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GRACE FRASER: The thrill of adultery
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is that it exists in the shadow.
-(CLOCK TICKING) -♪ (TENSE MUSIC PLAYS) ♪
JONATHAN FRASER: We can lose ourselves sometimes.
But it doesn't undo who we are.
HALEY FITZGERALD: People conceal the ugly truths...
(CAMERA SHUTTERS FLASH)
...to protect themselves.
GRACE: (WHISPERING, ECHOING) I will fix this.
I'll fix this.
DAVE GROHL: The Rock and Roll Hall of Fame.
It's not just a place, it's an idea.
It holds the stories, the images,
the sights, and the sounds of decades and decades of music.
The story of rock and roll is really many stories.
It's the story of pain and beauty,
the story of rebellion and unity.
The story of noise and harmony, of resistance and community.
Every year since 1986, some of the greatest artists
that music has produced get inducted
into the Rock and Roll Hall of Fame.
This rock and roll family of ours,
like so many others,
unfortunately can't gather together in person
to induct the Hall of Fame class of 2020.
Still, we honor this year's inductees
by telling their inspiring stories
and showing how powerfully they've affected us all.
The lives and music of this year's class
is the story of contemporary R&B,
and the story of hip hop.
The story of rock and soul,
and the story of glam rock.
The story of electronic music,
and the story of brutal industrial rock.
The artists are all very different,
but they share one crucial virtue in common:
the undying spirit of rock and roll.
Tonight, we celebrate this new class of the Rock Hall
as we've never done before.
And as we tell their stories,
we tell ours, too.
Welcome to the Rock and Roll Hall of Fame 2020 Inductions.
♪ (THEME MUSIC PLAYING) ♪
♪ And I... ♪
♪ Uh! Uh! ♪
LUKE BRYAN: Is there anybody who doesn't have
a favorite Doobie Brothers song?
The Doobies are one of those iconic American bands
that seem to have been with us forever,
making incredible music
always streaming out of the radio,
and always playing spectacular live shows.
The Doobie Brothers would be the first to tell you
that their band's name is the very definition
of, "It seemed like a good idea at the time."
But when you're young and having a great time
playing biker bars, there's no way to know
that the music you're making will still be loved
half a century later.
The band has been passed down from generation
to generation of fans, because their music
has never stopped sounding fresh.
It seems like there isn't any style of music
this band can't master and incorporate
into a sound that is immediately identifiable
as the Doobie Brothers.
I've loved the Doobie Brothers from the first time
I heard them as a kid.
I've had the privilege of playing with them onstage,
and I can honestly say that they're great guys
as well as great musicians.
This year marks their 50th anniversary as a band,
an amazing achievement in itself.
They've paid their dues,
and they've worked their asses off.
But the Doobies always found a way to evolve and progress,
and their fans were always out there waiting for them,
because their songs are built to last.
You know, in my opinion, this induction is...
It's long overdue, boys.
But I'm thrilled to be the guy who gets to say,
the Doobie Brothers have made it.
Welcome to the Rock and Roll Hall of Fame.
TOM JOHNSTON: We're what you'd call an American band,
I always think of the Doobies as being an American band.
PATRICK SIMMONS: We were a hard-rockin' band,
a hardworking band.
ANNOUNCER: The Doobie Brothers!
We just played whatever tickled our fancy.
There wasn't anything this band could not play.
It was the best group of people
I'd ever worked with in the music business.
JOHN MCFEE: We do seem to make people really have a great time.
JUDD APATOW: They were just the band that had
the greatest hits album where every song was
the greatest song you ever heard.
JOHNSTON: San Jose is where the Doobie Brothers came together.
That's how it all started.
JOHN HARTMAN: We got together with a guy named Tom Johnston
and played a lotta clubs around San Jose
for five dollars a night. We worked once a week.
JOHNSTON: Well, we played the Chateau a lot,
where the Hells Angels would come up.
SIMMONS: Somehow, we connected.
I think because we were bikers ourselves.
HARTMAN: We got a break with a production company
in San Mateo who put us on our first album.
♪ Oh! ♪
♪ Nobody ♪
♪ Nobody gonna take my love Away from me ♪
We were playing live. We were playing a lot
of this heavy electric blues and all this kinda stuff,
but that's not what we played on the album.
The better part of the album didn't fit the biker image
by a long shot.
The pressure increased to produce a good song.
Like most songs, I was sitting in my bedroom
and I had the acoustic.
I came up with the initial riff.
♪ Don't you feel it growing Day by day... ♪
JOHNSTON: I call Teddy up,
and usually about 3:00 in the morning,
I'd usually wake him up.
I said, "This is a single, Teddy."
It's the only time I ever said that.
TED TEMPLEMAN: Tommy had "Listen to the Music"
already completely finished.
We didn't have to do anything with that thing
except just lay it down, and then Pat had all these ideas
to put layer upon layer of guitars.
♪ Whoa-oh Listen to the music ♪
♪ All the time... ♪
BRAD PAISLEY: It's so infectious.
That's truly the recipe for a big pop hit.
When you establish your sound
with something like "Listen to the Music",
the sky's the limit.
JOHNSTON: We had the three-part harmony thing going on,
which was a big part of what we've always done.
And then I was doing the chaka-chaka rhythm thing
that I sort of invented, trying to play drums
on the guitar while playing guitar.
(SCATTING)
The drums will be coming in like this. (SCATTING)
♪ Do-do-do do do do do do ♪
APATOW: Probably my favorite Doobie Brothers song
is "Jesus Is Just Alright."
Why? I don't know. I'm a Jewish kid from Long Island.
♪ Jesus is just all right with me ♪
♪ Jesus is just all right ♪
♪ Oh, yeah ♪
JOHNSTON: Between '72 and '73,
we went from the Winnebago stage to the public airline stage.
And by '74, we had the Doobieliner.
♪ Without love ♪
♪ Where would you be now? ♪
SIMMONS: Party on the plane every day.
♪ Without love ♪
-♪ Talking 'bout China Grove ♪ -♪ China Grove ♪
♪ Whoa Yeah, yeah ♪
-♪ China Grove ♪ -♪ I believe you said ♪
JOHNSTON: The playing was better.
The singing was better. The whole concept was better.
JEFF "SKUNK" BAXTER: The depth of guitar playing was profound.
Three guitar players
all playing different styles, but playing their parts.
John was a big proponent of two drummers.
HARTMAN: The advantage of playing with two drummers is
that you have the mass of acoustic viability.
Now, the disadvantages of course are,
if he goes "eh", you better go "eh" with him.
If he goes "oom", you better go "oom" with him!
Because if not, you're gonna get "eh, oom, uh,"
all at the same time. And that's no good.
♪ Yeah ♪
You know, every guitarist in the world has to know...
♪ (PLAYING RIFF FROM "BLACK WATER") ♪
(CROWD CHEERING)
♪ Well, I built me a raft ♪
♪ And she's ready for floating... ♪
NANCY WILSON: That's what America feels like. That song.
It just brought so many good elements together
that people could really relate to.
I mean, how many people have ever written chord changes
that are iconic?
Pat Simmons' acoustic on that is phenomenal.
♪ Old black water Keep on rollin' ♪
♪ Mississippi moon ♪
♪ Won't you keep on Shinin' on me? ♪
♪ Old black water Keep on rollin' ♪
♪ Mississippi moon ♪
♪ Keep on shinin' on me ♪
♪ Keep on shining Your light... ♪
JOHNSTON: Roanoke started playing "Black Water"
on their own. Nobody asked them to.
SIMMONS: All of a sudden, out of this little station
somewhere in the South, "Black Water"
was in their top-ten rotation.
Next thing we know, it's our first number-one record.
And also, a real departure in style from anything we'd done
up to that point.
It really featured Pat's finger-pickin'.
You had to dance. You had to dance to that song.
Everybody had to go...
♪ Hear some funky Dixieland ♪
♪ Pretty mama, Come and take me by the hand ♪
-♪ By the hand ♪ -♪ Hand ♪
♪ Take me by the hand ♪
♪ Pretty mama, come and dance With your daddy ♪
♪ All night long... ♪
JOHNSTON: The crowds got way larger.
Crowds got more animated. And pretty soon,
we were on the road all the time.
♪ I know you're leavin' ♪
♪ Leavin' me behind... ♪
Being on the road's a tough thing.
And after a while, it gets so crazy
that you start just going inward.
♪ Take me in your arms ♪
♪ Rock me Rock me a little while ♪
♪ Oh, with you, darling ♪
♪ Rock me Rock me a little while ♪
♪ Oh, yeah, yeah ♪
TIRAN PORTER: The Doobie Brothers played everywhere
where there was an electrical outlet.
Sometimes, it's just too much.
MAN: Well, Tommy became very ill.
SIMMONS: We were out promoting Stampede
and Tommy didn't show up at the gig in Chicago.
So, we didn't know what to do.
I finally ended up in a hospital and we found out,
yeah, about a dime-sized hole in your stomach.
And they just barely pulled me out of it.
I was basically dead and I said, "You know what?
I'm burnt out on this.
I gotta get away from it for a while." And I did.
It looked like we would have to cancel the tour.
And Jeffrey Baxter said, "I know this guy.
He's a side man with Steely Dan. His name is Michael McDonald."
He's a really good piano player and a wonderful singer.
I think you'll like him.
PORTER: So we brought Michael out to New Orleans
in early 1975.
Heard him sing three notes and we went,
(GASPS) "That's the guy!"
(AUDIENCE CHEERS)
MICHAEL MCDONALD: This was just like
a dream come true. You know, I got to play with
a really great band, record my own material.
I thought I'd died and went to Heaven.
♪ Oh, you ♪
♪ Tell me, please, the things You're gonna do for me ♪
♪ No, no ♪
♪ I ain't blind and I don't like What I think I see ♪
♪ Taking it to the streets ♪
♪ We're taking it To the streets ♪
♪ Taking it to the streets ♪
MCDONALD: It all happened so fast.
I think I was expecting at any time to be laid off.
You know, and yet it just kept going further and further.
Michael McDonald is kinda like adding a spice to a dish.
And it's not a subtle spice.
He's a sort of wasabi-infused garlic.
Immediately, it changes everything.
And he did.
♪ No, no ♪
-♪ Taking it to the streets ♪ -♪ No, no ♪
♪ Taking it to the streets... ♪
Wow! The Doobie Brothers!
One of the key moments of my television history
was the What's Happening!! episode
where they went to see the Doobie Brothers
and they bootlegged the show.
You got to see the Doobie Brothers act.
I thought you guys were our friends.
How could you guys do this to us?
And I can't say it was strong!
JACKSON BROWNE: Will you welcome some really good friends of all of ours,
who helped us get this whole thing started from the beginning.
Put it together for the Doobie Brothers!
♪ Darling, you're always there At my rescue ♪
♪ Dependin' on you ♪
♪ Darling, you're always there By my side ♪
♪ You're always there By my side... ♪
Here was the biggest band in the United States saying,
"Yeah, we'll give you two nights at Madison Square Garden."
It let us go on sale and say that our first nights
were with the Doobie Brothers.
PORTER: The Minute by Minute album was probably the most
fraught recording experience of our career.
♪ She came from somewhere Back in her long ago ♪
"What a Fool Believes," fifty-something takes.
♪ The sentimental fool Don't see ♪
♪ Tryin' hard to recreate What has yet to be created ♪
PORTER: Michael had something in his head,
but he couldn't communicate it to the rest of us.
The quest for excellence was out of control.
PORTER: We were all sick of one another.
MCDONALD: Jeff and I butted heads during that period
more than anyone else in the band.
He was now in a lot of ways driving
the direction of the band.
I don't think the album could have ever been
good enough, you know, for any of us.
And I think even a lot of people at the label were going,
"It's over. It's the band's, you know, kiss of death."
The Doobie Brothers!
♪ What a fool believes ♪
♪ He sees ♪
♪ No wise man has the power... ♪
So imagine our surprise when the first single came out
and the thing sold like three million copies.
No one expected it.
Much less did we ever expect to win a Grammy, you know.
BOTH: The Doobie Brothers!
We want to thank our fans who made it all possible,
stickin' with us for all these years.
Thanks. We appreciate it.
♪ Call my name And I'll be gone ♪
♪ You'll reach out And I won't be there ♪
♪ Just my luck, you'll realize ♪
♪ You should spend your life With someone... ♪
SIMMONS: It might have been me that kinda was always pushing
to kinda keep the band working.
And I just kinda felt, at that point,
that maybe it was time to give people a break.
Goddammit, man. The Doobie Brothers broke up.
Shit! When did that happen?
SIMMONS: Yo! Everybody knows my friend, your good friend,
-Mr. Tommy Johnston. -(AUDIENCE CHEERING)
♪ When the sun comes up On a sleepy little town ♪
♪ Down around San Antone ♪
♪ And the folks are risin' For another day ♪
♪ Round about their homes... ♪
SIMMONS: Because of the way that we did things,
it would enable us to come back and play together again.
-♪ Talking 'bout China Grove ♪ -♪ China Grove ♪
WILSON: They're such a seminal treasure of a rock band,
and they belong in the Rock and Roll Hall of Fame.
Because they invented that shit.
♪ Whoa, oh Listen to the music ♪
Now they've been together 50 years!
I can't imagine rock and roll without the Doobie Brothers.
We were a band.
And we're still that way.
I mean, this band is a live band.
MCDONALD: You know, for me, it was the greatest time
in my career, was being a Doobie Brother.
As long as people want to hear us,
we'll be out there playing.
(CHEERING AND APPLAUSE)
Wow, it's been a long time coming,
but we are so grateful and excited to be inducted
into the Rock and Roll Hall of Fame.
A lot of our musical influences are enshrined in the Hall,
so we couldn't ask for better company.
It's been quite a ride from playing clubs in San Jose
to recording music that we loved,
then playing for people in venues all over the world.
It seems unreal, but it's been quite a trip,
and we aren't done yet.
My deepest thanks to the Doobie Brothers family
and all the members over the years
who have been part of this journey.
It's always been about our love of music,
and because of the band's success,
we now celebrate this induction.
I want to thank my family for their support.
My wife, Diane. My son, Christopher, and his family.
And my daughter, Lara. You guys mean the world to me.
And I'd like to thank Irving Azoff and Karim Karmi
for getting us to this level in our career.
You've been amazing.
I'd also like to thank Rob Light and the CAA team.
And thanks to Ted Templeman for his musical direction
in the studio.
And to all our fans who have stood by the band
through the years, you are the best.
Thank you all.
I wish to thank first of all the guys
who I accept this award with tonight,
for their years of friendship and the privilege
of allowing me to be a member of the Doobie Brothers.
I'd also like to thank the Rock and Roll Hall of Fame
for this great honor.
I'd like to thank the fans for their continuous support
over the years. And I'd also like to thank
all the managers, record executives, producers,
all the men and women who worked hard along with us
on the way to this moment.
It's a great honor.
On a personal note,
I'd like to thank my lovely wife Amy, and my two great kids,
Dylan and Scarlett.
Thank you for always being there.
Being a Doobie Brother represents some of the best
years of my life,
so being inducted into the Rock and Roll Hall of Fame tonight
with these guys makes it all the more special for me.
Thank you.
First of all, I want to thank the Rock and Roll Hall of Fame
for our induction.
It's certainly a great honor for us to be included
among this distinguished membership.
I want to thank all the Doobie Brothers
past and present, especially Tom Johnston,
Michael McDonald, John McFee,
Mike Hossack, John Hartman,
Keith Knudsen, Tiran Porter,
Bobby LaKind and Jeff Baxter.
And it's truly an honor to have been part
of this great band of amazingly talented musicians
and wonderful friends.
We have the greatest road crew in rock 'n' roll:
Joe, Tyler, Hoodie, Vid, Jeremy, John, Coop, Keith and Steve.
Thanks, guys. And our incredible fans
who got us here and stuck with us for over 50 years,
we owe you so much.
I want to thank my wonderful wife, Cris,
forever patient, wise and supportive.
I love you so much.
My children, Lindsey, Josh and Pat Jr.,
you have made all the work, long hours and sacrifice worth it.
My life has been a blessing and I'm so lucky to be able
to share it with you all.
I want to wish all of you watching the very best.
Someday, we'll all be together again, sharing the music
and the love. Thank you. Aloha.
IGGY POP: When I first heard about Nine Inch Nails
and heard a little of their music, I thought,
"Well, who is this guy?" So I took a look.
And I saw a face straight out of 15th-century Spain.
I think Trent could have played Zorro.
If he'd been alive at the right time,
I think he could have been painted
by Velázquez or El Greco.
And his portrait would probably be hanging
in the Prado today.
Listening to Nine Inch Nails' music, which is so often
called industrial, I actually hear a lot of funk.
Just listen to "Closer", and the foundation
could be Stevie Wonder or George Clinton.
But on top of that is a focused and relentless process
of emotional destruction which paints a portrait of pain,
pressure and dissatisfaction.
It's the soundtrack to the dark and lonely party
that was beginning to play out in America at that period.
So I would call it not industrial,
but the sound of industrial, digital ambition.
I went to the Nine Inch Nails show
in the Forum in Los Angeles,
the one together with David Bowie.
And Trent held the center of that room
just by being a kind of dark spot
hunched behind the mic.
I'd seen the same thing accomplished in different ways
by T. Rex at Wembley, Nirvana at the Pyramid Club,
and Bob Dylan in '65.
This is the mark of the master artist.
Simply to connect.
The controversial and brilliant French novelist
Michel Houellebecq, when asked the secret
of his success, said, "It's easy.
Just tell the truth."
Listening to Nine Inch Nails feels like hearing the truth.
So it gets you a little bit closer to God.
It is my honor to assist in inducting Trent Reznor
and Nine Inch Nails into the Rock and Roll Hall of Fame.
TRENT REZNOR: Hello?
INTERVIEWER: Hey, Trent.
REZNOR: Yeah?
INTERVIEWER: Thanks for doing this.
I'll jump in.
How do you explain what Nine Inch Nails is?
REZNOR: That's a good question. And it's one of those ones
where, when asked, my mind immediately goes blank,
you know? (LAUGHS)
ANNOUNCER: Ladies and gentlemen, please welcome
Nine Inch Nails.
RICK RUBIN: Nine Inch Nails was always outsider music.
The rest of culture is moving and changing in a certain way.
And they were always outside of it.
MILEY CYRUS They're a testament that you can make
infectious music that you can't get enough of.
♪ Head like a hole ♪
♪ Black as your soul... ♪
JIMMY IOVINE: Trent has an enormous impact culturally.
His psyche is the lead instrument of that band.
♪ Bow down before The one you serve... ♪
"Head Like a Hole" has two fucking choruses.
If you're trying to think of that song,
it's the song that's like...
♪ Bow down before... ♪
Oh wait, no. Then it's...
♪ Head like a... ♪ Oh, wait.
Both of those are great choruses,
and they're in the same song.
There's...
SAUL WILLIAMS: There's that similarity
with an artist like Prince, where you know
that a lot of those songs came from late-night solo ventures
into the self.
Trent brings in collaborators and other players,
but it is a singular vision, and that vision is his.
♪ Every time I get high... ♪
REZNOR: What I always thought rock should be is something
that should be rebellious,
and should have something about it that your parents
shouldn't like. You know, it should be anti-establishment.
It should have some sense of danger.
There should be some sense of chaos.
Nine Inch Nails is a pure, raw-nerve emotion.
It appeals to you and freaks you out at the same time.
DAVID FINCHER: There are a lot of people who can write a good lick,
or produce something that's eminently hummable.
But it's when somebody drops something into your lap...
that has to be dealt with, that's the difference.
REZNOR: I spent a lot of time growing up in Pennsylvania.
You know, like a lot of time by myself.
And just time in my room, listening to music.
You know, worn-out records...
helped me feel less alone.
Helped me feel connected to the world
in an environment where I felt far away
from everything exciting.
When I started to express myself,
there seemed to be a lot of angst and anger and loneliness
in journal entries.
I realized these could be the lyrics.
♪ Why are you doing this to me ♪
ANNIE CLARK: Nine Inch Nails came out of the industrial scene
of the '80s, and made heavy, corrosive,
industrial goth music massively popular,
and made it something that suburban kids
were wearing t-shirts of.
WILLIAMS: It's a huge influence on a generation of kids
that needed direction.
I mean, I could be funny about it and say, "Yeah,
he helped a lotta suburban white kids make sense
of their lives," you know? (LAUGHS)
And, um... But in a great way though.
In a great fuckin' way.
♪ I still recall the taste of your tears... ♪
I was at that age, 14, I was angsty as fuck,
and I wanted rebellion music too.
It was really like one of those records that you just hear,
you go, "Oh, that's what I like now."
♪ My favorite dreams of you ♪
♪ Still wash ashore... ♪
REZNOR: Heading to a town you've never been to,
opening for a band and seeing somebody in the back
yelling your words back at you...
Like, I can't tell you how much that really made me
feel connected to the world for once.
♪ ...anymore ♪
You feel a sense of, "I'm not alone,
'cause someone else has felt this way."
Their music kind of erases loneliness in a way.
To me, "Closer" was a next jump for him.
♪ Help me get away from myself ♪
♪ I wanna fuck you like an animal ♪
REZNOR: "Here's a visual in my head."
"Let's get that sounding like that place."
HOST: The biggest noise this year was made by
a musical hermit named Trent Reznor
and the band he sometimes surrounds himself with,
Nine Inch Nails.
Reznor was everywhere this year, debuting at number two
on the Billboard chart with The Downward Spiral album,
and taking many a luckless keyboard to task on stage.
I saw the video of that new band and I thought,
"That's really good. That's a great video."
Because of that, I then really had gone in
to what he was doing.
And then Downward Spiral was really
just an exceptional album. Really excellent.
♪ Devil speak of the way... ♪
The performance at Woodstock in the mud,
that's gonna be in my brain forever.
They just created this world that was tumbling towards hell
in the best possible way.
And at one point, the one Nine Inch Nail, Trent...
(AUDIENCE LAUGHS)
He's just-- He's very disturbed. He's emotio--
This kid is emotionally disturbed.
REZNOR: Touring became life-changing for good and bad.
Surreal experience, that I, as a human being,
wasn't prepared for.
To see your whole life kinda change,
fame brings its weirdness to you.
It was a strange, strange time.
You know, I came out the other end lost.
♪ What have I become ♪
♪ My sweetest friend ♪
♪ What have I become ♪
♪ My sweetest friend... ♪
REZNOR: The whole Johnny Cash thing came up at a time
right when what was going through my head
was really questioning my own relevance.
And I was wondering if I had anything to say,
or if I was any good.
♪ I would keep myself... ♪
At the time, it felt really comforting,
and like a pat on the back in the way of, like, you know,
"You can do this. Get out there and write an album."
INTERVIEWER: How do you feel when things you've done
come back to you from the culture?
Like Miley Cyrus covering one of your songs?
Or Lil Nas X sampling Nine Inch Nails?
♪ I got the horses in the back... ♪
REZNOR: It's surprising and it's flattering to hear
when influence pops up.
But I don't-- I don't spend much time
thinking about it.
I don't think it's healthy to be caught up in that.
♪ I'm gonna take my horse to the old town road... ♪
You really start to have this deep appreciation
for the melodies.
And when you have a great melody,
it can lend itself to any genre.
I think that's how a song becomes classic.
♪ Ride till I can't no more ♪
PROFESSOR: Mr. Zuckerberg, do I have your full attention?
No.
FINCHER: Ghosts was a collection that I returned to often.
And on Social Network, we just kept temping it
with stuff from Ghosts.
REZNOR: Social Network, the first film I'd ever scored.
You know, the first few days was, "I don't have any idea..."
"How do you even start?"
Once I started thinking about the character,
the sense of betrayal and the sense of,
here's somebody that believes in something so much
that they'll fuck over anybody to do it,
thinking it's gonna fix them, and I know that story.
I know what that feels like.
When I'm sitting in the studio with Atticus now,
for the first time in my life, I felt like
it really is much better than if I were by myself.
IOVINE: I've now seen all their movies.
And music that they do for those movies
is as interesting and as powerful as Nine Inch Nails.
A good way to look at music is to look on the past.
NWA, The Clash, Patti Smith.
We've have had those moments where complete anarchy of music
and the culture collide,
and you get people that are ahead of their time.
That's where Nine Inch Nails, to me, fits.
♪ Doesn't it make you Feel better ♪
FINCHER: There are best hits,
you know, and then there's a body of work.
It's a sense of a progression through the not knowing,
and the finding the vulnerability of that,
and the triumph of it.
And it's rare.
REZNOR: The best part of touring for me now
is the sense of pride of "Man, I cannot wait to show this crowd
this band."
A lot of times I look in the front row
and it largely looks the same as it did 25 years ago.
It's not the same people.
But it still looks like... There's the same goth kid
in the front row who might be his son now.
And I still feel like there's so much I haven't done
or so much I don't know about music alone.
I gotta get my shit together and get going on this.
INTERVIEWER: That's great.
Well, thanks. We'll leave it there.
REZNOR: All right, man. Take care. Bye.
INTERCEPT MESSAGE: We're sorry. Your call cannot be completed as dialed.
-Please check the number and-- -(BEEP)
Thank you so much, Iggy.
Hello, everyone.
What a disorienting, strange year we find ourselves in.
As I've been wrapping my head around Nine Inch Nails
being welcomed into the Rock and Roll Hall of Fame,
I think I was most looking forward to the ceremony itself,
where hopefully the whole camp, past and present,
was going to get together and have a moment.
And we're all stuck in our little boxes
staring at our screens.
Even now, music's always been the thing that keeps me going,
and as an artist, I think the most significant accomplishment
or feeling is realizing something you've created
from a fragile and intimate place
has reached out, resonated and affected someone else,
possibly changing how they see the world.
So, as to whatever being in a Hall of Fame means,
thank you for the recognition.
With that said, this has been far
from a singular endeavor, and I first want to introduce
my fellow inductees.
Atticus Ross.
Robin Finck.
Alessandro Cortini.
Ilan Rubin.
Danny Lohner.
And Chris Vrenna.
I love these guys, and they've all been an integral
and essential part of why we're here.
Additionally, there's been a number of other key players
involved over the years I'd like to recognize and thank,
including Charlie Clouser, James Woolley,
Rich Patrick, Josh Freese, Justin Medal-Johnsen,
Jerome Dillon, Aaron North, Jeff Ward and Jeordie White.
Throughout the years, I've benefitted from a strong
collection of people around me
that have offered everything from encouragement to guidance,
to a kick in the ass when needed.
These include Jimmy Iovine, John Silva,
Marc Geiger, Ross Rossin, Alan Moulder,
Rick Rubin, Zia Modabber, Bill Harper, David Fincher,
Jerome Crooks, Steve Barnett, Jim Guerinot, and John Malm.
You're all appreciated and this is for you, too.
A special thank you to my wife, Mariqueen, and my kids,
who keep me humble and make everything worthwhile.
And for the Nine Inch Nails fans out there,
you guys are the best.
We've wound up in some weird places together,
and you're an intense bunch that can drive me out of my mind,
but you're the best.
This journey is far from over if I have any say in it.
So let's stop fucking around and patting ourselves
on the back and get to it.
Hope to see you all in the flesh soon.
Thank you.
CREW MEMBER: Quiet please.
DIRECTOR: Irving Azoff induction, take one.
Irving Azoff in the Rock and Roll Hall of Fame.
Why not?
It wouldn't be the first time they've inducted somebody
who can't sing or play an instrument.
(MAN SCATTING)
(MAN SCREECHING)
IRVING AZOFF: I've been an agent,
a personal manager and a movie producer.
You dick!
You sound like a corporate fucking dick!
AZOFF: A music publisher and a record company CEO.
I love music.,
And I like to protect the people who make it.
I love Irving's sense of play.
I love his sense of mischief. I love his enthusiasm.
I love his optimism.
His perseverance.
And I love his loyalty to his clients and to his friends.
He makes you feel good
about being a fan, because he's a fan.
You're important, because he's important!
He loves the shit out of music.
The consummate professional, and a big dealer.
(LAUGHTER)
His overall love of what he does...
I just am in awe of it every day.
AZOFF: As a kid growing up in Danville, Illinois,
my first concert was the Beatles in Chicago's old Comiskey Park.
I was bitten by the music bug, but I was not a musician.
My instrument was, and still is, the telephone.
I put myself through college at the University of Illinois,
booking bar bands.
Together with my friend singer/songwriter Dan Fogelberg,
we quit school and headed west to pursue our careers in music.
One day, he came to me and said,
"Hey, I really want to manage somebody. Could I manage you?"
And I said, "Sure. Everybody else does."
"No, no, no. they're all dumb. I know what I'm doing."
When David Geffen and Elliott recruit me,
I take Joe Walsh and Barnstorm, REO Speedwagon and Dan Fogelberg
with me to GR Management.
Irving is the only manager that I ever knew
that said to David Geffen, "Hey, David..."
(BLOWS RASPBERRY)
DON HENLEY: Things at Geffen/ Roberts Management
were coming apart, and Elliott suddenly dissolved the company.
So Irving called us up one day and he said, "Are you leaving?"
And we said, "Yeah, we're leaving."
He said, "Well, I'm going with you."
He wanted to start a new kind of management
and level the playing field for artists
in the record business.
♪ We ought to take it easy... ♪
I grew up with a real appreciation for a song
in a distinct vocal. And I loved vocal harmonies.
That's what attracted me to the Beatles,
and it's what attracted me to The Eagles.
Perfection is not an accident.
JOE WALSH: And then Irving took a bunch of young men
called The Eagles, and turned them
into a bunch of old men called The Eagles.
That was a good thing.
And I see a guy who is kind of in the band.
What I loved and what I learned from Irving is...
get down with them. Be with your people.
Tonight, the promoter gave us chopsticks.
CAMERON CROWE: He was this kind of...
rocket.
Not the tallest rocket.
But a compact rocket.
More powerful than the taller rocket.
HENLEY: Irving Azoff.
He's short, and he's a story.
CROWE: I wrote about him for Rolling Stone
and tried to like capture what that was like.
HENLEY: What Irving did was basically genius.
He turned a longstanding animosity between the Eagles
and Rolling Stone magazine
into a big feature piece about himself.
♪ You can check out Any time you like ♪
♪ But you can never leave ♪
Then the Eagles broke up.
Then we got back together...
Then we broke up.
♪ Nobody on the road ♪
♪ The heat is on ♪
NEWSREADER: His reputation as a success
recently led to his appointment as head of MCA Records,
forcing him to give up his management company.
This evening is really a celebration of chutzpah,
that spirit which has allowed Irving Azoff to spend 16 years
in a ruthless business and land near the top of the heap.
Fourteen years later, back together.
♪ Get over it! Get over it! ♪
A lot of my job was trying to keep the band from breaking up.
Or putting the band back together after it broke up
ten or 20 times.
I want to thank Irving Azoff,
without whom we wouldn't be here today.
We might still be here, we wouldn't have made
-as much money. -Right.
-(LAUGHTER) -As I've said before,
he may be Satan, but he's our Satan.
HENLEY: The whole Satan comment has been widely misunderstood.
What I meant was,
if you mistreat one of Irving's clients,
then there will be consequences.
Everything I learned about the business
I learned managing them.
HENLEY: I think we taught him about the dynamic in a band.
He'd managed solo artists like Fogelberg and Walsh,
but not a band like the Eagles, where there were
a lot of chiefs and no Indians.
It's been an incredible learning experience to then apply
to the other things that I've done throughout my career.
If you make a big list of all the artists you know,
Irving manages their managers.
♪ Here's to the ones That we got... ♪
ADAM LEVINE: Irving is so disarmingly honest.
Since we started working together,
the one thing he did very differently was
told me the truth, man.
And the truth isn't always awesome.
Irving came into my life at the most crucial moment.
I needed him so bad.
♪ Thank God that I found you... ♪
It's just so great to be able to have somebody in your life
when you have so much coming at you.
I just trust him.
He's so supportive. He gives you great advice.
And you always know you're growing with Irving.
That's what I love about Irving.
Most people know Irving as a powerful manager
or a major executive.
I know him as a friend.
I've seen him go to any length for his artists.
And I've seen him be a warm and compassionate
father to his children. And to me! (LAUGHS)
I called my dad and he said, "How's it going?"
And I said, "I gotta be honest with you,
I don't know if I'm meant for the music business."
And he said, "Listen to me carefully
'cause I'm only gonna tell you this once.
You have my last name. You have a phone.
If you can't figure it out, you're not my son." Click.
And I never forgot that.
One more thing. What I do know is,
if somebody in the entertainment business does something good...
Irving has always made it possible for them, uh,
to be able to do it better.
I don't think there's anybody in the music business
who has made more of a difference
over as long a span of time as Irving Azoff.
Every place I've worked in the business,
whether it's been a label, a publisher, a promoter,
a manager, if you do what's right for the creative person,
the songwriter, the artist, it will eventually be right
for your company and your career also.
He has been instrumental in bringing about a new order...
about how things work.
In terms of recording contracts. In terms of management.
In terms of touring. In terms of copyright.
In terms of artist rights.
The economics in the business have been so hurt,
that for the first time, you've got a united music industry
of record companies, publishers, writers, artists,
you know, standing together.
You know, streaming is the future.
So, larger than life,
loving music the way we love music.
Come on, you gotta put him in the Hall of Fame.
He is one of the greatest of all time
when it comes to managers.
There is truly no one more deserving than Irving.
And his impact on the industry is literally profound.
I've been really lucky to have a front-row seat
to this show my entire life.
We love him. All the guys in The Eagles love him.
He has a beautiful house that we bought him
and a beautiful car that we bought him.
He has a wonderful life
that we made possible for him.
Irving, my friend, we're coming up on 47 years together.
It's been a hell of a ride.
I love ya. I appreciate you,
and congratulations on your induction
into the Rock and Roll Hall of Fame.
Well deserved.
Hi, everyone, Irving here, AKA Don Henley's Satan.
I actually prefer Glenn Frey's nickname for me better,
"Big Shorty."
We're all here because we're fans.
We hear a song or a melody and think,
this is where I belong.
When I was growing up in Illinois,
my parents thought I was headed for a career in medicine.
As useful as that would be right now,
the moment music got ahold of me, it never let go.
I'm so lucky to have had a front-row seat
to watch my favorite artists on and off the stage
for nearly five decades now.
These icons became a part of my family
and my very best friends.
Don Henley, Glenn Frey, Joe Walsh,
Dan Fogelberg, Stevie Nicks,
Donald Fagan and Walter Becker,
you started it all.
Three of you are no longer with us in person,
but you're always with me in spirit.
My mantra since day one has been,
"Do what's right for the artist,
and in turn, that decision will be right for you."
I can honestly say that strategy hasn't failed me once.
No one has taught me more about the importance
of protecting artists' rights than Don Henley.
We've reached a crossroads in the music business today.
It's time for rules to be broken,
but they won't break themselves.
If you are a young artist or executive
watching this today,
and I can give you any advice, it's be brave.
Own as much as you can.
Depend on no one but yourselves.
Protect intellectual property at all costs.
Take the long road. Fear nothing and no one.
I promise you, it will pay off.
To my family, my wife Shelli.
You're my partner in crime.
I love you more than anything.
Plain and simple, none of this exists without you.
To my kids and grandkids, Jay, Allison, Jeffrey,
Cameron, Rich, Sydney, Riley and Dylan,
I'm so proud of you all.
Thank you for not being the fuckups
your mother and I worried you could be.
Since partnering with my son Jeffrey,
working with him breaking new artists
has offered some of the most exciting moments of my career.
Look at it this way, we could have had real jobs.
To the Hall of Fame, thank you.
This organization has come so far
and found such an important and needed place in the world,
a place where we can all celebrate the artists
and the music we love.
I hereby induct myself
into the Rock and Roll Hall of Fame.
I will cherish this moment forever.
SEAN COMBS: "It was all a dream"
These are the most famous words
from the greatest rapper of all time,
the Notorious B.I.G.
And tonight, that dream is turning into a reality.
Big just wanted to be the biggest.
He wanted to be the best.
He wanted to have influence and impact people
in a positive way.
And that clearly has been done all over the world.
Nobody has come close to the way Biggie sounds.
To the way he raps. To the frequency that he hits.
Tonight, we are inducting the greatest rapper of all time
into the Rock and Roll Hall of Fame,
the Notorious B.I.G.
Representin' Brooklyn, New York. We up in here.
Big, every day I wake up I hear your voice
motivating me, pushing me,
pushing all of us to be the greatest.
The sky's the limit. You did it, king.
Rock and Roll Hall of Fame.
Notorious B.I.G., the greatest of all time!
♪ Notorious ♪
Who is the Notorious B.I.G.?
Some nigga that's been stressed out
all his motherfuckin' life. Single parent never home.
Fucked up in the game. Got introduced to the drugs.
Jumped on the drugs.
Got paid off the drugs. Fucked up off of drugs.
Now I got a record deal.
♪ Live from Bedford-Stuyvesant The livest one ♪
♪ Representing B.K. To the fullest... ♪
Biggie represents Bed-Stuy, Brooklyn, New York City,
America, the world.
And he represents the Black experience
where they tell him, "No,
your hair doesn't work, you can't dress like that,
you can't talk like that."
"You can't be."
He said, "Fuck that. Not only am I gonna be,
I'm gonna be the best."
♪ B-I-G, C-I-E F-A-A, B-I-G ♪
-♪ Get it? ♪ -AUDIENCE: Biggie!
My son was the most beautiful baby
you've ever seen in your life.
Catholic school since he was six.
Christopher was a gentle human being.
The street is not gentle.
I know they weren't sitting here learning their ABCs.
♪This is a well of terror Of filth ♪
♪ I have to pay my bills And I will never forget ♪
♪ To sell, to set the scene ♪
NOTORIOUS B.I.G.: I've been in the streets since I was 12 years old, man.
Beaten up by police, everything, man.
Everything a motherfucker imagine or see,
I done been through it.
(B.I.G. RAPPING)
(B.I.G. SPEAKING)
(RAPPING)
I heard him making noise in his room,
and I would tell him, "Please stop the noise."
He said, "I'm not making noise. I'm rapping."
He said it was gonna make him rich,
make him famous.
(B.I.G. RAPPING)
B.I.G.: Making tapes in the basement with my nigga 50.
It just happened to get to Puffy and Puffy heard it.
He signed me.
This is my new artist, the Notorious B.I.G.
♪ I don't wanna live no more... ♪
His voice, first and foremost,
was something that was so unique.
And also his style. His mental approach.
I was like, "Oh, my God." I found something rare.
♪ Gimme the loot Gimme the loot ♪
♪ I'm a bad bad ♪
LIN MANUEL MIRANDA: It was the undisputed sound
of New York. It was this voice
with such authority and bravado.
♪ My man Inf left a TEC And a nine at my crib ♪
♪ Turned himself in He had to do a bid ♪
♪ A one to three He be home the end of '93 ♪
♪ I'm ready to get this paper, G You with me? ♪
COMBS: The way he approached things,
it's like a mental game of chess,
and every lyric is a certain movement
to bring you in visually and captivate you.
I'm just trying to rip the hardest, hardest rhymes.
♪ Heart throb, never Black and ugly as ever ♪
♪ However I stay Coogi Down to the socks ♪
♪ Rings and watch filled With rocks ♪
♪ And my jam... ♪
B.I.G.: Me and Puff was real tight. That's my boy.
He took me out of a dangerous game,
you know what I'm sayin'?
I mean, I was selling drugs real hard, you know.
When I got the record deal, all that got cut short.
♪ Bitches in the back looking righteous ♪
♪ In a tight dress I think I might just ♪
♪ Hit her with a little Biggie 101 ♪
♪ How to tote a gun And have fun with Jamaican rum ♪
COMBS: Two young men that really had a chemistry,
and this dream that we had.
And it was a dream that we had together
and we made happen together.
So it made our bond extremely close.
♪ It's my nigga Pop From the barbershop ♪
♪ Told me he was in the gambling spot ♪
♪ Heard the intricate plot ♪
♪ Niggas wanna stick me Like flypaper, neighbor ♪
♪ Slow down, love Please chill, drop the caper ♪
You could tell, like,
"Oh, this guy's about to be a superstar."
♪ It was all a dream ♪
♪ I used to read Word Up! magazine ♪
♪ Salt-n-Pepa and Heavy D Up in the limousine ♪
♪ Hangin' pictures on my wall ♪
♪ Every Saturday Rap Attack, Mr. Magic, Marley Marl... ♪
With "Juicy," my gold chart.
Straight out the hood, a nigga did good.
♪ I made the change From a common thief ♪
♪ To up close and personal With Robin Leach ♪
♪ And I'm far from cheap... ♪
COMBS: The first record's a hit.
And everything is happening so fast.
FAITH EVANS: When I first met Big
at this Bad Boy photoshoot,
immediately, there was something that I felt that was
really cool about him.
This is my woman.
EVANS: It may have been about six weeks,
and he was like, "I'm gonna marry you."
I'm like, "Are you serious?"
Less than a week, we got married!
♪ To all the ladies in the place with style and grace ♪
♪ Allow me to lace These lyrical douches ♪
♪ In your bushes Who rock grooves... ♪
INTERVIEWER: Some people might say,
"Damn, this nigga's married,
and he's saying this stuff about women."
Faith helped me-- She helped me write that.
When we was in the studio listening to the beats,
I was like, "I don't know what I wanna write about."
She was like, "Write about your honeys."
So I just wrote about my honeys.
♪ I love it when you call me Big Poppa ♪
♪Throw your hands in the air If youse a true player ♪
♪ I love it when you call me Big Poppa ♪
♪ To the honeys getting money Playing fellas like dummies ♪
♪ I love it when you call me Big Poppa ♪
♪ 'Cause I see some ladies tonight ♪
-♪ That should be having what? ♪ -♪ Baby ♪
-♪ What? ♪ -♪ Baby ♪
B.I.G.: Everybody's showing me love and bought the record,
and it's stayed on the charts for a long time.
And I got love for them, so I'mma keep doing it.
♪ It's mad I get more butt than ashtrays ♪
♪ A fair one I get mine the fast way ♪
♪ Ski mask way You need a ransom note ♪
JAY-Z: Big was a brilliant songwriter.
He just made movies almost like Hitchcock.
You know, they was these tales that were disturbing.
(B.I.G. RAPPING)
But they had all a purpose.
(B.I.G. RAPPING)
MIRANDA: He had this incredible, deep bass voice,
but he wielded it like a virtuoso.
And he could paint a picture with as few words as possible,
and set the entire scene.
♪ B-I-G P-O-P-P-A ♪
COMBS: When we went into makin' the next album,
the whole concept was more positive.
B.I.G.: And when I started doing Ready to Die,
there was a lot of anger, you know what I'm saying?
I was just-- A lotta hatred coming out.
You know? It was real, though.
Life After Death is the flip side of things.
I can't rhyme about being broke no more.
I ain't broke! (LAUGHS)
♪ The more money we come across The more problems we see ♪
Rap music is all about who's gonna be the king.
B.I.G.: Nobody get in this game
to just be an average motherfucker.
The West Coast, they were selling millions of records.
Before Biggie,
I feel like there was only so far New York rap
could go as far as sales.
Biggie changed all of that.
♪ Relax and take notes ♪
♪ While I take tokes Of the marijuana smoke ♪
Everybody that starts this shit,
they wanna be the largest rapper in the world
That's they dream. You get into this shit
to be a celebrity.
You wanna be in the magazines, you wanna be famous.
You wanna be rich.
♪ One, two, three, four Five, six, seven, eight... ♪
The undisputed king of New York.
ANNOUNCER: The first rap artist with a number one hit
the first week his single was released,
Notorious B.I.G.!
My responsibility in rap
is just to-- to me, in my eyes, just to keep making hits.
Keep selling records so my family can be straight.
While at the same time, make music
for the people who can feel that shit.
♪ Ha, slicker than Your average ♪
♪ Poppa twist Cabbage off instinct ♪
♪ Niggas don't think Shit stink ♪
♪ Pink gators My Detroit players ♪
♪ Timbs for my hooligans In Brooklyn ♪
JAY-Z: I remember when he was doing Life After Death.
And he sent me the demo.
It was incredible.
♪ Like Kobe Lucky they don't owe me ♪
♪ Where the safe? Show me, homie ♪
Oh, my...
Oh, we got a problem.
I was a little worried for myself, as an artist.
It's just really unfortunate, what happened after that.
B.I.G.: I just wanna give a shoutout to my whole family.
T'yanna, and little CJ, and my mom.
It feel good to just have her at ease,
knowing her son is doing no wrong.
-I'm staying out of trouble. -(GUNSHOT)
-MAN: Y'all get down. -WOMAN: Someone got shot.
MAN 2: It's Big in there.
(MAN SPEAKING)
NEWSREADER: The death of rapper Notorious B.I.G.
is the second time in six months
that a rap star has been shot to death.
NEWSREADER 2: And he was only 24 years old.
MAN: This news just went through our body.
It gave us chills.
MIRANDA: It's one of the most tragic what-ifs
in the history of hip hop.
You never thought that hip hop could take it this far.
How much farther could he have taken it?
VOLETTA WALLACE: He was my son.
My friend.
And there is not a day that goes by...
that I don't think of him.
COMBS: They say, like, time heals all wounds.
You know, I kinda wait for that day.
But I also think that,
you know, time doesn't heal some wounds.
Some things you have to live with.
JAY-Z: The human side of him came through his music,
and I think it moved the molecules in the world.
I know for a fact it pointed me in a direction,
and I'm sure this happened to millions
and millions of people worldwide.
HAKEEM JEFFRIES: Notorious B.I.G.
We know he went from negative to positive.
And emerged
as one of the world's most important hip hop stars.
♪ I know you're still living your life now ♪
♪ Every step I take ♪
B.I.G.: All my people's gotta stay on a positive vibe.
♪ Every move I make ♪
B.I.G.: Negativity just brings failure, you know?
♪ Every single day ♪
B.I.G.: We ain't trying to fail in this thing.
We trying to succeed.
♪ I'll be missing you ♪
B.I.G.: Keepin' it real forever.
♪ Missing you ♪
When my dad passed away, I was only three years old.
Even though I didn't get to know him as well as I wanted,
through his fans and our family,
I was able to see with my own eyes
that his music transcended the hip hop industry.
And he was able to not just become
the king of New York, but the king of the culture.
I know if my dad was here,
he would want to thank his mom, my grandma,
Voletta "Mema" Wallace,
Gigi, Uncle Dave, my mom Jan,
Faith, Todd, Puffy,
Wayne, Mark, the Junior Mafia family,
everyone that helped bring his music to life.
And of course, the Rock and Roll Hall of Fame
for this tremendous honor.
CJ?
Christopher George Latore Wallace.
AKA the Notorious B.I.G.
AKA Biggie Smalls.
AKA Frank Wyatt.
AKA the King of New York.
Our father was one of the founding
fathers of hip hop.
He helped revolutionize what was a young artform
for the Black community and the world.
I'm honored to share his name
and his dedication to Black music, creativity,
self-expression, and Black freedom.
I love you, Mema.
Thanks for teaching us who Christopher Wallace was,
as a son, friend, poet, artist, and father.
BOTH: We love you, Mema. We love you, Dad.
Brooklyn, we did it!
Depeche Mode is the soundtrack of my adolescence.
I'm not kidding.
There was literally a song for every occasion of my life.
My first date, my first time leaving South Africa,
and, of course, the first time I got my heart broken.
So when I finally got to see them live a couple of years ago,
it was like this epic slap in the face of nostalgia.
But more than that,
when I was at the show, I realized what else
I loved about their music.
They celebrate the outsider.
Their music brings people together
from all different walks of life.
It makes them feel like it's okay to be different.
That really hit me watching the videos at the concert.
I was moved to tears.
I came home. I told my daughters about it.
And I was also really fucking pissed,
because I don't usually go to rock concerts
to bawl my eyes out.
But truthfully though,
it just speaks to the immense power
Depeche Mode has had over the years.
It is also why, when I got the chance to pick some songs
for the Atomic Blonde soundtrack,
they were the first on my list.
It's no surprise that they're joining the ranks
of the Rock and Roll Hall of Fame.
I mean, they should have been there 20 years ago
if it was up to me.
But what an incredibly well-deserved honor.
Thank you, guys, for being the soundtrack to my life.
(AUDIENCE CHEERING)
(CHANTING) Depeche Mode! Depeche Mode!
-We love this! -Brilliant!
♪ Welcome to my world ♪
♪ And if you stay a while ♪
♪ Weep into your eyes ♪
♪ I'll make your vision sing ♪
♪ I'll open endless skies ♪
♪ And ride your broken wings ♪
♪ Welcome to my world ♪
♪ Get together right now ♪
♪ Yeah, let's get together ♪
DAVE GAHAN: The original band was called Composition of Sound,
which was a bit of a mouthful. When we decided that we wanted
to take it a bit seriously, it was just something that I
picked up in college. It was just the name of a magazine.
♪ Maybe I can Show you just how ♪
VINCE CLARKE: We just figured out that
for something like a synthesizer,
you only needed two fingers to play it.
We felt that music had to move on and, yeah,
the punk explosion had been really exciting
and it had to be taken on a step from there.
Electronic music and sequences
just seemed like a natural progression.
You could sit and program something
and it was more about ideas than actual,
you know, being a technically good musician.
♪ When I'm with you, baby ♪
-♪ I go out of my head ♪ -♪ And I just can't get enough ♪
♪ I just can't get enough ♪
♪ All the things you do to me And everything you said ♪
♪ I just can't get enough ♪
♪ It's getting hotter It's a burning love ♪
♪ I just can't seem To get enough of you ♪
CHRIS MARTIN: I think, sonically, Depeche Mode were
and are really on the forefront of...
throwing away all rule books.
That freedom of sonics I think is what defines them.
The idea is to roll the pebble
on this piece of metal over here.
And the idea is to take that sequence...
and to make an interesting rhythm out of it.
BILLY GIBBONS: Early '80s,
there was this experimental kind of exploration
of these new forms of ways to make loud noise.
Depeche Mode was charging ahead at the forefront.
♪ I don't want to start Any blasphemous rumors ♪
♪ But I think that God's got A sick sense of humor ♪
We play the same synths that they play.
The reason we started looking at those synths
when we were younger
is because we were like, "What is that sound?"
"How do you get that sound?"
ALAN WILDER: We deliberately, between albums, try to
make it different to the previous one.
We were determined not to just repeat the same album
over and over again.
So we were constantly trying to change our approach.
♪ Let me see you Stripped down to the bone ♪
GIBBONS: Martin Gore is a gifted writer,
a gifted composer.
He said, "Let's not make always a happy song."
Let's talk realistically about the human condition.
♪ There'll be times ♪
♪ When my crimes ♪
♪ Will seem Almost unforgivable ♪
♪ I give in to sin ♪
ANDREW FLETCHER: We soon found that,
when we were playing to people, they all came back
the next time, plus more. You know, the word spread.
GAHAN: No one had sold out the Rose Bowl.
A new wave band selling out the Rose Bowl?
It wasn't gonna happen.
♪ I'm taking a ride With my best friend ♪
WIN BUTLER: Dave Gahan is just a prototypical front man.
You can't really take your eyes off him.
And whether he wrote the song or not, he's delivering the song
and sort of inviting the audience to meet him.
FLETCHER: It was one of those moments,
spiritual moments when it's just like
50,000 people at that moment
just together doing something.
And that created a power that was greater
than anything that was going on onstage.
♪ Never let me down ♪
Thank you!
A Southland record store turns into a mob scene tonight
when a popular rock band shows up to sign autographs.
The band is called Depeche Mode,
the latest postmodern group to retake the United States
-by storm. -REPORTER: Over 15,000 people--
REPORTER 2: Riot police, we are told,
have gathered at the Beverly Center.
LAUREN MAYBERRY: If you are in the wider
Depeche Mode community, you're part of something.
And I think people want to feel that they belong somewhere.
They want to feel...
understood for five minutes, an hour-and-a-half, two hours
when they're listening to a song or they're seeing a show.
And I think that's something that we are very...
in awe of.
♪ Your own personal ♪
♪ Jesus ♪
♪ Someone to hear your prayers ♪
♪ Someone who's there ♪
♪ Oh, yeah ♪
It's the soundtrack of my life.
WOMAN: Going to a Depeche Mode concert is like going to,
like, the best church you've ever been to.
Never leaves my neck.
My boy.
MARTIN: I think some bands exist, on a universal level,
solely to bring people together,
to make people that might feel more outsidery
realize that they're part of a bigger family.
Depeche Mode can make lost souls feel a bit more found.
WOMAN: The music.
The notes.
The voice.
It touched us all.
That's why they have a fan like 22-year-old girl like me.
I feel like...
Depeche Mode just sort of talked about real shit.
I think most of us have had times of depression
or times of not, you know,
not feeling the way society tells you
you're supposed to feel all the time.
Depeche Mode, in a way, was just saying,
"It's okay wherever you're at.
If you feel different from everyone around you,
you're kinda-- There's other people that feel that way."
Which is sort of, I think, a powerful thing.
♪ I feel you ♪
♪ Your sun, it shines ♪
♪ You take me there You take me where ♪
♪ The kingdom comes ♪
♪ You take me to And lead me through ♪
♪ Babylon ♪
Sing it!
Yeah, we started off being total electronic purists.
And we gradually sort of came around to being open
to using any instrument that suits a part.
♪ It's only when I lose myself With someone else ♪
♪ That I find myself ♪
♪ I find myself ♪
FLOOD: Literally, you could say they were just a pop band,
but they're not.
Their songs have far more depth.
The way that they're perceived live is almost rock.
So there's all these strange combinations
that I think just give them a very unique standpoint.
There's nobody else I can think of who's anywhere near
to what they're trying to do.
♪ I was born With the wrong sign ♪
♪ In the wrong house With the wrong ascendancy ♪
♪ I took the wrong road ♪
♪ That led to The wrong tendencies ♪
♪ Where's the revolution? ♪
♪ Come on, people You're letting me down ♪
MARTIN: With Martin and with Fletch and with Dave,
you see these people that have been together
for whatever it is, 30 or 40 years,
and have just stuck together.
♪ I pictured us In another life ♪
♪ Where we're all superstars ♪
They're not talking about the same things over and over again.
When you actually write down a list
of, "What are Depeche Mode songs about,"
it's such a vast array of things.
And I think people appreciate that honesty
at all the different points in their life
and in the writers' lives.
It's like you go on the journey with them.
MARTIN GORE: I've always been very passionate about music,
and it's the only thing that's ever really interested me,
so I can't imagine doing anything else.
FLETCHER: We're lucky, as a band,
our fans give us our freedom.
They give us the ability to release what we like.
GAHAN: I'm very grateful that we get to do this
and we still got fans that want to come and see us.
We must be doing something right.
BUTLER: I feel like their music still sounds
like it could come out 20 years from now.
Depeche were able to take that spirit and spread it,
which is really kind of a sacred responsibility.
That mystique and that majesty
that they created together
is extremely influential on most bands, I think.
For a band like us, that makes music that we make,
they are like the godfathers.
Honestly, when we play in Europe still to this day,
the front row is 90 percent Depeche Mode shirts
because... they, like, gave us their blessing.
All you have to do is put the needle in the groove
and let the music speak for itself.
They've done a wonderful job
seeing things that we may not have seen before
and listening to things that we had yet to hear.
CROWD: ♪ All I ever wanted ♪
♪ All I ever needed ♪
♪ Is here in my arms ♪
♪ Words are very unnecessary ♪
♪ They can only do harm ♪
Yeah, that's right!
♪ Enjoy the silence ♪
All right. Congratulations, boys.
We finally found a way
to accept our induction into the Rock and Roll
-Hall of Fame. -Yes!
-Yeah. -Congratulations.
Congratulations.
It's a shame not doing the concert.
Aren't we doing the concert now?
(LAUGHING)
(VOCALIZING)
-GAHAN: Yeah! (LAUGHS) -(LAUGHTER)
Reach out and touch... Yeah. No we're not doing that.
Um... But still, it's an honor, of course, to be inducted
into the Rock and Roll Hall of Fame.
Um... I am reading notes here, by the way.
Congratulations to all our fellow inductees.
It's incredible now to be in this club.
There's so many other musicians
and artists that are part of this
that we have grown up listening to.
David Bowie, Iggy Pop and the Stooges,
-The Clash, just to name a few. -The Eagles.
GAHAN: Yeah, don't forget the-- Everybody loves the Eagles!
-FLETCHER: The Eagles. -(LAUGHTER)
Let's not forget, we got a big congratulations,
of course, to Vince Clark
and of course, to Alan Wilder,
who are part of the DM family
-and DM history. -FLETCHER: Thanks, Vince!
GAHAN: And of course, the success of this band.
Thanks, Alan.
We've been doing this most of our adult lives,
pretty much.
I guess we were 18, 19 when we started doing this.
And, of course, I want to thank
Martin and Fletch while I've got the opportunity.
-Thanks, Dave. -'Cause I don't know
what the hell I would have been doing
if I didn't find music, to be quite honest.
You'd have been still stealing cars, Dave.
Well, yeah, maybe I would have moved on
a bit from there. Let's hope I would've been--
Stealing larger things than cars.
-Let's hope so. -(LAUGHTER)
Definitely something dodgy.
I mean, music saved us, you know,
-in more ways than one. -GORE: Absolutely. Yeah.
Thanks to you, as well.
You know, we wouldn't be here either.
-Yeah. -GAHAN: Thanks, Mart.
You know, we were growing up listening to music on the radio
and having music to-- It really kind of
helped us to feel normal, and feel part of something.
You know, and that's what music does with people
and I think that's what Depeche Mode has done
for many people.
I think it-- Music really brings people together
and God knows, we need that more today
than it seems any other time.
Unfortunately we're not gonna be able to perform for you tonight,
of course, because of this situation
we find all of ourselves in.
But I want to thank some special people here
who have supported us and believed in us.
Of course, Daniel Miller and Mute Records,
who found us and believed in us.
And he continues to be a sort of guidance to this day.
And Tom Corbin,
who, thank God, came in at the right time
and actually made us look cool.
-(LAUGHTER) -Jonathan Kessler, our manager,
of course, and spiritual advisor.
All of the promoters across the world
that took a chance on a bunch of outsider,
eyeliner-wearing weirdos from Essex.
And all of the wankers that didn't.
(LAUGHTER)
Um... I also want to thank Peter Gordeno
and Christian Eigner, who have been such a huge part
of this band for the last 20 years.
And we're still calling them "the new blokes."
Let's not forget, as well, all our road crew,
tour managers, all of them that have worked
tirelessly to bring the Depeche Mode show
to life every night.
Rob Stringer at Sony,
who continues to support our artistic vision.
And of course, all of the fans,
a lot of which that have been with us from day one.
And of course, last but not least,
a big thank you to our families, our wives, our kids,
our parents, you know, who put up with us
and have been with us throughout this journey.
And I think I speak for all of us
when I say, we love you
and we couldn't do it without you.
Yes, absolutely. Thank you. Well done.
(LAUGHTER)
It's a lot.
You better get back to your kids and the studio.
Fletch, it's opening time!
-And you better-- -Off to the pub!
Talk to you guys soon. Love you.
-All right. -See ya.
Cheers
SLASH: Eddie Van Halen was a tremendously gifted musician.
His style and his sound were completely unique to him.
He had a massive impact on guitar playing,
and I don't there's anybody that's picked up the guitar
since 1978 that hasn't been touched in some way
by Eddie Van Halen's influence.
I'm gonna miss his playing
and I'm gonna miss him as a friend.
Eddie Van Halen was amazing. Not since Jimi Hendrix
had there been a guitar player
that had so much impact and was so inspiring to me.
He just explored the most simplest thing,
a harmonic on a string,
and brought it into this realm of technique
that no one even thought was possible.
He was just like from a different planet.
TOM MORELLO: Eddie Van Halen was the Mozart of our generation.
He had the kind of talent
that maybe comes around once a century.
Eddie Van Halen inspired me to practice 20,000 hours
to try to get within 100 miles
of his inspired mastery of the electric guitar.
You know, if I hit 80, if I make it that far,
I'll still be doing the same thing.
I might not be jumping,
I might be sitting on a stool, but I'll still be making music.
ANNOUNCER: Ladies and gentlemen!
Edward Van Halen!
(AUDIENCE CHEERING)
♪ ("AIN'T NO SUNSHINE" BY BILL WITHERS PLAYING) ♪
♪ ("SINCE YOU'RE GONE" BY THE CARS PLAYING) ♪
LITTLE RICHARD: I am the originator.
I am the creator.
I'm the architect of rock 'n roll.
(SCATTING)
♪ Tutti frutti Oh, Rudy ♪
LITTLE RICHARD: I was really inventing something.
Something was happening.
It was a music of freedom. A music of deliverance.
It was so full of power and rhythm.
It was so intense!
(SCREAMING)
I was singing from the top of my voice. Woo!
Just screamin'!
♪ Lucille ♪
♪ Please come back where you belong ♪
♪ Woo Yeah, yeah, yeah ♪
LITTLE RICHARD: I was a natural-born entertainer.
Born to be a star!
♪ Good golly, Miss molly ♪
♪ You sure like to ball Woo ♪
♪ Come on ♪
LITTLE RICHARD: Let me tell you something.
This is, without any doubt, what you're lookin' and watchin'.
This is the real thing.
(SCATTING)
(CHEERING AND APPLAUSE)
Listening to my father's records when I was four
was the greatest early experience of my life.
The music just seemed magical.
And I wound up dedicating the rest of my life
to finding those moments in music.
Before I started Rolling Stones when I was 21 years old,
I used to read a magazine called Crawdaddy!
There was one writer in there,
this Jon Landau, who could write about the music
as if he understood musicians.
BRUCE SPRINGSTEEN: One of my first recollections
of Jon Landau was his trashing of The Blues Project
in Crawdaddy!, which held the very first of rock criticism.
And I was going like,
who does this guy think he is?
Who's Jon Landau? (LAUGHS)
JANN WENNER: When I started Rolling Stone,
I wrote him a letter,
and he wrote me right back and said,
"This sounds what I'd like to kinda do."
We went out to a concert together
and I sat next to Jon, just watched him.
Seeing him tapping away on his legs
and bouncing, playing drums,
so full of excitement about the music.
It was like it was going through him.
From then on, Jon controlled music coverage.
Writing about rock and roll
in an intelligent and passionate way.
As a critic he was measured, very thoughtful
but he could take you down. (LAUGHS)
WENNER: Jon Landau is very definitive in his pronouncements
and sometimes, he gets it right, and sometimes, he gets it wrong.
♪ It's getting near dawn ♪
BROWNE: We'd run into people that he had savaged in print.
Their eyes would narrow and say, "You're Jon Landau?"
JON LANDAU: Look, I was born to be a critic.
I got attention. It was some sort of success.
But I was completely swept up in rock music.
And then R&B.
WENNER: At the beginning of Rolling Stone,
Jon was writing extraordinarily penetrating analyses
of things like Aretha Franklin,
Otis Redding, Sam and Dave.
LANDAU: My feeling was, well, the audience was all white,
so I used my space
to highlight great American Black music.
But I really wanted to cross over
from writing about the music to producing music.
The first chance was the great MC5,
and then with Livingston Taylor.
Of course, then I met Bruce, and everything changed.
Went to see him in this little club.
Maybe 15 people there.
It was just the greatest.
Then, I saw him a second time. It was even better.
Afterwards, I wrote an article
that I'm still proud of to this day.
MAN: Jon Landau said, "I saw rock and roll future
and its name is Bruce Springsteen."
BRUCE SPRINGSTEEN: First of all, when he said it,
we didn't think it was going to turn into some iconic
quote that people will still bring up
forty years later, you know.
He just saw a future in us.
LANDAU: He was looking to do something different
with his new album.
He needed a collaborator.
♪ Hey! ♪
IOVINE: Before Born to Run came out,
Bruce's records were always complicated.
He hadn't really figured out the studio yet.
I'd seen him on the stage, and it was astounding!
It was so dynamic and so theatrical,
but how do you focus this into two speakers?
That was the challenge with Bruce.
♪ Down in Jungleland ♪
SPRINGSTEEN: Jon had the initial idea of doing something
I had never even heard of.
And it was something he called "editing".
You mean, take something out?
"No, no, no, no!"
"We're the guys that put everything in!
"I don't take anything out!"
"Jungleland" needed space.
Bruce wanted a very big, Spector-ish sound.
And when you're playing a lot of notes,
you can't get that sound.
So Jon kept pushing, simplifying,
give the space for breadth.
And as they're doing this,
the song is actually getting better.
It was a fascinating moment. That epic song came to life.
That editor is so important.
That person on the receiving end of a manuscript.
LANDAU: I don't know whether it was my prior experience
being in writer/editor relationship with Rolling Stone,
but my way of relating to artistic people
just felt natural.
SPRINGSTEEN: To this day, I think that's my favorite
of Jon's production efforts,
is the work we did together on Born to Run.
BROWNE: I was really inspired by Born to Run.
WENNER: The Pretender is much more a classic rock record
than Jackson ever did.
The piano, Spector sound. It's one of his best records.
BROWNE: Jon made it a point to work
with all the best musicians he could find in L.A.
He'd be looking at the speakers and demanding
this sound to become something he needed it to be.
He would say, "You mind if I go talk to the piano player?"
And he'd go out there for a few minutes and come back,
and suddenly, these grand chords would be coming out.
And that kind of tinkering with the mechanics of the music
had a power that was undeniable.
Working with him brought me to a complete other level
of what I could do.
♪ Sail out of sight ♪
IOVINE: After Born to Run, we started Darkness.
Pressure on that album was monumental.
So they brought someone in to help me a little bit.
But I was like, "Jon Landau, this can't happen!"
He said, "Hey, Jim, stop!"
"This is not about you."
"This is about you helping Bruce make the best album he can."
"It's called 'the big picture.'"
That moment changed my life.
♪ Well if she wants to see me ♪
LANDAU: Whatever I do,
I recognize who the other person is
and what is gonna be helpful to them.
BROWNE: Jon has a luminous knowledge.
It's enabled he and Bruce to navigate
waters that artists haven't done before.
SPRINGSTEEN: There was an innate sort of intellectualism
that was always part of the music we were working on.
Thinking about what rock and roll meant,
its place in society, its place in our own maturing.
WENNER: Jon is a seminal figure in rock and roll.
All of us are enormously grateful.
Thank you, Jon.
SPRINGSTEEN: As a writer, Jon was in the forefront.
♪ Let's go! ♪
As a producer, critical.
And he created a management style
based around not just the business,
but nurturing the highest artistic goals,
along with the personal growth.
No one did that before Jon Landau
and I don't think anyone's done it as well since.
And he's always been an incredible friend.
I welcome you, good friend,
to the Rock and Roll Hall of Fame.
To begin at the beginning, I love my Mom and Dad
for gifting me with their humanity.
But tonight I particularly want to thank them
for taking me to a Pete Seger concert
when I was four years old.
Right then and there, while Pete was singing
and playing his loud, shiny banjo,
I suddenly felt my entire mini-consciousness exploding.
And that's when I knew
that I would spend my life in music.
So, thanks to my childhood hero, Pete Seger.
I thank my wife, Barbara,
who I've loved for the last 43 years,
our children, Kate and Charlie, and my brother David.
I love you all.
Thanks to my most dedicated and loyal partner, JLM,
Barbara Carr, and George Travis.
Allison Oscar, Jan Stapino,
and my dear friend Chuck Plotkin.
I love you all as well.
Now I started writing about music in 1962
while a junior at Lexington High School.
And from there, I met the late Paul Williams in 1966,
who I thank so much for having published me
in his pioneering Crawdaddy! magazine.
And that in turn led to ten years of writing
about music at Rolling Stone, where I earned my Ph.D. in life.
So, love and thanks to my friend of a lifetime,
Jann Wenner.
On May 9th, 1974, I went to a concert
at the Harvard Square Theater,
and I was so overwhelmed by the performance
that I went home after the show and wrote those famous words
that I'm still so proud of.
"I've seen rock and roll future,
and its name is Bruce Springsteen."
That night, I decided that I would somehow find a way
to work with Bruce on his music and career.
And so I did. For the next 45 years
as his co-producer, manager, and most importantly,
as a partner and friend who loves him deeply.
So as I offer my thanks to the Hall of Fame
for this extraordinary recognition,
I also want to thank some of the other artists
with whom I've worked, among them, Wayne Kramer,
Rob Tyner, Fred "Sonic" Smith, and the extraordinary MC5.
Livingston Taylor, my long-time friend Peter Wolf
and the J. Geils Band.
Natalie Merchant, Shania Twain,
Train, and Alejandro Escovedo.
I offer my special thanks and love
to the extraordinary Jackson Browne,
whose faith in me back in 1976
gave me the confidence to reach for the sky.
And of course, I reserve my most heartfelt thanks
for Bruce, who gave me the chance,
the encouragement, and the love that I needed
to fully realize who I am and what I have to contribute.
And without whom this moment could never have happened.
RINGO STARR: From T. Rex, my good friend, Marc Bolan.
People knew him as a great musician,
a songwriter, a guitarist,
but he was also a poet, and he was very proud of that.
He was always telling me that.
He was the number-one selling poet in Britain.
In fact, his poetry was as important to him
as his music.
He had great style
and was really unlike anyone else I have ever met.
He was a great performer, just incredible.
And that's why I call the film we did together
Born to Boogie, because he really was.
I told Marc, "I'll bring the camera and everything else."
"You just bring yourself." We had a lotta fun together.
I remember lots of laughter.
We lost him way too young, but in his short life,
he made over 12 albums that are as far-out
and ahead of their time as he was.
With the help of Tony Visconti and his band T. Rex,
Marc's style started a lot of trends.
They called it "glam rock,"
with singles such as "Get It On",
"Children of the Revolution", and of course, "Born to Boogie".
But it was always just great music to me.
And that's why people are still listening to T. Rex today.
There's no doubt they belong
in the Rock and Roll Hall of Fame, finally!
And I'm very proud to welcome them in right now.
Peace and love to Marc, Mickey, Steve, and Bill.
And peace and love to all the fans,
from me and T. Rex. Peace and love.
Some people like to rock!
Some people like to roll.
(LAUGHTER)
I consider myself an artist, you know.
And a writer, a poet, guitar player.
So if that's what a star is, then I must be a star.
♪ My friends say it's fine ♪
♪ Friends say it's good ♪
♪ Everybody says ♪
♪ It's just like rock 'n roll ♪
ELTON JOHN: He lived in his own madcap world, Marc.
One of the most innovative musicians in the '70s.
BILLY IDOL: He was multi-talented.
He was capable of a lot.
He just brought all these different elements
into his music.
♪ Twentieth century toy ♪
♪ I wanna be your boy ♪
MARC BOLAN: When I was about nine, I wanted to be Elvis.
And then it was Marlon Brando.
DAVID BOWIE: It was around 1964, and this bloke, Marc Feld,
turned up in my manager's office.
And I known it, I'd seen his face around.
He'd been in, like, King Mud
He'd been in all the magazines. He was it.
Within that year, probably,
Marc Feld changed his name to Marc Bolan.
♪ Walking in the woods one day... ♪
BOLAN : Never thought about success at all.
I thought about getting my songs heard by people.
♪ Desdemona ♪
BOLAN: I started out, actually, with John's Children,
another so-called underground group at the time.
♪ Lift up your skirt and fly ♪
I decided to write my own songs
after hearing Dylan, I think it was.
In that summer of peace and love,
there was a definite change around that happened.
♪ Oh, Debra ♪
♪ Debra ♪
(VOCALIZING)
BOLAN: I think the reason Tyrannosaurus Rex
initially became successful,
it was just the right time, that's all,
for whatever that new feeling was.
You know, people would come down and ask to record us,
and I turned most of them down.
And one day Tony Visconti came down.
TONY VISCONTI: The first contact
with Tyrannosaurus Rex was the voice
just came up the stairwell, and the audience was mesmerized.
These kids were just transfixed on Marc.
And I realized I was in the presence of a great star.
Hi, there! In radio land.
BOLAN: For three years, we weren't really getting
through to any medium.
After I split with Steve Took, I got Mickey.
Mickey is a very different sort of percussionist.
And it almost sounded like a rock 'n roll band suddenly.
♪ Ride it on out Like a bird in the skyways ♪
♪ Ride it on out Like you were a bird ♪
♪ Fly it all out Like an eagle in a sunbeam ♪
♪ Ride it on out Like you were a bird ♪
REPORTER: In October 1970, the BBC were told
that Tyrannosaurus Rex now wished to be known as T. Rex.
BOLAN: The second I got back into volume,
it was too exciting not to do.
Bought a Marshall hundred-watt.
Got me fuzz box and me wah-wah,
plugged in and played loud.
There's four of us now on stage.
And I just needed more people than Mickey
to get across the sound.
♪ Oh, girl I'm just A Jeepster for your love ♪
♪ I said, girl, I'm just A vampire for your love ♪
♪ Yeah, I'm gonna suck ya! ♪
I do think that we are good at what we do.
But also as I say, the timing was very relevant.
♪ Ow, ow, ow! ♪
♪ Ow, ow! Wow! ♪
BOLAN: I incorporated a lot of Hendrix things into it.
And also a bit of Pete Townsend and that.
And Elvis' wiggle, you see. I put it all together.
And it came out quite interesting, really.
ANNOUNCER: The almighty T. Rex!
♪ Yeah! ♪
Marc and I both knew we were gonna do great things.
And he brought glitter to the masses.
And I thought, "No! He's done it."
He's done it first.
Be outrageous. If you've got it, show it.
And then suddenly, it just exploded.
♪ Well, you're dirty and sweet ♪
♪ Clad in black Don't look back ♪
♪ And I love you ♪
BOLAN: I've got a very good nose
for what's happening at the time.
I'm commercially-geared.
♪ Well you're slim And you're weak ♪
♪ You've got the teeth Of the hydra upon you ♪
♪ You're dirty, sweet And you're my girl ♪
I'd always been very good at writing hooks, you see,
which is very fortunate.
♪ Get it on ♪
♪ Bang a gong ♪
♪ Get it on ♪
-Get it on! -(AUDIENCE CHEERING)
♪ Get it on ♪
♪ Bang a gong ♪
♪ Get it on! ♪
♪ Bang a gong ♪
♪ Get it on ♪
Yeah!
BOLAN: I've always been into a visual thing,
'cause I enjoy it. Even that glitter thing.
I mean, what happened is, my wife had some glitter,
and I think I just spit on me fingers
and stuck it under me eyes.
And look what happened to the world after that.
♪ Metal Guru, is it you? ♪
♪ Sitting there in your armor-plated chair ♪
♪ Oh, yeah Metal Guru, is it true? ♪
BOLAN: Certainly, there's been a change in England,
and we are part of the change.
I mean, guys now can wear make-up.
Not effeminate, but not necessarily super-masculine.
You could enhance the showmanship of the thing.
We play for the kids that never saw the Beatles.
Never saw Jimi Hendrix.
The average age of the audience is 15.
♪ Telegram Sam ♪
♪ Telegram Sam Ooh ♪
There's an amazing sexuality to Marc.
I had a major crush on him.
He's so good-looking and his music
and the way he dresses, the way he acts, everything.
BOLAN: They liked the way I looked,
there was something about me. They like the way I wiggled,
or the cut of my jib, whatever they call it.
Ow!
Ah!
BOLAN: I don't want to be the boy next door.
And they don't want me to be the boy next door.
So on that stage, I'm at liberty.
I'm in a realm of fantasy. I can do whatever I want to do.
And get away with it.
INTERVIEWER: The illusion is what, in fact,
makes people buy your records and listen to you
and scream at you and shout at you.
It's a carefully constructed illusion.
It's not something that you would throw away lightly.
I want-- No, no. It's not carefully constructed.
It's artistic.
♪ Yeah! ♪
I hope that anyone who seriously is into music
takes what I do seriously.
I mean, certainly other musicians do that I know of.
♪ But you won't fool ♪
♪ The children Of the revolution ♪
♪ No, you won't fool ♪
♪ The children Of the revolution ♪
♪ No, no, no ♪
JOHN: Marc and I were very, very close friends.
And he was the biggest thing
since sliced bread up here at the time.
Every record he made went into number one.
That era of T. Rex, when it first came in,
I really love all that.
And he wrote some really excellent songs.
He was just full of energy, and it rubbed off on me.
And I liked his attitude a lot.
♪ No, you won't fool ♪
♪ The children Of the revolution ♪
♪ No, you won't fool ♪
♪ The children Of the revolution ♪
♪ No, no ♪
BOLAN: The funny thing about success, though,
is that they never tell you what's going to happen
when you get there.
And the hardest thing about being successful
is remaining successful.
♪ Whatever happened To the teenage dream? ♪
BOLAN: I feel I do what I do to people that want to listen.
If they don't want to listen, crap 'em!
I don't care. Right? I do it because I believe in it.
♪ One, two, three, four! ♪
BOLAN: If you look at a picture of me in John's Children,
it looks exactly like Johnny Rotten does now, you know.
Marc Bolan's guitar is still, to this day,
astoundingly sweet.
Nobody can play those very simple little notes
quite so perfectly.
He always had a brilliant sense of timing.
♪ But I can't get No satisfaction ♪
♪ All I want is easy action ♪
♪ Hey, hey, hey, hey ♪
Marc, I think, supplied the punk era with art.
It otherwise would have been total chaos.
MAN: One, two, three!
Yeah!
Marc had this TV show he was doing.
What was great was he was having,
like, different punk groups on,
and he was breaking down certain walls.
Not really caring and having this F-you attitude.
All of that, it just sort of like spoke to us.
This is a new group called Generation X.
They have a lead singer called Billy Idol
who's supposed to be as pretty as me.
IDOL: He championed us and he stood up for us,
and I've always thanked Marc ever since.
BOLAN: I also wanted to show that we could rock alongside
the best new groups in England.
So it shows that I have not lost my touch.
♪ I was dancing When I was eight ♪
When that kind of success hits you,
you don't think that much about it.
So much to do, so little time.
So that's all that happens to you.
I actually never get a chance
to really lay back and think about it.
And when you do, it's too late.
INTERVIEWER: Do you ever wake up in the middle of the night
and think, in another 20 or 30 years
I'm going to be 50 or 60? What shall I be doing?
You don't?
I don't think I'll live that long.
-You don't? -No.
♪ I danced myself Into the tomb ♪
BOLAN: Well, that's the end of another show.
Hope you enjoyed it. We'll be back soon.
Remember, keep a little Marc in your heart
and be back the same Marc time.
Same Marc channel.
I feel very honored to accept this award
on behalf of my father Marc Bolan and his band T. Rex.
I really think my dad was put on this earth
not only to play music
but to show off his unique magnetism
and charisma.
He took inspiration from American music,
but formulated his own persona and his own sound.
The T. Rex sound kept evolving
up to when my mother joined the group,
creating a cosmic soul
which still tests musical boundaries
as well as racial ones.
As I reflect on this incredible honor of my dad and his band
being inducted into the Rock and Roll Hall of Fame,
I think about how I really didn't have a chance
to know him very well.
He was taken away from all of us so early in his life.
I discovered his music
pretty much the same way you have,
through my eyes and ears.
When I was a kid watching MTV,
Def Leppard's "Rocket" video came on,
and it had clips of T. Rex's performance of "Get It On".
That was my daily "hello" to my father.
When I saw GNR, and Slash was wearing his Slider t-shirt
and looking just like my dad,
I had to check out the Slider album
and discover the T. Rex sound for myself.
I know my dad would be very proud to receive this.
He always aimed for the top, and here he is now.
To my mother, Gloria Jones, my uncle, Harry Feld,
friends and fans all across the world,
keep a little Marc in your heart and long live T. Rex.
(GUITAR FEEDBACK)
ELIJAH G: The power of rock and roll allows one
to be completely free, without judgment.
Music, for me, is like me taking my vitamins.
GAVIN COE: Playing music and getting in the zone,
time around you stops,
and all that matters is what you're playing
in that moment.
It's just like a sixth sense almost.
♪ You know they scream Real loud ♪
♪ When they call my name ♪
♪ Gotta put my whole body In this hall of fame ♪
APHINITI: I have a deep passion for music.
(MIMICS ELECTRICAL ZAPPING) It charges me up.
Coming into the Rock and Roll Hall of Fame is inspiring.
Marvin Gaye. Like this right here,
I'm-- this is what you strive to do.
You want to leave a legacy like this.
You can feel these vibrations of what happened
and why it happened.
These musicians definitely feel more real to me
when I see their guitars
or see the clothes that they've worn.
These artists have gotten their blood,
sweat and tears on these instruments,
while creating the music that I listen to.
There's not a feeling like it.
CONNOR PETERSON: When I look around at all the stuff here,
I see these instruments that are just so beaten
and worn down.
And it's because all these artists
put so much time and effort
and fervor into their performances.
There's a piece of them in that instrument.
JERI LEE SAPRONETTI: This place really is just this mecca.
This place I'm so fortunate to have in my backyard.
I can just come here and look at, you know,
John Lennon's guitar. Like, right up close.
It's like, dude, he played this on The Ed Sullivan Show!
That single day changed music history.
I get this feeling, like, they're here.
It's so trippy.
COE: The guitar that Jimi Hendrix was holding
decades before I was even born,
that's the closest I'm ever gonna get,
is a little piece of him inside that instrument.
This drum kit is from the man.
Keith Moon.
You can't but get inspired and say,
"Hey, I want to do that!"
Breaking guitars and blowing up kick drums
and just-- It's just great.
Oh, they were real! Oh, it happened!
Seeing their songs on paper is inspiring.
They made magic when they made music.
I feel like I'm right next to it.
It was almost like going to an art museum.
To be able to keep the legacy of these great artists alive
so that younger generations can come in
and say, "Wow!"
PETERSON: There's always that hope in the back of your mind
as a musician that, like,
"Maybe mine might end up in here one day."
ELIZABETH KELLY: Sometimes I think about
if somebody is gonna go through my notebooks
as I'm, like, furiously crossing things out.
"Is this gonna end up
in the Rock and Roll Hall of Fame?"
Yeah, they gonna be hanging
this dang motherfucker right here!
Yeah. With that one right there.
Got a couple of hats that they can put in there too.
And shoes.
That's why I'm here, 'cause I'm supposed to be here!
ALICIA KEYS: Whitney Houston is one of one.
There is no one like her and there never will be.
I remember growing up, listening to her music,
and dancing around the house and jumping on my bed,
singing her songs into my hairbrush.
This golden voice with range and runs and power, like none,
with a face and a presence like royalty
She was every little girl's admiration.
When I first met her, she sought me out
at one of Clive Davis' pre-Grammy parties.
I was still in awe of this crazy world
I was newly welcomed into.
And she marched right up to me and she said,
"You... are gonna write a song for me."
(LAUGHS) I couldn't believe it!
Had the greatest voice of all time
just demanded that of little old me?
I was shocked and completely overjoyed
and slightly scared.
And thus began a beautiful friendship
that was so genuine and sincere.
We were kindred spirits and instant sisters.
We did work together on "Million Dollar Bill,"
a song I wrote for her album I Look to You.
We laughed so much
that I thought we'd never be able to finish the song.
We called each other Mema.
And I cherish every moment that I got to talk to her,
be in her beautiful company, and love her.
I still can't believe that was Whitney's last album
and that she's no longer with us.
We all know what a miraculous singer Whitney was.
Perhaps the greatest voice of our time.
We all know how her unprecedented success
brought Black women into the absolute
highest reaches
of the music industry's pantheon.
We all know that her music will live forever.
That music, that everlasting voice,
is her final, generous gift to us.
And she will now be one of the brightest lights
ever to shine
in the Rock and Roll Hall of Fame.
Congratulations, Mema.
We miss you.
The first song I sang in church was a song called...
♪ Guide me ♪
♪ O Thou ♪
♪ Great Jehovah ♪
-Yeah. -(AUDIENCE CHEERING)
CISSY HOUSTON: Well, I had been to the hospital
the day before with false labor.
She was fresh even in my stomach. She... (LAUGHS)
Then the next day, she was born.
She was the most delightful little girl.
WHITNEY HOUSTON: I grew up in the ghetto.
(LAUGHS) I mean, that's where I grew up.
We lived in Newark
and then the riots took place of the '60s.
I remember lying on the floor and eating off the floor.
Where the bullets, you know, the bullets were flying.
I was scared to death.
CISSY HOUSTON: She didn't have a lot of girlfriends,
you know, 'cause they picked on her.
I think most of them didn't like her
because I dressed her like a little angel.
She had pigtails with bows and bangs.
Like I thought a girl should be.
We belonged to the New Hope Baptist Church.
Whitney grew up there.
HOUSTON: In my church,
you went to church to hear the singing.
You cannot sing gospel without feeling it
and what I learned from that
is that not only is it gospel, but it's pop
and it's R&B and it's, you know,
anything that she was singing.
♪ Well, if you just ♪
-♪ Have a little talk ♪ -♪ A little talk! ♪
♪ With Jesus ♪
HOUSTON: I grew up in a family that was dominated
by singers. My cousin, my mother,
my mother's sisters all sang.
They were a gospel group called the Drinkard Singers.
Years later, my mother formed the Sweet Inspirations.
Sang with Elvis.
My mother is my greatest inspiration.
Beside my mom would be Aretha.
Whitney's mother, Cissy Houston,
she has done a lot of background work with me.
-♪ Do, Do ♪ -♪ You told me... ♪
ARETHA FRANKLIN: She used to bring Whitney
to my recording sessions.
HOUSTON: Aretha is something special.
Her voice could do anything that it wanted to do
and that's the kind of singing that I liked.
CISSY HOUSTON: When she was like 17,
she started singing background with me.
The first time I heard Whitney sing
was at a club called Sweetwater.
And she did the song "The Greatest Love of All."
♪ Teach them well and ♪
♪ Let them... ♪
CLIVE DAVIS: I knew really right then and there
that this was a very special talent.
And so I signed her.
And I brought her on The Merv Griffin Show.
♪ And it sure would be nice ♪
♪ To be back home ♪
♪ Where there's love ♪
DAVIS: And began the challenge of finding the right material.
I decided that I would have a showcase.
♪ But now I know you better Than I used to ♪
♪ I give you all the love... ♪
DAVIS: Gradually, word spread,
and I started attracting the kind of material
that both she and I felt would be right.
HOUSTON: I did not go into the studio
wanting to make a pop album.
I went into the studio wanting to make good music.
♪ You give good love to me ♪
♪ Baby ♪
♪ It's so good ♪
♪ Take this heart of mine ♪
HOUSTON: It was about six o'clock in the morning,
Robin, she comes running in my room.
"Wake up! You gotta hear it, it's on!"
She turned the music up, and it was "You Give Good Love".
And I'll never forget that feeling.
You know, it's like "Wow. I got a record out. How cool."
♪ 'Cause tonight is the night ♪
♪ That I'm feeling all right ♪
♪ We'll be making love The whole... ♪
DAVIS: I thought we had a great album,
but until it's out there
there's always that moment of doubt.
♪ So I'm saving all my love For you ♪
MARTHA QUINN: Next, a singer who seemed to be
everywhere this past year,
especially on top of the video and record charts.
MARK GOODMAN: She's responsible for the biggest-selling
debut album ever,
who else but Whitney Houston!
♪ If he really loves me Loves me ♪
♪ Oh, with every... ♪
DON JOHNSON: And the winner for Best Female Video is...
-Whitney Houston. -Thank you!
I'm not an overnight success.
I've been in the business for ten years.
I made my decision a long time ago
that this is what I was going to do.
Being that my mom was in the business
I was prepared for all the things that might come.
You know. There were a lot of things I wasn't prepared for,
but I dealt with anyway.
DIRECTOR: Okay, ready? And action.
♪ I decided long ago... ♪
DAVIS: The eruption of that debut album
really took us by more than surprise.
It was a shock.
♪ If I fail ♪
♪ If I succeed ♪
♪ Well, at least I lived As I believed ♪
Being a little girl, seeing this goddess
command the stage with her presence,
and then her voice, and thinking like,
"Who is this?"
"I want to be like that one day."
♪ The greatest love of all ♪
♪ It is, it is ♪
♪ See, it's so easy ♪
♪ Oh, I want to dance With somebody ♪
♪ I want to feel the heat With somebody ♪
♪ Yeah, I want to dance With somebody ♪
-♪ Whoa ♪ -♪ With somebody who loves me ♪
♪ I get so emotional, baby ♪
♪ Every time I think of you ♪
♪ I get so... ♪
HOUSTON: Each year, it gets kind of bigger,
because you get bigger.
People want to see bigger things,
you know what I mean?
So you give the people what they want.
♪ Almost have it all ♪
♪ The nights we held on Till the morning... ♪
HOUSTON: Clive called me and said, "This is your seventh
consecutive number one song,"
that I had actually surpassed Elvis and The Beatles.
Ah, that's history. (CHUCKLES)
♪ I look in your eyes ♪
♪ And I know That you do care for me ♪
What is the deal when you've had the friction
at the Soul Train Awards?
They booed me at the Soul Train Awards.
ANNOUNCER: The nominees are, "Where do Broken Hearts Go",
Whitney Houston.
-What was that about? -I've got a lot of flak,
you know, about I sing too white, or I sing--
-I don't know, maybe it's-- -I don't think there is
more soul to be offered than what you give!
Maybe it's... (MIMICS WHITE SINGER) ♪ How will I know... ♪
-ARSENIO HALL: Yeah! -I don't know.
-I don't get it. -I don't either.
But I do sing the way God intended for me to sing.
And I'm using what he gave me
and I'm using it to the best of my ability.
♪ Whatever you want from me ♪
♪ I'm giving you everything I'm your... ♪
HOUSTON: I had my own distinct sound.
It is not the music that people know me by.
It is by my voice that people know me.
♪ Whenever you're ready Just call on your lady ♪
♪ And I'll be your Baby tonight ♪
♪ He fills me up ♪
♪ He gives me love ♪
JENNIFER HUDSON: She could stand flat-foot and sing.
No running from the notes,
but completely executing them, purely.
From the softest tone to the ultimate power.
♪ Oh say Does that star-spangled... ♪
I used to stand at the top of that staircase
and sing "The Star-Spangled Banner."
OPRAH: Her version of "The Star-Spangled Banner"?
Her version. But I thanked her at Grammys
when I won that award, because she, for me,
is the greatest of all time.
♪ ...free ♪
♪ And the home ♪
♪ Of the brave ♪
HOUSTON: It wasn't that I wasn't thinking about music,
I was just thinking about other things beside music.
You know, life.
PASTOR: Do you take this woman to be your wedded wife?
BOBBY BROWN: I do.
This is Bobbie Christina Brown.
And... "Hi, Mommy. Hi."
I don't think I will ever do anything greater
than have a baby. I mean, it is the most incredible thing
I have ever experienced in my life.
♪ Don't have to worry About a thing ♪
♪ Because I'm standing Right by your side ♪
HOUSTON: I was pretty tired of touring and traveling
and hopping off and on planes, and all that kind of stuff.
♪ Don't worry ♪
-Can you shoop? -Mm.
(AUDIENCE LAUGHS)
And it was time, you know,
just to break for a minute and then come back at it.
♪ Don't walk away from me, no ♪
♪ Come here, baby ♪
♪ Don't walk away ♪
♪ I said don't ♪
♪ You dare ♪
♪ Walk away ♪
♪ From me ♪
♪ I have... ♪
HOUSTON: After the second album,
I started thinking,
"Maybe I'll do a movie," you know, that kind of thing.
But it was never something that I said,
"Yeah, I'm gonna do a movie, because I wanna act."
I had done basically all the rest of the music
for the movie except for that one song.
So one day Kevin came to me and he said,
"Whitney, I got this song called I Will Always Love You".
Dolly Parton wrote it.
It's a country and western song,
but I think you're gonna love it."
And I said, "He's absolutely right."
"This is the song."
♪ If I ♪
♪ Should stay ♪
♪ I would only be in your way ♪
♪ And I ♪
♪ Will always love you ♪
♪ I will always... ♪
And the Grammy goes to... Whitney Houston!
HOUSTON: Thank you Lord Jesus for this.
Thank you, Mommy and Daddy. I love you.
I just thank everybody!
Bobbie Christina, I love you baby.
It's time to go to bed. Thank you, Clive!
♪ I will always love... ♪
When did it start to go wrong?
After The Bodyguard. I was on a whirlwind
by that point in time.
-There you go. -HOUSTON: I was going everywhere
but that record was so huge.
I think somewhere inside, something happened.
It was too much.
Too much to try to live up to, to try to be.
You realize that the applause are over,
people aren't there anymore, and it's just you.
KELLY PRICE: It was Grammy week
and a lot of parties going on in Hollywood.
I had a pre-Grammy party at True Hollywood,
it's a nightclub.
And Whitney came to celebrate.
She gave me a big hug and she started to sing
"Yes, Jesus Love Me," which by now
if anybody doesn't know, it was her favorite song.
♪ Yes, Jesus love me ♪
None of us could have ever known
that it would be the last time that we would see her.
♪ Jesus, he loves... ♪
DAVIS: I remember that shattering phone call.
The not-to-believed phone call that she had passed away.
CISSY HOUSTON: I said, "I'll talk to you later."
She says, "All right, Mama.
I promise you I'm coming down."
She never did make it.
♪ Just give me ♪
♪ One moment in time ♪
♪ When I'm racing with destiny ♪
♪ Yes ♪
HOUSTON: I feel so blessed to be able to just use
what God has given me.
It's an indescribable feeling.
You know, it's like a surge of energy.
It's like just taking off and just flying.
♪ Oh, I will be free ♪
I'm so very, very proud that Whitney's being inducted
into the Rock and Roll Hall of Fame.
She wanted to be something, not anything.
She worked hard at it, too.
This is something that Whitney always wanted.
I remember in 2009, we were in London,
and Whitney looked at me and she said,
"This is really special,
but there's only one thing missing.
I've got to get the Rock and Roll Hall of Fame."
(LAUGHS) Yeah. She did it.
PAT HOUSTON: This moment right now proves it all,
that there's only one matchless Whitney Houston,
and tonight, she would be very proud and honored
to receive this award.
I'm proud of who she was.
I'm proud that she took it in
and did what she was supposed to do.
What can I say now?
If I talk too long, I'll cry.
I don't want to cry. (LAUGHS)
So thank you. (LAUGHS)
♪ ("PERSONAL JESUS" BY DEPECHE MODE PLAYING) ♪
♪ ("HEAD LIKE A HOLE" BY NINE INCH NAILS PLAYING) ♪
♪ ("JUICY" BY NOTORIOUS B.I.G. PLAYING) ♪
♪ ("BRING IT ON" BY T. REX PLAYING) ♪
♪ ("I WANNA DANCE WITH SOMEBODY" BY WHITNEY HOUSTON PLAYING) ♪
♪ ("LISTEN TO THE MUSIC" BY THE DOOBIE BROTHERS PLAYING) ♪