself ♪

1465
01:08:40,500 --> 01:08:43,100
FLOOD: Literally, you could say
they were just a pop band,

1466
01:08:43,166 --> 01:08:44,266
but they're not.

1467
01:08:44,333 --> 01:08:46,467
Their songs have far more depth.

1468
01:08:46,533 --> 01:08:50,000
The way that they're perceived
live is almost rock.

1469
01:08:50,066 --> 01:08:52,633
So there's all these strange
combinations

1470
01:08:52,700 --> 01:08:56,033
that I think just give them
a very unique standpoint.

1471
01:08:56,100 --> 01:08:59,333
There's nobody else I can think
of who's anywhere near

1472
01:08:59,400 --> 01:09:00,734
to what they're trying to do.

1473
01:09:02,133 --> 01:09:04,066
♪ I was born
With the wrong sign ♪

1474
01:09:04,133 --> 01:09:07,734
♪ In the wrong house
With the wrong ascendancy ♪

1475
01:09:08,400 --> 01:09:10,033
♪ I took the wrong road ♪

1476
01:09:10,100 --> 01:09:14,166
♪ That led to
The wrong tendencies ♪

1477
01:09:14,233 --> 01:09:17,367
♪ Where's the revolution? ♪

1478
01:09:19,567 --> 01:09:24,000
♪ Come on, people
You're letting me down ♪

1479
01:09:24,066 --> 01:09:26,533
MARTIN: With Martin
and with Fletch and with Dave,

1480
01:09:26,600 --> 01:09:28,633
you see these people
that have been together

1481
01:09:28,700 --> 01:09:31,667
for whatever it is,
30 or 40 years,

1482
01:09:32,567 --> 01:09:34,166
and have just stuck together.

1483
01:09:35,867 --> 01:09:40,033
♪ I pictured us
In another life ♪

1484
01:09:44,967 --> 01:09:49,367
♪ Where we're all superstars ♪

1485
01:09:49,433 --> 01:09:51,867
They're not talking about the
same things over and over again.

1486
01:09:51,934 --> 01:09:53,367
When you actually write
down a list

1487
01:09:53,433 --> 01:09:54,800
of, "What are Depeche Mode
songs about,"

1488
01:09:54,867 --> 01:09:58,100
it's such a vast
array of things.

1489
01:09:58,166 --> 01:10:00,633
And I think people appreciate
that honesty

1490
01:10:00,700 --> 01:10:03,100
at all the different points
in their life

1491
01:10:03,166 --> 01:10:04,467
and in the writers' lives.

1492
01:10:04,533 --> 01:10:06,767
It's like you go
on the journey with them.

1493
01:10:09,767 --> 01:10:11,767
MARTIN GORE: I've always been
very passionate about music,

1494
01:10:11,834 --> 01:10:13,834
and it's the only thing that's
ever really interested me,

1495
01:10:13,900 --> 01:10:16,233
so I can't imagine
doing anything else.

1496
01:10:16,300 --> 01:10:17,834
FLETCHER: We're lucky,
as a band,

1497
01:10:17,900 --> 01:10:19,367
our fans give us our freedom.

1498
01:10:19,433 --> 01:10:22,567
They give us the ability
to release what we like.

1499
01:10:22,633 --> 01:10:24,333
GAHAN: I'm very grateful
that we get to do this

1500
01:10:24,400 --> 01:10:26,567
and we still got fans
that want to come and see us.

1501
01:10:26,633 --> 01:10:27,934
We must be doing
something right.

1502
01:10:31,433 --> 01:10:33,166
BUTLER: I feel like
their music still sounds

1503
01:10:33,233 --> 01:10:35,400
like it could come out
20 years from now.

1504
01:10:35,467 --> 01:10:39,467
Depeche were able to take that
spirit and spread it,

1505
01:10:39,533 --> 01:10:42,033
which is really kind
of a sacred responsibility.

1506
01:10:42,100 --> 01:10:43,967
That mystique
and that majesty

1507
01:10:44,033 --> 01:10:46,900
that they created together

1508
01:10:46,967 --> 01:10:50,800
is extremely influential
on most bands, I think.

1509
01:10:50,867 --> 01:10:53,233
For a band like us,
that makes music that we make,

1510
01:10:53,300 --> 01:10:55,000
they are like the godfathers.

1511
01:10:55,066 --> 01:10:58,166
Honestly, when we play in Europe
still to this day,

1512
01:10:58,233 --> 01:11:00,767
the front row is 90 percent
Depeche Mode shirts

1513
01:11:00,834 --> 01:11:04,333
because... they, like,
gave us their blessing.

1514
01:11:04,400 --> 01:11:07,200
All you have to do is
put the needle in the groove

1515
01:11:07,266 --> 01:11:09,800
and let the music
speak for itself.

1516
01:11:09,867 --> 01:11:11,333
They've done a wonderful job

1517
01:11:11,400 --> 01:11:14,667
seeing things that we may not
have seen before

1518
01:11:14,734 --> 01:11:18,734
and listening to things
that we had yet to hear.

1519
01:11:21,900 --> 01:11:23,900
CROWD: ♪ All I ever wanted ♪

1520
01:11:23,967 --> 01:11:25,533
♪ All I ever needed ♪

1521
01:11:25,600 --> 01:11:29,166
♪ Is here in my arms ♪

1522
01:11:30,333 --> 01:11:34,033
♪ Words are very unnecessary ♪

1523
01:11:34,100 --> 01:11:38,500
♪ They can only do harm ♪

1524
01:11:38,567 --> 01:11:40,166
Yeah, that's right!

1525
01:11:46,867 --> 01:11:52,333
♪ Enjoy the silence ♪

1526
01:11:56,600 --> 01:11:58,967
All right.
Congratulations, boys.

1527
01:11:59,033 --> 01:12:01,200
We finally found a way

1528
01:12:01,266 --> 01:12:04,600
to accept our induction
into the Rock and Roll

1529
01:12:04,667 --> 01:12:06,400
-Hall of Fame.
-Yes!

1530
01:12:06,467 --> 01:12:07,967
-Yeah.
-Congratulations.

1531
01:12:08,033 --> 01:12:09,166
Congratulations.

1532
01:12:09,233 --> 01:12:11,166
It's a shame
not doing the concert.

1533
01:12:11,233 --> 01:12:13,000
Aren't we doing the concert now?

1534
01:12:13,433 --> 01:12:16,400
(LAUGHING)

1535
01:12:16,467 --> 01:12:18,166
(VOCALIZING)

1536
01:12:18,233 --> 01:12:20,834
-GAHAN: Yeah! (LAUGHS)
-(LAUGHTER)

1537
01:12:20,900 --> 01:12:24,200
Reach out and touch...
Yeah. No we're not doing that.

1538
01:12:24,266 --> 01:12:27,767
Um... But still, it's an honor,
of course, to be inducted

1539
01:12:27,834 --> 01:12:30,567
into the Rock and Roll
Hall of Fame.

1540
01:12:30,633 --> 01:12:33,233
Um... I am reading notes here,
by the way.

1541
01:12:33,300 --> 01:12:37,066
Congratulations to all
our fellow inductees.

1542
01:12:37,133 --> 01:12:39,834
It's incredible now
to be in this club.

1543
01:12:39,900 --> 01:12:42,033
There's so many other musicians

1544
01:12:42,100 --> 01:12:44,600
and artists
that are part of this

1545
01:12:44,667 --> 01:12:47,633
that we have grown up
listening to.

1546
01:12:47,700 --> 01:12:50,700
David Bowie,
Iggy Pop and the Stooges,

1547
01:12:50,767 --> 01:12:54,000
-The Clash, just to name a few.
-The Eagles.

1548
01:12:54,066 --> 01:12:57,700
GAHAN: Yeah, don't forget the--
Everybody loves the Eagles!

1549
01:12:57,767 --> 01:13:00,533
-FLETCHER: The Eagles.
-(LAUGHTER)

1550
01:13:00,600 --> 01:13:03,066
Let's not forget,
we got a big congratulations,

1551
01:13:03,133 --> 01:13:05,333
of course,
to Vince Clark

1552
01:13:05,400 --> 01:13:07,300
and of course, to Alan Wilder,

1553
01:13:07,367 --> 01:13:09,233
who are part of the DM family

1554
01:13:09,300 --> 01:13:10,533
-and DM history.
-FLETCHER: Thanks, Vince!

1555
01:13:10,600 --> 01:13:12,066
GAHAN: And of course,
the success of this band.

1556
01:13:12,133 --> 01:13:13,800
Thanks, Alan.

1557
01:13:13,867 --> 01:13:16,800
We've been doing this
most of our adult lives,

1558
01:13:17,367 --> 01:13:18,633
pretty much.

1559
01:13:18,700 --> 01:13:21,600
I guess we were 18, 19
when we started doing this.

1560
01:13:21,667 --> 01:13:23,200
And, of course,
I want to thank

1561
01:13:23,266 --> 01:13:25,967
Martin and Fletch
while I've got the opportunity.

1562
01:13:26,033 --> 01:13:27,333
-Thanks, Dave.
-'Cause I don't know

1563
01:13:27,400 --> 01:13:28,900
what the hell
I would have been doing

1564
01:13:28,967 --> 01:13:31,500
if I didn't find music,
to be quite honest.

1565
01:13:31,567 --> 01:13:34,633
You'd have been still
stealing cars, Dave.

1566
01:13:34,700 --> 01:13:37,000
Well, yeah,
maybe I would have moved on

1567
01:13:37,066 --> 01:13:38,967
a bit from there.
Let's hope I would've been--

1568
01:13:39,033 --> 01:13:40,934
Stealing larger things
than cars.

1569
01:13:41,000 --> 01:13:42,967
-Let's hope so.
-(LAUGHTER)

1570
01:13:43,033 --> 01:13:44,967
Definitely something dodgy.

1571
01:13:45,033 --> 01:13:46,767
I mean, music saved us,
you know,

1572
01:13:46,834 --> 01:13:48,667
-in more ways than one.
-GORE: Absolutely. Yeah.

1573
01:13:48,734 --> 01:13:50,367
Thanks to you, as well.

1574
01:13:50,433 --> 01:13:51,967
You know,
we wouldn't be here either.

1575
01:13:52,033 --> 01:13:54,133
-Yeah.
-GAHAN: Thanks, Mart.

1576
01:13:54,200 --> 01:13:57,266
You know, we were growing up
listening to music on the radio

1577
01:13:57,333 --> 01:13:59,900
and having music to--
It really kind of

1578
01:13:59,967 --> 01:14:03,066
helped us to feel normal,
and feel part of something.

1579
01:14:03,133 --> 01:14:04,734
You know, and that's what music
does with people

1580
01:14:04,800 --> 01:14:06,967
and I think that's what
Depeche Mode has done

1581
01:14:07,033 --> 01:14:08,367
for many people.

1582
01:14:08,433 --> 01:14:11,000
I think it-- Music really brings
people together

1583
01:14:11,066 --> 01:14:14,300
and God knows,
we need that more today

1584
01:14:14,367 --> 01:14:16,433
than it seems any other time.

1585
01:14:16,500 --> 01:14:19,233
Unfortunately we're not gonna be
able to perform for you tonight,

1586
01:14:19,300 --> 01:14:21,667
of course,
because of this situation

1587
01:14:21,734 --> 01:14:23,333
we find all of ourselves in.

1588
01:14:23,400 --> 01:14:26,333
But I want to thank
some special people here

1589
01:14:26,400 --> 01:14:28,967
who have supported us
and believed in us.

1590
01:14:29,033 --> 01:14:32,100
Of course, Daniel Miller
and Mute Records,

1591
01:14:32,166 --> 01:14:34,033
who found us and believed in us.

1592
01:14:34,100 --> 01:14:38,934
And he continues to be
a sort of guidance to this day.

1593
01:14:39,000 --> 01:14:40,200
And Tom Corbin,

1594
01:14:40,266 --> 01:14:43,467
who, thank God, came in
at the right time

1595
01:14:43,533 --> 01:14:45,467
and actually made us look cool.

1596
01:14:45,533 --> 01:14:48,333
-(LAUGHTER)
-Jonathan Kessler, our manager,

1597
01:14:48,400 --> 01:14:50,033
of course,
and spiritual advisor.

1598
01:14:50,100 --> 01:14:52,300
All of the promoters
across the world

1599
01:14:52,367 --> 01:14:55,000
that took a chance on
a bunch of outsider,

1600
01:14:55,066 --> 01:14:57,934
eyeliner-wearing weirdos
from Essex.

1601
01:14:58,834 --> 01:15:01,567
And all of the wankers
that didn't.

1602
01:15:01,633 --> 01:15:05,166
(LAUGHTER)

1603
01:15:05,233 --> 01:15:08,266
Um... I also want to thank
Peter Gordeno

1604
01:15:08,333 --> 01:15:11,967
and Christian Eigner,
who have been such a huge part

1605
01:15:12,033 --> 01:15:15,033
of this band
for the last 20 years.

1606
01:15:15,100 --> 01:15:18,767
And we're still calling them
"the new blokes."

1607
01:15:18,834 --> 01:15:21,333
Let's not forget, as well,
all our road crew,

1608
01:15:21,400 --> 01:15:24,233
tour managers, all of them
that have worked

1609
01:15:24,300 --> 01:15:28,300
tirelessly to bring
the Depeche Mode show

1610
01:15:28,367 --> 01:15:29,867
to life every night.

1611
01:15:29,934 --> 01:15:31,500
Rob Stringer at Sony,

1612
01:15:31,567 --> 01:15:34,800
who continues to support
our artistic vision.

1613
01:15:34,867 --> 01:15:37,300
And of course, all of the fans,

1614
01:15:37,367 --> 01:15:40,633
a lot of which that have been
with us from day one.

1615
01:15:40,700 --> 01:15:42,500
And of course,
last but not least,

1616
01:15:42,567 --> 01:15:45,967
a big thank you to our families,
our wives, our kids,

1617
01:15:46,033 --> 01:15:48,700
our parents, you know,
who put up with us

1618
01:15:48,767 --> 01:15:51,433
and have been with us
throughout this journey.

1619
01:15:51,500 --> 01:15:53,200
And I think I speak
for all of us

1620
01:15:53,266 --> 01:15:54,433
when I say, we love you

1621
01:15:54,500 --> 01:15:56,367
and we couldn't do it
without you.

1622
01:15:56,433 --> 01:15:58,734
Yes, absolutely.
Thank you. Well done.

1623
01:15:59,133 --> 01:16:01,834
(LAUGHTER)

1624
01:16:02,433 --> 01:16:03,467
It's a lot.

1625
01:16:03,533 --> 01:16:06,266
You better get back to your kids
and the studio.

1626
01:16:06,333 --> 01:16:09,700
Fletch, it's opening time!

1627
01:16:09,767 --> 01:16:11,800
-And you better--
-Off to the pub!

1628
01:16:11,867 --> 01:16:14,266
Talk to you guys soon.
Love you.

1629
01:16:14,333 --> 01:16:15,800
-All right.
-See ya.

1630
01:16:15,867 --> 01:16:16,867
Cheers

1631
01:16:45,700 --> 01:16:49,433
SLASH: Eddie Van Halen was
a tremendously gifted musician.

1632
01:16:49,500 --> 01:16:54,333
His style and his sound
were completely unique to him.

1633
01:16:57,667 --> 01:17:01,266
He had a massive impact
on guitar playing,

1634
01:17:01,333 --> 01:17:03,967
and I don't there's anybody
that's picked up the guitar

1635
01:17:04,033 --> 01:17:07,033
since 1978 that hasn't
been touched in some way

1636
01:17:07,100 --> 01:17:09,000
by Eddie Van Halen's influence.

1637
01:17:09,066 --> 01:17:10,233
I'm gonna miss his playing

1638
01:17:10,300 --> 01:17:13,100
and I'm gonna miss him
as a friend.

1639
01:17:33,200 --> 01:17:36,533
Eddie Van Halen was amazing.
Not since Jimi Hendrix

1640
01:17:36,600 --> 01:17:38,367
had there been a guitar player

1641
01:17:38,433 --> 01:17:42,367
that had so much impact
and was so inspiring to me.

1642
01:17:42,433 --> 01:17:45,300
He just explored
the most simplest thing,

1643
01:17:45,367 --> 01:17:47,333
a harmonic on a string,

1644
01:17:47,400 --> 01:17:50,266
and brought it into this
realm of technique

1645
01:17:50,333 --> 01:17:53,300
that no one even thought
was possible.

1646
01:17:53,367 --> 01:17:55,900
He was just like
from a different planet.

1647
01:18:12,934 --> 01:18:16,400
TOM MORELLO: Eddie Van Halen was
the Mozart of our generation.

1648
01:18:16,467 --> 01:18:17,700
He had the kind of talent

1649
01:18:17,767 --> 01:18:20,166
that maybe comes around
once a century.

1650
01:18:20,233 --> 01:18:23,567
Eddie Van Halen inspired me
to practice 20,000 hours

1651
01:18:23,633 --> 01:18:26,000
to try to get within 100 miles

1652
01:18:26,066 --> 01:18:28,767
of his inspired mastery
of the electric guitar.

1653
01:18:33,200 --> 01:18:35,900
You know, if I hit 80,
if I make it that far,

1654
01:18:35,967 --> 01:18:37,433
I'll still be doing
the same thing.

1655
01:18:37,500 --> 01:18:38,800
I might not be jumping,

1656
01:18:38,867 --> 01:18:41,900
I might be sitting on a stool,
but I'll still be making music.

1657
01:18:44,967 --> 01:18:47,367
ANNOUNCER: Ladies and gentlemen!

1658
01:18:47,433 --> 01:18:51,367
Edward Van Halen!

1659
01:18:51,433 --> 01:18:54,000
(AUDIENCE CHEERING)

1660
01:19:01,166 --> 01:19:05,467
♪ ("AIN'T NO SUNSHINE"
BY BILL WITHERS PLAYING) ♪

1661
01:19:59,533 --> 01:20:03,400
♪ ("SINCE YOU'RE GONE"
BY THE CARS PLAYING) ♪

1662
01:21:57,066 --> 01:21:58,967
LITTLE RICHARD:
I am the originator.

1663
01:21:59,033 --> 01:22:01,233
I am the creator.

1664
01:22:01,300 --> 01:22:03,734
I'm the architect
of rock 'n roll.

1665
01:22:03,800 --> 01:22:05,900
(SCATTING)

1666
01:22:05,967 --> 01:22:08,600
♪ Tutti frutti
Oh, Rudy ♪

1667
01:22:08,667 --> 01:22:10,500
♪ Tutti frutti
Oh, Rudy ♪

1668
01:22:10,567 --> 01:22:12,233
LITTLE RICHARD: I was
really inventing something.

1669
01:22:12,300 --> 01:22:13,500
Something was happening.

1670
01:22:13,567 --> 01:22:16,467
It was a music of freedom.
A music of deliverance.

1671
01:22:16,533 --> 01:22:18,633
It was so full of power
and rhythm.

1672
01:22:18,700 --> 01:22:20,266
It was so intense!

1673
01:22:20,333 --> 01:22:22,300
(SCREAMING)

1674
01:22:27,000 --> 01:22:29,367
I was singing
from the top of my voice. Woo!

1675
01:22:29,433 --> 01:22:30,767
Just screamin'!

1676
01:22:30,834 --> 01:22:32,900
♪ Lucille ♪

1677
01:22:32,967 --> 01:22:35,066
♪ Please come back
where you belong ♪

1678
01:22:35,800 --> 01:22:38,333
♪ Woo
Yeah, yeah, yeah ♪

1679
01:22:38,400 --> 01:22:40,266
LITTLE RICHARD: I was
a natural-born entertainer.

1680
01:22:40,333 --> 01:22:41,900
Born to be a star!

1681
01:22:41,967 --> 01:22:44,500
♪ Good golly, Miss molly ♪

1682
01:22:44,567 --> 01:22:48,467
♪ You sure like to ball
Woo ♪

1683
01:22:48,533 --> 01:22:50,567
♪ Come on ♪

1684
01:22:50,633 --> 01:22:52,000
LITTLE RICHARD:
Let me tell you something.

1685
01:22:52,066 --> 01:22:55,000
This is, without any doubt, what
you're lookin' and watchin'.

1686
01:22:55,066 --> 01:22:56,533
This is the real thing.

1687
01:22:56,600 --> 01:22:59,300
(SCATTING)

1688
01:23:01,233 --> 01:23:05,433
(CHEERING AND APPLAUSE)

1689
01:23:27,500 --> 01:23:30,767
Listening to my father's
records when I was four

1690
01:23:30,834 --> 01:23:34,066
was the greatest
early experience of my life.

1691
01:23:34,133 --> 01:23:36,100
The music just seemed magical.

1692
01:23:36,166 --> 01:23:38,900
And I wound up dedicating
the rest of my life

1693
01:23:38,967 --> 01:23:42,066
to finding those moments
in music.

1694
01:23:49,834 --> 01:23:52,266
Before I started Rolling Stones
when I was 21 years old,

1695
01:23:52,333 --> 01:23:54,867
I used to read
a magazine called Crawdaddy!

1696
01:23:56,233 --> 01:23:57,600
There was one writer in there,

1697
01:23:57,667 --> 01:24:00,633
this Jon Landau,
who could write about the music

1698
01:24:00,700 --> 01:24:02,900
as if he understood musicians.

1699
01:24:02,967 --> 01:24:05,166
BRUCE SPRINGSTEEN:
One of my first recollections

1700
01:24:05,233 --> 01:24:09,700
of Jon Landau was his trashing
of The Blues Project

1701
01:24:09,767 --> 01:24:14,300
in  Crawdaddy!,  which held the
very first of rock criticism.

1702
01:24:14,367 --> 01:24:15,567
And I was going like,

1703
01:24:16,500 --> 01:24:19,967
who does this guy think he is?

1704
01:24:20,033 --> 01:24:22,400
Who's Jon Landau? (LAUGHS)

1705
01:24:27,567 --> 01:24:29,200
JANN WENNER:
When I started  Rolling Stone,

1706
01:24:29,266 --> 01:24:30,567
I wrote him a letter,

1707
01:24:30,633 --> 01:24:32,333
and he wrote me right back
and said,

1708
01:24:32,400 --> 01:24:34,567
"This sounds
what I'd like to kinda do."

1709
01:24:35,400 --> 01:24:37,400
We went out
to a concert together

1710
01:24:37,467 --> 01:24:39,200
and I sat next to Jon,
just watched him.

1711
01:24:39,266 --> 01:24:41,300
Seeing him tapping away
on his legs

1712
01:24:41,367 --> 01:24:43,066
and bouncing, playing drums,

1713
01:24:43,133 --> 01:24:45,233
so full of excitement
about the music.

1714
01:24:45,300 --> 01:24:48,000
It was like
it was going through him.

1715
01:24:48,066 --> 01:24:51,567
From then on,
Jon controlled music coverage.

1716
01:24:51,633 --> 01:24:53,200
Writing about rock and roll

1717
01:24:53,266 --> 01:24:55,233
in an intelligent
and passionate way.

1718
01:24:57,734 --> 01:25:01,800
As a critic he was measured,
very thoughtful

1719
01:25:01,867 --> 01:25:05,233
but he could
take you down. (LAUGHS)

1720
01:25:05,300 --> 01:25:08,166
WENNER: Jon Landau is very
definitive in his pronouncements

1721
01:25:08,233 --> 01:25:12,800
and sometimes, he gets it right,
and sometimes, he gets it wrong.

1722
01:25:12,867 --> 01:25:14,200
♪ It's getting near dawn ♪

1723
01:25:15,967 --> 01:25:18,800
BROWNE: We'd run into people
that he had savaged in print.

1724
01:25:18,867 --> 01:25:21,967
Their eyes would narrow
and say, "You're Jon Landau?"

1725
01:25:22,033 --> 01:25:24,433
JON LANDAU:
Look, I was born to be a critic.

1726
01:25:24,500 --> 01:25:28,166
I got attention.
It was some sort of success.

1727
01:25:28,233 --> 01:25:31,133
But I was completely swept up
in rock music.

1728
01:25:31,200 --> 01:25:32,800
And then R&B.

1729
01:25:36,066 --> 01:25:37,533
WENNER: At the beginning
of  Rolling Stone,

1730
01:25:37,600 --> 01:25:40,567
Jon was writing extraordinarily
penetrating analyses

1731
01:25:40,633 --> 01:25:42,967
of things like Aretha Franklin,

1732
01:25:43,033 --> 01:25:45,633
Otis Redding, Sam and Dave.

1733
01:25:45,700 --> 01:25:48,900
LANDAU: My feeling was, well,
the audience was all white,

1734
01:25:48,967 --> 01:25:50,567
so I used my space

1735
01:25:50,633 --> 01:25:53,100
to highlight
great American Black music.

1736
01:25:54,333 --> 01:25:56,166
But I really wanted
to cross over

1737
01:25:56,233 --> 01:26:00,000
from writing about the music
to producing music.

1738
01:26:00,066 --> 01:26:02,800
The first chance
was the great MC5,

1739
01:26:02,867 --> 01:26:05,734
and then with Livingston Taylor.

1740
01:26:05,800 --> 01:26:09,734
Of course, then I met Bruce,
and everything changed.

1741
01:26:12,033 --> 01:26:14,033
Went to see him
in this little club.

1742
01:26:14,967 --> 01:26:16,834
Maybe 15 people there.

1743
01:26:17,700 --> 01:26:19,867
It was just the greatest.

1744
01:26:19,934 --> 01:26:23,233
Then, I saw him a second time.
It was even better.

1745
01:26:24,000 --> 01:26:25,600
Afterwards, I wrote an article

1746
01:26:25,667 --> 01:26:28,500
that I'm still proud of
to this day.

1747
01:26:28,567 --> 01:26:31,367
MAN: Jon Landau said,
"I saw rock and roll future

1748
01:26:31,433 --> 01:26:33,800
and its name
is Bruce Springsteen."

1749
01:26:33,867 --> 01:26:35,467
BRUCE SPRINGSTEEN:
First of all, when he said it,

1750
01:26:35,533 --> 01:26:38,500
we didn't think it was going
to turn into some iconic

1751
01:26:38,567 --> 01:26:40,734
quote that people
will still bring up

1752
01:26:40,800 --> 01:26:42,600
forty years later, you know.

1753
01:26:42,667 --> 01:26:44,633
He just saw a future in us.

1754
01:26:44,700 --> 01:26:47,767
LANDAU: He was looking
to do something different

1755
01:26:47,834 --> 01:26:49,600
with his new album.

1756
01:26:49,667 --> 01:26:51,000
He needed a collaborator.

1757
01:26:51,400 --> 01:26:52,400
♪ Hey! ♪

1758
01:26:54,967 --> 01:26:56,400
IOVINE:
Before  Born to Run  came out,

1759
01:26:56,467 --> 01:26:59,967
Bruce's records
were always complicated.

1760
01:27:00,033 --> 01:27:02,433
He hadn't really figured out
the studio yet.

1761
01:27:02,500 --> 01:27:05,700
I'd seen him on the stage,
and it was astounding!

1762
01:27:05,767 --> 01:27:08,533
It was so dynamic
and so theatrical,

1763
01:27:08,600 --> 01:27:12,467
but how do you focus this
into two speakers?

1764
01:27:12,533 --> 01:27:14,300
That was the challenge
with Bruce.

1765
01:27:14,367 --> 01:27:17,400
♪ Down in Jungleland ♪

1766
01:27:17,467 --> 01:27:20,500
SPRINGSTEEN: Jon had the
initial idea of doing something

1767
01:27:20,567 --> 01:27:22,934
I had never even heard of.

1768
01:27:23,000 --> 01:27:25,934
And it was something
he called "editing".

1769
01:27:28,700 --> 01:27:31,233
You mean, take something out?

1770
01:27:31,300 --> 01:27:32,867
"No, no, no, no!"

1771
01:27:32,934 --> 01:27:35,533
"We're the guys
that put everything in!

1772
01:27:35,600 --> 01:27:37,300
"I don't take anything out!"

1773
01:27:37,934 --> 01:27:40,100
"Jungleland" needed space.

1774
01:27:42,433 --> 01:27:46,367
Bruce wanted a very big,
Spector-ish sound.

1775
01:27:46,433 --> 01:27:48,633
And when you're playing
a lot of notes,

1776
01:27:48,700 --> 01:27:50,333
you can't get that sound.

1777
01:27:50,400 --> 01:27:53,066
So Jon kept pushing,
simplifying,

1778
01:27:53,133 --> 01:27:55,000
give the space for breadth.

1779
01:27:55,066 --> 01:27:57,066
And as they're doing this,

1780
01:27:57,133 --> 01:27:59,433
the song is actually
getting better.

1781
01:27:59,500 --> 01:28:03,633
It was a fascinating moment.
That epic song came to life.

1782
01:28:11,066 --> 01:28:13,266
That editor is so important.

1783
01:28:13,333 --> 01:28:17,066
That person on the receiving end
of a manuscript.

1784
01:28:17,133 --> 01:28:19,300
LANDAU: I don't know whether
it was my prior experience

1785
01:28:19,367 --> 01:28:23,233
being in writer/editor
relationship with  Rolling Stone,

1786
01:28:23,300 --> 01:28:25,667
but my way of relating
to artistic people

1787
01:28:25,734 --> 01:28:27,200
just felt natural.

1788
01:28:27,266 --> 01:28:29,266
SPRINGSTEEN: To this day,
I think that's my favorite

1789
01:28:29,333 --> 01:28:31,300
of Jon's production efforts,

1790
01:28:31,367 --> 01:28:33,900
is the work we did together
on Born to Run.

1791
01:28:39,033 --> 01:28:42,633
BROWNE: I was really inspired
by  Born to Run.

1792
01:28:42,700 --> 01:28:45,767
WENNER: The Pretender  is
much more a classic rock record

1793
01:28:45,834 --> 01:28:48,467
than Jackson ever did.

1794
01:28:48,533 --> 01:28:52,100
The piano, Spector sound.
It's one of his best records.

1795
01:28:54,200 --> 01:28:55,600
BROWNE: Jon made it
a point to work

1796
01:28:55,667 --> 01:28:58,834
with all the best musicians
he could find in L.A.

1797
01:28:58,900 --> 01:29:01,867
He'd be looking at the speakers
and demanding

1798
01:29:01,934 --> 01:29:05,800
this sound to become something
he needed it to be.

1799
01:29:05,867 --> 01:29:09,066
He would say, "You mind if I go
talk to the piano player?"

1800
01:29:09,133 --> 01:29:11,300
And he'd go out there for a few
minutes and come back,

1801
01:29:11,367 --> 01:29:14,567
and suddenly, these grand chords
would be coming out.

1802
01:29:14,633 --> 01:29:17,533
And that kind of tinkering
with the mechanics of the music

1803
01:29:17,600 --> 01:29:20,500
had a power that was undeniable.

1804
01:29:20,567 --> 01:29:24,433
Working with him brought me
to a complete other level

1805
01:29:24,500 --> 01:29:25,500
of what I could do.

1806
01:29:25,567 --> 01:29:28,567
♪ Sail out of sight ♪

1807
01:29:31,100 --> 01:29:34,734
IOVINE: After  Born to Run,
we started  Darkness.

1808
01:29:34,800 --> 01:29:38,567
Pressure on that album
was monumental.

1809
01:29:38,633 --> 01:29:41,133
So they brought someone
in to help me a little bit.

1810
01:29:41,200 --> 01:29:43,633
But I was like, "Jon Landau,
this can't happen!"

1811
01:29:43,700 --> 01:29:46,467
He said, "Hey, Jim, stop!"

1812
01:29:47,100 --> 01:29:49,600
"This is not about you."

1813
01:29:49,667 --> 01:29:54,000
"This is about you helping Bruce
make the best album he can."

1814
01:29:54,066 --> 01:29:56,533
"It's called 'the big picture.'"

1815
01:29:56,600 --> 01:29:58,967
That moment changed my life.

1816
01:29:59,033 --> 01:30:02,033
♪ Well if she wants to see me ♪

1817
01:30:02,100 --> 01:30:03,300
LANDAU: Whatever I do,

1818
01:30:03,367 --> 01:30:06,133
I recognize
who the other person is

1819
01:30:06,200 --> 01:30:09,266
and what is gonna be helpful
to them.

1820
01:30:09,333 --> 01:30:11,567
BROWNE: Jon has
a luminous knowledge.

1821
01:30:11,633 --> 01:30:14,834
It's enabled he
and Bruce to navigate

1822
01:30:14,900 --> 01:30:17,600
waters that artists
haven't done before.

1823
01:30:20,066 --> 01:30:23,100
SPRINGSTEEN: There was an
innate sort of intellectualism

1824
01:30:23,166 --> 01:30:25,900
that was always part
of the music we were working on.

1825
01:30:25,967 --> 01:30:29,000
Thinking about
what rock and roll meant,

1826
01:30:29,066 --> 01:30:34,266
its place in society,
its place in our own maturing.

1827
01:30:34,333 --> 01:30:37,500
WENNER: Jon is a seminal figure
in rock and roll.

1828
01:30:37,567 --> 01:30:39,600
All of us
are enormously grateful.

1829
01:30:40,433 --> 01:30:41,600
Thank you, Jon.

1830
01:30:43,000 --> 01:30:45,266
SPRINGSTEEN: As a writer,
Jon was in the forefront.

1831
01:30:45,333 --> 01:30:46,433
♪ Let's go! ♪

1832
01:30:46,500 --> 01:30:49,066
As a producer, critical.

1833
01:30:49,133 --> 01:30:51,333
And he created
a management style

1834
01:30:51,400 --> 01:30:53,367
based around not just
the business,

1835
01:30:53,433 --> 01:30:57,000
but nurturing the highest
artistic goals,

1836
01:30:57,066 --> 01:30:59,300
along with the personal growth.

1837
01:30:59,367 --> 01:31:02,066
No one did that
before Jon Landau

1838
01:31:02,133 --> 01:31:05,767
and I don't think anyone's
done it as well since.

1839
01:31:07,133 --> 01:31:09,934
And he's always been
an incredible friend.

1840
01:31:12,200 --> 01:31:14,934
I welcome you, good friend,

1841
01:31:15,000 --> 01:31:18,100
to the Rock and Roll
Hall of Fame.

1842
01:31:24,367 --> 01:31:27,834
To begin at the beginning,
I love my Mom and Dad

1843
01:31:27,900 --> 01:31:29,867
for gifting me
with their humanity.

1844
01:31:29,934 --> 01:31:32,000
But tonight I particularly
want to thank them

1845
01:31:32,066 --> 01:31:33,667
for taking me
to a Pete Seger concert

1846
01:31:33,734 --> 01:31:36,200
when I was four years old.

1847
01:31:36,266 --> 01:31:38,700
Right then and there,
while Pete was singing

1848
01:31:38,767 --> 01:31:41,000
and playing his loud,
shiny banjo,

1849
01:31:41,066 --> 01:31:45,100
I suddenly felt my entire
mini-consciousness exploding.

1850
01:31:45,166 --> 01:31:46,266
And that's when I knew

1851
01:31:46,333 --> 01:31:48,500
that I would spend my life
in music.

1852
01:31:48,567 --> 01:31:51,700
So, thanks to my childhood hero,
Pete Seger.

1853
01:31:51,767 --> 01:31:53,200
I thank my wife, Barbara,

1854
01:31:53,266 --> 01:31:55,400
who I've loved
for the last 43 years,

1855
01:31:55,467 --> 01:31:58,400
our children, Kate and Charlie,
and my brother David.

1856
01:31:58,467 --> 01:31:59,967
I love you all.

1857
01:32:00,033 --> 01:32:03,700
Thanks to my most dedicated
and loyal partner, JLM,

1858
01:32:03,767 --> 01:32:06,033
Barbara Carr, and George Travis.

1859
01:32:06,100 --> 01:32:07,867
Allison Oscar, Jan Stapino,

1860
01:32:07,934 --> 01:32:10,066
and my dear friend
Chuck Plotkin.

1861
01:32:10,133 --> 01:32:12,133
I love you all as well.

1862
01:32:12,200 --> 01:32:15,200
Now I started writing
about music in 1962

1863
01:32:15,266 --> 01:32:18,000
while a junior
at Lexington High School.

1864
01:32:18,066 --> 01:32:21,700
And from there, I met
the late Paul Williams in 1966,

1865
01:32:21,767 --> 01:32:23,734
who I thank so much
for having published me

1866
01:32:23,800 --> 01:32:26,967
in his pioneering
Crawdaddy!  magazine.

1867
01:32:27,033 --> 01:32:29,033
And that in turn led
to ten years of writing

1868
01:32:29,100 --> 01:32:33,400
about music at Rolling Stone,
where I earned my Ph.D. in life.

1869
01:32:33,467 --> 01:32:35,600
So, love and thanks
to my friend of a lifetime,

1870
01:32:35,667 --> 01:32:37,367
Jann Wenner.

1871
01:32:37,433 --> 01:32:40,200
On May 9th, 1974,
I went to a concert

1872
01:32:40,266 --> 01:32:41,800
at the Harvard Square Theater,

1873
01:32:41,867 --> 01:32:44,066
and I was so overwhelmed
by the performance

1874
01:32:44,133 --> 01:32:48,166
that I went home after the show
and wrote those famous words

1875
01:32:48,233 --> 01:32:49,967
that I'm still so proud of.

1876
01:32:50,033 --> 01:32:51,533
"I've seen rock and roll future,

1877
01:32:51,600 --> 01:32:54,166
and its name
is Bruce Springsteen."

1878
01:32:54,233 --> 01:32:57,000
That night, I decided
that I would somehow find a way

1879
01:32:57,066 --> 01:33:00,300
to work with Bruce
on his music and career.

1880
01:33:00,367 --> 01:33:02,834
And so I did.
For the next 45 years

1881
01:33:02,900 --> 01:33:06,600
as his co-producer, manager,
and most importantly,

1882
01:33:06,667 --> 01:33:10,066
as a partner and friend
who loves him deeply.

1883
01:33:10,133 --> 01:33:12,433
So as I offer my thanks
to the Hall of Fame

1884
01:33:12,500 --> 01:33:14,633
for this extraordinary
recognition,

1885
01:33:14,700 --> 01:33:16,934
I also want to thank some
of the other artists

1886
01:33:17,000 --> 01:33:19,900
with whom I've worked,
among them, Wayne Kramer,

1887
01:33:19,967 --> 01:33:25,100
Rob Tyner, Fred "Sonic" Smith,
and the extraordinary MC5.

1888
01:33:25,166 --> 01:33:28,233
Livingston Taylor,
my long-time friend Peter Wolf

1889
01:33:28,300 --> 01:33:29,967
and the J. Geils Band.

1890
01:33:30,033 --> 01:33:32,266
Natalie Merchant, Shania Twain,

1891
01:33:32,333 --> 01:33:35,033
Train, and Alejandro Escovedo.

1892
01:33:35,100 --> 01:33:37,033
I offer my special thanks
and love

1893
01:33:37,100 --> 01:33:39,533
to the extraordinary
Jackson Browne,

1894
01:33:39,600 --> 01:33:42,333
whose faith in me back in 1976

1895
01:33:42,400 --> 01:33:45,233
gave me the confidence
to reach for the sky.

1896
01:33:45,300 --> 01:33:48,500
And of course, I reserve
my most heartfelt thanks

1897
01:33:48,567 --> 01:33:51,333
for Bruce,
who gave me the chance,

1898
01:33:51,400 --> 01:33:54,300
the encouragement,
and the love that I needed

1899
01:33:54,367 --> 01:33:58,533
to fully realize who I am
and what I have to contribute.

1900
01:33:58,600 --> 01:34:01,800
And without whom this moment
could never have happened.

1901
01:34:11,533 --> 01:34:15,533
RINGO STARR: From T. Rex,
my good friend, Marc Bolan.

1902
01:34:15,600 --> 01:34:17,834
People knew him
as a great musician,

1903
01:34:17,900 --> 01:34:20,066
a songwriter, a guitarist,

1904
01:34:20,133 --> 01:34:23,266
but he was also a poet,
and he was very proud of that.

1905
01:34:23,333 --> 01:34:25,367
He was always telling me that.

1906
01:34:25,433 --> 01:34:28,700
He was the number-one selling
poet in Britain.

1907
01:34:28,767 --> 01:34:30,900
In fact, his poetry
was as important to him

1908
01:34:30,967 --> 01:34:32,233
as his music.

1909
01:34:32,767 --> 01:34:34,000
He had great style

1910
01:34:34,066 --> 01:34:37,367
and was really unlike
anyone else I have ever met.

1911
01:34:37,433 --> 01:34:39,934
He was a great performer,
just incredible.

1912
01:34:40,000 --> 01:34:42,834
And that's why I call the film
we did together

1913
01:34:42,900 --> 01:34:45,834
Born to Boogie,
because he really was.

1914
01:34:45,900 --> 01:34:49,367
I told Marc, "I'll bring
the camera and everything else."

1915
01:34:49,433 --> 01:34:52,433
"You just bring yourself."
We had a lotta fun together.

1916
01:34:52,500 --> 01:34:55,133
I remember lots of laughter.

1917
01:34:55,200 --> 01:34:58,000
We lost him way too young,
but in his short life,

1918
01:34:58,066 --> 01:35:01,066
he made over 12 albums
that are as far-out

1919
01:35:01,133 --> 01:35:03,567
and ahead of their time
as he was.

1920
01:35:03,633 --> 01:35:07,233
With the help of Tony Visconti
and his band T. Rex,

1921
01:35:07,300 --> 01:35:10,333
Marc's style started
a lot of trends.

1922
01:35:10,400 --> 01:35:12,133
They called it "glam rock,"

1923
01:35:12,200 --> 01:35:13,967
with singles such as
"Get It On",

1924
01:35:14,033 --> 01:35:17,233
"Children of the Revolution",
and of course, "Born to Boogie".

1925
01:35:17,300 --> 01:35:19,734
But it was always
just great music to me.

1926
01:35:19,800 --> 01:35:23,834
And that's why people are still
listening to T. Rex today.

1927
01:35:23,900 --> 01:35:25,700
There's no doubt they belong

1928
01:35:25,767 --> 01:35:29,166
in the Rock and Roll
Hall of Fame, finally!

1929
01:35:29,233 --> 01:35:32,233
And I'm very proud
to welcome them in right now.

1930
01:35:32,300 --> 01:35:35,467
Peace and love to Marc,
Mickey, Steve, and Bill.

1931
01:35:35,533 --> 01:35:38,200
And peace and love
to all the fans,

1932
01:35:38,266 --> 01:35:41,333
from me and T. Rex.
Peace and love.

1933
01:35:43,000 --> 01:35:44,667
Some people like to rock!

1934
01:35:45,867 --> 01:35:47,400
Some people like to roll.

1935
01:35:48,934 --> 01:35:50,834
(LAUGHTER)

1936
01:35:54,433 --> 01:35:56,300
I consider myself an artist,
you know.

1937
01:35:56,367 --> 01:35:58,734
And a writer, a poet,
guitar player.

1938
01:35:58,800 --> 01:36:01,333
So if that's what a star is,
then I must be a star.

1939
01:36:01,400 --> 01:36:03,667
♪ My friends say it's fine ♪

1940
01:36:03,734 --> 01:36:05,066
♪ Friends say it's good ♪

1941
01:36:05,133 --> 01:36:06,834
♪ Everybody says ♪

1942
01:36:06,900 --> 01:36:09,567
♪ It's just like rock 'n roll ♪

1943
01:36:09,633 --> 01:36:11,867
ELTON JOHN: He lived in his own
madcap world, Marc.

1944
01:36:11,934 --> 01:36:14,000
One of the most innovative
musicians in the '70s.

1945
01:36:14,066 --> 01:36:15,166
BILLY IDOL:
He was multi-talented.

1946
01:36:15,233 --> 01:36:16,600
He was capable of a lot.

1947
01:36:16,667 --> 01:36:18,667
He just brought all these
different elements

1948
01:36:18,734 --> 01:36:20,133
into his music.

1949
01:36:20,200 --> 01:36:23,333
♪ Twentieth century toy ♪

1950
01:36:23,400 --> 01:36:26,734
♪ I wanna be your boy ♪

1951
01:36:26,800 --> 01:36:28,767
MARC BOLAN: When I was about
nine, I wanted to be Elvis.

1952
01:36:28,834 --> 01:36:30,266
And then it was Marlon Brando.

1953
01:36:33,467 --> 01:36:36,900
DAVID BOWIE: It was around 1964,
and this bloke, Marc Feld,

1954
01:36:36,967 --> 01:36:39,367
turned up
in my manager's office.

1955
01:36:39,433 --> 01:36:41,934
And I known it,
I'd seen his face around.

1956
01:36:42,000 --> 01:36:43,667
He'd been in, like, King Mud

1957
01:36:43,734 --> 01:36:46,133
He'd been in all the magazines.
He was it.

1958
01:36:46,200 --> 01:36:47,700
Within that year, probably,

1959
01:36:47,767 --> 01:36:50,800
Marc Feld changed his name
to Marc Bolan.

1960
01:36:50,867 --> 01:36:53,633
♪ Walking in the woods
one day... ♪

1961
01:36:53,700 --> 01:36:55,333
BOLAN : Never thought
about success at all.

1962
01:36:55,400 --> 01:36:57,734
I thought about getting my songs
heard by people.

1963
01:36:58,233 --> 01:37:00,166
♪ Desdemona ♪

1964
01:37:00,233 --> 01:37:01,767
♪ Desdemona ♪

1965
01:37:01,834 --> 01:37:04,100
BOLAN: I started out, actually,
with John's Children,

1966
01:37:04,166 --> 01:37:06,166
another so-called underground
group at the time.

1967
01:37:06,233 --> 01:37:08,133
♪ Lift up your skirt and fly ♪

1968
01:37:10,066 --> 01:37:12,400
I decided to write my own songs

1969
01:37:12,467 --> 01:37:14,033
after hearing Dylan,
I think it was.

1970
01:37:14,100 --> 01:37:15,600
In that summer
of peace and love,

1971
01:37:15,667 --> 01:37:18,000
there was a definite change
around that happened.

1972
01:37:18,066 --> 01:37:20,166
♪ Oh, Debra ♪

1973
01:37:20,867 --> 01:37:22,800
♪ Debra ♪

1974
01:37:22,867 --> 01:37:25,834
(VOCALIZING)

1975
01:37:25,900 --> 01:37:27,300
BOLAN: I think the reason
Tyrannosaurus Rex

1976
01:37:27,367 --> 01:37:28,800
initially became successful,

1977
01:37:28,867 --> 01:37:30,700
it was just the right time,
that's all,

1978
01:37:30,767 --> 01:37:32,300
for whatever
that new feeling was.

1979
01:37:32,367 --> 01:37:34,367
You know, people would come down
and ask to record us,

1980
01:37:34,433 --> 01:37:35,567
and I turned most of them down.

1981
01:37:35,633 --> 01:37:37,066
And one day Tony Visconti
came down.

1982
01:37:37,133 --> 01:37:38,400
TONY VISCONTI: The first contact

1983
01:37:38,467 --> 01:37:41,100
with Tyrannosaurus Rex
was the voice

1984
01:37:41,166 --> 01:37:44,266
just came up the stairwell,
and the audience was mesmerized.

1985
01:37:44,333 --> 01:37:46,967
These kids were just transfixed
on Marc.

1986
01:37:47,033 --> 01:37:50,000
And I realized I was
in the presence of a great star.

1987
01:37:50,066 --> 01:37:52,867
Hi, there! In radio land.

1988
01:37:55,300 --> 01:37:57,500
BOLAN: For three years,
we weren't really getting

1989
01:37:57,567 --> 01:37:58,700
through to any medium.

1990
01:37:58,767 --> 01:38:01,633
After I split with Steve Took,
I got Mickey.

1991
01:38:01,700 --> 01:38:03,967
Mickey is a very different
sort of percussionist.

1992
01:38:04,033 --> 01:38:06,033
And it almost sounded like
a rock 'n roll band suddenly.

1993
01:38:06,100 --> 01:38:09,166
♪ Ride it on out
Like a bird in the skyways ♪

1994
01:38:09,233 --> 01:38:12,467
♪ Ride it on out
Like you were a bird ♪

1995
01:38:12,533 --> 01:38:16,033
♪ Fly it all out
Like an eagle in a sunbeam ♪

1996
01:38:16,100 --> 01:38:18,734
♪ Ride it on out
Like you were a bird ♪

1997
01:38:18,800 --> 01:38:21,100
REPORTER: In October 1970,
the BBC were told

1998
01:38:21,166 --> 01:38:24,066
that Tyrannosaurus Rex now
wished to be known as T. Rex.

1999
01:38:24,133 --> 01:38:26,100
BOLAN: The second I got back
into volume,

2000
01:38:26,166 --> 01:38:28,166
it was too exciting not to do.

2001
01:38:28,233 --> 01:38:29,767
Bought a Marshall hundred-watt.

2002
01:38:29,834 --> 01:38:31,500
Got me fuzz box
and me wah-wah,

2003
01:38:31,567 --> 01:38:33,100
plugged in and played loud.

2004
01:38:39,633 --> 01:38:41,500
There's four of us now on stage.

2005
01:38:41,567 --> 01:38:43,734
And I just needed
more people than Mickey

2006
01:38:43,800 --> 01:38:45,166
to get across the sound.

2007
01:38:45,233 --> 01:38:49,467
♪ Oh, girl I'm just
A Jeepster for your love ♪

2008
01:38:51,734 --> 01:38:57,066
♪ I said, girl, I'm just
A vampire for your love ♪

2009
01:38:57,133 --> 01:38:59,066
♪ Yeah, I'm gonna suck ya! ♪

2010
01:39:00,567 --> 01:39:03,033
I do think that we are good
at what we do.

2011
01:39:03,100 --> 01:39:05,867
But also as I say,
the timing was very relevant.

2012
01:39:07,900 --> 01:39:09,667
♪ Ow, ow, ow! ♪

2013
01:39:10,433 --> 01:39:12,033
♪ Ow, ow, ow! ♪

2014
01:39:12,967 --> 01:39:15,200
♪ Ow, ow! Wow! ♪

2015
01:39:15,266 --> 01:39:17,800
BOLAN: I incorporated a lot
of Hendrix things into it.

2016
01:39:17,867 --> 01:39:19,834
And also a bit
of Pete Townsend and that.

2017
01:39:19,900 --> 01:39:22,934
And Elvis' wiggle, you see.
I put it all together.

2018
01:39:23,000 --> 01:39:25,633
And it came out
quite interesting, really.

2019
01:39:25,700 --> 01:39:27,867
ANNOUNCER: The almighty T. Rex!

2020
01:39:29,233 --> 01:39:31,000
♪ Yeah! ♪

2021
01:39:33,834 --> 01:39:36,934
Marc and I both knew
we were gonna do great things.

2022
01:39:37,000 --> 01:39:39,800
And he brought glitter
to the masses.

2023
01:39:39,867 --> 01:39:41,867
And I thought,
"No! He's done it."

2024
01:39:41,934 --> 01:39:43,367
He's done it first.

2025
01:39:43,433 --> 01:39:45,533
Be outrageous.
If you've got it, show it.

2026
01:39:46,700 --> 01:39:48,800
And then suddenly,
it just exploded.

2027
01:39:57,734 --> 01:39:59,367
♪ Well, you're dirty and sweet ♪

2028
01:39:59,433 --> 01:40:01,567
♪ Clad in black
Don't look back ♪

2029
01:40:01,633 --> 01:40:03,567
♪ And I love you ♪

2030
01:40:04,266 --> 01:40:05,967
BOLAN: I've got a very good nose

2031
01:40:06,033 --> 01:40:07,734
for what's happening
at the time.

2032
01:40:07,800 --> 01:40:09,500
I'm commercially-geared.

2033
01:40:09,567 --> 01:40:11,333
♪ Well you're slim
And you're weak ♪

2034
01:40:11,400 --> 01:40:15,433
♪ You've got the teeth
Of the hydra upon you ♪

2035
01:40:15,500 --> 01:40:17,867
♪ You're dirty, sweet
And you're my girl ♪

2036
01:40:17,934 --> 01:40:19,800
I'd always been very good
at writing hooks, you see,

2037
01:40:19,867 --> 01:40:20,867
which is very fortunate.

2038
01:40:20,934 --> 01:40:22,600
♪ Get it on ♪

2039
01:40:22,667 --> 01:40:23,934
♪ Bang a gong ♪

2040
01:40:24,367 --> 01:40:25,567
♪ Get it on ♪

2041
01:40:26,900 --> 01:40:28,433
-Get it on!
-(AUDIENCE CHEERING)

2042
01:40:28,500 --> 01:40:30,233
♪ Get it on ♪

2043
01:40:30,300 --> 01:40:31,867
♪ Bang a gong ♪

2044
01:40:35,433 --> 01:40:37,166
♪ Get it on! ♪

2045
01:40:37,233 --> 01:40:38,734
♪ Bang a gong ♪

2046
01:40:38,800 --> 01:40:42,100
♪ Get it on ♪

2047
01:40:42,166 --> 01:40:43,367
Yeah!

2048
01:40:43,433 --> 01:40:46,066
BOLAN: I've always been into
a visual thing,

2049
01:40:46,133 --> 01:40:48,033
'cause I enjoy it.
Even that glitter thing.

2050
01:40:48,100 --> 01:40:50,400
I mean, what happened is,
my wife had some glitter,

2051
01:40:50,467 --> 01:40:52,600
and I think I just
spit on me fingers

2052
01:40:52,667 --> 01:40:53,800
and stuck it under me eyes.

2053
01:40:53,867 --> 01:40:56,100
And look what happened
to the world after that.

2054
01:40:56,166 --> 01:40:58,834
♪ Metal Guru, is it you? ♪

2055
01:40:59,900 --> 01:41:03,200
♪ Metal Guru, is it you? ♪

2056
01:41:03,266 --> 01:41:06,734
♪ Sitting there
in your armor-plated chair ♪

2057
01:41:06,800 --> 01:41:10,233
♪ Oh, yeah
Metal Guru, is it true? ♪

2058
01:41:11,367 --> 01:41:14,000
BOLAN: Certainly, there's been
a change in England,

2059
01:41:14,066 --> 01:41:15,433
and we are part of the change.

2060
01:41:15,500 --> 01:41:17,266
I mean, guys now
can wear make-up.

2061
01:41:17,333 --> 01:41:19,934
Not effeminate, but not
necessarily super-masculine.

2062
01:41:20,000 --> 01:41:22,166
You could enhance
the showmanship of the thing.

2063
01:41:25,266 --> 01:41:28,100
We play for the kids
that never saw the Beatles.

2064
01:41:28,166 --> 01:41:29,467
Never saw Jimi Hendrix.

2065
01:41:29,533 --> 01:41:31,600
The average age
of the audience is 15.

2066
01:41:31,667 --> 01:41:33,633
♪ Telegram Sam ♪

2067
01:41:33,700 --> 01:41:37,567
♪ Telegram Sam
Ooh ♪

2068
01:41:37,633 --> 01:41:41,600
There's an amazing sexuality
to Marc.

2069
01:41:41,667 --> 01:41:43,500
I had a major crush on him.

2070
01:41:43,567 --> 01:41:45,300
He's so good-looking
and his music

2071
01:41:45,367 --> 01:41:47,900
and the way he dresses,
the way he acts, everything.

2072
01:41:47,967 --> 01:41:49,266
BOLAN: They liked
the way I looked,

2073
01:41:49,333 --> 01:41:51,300
there was something about me.
They like the way I wiggled,

2074
01:41:51,367 --> 01:41:53,600
or the cut of my jib,
whatever they call it.

2075
01:41:54,734 --> 01:41:55,934
Ow!

2076
01:41:56,934 --> 01:41:58,233
Ah!

2077
01:42:05,667 --> 01:42:07,033
BOLAN: I don't want to be
the boy next door.

2078
01:42:07,100 --> 01:42:08,533
And they don't want me to be
the boy next door.

2079
01:42:08,600 --> 01:42:10,433
So on that stage,
I'm at liberty.

2080
01:42:10,500 --> 01:42:13,667
I'm in a realm of fantasy.
I can do whatever I want to do.

2081
01:42:13,734 --> 01:42:14,934
And get away with it.

2082
01:42:16,800 --> 01:42:18,333
INTERVIEWER:
The illusion is what, in fact,

2083
01:42:18,400 --> 01:42:20,133
makes people buy your records
and listen to you

2084
01:42:20,200 --> 01:42:21,767
and scream at you
and shout at you.

2085
01:42:21,834 --> 01:42:23,467
It's a carefully
constructed illusion.

2086
01:42:23,533 --> 01:42:25,333
It's not something that
you would throw away lightly.

2087
01:42:25,400 --> 01:42:27,533
I want-- No, no.
It's not carefully constructed.

2088
01:42:27,600 --> 01:42:28,667
It's artistic.

2089
01:42:35,100 --> 01:42:36,200
♪ Yeah! ♪

2090
01:42:36,266 --> 01:42:38,800
I hope that anyone
who seriously is into music

2091
01:42:38,867 --> 01:42:40,066
takes what I do seriously.

2092
01:42:40,133 --> 01:42:42,500
I mean, certainly other
musicians do that I know of.

2093
01:42:42,567 --> 01:42:44,633
♪ But you won't fool ♪

2094
01:42:44,700 --> 01:42:47,567
♪ The children
Of the revolution ♪

2095
01:42:47,633 --> 01:42:50,000
♪ No, you won't fool ♪

2096
01:42:50,066 --> 01:42:52,767
♪ The children
Of the revolution ♪

2097
01:42:52,834 --> 01:42:54,934
♪ No, no, no ♪

2098
01:42:55,000 --> 01:42:57,400
JOHN: Marc and I were very,
very close friends.

2099
01:42:57,467 --> 01:42:59,200
And he was the biggest thing

2100
01:42:59,266 --> 01:43:00,734
since sliced bread up here
at the time.

2101
01:43:00,800 --> 01:43:02,233
Every record he made
went into number one.

2102
01:43:02,300 --> 01:43:04,166
That era of T. Rex,
when it first came in,

2103
01:43:04,233 --> 01:43:05,567
I really love all that.

2104
01:43:05,633 --> 01:43:08,033
And he wrote
some really excellent songs.

2105
01:43:08,100 --> 01:43:10,233
He was just full of energy,
and it rubbed off on me.

2106
01:43:10,300 --> 01:43:11,834
And I liked his attitude a lot.

2107
01:43:12,633 --> 01:43:14,133
♪ No, you won't fool ♪

2108
01:43:14,200 --> 01:43:16,533
♪ The children
Of the revolution ♪

2109
01:43:16,600 --> 01:43:18,767
♪ No, you won't fool ♪

2110
01:43:18,834 --> 01:43:21,166
♪ The children
Of the revolution ♪

2111
01:43:21,233 --> 01:43:22,633
♪ No, no ♪

2112
01:43:25,233 --> 01:43:27,100
BOLAN: The funny thing
about success, though,

2113
01:43:27,166 --> 01:43:29,133
is that they never tell you
what's going to happen

2114
01:43:29,200 --> 01:43:30,300
when you get there.

2115
01:43:30,367 --> 01:43:32,200
And the hardest thing
about being successful

2116
01:43:32,266 --> 01:43:33,767
is remaining successful.

2117
01:43:33,834 --> 01:43:41,000
♪ Whatever happened
To the teenage dream? ♪

2118
01:43:41,066 --> 01:43:43,667
BOLAN: I feel I do what I do
to people that want to listen.

2119
01:43:43,734 --> 01:43:45,600
If they don't want to listen,
crap 'em!

2120
01:43:45,667 --> 01:43:48,633
I don't care. Right?
I do it because I believe in it.

2121
01:43:48,700 --> 01:43:50,967
♪ One, two, three, four! ♪

2122
01:43:51,033 --> 01:43:53,600
BOLAN: If you look at a picture
of me in John's Children,

2123
01:43:53,667 --> 01:43:55,433
it looks exactly like Johnny
Rotten does now, you know.

2124
01:43:55,500 --> 01:43:58,600
Marc Bolan's guitar
is still, to this day,

2125
01:43:58,667 --> 01:44:00,700
astoundingly sweet.

2126
01:44:00,767 --> 01:44:03,834
Nobody can play
those very simple little notes

2127
01:44:03,900 --> 01:44:05,834
quite so perfectly.

2128
01:44:05,900 --> 01:44:08,033
He always had
a brilliant sense of timing.

2129
01:44:12,700 --> 01:44:14,467
♪ But I can't get
No satisfaction ♪

2130
01:44:14,533 --> 01:44:16,934
♪ All I want is easy action ♪

2131
01:44:17,700 --> 01:44:19,200
♪ Hey, hey, hey, hey ♪

2132
01:44:19,266 --> 01:44:21,967
Marc, I think,
supplied the punk era with art.

2133
01:44:22,033 --> 01:44:24,433
It otherwise would have been
total chaos.

2134
01:44:24,500 --> 01:44:25,567
MAN: One, two, three!

2135
01:44:25,633 --> 01:44:26,633
Yeah!

2136
01:44:28,033 --> 01:44:29,800
Marc had this TV show
he was doing.

2137
01:44:29,867 --> 01:44:31,667
What was great was
he was having,

2138
01:44:31,734 --> 01:44:33,934
like, different punk groups on,

2139
01:44:34,000 --> 01:44:36,266
and he was breaking
down certain walls.

2140
01:44:36,333 --> 01:44:39,533
Not really caring
and having this F-you attitude.

2141
01:44:39,600 --> 01:44:42,400
All of that, it just sort of
like spoke to us.

2142
01:44:42,467 --> 01:44:44,667
This is a new group called
Generation X.

2143
01:44:44,734 --> 01:44:47,266
They have a lead singer
called Billy Idol

2144
01:44:47,333 --> 01:44:50,100
who's supposed to be
as pretty as me.

2145
01:44:52,867 --> 01:44:55,166
IDOL: He championed us
and he stood up for us,

2146
01:44:55,233 --> 01:44:57,100
and I've always thanked Marc
ever since.

2147
01:44:57,166 --> 01:45:00,633
BOLAN: I also wanted to show
that we could rock alongside

2148
01:45:00,700 --> 01:45:02,266
the best new groups
in England.

2149
01:45:02,333 --> 01:45:05,133
So it shows
that I have not lost my touch.

2150
01:45:06,900 --> 01:45:09,266
♪ I was dancing
When I was eight ♪

2151
01:45:09,333 --> 01:45:11,400
When that kind of success
hits you,

2152
01:45:11,467 --> 01:45:12,834
you don't think
that much about it.

2153
01:45:12,900 --> 01:45:14,500
So much to do, so little time.

2154
01:45:14,567 --> 01:45:15,767
So that's all that
happens to you.

2155
01:45:15,834 --> 01:45:16,934
I actually never get a chance

2156
01:45:17,000 --> 01:45:18,633
to really lay back
and think about it.

2157
01:45:18,700 --> 01:45:19,934
And when you do, it's too late.

2158
01:45:20,000 --> 01:45:22,200
INTERVIEWER: Do you ever wake up
in the middle of the night

2159
01:45:22,266 --> 01:45:24,033
and think,
in another 20 or 30 years

2160
01:45:24,100 --> 01:45:27,033
I'm going to be 50 or 60?
What shall I be doing?

2161
01:45:29,433 --> 01:45:30,433
You don't?

2162
01:45:30,500 --> 01:45:31,767
I don't think
I'll live that long.

2163
01:45:31,834 --> 01:45:33,533
-You don't?
-No.

2164
01:45:37,367 --> 01:45:40,934
♪ I danced myself
Into the tomb ♪

2165
01:45:41,000 --> 01:45:42,867
BOLAN: Well, that's the end
of another show.

2166
01:45:42,934 --> 01:45:44,667
Hope you enjoyed it.
We'll be back soon.

2167
01:45:44,734 --> 01:45:46,333
Remember,
keep a little Marc in your heart

2168
01:45:46,400 --> 01:45:48,166
and be back
the same Marc time.

2169
01:45:48,233 --> 01:45:49,500
Same Marc channel.

2170
01:46:02,133 --> 01:46:04,900
I feel very honored
to accept this award

2171
01:46:04,967 --> 01:46:08,900
on behalf of my father
Marc Bolan and his band T. Rex.

2172
01:46:08,967 --> 01:46:11,033
I really think my dad
was put on this earth

2173
01:46:11,100 --> 01:46:12,867
not only to play music

2174
01:46:12,934 --> 01:46:15,166
but to show off
his unique magnetism

2175
01:46:15,233 --> 01:46:16,467
and charisma.

2176
01:46:16,533 --> 01:46:18,767
He took inspiration
from American music,

2177
01:46:18,834 --> 01:46:22,834
but formulated his own persona
and his own sound.

2178
01:46:22,900 --> 01:46:25,033
The T. Rex sound kept evolving

2179
01:46:25,100 --> 01:46:27,100
up to when my mother
joined the group,

2180
01:46:27,166 --> 01:46:28,734
creating a cosmic soul

2181
01:46:28,800 --> 01:46:30,900
which still tests
musical boundaries

2182
01:46:30,967 --> 01:46:33,166
as well as racial ones.

2183
01:46:33,233 --> 01:46:36,500
As I reflect on this incredible
honor of my dad and his band

2184
01:46:36,567 --> 01:46:39,367
being inducted into
the Rock and Roll Hall of Fame,

2185
01:46:39,433 --> 01:46:41,400
I think about how
I really didn't have a chance

2186
01:46:41,467 --> 01:46:43,200
to know him very well.

2187
01:46:43,266 --> 01:46:47,033
He was taken away from all of us
so early in his life.

2188
01:46:47,100 --> 01:46:48,533
I discovered his music

2189
01:46:48,600 --> 01:46:50,834
pretty much the same way
you have,

2190
01:46:50,900 --> 01:46:53,000
through my eyes and ears.

2191
01:46:53,066 --> 01:46:55,033
When I was a kid watching MTV,

2192
01:46:55,100 --> 01:46:56,934
Def Leppard's "Rocket" video
came on,

2193
01:46:57,000 --> 01:47:00,800
and it had clips of T. Rex's
performance of "Get It On".

2194
01:47:00,867 --> 01:47:03,166
That was my daily "hello"
to my father.

2195
01:47:03,233 --> 01:47:07,033
When I saw GNR, and Slash
was wearing his Slider  t-shirt

2196
01:47:07,100 --> 01:47:08,600
and looking just like my dad,

2197
01:47:08,667 --> 01:47:10,400
I had to check out
the  Slider  album

2198
01:47:10,467 --> 01:47:13,700
and discover the T. Rex sound
for myself.

2199
01:47:13,767 --> 01:47:17,900
I know my dad would be
very proud to receive this.

2200
01:47:17,967 --> 01:47:21,200
He always aimed for the top,
and here he is now.

2201
01:47:21,266 --> 01:47:25,066
To my mother, Gloria Jones,
my uncle, Harry Feld,

2202
01:47:25,133 --> 01:47:27,734
friends and fans
all across the world,

2203
01:47:27,800 --> 01:47:30,934
keep a little Marc in your heart
and long live T. Rex.

2204
01:47:37,266 --> 01:47:38,800
(GUITAR FEEDBACK)

2205
01:47:43,567 --> 01:47:47,000
ELIJAH G: The power
of rock and roll allows one

2206
01:47:47,066 --> 01:47:51,300
to be completely free,
without judgment.

2207
01:47:51,367 --> 01:47:54,433
Music, for me,
is like me taking my vitamins.

2208
01:47:56,900 --> 01:47:58,567
GAVIN COE: Playing music
and getting in the zone,

2209
01:47:58,633 --> 01:47:59,767
time around you stops,

2210
01:47:59,834 --> 01:48:01,667
and all that matters
is what you're playing

2211
01:48:01,734 --> 01:48:02,734
in that moment.

2212
01:48:02,800 --> 01:48:05,333
It's just like
a sixth sense almost.

2213
01:48:05,400 --> 01:48:06,667
♪ You know they scream
Real loud ♪

2214
01:48:06,734 --> 01:48:07,967
♪ When they call my name ♪

2215
01:48:08,033 --> 01:48:10,367
♪ Gotta put my whole body
In this hall of fame ♪

2216
01:48:12,200 --> 01:48:14,367
APHINITI:
I have a deep passion for music.

2217
01:48:14,433 --> 01:48:17,000
(MIMICS ELECTRICAL ZAPPING)
It charges me up.

2218
01:48:18,934 --> 01:48:22,567
Coming into the Rock and Roll
Hall of Fame is inspiring.

2219
01:48:22,633 --> 01:48:24,567
Marvin Gaye.
Like this right here,

2220
01:48:24,633 --> 01:48:26,300
I'm-- this is what
you strive to do.

2221
01:48:26,367 --> 01:48:29,166
You want to leave
a legacy like this.

2222
01:48:29,233 --> 01:48:32,033
You can feel these vibrations
of what happened

2223
01:48:32,100 --> 01:48:33,767
and why it happened.

2224
01:48:38,600 --> 01:48:42,033
These musicians definitely feel
more real to me

2225
01:48:42,100 --> 01:48:43,200
when I see their guitars

2226
01:48:43,266 --> 01:48:44,900
or see the clothes
that they've worn.

2227
01:48:44,967 --> 01:48:46,700
These artists have
gotten their blood,

2228
01:48:46,767 --> 01:48:49,600
sweat and tears
on these instruments,

2229
01:48:49,667 --> 01:48:52,100
while creating the music
that I listen to.

2230
01:48:52,166 --> 01:48:53,934
There's not a feeling like it.

2231
01:48:54,000 --> 01:48:55,934
CONNOR PETERSON: When I look
around at all the stuff here,

2232
01:48:56,000 --> 01:48:58,633
I see these instruments
that are just so beaten

2233
01:48:58,700 --> 01:48:59,767
and worn down.

2234
01:48:59,834 --> 01:49:00,967
And it's because
all these artists

2235
01:49:01,033 --> 01:49:03,000
put so much time and effort

2236
01:49:03,066 --> 01:49:04,600
and fervor
into their performances.

2237
01:49:04,667 --> 01:49:07,700
There's a piece of them
in that instrument.

2238
01:49:07,767 --> 01:49:10,367
JERI LEE SAPRONETTI: This place
really is just this mecca.

2239
01:49:10,433 --> 01:49:13,433
This place I'm so fortunate
to have in my backyard.

2240
01:49:13,500 --> 01:49:15,266
I can just come here
and look at, you know,

2241
01:49:15,333 --> 01:49:17,800
John Lennon's guitar.
Like, right up close.

2242
01:49:17,867 --> 01:49:20,934
It's like, dude, he played this
on The Ed Sullivan Show!

2243
01:49:21,000 --> 01:49:24,400
That single day
changed music history.

2244
01:49:24,467 --> 01:49:27,400
I get this feeling,
like, they're here.

2245
01:49:27,467 --> 01:49:28,967
It's so trippy.

2246
01:49:29,033 --> 01:49:31,433
COE: The guitar that
Jimi Hendrix was holding

2247
01:49:31,500 --> 01:49:33,800
decades before I was even born,

2248
01:49:33,867 --> 01:49:35,633
that's the closest
I'm ever gonna get,

2249
01:49:35,700 --> 01:49:38,300
is a little piece
of him inside that instrument.

2250
01:49:38,367 --> 01:49:41,500
This drum kit is from the man.

2251
01:49:41,567 --> 01:49:42,734
Keith Moon.

2252
01:49:42,800 --> 01:49:44,767
You can't
but get inspired and say,

2253
01:49:44,834 --> 01:49:46,233
"Hey, I want to do that!"

2254
01:49:46,300 --> 01:49:49,333
Breaking guitars
and blowing up kick drums

2255
01:49:49,400 --> 01:49:50,867
and just-- It's just great.

2256
01:49:50,934 --> 01:49:53,633
Oh, they were real!
Oh, it happened!

2257
01:49:53,700 --> 01:49:57,867
Seeing their songs on paper
is inspiring.

2258
01:49:57,934 --> 01:50:00,200
They made magic
when they made music.

2259
01:50:00,266 --> 01:50:01,867
I feel like
I'm right next to it.

2260
01:50:01,934 --> 01:50:03,900
It was almost like
going to an art museum.

2261
01:50:03,967 --> 01:50:08,533
To be able to keep the legacy
of these great artists alive

2262
01:50:08,600 --> 01:50:11,500
so that younger generations
can come in

2263
01:50:11,567 --> 01:50:12,900
and say, "Wow!"

2264
01:50:12,967 --> 01:50:14,700
PETERSON: There's always that
hope in the back of your mind

2265
01:50:14,767 --> 01:50:16,166
as a musician that, like,

2266
01:50:16,233 --> 01:50:18,100
"Maybe mine might end up
in here one day."

2267
01:50:18,166 --> 01:50:19,533
ELIZABETH KELLY:
Sometimes I think about

2268
01:50:19,600 --> 01:50:21,967
if somebody is gonna go
through my notebooks

2269
01:50:22,033 --> 01:50:23,967
as I'm, like,
furiously crossing things out.

2270
01:50:24,033 --> 01:50:25,066
"Is this gonna end up

2271
01:50:25,133 --> 01:50:26,600
in the Rock and Roll
Hall of Fame?"

2272
01:50:26,667 --> 01:50:28,066
Yeah, they gonna be hanging

2273
01:50:28,133 --> 01:50:29,934
this dang motherfucker
right here!

2274
01:50:30,000 --> 01:50:31,600
Yeah. With that one right there.

2275
01:50:31,667 --> 01:50:33,600
Got a couple of hats
that they can put in there too.

2276
01:50:33,667 --> 01:50:34,800
And shoes.

2277
01:50:34,867 --> 01:50:37,834
That's why I'm here,
'cause I'm supposed to be here!

2278
01:50:51,500 --> 01:50:55,000
ALICIA KEYS: Whitney Houston
is one of one.

2279
01:50:55,066 --> 01:50:58,166
There is no one like her
and there never will be.

2280
01:50:58,233 --> 01:51:00,133
I remember growing up,
listening to her music,

2281
01:51:00,200 --> 01:51:03,166
and dancing around the house
and jumping on my bed,

2282
01:51:03,233 --> 01:51:06,033
singing her songs
into my hairbrush.

2283
01:51:06,100 --> 01:51:10,800
This golden voice with range
and runs and power, like none,

2284
01:51:10,867 --> 01:51:15,066
with a face and a presence
like royalty

2285
01:51:15,133 --> 01:51:17,934
She was every little girl's
admiration.

2286
01:51:18,000 --> 01:51:20,367
When I first met her,
she sought me out

2287
01:51:20,433 --> 01:51:23,000
at one of Clive Davis'
pre-Grammy parties.

2288
01:51:23,066 --> 01:51:25,166
I was still in awe
of this crazy world

2289
01:51:25,233 --> 01:51:26,633
I was newly welcomed into.

2290
01:51:26,700 --> 01:51:28,900
And she marched right up to me
and she said,

2291
01:51:28,967 --> 01:51:32,433
"You... are gonna write
a song for me."

2292
01:51:32,500 --> 01:51:34,633
(LAUGHS) I couldn't believe it!

2293
01:51:34,700 --> 01:51:36,633
Had the greatest voice
of all time

2294
01:51:36,700 --> 01:51:39,233
just demanded that
of little old me?

2295
01:51:40,066 --> 01:51:42,533
I was shocked
and completely overjoyed

2296
01:51:42,600 --> 01:51:43,734
and slightly scared.

2297
01:51:43,800 --> 01:51:46,066
And thus began
a beautiful friendship

2298
01:51:46,133 --> 01:51:48,633
that was so genuine
and sincere.

2299
01:51:48,700 --> 01:51:51,900
We were kindred spirits
and instant sisters.

2300
01:51:51,967 --> 01:51:54,567
We did work together
on "Million Dollar Bill,"

2301
01:51:54,633 --> 01:51:57,300
a song I wrote for her album
I Look to You.

2302
01:51:57,367 --> 01:51:58,667
We laughed so much

2303
01:51:58,734 --> 01:52:01,633
that I thought we'd never be
able to finish the song.

2304
01:52:02,233 --> 01:52:04,233
We called each other Mema.

2305
01:52:04,300 --> 01:52:07,800
And I cherish every moment
that I got to talk to her,

2306
01:52:07,867 --> 01:52:10,734
be in her beautiful company,
and love her.

2307
01:52:11,834 --> 01:52:14,667
I still can't believe
that was Whitney's last album

2308
01:52:14,734 --> 01:52:16,934
and that she's no longer
with us.

2309
01:52:17,000 --> 01:52:20,266
We all know what a miraculous
singer Whitney was.

2310
01:52:20,333 --> 01:52:22,800
Perhaps the greatest voice
of our time.

2311
01:52:22,867 --> 01:52:25,967
We all know
how her unprecedented success

2312
01:52:26,033 --> 01:52:28,133
brought Black women
into the absolute

2313
01:52:28,200 --> 01:52:29,767
highest reaches

2314
01:52:29,834 --> 01:52:33,100
of the music industry's
pantheon.

2315
01:52:33,166 --> 01:52:36,467
We all know that her music
will live forever.

2316
01:52:36,533 --> 01:52:39,333
That music,
that everlasting voice,

2317
01:52:39,400 --> 01:52:41,900
is her final,
generous gift to us.

2318
01:52:43,233 --> 01:52:46,166
And she will now
be one of the brightest lights

2319
01:52:46,233 --> 01:52:48,133
ever to shine

2320
01:52:48,200 --> 01:52:50,200
in the Rock and Roll
Hall of Fame.

2321
01:52:51,500 --> 01:52:53,133
Congratulations, Mema.

2322
01:52:53,934 --> 01:52:55,266
We miss you.

2323
01:52:57,500 --> 01:53:00,133
The first song I sang in church
was a song called...

2324
01:53:00,200 --> 01:53:02,166
♪ Guide me ♪

2325
01:53:02,233 --> 01:53:06,433
♪ O Thou ♪

2326
01:53:07,000 --> 01:53:12,967
♪ Great Jehovah ♪

2327
01:53:13,033 --> 01:53:16,967
-Yeah.
-(AUDIENCE CHEERING)

2328
01:53:17,033 --> 01:53:19,000
CISSY HOUSTON:
Well, I had been to the hospital

2329
01:53:19,066 --> 01:53:21,633
the day before with false labor.

2330
01:53:21,700 --> 01:53:25,667
She was fresh even
in my stomach. She... (LAUGHS)

2331
01:53:25,734 --> 01:53:28,000
Then the next day, she was born.

2332
01:53:28,066 --> 01:53:31,033
She was the most delightful
little girl.

2333
01:53:32,367 --> 01:53:34,100
WHITNEY HOUSTON:
I grew up in the ghetto.

2334
01:53:34,166 --> 01:53:35,667
(LAUGHS) I mean,
that's where I grew up.

2335
01:53:35,734 --> 01:53:37,367
We lived in Newark

2336
01:53:37,433 --> 01:53:39,967
and then the riots took place
of the '60s.

2337
01:53:40,033 --> 01:53:42,867
I remember lying on the floor
and eating off the floor.

2338
01:53:42,934 --> 01:53:45,033
Where the bullets, you know,
the bullets were flying.

2339
01:53:45,100 --> 01:53:47,467
I was scared to death.

2340
01:53:47,533 --> 01:53:49,300
CISSY HOUSTON: She didn't have
a lot of girlfriends,

2341
01:53:49,367 --> 01:53:50,967
you know,
'cause they picked on her.

2342
01:53:51,033 --> 01:53:52,867
I think most of them
didn't like her

2343
01:53:52,934 --> 01:53:55,033
because I dressed her
like a little angel.

2344
01:53:55,100 --> 01:53:57,567
She had pigtails
with bows and bangs.

2345
01:53:57,633 --> 01:53:59,867
Like I thought a girl should be.

2346
01:53:59,934 --> 01:54:02,166
We belonged
to the New Hope Baptist Church.

2347
01:54:02,233 --> 01:54:03,667
Whitney grew up there.

2348
01:54:03,734 --> 01:54:04,800
HOUSTON: In my church,

2349
01:54:04,867 --> 01:54:06,467
you went to church
to hear the singing.

2350
01:54:06,533 --> 01:54:08,066
You cannot sing gospel
without feeling it

2351
01:54:08,133 --> 01:54:10,000
and what I learned from that

2352
01:54:10,066 --> 01:54:11,900
is that not only is it gospel,
but it's pop

2353
01:54:11,967 --> 01:54:13,500
and it's R&B
and it's, you know,

2354
01:54:13,567 --> 01:54:15,266
anything that she was singing.

2355
01:54:15,333 --> 01:54:18,533
♪ Well, if you just ♪

2356
01:54:18,600 --> 01:54:20,734
-♪ Have a little talk ♪
-♪ A little talk! ♪

2357
01:54:20,800 --> 01:54:21,934
♪ With Jesus ♪

2358
01:54:22,000 --> 01:54:24,667
HOUSTON: I grew up in
a family that was dominated

2359
01:54:24,734 --> 01:54:27,033
by singers.
My cousin, my mother,

2360
01:54:27,100 --> 01:54:28,834
my mother's sisters
all sang.

2361
01:54:28,900 --> 01:54:31,133
They were a gospel group
called the Drinkard Singers.

2362
01:54:31,200 --> 01:54:33,433
Years later, my mother formed
the Sweet Inspirations.

2363
01:54:33,500 --> 01:54:34,767
Sang with Elvis.

2364
01:54:34,834 --> 01:54:37,734
My mother
is my greatest inspiration.

2365
01:54:37,800 --> 01:54:39,633
Beside my mom would be Aretha.

2366
01:54:39,700 --> 01:54:41,700
Whitney's mother, Cissy Houston,

2367
01:54:41,767 --> 01:54:43,767
she has done a lot
of background work with me.

2368
01:54:43,834 --> 01:54:45,600
-♪ Do, Do ♪
-♪ You told me... ♪

2369
01:54:45,667 --> 01:54:47,000
ARETHA FRANKLIN:
She used to bring Whitney

2370
01:54:47,066 --> 01:54:48,433
to my recording sessions.

2371
01:54:48,500 --> 01:54:50,166
HOUSTON:
Aretha is something special.

2372
01:54:50,233 --> 01:54:52,700
Her voice could do anything
that it wanted to do

2373
01:54:52,767 --> 01:54:55,934
and that's the kind
of singing that I liked.

2374
01:54:56,000 --> 01:54:58,100
CISSY HOUSTON:
When she was like 17,

2375
01:54:58,166 --> 01:55:00,467
she started singing
background with me.

2376
01:55:00,533 --> 01:55:02,834
The first time
I heard Whitney sing

2377
01:55:02,900 --> 01:55:05,467
was at a club
called Sweetwater.

2378
01:55:05,533 --> 01:55:08,100
And she did the song
"The Greatest Love of All."

2379
01:55:08,166 --> 01:55:11,767
♪ Teach them well and ♪

2380
01:55:12,367 --> 01:55:14,900
♪ Let them... ♪

2381
01:55:14,967 --> 01:55:17,100
CLIVE DAVIS: I knew really
right then and there

2382
01:55:17,166 --> 01:55:19,734
that this was
a very special talent.

2383
01:55:19,800 --> 01:55:21,567
And so I signed her.

2384
01:55:21,633 --> 01:55:23,500
And I brought her
on  The Merv Griffin Show.

2385
01:55:23,567 --> 01:55:26,834
♪ And it sure would be nice ♪

2386
01:55:27,834 --> 01:55:30,500
♪ To be back home ♪

2387
01:55:30,567 --> 01:55:33,767
♪ Where there's love ♪

2388
01:55:33,834 --> 01:55:37,500
DAVIS: And began the challenge
of finding the right material.

2389
01:55:37,567 --> 01:55:40,200
I decided that
I would have a showcase.

2390
01:55:40,266 --> 01:55:43,800
♪ But now I know you better
Than I used to ♪

2391
01:55:43,867 --> 01:55:45,900
♪ I give you all the love... ♪

2392
01:55:45,967 --> 01:55:47,433
DAVIS: Gradually, word spread,

2393
01:55:47,500 --> 01:55:49,533
and I started attracting
the kind of material

2394
01:55:49,600 --> 01:55:52,667
that both she and I felt
would be right.

2395
01:55:52,734 --> 01:55:54,433
HOUSTON:
I did not go into the studio

2396
01:55:54,500 --> 01:55:56,100
wanting to make a pop album.

2397
01:55:56,166 --> 01:55:58,934
I went into the studio
wanting to make good music.

2398
01:55:59,000 --> 01:56:01,967
♪ You give good love to me ♪

2399
01:56:02,033 --> 01:56:05,066
♪ Baby ♪

2400
01:56:05,133 --> 01:56:06,967
♪ It's so good ♪

2401
01:56:07,033 --> 01:56:09,066
♪ Take this heart of mine ♪

2402
01:56:09,133 --> 01:56:11,166
HOUSTON: It was about
six o'clock in the morning,

2403
01:56:11,233 --> 01:56:12,800
Robin, she comes running
in my room.

2404
01:56:12,867 --> 01:56:14,767
"Wake up! You gotta hear it,
it's on!"

2405
01:56:14,834 --> 01:56:17,200
She turned the music up,
and it was "You Give Good Love".

2406
01:56:17,266 --> 01:56:18,467
And I'll never forget
that feeling.

2407
01:56:18,533 --> 01:56:22,233
You know, it's like "Wow.
I got a record out. How cool."

2408
01:56:22,300 --> 01:56:24,767
♪ 'Cause tonight is the night ♪

2409
01:56:25,700 --> 01:56:29,166
♪ That I'm feeling all right ♪

2410
01:56:29,233 --> 01:56:32,066
♪ We'll be making love
The whole... ♪

2411
01:56:32,133 --> 01:56:34,500
DAVIS: I thought we had
a great album,

2412
01:56:34,567 --> 01:56:35,767
but until it's out there

2413
01:56:35,834 --> 01:56:37,200
there's always
that moment of doubt.

2414
01:56:37,266 --> 01:56:40,834
♪ So I'm saving all my love
For you ♪

2415
01:56:40,900 --> 01:56:42,900
MARTHA QUINN: Next, a singer
who seemed to be

2416
01:56:42,967 --> 01:56:44,400
everywhere this past year,

2417
01:56:44,467 --> 01:56:47,000
especially on top of the video
and record charts.

2418
01:56:47,066 --> 01:56:49,000
MARK GOODMAN: She's responsible
for the biggest-selling

2419
01:56:49,066 --> 01:56:50,467
debut album ever,

2420
01:56:50,533 --> 01:56:53,233
who else but Whitney Houston!

2421
01:56:53,300 --> 01:56:57,033
♪ If he really loves me
Loves me ♪

2422
01:56:57,100 --> 01:56:58,500
♪ Oh, with every... ♪

2423
01:56:58,567 --> 01:57:00,567
DON JOHNSON: And the winner
for Best Female Video is...

2424
01:57:00,633 --> 01:57:02,100
-Whitney Houston.
-Thank you!

2425
01:57:02,166 --> 01:57:03,333
I'm not an overnight success.

2426
01:57:03,400 --> 01:57:05,066
I've been in the business
for ten years.

2427
01:57:05,133 --> 01:57:06,500
I made my decision
a long time ago

2428
01:57:06,567 --> 01:57:07,967
that this is what
I was going to do.

2429
01:57:08,033 --> 01:57:09,433
Being that my mom
was in the business

2430
01:57:09,500 --> 01:57:12,633
I was prepared for all
the things that might come.

2431
01:57:12,700 --> 01:57:14,734
You know. There were a lot
of things I wasn't prepared for,

2432
01:57:14,800 --> 01:57:17,033
but I dealt with anyway.

2433
01:57:17,100 --> 01:57:19,333
DIRECTOR: Okay, ready?
And action.

2434
01:57:19,400 --> 01:57:20,867
♪ I decided long ago... ♪

2435
01:57:20,934 --> 01:57:22,767
DAVIS: The eruption
of that debut album

2436
01:57:22,834 --> 01:57:25,166
really took us
by more than surprise.

2437
01:57:25,233 --> 01:57:26,633
It was a shock.

2438
01:57:26,700 --> 01:57:28,066
♪ If I fail ♪

2439
01:57:28,133 --> 01:57:30,300
♪ If I succeed ♪

2440
01:57:30,367 --> 01:57:33,600
♪ Well, at least I lived
As I believed ♪

2441
01:57:33,667 --> 01:57:36,433
Being a little girl,
seeing this goddess

2442
01:57:36,500 --> 01:57:39,467
command the stage
with her presence,

2443
01:57:39,533 --> 01:57:41,367
and then her voice,
and thinking like,

2444
01:57:41,433 --> 01:57:42,467
"Who is this?"

2445
01:57:42,533 --> 01:57:44,200
"I want to be like that
one day."

2446
01:57:44,266 --> 01:57:51,066
♪ The greatest love of all ♪

2447
01:57:52,266 --> 01:57:54,567
♪ It is, it is ♪

2448
01:57:54,633 --> 01:57:57,567
♪ See, it's so easy ♪

2449
01:57:57,633 --> 01:58:01,700
♪ Oh, I want to dance
With somebody ♪

2450
01:58:01,767 --> 01:58:05,200
♪ I want to feel the heat
With somebody ♪

2451
01:58:05,266 --> 01:58:08,333
♪ Yeah, I want to dance
With somebody ♪

2452
01:58:08,400 --> 01:58:12,233
-♪ Whoa ♪
-♪ With somebody who loves me ♪

2453
01:58:12,900 --> 01:58:16,600
♪ I get so emotional, baby ♪

2454
01:58:16,667 --> 01:58:20,600
♪ Every time I think of you ♪

2455
01:58:20,667 --> 01:58:22,100
♪ I get so... ♪

2456
01:58:22,166 --> 01:58:23,734
HOUSTON: Each year,
it gets kind of bigger,

2457
01:58:23,800 --> 01:58:25,066
because you get bigger.

2458
01:58:25,133 --> 01:58:26,567
People want to see
bigger things,

2459
01:58:26,633 --> 01:58:27,867
you know what I mean?

2460
01:58:27,934 --> 01:58:29,633
So you give the people
what they want.

2461
01:58:29,700 --> 01:58:31,100
♪ Almost have it all ♪

2462
01:58:31,166 --> 01:58:38,066
♪ The nights we held on
Till the morning... ♪

2463
01:58:40,233 --> 01:58:42,400
HOUSTON: Clive called me
and said, "This is your seventh

2464
01:58:42,467 --> 01:58:43,700
consecutive number one song,"

2465
01:58:43,767 --> 01:58:45,800
that I had actually
surpassed Elvis and The Beatles.

2466
01:58:45,867 --> 01:58:48,266
Ah, that's history. (CHUCKLES)

2467
01:58:48,333 --> 01:58:50,600
♪ I look in your eyes ♪

2468
01:58:50,667 --> 01:58:55,467
♪ And I know
That you do care for me ♪

2469
01:58:55,533 --> 01:58:58,433
What is the deal
when you've had the friction

2470
01:58:58,500 --> 01:59:00,300
at the Soul Train Awards?

2471
01:59:00,367 --> 01:59:02,200
They booed me
at the Soul Train Awards.

2472
01:59:02,266 --> 01:59:04,567
ANNOUNCER: The nominees are,
"Where do Broken Hearts Go",

2473
01:59:04,633 --> 01:59:06,934
Whitney Houston.

2474
01:59:07,000 --> 01:59:09,767
-What was that about?
-I've got a lot of flak,

2475
01:59:09,834 --> 01:59:12,967
you know, about I sing
too white, or I sing--

2476
01:59:13,033 --> 01:59:14,667
-I don't know, maybe it's--
-I don't think there is

2477
01:59:14,734 --> 01:59:16,467
more soul to be offered
than what you give!

2478
01:59:16,533 --> 01:59:18,233
Maybe it's... (MIMICS WHITE
SINGER) ♪ How will I know... ♪

2479
01:59:18,300 --> 01:59:19,767
-ARSENIO HALL: Yeah!
-I don't know.

2480
01:59:19,834 --> 01:59:20,900
-I don't get it.
-I don't either.

2481
01:59:20,967 --> 01:59:22,834
But I do sing the way
God intended for me to sing.

2482
01:59:22,900 --> 01:59:24,166
And I'm using what he gave me

2483
01:59:24,233 --> 01:59:26,300
and I'm using it to the best
of my ability.

2484
01:59:26,367 --> 01:59:28,567
♪ Whatever you want from me ♪

2485
01:59:28,633 --> 01:59:32,133
♪ I'm giving you everything
I'm your... ♪

2486
01:59:32,200 --> 01:59:33,767
HOUSTON:
I had my own distinct sound.

2487
01:59:33,834 --> 01:59:35,867
It is not the music
that people know me by.

2488
01:59:35,934 --> 01:59:37,767
It is by my voice
that people know me.

2489
01:59:37,834 --> 01:59:39,767
♪ Whenever you're ready
Just call on your lady ♪

2490
01:59:39,834 --> 01:59:42,734
♪ And I'll be your
Baby tonight ♪

2491
01:59:42,800 --> 01:59:46,033
♪ He fills me up ♪

2492
01:59:46,100 --> 01:59:47,967
♪ He gives me love ♪

2493
01:59:48,033 --> 01:59:49,967
♪ He gives me love ♪

2494
01:59:50,033 --> 01:59:52,467
JENNIFER HUDSON: She could stand
flat-foot and sing.

2495
01:59:52,533 --> 01:59:54,066
No running from the notes,

2496
01:59:54,133 --> 01:59:56,867
but completely
executing them, purely.

2497
01:59:56,934 --> 02:00:00,934
From the softest tone
to the ultimate power.

2498
02:00:01,000 --> 02:00:06,100
♪ Oh say
Does that star-spangled... ♪

2499
02:00:06,166 --> 02:00:09,600
I used to stand
at the top of that staircase

2500
02:00:09,667 --> 02:00:12,133
and sing
"The Star-Spangled Banner."

2501
02:00:12,200 --> 02:00:13,800
OPRAH: Her version
of "The Star-Spangled Banner"?

2502
02:00:13,867 --> 02:00:15,800
Her version.
But I thanked her at Grammys

2503
02:00:15,867 --> 02:00:19,033
when I won that award,
because she, for me,

2504
02:00:19,100 --> 02:00:20,667
is the greatest of all time.

2505
02:00:20,734 --> 02:00:23,000
♪ ...free ♪

2506
02:00:23,066 --> 02:00:26,233
♪ And the home ♪

2507
02:00:26,300 --> 02:00:29,400
♪ Of the brave ♪

2508
02:00:29,467 --> 02:00:31,367
HOUSTON: It wasn't that
I wasn't thinking about music,

2509
02:00:31,433 --> 02:00:33,700
I was just thinking
about other things beside music.

2510
02:00:33,767 --> 02:00:34,900
You know, life.

2511
02:00:34,967 --> 02:00:37,467
PASTOR: Do you take this woman
to be your wedded wife?

2512
02:00:37,533 --> 02:00:38,800
BOBBY BROWN: I do.

2513
02:00:38,867 --> 02:00:40,934
This is Bobbie Christina Brown.

2514
02:00:41,967 --> 02:00:45,033
And... "Hi, Mommy. Hi."

2515
02:00:45,100 --> 02:00:47,200
I don't think I will ever do
anything greater

2516
02:00:47,266 --> 02:00:50,834
than have a baby. I mean,
it is the most incredible thing

2517
02:00:50,900 --> 02:00:52,734
I have ever experienced
in my life.

2518
02:00:52,800 --> 02:00:54,900
♪ Don't have to worry
About a thing ♪

2519
02:00:54,967 --> 02:00:56,433
♪ Because I'm standing
Right by your side ♪

2520
02:00:56,500 --> 02:00:59,467
HOUSTON: I was pretty
tired of touring and traveling

2521
02:00:59,533 --> 02:01:03,100
and hopping off and on planes,
and all that kind of stuff.

2522
02:01:03,166 --> 02:01:04,400
♪ Don't worry ♪

2523
02:01:04,467 --> 02:01:06,600
-Can you shoop?
-Mm.

2524
02:01:06,667 --> 02:01:08,133
(AUDIENCE LAUGHS)

2525
02:01:08,200 --> 02:01:09,900
And it was time,
you know,

2526
02:01:09,967 --> 02:01:12,033
just to break for a minute
and then come back at it.

2527
02:01:12,100 --> 02:01:15,300
♪ Don't walk away from me, no ♪

2528
02:01:15,367 --> 02:01:17,133
♪ Come here, baby ♪

2529
02:01:17,200 --> 02:01:18,667
♪ Don't walk away ♪

2530
02:01:18,734 --> 02:01:20,333
♪ I said don't ♪

2531
02:01:20,400 --> 02:01:22,033
♪ You dare ♪

2532
02:01:22,834 --> 02:01:24,600
♪ Walk away ♪

2533
02:01:24,667 --> 02:01:26,066
♪ From me ♪

2534
02:01:26,133 --> 02:01:27,166
♪ I have... ♪

2535
02:01:27,233 --> 02:01:28,867
HOUSTON: After the second album,

2536
02:01:28,934 --> 02:01:30,300
I started thinking,

2537
02:01:30,367 --> 02:01:32,800
"Maybe I'll do a movie,"
you know, that kind of thing.

2538
02:01:32,867 --> 02:01:34,700
But it was never something
that I said,

2539
02:01:34,767 --> 02:01:38,300
"Yeah, I'm gonna do a movie,
because I wanna act."

2540
02:01:38,367 --> 02:01:40,500
I had done basically
all the rest of the music

2541
02:01:40,567 --> 02:01:43,166
for the movie
except for that one song.

2542
02:01:43,233 --> 02:01:45,066
So one day Kevin came to me
and he said,

2543
02:01:45,133 --> 02:01:47,200
"Whitney, I got this song
called I Will Always Love You".

2544
02:01:47,266 --> 02:01:48,533
Dolly Parton wrote it.

2545
02:01:48,600 --> 02:01:49,667
It's a country and western song,

2546
02:01:49,734 --> 02:01:50,934
but I think
you're gonna love it."

2547
02:01:51,000 --> 02:01:52,633
And I said,
"He's absolutely right."

2548
02:01:52,700 --> 02:01:53,700
"This is the song."

2549
02:01:53,767 --> 02:01:56,900
♪ If I ♪

2550
02:01:58,600 --> 02:02:00,667
♪ Should stay ♪

2551
02:02:03,500 --> 02:02:10,066
♪ I would only be in your way ♪

2552
02:02:12,433 --> 02:02:17,734
♪ And I ♪

2553
02:02:17,800 --> 02:02:22,033
♪ Will always love you ♪

2554
02:02:22,100 --> 02:02:26,100
♪ I will always... ♪

2555
02:02:26,166 --> 02:02:30,100
And the Grammy goes to...
Whitney Houston!

2556
02:02:30,166 --> 02:02:31,467
HOUSTON: Thank you
Lord Jesus for this.

2557
02:02:31,533 --> 02:02:33,100
Thank you, Mommy and Daddy.
I love you.

2558
02:02:33,166 --> 02:02:34,166
I just thank everybody!

2559
02:02:34,233 --> 02:02:35,667
Bobbie Christina,
I love you baby.

2560
02:02:35,734 --> 02:02:38,333
It's time to go to bed.
Thank you, Clive!

2561
02:02:38,400 --> 02:02:44,967
♪ I will always love... ♪

2562
02:02:45,033 --> 02:02:47,467
When did it start to go wrong?

2563
02:02:47,533 --> 02:02:50,000
After The Bodyguard.
I was on a whirlwind

2564
02:02:50,066 --> 02:02:51,200
by that point in time.

2565
02:02:51,266 --> 02:02:53,467
-There you go.
-HOUSTON: I was going everywhere

2566
02:02:53,533 --> 02:02:55,100
but that record was so huge.

2567
02:02:55,166 --> 02:02:58,800
I think somewhere inside,
something happened.

2568
02:02:58,867 --> 02:02:59,967
It was too much.

2569
02:03:00,033 --> 02:03:02,934
Too much to try to live up to,
to try to be.

2570
02:03:04,867 --> 02:03:08,333
You realize that the applause
are over,

2571
02:03:08,400 --> 02:03:10,800
people aren't there anymore,
and it's just you.

2572
02:03:11,767 --> 02:03:12,834
KELLY PRICE:
It was Grammy week

2573
02:03:12,900 --> 02:03:15,100
and a lot of parties
going on in Hollywood.

2574
02:03:15,166 --> 02:03:17,800
I had a pre-Grammy party
at True Hollywood,

2575
02:03:17,867 --> 02:03:19,066
it's a nightclub.

2576
02:03:19,133 --> 02:03:20,333
And Whitney came to celebrate.

2577
02:03:20,400 --> 02:03:22,800
She gave me a big hug
and she started to sing

2578
02:03:22,867 --> 02:03:24,533
"Yes, Jesus Love Me,"
which by now

2579
02:03:24,600 --> 02:03:26,834
if anybody doesn't know,
it was her favorite song.

2580
02:03:26,900 --> 02:03:32,433
♪ Yes, Jesus love me ♪

2581
02:03:32,500 --> 02:03:34,166
None of us
could have ever known

2582
02:03:34,233 --> 02:03:36,900
that it would be the last time
that we would see her.

2583
02:03:36,967 --> 02:03:38,600
♪ Jesus, he loves... ♪

2584
02:03:38,667 --> 02:03:41,700
DAVIS: I remember
that shattering phone call.

2585
02:03:41,767 --> 02:03:46,333
The not-to-believed phone call
that she had passed away.

2586
02:03:46,400 --> 02:03:48,567
CISSY HOUSTON: I said,
"I'll talk to you later."

2587
02:03:48,633 --> 02:03:50,367
She says, "All right, Mama.

2588
02:03:50,433 --> 02:03:52,333
I promise you I'm coming down."

2589
02:03:53,200 --> 02:03:54,700
She never did make it.

2590
02:04:06,633 --> 02:04:09,100
♪ Just give me ♪

2591
02:04:09,166 --> 02:04:16,000
♪ One moment in time ♪

2592
02:04:16,066 --> 02:04:22,400
♪ When I'm racing with destiny ♪

2593
02:04:22,467 --> 02:04:24,100
♪ Yes ♪

2594
02:04:24,166 --> 02:04:28,033
HOUSTON: I feel so blessed
to be able to just use

2595
02:04:28,100 --> 02:04:30,000
what God has given me.

2596
02:04:30,066 --> 02:04:32,600
It's an indescribable feeling.

2597
02:04:32,667 --> 02:04:34,533
You know,
it's like a surge of energy.

2598
02:04:34,600 --> 02:04:37,166
It's like just taking off
and just flying.

2599
02:04:37,233 --> 02:04:44,200
♪ Oh, I will be free ♪

2600
02:04:52,867 --> 02:04:57,867
I'm so very, very proud
that Whitney's being inducted

2601
02:04:57,934 --> 02:05:01,700
into the Rock and Roll
Hall of Fame.

2602
02:05:01,767 --> 02:05:04,900
She wanted to be something,
not anything.

2603
02:05:04,967 --> 02:05:07,033
She worked hard at it, too.

2604
02:05:07,100 --> 02:05:09,266
This is something
that Whitney always wanted.

2605
02:05:09,333 --> 02:05:13,266
I remember in 2009,
we were in London,

2606
02:05:13,333 --> 02:05:15,533
and Whitney looked at me
and she said,

2607
02:05:15,600 --> 02:05:17,166
"This is really special,

2608
02:05:17,233 --> 02:05:19,100
but there's only
one thing missing.

2609
02:05:19,166 --> 02:05:22,100
I've got to get
the Rock and Roll Hall of Fame."

2610
02:05:22,166 --> 02:05:24,367
(LAUGHS) Yeah. She did it.

2611
02:05:24,433 --> 02:05:27,000
PAT HOUSTON: This moment
right now proves it all,

2612
02:05:27,066 --> 02:05:31,266
that there's only one
matchless Whitney Houston,

2613
02:05:31,333 --> 02:05:34,233
and tonight, she would be
very proud and honored

2614
02:05:34,300 --> 02:05:35,767
to receive this award.

2615
02:05:35,834 --> 02:05:38,100
I'm proud of who she was.

2616
02:05:38,166 --> 02:05:40,734
I'm proud that she took it in

2617
02:05:40,800 --> 02:05:43,166
and did
what she was supposed to do.

2618
02:05:43,233 --> 02:05:44,400
What can I say now?

2619
02:05:44,467 --> 02:05:47,700
If I talk too long, I'll cry.

2620
02:05:47,767 --> 02:05:49,200
I don't want to cry. (LAUGHS)

2621
02:05:49,266 --> 02:05:52,400
So thank you. (LAUGHS)

2622
02:06:00,033 --> 02:06:03,233
♪ ("PERSONAL JESUS"
BY DEPECHE MODE PLAYING) ♪

2623
02:06:28,800 --> 02:06:33,133
♪ ("HEAD LIKE A HOLE"
BY NINE INCH NAILS PLAYING) ♪

2624
02:06:45,500 --> 02:06:50,000
♪ ("JUICY" BY NOTORIOUS B.I.G.
PLAYING) ♪

2625
02:07:00,800 --> 02:07:04,633
♪ ("BRING IT ON"
BY T. REX PLAYING) ♪

2626
02:07:23,633 --> 02:07:28,467
♪ ("I WANNA DANCE WITH SOMEBODY"
BY WHITNEY HOUSTON PLAYING) ♪

2627
02:07:42,567 --> 02:07:46,934
♪ ("LISTEN TO THE MUSIC" BY
THE DOOBIE BROTHERS PLAYING) ♪