1 00:00:02,000 --> 00:00:07,000 Downloaded from YTS.MX 2 00:00:05,177 --> 00:00:08,183 [car horns honking faintly] 3 00:00:08,000 --> 00:00:13,000 Official YIFY movies site: YTS.MX 4 00:00:12,066 --> 00:00:15,072 [distant sirens] 5 00:00:30,143 --> 00:00:35,153 CHRIS: [beatboxing] 6 00:00:40,497 --> 00:00:42,836 ANTHONY: Whatever you want to say, Meredith. 7 00:00:42,836 --> 00:00:44,965 We'll sing about it. 8 00:00:44,965 --> 00:00:48,346 We'll sing about it. 9 00:00:48,346 --> 00:00:51,394 Wow, Meredith's pretty lucky. 10 00:00:51,394 --> 00:00:52,647 BILL: Absolutely. 11 00:00:52,647 --> 00:00:54,651 Mm. 12 00:00:57,741 --> 00:01:00,203 ♪ Tiny little purple coat ♪ 13 00:01:00,203 --> 00:01:01,915 ♪ Meredith checking what we wrote ♪ 14 00:01:01,915 --> 00:01:04,086 ♪ But not really, we're singing it on the spot ♪ 15 00:01:04,086 --> 00:01:05,757 ♪ Oh, no, she got afraid ♪ 16 00:01:05,757 --> 00:01:08,345 ♪ It's okay, Chris, sing something that you made ♪ 17 00:01:08,345 --> 00:01:10,140 ‐ ♪ We'll sing a lullaby or two ♪ 18 00:01:10,140 --> 00:01:11,644 ♪ Want to sing to you ♪ 19 00:01:11,644 --> 00:01:14,273 ♪ Hope you're not shy, just sitting around ♪ 20 00:01:14,273 --> 00:01:15,777 ♪ Waiting on five nice guys ♪ 21 00:01:15,777 --> 00:01:18,908 ‐ Who's that guy? 22 00:01:18,908 --> 00:01:23,124 [mellow music] 23 00:01:23,124 --> 00:01:24,920 ANTHONY: Taking it to the streets. 24 00:01:24,920 --> 00:01:26,047 Don't do it. 25 00:01:26,047 --> 00:01:27,884 BILL: Frogger, Frogger, Frogger! 26 00:01:27,884 --> 00:01:29,220 ‐ What? 27 00:01:29,220 --> 00:01:30,723 ANTHONY: All right, let's bring it in, then. 28 00:01:30,723 --> 00:01:32,727 Mic check on three, mic check on three, ready? 29 00:01:32,727 --> 00:01:34,606 One, two, three. 30 00:01:34,606 --> 00:01:37,361 ALL: Mic check! 31 00:01:37,361 --> 00:01:40,409 LIN‐MANUEL: ♪ This is mic two, this is‐‐this is mic two ♪ 32 00:01:40,409 --> 00:01:43,707 ♪ What, this is mic two, this is microphone two ♪ 33 00:01:43,707 --> 00:01:47,715 ♪ This is mic two, and let's get this turning... ♪ 34 00:01:47,715 --> 00:01:51,305 ♪ I'm too pretty, whoo! ♪ 35 00:01:51,305 --> 00:01:53,309 Well, I think the story we're telling is that, like, 36 00:01:53,309 --> 00:01:55,063 things aren't linear. I don't know. 37 00:01:55,063 --> 00:01:58,069 I mean... 38 00:01:59,488 --> 00:02:02,202 Real life's not a linear narrative. 39 00:02:03,789 --> 00:02:07,087 It's not this and this and this, like, ascent. 40 00:02:10,678 --> 00:02:13,851 It's all these side journeys, and people move away, 41 00:02:13,851 --> 00:02:17,483 and they come back, and life gets complicated. 42 00:02:18,611 --> 00:02:22,075 And you... 43 00:02:22,075 --> 00:02:25,081 you keep going. 44 00:02:26,919 --> 00:02:29,298 There's no end point. 45 00:02:29,298 --> 00:02:31,302 What's that quote? It's Orson Welles's quote 46 00:02:31,302 --> 00:02:33,473 that was, "If you want to tell a story with a happy ending, 47 00:02:33,473 --> 00:02:35,018 it depends on where you end the story." 48 00:02:35,018 --> 00:02:38,024 [mellow music] 49 00:02:38,024 --> 00:02:45,038 ♪ ♪ 50 00:02:53,806 --> 00:02:55,475 LIN‐MANUEL: How are you? 51 00:02:55,475 --> 00:02:56,854 WOMAN: Nice to meet you. LIN‐MANUEL: Nice to meet you. 52 00:02:56,854 --> 00:02:58,147 MAN: Onto the stage? MAN: I would prefer 53 00:02:58,147 --> 00:02:59,651 not to be last 'cause I have to get‐‐ 54 00:02:59,651 --> 00:03:01,989 [overlapping chatter] 55 00:03:03,826 --> 00:03:05,036 LIN‐MANUEL: Good morning, good night. 56 00:03:05,036 --> 00:03:06,665 I can't be your clown. 57 00:03:06,665 --> 00:03:08,042 [laughter] 58 00:03:09,880 --> 00:03:11,550 ANTHONY: Great. Cody, you ready? 59 00:03:11,550 --> 00:03:12,677 CODY: Yep, take it away. 60 00:03:12,677 --> 00:03:15,892 ANTHONY: Shall we move into pet peeves? 61 00:03:15,892 --> 00:03:17,687 Great. 62 00:03:17,687 --> 00:03:21,737 And our freestyling‐‐ how many‐‐let's go from this. 63 00:03:21,737 --> 00:03:24,158 Thank you so very much. Freestyle Love Supreme. 64 00:03:24,158 --> 00:03:25,995 How many of you seen us before? 65 00:03:25,995 --> 00:03:27,080 [mock cheering] 66 00:03:27,080 --> 00:03:28,374 Yes. CROWD MEMBER: Single. 67 00:03:28,374 --> 00:03:30,170 ANTHONY: Well, for those of you just joining us, 68 00:03:30,170 --> 00:03:31,923 our freestyling is slightly different. 69 00:03:31,923 --> 00:03:34,512 It's not the skiing or the dancing or the swimming. 70 00:03:34,512 --> 00:03:36,808 Our freestyling starts with a beat. 71 00:03:36,808 --> 00:03:38,687 ‐ [blows] 72 00:03:38,687 --> 00:03:40,983 CROWD MEMBER: What? That's cool. 73 00:03:40,983 --> 00:03:45,033 ‐ [beatboxing] 74 00:03:45,033 --> 00:03:46,160 THOMAS: Great. Let's hold there. 75 00:03:46,160 --> 00:03:47,538 So, Shock, when they're ready for us, 76 00:03:47,538 --> 00:03:50,126 just back up to, like, just finishing the rewind, 77 00:03:50,126 --> 00:03:52,089 and then smashing the record. We can go from there, okay? 78 00:03:52,089 --> 00:03:53,884 CHRIS: So it's rewind through‐‐ this is all rewind. 79 00:03:53,884 --> 00:03:55,011 ‐ Yep, start with the rewind cue. 80 00:03:55,011 --> 00:03:56,222 Yep. Great, great, great. Let them work. 81 00:03:56,222 --> 00:03:57,224 One sec. 82 00:03:57,224 --> 00:04:01,232 CHRIS: [beatboxing] 83 00:04:03,277 --> 00:04:05,281 MAN: Oh, that switch. 84 00:04:05,281 --> 00:04:09,415 ‐ [beatboxing] 85 00:04:09,415 --> 00:04:11,127 [laughter] 86 00:04:11,127 --> 00:04:12,421 Yeah, okay. 87 00:04:12,421 --> 00:04:14,341 ‐ Great, and continuing on, continuing on. 88 00:04:14,341 --> 00:04:15,970 I think we decided to get back together 89 00:04:15,970 --> 00:04:18,517 because it's probably the purest expression of joy 90 00:04:18,517 --> 00:04:20,478 that any of us have ever felt in doing a show. 91 00:04:20,478 --> 00:04:23,944 ‐ Shall we put Lin‐Man Wiz Gal into it? 92 00:04:23,944 --> 00:04:25,614 MAN: Okay. ANTHONY: Great. 93 00:04:25,614 --> 00:04:29,914 THOMAS: We hadn't done a run in New York really since 2004. 94 00:04:29,914 --> 00:04:32,962 We'd been doing one‐offs and consistent shows 95 00:04:32,962 --> 00:04:34,799 for the last 13, 14 years. 96 00:04:34,799 --> 00:04:37,137 And the last couple years have been tougher 97 00:04:37,137 --> 00:04:39,517 to wrangle everybody, and it just felt like 98 00:04:39,517 --> 00:04:41,437 there's an opportunity for us to get together 99 00:04:41,437 --> 00:04:42,565 for one more ride. 100 00:04:42,565 --> 00:04:44,986 ANTHONY: We are Freestyle Love Supreme, 101 00:04:44,986 --> 00:04:46,948 but we don't love everything. 102 00:04:46,948 --> 00:04:49,913 Sometimes we downright just don't like stuff. 103 00:04:49,913 --> 00:04:52,125 So what are some things that you don't like? 104 00:04:52,125 --> 00:04:54,463 CROWD MEMBER: Cold. ANTHONY: Cold! 105 00:04:54,463 --> 00:04:55,674 Yes. BILL: Camouflage. 106 00:04:55,674 --> 00:04:57,010 ANTHONY: Camouflage! 107 00:04:57,010 --> 00:04:58,346 LIN‐MANUEL: I'm gonna take camouflage. 108 00:04:58,346 --> 00:04:59,766 ANTHONY: Camouflage. 109 00:04:59,766 --> 00:05:03,231 So over here, U. T. K., we have‐‐ 110 00:05:03,231 --> 00:05:04,776 'cause you're gonna be going first, yep. 111 00:05:04,776 --> 00:05:07,197 Over here, we have U. T. K. 112 00:05:07,197 --> 00:05:08,909 ‐ Crowds. ‐ Crowds. 113 00:05:08,909 --> 00:05:11,330 In the middle, we have taxes. 114 00:05:11,330 --> 00:05:13,334 And over here, we have‐‐ 115 00:05:13,334 --> 00:05:15,923 ‐ Camouflage! Who needs it? 116 00:05:15,923 --> 00:05:17,384 [laughter] 117 00:05:17,384 --> 00:05:21,183 ANTHONY: These are a few of your pet peeves. 118 00:05:21,183 --> 00:05:22,603 THOMAS: There's an energy around the show that's unlike 119 00:05:22,603 --> 00:05:24,148 any of the other things that we've done. 120 00:05:24,148 --> 00:05:27,738 And you see a lot of elements of this energetic field 121 00:05:27,738 --> 00:05:29,826 in our other work. 122 00:05:29,826 --> 00:05:32,582 But I feel like it was cultivated and shaped here, 123 00:05:32,582 --> 00:05:35,044 so the chance to get back together as grown‐ups, 124 00:05:35,044 --> 00:05:36,882 this thing that we started as 125 00:05:36,882 --> 00:05:38,635 these younger versions of ourselves... 126 00:05:38,635 --> 00:05:40,556 LIN‐MANUEL: ♪ You can run that shit if you want to ♪ 127 00:05:40,556 --> 00:05:42,810 ♪ I'll be in Sodi's restaurant, too ♪ 128 00:05:42,810 --> 00:05:44,939 ♪ With my picture all up in the frame ♪ 129 00:05:44,939 --> 00:05:46,275 ♪ 'Cause yes, I want the fortune ♪ 130 00:05:46,275 --> 00:05:47,778 ♪ And yes, I want the fame ♪ 131 00:05:47,778 --> 00:05:50,033 THOMAS: It felt like there is a window because 132 00:05:50,033 --> 00:05:52,245 apparently, you can be 40 and rapping. 133 00:05:52,245 --> 00:05:55,794 Here we are, most of us on this side of 40, 134 00:05:55,794 --> 00:05:57,757 or just on the other side of 40. 135 00:05:57,757 --> 00:06:00,345 And it isn't something you can do always, 136 00:06:00,345 --> 00:06:01,973 but it did feel like it's something we could do now. 137 00:06:01,973 --> 00:06:04,896 ‐ ♪ Oh I'm sorry, was your name Rambo? ♪ 138 00:06:04,896 --> 00:06:06,566 ♪ Were you in the Army? ♪ 139 00:06:06,566 --> 00:06:08,444 ♪ Why the fuck you wearing camo? ♪ 140 00:06:08,444 --> 00:06:11,826 ♪ I can't believe you wear it as a choice ♪ 141 00:06:11,826 --> 00:06:13,580 ♪ I wear it on my underwear ♪ 142 00:06:13,580 --> 00:06:15,458 ♪ Now listen to my voice ♪ 143 00:06:15,458 --> 00:06:17,254 Whoo! UTKARSH: ♪ Oh, my God ♪ 144 00:06:17,254 --> 00:06:18,632 ♪ That's his balls ♪ 145 00:06:18,632 --> 00:06:21,888 ♪ Wish I could camouflage myself, all of y'all ♪ 146 00:06:21,888 --> 00:06:23,600 ‐ ♪ I can see his middle parts ♪ 147 00:06:23,600 --> 00:06:25,562 ♪ His balls have gone missing ♪ 148 00:06:25,562 --> 00:06:29,069 ♪ And let me just fill out all the forms that I'm missing ♪ 149 00:06:29,069 --> 00:06:32,242 ‐ ♪ Ah, fill the forms out, there eat some mutton ♪ 150 00:06:32,242 --> 00:06:37,002 ♪ It's the second time I used my underwear as a button ♪ 151 00:06:37,002 --> 00:06:39,882 [applause] [indistinct chatter] 152 00:06:39,882 --> 00:06:42,763 That's twice the subject has been on my underwear 153 00:06:42,763 --> 00:06:44,266 in FLS history. 154 00:06:44,266 --> 00:06:45,393 BILL: I'll take camouflage. 155 00:06:45,393 --> 00:06:47,147 That's just the craziest thing ever. 156 00:06:47,147 --> 00:06:49,151 Oh! 157 00:06:50,236 --> 00:06:52,825 You're welcome. 158 00:06:52,825 --> 00:06:55,371 THOMAS: Um, this is the squad tonight. 159 00:06:55,371 --> 00:06:58,335 Lin is gonna jump in for Day in the Life. 160 00:06:58,335 --> 00:07:00,966 Just at the end, so we're not gonna tease that he's here. 161 00:07:00,966 --> 00:07:03,012 ‐ When Lin does stuff, the audience is gonna, like, 162 00:07:03,012 --> 00:07:04,515 applaud for a long time, 163 00:07:04,515 --> 00:07:08,857 so musically and whatever, let's leave room for it, 164 00:07:08,857 --> 00:07:11,070 and be prepared for it. 165 00:07:11,070 --> 00:07:12,280 THOMAS: You know, the one thing about the show 166 00:07:12,280 --> 00:07:13,950 that I found to be true over the years, 167 00:07:13,950 --> 00:07:15,746 you know, whether we're doing the show 168 00:07:15,746 --> 00:07:17,040 for 50 people ten years ago 169 00:07:17,040 --> 00:07:18,877 or whether we're doing the show now, 170 00:07:18,877 --> 00:07:21,800 which is that the way that you all listen to each other 171 00:07:21,800 --> 00:07:23,135 and engage with each other up there 172 00:07:23,135 --> 00:07:24,514 is the real magic trick. 173 00:07:24,514 --> 00:07:26,183 Everyone thinks it's the other stuff and the rhyming, 174 00:07:26,183 --> 00:07:27,895 but that's actually what it is. 175 00:07:27,895 --> 00:07:30,734 You know, the show has a very simple premise, 176 00:07:30,734 --> 00:07:32,905 which is we are going to entertain 177 00:07:32,905 --> 00:07:35,159 the hell out of you for 78 minutes, 178 00:07:35,159 --> 00:07:36,913 and then, like, two minutes are not gonna be great. 179 00:07:36,913 --> 00:07:38,625 [laughter] 180 00:07:38,625 --> 00:07:41,965 Something is happening that should be acknowledged. 181 00:07:41,965 --> 00:07:44,554 We're all together doing this thing again. 182 00:07:44,554 --> 00:07:48,310 It's‐‐I mean, it shouldn't be. It is. 183 00:07:48,310 --> 00:07:50,691 Just, like, you guys, instead of playing ping‐pong, 184 00:07:50,691 --> 00:07:52,528 the beat is‐‐is Shockwave. 185 00:07:52,528 --> 00:07:53,572 CHRIS: So it's a mind ball? 186 00:07:53,572 --> 00:07:55,449 THOMAS: So there's no ball, okay? 187 00:07:55,449 --> 00:07:56,536 But you're sort of doing freestyle 188 00:07:56,536 --> 00:07:57,580 and going back and forth 189 00:07:57,580 --> 00:07:58,957 and it looks like you're playing. 190 00:07:58,957 --> 00:08:00,001 ‐ And I‐‐I'll keep doing this. 191 00:08:00,001 --> 00:08:01,086 THOMAS: But all we're gonna see‐‐ 192 00:08:01,086 --> 00:08:02,923 ‐ Yes. THOMAS: Yes, exactly, Sherm. 193 00:08:02,923 --> 00:08:05,469 ‐ ♪ All day, back and forth ♪ 194 00:08:05,469 --> 00:08:06,931 ♪ From south to north ♪ 195 00:08:06,931 --> 00:08:08,142 ♪ Pow to north ♪ 196 00:08:08,142 --> 00:08:09,604 ♪ All day ♪ 197 00:08:09,604 --> 00:08:12,025 ANTHONY: We had no idea what we were getting into. 198 00:08:12,025 --> 00:08:13,904 I don't think any of us would've said, 199 00:08:13,904 --> 00:08:15,782 "Oh, yeah, this is the beginning 200 00:08:15,782 --> 00:08:17,410 of this crazy journey," 201 00:08:17,410 --> 00:08:21,418 where a lot of the people in Freestyle Love Supreme 202 00:08:21,418 --> 00:08:24,341 are shaping what the American theater looks like now. 203 00:08:24,341 --> 00:08:26,053 Oh, look at Lin's boxers. That's not what I expected. 204 00:08:26,053 --> 00:08:27,765 [laughter] 205 00:08:27,765 --> 00:08:29,226 THOMAS: You know, there's a reason why "love" 206 00:08:29,226 --> 00:08:31,898 is in the middle of the title of the show. 207 00:08:31,898 --> 00:08:35,572 And it's in the middle of what makes the show... 208 00:08:35,572 --> 00:08:37,075 everything that it is. 209 00:08:37,075 --> 00:08:40,206 ‐ ♪ Excuse me, what did you get in your groceries? ♪ 210 00:08:40,206 --> 00:08:43,337 ♪ Anything interesting, you could maybe talk to me ♪ 211 00:08:43,337 --> 00:08:45,509 ♪ Okay, oh, we freestyle ♪ 212 00:08:45,509 --> 00:08:47,053 ♪ You got the orange juice ♪ 213 00:08:47,053 --> 00:08:48,807 ♪ Most pulp, so nice ♪ 214 00:08:48,807 --> 00:08:50,393 ♪ Your word is pretzel ♪ 215 00:08:50,393 --> 00:08:52,815 CHRIS: [beatboxing] 216 00:08:52,815 --> 00:08:54,109 ‐ ♪ I'm from Philadelph ♪ 217 00:08:54,109 --> 00:08:55,821 ♪ We call it soft, pretzel ♪ 218 00:08:55,821 --> 00:08:57,783 ♪ Damn, don't you understand ♪ 219 00:08:57,783 --> 00:08:59,452 ♪ I need to give you a headbutt‐zel ♪ 220 00:08:59,452 --> 00:09:02,417 ‐ ♪ They give you words, then you play a little while ♪ 221 00:09:02,417 --> 00:09:04,462 ♪ Flip a word or syllable around ♪ 222 00:09:04,462 --> 00:09:06,216 ♪ That is freestyle ♪ 223 00:09:06,216 --> 00:09:08,805 ‐ ♪ We taking up too much of the sidewalk streets ♪ 224 00:09:08,805 --> 00:09:10,057 ♪ Sorry, Miss ♪ 225 00:09:10,057 --> 00:09:11,603 ♪ Damn‐‐ ♪ LIN‐MANUEL: ♪ Eek ♪ 226 00:09:11,603 --> 00:09:13,898 ANTHONY: The origin story of Freestyle Love Supreme, 227 00:09:13,898 --> 00:09:16,654 I went to Wesleyan with Tommy Kail. 228 00:09:16,654 --> 00:09:19,409 He was one of my co‐conspirators 229 00:09:19,409 --> 00:09:20,787 in making things. 230 00:09:20,787 --> 00:09:23,083 THOMAS: I was this kid who used to play sports, 231 00:09:23,083 --> 00:09:24,670 and Anthony was someone who also played sports, 232 00:09:24,670 --> 00:09:26,716 who had this performing instinct. 233 00:09:26,716 --> 00:09:29,429 And Anthony was someone who, my junior year of college, 234 00:09:29,429 --> 00:09:32,895 really pulled me into the theater. 235 00:09:32,895 --> 00:09:35,817 ANTHONY: And in college, I did an improv show. 236 00:09:35,817 --> 00:09:39,032 And this was the first time that Tommy 237 00:09:39,032 --> 00:09:40,284 really became a part 238 00:09:40,284 --> 00:09:42,623 of the theater community at Wesleyan. 239 00:09:42,623 --> 00:09:44,627 Prior to that, he was very into American history, 240 00:09:44,627 --> 00:09:46,714 and he was, like, a sports dude. 241 00:09:46,714 --> 00:09:48,133 And he loved hip‐hop, 242 00:09:48,133 --> 00:09:50,429 so we were always, like, at every house party 243 00:09:50,429 --> 00:09:51,516 rapping together. 244 00:09:51,516 --> 00:09:53,937 ‐ I think it was that next year, '99, 245 00:09:53,937 --> 00:09:56,233 Anthony and I drove to go help a friend out with his 246 00:09:56,233 --> 00:09:57,443 senior film in Iowa, and it was supposed to be, 247 00:09:57,443 --> 00:09:58,655 like, a 10‐ or 12‐hour drive. 248 00:09:58,655 --> 00:09:59,907 We were gonna drive from Brooklyn. 249 00:09:59,907 --> 00:10:01,410 Then we ran into a hail storm. 250 00:10:01,410 --> 00:10:03,247 And the only way we could stay awake 251 00:10:03,247 --> 00:10:04,499 was to put on the B‐side 252 00:10:04,499 --> 00:10:06,587 of Daft Punk's "Around the World." 253 00:10:06,587 --> 00:10:09,719 ANTHONY: That beat is so pulsing 254 00:10:09,719 --> 00:10:11,848 that you can't take time to think. 255 00:10:11,848 --> 00:10:15,605 ‐ And Anthony and I freestyled for four straight hours. 256 00:10:15,605 --> 00:10:18,485 That, in some way, was a seed for Freestyle Love Supreme. 257 00:10:18,485 --> 00:10:21,491 [Daft Punk's "Around the World"] 258 00:10:21,491 --> 00:10:23,538 ♪ ♪ 259 00:10:23,538 --> 00:10:25,291 When we got to New York 260 00:10:25,291 --> 00:10:26,627 and started this little theater company 261 00:10:26,627 --> 00:10:28,422 and decided to work on In the Heights, 262 00:10:28,422 --> 00:10:30,468 Anthony would grab Lin at every break 263 00:10:30,468 --> 00:10:32,013 and just start freestyling. 264 00:10:32,013 --> 00:10:33,140 And I'd be sort of wrangling them back. 265 00:10:33,140 --> 00:10:34,350 I was like, "Okay, let's go. 266 00:10:34,350 --> 00:10:36,021 We gotta get back into the thing." 267 00:10:36,021 --> 00:10:37,775 And this is 2002, 2003, 268 00:10:37,775 --> 00:10:39,737 and they kept on doing it and they kept on doing it. 269 00:10:39,737 --> 00:10:41,866 And they had an idea to maybe make a show out of it. 270 00:10:41,866 --> 00:10:43,953 ‐ Some people decided that 271 00:10:43,953 --> 00:10:45,916 we seemed like we knew what we were doing, 272 00:10:45,916 --> 00:10:48,755 and so they gave us the keys to the Drama Book Shop. 273 00:10:48,755 --> 00:10:50,174 Allen Hubby, who was the owner 274 00:10:50,174 --> 00:10:52,011 of the Drama Book Shop at the time, said, 275 00:10:52,011 --> 00:10:54,558 "Hey, would you create theater here?" 276 00:10:54,558 --> 00:10:55,894 We were so young and dumb. 277 00:10:55,894 --> 00:10:57,731 We were like, "Of course. 278 00:10:57,731 --> 00:10:59,442 We know how to create theater." 279 00:10:59,442 --> 00:11:01,446 ‐ We spent a lot of time in that basement, 280 00:11:01,446 --> 00:11:04,410 and Anthony was kind of running the Arthur Seelen Theater. 281 00:11:04,410 --> 00:11:05,496 That was sort of the job. 282 00:11:05,496 --> 00:11:08,962 ‐ We just started making stuff in... 283 00:11:08,962 --> 00:11:11,091 a small room, much like this, that was painted black 284 00:11:11,091 --> 00:11:13,053 where nobody was paying attention to us. 285 00:11:13,053 --> 00:11:14,598 And that was our lab. 286 00:11:14,598 --> 00:11:16,936 We did know, though, that we could, like, 287 00:11:16,936 --> 00:11:20,569 paint walls and buy curtains and I did some electrical work 288 00:11:20,569 --> 00:11:22,321 down in the basement of the Drama Book Shop, 289 00:11:22,321 --> 00:11:24,284 which was totally illegal. 290 00:11:24,284 --> 00:11:26,664 BILL: It was, like, a disaster in the early days. 291 00:11:26,664 --> 00:11:28,417 It was, like, I played the saxophone during it, 292 00:11:28,417 --> 00:11:29,670 and, like, that was kind of a disaster. 293 00:11:29,670 --> 00:11:31,339 I didn't really know how to play the piano. 294 00:11:31,339 --> 00:11:32,634 I still don't really know how to play the piano, 295 00:11:32,634 --> 00:11:33,720 and so, like, I don't know. 296 00:11:33,720 --> 00:11:35,014 Just seemed like a bunch of friends 297 00:11:35,014 --> 00:11:37,644 who have been really lucky and really talented 298 00:11:37,644 --> 00:11:39,188 and really motivated. 299 00:11:39,188 --> 00:11:40,482 ‐ We have all had our little 300 00:11:40,482 --> 00:11:42,613 bumps and bruises along the way, 301 00:11:42,613 --> 00:11:45,284 but those things are not anything 302 00:11:45,284 --> 00:11:48,415 that would even threaten the course of the group. 303 00:11:48,415 --> 00:11:51,171 ‐ It's the joy of falling on your face, 304 00:11:51,171 --> 00:11:55,889 the power of being 305 00:11:55,889 --> 00:11:59,228 unres‐‐unfettered with your friends 306 00:11:59,228 --> 00:12:00,439 and with people you care about. 307 00:12:00,439 --> 00:12:01,776 ‐ None of us know what's happening, 308 00:12:01,776 --> 00:12:05,074 so it's‐‐we're experiencing it with the audience. 309 00:12:05,074 --> 00:12:06,368 It's a different kind of communion 310 00:12:06,368 --> 00:12:08,998 than you normally get in theater. 311 00:12:08,998 --> 00:12:11,461 ‐ I feel like if I'm creating a moment, 312 00:12:11,461 --> 00:12:14,300 I want to be able to pull from stuff I felt when I was 16, 313 00:12:14,300 --> 00:12:16,137 from when I was five, from when I was ten. 314 00:12:16,137 --> 00:12:17,766 You gotta be able to pull from all of it 315 00:12:17,766 --> 00:12:19,435 and stay in touch with all of it. 316 00:12:19,435 --> 00:12:22,483 Now, what I need from you all tonight 317 00:12:22,483 --> 00:12:24,697 is a verb, an action word. 318 00:12:24,697 --> 00:12:27,619 To cry, to scream, to laugh, to love. 319 00:12:27,619 --> 00:12:29,581 Give me verbs, as many as you can shout. 320 00:12:29,581 --> 00:12:31,084 ANTHONY: We were doing shows in New York, 321 00:12:31,084 --> 00:12:33,756 and this producer came and saw us. 322 00:12:33,756 --> 00:12:35,760 And he said, "This would be fantastic 323 00:12:35,760 --> 00:12:37,764 at the Fringe Festival." 324 00:12:41,271 --> 00:12:43,191 ‐ Yes. 325 00:12:43,191 --> 00:12:44,820 What does NED stand for, again? 326 00:12:44,820 --> 00:12:47,743 ‐ A NED is like a little smart aleck kid that‐‐ 327 00:12:47,743 --> 00:12:49,245 ‐ But it stands for Non‐educated‐‐ 328 00:12:49,245 --> 00:12:51,124 ‐ Not Educated‐‐ ‐ Deviant, or something? 329 00:12:51,124 --> 00:12:52,669 ANTHONY: Edinburgh Fringe Festival 330 00:12:52,669 --> 00:12:55,424 is the longest‐running theater festival in the world. 331 00:12:55,424 --> 00:12:58,096 It was a huge opportunity for us. 332 00:12:58,096 --> 00:13:02,939 ‐ We could really, like, trace the trail to our house. 333 00:13:02,939 --> 00:13:04,943 [laughter] 334 00:13:06,781 --> 00:13:09,620 This is the longest stoplight in all of Scotland, 335 00:13:09,620 --> 00:13:12,124 and it terrifies me to cross it. 336 00:13:12,124 --> 00:13:14,253 BILL: Lin, go! ‐ No, it's not green yet. 337 00:13:14,253 --> 00:13:15,422 BILL: Lin, go. 338 00:13:15,422 --> 00:13:17,051 ‐ I will not cross until it's green, 339 00:13:17,051 --> 00:13:18,596 and they all cross ahead and it's fine 340 00:13:18,596 --> 00:13:21,142 and I just stand here like an idiot. 341 00:13:21,142 --> 00:13:23,313 I think about that summer 342 00:13:23,313 --> 00:13:26,361 when you had cameras on us in 2005. 343 00:13:27,864 --> 00:13:31,539 And it was a great summer. 344 00:13:31,539 --> 00:13:34,043 Everything was happening, and nothing was happening. 345 00:13:34,043 --> 00:13:35,839 CHRIS: [beatboxing] BILL: Okay, hallaracket. 346 00:13:35,839 --> 00:13:37,383 Someone who is a hallaracket 347 00:13:37,383 --> 00:13:39,596 is wild, rowdy, and irresponsible. 348 00:13:39,596 --> 00:13:40,598 Go. ‐ Oh. 349 00:13:40,598 --> 00:13:41,725 ♪ I'm a hallaracket ♪ 350 00:13:41,725 --> 00:13:43,019 ♪ I make hella racket ♪ 351 00:13:43,019 --> 00:13:44,272 ♪ I don't know what to say ♪ 352 00:13:44,272 --> 00:13:46,276 ♪ I take it and pack it up like lunch ♪ 353 00:13:46,276 --> 00:13:48,405 ♪ And then I bunch and I munch and I funch ♪ 354 00:13:48,405 --> 00:13:50,158 ♪ Like a fucking Captain Crunch ♪ 355 00:13:50,158 --> 00:13:52,956 ‐ Nickitoms are straps or strings 356 00:13:52,956 --> 00:13:55,503 secured around trouser legs below the knee. 357 00:13:55,503 --> 00:13:59,385 ‐ ♪ Nickitoms are straps for legs ♪ 358 00:13:59,385 --> 00:14:01,682 ♪ Nickitoms, I'm making millions ♪ 359 00:14:01,682 --> 00:14:02,976 ♪ With my resilience ♪ 360 00:14:02,976 --> 00:14:05,272 ♪ So trust me there'll be billions ♪ 361 00:14:05,272 --> 00:14:06,734 ♪ Like we were back at Wesleyan ♪ 362 00:14:06,734 --> 00:14:09,405 ♪ And rapping about equestrians and lesbians ♪ 363 00:14:09,405 --> 00:14:11,619 ♪ With my nickitoms keep my knackers on right ♪ 364 00:14:11,619 --> 00:14:13,873 ♪ Wear my long pants, then I do it all night ♪ 365 00:14:13,873 --> 00:14:14,917 ‐ All night. 366 00:14:14,917 --> 00:14:16,587 [laughter] 367 00:14:16,587 --> 00:14:18,340 I got to say something. 368 00:14:18,340 --> 00:14:19,760 CHRISTOPHER: There was always a sense that 369 00:14:19,760 --> 00:14:21,513 what we were trying to put together 370 00:14:21,513 --> 00:14:26,022 was something that we could make accessible to... 371 00:14:26,022 --> 00:14:27,984 the masses. 372 00:14:27,984 --> 00:14:31,825 ♪ Freestyle in the evening time ♪ 373 00:14:31,825 --> 00:14:33,537 [laughter] 374 00:14:33,537 --> 00:14:36,417 ♪ Freestyle Love Supreme ♪ 375 00:14:36,417 --> 00:14:39,131 ♪ Freestyle Love Supreme ♪ 376 00:14:39,131 --> 00:14:42,054 ALL: ♪ Freestyle Love Supreme ♪ 377 00:14:42,054 --> 00:14:44,141 ♪ Freestyle Love Supreme ♪ 378 00:14:44,141 --> 00:14:45,520 CHRISTOPHER: ♪ Your word is Scottish ♪ 379 00:14:45,520 --> 00:14:47,106 ‐ ♪ The word is Scottish ♪ 380 00:14:47,106 --> 00:14:50,445 ♪ I'm feeling kind of maybe lukewarm, hottish ♪ 381 00:14:50,445 --> 00:14:52,993 ♪ This is Freestyle Love Supreme ♪ 382 00:14:52,993 --> 00:14:56,290 ♪ We make up rap songs while you eat your ice creams ♪ 383 00:14:56,290 --> 00:14:59,046 ♪ Yes, wolf it down, I like Newcastle Crown ♪ 384 00:14:59,046 --> 00:15:00,967 ♪ He's got the little bits of beer in it ♪ 385 00:15:00,967 --> 00:15:03,179 ♪ But less than one percent alcohol ♪ 386 00:15:03,179 --> 00:15:05,267 ♪ So all please check out our show ♪ 387 00:15:05,267 --> 00:15:07,564 ♪ 6:50, it's nifty if you're tipsy ♪ 388 00:15:07,564 --> 00:15:09,108 ♪ Don't you know ♪ 389 00:15:09,108 --> 00:15:12,031 ‐ We're Freestyle Love Supreme. Please, come see our show. 390 00:15:12,031 --> 00:15:14,035 [applause] 391 00:15:14,035 --> 00:15:17,959 [mellow music] 392 00:15:17,959 --> 00:15:19,796 ‐ We're gonna go get a deep‐fried Mars bar, 393 00:15:19,796 --> 00:15:23,219 which is the height of Scottish cuisine. 394 00:15:23,219 --> 00:15:25,140 That washed down with some fish and chips. 395 00:15:25,140 --> 00:15:26,769 Fish and chips. MAN: If they have it. 396 00:15:26,769 --> 00:15:28,522 ‐ And vinegar. MAN: Where? 397 00:15:28,522 --> 00:15:30,442 ‐ Deep‐fried Mars bars, they only have them here. 398 00:15:30,442 --> 00:15:34,116 We went to Edinburgh the summer of 2005. 399 00:15:34,116 --> 00:15:35,536 I remember a lot about being there. 400 00:15:35,536 --> 00:15:39,586 I remember watching the show find an audience. 401 00:15:39,586 --> 00:15:42,592 I remember the first show having X amount of people, 402 00:15:42,592 --> 00:15:44,846 the next show having X plus something, 403 00:15:44,846 --> 00:15:45,848 and then it was 2X. 404 00:15:45,848 --> 00:15:47,226 ‐ We had a show that worked, 405 00:15:47,226 --> 00:15:48,729 like Freestyle worked. 406 00:15:48,729 --> 00:15:51,317 We thought we'd have audiences as soon as we got out there, 407 00:15:51,317 --> 00:15:52,946 and that wasn't true. 408 00:15:52,946 --> 00:15:54,448 We had to work very hard for them, 409 00:15:54,448 --> 00:15:57,287 but our show worked. 410 00:15:57,287 --> 00:15:59,668 And it's essentially the show we're still doing. 411 00:15:59,668 --> 00:16:01,880 ♪ ♪ 412 00:16:01,880 --> 00:16:04,886 [gentle piano music] 413 00:16:04,886 --> 00:16:07,892 ♪ ♪ 414 00:16:07,892 --> 00:16:09,563 Shit. 415 00:16:09,563 --> 00:16:10,857 Did you zoom in that I was listening 416 00:16:10,857 --> 00:16:13,027 to "Wanted Dead or alive" by Bon Jovi? 417 00:16:13,027 --> 00:16:15,365 Which is the perfect soundtrack for where we are right now. 418 00:16:15,365 --> 00:16:16,702 ANTHONY: A little more of the beatbox 419 00:16:16,702 --> 00:16:18,079 in the front monitors. 420 00:16:18,079 --> 00:16:20,668 Do you guys need it more? And also the piano monitor. 421 00:16:20,668 --> 00:16:22,004 ‐ Yeah, I think, Bill, you can take‐‐ 422 00:16:22,004 --> 00:16:23,423 you can still take the time you do, 423 00:16:23,423 --> 00:16:25,343 but it's just that Shockwave kind of has the last word. 424 00:16:25,343 --> 00:16:26,763 CHRISTOPHER: Tommy's the architect. 425 00:16:26,763 --> 00:16:29,769 Tommy Kail is somebody who can make sense out of chaos, 426 00:16:29,769 --> 00:16:32,567 which is, at any given time, 427 00:16:32,567 --> 00:16:34,278 the best way to describe Freestyle Love Supreme. 428 00:16:34,278 --> 00:16:36,992 ‐ Without him, this group wouldn't be what it is, 429 00:16:36,992 --> 00:16:38,954 and we wouldn't have gotten here this far. 430 00:16:38,954 --> 00:16:41,125 LIN‐MANUEL: ♪ So don't think, push me to the brink ♪ 431 00:16:41,125 --> 00:16:43,631 ♪ So I get another drink, and I go into the brink ♪ 432 00:16:43,631 --> 00:16:45,091 ♪ Of disaster, I asked you ♪ 433 00:16:45,091 --> 00:16:46,427 ♪ I passed it, I'm master ♪ 434 00:16:46,427 --> 00:16:48,181 ♪ Of the universe, oh, no the universe... ♪ 435 00:16:48,181 --> 00:16:49,768 THOMAS: [exhales] 436 00:16:49,768 --> 00:16:51,312 We didn't necessarily know what we were 437 00:16:51,312 --> 00:16:53,692 aiming at long‐term, 438 00:16:53,692 --> 00:16:58,869 other than can we make this one thing better? 439 00:16:58,869 --> 00:17:00,831 ‐ [laughs] [mutters] 440 00:17:00,831 --> 00:17:02,710 Oh, Christ. 441 00:17:02,710 --> 00:17:04,004 I hope that's a fish‐eye lens 442 00:17:04,004 --> 00:17:07,427 and my face looks like fucking Marky Wahlberg. 443 00:17:07,427 --> 00:17:10,433 [mellow music] 444 00:17:10,433 --> 00:17:11,812 ♪ ♪ 445 00:17:11,812 --> 00:17:14,943 THOMAS: It just doesn't feel that long ago. 446 00:17:14,943 --> 00:17:21,957 ♪ ♪ 447 00:17:28,177 --> 00:17:31,225 STAGE HAND: We're code blue. 448 00:17:31,225 --> 00:17:33,814 MAN: I couldn't care less about them. 449 00:17:33,814 --> 00:17:35,275 MAN: Bro‐‐ 450 00:17:35,275 --> 00:17:37,822 MAN: And who is that man‐‐ oh, Lord. 451 00:17:37,822 --> 00:17:42,749 [overlapping chatter] 452 00:17:42,749 --> 00:17:44,711 ‐ We call that a deep dive. 453 00:17:44,711 --> 00:17:47,634 ♪ ♪ 454 00:17:47,634 --> 00:17:50,138 MAN: 'Cause I've gotta go in there before you. 455 00:17:50,138 --> 00:17:52,267 ♪ ♪ 456 00:17:52,267 --> 00:17:53,937 UTKARSH: Can somebody get a tallboy for Bill? 457 00:17:53,937 --> 00:17:55,190 ‐ [laughs] 458 00:17:55,190 --> 00:17:56,192 Bill's fine, thank you very much. 459 00:17:56,192 --> 00:17:57,528 UTKARSH: Tall Pabst Blue Ribbon. 460 00:17:57,528 --> 00:17:58,781 ‐ The Pabst Blue. ANTHONY: You see this? 461 00:17:58,781 --> 00:18:00,283 ‐ Yeah, look, we're the real thing. 462 00:18:00,283 --> 00:18:01,536 ‐ It's officially a show. 463 00:18:01,536 --> 00:18:03,456 BILL: We have an assistant director. 464 00:18:03,456 --> 00:18:05,210 [laughs] 465 00:18:05,210 --> 00:18:06,546 ANTHONY: Uh, associate. 466 00:18:06,546 --> 00:18:07,757 BILL: Oh, I'm sorry. 467 00:18:07,757 --> 00:18:10,763 My bad, we have an associate director. 468 00:18:12,140 --> 00:18:14,061 MAN: And there are some posters that the rest of the guys 469 00:18:14,061 --> 00:18:15,313 have gotten to, but you haven't, 470 00:18:15,313 --> 00:18:17,067 so I'll put those on top for you. 471 00:18:17,067 --> 00:18:19,071 LIN‐MANUEL: Okay. 472 00:18:21,117 --> 00:18:23,747 MAN: This is not something you normally do. 473 00:18:23,747 --> 00:18:25,668 ‐ Never signed anything. 474 00:18:25,668 --> 00:18:27,672 SINGER: [vocalizing] 475 00:18:31,805 --> 00:18:33,809 ‐ Oh, wait. I'm on these. 476 00:18:33,809 --> 00:18:35,061 MAN: Oh, you are on those? LIN‐MANUEL: Yep. 477 00:18:35,061 --> 00:18:36,523 Now this one's been signed twice. 478 00:18:36,523 --> 00:18:38,694 MAN: Okay, great. 479 00:18:38,694 --> 00:18:40,948 Let me count out what you need. MAN: Ooh, a rookie mistake. 480 00:18:40,948 --> 00:18:42,952 ‐ Should've been signed twice. 481 00:18:46,041 --> 00:18:47,920 I was working on this other project, 482 00:18:47,920 --> 00:18:49,632 In the Heights, 483 00:18:49,632 --> 00:18:51,218 which is a musical I wrote in college. 484 00:18:51,218 --> 00:18:54,183 And Tommy and some of‐‐ 485 00:18:54,183 --> 00:18:56,061 his friends had seen it. 486 00:18:56,061 --> 00:18:57,314 Tommy had only heard the soundtrack, 487 00:18:57,314 --> 00:18:59,736 and so the first time I met Tommy 488 00:18:59,736 --> 00:19:02,115 was at a fundraiser for their production company. 489 00:19:02,115 --> 00:19:03,326 And Tommy introduced himself. 490 00:19:03,326 --> 00:19:04,537 He was like, "Hi, I'm Tommy Kail. 491 00:19:04,537 --> 00:19:05,790 "Oh, you wrote In the Heights? 492 00:19:05,790 --> 00:19:07,668 "It's great. Listen, I really think 493 00:19:07,668 --> 00:19:09,964 "the third number in your show should go first 494 00:19:09,964 --> 00:19:12,052 'cause it really sets up the world." 495 00:19:12,052 --> 00:19:14,181 Barely met him, and he's already got ideas 496 00:19:14,181 --> 00:19:16,978 for how to do it, and so I was very taken aback 497 00:19:16,978 --> 00:19:19,943 the first time I met Tommy Kail. 498 00:19:19,943 --> 00:19:21,530 But then I realized that 499 00:19:21,530 --> 00:19:23,742 it's not coming from any kind of bad place. 500 00:19:23,742 --> 00:19:26,748 It's that Tommy has so many ideas 501 00:19:26,748 --> 00:19:27,959 that they just‐‐ they're just‐‐ 502 00:19:27,959 --> 00:19:29,671 they just come out. 503 00:19:29,671 --> 00:19:32,885 First time we sat down and talked about the show, 504 00:19:32,885 --> 00:19:34,764 we realized we were on the same page. 505 00:19:34,764 --> 00:19:37,102 My first job was at the Mickey D's up the street. 506 00:19:37,102 --> 00:19:40,108 [mellow music] 507 00:19:40,108 --> 00:19:47,122 ♪ ♪ 508 00:20:03,947 --> 00:20:05,701 ‐ What I love is the people that, like, look 509 00:20:05,701 --> 00:20:07,412 and then they see how unfamous we are 510 00:20:07,412 --> 00:20:08,414 and they're just so disappointed. 511 00:20:08,414 --> 00:20:09,918 ‐ Yeah, they're like... 512 00:20:09,918 --> 00:20:11,420 ‐ They peek around. They're, like, ugh. 513 00:20:11,420 --> 00:20:13,215 ‐ Oh, for fuck's sake. ‐ I think he's Jewish. 514 00:20:13,215 --> 00:20:15,136 [laughter] 515 00:20:15,136 --> 00:20:16,765 Looks like a Latin guy and a Jew. 516 00:20:16,765 --> 00:20:18,476 ‐ [laughs] 517 00:20:18,476 --> 00:20:21,482 That's the guy from American Idol. 518 00:20:21,482 --> 00:20:22,484 ‐ That's the guy from American Idol 519 00:20:22,484 --> 00:20:24,572 and a Mexican Bud Bundy. 520 00:20:24,572 --> 00:20:26,743 ‐ A Mexican Bud Bundy! 521 00:20:26,743 --> 00:20:29,707 ‐ Does anybody ever say you look like anybody? 522 00:20:29,707 --> 00:20:31,043 ‐ It's always, like, their brother 523 00:20:31,043 --> 00:20:34,676 or their friend or their cousin. 524 00:20:34,676 --> 00:20:37,682 TOMMY: There's a good chance no one will ever know who you are. 525 00:20:37,682 --> 00:20:39,811 LIN‐MANUEL: Right. 526 00:20:43,902 --> 00:20:45,531 TOMMY: We just walk by and so we're not, like, 527 00:20:45,531 --> 00:20:47,283 staring at ourselves. 528 00:20:47,283 --> 00:20:48,537 And by ourselves, I mean you. 529 00:20:48,537 --> 00:20:49,789 LIN‐MANUEL: Yeah, I don't know. 530 00:20:49,789 --> 00:20:51,417 I don't have a problem with it. 531 00:20:51,417 --> 00:20:53,421 TOMMY: It's gonna be a full month before we move in here. 532 00:20:53,421 --> 00:20:54,549 LIN‐MANUEL: Yeah. 533 00:20:54,549 --> 00:20:57,053 I am a dork 534 00:20:57,053 --> 00:20:58,347 when it comes to rhyme. 535 00:20:58,347 --> 00:21:00,184 I mean, ever since I was a little kid, 536 00:21:00,184 --> 00:21:02,480 like, I've been putting words together. 537 00:21:02,480 --> 00:21:05,571 I never‐‐ really actively freestyled 538 00:21:05,571 --> 00:21:07,240 until pretty late in life, 539 00:21:07,240 --> 00:21:09,494 but I remember singing the theme song 540 00:21:09,494 --> 00:21:11,206 for the "Darkwing Duck" cartoon. 541 00:21:11,206 --> 00:21:13,628 And there's a little line in it that goes, 542 00:21:13,628 --> 00:21:16,175 ♪ When there's trouble, you call DW ♪ 543 00:21:16,175 --> 00:21:18,387 SINGER: ♪ When there's trouble, you call DW ♪ 544 00:21:18,387 --> 00:21:20,224 LIN‐MANUEL: And being like, "That's amazing. 545 00:21:20,224 --> 00:21:22,145 "How do you think of, 'When there's trouble, 546 00:21:22,145 --> 00:21:23,732 you call DW'?" 547 00:21:23,732 --> 00:21:26,028 And thinking, "What if they made up the whole show 548 00:21:26,028 --> 00:21:27,782 just to make those two couplets rhyme?" 549 00:21:27,782 --> 00:21:29,159 'Cause that's something I would do. 550 00:21:29,159 --> 00:21:32,123 I would build a whole show just to make the couplet 551 00:21:32,123 --> 00:21:35,506 "when there's trouble, you call DW" make sense. 552 00:21:35,506 --> 00:21:38,512 [mellow music] 553 00:21:38,512 --> 00:21:43,187 ♪ ♪ 554 00:21:43,187 --> 00:21:44,524 TOMMY: The first freestyle was here. 555 00:21:44,524 --> 00:21:46,110 It was on the day after the blackout. 556 00:21:46,110 --> 00:21:47,780 And they were supposed to do it downtown. 557 00:21:47,780 --> 00:21:49,241 LIN‐MANUEL: We were supposed to do it at the PIT Theater, 558 00:21:49,241 --> 00:21:50,994 but the power hadn't come back on there yet, 559 00:21:50,994 --> 00:21:53,457 so we got our audience, put a sign up, 560 00:21:53,457 --> 00:21:55,044 and brought them all here. 561 00:21:55,044 --> 00:21:56,548 TOMMY: It was very "Cradle Will Rock." 562 00:21:56,548 --> 00:21:57,842 LIN‐MANUEL: Yeah, it was very "Cradle Will Rock." 563 00:21:57,842 --> 00:21:59,052 We're bringing the rap! 564 00:21:59,052 --> 00:22:01,390 TOMMY: And there were 14 people. 565 00:22:01,390 --> 00:22:02,977 LIN‐MANUEL: Nah, 16. TOMMY: Damn it. 566 00:22:02,977 --> 00:22:04,522 LIN‐MANUEL: [laughs] 567 00:22:04,522 --> 00:22:07,152 TOMMY: And we walked into this room in July of 2001. 568 00:22:07,152 --> 00:22:08,905 But we thought, "Let's make a place where our friends 569 00:22:08,905 --> 00:22:10,534 can come and, like, spend time." 570 00:22:10,534 --> 00:22:12,287 LIN‐MANUEL: Right. TOMMY: And was really 571 00:22:12,287 --> 00:22:14,499 the only person who did it to that amount. 572 00:22:14,499 --> 00:22:16,003 ‐ I did. I took them up on that. 573 00:22:16,003 --> 00:22:17,463 I might sure they were as good as their word. 574 00:22:17,463 --> 00:22:19,969 It was like, "Lin, honestly, come whenever you want." 575 00:22:19,969 --> 00:22:22,348 And he did. 576 00:22:23,727 --> 00:22:26,733 [bittersweet music] 577 00:22:26,733 --> 00:22:32,035 ♪ ♪ 578 00:22:32,035 --> 00:22:33,495 LIN‐MANUEL: I was wary coming out of college. 579 00:22:33,495 --> 00:22:34,916 I didn't know these guys very well, 580 00:22:34,916 --> 00:22:36,293 but as soon as Tommy and I met 581 00:22:36,293 --> 00:22:39,926 and I realized we agreed on what needed to happen, 582 00:22:39,926 --> 00:22:42,388 I felt very lucky, and then we kind of just got to work. 583 00:22:42,388 --> 00:22:44,142 ‐ I think that what this room reminds me of, 584 00:22:44,142 --> 00:22:45,478 and one of the reasons I'm probably as proud 585 00:22:45,478 --> 00:22:47,106 of this room as I am of anything 586 00:22:47,106 --> 00:22:49,236 that I've ever done, is that in theater, 587 00:22:49,236 --> 00:22:51,323 you make something and it goes away. 588 00:22:51,323 --> 00:22:53,285 But that's the booth that we built. 589 00:22:53,285 --> 00:22:54,622 LIN‐MANUEL: Yeah. The faders. 590 00:22:54,622 --> 00:22:55,874 ‐ These are the walls that we painted. 591 00:22:55,874 --> 00:22:57,711 Like, these are the curtains that we hung, 592 00:22:57,711 --> 00:22:59,674 and you don't get do to that. 593 00:22:59,674 --> 00:23:01,886 You put something up, and it goes away. 594 00:23:01,886 --> 00:23:03,180 This was a launching pad. LIN‐MANUEL: Yeah. 595 00:23:03,180 --> 00:23:04,850 TOMMY: You know, this was... 596 00:23:04,850 --> 00:23:06,228 it was a birthing place. 597 00:23:06,228 --> 00:23:09,777 ‐ Our nexus is a basement in a book shop 598 00:23:09,777 --> 00:23:13,660 where we used to play the piano and make up raps. 599 00:23:13,660 --> 00:23:16,708 And here we are, 15 fucking years later. 600 00:23:20,966 --> 00:23:23,178 I have this problem that I don't believe things 601 00:23:23,178 --> 00:23:25,349 until they actually happen. 602 00:23:25,349 --> 00:23:27,020 I didn't believe we were in Scotland 603 00:23:27,020 --> 00:23:30,944 until, you know, yesterday, and to me... 604 00:23:30,944 --> 00:23:32,948 that's what makes me stay on my toes. 605 00:23:32,948 --> 00:23:36,706 'Cause you literally‐‐we never know what's gonna happen. 606 00:23:36,706 --> 00:23:39,795 LIN‐MANUEL: Bill is‐‐Bill's the man. 607 00:23:39,795 --> 00:23:41,591 Bill's Samwise the Brave. 608 00:23:41,591 --> 00:23:43,970 I met him junior year of college, 609 00:23:43,970 --> 00:23:47,268 and I‐‐he was musical directing someone else's show, 610 00:23:47,268 --> 00:23:48,563 and I stole him. 611 00:23:48,563 --> 00:23:50,525 I saw how good he was, and I said, 612 00:23:50,525 --> 00:23:52,738 "You're working on my show." 613 00:23:52,738 --> 00:23:54,240 BILL: Lin came up to me. He said, "I don't know you, 614 00:23:54,240 --> 00:23:55,577 "and you don't know me, but we're gonna work together 615 00:23:55,577 --> 00:23:57,915 for a really long time," and I thought, 616 00:23:57,915 --> 00:24:01,672 "Great, that's very optimistic of you, Yoda, sir." 617 00:24:01,672 --> 00:24:03,425 Hey, photo guy. 618 00:24:03,425 --> 00:24:05,597 Truth to him, we became really close friends. 619 00:24:05,597 --> 00:24:08,185 We worked on his stuff in college. 620 00:24:08,185 --> 00:24:10,690 We lived together for way too long after college. 621 00:24:10,690 --> 00:24:12,318 We're very close still to this day. 622 00:24:12,318 --> 00:24:13,696 He was there at the birth of my children. 623 00:24:13,696 --> 00:24:16,869 I was there at the birth of his children. 624 00:24:16,869 --> 00:24:18,163 It's me. 625 00:24:18,163 --> 00:24:19,583 LIN‐MANUEL: It's literally you with a wig on. 626 00:24:19,583 --> 00:24:22,046 [laughter] 627 00:24:22,046 --> 00:24:23,758 ARTHUR: Why isn't she wearing a Rangers jersey? 628 00:24:23,758 --> 00:24:25,386 BILL: She's just grumpy. 629 00:24:25,386 --> 00:24:26,806 ARTHUR: I want to see her at a hockey game. 630 00:24:26,806 --> 00:24:28,434 LIN‐MANUEL: She's like, "We having White Russians?" 631 00:24:28,434 --> 00:24:30,146 ‐ What's with White Russians? 632 00:24:30,146 --> 00:24:31,816 LIN‐MANUEL: 'Cause your first freestyle show, 633 00:24:31,816 --> 00:24:33,695 you drank three White Russians with your dad, 634 00:24:33,695 --> 00:24:35,364 and then played saxophone for an hour. 635 00:24:35,364 --> 00:24:36,659 BILL: You made that up. [laughter] 636 00:24:36,659 --> 00:24:38,495 ANTHONY: He had a bottle of vodka as a set piece. 637 00:24:38,495 --> 00:24:40,584 BILL: I had a bottle of vodka with Russians. 638 00:24:40,584 --> 00:24:42,713 ‐ But consider this, isn't that better? 639 00:24:42,713 --> 00:24:43,923 ‐ [laughs] 640 00:24:43,923 --> 00:24:45,259 ‐ We're all out there making each other laugh 641 00:24:45,259 --> 00:24:46,679 and enjoying each other and having good times, 642 00:24:46,679 --> 00:24:47,848 so it just feels like, 643 00:24:47,848 --> 00:24:49,100 best way to hang out with your friends, 644 00:24:49,100 --> 00:24:51,229 why not, like, do it in front of 100 people 645 00:24:51,229 --> 00:24:53,066 and make everybody laugh? 646 00:24:53,066 --> 00:24:55,488 [indistinct chatter] 647 00:24:55,488 --> 00:24:58,494 [gentle music] 648 00:24:58,494 --> 00:25:02,251 ♪ ♪ 649 00:25:02,251 --> 00:25:03,546 ANTHONY: Freestyle Love Supreme 650 00:25:03,546 --> 00:25:06,761 has been around now for, like, 16 years, 651 00:25:06,761 --> 00:25:11,353 which is insane. 652 00:25:11,353 --> 00:25:13,816 It doesn't seem like a possibility 653 00:25:13,816 --> 00:25:20,120 that this fun idea to play with dear friends 654 00:25:20,120 --> 00:25:22,333 would continue to be 655 00:25:22,333 --> 00:25:25,422 this long‐lasting show. 656 00:25:25,422 --> 00:25:27,511 LIN‐MANUEL: ♪ My name is Parallelogram ♪ 657 00:25:27,511 --> 00:25:29,430 ♪ Combined with an elogram ♪ 658 00:25:29,430 --> 00:25:31,811 ♪ Yeah, I'm the writer of Hamilton ♪ 659 00:25:31,811 --> 00:25:33,397 ♪ What is up, my son? ♪ 660 00:25:33,397 --> 00:25:36,486 ♪ My father, my brother, what happening, my mother ♪ 661 00:25:36,486 --> 00:25:37,906 ‐ Polyglot. ‐ ♪ All right ♪ 662 00:25:37,906 --> 00:25:39,910 ♪ I'm just feeling like it's punishment ♪ 663 00:25:39,910 --> 00:25:42,248 ♪ Because I got so much polyglot in this ♪ 664 00:25:42,248 --> 00:25:43,458 ♪ I'm gluttonous, yes ♪ 665 00:25:43,458 --> 00:25:45,170 ♪ I'm putting this cake in mouth ♪ 666 00:25:45,170 --> 00:25:47,133 ♪ It's funfetti, everyone, shout ♪ 667 00:25:47,133 --> 00:25:50,974 At its core, it's a group of friends 668 00:25:50,974 --> 00:25:55,775 expressing themselves and in some small way, 669 00:25:55,775 --> 00:25:58,656 saying, "I can't wait to hear what you're gonna say next." 670 00:25:58,656 --> 00:26:01,119 What we do is totally joy, 671 00:26:01,119 --> 00:26:03,708 and it's also special. 672 00:26:03,708 --> 00:26:05,044 ALL: ♪ And that's okay, kid ♪ 673 00:26:05,044 --> 00:26:06,296 ♪ And that‐‐and that‐‐ and that‐‐and that‐‐ 674 00:26:06,296 --> 00:26:07,716 ♪ And that‐‐ and that's okay, kid ♪ 675 00:26:07,716 --> 00:26:09,553 UTKARSH: Yep. CHRIS: [imitates explosion] 676 00:26:09,553 --> 00:26:11,014 ANTHONY: "That's okay, kid" on three. 677 00:26:11,014 --> 00:26:12,308 LIN‐MANUEL: One, two, three. 678 00:26:12,308 --> 00:26:14,354 ALL: That's okay, kid. [laughter] 679 00:26:14,354 --> 00:26:15,899 BILL: Let's pick a random word. 680 00:26:15,899 --> 00:26:17,234 CHRISTOPHER: Yeah, love. 681 00:26:17,234 --> 00:26:18,988 And this afternoon, that's a good one. 682 00:26:18,988 --> 00:26:20,867 Ready? One, two, three. ALL: Love! 683 00:26:20,867 --> 00:26:22,621 One, two, three, four, five, six, seven, eight. 684 00:26:22,621 --> 00:26:24,165 And one, two, three, four, five, six, seven, eight. 685 00:26:24,165 --> 00:26:26,086 One, two, three, four, five, six, seven, eight. 686 00:26:26,086 --> 00:26:27,380 One, two, three, four, five, six, seven, eight. 687 00:26:27,380 --> 00:26:28,633 One, two, three, four, five, six, seven, eight. 688 00:26:28,633 --> 00:26:31,054 One, two, repeat. One, two, one, two, one, two. 689 00:26:31,054 --> 00:26:32,348 One, two, one, two, one, two, one, two, 690 00:26:32,348 --> 00:26:35,020 one, one, one, one, one, one, one, one. 691 00:26:35,020 --> 00:26:37,024 MAN: Thank you, Cleveland. 692 00:26:39,153 --> 00:26:40,657 ‐ [groans] ASSISTANT: Stand by, guys. 693 00:26:40,657 --> 00:26:41,659 Stand by. 694 00:26:41,659 --> 00:26:43,120 [cheers and applause] 695 00:26:43,120 --> 00:26:45,290 EMCEE: All right, guess we better... 696 00:26:45,290 --> 00:26:47,629 We better start the show, then. 697 00:26:47,629 --> 00:26:49,633 ALL: I got your back, I got your back. 698 00:26:49,633 --> 00:26:51,302 I got your back, I got your back. 699 00:26:51,302 --> 00:26:53,975 I got your back. I got your back. 700 00:26:53,975 --> 00:26:55,520 ♪ ♪ 701 00:26:55,520 --> 00:26:56,522 ANTHONY: Let's bring it in. 702 00:26:56,522 --> 00:26:57,858 Let's do a mic check on three. 703 00:26:57,858 --> 00:26:59,444 UTKARSH: Oh, yeah. ANTHONY: Mic check on three. 704 00:26:59,444 --> 00:27:01,824 Everybody in. One, two, three. 705 00:27:01,824 --> 00:27:04,078 ALL: Mic check. 706 00:27:04,078 --> 00:27:07,168 MAN: This is my own. This is my own. 707 00:27:07,168 --> 00:27:09,297 CHRISTOPHER: ♪ Hello, this is my seat ♪ 708 00:27:09,297 --> 00:27:13,430 ♪ Oh, oh ♪ 709 00:27:13,430 --> 00:27:15,392 [cheers and applause] 710 00:27:15,392 --> 00:27:18,775 CHRIS: [beatboxing] 711 00:27:21,655 --> 00:27:25,287 ‐ Microphone team check. Microphone. Microphone. 712 00:27:25,287 --> 00:27:28,711 [dramatic music] 713 00:27:28,711 --> 00:27:31,132 ♪ ♪ 714 00:27:31,132 --> 00:27:33,804 ‐ Ladies and gentlemen. 715 00:27:33,804 --> 00:27:35,349 [rolls tongue] 716 00:27:35,349 --> 00:27:37,394 Yes. 717 00:27:37,394 --> 00:27:41,779 And those who identify outside and in‐between on the spectrum. 718 00:27:41,779 --> 00:27:43,574 LIN‐MANUEL: Mic check was a fully practical, 719 00:27:43,574 --> 00:27:45,369 "We can't hear each other." 720 00:27:45,369 --> 00:27:47,081 And if we can't hear each other, we can't do this 721 00:27:47,081 --> 00:27:50,045 because it's so dependent on, "Oh, that's the idea let's go." 722 00:27:50,045 --> 00:27:52,842 And so it was all about getting our monitor right, 723 00:27:52,842 --> 00:27:54,470 and hearing everybody in the monitor. 724 00:27:54,470 --> 00:27:57,184 ‐ We are Freestyle Love Supreme. 725 00:27:57,184 --> 00:27:58,771 ALL: ♪ 'Preme, 'preme, 'preme ♪ 726 00:27:58,771 --> 00:28:01,276 ‐ And we are in the middle of a mic check. 727 00:28:01,276 --> 00:28:03,280 ALL: Check, check, check... 728 00:28:03,280 --> 00:28:05,785 ‐ And we're gonna need your help to complete our mic check. 729 00:28:05,785 --> 00:28:07,246 ‐ Cool. 730 00:28:07,246 --> 00:28:08,791 ‐ Because our show is totally made up. 731 00:28:08,791 --> 00:28:09,876 ‐ Nuh‐uh! ‐ Yeah. 732 00:28:09,876 --> 00:28:11,337 ANTHONY: This is an improv show. 733 00:28:11,337 --> 00:28:13,843 It's one of the unique art forms 734 00:28:13,843 --> 00:28:16,932 that can be both cathartic for the audience 735 00:28:16,932 --> 00:28:19,186 and for the performers at the same time. 736 00:28:19,186 --> 00:28:22,484 You see because everything we do in this show 737 00:28:22,484 --> 00:28:25,407 is completely and 100% new every night. 738 00:28:25,407 --> 00:28:27,453 ‐ Hoy estamos inventando. 739 00:28:27,453 --> 00:28:29,332 ‐ It's spontaneous. 740 00:28:29,332 --> 00:28:30,585 ‐ That's right. 741 00:28:30,585 --> 00:28:32,421 This is all happening right now. 742 00:28:32,421 --> 00:28:34,760 CHRISTOPHER: Nobody knows what to expect. 743 00:28:34,760 --> 00:28:36,304 We have the structure of our games, 744 00:28:36,304 --> 00:28:38,016 We know who's leading, we know who's supporting, 745 00:28:38,016 --> 00:28:41,439 We know who's playing, but that's it. 746 00:28:41,439 --> 00:28:43,360 ‐ Every sound you're about to hear... 747 00:28:43,360 --> 00:28:45,657 ‐ [beatboxing] 748 00:28:45,657 --> 00:28:47,786 [mimics bird call] 749 00:28:49,163 --> 00:28:52,211 ‐ Every key that is about to be struck... 750 00:28:52,211 --> 00:28:54,591 [keyboard plays] 751 00:28:54,591 --> 00:28:55,968 Ooh! 752 00:28:55,968 --> 00:28:58,766 Every word that is about to be spoken... 753 00:28:58,766 --> 00:29:01,396 ‐ Hi, Mom. [laughter, cheers] 754 00:29:01,396 --> 00:29:03,901 You look good. 755 00:29:05,863 --> 00:29:07,784 LIN‐MANUEL: No matter how many times you've done this, 756 00:29:07,784 --> 00:29:10,497 the way your stomach feels before you go on stage 757 00:29:10,497 --> 00:29:12,669 before a freestyle show is exactly the same. 758 00:29:12,669 --> 00:29:14,715 The worst part of this month 759 00:29:14,715 --> 00:29:17,554 was that we only had one bathroom backstage. 760 00:29:17,554 --> 00:29:20,350 Our stomach doesn't know that we're good at this. 761 00:29:20,350 --> 00:29:22,146 It goes, "What the fuck you guys doing? 762 00:29:22,146 --> 00:29:23,941 There's no script!" 763 00:29:23,941 --> 00:29:26,320 You know, your reptile brain understands 764 00:29:26,320 --> 00:29:27,866 that we're going into 765 00:29:27,866 --> 00:29:30,747 an adrenalized, unsafe situation 766 00:29:30,747 --> 00:29:32,834 even if you can't‐‐ you can't tell it‐‐ 767 00:29:32,834 --> 00:29:34,378 you can't tell your stomach, 768 00:29:34,378 --> 00:29:36,132 "Hey, we've done this a million times. 769 00:29:36,132 --> 00:29:37,552 Something will happen and it'll be fine." 770 00:29:37,552 --> 00:29:41,894 ‐ It's happening for the first and last time right now. 771 00:29:41,894 --> 00:29:43,188 ‐ Now, now, now, now. 772 00:29:43,188 --> 00:29:45,442 ‐ So, why don't we get a word from you guys, 773 00:29:45,442 --> 00:29:47,112 and we're gonna use that word 774 00:29:47,112 --> 00:29:49,283 to complete our mic check, okay? 775 00:29:49,283 --> 00:29:51,329 ANTHONY: We kept getting these invitations. 776 00:29:51,329 --> 00:29:52,791 We did the Aspen Comedy Festival. 777 00:29:52,791 --> 00:29:54,544 We got invited up to Montreal, 778 00:29:54,544 --> 00:29:57,174 but we needed someone to replace Lin and Chris Jackson 779 00:29:57,174 --> 00:29:59,428 because they were in In the Heights 780 00:29:59,428 --> 00:30:01,098 and it was opening at 37 Arts. 781 00:30:01,098 --> 00:30:03,938 Turn, stumble, P. 782 00:30:03,938 --> 00:30:05,608 [indistinct yelling] What is it? 783 00:30:05,608 --> 00:30:08,321 AUDIENCE MEMBER: Swelling. ‐ Swelling? 784 00:30:08,321 --> 00:30:10,325 Is that what I heard? Swelling? 785 00:30:10,325 --> 00:30:13,206 AUDIENCE MEMBER: Yes! ‐ Swelling. Great. 786 00:30:13,206 --> 00:30:15,586 Ladies and gentlemen, the word is swelling. 787 00:30:15,586 --> 00:30:18,424 ANTHONY: So, we had sort of our first round of auditions, 788 00:30:18,424 --> 00:30:21,222 and we'd gotten a recommendation that this guy, 789 00:30:21,222 --> 00:30:23,602 U.T.K., is a great rapper. 790 00:30:23,602 --> 00:30:25,188 He was an amazing battle rapper. 791 00:30:25,188 --> 00:30:27,944 ‐ I was doing improv comedy, and then I was doing music, 792 00:30:27,944 --> 00:30:32,202 and there was a huge separation between the two, right? 793 00:30:32,202 --> 00:30:35,041 So, you can either rap or you can be funny, 794 00:30:35,041 --> 00:30:36,628 and you can't do both. 795 00:30:36,628 --> 00:30:39,008 And then I walk into this room, 796 00:30:39,008 --> 00:30:41,137 and you know, whatever Freestyle Love Supreme 797 00:30:41,137 --> 00:30:44,769 was doing at that time fit me like a well‐worn hoodie. 798 00:30:44,769 --> 00:30:48,401 ‐ Like the very first second that Utkarsh started rapping, 799 00:30:48,401 --> 00:30:50,990 we were like, "Oh, this is the guy." 800 00:30:50,990 --> 00:30:53,286 ♪ Next we got a whole freestyle team ♪ 801 00:30:53,286 --> 00:30:56,083 ♪ U. T. K., tell 'em what I mean ♪ 802 00:30:56,083 --> 00:30:58,631 ‐ ♪ Ladies and gentlemen, Caucasian and melanin ♪ 803 00:30:58,631 --> 00:31:00,050 ♪ Now I'm up on stage ♪ 804 00:31:00,050 --> 00:31:01,553 ♪ And yo, I'm coming from Maryland ♪ 805 00:31:01,553 --> 00:31:03,056 ♪ Got the beat and the microphone ♪ 806 00:31:03,056 --> 00:31:04,391 ♪ To keep them all swelling ♪ 807 00:31:04,391 --> 00:31:05,728 ♪ What the hell is going on, man? ♪ 808 00:31:05,728 --> 00:31:07,230 ♪ I'm rocking this song ♪ 809 00:31:07,230 --> 00:31:09,694 ♪ And right now, what you see is the freestyle flow ♪ 810 00:31:09,694 --> 00:31:12,240 ♪ I know this dude right here up in a music video ♪ 811 00:31:12,240 --> 00:31:15,413 ♪ Yeah, I see ya, I need to drop it free bro ♪ 812 00:31:15,413 --> 00:31:17,961 ♪ You better be spending this right on a Wednesday night ♪ 813 00:31:17,961 --> 00:31:19,338 ♪ But if you didn't, all right ♪ 814 00:31:19,338 --> 00:31:20,675 ♪ Now I gotta story to tell ♪ 815 00:31:20,675 --> 00:31:23,806 ♪ I'm about to introduce Mr. Lin‐Manuel ♪ 816 00:31:23,806 --> 00:31:25,392 LIN‐MANUEL: ♪ Excuse me, excuse me ♪ 817 00:31:25,392 --> 00:31:26,728 ♪ Excuse me, excuse me ♪ 818 00:31:26,728 --> 00:31:28,022 ♪ Excuse me, excuse me ♪ 819 00:31:28,022 --> 00:31:29,567 ♪ Excuse me, excuse me ♪ 820 00:31:29,567 --> 00:31:31,195 ♪ I'm sorry, I've got to come on stage ♪ 821 00:31:31,195 --> 00:31:32,657 ♪ Before my head is swelling ♪ 822 00:31:32,657 --> 00:31:34,619 ♪ I like my melon, and yo, I keep from yelling ♪ 823 00:31:34,619 --> 00:31:37,416 UTKARSH: It was extremely comfortable 824 00:31:37,416 --> 00:31:39,128 to play those games with those people, 825 00:31:39,128 --> 00:31:43,302 and to bring sort of the Indian South Asian experience 826 00:31:43,302 --> 00:31:47,144 to that group, and to have it be embraced was awesome. 827 00:31:47,144 --> 00:31:49,314 ♪ Listen to me here on microphone three ♪ 828 00:31:49,314 --> 00:31:51,653 ♪ Some of you might recognize me ♪ 829 00:31:51,653 --> 00:31:53,907 ♪ Know from the Team Supreme ♪ 830 00:31:53,907 --> 00:31:56,162 ♪ And let me rock right now while we chase the dream ♪ 831 00:31:56,162 --> 00:31:58,207 ♪ We got the keys and the flow and the beat, you know? ♪ 832 00:31:58,207 --> 00:32:00,671 ♪ We do it all day long, kick it with my bros ♪ 833 00:32:00,671 --> 00:32:03,259 ♪ My name is U. T. K and I'm fly, you see ♪ 834 00:32:03,259 --> 00:32:05,848 ♪ But recognize with ease and I'ma rock this beat ♪ 835 00:32:05,848 --> 00:32:08,269 ‐ U. T. K, his verbal dexterity 836 00:32:08,269 --> 00:32:09,647 was always at the highest level. 837 00:32:09,647 --> 00:32:11,568 He was the person that‐‐ from when I met him 838 00:32:11,568 --> 00:32:13,112 when he was 21 or 22 years old, 839 00:32:13,112 --> 00:32:15,743 I knew something was going on that I had not seen. 840 00:32:15,743 --> 00:32:19,291 [piano plays] 841 00:32:19,291 --> 00:32:21,588 [laughter] 842 00:32:21,588 --> 00:32:24,259 ‐ Yeah! 843 00:32:24,259 --> 00:32:27,683 ♪ ♪ 844 00:32:27,683 --> 00:32:29,436 ‐ ♪ Oh, hey ♪ 845 00:32:29,436 --> 00:32:31,023 ♪ My name is Maddie ♪ 846 00:32:31,023 --> 00:32:32,400 ♪ Ooh ♪ 847 00:32:32,400 --> 00:32:34,154 ♪ And your girl is a baddy ♪ 848 00:32:34,154 --> 00:32:35,991 ♪ Yeah, my name is Maddie ♪ 849 00:32:35,991 --> 00:32:38,246 ♪ Yes, and I am oh so frugal ♪ 850 00:32:38,246 --> 00:32:41,837 ♪ I save my money and I save of all of my rubles ♪ 851 00:32:41,837 --> 00:32:43,172 ♪ Okay, I'm here ♪ 852 00:32:43,172 --> 00:32:45,051 ♪ That's right, and I'll be freaky ♪ 853 00:32:45,051 --> 00:32:47,472 ♪ And I'm getting ready for me and my lady's girls' ♪ 854 00:32:47,472 --> 00:32:49,853 BOTH: ♪ Weekend ♪ ‐ ♪ We're gonna have fun ♪ 855 00:32:49,853 --> 00:32:51,565 ♪ Gonna practice all our twerking ♪ 856 00:32:51,565 --> 00:32:53,025 ♪ Gonna eat lots of dessert ♪ 857 00:32:53,025 --> 00:32:54,529 ♪ And it's gonna be so dang absurd ♪ 858 00:32:54,529 --> 00:32:56,240 ♪ And we are going... ♪ 859 00:32:56,240 --> 00:32:58,369 Tommy broke it down to me when I started rapping 860 00:32:58,369 --> 00:33:01,458 'cause my background was to talk about how good I was. 861 00:33:01,458 --> 00:33:03,672 "Look how great I am. Look how cool I am." 862 00:33:03,672 --> 00:33:05,216 And Tommy said to me, he was like, 863 00:33:05,216 --> 00:33:06,720 "That's great, you have the skill set. 864 00:33:06,720 --> 00:33:08,264 That's not what we do here." 865 00:33:08,264 --> 00:33:11,020 He said, "It's infinitely more interesting 866 00:33:11,020 --> 00:33:13,817 "if you can rap about the Incredible Hulk 867 00:33:13,817 --> 00:33:15,738 "or a box of Wheat Thins 868 00:33:15,738 --> 00:33:19,036 "or your parents with the same amount of dexterity 869 00:33:19,036 --> 00:33:20,706 as you rap about yourself." 870 00:33:20,706 --> 00:33:23,127 BOTH: ♪ What y'all know about milking a cow? ♪ 871 00:33:23,127 --> 00:33:26,133 ♪ Milking a cow, milking a cow ♪ 872 00:33:26,133 --> 00:33:28,387 ♪ I'm about to tell y'all about a little dream of mine ♪ 873 00:33:28,387 --> 00:33:31,811 ♪ I just wanna milk a big, bad, beautiful bovine ♪ 874 00:33:31,811 --> 00:33:34,274 ♪ Trying to farm and get my hands on the udders ♪ 875 00:33:34,274 --> 00:33:36,863 ♪ 'Cause I got to make sure that she's a bad old mother ♪ 876 00:33:36,863 --> 00:33:39,451 ♪ Can't be a man cow, that's called a bull ♪ 877 00:33:39,451 --> 00:33:41,247 ♪ 'Cause when you pull something else comes out ♪ 878 00:33:41,247 --> 00:33:42,583 ♪ That's not cool ♪ 879 00:33:42,583 --> 00:33:44,796 ♪ But anyway, I get it going on the teets ♪ 880 00:33:44,796 --> 00:33:47,927 ♪ And I give a squeeze and it tastes so, so sweet, yeah ♪ 881 00:33:47,927 --> 00:33:50,181 ‐ U. T. K. is, I would say, 882 00:33:50,181 --> 00:33:54,273 the best nuts‐to‐bolts rapper in the group. 883 00:33:54,273 --> 00:33:56,569 ‐ Chris Jackson had a friend named James Monroe Iglehart 884 00:33:56,569 --> 00:33:58,532 that he had just gotten done doing a show with, 885 00:33:58,532 --> 00:34:00,661 and they used to, like, freestyle rap backstage. 886 00:34:00,661 --> 00:34:02,247 ‐ Don't get me wrong. It was not given to me. 887 00:34:02,247 --> 00:34:05,086 I had to audition. So, walked in, did my thing. 888 00:34:05,086 --> 00:34:08,009 ‐ Tommy closed the door to the audition room 889 00:34:08,009 --> 00:34:09,721 and then we turned it into a rehearsal, 890 00:34:09,721 --> 00:34:11,390 and we started rehearsing. 891 00:34:11,390 --> 00:34:12,685 ‐ ♪ Clap your hands, snap your fingers ♪ 892 00:34:12,685 --> 00:34:14,146 ♪ Move your hands to this ♪ 893 00:34:14,146 --> 00:34:16,442 ♪ I will show you how I do it as I jettison ♪ 894 00:34:16,442 --> 00:34:18,822 ♪ I love the little place and I put it in my rhyme ♪ 895 00:34:18,822 --> 00:34:22,287 ♪ I can pick a rhyme from you and I then blow your mind ♪ 896 00:34:22,287 --> 00:34:26,253 ‐ He's too good for half of this shit that we do. 897 00:34:26,253 --> 00:34:29,844 James sings and it's like, "You broke the game." 898 00:34:29,844 --> 00:34:32,808 ‐ ♪ So, from the time I'm in the bathroom ♪ 899 00:34:32,808 --> 00:34:36,106 ♪ And put the water on my elbows ♪ 900 00:34:36,106 --> 00:34:38,695 ♪ Walk out to school ♪ 901 00:34:38,695 --> 00:34:42,243 ♪ We're ready to see all the other bros ♪ 902 00:34:42,243 --> 00:34:45,793 ♪ And the sun hits, bam, ash ♪ 903 00:34:45,793 --> 00:34:48,381 ♪ Right all over my body ♪ 904 00:34:48,381 --> 00:34:51,387 ♪ And those boys will have a wonderful time ♪ 905 00:34:51,387 --> 00:34:54,560 ♪ Tapping on me was like an ashy party ♪ 906 00:34:54,560 --> 00:34:56,397 ‐ Going forward, like, 907 00:34:56,397 --> 00:34:59,194 if we had stopped at our initial group, 908 00:34:59,194 --> 00:35:03,494 we'd never have met Daveed, U. T. K., or Jelly Donut. 909 00:35:03,494 --> 00:35:05,123 ‐ ♪ So I'll just take a squeegee ♪ 910 00:35:05,123 --> 00:35:07,795 ♪ We'll make you come, yeah, 'cause I'm the boss ♪ 911 00:35:07,795 --> 00:35:10,551 ♪ It's gonna get poetic, like we Robert Frost ♪ 912 00:35:10,551 --> 00:35:12,303 UTKARSH: The other night, Jelly was on stage, 913 00:35:12,303 --> 00:35:14,767 and my head goes, "We have to introduce Jelly Donut. 914 00:35:14,767 --> 00:35:16,186 How are we gonna do that?" 915 00:35:16,186 --> 00:35:17,606 You have "Go Buck," and then my brain goes‐ 916 00:35:17,606 --> 00:35:19,234 [gasps] "Donut rhymes with go Buck!" 917 00:35:19,234 --> 00:35:21,363 ♪ Mic one and mic two showed up ♪ 918 00:35:21,363 --> 00:35:23,409 ♪ We need mic three, he about to throw up ♪ 919 00:35:23,409 --> 00:35:25,748 ♪ That's right, and go nuts, that's right and go Buck ♪ 920 00:35:25,748 --> 00:35:28,169 ♪ Everybody give it up for Jelly Donut ♪ 921 00:35:28,169 --> 00:35:32,093 ‐ ♪ Oh, my God, thank you for your incredible words ♪ 922 00:35:32,093 --> 00:35:34,389 ♪ I will chew them up and regurgitate them ♪ 923 00:35:34,389 --> 00:35:37,855 ♪ Like you the baby birds, open your mouth ♪ 924 00:35:37,855 --> 00:35:41,613 I came in a little‐‐ a little bit later than‐‐ 925 00:35:41,613 --> 00:35:43,575 yeah, I think Utkarsh and James 926 00:35:43,575 --> 00:35:45,495 came around the same time. 927 00:35:45,495 --> 00:35:50,046 But I've had such a good experience with these guys. 928 00:35:50,046 --> 00:35:52,008 It's sick, right? 929 00:35:52,008 --> 00:35:54,012 It really is becoming a little bit, you know, 930 00:35:54,012 --> 00:35:56,391 more of who I am. 931 00:35:56,391 --> 00:35:57,812 ‐ Because we... ‐ We... 932 00:35:57,812 --> 00:36:01,193 ALL: We. Are. Freestyle. Supreme. 933 00:36:01,193 --> 00:36:02,988 [cheers and applause] 934 00:36:02,988 --> 00:36:04,659 ‐ Now ladies and gentlemen, 935 00:36:04,659 --> 00:36:06,245 we're gonna take you back to the beginning. 936 00:36:06,245 --> 00:36:08,542 We're going to the foundations of freestyle. 937 00:36:08,542 --> 00:36:10,838 You see, first, there was the beat. 938 00:36:10,838 --> 00:36:14,637 ‐ [beatboxing] 939 00:36:15,848 --> 00:36:18,018 [cheers] 940 00:36:19,104 --> 00:36:26,118 ♪ ♪ 941 00:36:31,253 --> 00:36:34,134 THOMAS: Chris Sullivan, AKA Shockwave, 942 00:36:34,134 --> 00:36:37,600 He's someone whose ability to express and tell story 943 00:36:37,600 --> 00:36:40,981 without using words is on full display here. 944 00:36:40,981 --> 00:36:43,987 He's someone who is the actual musical heartbeat. 945 00:36:43,987 --> 00:36:47,953 ‐ [beatboxing] 946 00:36:47,953 --> 00:36:49,957 CHRIS: I'm not just the beatboxer. 947 00:36:49,957 --> 00:36:51,753 I am the percussionist. 948 00:36:51,753 --> 00:36:53,924 You know, the drummer that let's them shine. 949 00:36:53,924 --> 00:36:56,178 [beatboxing] 950 00:36:56,178 --> 00:37:00,729 ‐ Uh‐huh! Uh‐huh! Uh‐huh! Yeah, uh‐huh! 951 00:37:00,729 --> 00:37:02,858 ANTHONY: To go up there and be able to have a human being 952 00:37:02,858 --> 00:37:04,820 be able to do that for an entire show, 953 00:37:04,820 --> 00:37:08,160 A, is a feat of athleticism and vocal capabilities, 954 00:37:08,160 --> 00:37:12,126 but also sheer giving. 955 00:37:12,126 --> 00:37:14,464 [excited chatter] 956 00:37:14,464 --> 00:37:17,680 [cheers and applause] 957 00:37:17,680 --> 00:37:19,642 AUDIENCE MEMBER: Oh, my God! 958 00:37:19,642 --> 00:37:21,729 ‐ Yeah, and you used our words. 959 00:37:21,729 --> 00:37:24,568 ANTHONY: Oh yeah? Which ones? ‐ Unicorn and flabbergast. 960 00:37:24,568 --> 00:37:26,196 ‐ Oh, you got two in? 961 00:37:26,196 --> 00:37:27,866 Does anyone else know that? 962 00:37:27,866 --> 00:37:32,208 ‐ I think each guy loves freestyle. 963 00:37:32,208 --> 00:37:35,590 I think each guy lives freestyle. 964 00:37:35,590 --> 00:37:41,309 But Shock is the foundation of freestyle. 965 00:37:41,309 --> 00:37:44,734 ‐ [beatboxing] 966 00:37:44,734 --> 00:37:46,403 ‐ Oh! 967 00:37:46,403 --> 00:37:49,034 [cheers and applause] 968 00:37:49,034 --> 00:37:52,040 ‐ And next, we add in an emcee. 969 00:37:52,040 --> 00:37:53,626 ‐ ♪ Oh, is everybody here? ♪ 970 00:37:53,626 --> 00:37:55,046 ♪ Because if everybody's here... ♪ 971 00:37:55,046 --> 00:37:57,551 [loud cheers] 972 00:37:57,551 --> 00:38:01,893 LIN‐MANUEL: [rapping indistinctly] 973 00:38:01,893 --> 00:38:04,230 [stammering] 974 00:38:04,230 --> 00:38:08,782 [wild cheers and applause] 975 00:38:11,495 --> 00:38:15,629 ‐ Lin‐Manuel is the verbal gymnast. 976 00:38:15,629 --> 00:38:17,883 He is our poet. 977 00:38:17,883 --> 00:38:19,469 He's unstoppable. 978 00:38:19,469 --> 00:38:21,516 Now on your way in this evening as you were standing in line, 979 00:38:21,516 --> 00:38:23,603 I think one of our wonderful stage managers 980 00:38:23,603 --> 00:38:25,941 walked along and said, "Give us a word." 981 00:38:25,941 --> 00:38:28,738 Now we took those words and put them in that bucket over there. 982 00:38:28,738 --> 00:38:30,074 See, ladies and gentlemen, 983 00:38:30,074 --> 00:38:34,165 the emcee is gonna use your words over a beat. 984 00:38:34,165 --> 00:38:37,255 ‐ Foundations of freestyle is in its rawest form 985 00:38:37,255 --> 00:38:38,842 what freestyling is. 986 00:38:38,842 --> 00:38:40,804 CHRISTOPHER: From the moment that we've gotten here, 987 00:38:40,804 --> 00:38:42,766 we have asked you as an audience member 988 00:38:42,766 --> 00:38:44,562 to actively participate. 989 00:38:44,562 --> 00:38:46,356 When you write the word down and you fold it 990 00:38:46,356 --> 00:38:48,528 and you put it in the bucket, you're making an offering. 991 00:38:48,528 --> 00:38:50,197 And we're collecting it, accepting it, 992 00:38:50,197 --> 00:38:51,659 and this is what we want to do with it. 993 00:38:51,659 --> 00:38:52,953 Jazz! 994 00:38:52,953 --> 00:38:54,414 ‐ ♪ Yeah, this is like that free Jazz ♪ 995 00:38:54,414 --> 00:38:55,750 ♪ Like that Coltrane ♪ 996 00:38:55,750 --> 00:38:57,671 ♪ Like that Love Supreme, this is a fucking dream ♪ 997 00:38:57,671 --> 00:38:59,717 ♪ I can't believe this is the fucking team ♪ 998 00:38:59,717 --> 00:39:02,764 ♪ I can't believe I'm‐‐ ♪ ‐ Last word is harmony! 999 00:39:02,764 --> 00:39:04,184 ‐ ♪ Oh, the word is harmony ♪ 1000 00:39:04,184 --> 00:39:05,562 ♪ Because there is dissonance ♪ 1001 00:39:05,562 --> 00:39:07,023 ♪ 'Cause lots of us are really quite different ♪ 1002 00:39:07,023 --> 00:39:08,943 ♪ But oh, my gosh, I think even when I am bored ♪ 1003 00:39:08,943 --> 00:39:10,245 ♪ We'll make a lot of noise ♪ 1004 00:39:10,245 --> 00:39:12,366 ♪ Until we make a perfect fucking chord ♪ 1005 00:39:12,366 --> 00:39:14,788 ‐ Oh! 1006 00:39:14,788 --> 00:39:17,794 [cheers and applause] 1007 00:39:19,005 --> 00:39:20,634 ‐ There's this great footage 1008 00:39:20,634 --> 00:39:21,802 of Questlove and Black Thought. 1009 00:39:21,802 --> 00:39:23,347 And Questlove's just, like, tree. 1010 00:39:23,347 --> 00:39:26,061 He's like, "Tree, as I flow free to the ba‐ba‐ba‐ba‐ba." 1011 00:39:26,061 --> 00:39:27,648 ‐ ♪ Peach, peach ♪ 1012 00:39:27,648 --> 00:39:28,775 ♪ Yo, I am the kid that got the speech ♪ 1013 00:39:28,775 --> 00:39:30,110 ♪ That you can't impeach ♪ 1014 00:39:30,110 --> 00:39:31,781 ♪ Because I am not a leech, I won't lie ♪ 1015 00:39:31,781 --> 00:39:33,576 ‐ War! ♪ War, yes, yes, y'all ♪ 1016 00:39:33,576 --> 00:39:35,956 ♪ Everybody's got a car, yo, you's gots to kick the ball ♪ 1017 00:39:35,956 --> 00:39:37,500 ‐ Feet. ‐ ♪ Oh, feet ♪ 1018 00:39:37,500 --> 00:39:39,128 ♪ So I will not accept defeat ♪ 1019 00:39:39,128 --> 00:39:41,676 ♪ The only triumph I'll just keep on doing it ♪ 1020 00:39:41,676 --> 00:39:43,428 ♪ Like Triumph the Comic Insult Dog ♪ 1021 00:39:43,428 --> 00:39:44,932 ♪ High on the hog ♪ 1022 00:39:44,932 --> 00:39:46,978 ♪ We cannot kick us off our lawn with tables ♪ 1023 00:39:46,978 --> 00:39:48,523 ♪ We got our lightsabers ♪ 1024 00:39:48,523 --> 00:39:50,067 ♪ So fuck you and your Padawan ♪ 1025 00:39:50,067 --> 00:39:52,029 ♪ We keep going on till the break of dawn ♪ 1026 00:39:52,029 --> 00:39:55,537 ♪ Yeah, rocking all night long ♪ 1027 00:39:55,537 --> 00:39:57,541 [cheers and applause] 1028 00:39:57,541 --> 00:39:59,503 [keyboard plays] 1029 00:39:59,503 --> 00:40:03,343 ‐ Uh, ladies and gentlemen, that is Lin‐Man‐very‐uel. 1030 00:40:03,343 --> 00:40:05,765 ‐ How'd you get into doing this style? 1031 00:40:05,765 --> 00:40:07,393 ‐ Just jumped in, you know, like him. 1032 00:40:07,393 --> 00:40:09,063 Anthony was one of the producers. 1033 00:40:09,063 --> 00:40:10,567 Tommy was the director. 1034 00:40:10,567 --> 00:40:12,028 ‐ So do you, like, write the show, like... 1035 00:40:12,028 --> 00:40:14,032 ‐ No, when they first asked me, I thought it was... 1036 00:40:14,032 --> 00:40:15,827 [chuckles] I thought they were crazy. 1037 00:40:15,827 --> 00:40:18,833 I was like, "I write music. I don't‐‐I don't freestyle." 1038 00:40:18,833 --> 00:40:21,087 ‐ You never freestyled... ‐ But it's scary, yeah. 1039 00:40:21,087 --> 00:40:22,883 ‐ You're a hip‐hopper or you're a singer? 1040 00:40:22,883 --> 00:40:24,385 ‐ Yeah, I mean, I love hip‐hop, but I just‐you know? 1041 00:40:24,385 --> 00:40:27,559 I wasn't‐I wasn't used to, like, trying to‐‐trying to... 1042 00:40:27,559 --> 00:40:31,984 ‐ See, I write music and I tried to freestyle it, but... 1043 00:40:31,984 --> 00:40:34,155 ‐ If you think about it, you can't do it. 1044 00:40:34,155 --> 00:40:36,577 You just have to try and go. Yeah. 1045 00:40:36,577 --> 00:40:39,290 Sometimes you‐‐sometimes you‐‐you jump and you land, 1046 00:40:39,290 --> 00:40:40,835 and sometimes you fall. 1047 00:40:40,835 --> 00:40:42,380 ‐ Yeah, sometimes you fall, mate. 1048 00:40:42,380 --> 00:40:43,716 ‐ But it's worth it though. Yeah. 1049 00:40:43,716 --> 00:40:45,720 ‐ It's a good show, man. ‐ Thanks. 1050 00:40:45,720 --> 00:40:47,682 Yeah, I'm glad you guys enjoyed it. 1051 00:40:47,682 --> 00:40:49,603 I've always been taught that the stage is sacred. 1052 00:40:49,603 --> 00:40:50,855 No matter what stage you're on, 1053 00:40:50,855 --> 00:40:52,233 no matter where you doing it. 1054 00:40:52,233 --> 00:40:54,028 That's the sacred part. 1055 00:40:54,028 --> 00:40:55,824 That's the part that... 1056 00:40:55,824 --> 00:40:58,621 if you're true to what you're doing, it doesn't matter. 1057 00:40:58,621 --> 00:41:00,124 You know I'm saying? 1058 00:41:00,124 --> 00:41:01,877 Like it‐‐it‐‐people are‐‐ 1059 00:41:01,877 --> 00:41:03,338 you want people to feel what you're doing. 1060 00:41:03,338 --> 00:41:05,593 You wanna be able to say, "This is my guts. 1061 00:41:05,593 --> 00:41:07,430 "These are‐‐you know, this is my heart and my guts 1062 00:41:07,430 --> 00:41:08,683 and my soul." 1063 00:41:08,683 --> 00:41:10,436 And for whatever reason, you know, 1064 00:41:10,436 --> 00:41:12,566 the universe has spun around, 1065 00:41:12,566 --> 00:41:14,068 and here you are and here I am, 1066 00:41:14,068 --> 00:41:15,905 and I've got a story to tell. 1067 00:41:15,905 --> 00:41:18,911 [vocalizing] 1068 00:41:18,911 --> 00:41:21,124 ♪ ♪ 1069 00:41:21,124 --> 00:41:24,255 Can you bring me just a little bit more in the monitors? 1070 00:41:24,255 --> 00:41:26,050 THOMAS: Chris Jackson is the person 1071 00:41:26,050 --> 00:41:27,804 that when he opens his mouth 1072 00:41:27,804 --> 00:41:29,516 you're gonna get this honesty. 1073 00:41:29,516 --> 00:41:30,935 He's gonna take you back somewhere 1074 00:41:30,935 --> 00:41:32,606 and he's gonna share. 1075 00:41:32,606 --> 00:41:34,526 He's so incredibly open. 1076 00:41:34,526 --> 00:41:37,699 ‐ C‐Jack brings a soul presence to our group. 1077 00:41:37,699 --> 00:41:39,828 He's also the oldest person in our group 1078 00:41:39,828 --> 00:41:41,372 who brings some sort of maturity. 1079 00:41:41,372 --> 00:41:42,751 ‐ I don't know if he'll tell you this, 1080 00:41:42,751 --> 00:41:44,796 but he was very hesitant initially to do freestyle. 1081 00:41:44,796 --> 00:41:46,509 It was something he was not familiar with. 1082 00:41:46,509 --> 00:41:48,638 He's‐‐he worked in studios a long time, 1083 00:41:48,638 --> 00:41:52,228 and so smart and so, like, bright. 1084 00:41:52,228 --> 00:41:53,689 Like he's just got it. 1085 00:41:53,689 --> 00:41:55,359 ‐ ♪ Got back together ♪ 1086 00:41:55,359 --> 00:41:57,363 ♪ 'Cause money always makes things a little bit better ♪ 1087 00:41:57,363 --> 00:41:59,743 ♪ But I'm not mad and I'm not sad ♪ 1088 00:41:59,743 --> 00:42:02,206 You're not doing anything else but performing. 1089 00:42:02,206 --> 00:42:03,876 And ever since I was a kid, man, 1090 00:42:03,876 --> 00:42:05,337 that's all I've ever wanted to do. 1091 00:42:05,337 --> 00:42:07,592 I've never wanted to do anything else. 1092 00:42:07,592 --> 00:42:10,055 And freestyle, even more, because it's me. 1093 00:42:10,055 --> 00:42:12,351 It's‐‐it's what's coming out of my brain. 1094 00:42:12,351 --> 00:42:13,938 It's what's on my mind 1095 00:42:13,938 --> 00:42:16,234 that I'm able to share, and that's pure. 1096 00:42:16,234 --> 00:42:17,696 That's the‐‐I think in this business, man, 1097 00:42:17,696 --> 00:42:19,533 it's the only pure thing left. 1098 00:42:19,533 --> 00:42:21,369 MAN: ♪ All right, it's C‐Jack ♪ 1099 00:42:21,369 --> 00:42:23,958 ♪ And your turn is next, I will slow it down ♪ 1100 00:42:23,958 --> 00:42:26,004 ♪ So you won't get too stressed ♪ 1101 00:42:26,004 --> 00:42:28,216 ‐ ♪ I'm not stressed, I'm looking at you vexed ♪ 1102 00:42:28,216 --> 00:42:31,557 ♪ 'Cause you said denouement, that shit is so complex ♪ 1103 00:42:31,557 --> 00:42:33,184 ♪ I haven't even got my mind around it ♪ 1104 00:42:33,184 --> 00:42:35,565 ♪ Even as I vex this vector ♪ 1105 00:42:35,565 --> 00:42:37,694 ♪ I find my words are coming from the floor ♪ 1106 00:42:37,694 --> 00:42:39,906 ♪ Like the drum, like the African kid ♪ 1107 00:42:39,906 --> 00:42:41,827 ♪ I have to be half of me ♪ 1108 00:42:41,827 --> 00:42:44,750 ♪ Oh, I'm representing those spectacularly ♪ 1109 00:42:44,750 --> 00:42:49,133 ‐ ♪ Yeah ♪ 1110 00:42:49,133 --> 00:42:51,889 ♪ Oh ♪ 1111 00:42:51,889 --> 00:42:55,228 ♪ Oh ♪ 1112 00:42:55,228 --> 00:42:57,651 ♪ Freestyle Love Supreme, here we go ♪ 1113 00:42:57,651 --> 00:43:00,155 ♪ Want to thank you all for coming out to the show ♪ 1114 00:43:00,155 --> 00:43:02,702 ♪ Hope that you had a real good, good time ♪ 1115 00:43:02,702 --> 00:43:05,374 ♪ Take a second now, relax and rewind ♪ 1116 00:43:05,374 --> 00:43:07,837 LIN‐MANUEL: My happy place is watching Chris 1117 00:43:07,837 --> 00:43:09,340 'cause he can really kind of let it rip. 1118 00:43:09,340 --> 00:43:10,843 Both the lyrical content, 1119 00:43:10,843 --> 00:43:13,516 and let his voice sort of fly in this very real way. 1120 00:43:13,516 --> 00:43:17,314 ‐ ♪ Well, in this country that we live ♪ 1121 00:43:19,736 --> 00:43:23,828 ♪ We all come from some other kind of place ♪ 1122 00:43:23,828 --> 00:43:26,750 ♪ No, no ♪ 1123 00:43:26,750 --> 00:43:31,259 ♪ And our history's replete with ♪ 1124 00:43:31,259 --> 00:43:35,434 ♪ The streets filled with anger and tears ♪ 1125 00:43:35,434 --> 00:43:39,233 ♪ And hopeful years that we'll make it someday ♪ 1126 00:43:39,233 --> 00:43:43,450 ♪ 241, going on 242 ♪ 1127 00:43:43,450 --> 00:43:47,792 ♪ And we know we still got a lot of work to do ♪ 1128 00:43:47,792 --> 00:43:50,464 ‐ Also, he was the first of us to have kids. 1129 00:43:50,464 --> 00:43:52,510 He was the first of us to get married. 1130 00:43:52,510 --> 00:43:56,058 and so he's had those responsibilities 1131 00:43:56,058 --> 00:43:57,478 for a long time. 1132 00:43:57,478 --> 00:43:59,023 He's always been, like, the dad. 1133 00:43:59,023 --> 00:44:02,446 [indistinct yelling] 1134 00:44:04,450 --> 00:44:07,498 ‐ He's five. He's a five‐year‐old. 1135 00:44:07,498 --> 00:44:09,168 And that's why I love him so much. 1136 00:44:09,168 --> 00:44:11,130 But he's a five‐year‐old. 1137 00:44:11,130 --> 00:44:14,345 It feels like we've been a theater troupe for 15 years. 1138 00:44:14,345 --> 00:44:17,100 It's like breathing, it's just part of what we do. 1139 00:44:17,100 --> 00:44:18,646 It's part of our relationships. 1140 00:44:18,646 --> 00:44:20,942 It's part of our experiences. 1141 00:44:20,942 --> 00:44:22,946 ‐ Oh, I hope I get to be in the show tonight. 1142 00:44:22,946 --> 00:44:24,448 MAN: Clean the floor, yeah. You get to go to the ball. 1143 00:44:24,448 --> 00:44:26,787 UTKARSH: Keep cleaning the floor, Lin‐derella. 1144 00:44:26,787 --> 00:44:28,833 No, is it Lin‐derella? 1145 00:44:28,833 --> 00:44:30,460 ‐ Lin‐derella! 1146 00:44:30,460 --> 00:44:33,174 ‐ Animals dress me for the show! 1147 00:44:33,174 --> 00:44:34,678 Okay, I'm ready. 1148 00:44:34,678 --> 00:44:36,180 ‐ Man, you just don't‐‐ 1149 00:44:36,180 --> 00:44:38,769 people don't have an opportunity to be around 1150 00:44:38,769 --> 00:44:40,188 and love people, 1151 00:44:40,188 --> 00:44:41,984 you know, guys that you absolutely love, 1152 00:44:41,984 --> 00:44:43,737 who are not related to you, you know what I mean? 1153 00:44:43,737 --> 00:44:46,952 Like it's just uncommon. 1154 00:44:46,952 --> 00:44:49,331 I think if more people had this kind of experience, 1155 00:44:49,331 --> 00:44:52,170 truly the world would be happier place. 1156 00:44:52,170 --> 00:44:54,801 ♪ ♪ 1157 00:44:54,801 --> 00:44:57,599 BOTH: Rejoicing reunion! 1158 00:44:57,599 --> 00:44:59,519 LIN‐MANUEL: That was an original musical 1159 00:44:59,519 --> 00:45:01,063 we wrote in the 6th grade. 1160 00:45:01,063 --> 00:45:04,194 ‐ I basically wrote a rap. A nerd rap that went, uh... 1161 00:45:05,948 --> 00:45:08,244 ♪ Computers, they are a pastime ♪ 1162 00:45:08,244 --> 00:45:10,457 BOTH: ♪ Calculators, we used it last time ♪ 1163 00:45:10,457 --> 00:45:12,461 ♪ To find the square root of a rhyme ♪ 1164 00:45:12,461 --> 00:45:14,006 ♪ That was where we find the time ♪ 1165 00:45:14,006 --> 00:45:15,927 [both talking over each other] 1166 00:45:15,927 --> 00:45:17,304 ♪ Someone paid us just in time ♪ 1167 00:45:17,304 --> 00:45:19,183 ‐ Yeah, that was the one about the cool kids. 1168 00:45:19,183 --> 00:45:20,811 It was all about the clicks. ‐ Cool kids and‐‐yeah. 1169 00:45:20,811 --> 00:45:22,523 ‐ ♪ 'Cause we are cool ♪ 1170 00:45:22,523 --> 00:45:24,360 ♪ We get good grades ♪ 1171 00:45:24,360 --> 00:45:26,364 I've known Arthur since third grade. 1172 00:45:26,364 --> 00:45:28,619 We went to the same elementary school. 1173 00:45:28,619 --> 00:45:30,539 And the first time I met him, 1174 00:45:30,539 --> 00:45:33,754 I knew because there was this rumor that this kid could spell 1175 00:45:33,754 --> 00:45:35,967 supercalifragilistic expialidocious. 1176 00:45:35,967 --> 00:45:38,639 I went over to my said, "I hear you can spell 1177 00:45:38,639 --> 00:45:41,185 supercalifragilistic expialidocious." 1178 00:45:41,185 --> 00:45:44,191 And he said, "Backwards or forwards?" 1179 00:45:44,191 --> 00:45:47,447 [piano plays] 1180 00:45:47,447 --> 00:45:53,794 ♪ ♪ 1181 00:45:53,794 --> 00:45:57,384 THOMAS: Arthur the Geniuses is the mystery element 1182 00:45:57,384 --> 00:45:58,804 of Freestyle Love Supreme. 1183 00:45:58,804 --> 00:46:01,267 He's sitting there creating these beautiful sounds 1184 00:46:01,267 --> 00:46:02,687 with this fingers, 1185 00:46:02,687 --> 00:46:04,607 and then he just blows your mind and opens his mouth, 1186 00:46:04,607 --> 00:46:07,446 and then goes back without even acknowledging the crowd. 1187 00:46:07,446 --> 00:46:08,991 Just sort of floats on and floats off. 1188 00:46:08,991 --> 00:46:10,410 He's the ethereal one. 1189 00:46:10,410 --> 00:46:12,582 ‐ I think it might be a good time for us right now 1190 00:46:12,582 --> 00:46:14,794 to unplug then and re‐plug. 1191 00:46:14,794 --> 00:46:17,299 ‐ Sí, es una buena hora para desenchufar y enchufar. 1192 00:46:17,299 --> 00:46:18,886 ‐ We're gonna get another word from you. 1193 00:46:18,886 --> 00:46:21,600 ‐ Vamos a conseguir otra palabra de ustedes. 1194 00:46:21,600 --> 00:46:24,939 ‐ How about we get something you couldn't live without? 1195 00:46:24,939 --> 00:46:27,904 ‐ ¿Por qué no conseguimos algo que sin ella no podrías sobrevivir? 1196 00:46:27,904 --> 00:46:29,784 ‐ Something you couldn't live without. 1197 00:46:29,784 --> 00:46:31,745 ‐ Algo que necesitas. 1198 00:46:31,745 --> 00:46:34,500 ‐ Instant noodles. Good for you. 1199 00:46:34,500 --> 00:46:36,003 AUDIENCE MEMBER: Nail clippers! 1200 00:46:36,003 --> 00:46:37,715 ‐ Nail clippers. 1201 00:46:37,715 --> 00:46:40,721 What else? Keep 'em coming. 1202 00:46:40,721 --> 00:46:42,099 ‐ Mascara. 1203 00:46:42,099 --> 00:46:43,894 ‐ Baskara? ‐ Mascara. 1204 00:46:43,894 --> 00:46:45,648 ‐ Mascara. 1205 00:46:45,648 --> 00:46:49,238 ARTHUR: It's funny because True was originally created 1206 00:46:49,238 --> 00:46:51,283 'cause I've been playing piano in the show, 1207 00:46:51,283 --> 00:46:53,204 and they were like, "This is stupid." 1208 00:46:53,204 --> 00:46:54,833 Like, "Arthur, you need to be singing." 1209 00:46:54,833 --> 00:46:57,254 ♪ Mascara ♪ 1210 00:46:57,254 --> 00:46:59,258 ♪ Mascara ♪ 1211 00:46:59,258 --> 00:47:03,934 ‐ Ladies and gentlemen, the word is mascara. 1212 00:47:03,934 --> 00:47:06,313 ‐ The things that I learned in the first couple years 1213 00:47:06,313 --> 00:47:09,444 of the group, like, really, like, created 1214 00:47:09,444 --> 00:47:12,450 an understanding of, like, performing 1215 00:47:12,450 --> 00:47:15,541 and even, like, interacting with other people. 1216 00:47:15,541 --> 00:47:19,006 ♪ Some people can't even stand ♪ 1217 00:47:19,006 --> 00:47:22,429 ♪ To look at themselves in the mirror ♪ 1218 00:47:22,429 --> 00:47:26,437 ♪ If it's still too early in the morning ♪ 1219 00:47:26,437 --> 00:47:32,032 ♪ And they haven't put on their mascara ♪ 1220 00:47:32,032 --> 00:47:33,409 ♪ Mascara ♪ 1221 00:47:33,409 --> 00:47:35,581 ANTHONY: True is a moment where we pull 1222 00:47:35,581 --> 00:47:37,877 an important word from the audience, 1223 00:47:37,877 --> 00:47:41,133 and that word is then seen through the lens 1224 00:47:41,133 --> 00:47:44,641 of each emcee who's involved in the song, 1225 00:47:44,641 --> 00:47:47,437 and something that personally happened to them. 1226 00:47:47,437 --> 00:47:50,443 ♪ When I hear the word mascara ♪ 1227 00:47:50,443 --> 00:47:52,823 ♪ Sometimes I know I think about it ♪ 1228 00:47:52,823 --> 00:47:54,827 ♪ And I'm mad scared too ♪ 1229 00:47:54,827 --> 00:47:58,042 ♪ Oh, I was a little brother to a big sister ♪ 1230 00:47:58,042 --> 00:48:01,967 ♪ Who clearly didn't have enough to do ♪ 1231 00:48:01,967 --> 00:48:05,849 ♪ So, she was always experimenting on me ♪ 1232 00:48:05,849 --> 00:48:10,108 ♪ Let me have the kind of childhood I wanted ♪ 1233 00:48:10,108 --> 00:48:12,153 ♪ But, oh, I didn't want it ♪ 1234 00:48:12,153 --> 00:48:14,283 ♪ No, I didn't want it ♪ 1235 00:48:14,283 --> 00:48:17,623 ♪ But that morning, my mom, well, she was gone and... ♪ 1236 00:48:17,623 --> 00:48:21,046 ‐ How much it's about all of us, like, 1237 00:48:21,046 --> 00:48:23,134 digging into ourselves 1238 00:48:23,134 --> 00:48:25,138 and, like, just finding the joy 1239 00:48:25,138 --> 00:48:26,766 in the things we know how to do, 1240 00:48:26,766 --> 00:48:28,895 and turning them into a show. 1241 00:48:28,895 --> 00:48:31,985 ♪ I'm getting up in the morning ♪ 1242 00:48:31,985 --> 00:48:34,072 ♪ And I need to go somewhere ♪ 1243 00:48:34,072 --> 00:48:38,665 ♪ And relax my day brain ♪ 1244 00:48:38,665 --> 00:48:41,003 ♪ Just waking up ♪ 1245 00:48:41,003 --> 00:48:43,215 ♪ So the things I say don't make so much sense ♪ 1246 00:48:43,215 --> 00:48:46,055 ♪ But I know I gotta get out of the house ♪ 1247 00:48:46,055 --> 00:48:48,100 ♪ Get on the A train ♪ 1248 00:48:48,100 --> 00:48:50,104 ♪ A train ♪ 1249 00:48:50,104 --> 00:48:51,900 ‐ This shit is a hit. 1250 00:48:51,900 --> 00:48:53,987 [laughter] ‐ ♪ A train ♪ 1251 00:48:53,987 --> 00:48:56,283 ♪ A train ♪ 1252 00:48:56,283 --> 00:48:58,412 ♪ A train ♪ 1253 00:48:58,412 --> 00:49:01,168 ‐ True came about because it just like there's 1254 00:49:01,168 --> 00:49:04,759 a lot of skill that's being demonstrated, 1255 00:49:04,759 --> 00:49:09,434 but who are we and how can we make that part of the show? 1256 00:49:09,434 --> 00:49:12,608 'Cause if you can have a comedy show that makes you cry, 1257 00:49:12,608 --> 00:49:14,194 now we're talking about something. 1258 00:49:14,194 --> 00:49:15,739 [laughter] 1259 00:49:15,739 --> 00:49:17,450 ‐ All right, I think we've got it. 1260 00:49:17,450 --> 00:49:20,582 ‐ Dime. ‐ Yeah. 1261 00:49:20,582 --> 00:49:24,089 The word is vibrator. 1262 00:49:24,089 --> 00:49:27,011 [cheers and laughter] 1263 00:49:27,011 --> 00:49:32,690 ‐ ♪ Like my grandmom who's speaking through my soul ♪ 1264 00:49:32,690 --> 00:49:35,612 ♪ And I would let that let me walk ♪ 1265 00:49:35,612 --> 00:49:37,700 ♪ Through a lot of different doors ♪ 1266 00:49:37,700 --> 00:49:40,163 ♪ Don't you know ♪ 1267 00:49:40,163 --> 00:49:44,296 ♪ And one day I'd sit up with my best friends ♪ 1268 00:49:44,296 --> 00:49:49,306 ♪ And vibrator ♪ 1269 00:49:49,306 --> 00:49:52,563 ♪ Yes, I would ♪ 1270 00:49:52,563 --> 00:49:56,821 ♪ Vi ♪ 1271 00:49:59,493 --> 00:50:01,497 UTKARSH: Anthony does this thing, 1272 00:50:01,497 --> 00:50:03,459 and he's taught me how to do it now, 1273 00:50:03,459 --> 00:50:05,379 to take the word and flip it. 1274 00:50:05,379 --> 00:50:07,175 ♪ But here's the thing ♪ 1275 00:50:07,175 --> 00:50:08,970 ♪ At that time, 2005 ♪ 1276 00:50:08,970 --> 00:50:11,475 ♪ I had never ever seen him perform live ♪ 1277 00:50:11,475 --> 00:50:13,605 ♪ And then I went to Ars Nova ♪ 1278 00:50:13,605 --> 00:50:15,066 ♪ This is actually a space ♪ 1279 00:50:15,066 --> 00:50:17,445 ♪ Owned by the same theater company ♪ 1280 00:50:17,445 --> 00:50:20,076 ♪ And I placed myself like in the back row ♪ 1281 00:50:20,076 --> 00:50:22,121 ♪ 'Cause I was real cool then ♪ 1282 00:50:22,121 --> 00:50:23,875 ♪ Smoking and drinking and thinking ♪ 1283 00:50:23,875 --> 00:50:25,629 ♪ I was the sickest, my friends ♪ 1284 00:50:25,629 --> 00:50:29,845 ♪ But then, they came out on stage ♪ 1285 00:50:29,845 --> 00:50:33,018 ♪ Holy shit, the audience was amazed ♪ 1286 00:50:33,018 --> 00:50:35,064 ♪ If I had a vibe rater ♪ 1287 00:50:35,064 --> 00:50:38,070 ♪ That vibe would be higher than anything ♪ 1288 00:50:38,070 --> 00:50:40,366 ♪ It would be hotter than the equator ♪ 1289 00:50:40,366 --> 00:50:43,999 ♪ If that vibe rater really existed ♪ 1290 00:50:43,999 --> 00:50:45,752 ♪ That vibe would be tippy top ♪ 1291 00:50:45,752 --> 00:50:47,673 ♪ It got my whole mind twisted ♪ 1292 00:50:47,673 --> 00:50:49,217 ♪ So we can say ♪ 1293 00:50:49,217 --> 00:50:51,263 ♪ I love you every single day ♪ 1294 00:50:51,263 --> 00:50:52,808 ♪ The band is back to‐fucking‐gether ♪ 1295 00:50:52,808 --> 00:50:55,606 ♪ And we're here and we can play, yeah ♪ 1296 00:50:57,818 --> 00:51:00,657 ‐ Do you get any levels of stress when you go out there? 1297 00:51:00,657 --> 00:51:01,868 ‐ I did today. 1298 00:51:01,868 --> 00:51:03,329 I had a slow show in the beginning. 1299 00:51:03,329 --> 00:51:04,957 It was like, no, the words aren't coming out, 1300 00:51:04,957 --> 00:51:06,544 and it's the first time that happened in this run. 1301 00:51:06,544 --> 00:51:08,632 ‐ It's almost like speaking another language, right? 1302 00:51:08,632 --> 00:51:10,217 Like if you do it enough where you're immersed in it 1303 00:51:10,217 --> 00:51:12,180 and you, like, start dreaming in it‐‐ 1304 00:51:12,180 --> 00:51:14,225 and I've already started. 1305 00:51:14,225 --> 00:51:15,771 I don't know if you have. 1306 00:51:15,771 --> 00:51:16,856 But when we get into a run of this, 1307 00:51:16,856 --> 00:51:18,192 usually by the second or third week, 1308 00:51:18,192 --> 00:51:19,779 I have dreams that are all in freestyle. 1309 00:51:19,779 --> 00:51:21,239 ‐ I just‐‐the thought of‐‐ 1310 00:51:21,239 --> 00:51:23,202 the thought of having to go out there... 1311 00:51:23,202 --> 00:51:25,498 'cause the thought of going out there and improvising is, like, 1312 00:51:25,498 --> 00:51:27,711 appealing but stressful. 1313 00:51:27,711 --> 00:51:29,297 But the idea of going out there and having to do it 1314 00:51:29,297 --> 00:51:31,803 and make it rhyme just seems mental. 1315 00:51:31,803 --> 00:51:36,019 It's like such a perverse bar to have set for yourselves. 1316 00:51:36,019 --> 00:51:39,527 ‐ In terms of the lessons that freestyle teaches you, 1317 00:51:39,527 --> 00:51:43,660 there's plenty in here for any artist, right? 1318 00:51:43,660 --> 00:51:47,083 Collaboration, listening, 1319 00:51:47,083 --> 00:51:49,797 fearlessness, even when you're terrified. 1320 00:51:49,797 --> 00:51:51,216 Just sticking to it, 1321 00:51:51,216 --> 00:51:53,011 and you're gonna get better at it 1322 00:51:53,011 --> 00:51:54,974 just by getting up on stage. 1323 00:51:54,974 --> 00:51:57,604 There's no substitute for getting up on stage 1324 00:51:57,604 --> 00:51:59,232 and doing this. 1325 00:51:59,232 --> 00:52:00,569 We were having tennis balls thrown at us 1326 00:52:00,569 --> 00:52:02,865 at those late night shows in Edinburgh. 1327 00:52:02,865 --> 00:52:04,159 And then you just keep rapping 1328 00:52:04,159 --> 00:52:05,829 and you fucking throw the tennis ball back. 1329 00:52:05,829 --> 00:52:09,419 ANTHONY: This is our first bad press, um, here in Edinburgh. 1330 00:52:09,419 --> 00:52:11,089 ‐ Yeah? ‐ Yeah. 1331 00:52:11,089 --> 00:52:13,177 ‐ Luckily, it's really bad, and... 1332 00:52:13,177 --> 00:52:14,513 ‐ Really? ‐ Is it really? 1333 00:52:14,513 --> 00:52:16,517 ‐ Yeah, it really is. It really is. 1334 00:52:16,517 --> 00:52:17,895 THOMAS: I remembered you arrived the day 1335 00:52:17,895 --> 00:52:19,272 that a bunch of reviews came out. 1336 00:52:19,272 --> 00:52:21,694 And you said, "Tommy, I don't wanna do anything 1337 00:52:21,694 --> 00:52:23,782 "that's gonna feel like I'm intruding or invading. 1338 00:52:23,782 --> 00:52:26,161 This is going to be verité. I'm a fly on the wall." 1339 00:52:26,161 --> 00:52:27,998 Is there any world where you would read these 1340 00:52:27,998 --> 00:52:31,171 in front of the guys and I could roll on it. 1341 00:52:31,171 --> 00:52:33,050 No, it's‐‐ I would never do that. 1342 00:52:33,050 --> 00:52:35,179 I'm just‐‐I'm not even here. 1343 00:52:35,179 --> 00:52:38,101 What if you leave them on the coffee table 1344 00:52:38,101 --> 00:52:41,066 and the guys discover them and you have to talk about it? 1345 00:52:41,066 --> 00:52:44,657 ‐ "Do you hoop and holler when a man in a baseball cap 1346 00:52:44,657 --> 00:52:46,326 "asks, 'Can you dig it?' 1347 00:52:46,326 --> 00:52:47,788 "Do you scream like a banshee 1348 00:52:47,788 --> 00:52:50,417 "when someone asks you to say, 'Yo'? 1349 00:52:50,417 --> 00:52:53,800 "If you're so enthralled to American hip‐hop culture, 1350 00:52:53,800 --> 00:52:57,056 "you might just enjoy Freestyle Love Supreme, 1351 00:52:57,056 --> 00:53:00,271 "an all‐male hip‐hop improvised comedy group 1352 00:53:00,271 --> 00:53:02,024 "from New York who make it their business 1353 00:53:02,024 --> 00:53:03,528 to get funky with words." 1354 00:53:03,528 --> 00:53:05,197 MAN: Believe it. MAN: Funky! 1355 00:53:05,197 --> 00:53:06,826 [overlapping chatter] 1356 00:53:06,826 --> 00:53:08,872 ‐ We're just getting funky with words. 1357 00:53:08,872 --> 00:53:10,750 ANTHONY: "It's worth remembering that great rap, 1358 00:53:10,750 --> 00:53:14,758 "like a great symphony or opera, doesn't come easy. 1359 00:53:14,758 --> 00:53:16,888 "And so improvised rap is generally a matter 1360 00:53:16,888 --> 00:53:19,142 "of the most simple and obvious choices, 1361 00:53:19,142 --> 00:53:21,647 making it instantly disposable." 1362 00:53:21,647 --> 00:53:23,358 [laughter, cheers] 1363 00:53:23,358 --> 00:53:25,279 ‐ That's our first bad review. 1364 00:53:25,279 --> 00:53:27,033 ANTHONY: ♪ Easily forgettable ♪ 1365 00:53:27,033 --> 00:53:28,578 [rhythmically clapping] 1366 00:53:28,578 --> 00:53:30,039 ♪ Easily forgettable ♪ 1367 00:53:30,039 --> 00:53:31,751 ‐ What? What'd you say? 1368 00:53:31,751 --> 00:53:33,755 ANTHONY: ♪ Easily forgettable ♪ 1369 00:53:33,755 --> 00:53:34,798 [somber music] 1370 00:53:34,798 --> 00:53:36,886 ♪ Easily forgettable ♪ 1371 00:53:36,886 --> 00:53:39,307 [voices talking indistinctly] 1372 00:53:39,307 --> 00:53:40,894 ♪ ♪ 1373 00:53:40,894 --> 00:53:43,900 [indistinct chatter] 1374 00:53:45,612 --> 00:53:48,701 ‐ Oh, my God. Speaking of fatty tuna. 1375 00:53:48,701 --> 00:53:51,373 Fucking Anthony with his [indistinct] just walked in. 1376 00:53:51,373 --> 00:53:54,420 Anthony throws his heart into everything he does, 1377 00:53:54,420 --> 00:53:55,840 and it's incredible. 1378 00:53:55,840 --> 00:53:57,594 I mean, his enthusiasm is just infectious 1379 00:53:57,594 --> 00:53:59,890 and empowers a group, I think. 1380 00:53:59,890 --> 00:54:01,644 ‐ Because we are Freestyle Love Supreme, 1381 00:54:01,644 --> 00:54:02,896 ladies and gentlemen, 1382 00:54:02,896 --> 00:54:04,232 and my name is Two‐Touch. 1383 00:54:04,232 --> 00:54:06,194 I will be your host for this evening. 1384 00:54:06,194 --> 00:54:08,365 Thank you very much. 1385 00:54:08,365 --> 00:54:12,331 ‐ I'd say Two‐Touch is like the daredevil 1386 00:54:12,331 --> 00:54:14,085 of Freestyle Love Supreme 1387 00:54:14,085 --> 00:54:15,672 because he's out in front. 1388 00:54:15,672 --> 00:54:17,299 He has to read the crowd. 1389 00:54:17,299 --> 00:54:19,137 He has to read us. 1390 00:54:19,137 --> 00:54:22,143 He's that middle man, you know? 1391 00:54:22,143 --> 00:54:24,355 The kid's got such a wealth of knowledge 1392 00:54:24,355 --> 00:54:27,445 that he‐‐he readily taps into. 1393 00:54:27,445 --> 00:54:29,449 ‐ I don't know why, but they're just‐‐ 1394 00:54:29,449 --> 00:54:32,371 I just remember things about certain countries, 1395 00:54:32,371 --> 00:54:35,085 like geography and bridges and rivers 1396 00:54:35,085 --> 00:54:37,591 and mountain ranges, 1397 00:54:37,591 --> 00:54:39,595 and it's weird. 1398 00:54:39,595 --> 00:54:41,891 I just noticed your button right now. 1399 00:54:43,686 --> 00:54:45,690 ‐ Yeah. 1400 00:54:45,690 --> 00:54:48,111 ‐ I know, but I love it. 1401 00:54:49,615 --> 00:54:53,790 Proud immigrant. Human. From Canada. 1402 00:54:53,790 --> 00:54:56,002 Where in Canada? 1403 00:54:56,002 --> 00:54:59,383 ‐ London, Ontario. ‐ London, Ontario. 1404 00:55:00,553 --> 00:55:03,350 That is a tragic sight 1405 00:55:03,350 --> 00:55:07,233 of a giant elephant dying in the late 1800s. 1406 00:55:07,233 --> 00:55:09,320 That was the main attraction to Barnum and Bailey 1407 00:55:09,320 --> 00:55:10,907 that created the story of Dumbo. 1408 00:55:10,907 --> 00:55:12,744 ‐ I didn't know that. ‐ London, Ontario. 1409 00:55:12,744 --> 00:55:15,207 That's the only reason why I know London, Ontario. 1410 00:55:15,207 --> 00:55:17,169 It's because of this major train accident 1411 00:55:17,169 --> 00:55:18,631 that happened‐‐ that killed‐‐ 1412 00:55:18,631 --> 00:55:21,762 Jumbo was the name of the dog, or the elephant. 1413 00:55:21,762 --> 00:55:23,724 ‐ Oh, that's sad. 1414 00:55:23,724 --> 00:55:26,020 ‐ I know why you left now. 1415 00:55:26,020 --> 00:55:28,943 ‐ 'Cause of Jumbo. ‐ Tragic. 1416 00:55:28,943 --> 00:55:31,447 THOMAS: Two‐Touch is the heart and soul. 1417 00:55:31,447 --> 00:55:35,080 Quite simply he is‐‐ he's the engine. 1418 00:55:35,080 --> 00:55:38,086 He's‐‐he's the guts and the blood 1419 00:55:38,086 --> 00:55:39,590 of Freestyle Love Supreme. 1420 00:55:39,590 --> 00:55:41,384 LIN‐MANUEL: Anthony launches into the first thing 1421 00:55:41,384 --> 00:55:42,929 that comes out of his mouth, and he finds that 1422 00:55:42,929 --> 00:55:44,892 and that connects to this, and that connects to this. 1423 00:55:44,892 --> 00:55:46,436 And it's really‐‐it's‐‐ it's really‐‐ 1424 00:55:46,436 --> 00:55:48,608 we're going like this, but we meet sort of in the middle. 1425 00:55:48,608 --> 00:55:50,319 ‐ So who would like to come up here 1426 00:55:50,319 --> 00:55:51,906 and share their day with us? Now‐‐ 1427 00:55:51,906 --> 00:55:53,450 AUDIENCE MEMBER: It's my 40th birthday! 1428 00:55:53,450 --> 00:55:54,953 [cheers, laughter] 1429 00:55:54,953 --> 00:55:57,166 ‐ Thank you so much! That's awesome! 1430 00:55:57,166 --> 00:55:58,878 Who would like to come up here 1431 00:55:58,878 --> 00:56:01,049 and share their day with us? 1432 00:56:01,049 --> 00:56:03,721 [laughter] 1433 00:56:03,721 --> 00:56:05,516 ANTHONY: I love it so much. 1434 00:56:05,516 --> 00:56:07,019 Day in the Life, 1435 00:56:07,019 --> 00:56:09,775 it's one of the things that I have the most fun doing, 1436 00:56:09,775 --> 00:56:13,156 which is bringing up a stranger and sitting them down 1437 00:56:13,156 --> 00:56:15,828 and helping them, A, to feel safe and comfortable 1438 00:56:15,828 --> 00:56:17,666 and like they're a star, 1439 00:56:17,666 --> 00:56:21,548 and then also find ways to sort of weave our show, 1440 00:56:21,548 --> 00:56:23,468 and the ethos of our show, 1441 00:56:23,468 --> 00:56:26,265 in throughout their lens of the day. 1442 00:56:26,265 --> 00:56:29,564 THOMAS: Anthony is as facile and nimble a brain and a host 1443 00:56:29,564 --> 00:56:31,777 as you could ever hope to imagine. 1444 00:56:31,777 --> 00:56:33,446 Watching him do the interview, 1445 00:56:33,446 --> 00:56:36,160 watching him take words from an audience, 1446 00:56:36,160 --> 00:56:38,833 decide where we're gonna go, navigate the group, 1447 00:56:38,833 --> 00:56:40,002 lead from up there. 1448 00:56:40,002 --> 00:56:42,131 He's so much the on‐field captain. 1449 00:56:42,131 --> 00:56:43,801 ‐ As you make your way up here‐‐ 1450 00:56:43,801 --> 00:56:45,470 Oh, yes, smart. Good‐‐good. 1451 00:56:45,470 --> 00:56:48,018 ‐ Whoa, whoa, whoa! ‐ Unseen. 1452 00:56:48,018 --> 00:56:49,646 ‐ We all saw that coming. 1453 00:56:49,646 --> 00:56:51,274 ‐ Standard operating procedure. 1454 00:56:51,274 --> 00:56:52,986 UTKARSH: He chose walking up the stairs 1455 00:56:52,986 --> 00:56:54,823 as the time to take his sweater off. 1456 00:56:54,823 --> 00:56:56,325 ‐ Oh, my God. 1457 00:56:56,325 --> 00:56:57,996 [laughter] 1458 00:56:57,996 --> 00:56:59,373 You're not‐‐ ‐ Not great at walking. 1459 00:56:59,373 --> 00:57:00,918 No worries. I'm gonna ask you to sit down. 1460 00:57:00,918 --> 00:57:03,006 So, let's do that. 1461 00:57:03,006 --> 00:57:04,718 THOMAS: The way that he kneels down 1462 00:57:04,718 --> 00:57:07,640 next to an audience member when he does that interview, 1463 00:57:07,640 --> 00:57:09,519 and he's perched there with his arm around them 1464 00:57:09,519 --> 00:57:12,776 and it's just like, you are so taken care of. 1465 00:57:12,776 --> 00:57:14,070 ‐ Just to walk us through your day. 1466 00:57:14,070 --> 00:57:15,615 So, do you have breakfast together at some point? 1467 00:57:15,615 --> 00:57:17,367 ‐ That's right. ‐ What'd you have? 1468 00:57:17,367 --> 00:57:19,288 ‐ Banana smoothies. 1469 00:57:19,288 --> 00:57:20,750 ‐ Awesome. 1470 00:57:20,750 --> 00:57:22,879 And that's‐‐ do you use a Vitamix? 1471 00:57:22,879 --> 00:57:24,298 I use a Vitamix? 1472 00:57:24,298 --> 00:57:26,177 ‐ We can't afford that, but, like, a Ninja. 1473 00:57:26,177 --> 00:57:28,389 [laughter] 1474 00:57:28,389 --> 00:57:30,728 ‐ Check your privilege, Anthony! 1475 00:57:30,728 --> 00:57:32,607 ‐ Check your privilege. 1476 00:57:32,607 --> 00:57:34,235 ANTHONY: Oh, my God. 1477 00:57:34,235 --> 00:57:37,032 I am so white right now. 1478 00:57:37,032 --> 00:57:38,619 I have a Vitamix. 1479 00:57:38,619 --> 00:57:40,915 I totally have a Vitamix. Wakanda forever. 1480 00:57:40,915 --> 00:57:42,752 Okay. 1481 00:57:42,752 --> 00:57:45,006 [laughter] 1482 00:57:45,006 --> 00:57:47,177 I'm a terrible person. I'm a part of the problem. 1483 00:57:47,177 --> 00:57:49,306 ‐ I want it. It's on my Christmas list. 1484 00:57:49,306 --> 00:57:51,269 ‐ I know what I'm getting you. I know what I'm getting you. 1485 00:57:51,269 --> 00:57:53,858 Okay, so you guys use a Ninja. 1486 00:57:53,858 --> 00:57:56,195 You make subpar banana smoothies. 1487 00:57:56,195 --> 00:57:59,076 Whatever. And then is there... 1488 00:58:02,416 --> 00:58:06,592 ‐ I think that there's something 1489 00:58:06,592 --> 00:58:09,263 so pleasing about that for an audience 1490 00:58:09,263 --> 00:58:11,184 just to give over. 1491 00:58:11,184 --> 00:58:13,062 "Okay, they got me." 1492 00:58:13,062 --> 00:58:15,150 And I think that's what he does in that moment 1493 00:58:15,150 --> 00:58:16,820 that is transcendent. 1494 00:58:16,820 --> 00:58:18,657 ‐ Now, I didn't bring it up here 1495 00:58:18,657 --> 00:58:20,493 because I wanted to look better, 1496 00:58:20,493 --> 00:58:22,414 but I have a cane so I walk on a cane. 1497 00:58:22,414 --> 00:58:26,005 ‐ Oh, a cane doesn't make you look any less appealing 1498 00:58:26,005 --> 00:58:27,299 than you are. 1499 00:58:27,299 --> 00:58:28,677 You're an amazing human being. ‐ Thank you. 1500 00:58:28,677 --> 00:58:30,472 Okay, but anyway, at that point... 1501 00:58:30,472 --> 00:58:32,226 UTKARSH: You hear the word love, 1502 00:58:32,226 --> 00:58:35,608 but then to see it put into practice by the guys on stage. 1503 00:58:35,608 --> 00:58:37,110 Anthony, specifically, 1504 00:58:37,110 --> 00:58:39,281 with the way that he carries the tone as the host, 1505 00:58:39,281 --> 00:58:41,410 and you know, that comes from Tommy in the way 1506 00:58:41,410 --> 00:58:44,208 that him and Lin and Anthony put the show together. 1507 00:58:44,208 --> 00:58:47,172 Like, it's like truly about, like, embracing 1508 00:58:47,172 --> 00:58:50,178 and celebrating the human experience. 1509 00:58:50,178 --> 00:58:52,182 ‐ Well, then I thought I'd stay up 1510 00:58:52,182 --> 00:58:53,811 and do a crossword puzzle. 1511 00:58:53,811 --> 00:58:56,023 ‐ Yup. 1512 00:58:56,023 --> 00:58:59,071 So what crossword puzzle did you do? 1513 00:58:59,071 --> 00:59:00,741 ‐ The Sunday Times, of course. 1514 00:59:00,741 --> 00:59:02,537 ‐ Of course! 1515 00:59:02,537 --> 00:59:05,375 Because‐‐it is Thursday, thank you. 1516 00:59:05,375 --> 00:59:08,549 Good call. Good catch. Good catch. 1517 00:59:08,549 --> 00:59:11,638 So, talk to me about the Thursday crossword puzzle. 1518 00:59:11,638 --> 00:59:13,726 Is it that you were starting it on Thursday 1519 00:59:13,726 --> 00:59:15,521 out of just some old habit 1520 00:59:15,521 --> 00:59:17,399 or is it because you've been working on it since Sunday? 1521 00:59:17,399 --> 00:59:19,445 ‐ I've been working on it for months now. 1522 00:59:19,445 --> 00:59:20,698 [laughter] 1523 00:59:20,698 --> 00:59:23,202 ‐ Okay, is that what you wanted to hear? 1524 00:59:23,202 --> 00:59:26,668 Is that why you were‐‐ you feel better now? 1525 00:59:26,668 --> 00:59:30,050 Nancy, can we hang out after this? 1526 00:59:30,050 --> 00:59:32,012 LIN‐MANUEL: I come home and my wife asks me 1527 00:59:32,012 --> 00:59:34,183 what happened at the freestyle show the night before. 1528 00:59:34,183 --> 00:59:35,811 On Hamilton, she didn't do that. 1529 00:59:35,811 --> 00:59:37,105 The show was the show. 1530 00:59:37,105 --> 00:59:38,650 But I would tell her 1531 00:59:38,650 --> 00:59:40,654 "You've got to hear this Day in the Life we got. 1532 00:59:40,654 --> 00:59:42,407 "Nancy Hillman. And Anthony said, 1533 00:59:42,407 --> 00:59:44,746 "'How long you been working on the New York times crossword?' 1534 00:59:44,746 --> 00:59:48,419 'For months,'" you know, and Vanessa dies laughing. 1535 00:59:48,419 --> 00:59:51,718 ♪ ♪ 1536 00:59:51,718 --> 00:59:54,056 She first saw me in a Freestyle Love Supreme show. 1537 00:59:54,056 --> 00:59:56,185 I mean, she knew of me in high school. 1538 00:59:56,185 --> 00:59:59,901 I was a theater nerd, and she was being cool. 1539 00:59:59,901 --> 01:00:02,740 Hi, I'm Lin‐Manuel Miranda, 1540 01:00:02,740 --> 01:00:04,744 and this is my final competition piece. 1541 01:00:04,744 --> 01:00:07,124 It's called Sound Laser. 1542 01:00:07,124 --> 01:00:08,752 But I invited her on Facebook 1543 01:00:08,752 --> 01:00:10,840 to a Freestyle show in Ars Nova. 1544 01:00:10,840 --> 01:00:12,510 We started talking then, 1545 01:00:12,510 --> 01:00:14,138 and then she went, 1546 01:00:14,138 --> 01:00:18,187 "That guy's smart. That's hard to do." 1547 01:00:18,187 --> 01:00:20,024 And that's how I got my wife. 1548 01:00:20,024 --> 01:00:24,826 ♪ ♪ 1549 01:00:24,826 --> 01:00:26,412 Hi, I'm Lin Miranda. 1550 01:00:26,412 --> 01:00:28,082 I'm the composer, lyricist, 1551 01:00:28,082 --> 01:00:30,336 and star of In the Heights and... 1552 01:00:30,336 --> 01:00:32,424 Hi, Amer‐‐ [chuckles] 1553 01:00:32,424 --> 01:00:35,263 [somber music] 1554 01:00:35,263 --> 01:00:40,983 ♪ ♪ 1555 01:00:40,983 --> 01:00:42,486 THOMAS: For In the Heights, 1556 01:00:42,486 --> 01:00:43,906 that was everything we had. 1557 01:00:43,906 --> 01:00:45,618 We just went like this. That's what we got. 1558 01:00:45,618 --> 01:00:47,370 [upbeat music plays] 1559 01:00:47,370 --> 01:00:49,416 ‐ Yeah. 1560 01:00:49,416 --> 01:00:56,055 ♪ ♪ 1561 01:00:57,057 --> 01:00:58,977 ‐ And when that goes back... 1562 01:01:01,148 --> 01:01:03,236 LIN‐MANUEL: Heights, in a very real way, 1563 01:01:03,236 --> 01:01:05,908 was me trying to integrate the hip‐hop 1564 01:01:05,908 --> 01:01:07,494 I'd listened to all my life 1565 01:01:07,494 --> 01:01:09,289 and grew up listening to and loving, 1566 01:01:09,289 --> 01:01:11,252 and matching that lyrical content 1567 01:01:11,252 --> 01:01:14,299 and lyrical form to musical theater storytelling. 1568 01:01:14,299 --> 01:01:16,011 MAN: A five, six, seven, and‐‐ 1569 01:01:16,011 --> 01:01:17,264 ‐ ♪ Well, check the technique ♪ 1570 01:01:17,264 --> 01:01:21,272 ♪ Honk your horns ♪ 1571 01:01:21,272 --> 01:01:25,739 [vocalizing] 1572 01:01:25,739 --> 01:01:27,075 THOMAS: I mean, In the Heights was the first time 1573 01:01:27,075 --> 01:01:30,456 I was ever able to make a living as a director. 1574 01:01:30,456 --> 01:01:33,254 THOMAS: Lin, I was just trying to talk about you. 1575 01:01:35,091 --> 01:01:37,638 It's a maturity thing. I feel like when he gets there, 1576 01:01:37,638 --> 01:01:39,141 he's going to be a phenomenal talent. 1577 01:01:39,141 --> 01:01:40,894 CAMERAPERSON: One day. ‐ Yeah. 1578 01:01:40,894 --> 01:01:42,105 LIN‐MANUEL: We were realizing, 1579 01:01:42,105 --> 01:01:43,525 "Oh, this In the Heights journey 1580 01:01:43,525 --> 01:01:45,445 is gonna take a long time. 1581 01:01:45,445 --> 01:01:47,533 ‐ I think the dynamic changed when In the Heights 1582 01:01:47,533 --> 01:01:48,994 started getting really rolling, 1583 01:01:48,994 --> 01:01:51,791 that Tommy, Lin, and Chris became unavailable 1584 01:01:51,791 --> 01:01:54,797 and started going to a whole other level 1585 01:01:54,797 --> 01:01:56,216 of the theater world. 1586 01:01:56,216 --> 01:01:57,887 ‐ ♪ And I'm there ♪ 1587 01:01:57,887 --> 01:02:01,101 ♪ I'm home ♪ ALL: ♪ Home ♪ 1588 01:02:02,187 --> 01:02:05,986 [cheers applause] 1589 01:02:17,843 --> 01:02:19,346 LIN‐MANUEL: It was also complicated 1590 01:02:19,346 --> 01:02:20,974 because Anthony was a part of In the Heights, 1591 01:02:20,974 --> 01:02:22,477 but also not a part of In the Heights. 1592 01:02:24,356 --> 01:02:26,736 Freestyle was a thing we all still shared, 1593 01:02:26,736 --> 01:02:28,782 and then he moved to San Francisco. 1594 01:02:31,830 --> 01:02:34,042 ‐ When Anthony felt compelled to, you know, 1595 01:02:34,042 --> 01:02:36,589 go to San Francisco because his partner 1596 01:02:36,589 --> 01:02:37,883 was pursuing her studies 1597 01:02:37,883 --> 01:02:39,428 and doing something really important, 1598 01:02:39,428 --> 01:02:41,306 like, it's life, it's achievement. 1599 01:02:41,306 --> 01:02:43,269 It's‐‐it's the pursuit of the achievement. 1600 01:02:43,269 --> 01:02:45,481 ‐ [gasps] 1601 01:02:45,481 --> 01:02:47,653 Whoa! 1602 01:02:47,653 --> 01:02:50,241 We did it! We're on your new bed! 1603 01:02:51,160 --> 01:02:54,124 What do you think, pickle? 1604 01:02:54,124 --> 01:02:56,838 Whoa! 1605 01:02:56,838 --> 01:02:58,592 ‐ Daddy! Daddy! 1606 01:02:58,592 --> 01:03:00,554 ‐ It's awesome! 1607 01:03:00,554 --> 01:03:02,265 ‐ You know, we still did freestyle shows. 1608 01:03:02,265 --> 01:03:04,186 I can't think of a year we haven't done a freestyle. 1609 01:03:04,186 --> 01:03:06,148 At least one or two freestyle shows. 1610 01:03:06,148 --> 01:03:08,486 But it's different when your founder 1611 01:03:08,486 --> 01:03:10,323 is on the other side of the country. 1612 01:03:10,323 --> 01:03:14,832 ‐ [vocalizing] 1613 01:03:16,168 --> 01:03:18,088 ‐ The show is over. 1614 01:03:18,088 --> 01:03:20,009 ‐ That's unusual. 1615 01:03:20,009 --> 01:03:21,763 Usually Chris would come out and sing. 1616 01:03:21,763 --> 01:03:23,432 MAN: For someone who's, like, 1617 01:03:23,432 --> 01:03:24,936 a big In the Heights fan, 1618 01:03:24,936 --> 01:03:27,900 why is it important that they sort of get what this is? 1619 01:03:27,900 --> 01:03:29,444 ‐ Well, because they kind of happened 1620 01:03:29,444 --> 01:03:31,031 at the same time, right? LIN‐MANUEL: Yeah. 1621 01:03:31,031 --> 01:03:32,827 And they‐‐they fed each other. CHRISTOPHER: Yeah. 1622 01:03:32,827 --> 01:03:36,083 ‐ They fed each other. I mean‐‐ 1623 01:03:36,083 --> 01:03:37,753 Yeah, it's funny, like, when we were‐‐ 1624 01:03:37,753 --> 01:03:39,882 when we were doing the run off‐Broadway, 1625 01:03:39,882 --> 01:03:41,636 and we‐‐anytime we had a chance, 1626 01:03:41,636 --> 01:03:43,180 and you guys were doing a show, 1627 01:03:43,180 --> 01:03:45,727 we would run over after our show and just come and do this. 1628 01:03:45,727 --> 01:03:47,146 ‐ And now we're running from the theater and hop‐‐ 1629 01:03:47,146 --> 01:03:49,109 ‐ Yeah, we'd hop in a cab 'cause it's just like‐‐ 1630 01:03:49,109 --> 01:03:51,531 it's the most freeing thing you can do. 1631 01:03:51,531 --> 01:03:53,785 You know, Chris is a part of Heights. 1632 01:03:53,785 --> 01:03:55,622 Bill is a part of Heights. 1633 01:03:55,622 --> 01:03:57,000 BOTH: Hi. 1634 01:03:57,000 --> 01:03:59,337 ‐ And you're seeing us on the other side 1635 01:03:59,337 --> 01:04:00,799 of a lot of ups and downs 1636 01:04:00,799 --> 01:04:02,135 and ups and downs and ups and downs. 1637 01:04:02,135 --> 01:04:04,014 And then we climb back up on the diving board, 1638 01:04:04,014 --> 01:04:07,020 and we do more freestyle shows. 1639 01:04:07,020 --> 01:04:10,736 MAN: [singing indistinctly] 1640 01:04:10,736 --> 01:04:12,698 ♪ Yes, twice as nice ♪ 1641 01:04:12,698 --> 01:04:14,827 BILL: I think that Freestyle Love Supreme 1642 01:04:14,827 --> 01:04:17,081 is sort of, like, the sum of its parts 1643 01:04:17,081 --> 01:04:20,505 in that we all have our own careers and all our notoriety. 1644 01:04:20,505 --> 01:04:22,676 But it's not about the awards you've won 1645 01:04:22,676 --> 01:04:24,555 or the movies you've been in or whatever. 1646 01:04:24,555 --> 01:04:27,728 It's about these six guys with very specific talents, 1647 01:04:27,728 --> 01:04:29,774 like making everybody enjoy themselves. 1648 01:04:29,774 --> 01:04:32,780 ‐ [vocalizing] 1649 01:04:32,780 --> 01:04:39,209 ♪ ♪ 1650 01:04:40,252 --> 01:04:42,841 ♪ You don't got to be fit, y'all, come on ♪ 1651 01:04:42,841 --> 01:04:45,555 ♪ I'ma tickle you, have a ball now ♪ 1652 01:04:45,555 --> 01:04:47,768 ♪ You might find yourself in a pickle boy ♪ 1653 01:04:47,768 --> 01:04:50,064 ♪ But I'll pickle you out so you can have a bone ♪ 1654 01:04:50,064 --> 01:04:52,569 That core of what Freestyle Love Supreme is 1655 01:04:52,569 --> 01:04:54,030 is always gonna seep its way 1656 01:04:54,030 --> 01:04:57,830 into whatever project each guy is doing. 1657 01:04:57,830 --> 01:04:59,875 It just‐‐it‐‐ there's no way it can't 1658 01:04:59,875 --> 01:05:01,838 'cause it's just so‐‐ so much a part of us. 1659 01:05:03,465 --> 01:05:05,428 ‐ Give it up for Chris Jackson. 1660 01:05:05,428 --> 01:05:07,181 Whoo! 1661 01:05:07,181 --> 01:05:09,227 CHRISTOPHER: We were always doing this. 1662 01:05:09,227 --> 01:05:10,939 This was it. This was before Hamilton. 1663 01:05:10,939 --> 01:05:12,693 Heights doesn't happen if it really‐‐ 1664 01:05:12,693 --> 01:05:14,655 really, if it isn't for this. 1665 01:05:16,784 --> 01:05:18,454 THOMAS: Yeah, just that one I guess on the top. 1666 01:05:18,454 --> 01:05:20,249 ‐ Yeah. 1667 01:05:20,249 --> 01:05:25,217 ♪ ♪ 1668 01:05:27,472 --> 01:05:29,309 ‐ Nervous? No. 1669 01:05:29,309 --> 01:05:32,273 I guess we gotta do it now, but... 1670 01:05:32,273 --> 01:05:35,279 ‐ Yeah, we have to finish the show. 1671 01:05:35,279 --> 01:05:38,160 ‐ All right, if you put the sign up. 1672 01:05:38,160 --> 01:05:40,791 You just burst into tears. 1673 01:05:40,791 --> 01:05:42,836 Come on. Let's go. 1674 01:05:42,836 --> 01:05:49,850 ♪ ♪ 1675 01:05:52,898 --> 01:05:55,152 ‐ Nobody knew that Hamilton was going to be what it was. 1676 01:05:55,152 --> 01:05:57,115 Nobody could have known. 1677 01:05:58,200 --> 01:06:00,539 But as far as, like, the inside track goes, 1678 01:06:00,539 --> 01:06:02,208 it felt like the most brilliant thing 1679 01:06:02,208 --> 01:06:05,339 I've ever witnessed or been a part of. 1680 01:06:06,258 --> 01:06:09,890 It certainly felt like it was everything that was in Lin 1681 01:06:09,890 --> 01:06:14,149 that just couldn't fit the narrative of In the Heights. 1682 01:06:14,149 --> 01:06:16,486 ‐ ♪ I'll write to Congress and tell 'em you need supplies ♪ 1683 01:06:16,486 --> 01:06:19,785 ♪ You rally the guys, master the element of surprise ♪ 1684 01:06:19,785 --> 01:06:21,371 ♪ Chicka‐boom ♪ 1685 01:06:21,371 --> 01:06:23,458 ♪ I'll rise above my station, organize your information ♪ 1686 01:06:23,458 --> 01:06:26,173 ♪ Till we rise to the occasion of our new nation, sir ♪ 1687 01:06:26,173 --> 01:06:28,260 Okay, you'll see it on Twitter. Tag yourself. 1688 01:06:28,260 --> 01:06:30,222 [cheers] 1689 01:06:30,222 --> 01:06:32,226 ♪ Rise up ♪ 1690 01:06:32,226 --> 01:06:33,688 ♪ What? ♪ 1691 01:06:33,688 --> 01:06:36,527 ‐ And is right‐hand man. 1692 01:06:36,527 --> 01:06:38,280 ALL: ♪ Ooh ♪ 1693 01:06:38,280 --> 01:06:40,242 [voices fading] 1694 01:06:40,242 --> 01:06:42,539 [somber music] 1695 01:06:42,539 --> 01:06:46,087 ‐ Writing Hamilton was the most frustrating 1696 01:06:46,087 --> 01:06:50,429 and the most cathartic thing in my life. 1697 01:06:50,429 --> 01:06:52,601 because I knew it was my best work, 1698 01:06:52,601 --> 01:06:55,732 and I knew it would be ages before it was right. 1699 01:06:55,732 --> 01:06:58,487 [applause] 1700 01:07:01,034 --> 01:07:04,249 CHRISTOPHER: You know, never at any point 1701 01:07:04,249 --> 01:07:05,710 when we were doing Hamilton 1702 01:07:05,710 --> 01:07:07,171 did I ever look at Tommy and be like, 1703 01:07:07,171 --> 01:07:09,843 "Well, Freestyle's dead. We're never going to do that." 1704 01:07:09,843 --> 01:07:11,722 A very difficult time for all of us 1705 01:07:11,722 --> 01:07:13,392 in the freestyle, you know, 1706 01:07:13,392 --> 01:07:16,273 in the collective if you will, 1707 01:07:16,273 --> 01:07:18,485 a distant time. 1708 01:07:18,485 --> 01:07:20,030 We were over here, like, 1709 01:07:20,030 --> 01:07:22,201 we jumped on another rocket ship. 1710 01:07:23,495 --> 01:07:30,467 ♪ ♪ 1711 01:07:31,094 --> 01:07:34,058 ANTHONY: I'm not a part of the Hamilton journey. 1712 01:07:34,058 --> 01:07:35,937 Part of it was I was gone. 1713 01:07:35,937 --> 01:07:38,609 I'd moved away, you know, I was living in San Francisco. 1714 01:07:38,609 --> 01:07:44,580 ‐ You know, Anthony and I have, in some way, 1715 01:07:44,580 --> 01:07:47,168 you know, the furthest reach back 1716 01:07:47,168 --> 01:07:49,130 and then the most divergent path 1717 01:07:49,130 --> 01:07:51,301 'cause when he left, he was the person that 1718 01:07:51,301 --> 01:07:54,975 I was with all the time and then I was with not at all. 1719 01:07:55,977 --> 01:07:58,858 ANTHONY: I didn't have a regular interaction with him. 1720 01:07:58,858 --> 01:08:02,073 And then something had kind of... 1721 01:08:03,868 --> 01:08:07,375 just ceased to exist between us anymore. 1722 01:08:07,375 --> 01:08:09,838 ‐ In a way, it's like the furthest I felt from Anthony. 1723 01:08:09,838 --> 01:08:11,132 You know, I just‐‐I‐‐ 1724 01:08:11,132 --> 01:08:12,803 it had been the most time I spent away from him. 1725 01:08:12,803 --> 01:08:14,347 I'd really been spending so much time 1726 01:08:14,347 --> 01:08:16,101 working this other thing with a couple people 1727 01:08:16,101 --> 01:08:19,273 he's enormously close to also with Lin and Chris. 1728 01:08:19,273 --> 01:08:21,779 And I just felt a lot of that distance. 1729 01:08:22,823 --> 01:08:25,620 ANTHONY: So, I saw Hamilton at the Public. 1730 01:08:25,620 --> 01:08:28,250 And I sent Tommy an email the next day, 1731 01:08:28,250 --> 01:08:31,966 and I mentioned one or two thoughts that I had. 1732 01:08:33,135 --> 01:08:35,139 ‐ He gave me his thoughts on my show 1733 01:08:35,139 --> 01:08:37,184 the day before the show was freezing. 1734 01:08:37,184 --> 01:08:39,355 It doesn't mean I don't value his opinion, 1735 01:08:39,355 --> 01:08:40,859 but if I want his opinion, I'll just say, 1736 01:08:40,859 --> 01:08:42,571 "Hey, can you tell me what you think about this?" 1737 01:08:42,571 --> 01:08:43,906 That's not what I needed then. 1738 01:08:43,906 --> 01:08:46,286 I needed him to say, "This is fantastic. 1739 01:08:46,286 --> 01:08:47,747 I'm so proud of you guys." 1740 01:08:47,747 --> 01:08:50,377 ANTHONY: Tommy and I had a pretty big falling out. 1741 01:08:50,377 --> 01:08:54,343 We had a major difference around how we wanted 1742 01:08:54,343 --> 01:08:57,183 each other to‐‐to be inside of a friendship. 1743 01:08:57,183 --> 01:09:00,397 And we couldn't‐‐we couldn't find the common ground. 1744 01:09:00,397 --> 01:09:03,278 ‐ And I remember talking to him after that 1745 01:09:03,278 --> 01:09:05,909 and acknowledging that our relationship changed. 1746 01:09:05,909 --> 01:09:09,791 That he was someone who was incredibly close to me, 1747 01:09:09,791 --> 01:09:12,213 who was a mentor for me, who pulled me into this. 1748 01:09:12,213 --> 01:09:15,385 And I didn't need mentors in that same way anymore. 1749 01:09:15,385 --> 01:09:18,601 I needed to be peers with. I needed to be equals to. 1750 01:09:18,601 --> 01:09:20,772 And when‐‐you know, the way you identify a relationship 1751 01:09:20,772 --> 01:09:22,191 is often how it can stay, 1752 01:09:22,191 --> 01:09:24,530 and our relationship had evolved. 1753 01:09:24,530 --> 01:09:27,661 Nothing would ever erase the things that are true 1754 01:09:27,661 --> 01:09:30,123 about who he is to me, 1755 01:09:30,123 --> 01:09:31,669 who he will be, who he was, 1756 01:09:31,669 --> 01:09:34,883 what his impact was in the trajectory of my life. 1757 01:09:34,883 --> 01:09:38,098 And my love for him has never diminished 1758 01:09:38,098 --> 01:09:40,018 and would never diminish and I wanted to tell him that, 1759 01:09:40,018 --> 01:09:42,147 but I also need to say, "But this is who I am now." 1760 01:09:44,778 --> 01:09:47,449 ANTHONY: There's been a major change. 1761 01:09:47,449 --> 01:09:49,997 Whether it's on his end or my end, 1762 01:09:49,997 --> 01:09:54,255 I'm not sure, but my heart center is my family. 1763 01:09:54,255 --> 01:09:59,140 And all the choices that I've made were to support them. 1764 01:10:00,852 --> 01:10:02,564 LIN‐MANUEL: Are we in the Rose Garden right now? 1765 01:10:02,564 --> 01:10:04,108 OBAMA: We are. 1766 01:10:04,108 --> 01:10:05,820 Yeah, it must be a little nerve‐wracking. 1767 01:10:05,820 --> 01:10:08,199 I hope I don't drop these cards. 1768 01:10:08,199 --> 01:10:10,162 You ready? We're getting the cue? 1769 01:10:10,162 --> 01:10:13,753 ‐ During that very heated 2015, 2016, 1770 01:10:13,753 --> 01:10:15,506 when Hamilton went from the thing 1771 01:10:15,506 --> 01:10:17,092 that everyone was whispering about 1772 01:10:17,092 --> 01:10:19,263 to the thing that everyone was shouting about. 1773 01:10:19,263 --> 01:10:22,771 BOTH: [vocalizing] 1774 01:10:29,993 --> 01:10:32,666 ‐ But Hamilton is a unicorn, and it just‐‐just‐‐ 1775 01:10:32,666 --> 01:10:36,214 there's no way to quantify or qualify the effect 1776 01:10:36,214 --> 01:10:38,426 that it's still having. 1777 01:10:38,426 --> 01:10:40,515 LIN‐MANUEL: I was sort of cocooned from it 1778 01:10:40,515 --> 01:10:42,727 'cause I'm still doing seven shows a week, 1779 01:10:42,727 --> 01:10:45,984 and so I can't go out to the parties I'm being invited to. 1780 01:10:45,984 --> 01:10:48,656 I got two shows tomorrow. 1781 01:10:48,656 --> 01:10:51,829 I already knew who I was by the time Hamilton came out. 1782 01:10:51,829 --> 01:10:54,041 I think it's hard when you get hit with that wave 1783 01:10:54,041 --> 01:10:55,795 and you don't have your shit figured out yet. 1784 01:10:58,968 --> 01:11:01,055 MAN: It's a hoodie. Zip it up. 1785 01:11:01,055 --> 01:11:02,391 UTKARSH: ♪ I met a gypsy and she hipped me ♪ 1786 01:11:02,391 --> 01:11:04,020 ♪ To some life game ♪ 1787 01:11:04,020 --> 01:11:05,565 ♪ To stimulate then activate the left and right brain ♪ 1788 01:11:05,565 --> 01:11:07,610 LIN‐MANUEL: You know, U. T. K. was our Burr 1789 01:11:07,610 --> 01:11:08,988 in many incarnations 1790 01:11:08,988 --> 01:11:11,200 because he's got the singing and the rapping 1791 01:11:11,200 --> 01:11:13,873 and the ability to really act 1792 01:11:13,873 --> 01:11:17,004 that we needed, which is a high bar. 1793 01:11:17,004 --> 01:11:19,509 ‐ Lin came to me, 1794 01:11:19,509 --> 01:11:22,389 and maybe this wouldn't have panned out in the long run, 1795 01:11:22,389 --> 01:11:26,940 but Lin sort of came to me with the role of Aaron Burr. 1796 01:11:26,940 --> 01:11:29,278 And we did it at Lincoln Center. 1797 01:11:29,278 --> 01:11:31,365 And then we did it New York Stage and Film. 1798 01:11:31,365 --> 01:11:33,913 But the most important things for me at the time 1799 01:11:33,913 --> 01:11:36,000 were the party. 1800 01:11:37,252 --> 01:11:40,258 I was fully and utterly 1801 01:11:40,258 --> 01:11:44,391 a husk of a person. 1802 01:11:44,391 --> 01:11:46,730 ♪ ♪ 1803 01:11:46,730 --> 01:11:48,316 Don't film these guys. 1804 01:11:48,316 --> 01:11:52,282 At that point, my alcohol use was like, 1805 01:11:52,282 --> 01:11:55,790 I couldn't deal and I couldn't execute the way 1806 01:11:55,790 --> 01:11:58,002 that they needed me to, and I had to step away. 1807 01:11:58,002 --> 01:12:03,639 And then Hamilton drops and it's like, it's everywhere. 1808 01:12:03,639 --> 01:12:06,310 It's ubiquitous, and it's a phenomenon. 1809 01:12:06,310 --> 01:12:10,987 And it's such an interesting feeling to love people so much 1810 01:12:10,987 --> 01:12:13,283 and to be so happy for their success, 1811 01:12:13,283 --> 01:12:15,162 and to be‐‐feel apart of, really. 1812 01:12:15,162 --> 01:12:20,130 Because like Lin and Tommy, Chris, Daveed, 1813 01:12:20,130 --> 01:12:23,804 I felt taken care of every step of the way by them. 1814 01:12:23,804 --> 01:12:26,142 ♪ But here's something that I found was true ♪ 1815 01:12:26,142 --> 01:12:28,647 ♪ I couldn't stop drinking whiskey every single day ♪ 1816 01:12:28,647 --> 01:12:30,860 ♪ Deep down, I knew I had to stop it ♪ 1817 01:12:30,860 --> 01:12:32,780 ♪ I was falling they saw me dropping ♪ 1818 01:12:32,780 --> 01:12:34,074 ♪ Out of the cot ♪ 1819 01:12:34,074 --> 01:12:36,412 ♪ They saw me falling with no parachute ♪ 1820 01:12:36,412 --> 01:12:38,124 ♪ Pair of dudes saw me falling ♪ 1821 01:12:38,124 --> 01:12:40,838 ♪ And apparently, I couldn't carry the weight ♪ 1822 01:12:40,838 --> 01:12:42,424 ♪ Upon my shoulders and probably... ♪ 1823 01:12:42,424 --> 01:12:45,973 ‐ And it really was a moment that changed his life. 1824 01:12:45,973 --> 01:12:48,228 What happened and what didn't happen with that show. 1825 01:12:48,228 --> 01:12:50,065 ‐ And the positive thing is‐‐is like, 1826 01:12:50,065 --> 01:12:52,779 "Hey man, like, how come you don't pick up a drink?" 1827 01:12:52,779 --> 01:12:54,574 "Well, let me tell you about 1828 01:12:54,574 --> 01:12:57,622 this little thing called Hamilton." 1829 01:12:57,622 --> 01:13:01,295 It's a wonderful, beautiful gift that God gave me 1830 01:13:01,295 --> 01:13:03,007 or the universe that's like, 1831 01:13:03,007 --> 01:13:07,892 "Hey man, if you ever need a reason to like stay on a path, 1832 01:13:07,892 --> 01:13:13,486 "that is one of integrity and self‐care 1833 01:13:13,486 --> 01:13:18,747 "and of being connected to the people around you, it's there. 1834 01:13:18,747 --> 01:13:20,668 It'll be there for all of time." 1835 01:13:20,668 --> 01:13:24,676 ♪ But now I'm making a new way and that pain is over ♪ 1836 01:13:24,676 --> 01:13:28,182 ♪ I'm four years sober and living wonderfully ♪ 1837 01:13:28,182 --> 01:13:30,478 They're family. They've been there for me. 1838 01:13:30,478 --> 01:13:32,817 I mean, it's an exceptional connection. 1839 01:13:32,817 --> 01:13:35,238 ♪ But anyway, these days when I'm in pain ♪ 1840 01:13:35,238 --> 01:13:37,034 ♪ No drinking, no smoking ♪ 1841 01:13:37,034 --> 01:13:40,123 ♪ Just some water and two ibuprofen ♪ 1842 01:13:40,123 --> 01:13:42,670 [cheers] 1843 01:13:42,670 --> 01:13:44,632 ‐ ♪ Ibuprofen ♪ 1844 01:13:44,632 --> 01:13:46,093 THOMAS: Now, seeing him with that skill 1845 01:13:46,093 --> 01:13:47,722 as much life as he's lived 1846 01:13:47,722 --> 01:13:50,895 in what he's chasing now on stage is really elevated. 1847 01:13:50,895 --> 01:13:54,443 And so I feel like in some way he might have the largest arc 1848 01:13:54,443 --> 01:13:56,823 in this group of where he started and where he is now. 1849 01:13:56,823 --> 01:13:59,036 ALL: True! 1850 01:13:59,036 --> 01:14:02,000 [cheers] 1851 01:14:02,000 --> 01:14:05,006 [gentle music] 1852 01:14:05,006 --> 01:14:10,851 ♪ ♪ 1853 01:14:10,851 --> 01:14:12,772 WOMAN: Step up there, man. 1854 01:14:12,772 --> 01:14:15,068 I moved it to the trash area, because... 1855 01:14:15,068 --> 01:14:17,990 [continues indistinctly] 1856 01:14:17,990 --> 01:14:21,288 ♪ ♪ 1857 01:14:21,288 --> 01:14:23,669 ANDREW: It's just, like‐‐ I could go through 1858 01:14:23,669 --> 01:14:26,883 every person in this group and just be like, "Oh my God." 1859 01:14:26,883 --> 01:14:29,806 It's just like, "I get to rap with heroes." 1860 01:14:29,806 --> 01:14:31,810 [indistinct chatter] 1861 01:14:34,566 --> 01:14:35,985 LIN‐MANUEL: I feel like everyone knew how rare it was 1862 01:14:35,985 --> 01:14:37,864 that we were even getting to do it. 1863 01:14:37,864 --> 01:14:39,951 And I always want it to feel like that. 1864 01:14:39,951 --> 01:14:42,164 It felt like "pinch me" for the whole month. 1865 01:14:42,164 --> 01:14:44,752 That's the circumstances under which I wanna keep doing, 1866 01:14:44,752 --> 01:14:46,590 'cause none of us has to do it. 1867 01:14:46,590 --> 01:14:49,596 Everyone's got very full lives. 1868 01:14:49,596 --> 01:14:51,474 But life's a little better when we do it. 1869 01:14:51,474 --> 01:14:53,060 MAN: Good. How are you? ‐ Good. 1870 01:14:53,060 --> 01:14:55,440 MAN: Happy last one. ‐ Happy last one. 1871 01:14:55,440 --> 01:14:59,114 ♪ It's everything we've worked for now ♪ 1872 01:14:59,114 --> 01:15:01,410 UTKARSH: Wanna see the fastest signature? 1873 01:15:01,410 --> 01:15:04,374 Watch. Ready? 1874 01:15:04,374 --> 01:15:06,420 Swoop. U. T. K. 1875 01:15:06,420 --> 01:15:10,470 And then I'm gonna just do... 1876 01:15:10,470 --> 01:15:12,474 Tommy Kail. Done. 1877 01:15:12,474 --> 01:15:14,896 [laughter] 1878 01:15:14,896 --> 01:15:16,858 [indistinct chatter] 1879 01:15:16,858 --> 01:15:21,075 ANTHONY: [vocalizing] 1880 01:15:21,075 --> 01:15:23,664 CHRIS: I hope that the energy from all of us 1881 01:15:23,664 --> 01:15:27,295 and this whole movement is enough to inspire other people 1882 01:15:27,295 --> 01:15:29,049 to start similar movements. 1883 01:15:29,049 --> 01:15:30,719 That if it's not Freestyle Love Supreme, 1884 01:15:30,719 --> 01:15:33,391 it's letting the world know 1885 01:15:33,391 --> 01:15:35,771 that something like this is possible. 1886 01:15:35,771 --> 01:15:37,984 ‐ "Shockwave is important" on three. 1887 01:15:37,984 --> 01:15:40,071 ‐ No, like a final‐‐ 1888 01:15:40,071 --> 01:15:42,117 Let's do a final, this is our last show, something else. 1889 01:15:42,117 --> 01:15:43,244 CHRISTOPHER: "This is the last show. 1890 01:15:43,244 --> 01:15:44,496 Shockwave, you are so important." 1891 01:15:44,496 --> 01:15:46,543 One, two, three. ALL: This is the last show. 1892 01:15:46,543 --> 01:15:48,504 Shockwave, you are so important. 1893 01:15:48,504 --> 01:15:51,218 ‐ On three! [laughter] 1894 01:15:51,218 --> 01:15:53,807 ANTHONY: This is different for us, too. 1895 01:15:53,807 --> 01:15:57,230 It's our last show of the entire run. 1896 01:15:57,230 --> 01:16:00,111 So, thank you so very much for being the last audience. 1897 01:16:00,111 --> 01:16:01,656 ‐ What? 1898 01:16:01,656 --> 01:16:03,117 UTKARSH: I think we all love it. 1899 01:16:03,117 --> 01:16:05,873 We love it so much and we need it. 1900 01:16:05,873 --> 01:16:09,004 JAMES: You have to let yourself be in the moment. 1901 01:16:09,004 --> 01:16:11,300 Well, we could take a story someplace 1902 01:16:11,300 --> 01:16:14,014 and it doesn't have to have a punchline. 1903 01:16:14,014 --> 01:16:15,643 We just took it someplace that takes the audience 1904 01:16:15,643 --> 01:16:17,897 on a journey and they are satisfied with that journey 1905 01:16:17,897 --> 01:16:19,358 and so are we. 1906 01:16:19,358 --> 01:16:21,153 It just feels good. 1907 01:16:21,153 --> 01:16:23,575 ‐ This is already amazing. 1908 01:16:23,575 --> 01:16:27,750 You had an epileptic German Shepherd named Ramona. 1909 01:16:27,750 --> 01:16:30,088 ‐ [indistinct] 1910 01:16:30,088 --> 01:16:32,133 ‐ Yup, obviously. 1911 01:16:32,133 --> 01:16:35,098 You accidentally opened the front door. 1912 01:16:35,098 --> 01:16:37,060 AUDIENCE MEMBER: I was ten, and she got hit by a car. 1913 01:16:37,060 --> 01:16:39,106 ‐ You were ten, and she got hit by a car. 1914 01:16:39,106 --> 01:16:41,443 ‐ Oh, my God. ‐ She didn't die. 1915 01:16:41,443 --> 01:16:43,949 ‐ [indistinct] ‐ And she lived to be 19. 1916 01:16:43,949 --> 01:16:45,076 Well, that story has a little bit 1917 01:16:45,076 --> 01:16:46,913 of a happy ending to it, doesn't it? 1918 01:16:46,913 --> 01:16:49,334 ‐ ♪ Yeah, right now I am ♪ 1919 01:16:49,334 --> 01:16:52,257 ♪ Home alone and doing it my own thing ♪ 1920 01:16:52,257 --> 01:16:55,973 ♪ With my Ramona, yeah ♪ 1921 01:16:55,973 --> 01:16:57,225 ♪ Oh, Ramona ♪ 1922 01:16:57,225 --> 01:16:58,854 ♪ She's so great, you see ♪ 1923 01:16:58,854 --> 01:17:02,737 ♪ The only problem is she suffers from epilepsy ♪ 1924 01:17:02,737 --> 01:17:05,659 ♪ Which means she gets to wiggling from now and again ♪ 1925 01:17:05,659 --> 01:17:08,038 ♪ And then she gets to shaking ♪ 1926 01:17:08,038 --> 01:17:09,917 ♪ Oh, what a pain ♪ 1927 01:17:09,917 --> 01:17:12,172 ♪ And I don't have any other siblings ♪ 1928 01:17:12,172 --> 01:17:13,800 ♪ So she's kinda my sister... ♪ 1929 01:17:13,800 --> 01:17:17,140 THOMAS: When I'm watching the show and I see, you know, 1930 01:17:17,140 --> 01:17:20,773 MacArthur Genius Award winner on all fours 1931 01:17:20,773 --> 01:17:23,360 playing an epileptic dog in Arizona, 1932 01:17:23,360 --> 01:17:25,406 I feel like we've done exactly the right thing. 1933 01:17:25,406 --> 01:17:26,993 ‐ [howls] 1934 01:17:26,993 --> 01:17:31,168 [laughter and applause] 1935 01:17:31,168 --> 01:17:34,174 ‐ It's really, really good to be back home, you know, 1936 01:17:34,174 --> 01:17:35,761 with all of it, 'cause this is 1937 01:17:35,761 --> 01:17:39,142 kinda like the nucleus of all of that creative energy. 1938 01:17:39,142 --> 01:17:41,438 ALL: ♪ Ladies and gents, we want to thank you all ♪ 1939 01:17:41,438 --> 01:17:43,025 ♪ For coming out this evening ♪ 1940 01:17:43,025 --> 01:17:44,904 ♪ Coming out this evening, this evening ♪ 1941 01:17:44,904 --> 01:17:50,498 ♪ 'Cause we are Freestyle Love Supreme ♪ 1942 01:17:50,498 --> 01:17:53,839 ♪ ♪ 1943 01:17:53,839 --> 01:17:56,803 [acoustic guitar music] 1944 01:17:56,803 --> 01:18:03,817 ♪ ♪ 1945 01:18:07,156 --> 01:18:10,539 LIN‐MANUEL: All we've got on stage is... 1946 01:18:10,539 --> 01:18:13,168 our lives and each other. 1947 01:18:13,168 --> 01:18:17,553 ♪ ♪ 1948 01:18:17,553 --> 01:18:20,057 The feeling of freestyling and trading too 1949 01:18:20,057 --> 01:18:21,393 backstage before we go on, 1950 01:18:21,393 --> 01:18:23,982 that all feels exactly the same. 1951 01:18:23,982 --> 01:18:25,276 The only thing that's changed 1952 01:18:25,276 --> 01:18:26,779 is we just have that much more history. 1953 01:18:26,779 --> 01:18:30,494 We have that much more life to draw from. 1954 01:18:30,494 --> 01:18:35,338 ♪ ♪ 1955 01:18:35,338 --> 01:18:39,054 I have this weird memory of, like, 1956 01:18:39,054 --> 01:18:42,226 standing in my hallway mirror 1957 01:18:42,226 --> 01:18:45,316 when I was ten years old. 1958 01:18:45,316 --> 01:18:49,366 Like looking at myself, I am three feet all. 1959 01:18:49,366 --> 01:18:52,455 I have a bowl haircut. 1960 01:18:52,455 --> 01:18:53,959 And just being, like, 1961 01:18:53,959 --> 01:18:56,756 "Never forget this moment." 1962 01:18:56,756 --> 01:19:02,392 ♪ ♪ 1963 01:19:02,392 --> 01:19:04,270 [hip‐hop music] 1964 01:19:04,270 --> 01:19:06,734 [indistinct chatter] 1965 01:19:06,734 --> 01:19:08,487 NEWS ANCHOR: More than 15 years later, 1966 01:19:08,487 --> 01:19:09,991 the hip‐hop improv group 1967 01:19:09,991 --> 01:19:12,955 has taken over Broadway's famous Booth Theater. 1968 01:19:12,955 --> 01:19:15,418 The show is called Freestyle Love Supreme. 1969 01:19:15,418 --> 01:19:17,673 Lin‐Manuel Miranda is here. Christopher Jackson is here. 1970 01:19:17,673 --> 01:19:19,217 [excited chatter] 1971 01:19:19,217 --> 01:19:22,181 MAN: [rapping indistinctly] 1972 01:19:22,181 --> 01:19:29,195 ♪ ♪ 1973 01:19:30,031 --> 01:19:32,160 [excited chatter] 1974 01:19:32,160 --> 01:19:34,665 JIMMY FALLON: Now here are our performers, 1975 01:19:34,665 --> 01:19:37,253 Broadway's Freestyle Love Supreme... 1976 01:19:37,253 --> 01:19:38,631 ‐ Ahh. 1977 01:19:38,631 --> 01:19:40,217 FALLON: Let's hear it for our performers, 1978 01:19:40,217 --> 01:19:43,516 Broadway's Freestyle Love Supreme. 1979 01:19:43,516 --> 01:19:46,856 Broadway's Freestyle Love Supreme. 1980 01:19:46,856 --> 01:19:48,526 [overlapping chatter] 1981 01:19:48,526 --> 01:19:50,947 FALLON: Oh, my goodness! 1982 01:19:50,947 --> 01:19:52,910 ALL: [rapping indistinctly] 1983 01:19:52,910 --> 01:19:54,622 FALLON: Wow! 1984 01:19:54,622 --> 01:19:57,669 You can catch Freestyle Love Supreme 1985 01:19:57,669 --> 01:19:59,632 now at the Booth Theater. 1986 01:19:59,632 --> 01:20:01,426 Yeah, get a standing O. Why not? 1987 01:20:01,426 --> 01:20:04,390 [indistinct chatter] 1988 01:20:04,390 --> 01:20:07,396 [somber music] 1989 01:20:07,396 --> 01:20:13,535 ♪ ♪ 1990 01:20:13,535 --> 01:20:15,789 ‐ Right there? ‐ Yes. 1991 01:20:15,789 --> 01:20:18,586 ‐ Thank you. 1992 01:20:18,586 --> 01:20:20,297 ANEESA: Broadway has been a dream 1993 01:20:20,297 --> 01:20:22,636 for a long‐ass time for me. 1994 01:20:22,636 --> 01:20:26,351 For this to be my debut, 1995 01:20:26,351 --> 01:20:28,565 I could have never imagined. 1996 01:20:28,565 --> 01:20:31,027 But this is true, it's real life, 1997 01:20:31,027 --> 01:20:33,658 and I am playing on stage with these people 1998 01:20:33,658 --> 01:20:36,037 that I've looked up to for the longest time. 1999 01:20:36,037 --> 01:20:37,541 That means so much to me, 2000 01:20:37,541 --> 01:20:39,587 and it's been a beautiful experience. 2001 01:20:39,587 --> 01:20:41,423 ‐ [indistinct] ‐ Have fun out there. 2002 01:20:41,423 --> 01:20:44,805 ♪ ♪ 2003 01:20:44,805 --> 01:20:47,393 ‐ [humming] 2004 01:20:47,393 --> 01:20:50,399 [water running] 2005 01:20:54,032 --> 01:20:56,077 ‐ Michael, how have you been? 2006 01:20:56,077 --> 01:20:57,664 UTKARSH: ♪ I met a gypsy and she hipped me ♪ 2007 01:20:57,664 --> 01:20:59,167 ALL: ♪ To some life game ♪ 2008 01:20:59,167 --> 01:21:00,502 UTKARSH: ♪ To stimulate then activate the left and ♪ 2009 01:21:00,502 --> 01:21:01,881 ALL: ♪ Right brain ♪ 2010 01:21:01,881 --> 01:21:03,175 UTKARSH: ♪ Said baby boy you only funky as your ♪ 2011 01:21:03,175 --> 01:21:04,720 ALL: ♪ Last cut ♪ 2012 01:21:04,720 --> 01:21:06,139 UTKARSH: ♪ You focus on the past your ass'll be a ♪ 2013 01:21:06,139 --> 01:21:07,433 ALL: ♪ Has what ♪ 2014 01:21:07,433 --> 01:21:08,895 ♪ I try to just throw it at you ♪ 2015 01:21:08,895 --> 01:21:11,066 ♪ Determine your own adventure Andre ♪ 2016 01:21:11,066 --> 01:21:13,070 ♪ Got to her station here's my destination ♪ 2017 01:21:13,070 --> 01:21:14,489 ‐ Oh, wow. 2018 01:21:14,489 --> 01:21:16,994 ‐ Broadway, guys. What the fuck? 2019 01:21:16,994 --> 01:21:19,207 ALL: I got your back. I got your back. 2020 01:21:19,207 --> 01:21:20,794 I got your back. I got your back. 2021 01:21:20,794 --> 01:21:22,631 I got your back. I got your back. 2022 01:21:22,631 --> 01:21:24,384 I got your back. I got your back. 2023 01:21:24,384 --> 01:21:25,971 ‐ I got your back too. 2024 01:21:25,971 --> 01:21:28,308 UTKARSH: Let's do this. 2025 01:21:28,308 --> 01:21:29,812 Look at you. 2026 01:21:29,812 --> 01:21:31,607 ‐ Look at you. ‐ Back where you started. 2027 01:21:31,607 --> 01:21:33,778 ‐ Got me going. ‐ I'm as God made me, sir. 2028 01:21:33,778 --> 01:21:35,740 [all talking at once] 2029 01:21:35,740 --> 01:21:37,953 ‐ As God made me. ‐ Is your mic on? 2030 01:21:37,953 --> 01:21:41,376 ‐ Monday night, seven p. m. 2031 01:21:41,376 --> 01:21:42,754 ‐ Ooh, yeah. 2032 01:21:42,754 --> 01:21:44,465 ‐ All right, I think‐‐ I think they can hear us. 2033 01:21:44,465 --> 01:21:46,261 The mics are on, so let's do this. 2034 01:21:46,261 --> 01:21:47,889 ‐ Let's go. ‐ Mic check on three. 2035 01:21:47,889 --> 01:21:49,309 Y'all ready? ‐ Uh‐huh. 2036 01:21:49,309 --> 01:21:51,021 ‐ One, two, three‐‐ 2037 01:21:51,021 --> 01:21:52,273 [funky music] 2038 01:21:52,273 --> 01:21:53,943 SINGER: ♪ Ladies and gentlemen ♪ 2039 01:21:53,943 --> 01:21:56,574 ♪ ♪ 2040 01:21:56,574 --> 01:21:58,327 ♪ Ladies and gentlemen ♪ 2041 01:21:58,327 --> 01:22:01,834 ‐ All right, so let's take Freestyle Love Supreme. 2042 01:22:01,834 --> 01:22:03,086 ‐ Okay. 2043 01:22:03,086 --> 01:22:04,715 ♪ It's like 10 or 11 years ago ♪ 2044 01:22:04,715 --> 01:22:07,094 ♪ These four met at Wesleyan University ♪ 2045 01:22:07,094 --> 01:22:09,390 ♪ Though I wasn't there, I was at NYU ♪ 2046 01:22:09,390 --> 01:22:11,896 ♪ Doing just what I do, spitting rhymes here for you ♪ 2047 01:22:11,896 --> 01:22:13,357 ♪ But then they moved to New York ♪ 2048 01:22:13,357 --> 01:22:15,110 ♪ And then they started going, wouldn't stop ♪ 2049 01:22:15,110 --> 01:22:17,866 ♪ They did a show at the Drama Book Workshop ♪ 2050 01:22:17,866 --> 01:22:20,120 ♪ Yeah, Tommy and Anthony had a production company ♪ 2051 01:22:20,120 --> 01:22:21,456 ♪ Called Back House ♪ 2052 01:22:21,456 --> 01:22:22,793 ♪ What the heck is that about? ♪ 2053 01:22:22,793 --> 01:22:24,170 ♪ Anyway, at the same time ♪ 2054 01:22:24,170 --> 01:22:25,715 ♪ Lin was writing In the Heights ♪ 2055 01:22:25,715 --> 01:22:27,719 ♪ Where he met C‐Jack, and C‐Jack could flow too ♪ 2056 01:22:27,719 --> 01:22:30,265 ♪ So they decided to go too, and do a show or two ♪ 2057 01:22:30,265 --> 01:22:31,769 ♪ At this place called [indistinct] ♪ 2058 01:22:31,769 --> 01:22:33,355 ♪ They were spitting rhythms ♪ 2059 01:22:33,355 --> 01:22:35,610 ♪ That's where they met Shockwave, AKA Chris Sullivan ♪ 2060 01:22:35,610 --> 01:22:37,739 ♪ He was running it, rumbling, and struggling ♪ 2061 01:22:37,739 --> 01:22:39,075 ♪ At the time was an artist ♪ 2062 01:22:39,075 --> 01:22:40,494 ♪ But he could take the beat farther ♪ 2063 01:22:40,494 --> 01:22:42,624 ♪ So they got together and enter Arthur ♪ 2064 01:22:42,624 --> 01:22:44,670 ♪ Arthur and Lin went to school together, man ♪ 2065 01:22:44,670 --> 01:22:46,590 ♪ Went to third grade, high school, all of it ♪ 2066 01:22:46,590 --> 01:22:47,801 ♪ Then they met me ♪ 2067 01:22:47,801 --> 01:22:49,303 ♪ I was doing a show of my own ♪ 2068 01:22:49,303 --> 01:22:51,391 ♪ And then they heard I rocked upon the microphone ♪ 2069 01:22:51,391 --> 01:22:53,604 ♪ And Lin needed a replacement for doing this shit ♪ 2070 01:22:53,604 --> 01:22:55,650 ♪ And I could rap off the face, man, so I could spit ♪ 2071 01:22:55,650 --> 01:22:57,821 ♪ And then I joined the group in like '05 or '06 ♪ 2072 01:22:57,821 --> 01:23:00,367 ♪ And I've been doing this shit though ever since ♪ 2073 01:23:00,367 --> 01:23:02,079 ♪ These are my friends, we do the television ♪ 2074 01:23:02,079 --> 01:23:03,624 ♪ We spitting rhythms ♪ 2075 01:23:03,624 --> 01:23:05,502 ♪ I'm the one and only Indian revving his engine ♪ 2076 01:23:05,502 --> 01:23:06,797 ♪ Getting your attention ♪ 2077 01:23:06,797 --> 01:23:08,425 ♪ And I love you guys, gentlemen ♪ 2078 01:23:08,425 --> 01:23:10,095 ♪ Did I mention anything else? ♪ 2079 01:23:10,095 --> 01:23:12,057 ♪ I think that's it, love you ♪ 2080 01:23:12,057 --> 01:23:15,063 [cheers and applause] 2081 01:23:22,662 --> 01:23:24,332 ♪ And Bill ♪ 2082 01:23:24,332 --> 01:23:26,211 [laughter] 2083 01:23:26,211 --> 01:23:29,217 [gentle music] 2084 01:23:29,217 --> 01:23:36,189 ♪ ♪ 2085 01:25:33,591 --> 01:25:36,555 [seagulls calling]