Şarkıcı: Coachella
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Parça: 20 Years in the Desert
Coachella - 20 Years in the Desert Lirik (LRC gelişmiş) (43:00-6180-0-en) (ÖN İZLEME)
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....... FUL LİRİK & ALTYAZI İÇİN AŞAĞIDAKİ DÜĞMELERİ KULLANINI .......
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[00:12.48]We begin this half an hour
[00:13.81]with one of the hottest scenes in music,
[00:16.28]thousands of people coming out for the Coachella Music Festival.
[00:19.89]As far as the lineup goes,
[00:21.65]it will include artists like Beyoncé,
[00:23.62]The Weekend, and Post Malone.
[00:26.16]Coachella has the tradition of having classic performers.
[00:29.30]Madonna's been there, Paul McCartney played Coachella.
[00:32.33]WOSome of the biggest names in music,
[00:33.83]of course, uh, Radiohead, the Black Keys.
[00:35.90]Many, many, many others.
[00:37.84]Billie, Billie, Billie...
[00:40.81]I was very nervous about it.
[00:43.34]which I've never felt, ever, from a show.
[00:46.78]And I was trying to think about why I was,
[00:48.75]and I was, like, because it's a big deal, Billie, that's why.
[00:50.68]
[00:52.55]Everybody knows what Coachella is.
[00:54.89]Even if you don't care about music, you know.
[00:57.22]The Coachella Valley Music and Arts Festival
[00:58.72]wrapped up yesterday.
[01:00.29]It's a huge concert, goes over two weekends.
[01:03.16]A right of passage for any Millennial
[01:05.40]is attending Coachella.
[01:07.30]This is not a rock concert. This is not Coachella.
[01:10.17]
[01:11.37]RK for the chaos, Coachella!
[01:14.24]
[01:18.21]We'd like to make an announcement
[01:19.44]that we just booked another show.
[01:20.88]We will be doing Sunday Service at Coachella.
[01:24.15]
[01:28.82]The biggest artists in the world do Coachella,
[01:31.49]so, you know, the pressure's there
[01:32.86]to bring it.
[01:34.59]You cannot escape it, and it became Beychella.
[01:37.46]Beyoncé took it over this weekend.
[00:35.40]More people talkin' about your performance.
[00:38.70]
[01:44.80]You know, you open up the paper the next day,
[01:47.37]see 'em talkin' about what you did,
[01:49.51]not what three acts before you did.
[01:53.31]This morning, the most talked about concert on the planet 5
[00:53.80]was a weekend performance from someone who's been dead for 15 years.
[00:56.20]
[00:56.90]
[00:59.70]Adı intikamdı
[01:01.50]41 00:02:08,394 --> 00:02:11,531 when you hit Coachella's stage.
[01:04.20]
[01:15.20]And it's gonna be talked about for the rest of the year.
[00:00.00]So you better get your shit right.
[00:00.00]
[02:19.67]Make some noise for Post Malone!
[01:17.10]Coming from my world,
[01:20.25]
[01:22.80]they've always been extremely welcoming.
[00:00.00]I think the programming's always been
[00:00.00]
[02:32.62]extremely progressive.
[01:58.70]They put everything on from Rock or Hip Hop
[02:01.10]
[02:01.80]to electronic music.
[02:06.10]
[02:24.80]Yazıpta çizsem
[02:27.20]
[02:27.90]all of these styles of music to exist.
[00:00.00]You know where you are? 27
[00:00.00]
[02:59.74]I played '99.
[02:35.80]1999, which I think was the first Coachella.
[02:38.20]I remember Paul Tollett, who was one of the guys who started Coachella,
[00:00.00]told me he had this idea of starting a festival
[00:00.00]32 00:02:43,600 --> 00:02:46,100 Belki bir yarası vardı
[00:00.00]
[03:15.83]And it seemed like a remarkable idea,
[03:18.53]
[04:05.31]Coachella, y'all ready?
[04:07.31]
[04:14.79]Tell everybody where we are.
[02:51.40]We are at the Empire Polo Club
[02:53.90]
[03:01.60]Okay, now, this polo club
[03:03.50]is where it all happens, right here.
[00:00.00]That's where the main stage would be, right there.
[00:00.00]
[03:09.30]This whole area was just teeming
[00:00.00]-with people. -Yes.
[00:00.00]
[03:11.30]It's hard to believe it.
[03:14.50]
[03:14.70]Belki bir yarası vardı now and they think,
[03:17.00]
[03:22.30]oh, that's a no-brainer.
[03:24.60]
[03:30.20]Coachella's beautiful, right?
[00:00.00]
[00:00.00]
[04:49.59]It was difficult.
[00:27.80]
[00:30.10]
[04:56.03]And if it wasn't for Goldenvoice's 3 00:00:35,400 --> 00:00:38,700
[00:38.80]Sabredip de gitmediysem 80 00:04:59,599 --> 00:05:02,869 I don't think that Coachella would be what it is today.
[00:42.70]
[00:50.80]Ladies and gentlemen...
[00:53.70]
[00:59.70]"I Fought the Law and I Won."
[00:00.00]Drinkin' beer in the hot sun
[00:00.00]
[05:31.06]I fought the law and I won
[01:04.90]Everything that Coachella is
[01:07.40]is rooted in the early days of Goldenvoice.
[00:00.00]and the punk rock shows that Gary Tovar did. 13
[00:00.00]
[05:45.64]Hey, Gary!
[01:09.20]This is Gary Tovar, a great promoter of the punk scene.
[01:12.45]
[05:52.72]Oh, well, I hope this venue survives tonight.
[01:17.10]When I started doing concerts,
[01:20.25]
[05:58.92]the punk rock that I did,
[01:58.70]it was too wild for a lot of people.
[00:00.00]They couldn't handle it. 20
[00:00.00]
[02:09.50]Onu içimden tam silerken
[02:13.90]
[02:21.80]appealing to a group of lower income teens
[00:00.00]who were out of work and out of hope.
[00:00.00]
[02:24.80]Now, a new wave of punk is coming to the affluent middle class,
[02:27.20]
[02:27.90]and that trend is beginning here in Hollywood.
[02:30.50]
[02:32.70]Benden çok önce
[02:35.40]
[02:38.20]to book events like that.
[02:40.10]
[06:34.26]They would break up the place, there'd be fights.
[06:38.06]I didn't like violence,
[06:39.97]but there was a lot of violence in the '80s,
[06:43.14]and a lot of slam dancing,
[02:40.20]and a lot of stage diving.
[02:42.80]
[06:48.11]You had to have a certain commitment to the music and the scene
[06:51.88]to be involved, 33
[02:46.20]and Gary Tovar, you know, he had resources and interest,
[02:48.20]and a passion for it, and became a folk hero of the punk scene.
[02:51.40]I think the music speaks for itself,
[02:53.90]
[07:04.59]and, um, I don't take anything to the point of where
[02:59.10]I'm going to be judgmental.
[03:01.50]
[03:06.80]And I don't think anybody else should, either.
[03:09.20]
[07:32.28]My brother Perry and I
[07:33.62]
[07:38.62]and we'd heard that Goldenvoice was gonna 42 00:03:11,300 --> 00:03:14,500 Canımı yaktı
[07:40.73]start doing shows in Pomona.
[03:17.10]So we drove down to Long Beach to tell them, you know,
[00:00.00]stay out of here, you know, give 'em a piece of our mind.
[00:00.00]
[07:47.90]So they came over thinking, oh, this guy's a big promoter,
[03:22.30]Böyle sevip yeterken
[03:24.60]
[07:57.04]But we met Gary, and he was just the coolest. 48 00:03:30,200 --> 00:03:39,200
[08:00.61]We hit if off instantly. by RentAnAdviser.com
[08:01.91]We talked all night, and he gave me
[08:03.88]a box of fliers that night to pass out.
[08:05.75]and that was the first day I worked at Goldenvoice.
[08:08.15]
[08:11.16]You know, the punk scene really changed by '87 or '88.
[08:15.33]It kind of had waned off.
[00:00.00]Then there was acts like Jane's Addiction, Fishbone, 0 00:00:00,000 --> 00:00:00,000
[00:00.00]
[08:20.87]Chili Peppers,
[08:22.34]really helped Goldenvoice still remain relevant.
[08:25.50]
[08:39.05]Los Angeles was the epicenter for young, up and coming music.
[00:43.50]People would go out to see groups that weren't even signed.
[00:00.00]Jane says
[00:00.00]
[08:51.23]I'm done with Sergio
[00:53.80]He treats me like a rag doll
[00:56.20]
[09:01.14]Jane's Addiction,
[09:02.17]
[09:03.98]we started in the underbelly of Los Angeles. 9
[01:04.90]"Look, fellas, I want to work with you guys as promoters."
[01:07.30]
[09:17.92]Our offices were upstairs at the Hollywood Palladium.
[01:12.50]It was literally just five people...
[00:00.00]booking shows, a all my favorite bands,
[00:00.00]
[01:15.20]the sound check
[01:17.00]
[01:22.80]for any bands playing at the Palladium.
[00:00.00]It was, like, the dream job.
[00:00.00]
[02:06.40]seize that alternative rock scene
[00:00.00]where the big promoter in town was clueless of it.
[00:00.00]
[09:42.15]You know, they were still booking Janet Jacksons or something.
[09:45.22]And that really helped fuel the growth of Goldenvoice
[02:09.50]Onu içimden tam silerken
[02:13.90]
[10:06.94]In the early '90s, we were doing all these bands, 23 00:02:14,400 --> 00:02:19,300
[10:09.04]you know, Nirvana
[00:00.00]and it looked like we were doing great, 00:02:24,800 --> 00:02:27,200 Yazıpta çizsem
[00:00.00]
[10:12.88]but we were really struggling financially.
[10:16.72]These shows weren't 26 00:02:27,900 --> 00:02:30,500
[10:18.28]but, uh, Gary had a business on the side
[02:32.70]selling weed.
[00:00.00]I involved myself with a group of people,
[00:00.00]
[10:25.46]we were all marijuana smokers and surfers at the beach.
[02:38.20]Çabuk geçer sandı
[02:40.10]
[10:31.100]which was terrible.
[10:33.83]We wanted to bring the highest quality,
[02:43.60]and it came from the other side of the world,
[00:00.00]so that's what I did.
[00:00.00]
[10:43.24]It was the "Just Say No" period.
[10:46.48]Last year alone,
[02:48.20]
[02:51.30]
[10:51.18]and nearly $250 million of their assets were seized 35 00:02:51,400 --> 00:02:53,900
[10:55.96]by the DEA.
[10:57.46]The federal government
[10:58.86]investigated me for four years.
[02:54.00]And then things started happening
[02:59.10]Belki bi yarası vardı
[03:01.50]
[11:05.100]In March of '91, he got arrested,
[03:09.30]and from then on, he was out of the business.
[03:11.20]
[03:17.10]We bought the company from Gary,
[03:19.00]and didn't use the Goldenvoice name for a while.
[00:00.00]Thought maybe the cops would call us, 00:03:30,200 --> 00:03:39,200 by RentAnAdviser.com
[00:00.00]
[11:19.84]but they never did.
[11:21.98]After I went away,
[11:23.98]all I hoped was they could keep it going.
[00:00.00]And they did.
[00:00.00]
[11:32.06]Next week, Congress is going to hold hearings on ticket pricing.
[00:31.10]The hearings come at a time when the nation's top rock band
[00:00.00]00:00:35,400 --> 00:00:38,700 Pek bildiğim yoktu aslında
[00:00.00]
[00:50.80]of unfair practices and price gouging.
[00:00.00]Ticketmaster refused 7 00:00:53,800 --> 00:00:56,200 Yazıpta çizsem
[00:00.00]
[11:47.34]low enough to suit Peal Jam.
[11:49.31]The band cancelled its tour.
[11:51.34]Our main concern is are we entitled to use a different company
[01:04.90]other than Ticketmaster, and right now,
[01:07.30]
[11:56.32]Belki unutmak içindi able to, you know,
[11:58.25]
[12:01.99]Ticketmaster had a lock 14
[01:12.50]on all the largest venues in southern California
[01:15.20]to be able to perform at.
[01:17.00]
[12:08.06]And I think Pearl Jam approached Paul 16 00:01:17,100 --> 00:01:20,250
[12:09.86]and said something like,
[12:11.43]you guys can land the gig if 17 00:01:20,300 --> 00:01:22,700 Böyle sevip yeterken
[02:06.40]So Pearl Jam was gonna skip Los Angeles,
[02:09.45]
[02:24.80]and we talked them into maybe Palm Springs.
[00:00.00]And so we drove up to Palm Springs,
[00:00.00]
[12:24.34]couldn't find anyplace,
[12:26.21]
[12:29.98]It was even further. 32
[12:32.25]We were just, like, first off, where
[02:43.60]Indio, California, and what are you talkin' about?
[02:46.10]
[12:38.29]And we've gotta drive east and not west to a show?
[12:40.96]We drove out to Indio. It really felt far.
[02:48.20]You know, farther than it does now.
[02:51.30]
[12:46.20]So how was the drive?
[12:48.33]
[12:50.94]We put it on sale, 35
[02:51.40]and sold, I think, 25,000 tickets.
[02:54.00]It was super low budget,
[02:59.00]
[03:03.50]just a stage in the middle of the field,
[00:00.00]but it was still special.
[00:00.00]
[13:04.28]Of course, the lure of that whole show
[13:07.05]was that there was this phenomenon of shoes coming on stage.
[03:06.80]I mean, 100 pairs of shoes at least,
[03:09.20]
[13:14.39]Belki unutmak içindi
[03:09.30]So the band went behind the thing and played behind their equipment,
[00:00.00]and came back out.42 00:03:11,300 --> 00:03:14,500 Canımı yaktı
[00:00.00]
[13:23.90]Me and Jeff are gonna go to the front gate...
[13:28.04]44 00:03:17,100 --> 00:03:18,900 Kim olursa olsun
[03:24.70]Kararıp içimden bir yıldız kaydı
[03:29.20]
[13:36.92]In the 90s, the bands 48 00:03:30,200 --> 00:03:39,200
[13:39.45]Pearl Jam, Nirvana and Chili Peppers,
[13:42.29]the started to explode.
[13:44.29]But they grew too fast.
[13:46.39]We couldn't afford, really, to do the
[13:48.33]the arenas where they could sell out.
[13:50.10]So I started paying attention to the rave scene
[13:53.06]as it was starting to bubble up.
[13:54.67]Rave is a British import
[13:56.70]that caught on here within the last two years.
[13:59.27]A typical rave party usually takes place in an abandoned warehouse.
[14:03.54]
[14:05.54]This very rapidly changing subculture
[14:07.51]even has its own voice in the form of a monthly magazine publication
[14:11.08]known as URB.
[14:12.45]Raymond Roker, editor of URB magazine,
[14:14.69]explains his views on the strengths
[14:16.56]and progressions of rave culture.
[14:18.69]Well, I mean, I I started just going to clubs
[14:21.69]like, you know, everybody else did,
[14:23.40]uh, the clubs that just started to break off
[14:25.63]the mainstream, you know, path.
[14:27.30]
[14:33.54]RAYMOND Early '90s was a really interesting time.
[14:36.08]You had underground music,
[14:38.11]you had, uh, underground club culture,
[14:41.08]and also this electronic sound.
[14:44.18]I'd been hanging out a lot with Raymond Roker,
[14:46.28]and I just loved his magazine so much.
[14:48.45]Every issue was just jammed pack full of things I'd never heard of.
[14:52.29]It was just mind blowing.
[14:53.39]
[14:58.60]Like punk rock, the rave scene had its own world.
[15:01.53]And it was just so different than everything that we were doing.
[15:05.04]
[15:09.34]You know, I don't know how many events he got involved with,
[15:11.24]but he invested in some.
[15:12.74]He invested in Organic, which was like, you know,
[15:14.61]this incredible outdoor electronic music concert.
[15:18.32]
[15:20.42]Here we are in the lovely Snow Valley ski resort,
[15:23.79]and we're not going to ski.
[15:25.46]We're here for the biggest rave event
[15:27.56]that's ever taken place in the northern hemisphere.
[15:31.13]This is truly the first,
[15:32.63]you know, all night festival or rave
[15:35.10]that is similar to what happens in the U.K.,
[15:37.34]and they haven't really had that here in Los Angeles.
[15:40.81]Organic was different than any of the other raves.
[15:43.71]This was almost like bands
[15:46.14]Chemical Brothers, Orb, Orbital.
[15:49.11]I remember hearing Rez from Underworld
[15:51.48]about 6:00 a.m. in the morning.
[15:52.78]It was just a feeling I never had.
[15:55.02]
[15:59.82]All these things are seeds for the future.
[16:03.13]It's like everything along the way
[16:04.76]you pick up these little tips, you know,
[16:07.23]from the early Goldenvoice days,
[16:09.67]and then you see electronic raves going on,
[16:12.14]then you're at Organic and you thought,
[16:14.31]I want to do something that has a combination of
[16:16.78]the rock bands that we're close to,
[16:18.54]and also all these new artists that are popping up.
[16:22.21]so set out to, uh, put on an event
[16:25.28]that married all of this together.
[16:28.19]The Paul at some point in the summertime
[16:30.46]went to all the U.K. festivals and European festivals,
[16:33.26]then came back and I remember sitting in his office one time
[16:36.36]and he was, like, hey, I'm thinking about starting a music festival
[16:39.40]out at that venue we did Pearl Jam at,
[16:41.67]and I'm thinking about calling it Coachella,
[16:43.30]and I remember thinking,
[16:44.57]Coachella? That's an awful name.
[16:47.14]
[16:48.84]I remember Paul coming up to me,
[16:51.48]and he said, "I got this idea.
[16:53.78]"We want to do a big festival in the desert,
[16:58.58]and we want to have all these bands play."
[17:01.62]We talked about all kinds of stuff, even the name.
[17:03.79]He said, "Well, I'm gonna call it Coachella,"
[17:05.39]and I remember arguing against the name.
[17:07.26]I said, "Ah, don't call it Coachella. That's a terrible idea."
[17:09.33]Yeah, mo most people said, you know,
[17:10.70]just don't call it Coachella.
[17:12.43]Especially Coachella Valley Music and Arts Festival.
[17:15.23]It's a little clunky.
[17:16.87]As far as I knew,
[17:19.14]the idea of, like, a European style festival in the United States
[17:22.67]was sort of unprecedented.
[17:25.14]So when Paul first started Coachella,
[17:27.21]I thought it was it was really a little baffling.
[17:31.18]In the U.S.,
[17:32.88]the concept or the thinking is that it just doesn't work.
[17:35.85]The American public is not compatible
[17:39.76]with gathering in a large group without
[17:42.33]beating the shit out of each other.
[17:43.70]
[17:45.43]Woodstock '99,
[17:46.90]a weekend of rock and roll in upstate New York
[17:49.37]ended with fire and vandalism late last night.
[17:52.74]This is a very dangerous situation.
[17:54.84]Everyone is trying to get out of here.
[17:56.44]I think we're going to go.
[17:57.44]
[18:01.25]As the three-day concert ended Sunday night,
[18:04.22]bonfires blazed out of control,
[18:06.28]and looters battled police.
[18:08.82]We announced Coachella the Monday after Woodstock
[18:11.59]cause it was all pre-prepped,
[18:13.79]and it was just a total disaster.
[18:16.46]People laughed, like, why would you do this right now?
[18:19.66]Woodstock is on the news on CNN,
[18:21.73]how terrible everything was, all the riots.
[18:24.84]Trying to sell tickets when everyone is saying how bad festivals are,
[18:27.74]it was pretty much impossible.
[18:29.48]
[18:32.48]The city wanted to cancel it, and they just thought,
[18:34.81]"How can you bring a version of Woodstock '99
[18:36.88]to our desert?"
[18:38.58]And we weren't even thinking it was related.
[18:40.48]We had never thought about Woodstock at the time,
[18:42.75]we were just caught up in our southern California scene.
[18:45.72]And in our mind, we wanted to be in the tradition of
[18:48.66]the California festivals.
[18:50.40]
[18:51.90]All the leaves are brown
[18:53.83]All the leaves are brown
[18:55.83]We wanted to have the feeling of Monterey Pop,
[18:57.87]Cal Jam, Us Festival,
[19:00.47]the whole California laid back vibe.
[19:03.84]The reputation for festivals at that point was not
[19:06.24]was not very good.
[19:07.78]It was a dirty experience, it was a muddy experience,
[19:09.68]you had to wear Wellies up to your knees.
[19:11.78]I think Paul was trying to create
[19:13.35]a southern California version.
[19:14.72]If I was in L.A.
[19:16.99]California dreamin'
[19:19.69]Some European festivals have this amazing energy,
[19:23.26]but a lot of times they're really cold,
[19:25.50]they're really muddy,
[19:27.27]and pouring down with rain.
[19:29.00]Whereas, you go to Coachella, and like, it's a polo field.
[19:32.97]RAYMOND So Goldenvoice
[19:34.54]invited some friends to come see the space.
[19:37.98]and the instant I saw it, I just said,
[19:40.44]"This cracks the code.
[19:41.85]"This is something special.
[19:43.65]This is going to be something special."
[19:46.28]
[20:17.52]Sleep on and
[20:19.78]Dream of love
[20:23.76]Because it's the closest you will get
[20:28.33]To love
[20:35.07]Poor
[20:37.60]Twisted child
[20:40.10]Oh, hug me
[20:42.57]Please hug me
[20:44.11]One November
[20:45.94]
[20:48.78]Coachella was just starting that year,
[20:51.08]and the thing that I loved about it
[20:53.75]is it was culturally and sonically and musically a hub
[20:58.62]where all of these people came together.
[21:00.02]
[21:08.37]There really weren't festivals at the time
[21:10.90]that were bringing in rock,
[21:13.40]electronic,
[21:15.87]hip hop,
[21:17.11]and mixing them all together.
[21:19.71]You know, there's this cross polinization that happens,
[21:22.51]you can't help but walk by a tent and hear something
[21:24.88]and it draws you in and you just get exposed to new music.
[21:27.39]
[21:31.09]So sleep and
[21:33.92]Dream of love
[21:37.93]RAYMOND I think the first Coachella
[21:39.83]had roughly 35, 40,000 people that came over the two days.
[21:43.54]The event looked terrific.
[21:45.97]Everybody was excited by it.
[21:48.64]We liked the vastness of the field and the different stages,
[21:52.11]and the fact that you could walk around the field barefoot at the time
[21:55.75]was something that you just didn't experience very often at a concert.
[22:00.52]The heat was a little unbearable that year,
[22:03.09]but the vibe of everyone who was there, I think,
[22:05.92]everyone was pretty happy with the whole situation.
[22:08.56]We all saw the potential.
[22:10.10]
[22:13.46]Thank you.
[22:14.73]
[22:21.67]RAYMOND From the outside,
[22:22.94]it looked like an amazing success.
[22:26.44]But the math didn't work. It lost a lot of money.
[22:31.22]And Goldenvoice was an independent company at the time,
[22:33.55]so there wasn't anybody to, like, bail it out.
[22:35.95]Well, it was dicey because we had no money to begin with,
[22:38.22]and then we lost $850,000 or a million, we don't know. You know?
[22:42.63]We didn't have accounting, but it was it was nasty.
[22:46.36]
[22:48.90]So bad that I got kicked out of the bank.
[22:54.17]Personally.
[22:55.57]Like, not even just the company,
[22:57.11]I was on the something called Check Guard.
[22:58.98]I wasn't allowed to cash a check anymore.
[23:00.31]
[23:04.22]RAYMOND But, like, Goldenvoice could have died a few times.
[23:08.05]But definitely could have died when Gary went to prison.
[23:10.76]
[23:13.06]I could have filed for bankruptcy when I left.
[23:16.86]I didn't do that. We paid our bills instead.
[23:18.100]You know, my lawyer was was thinking what
[23:22.27]what's wrong with you.
[23:23.54]You know, you keep your money
[23:25.64]and let let everybody hanging,
[23:28.24]but no, I didn't want to do that,
[23:30.78]and I think it was a wise choice
[23:32.28]'cause when they needed help,
[23:34.95]after the first Coachella,
[23:37.78]the people stepped forward and said that
[23:39.92]we were always good to them.
[23:42.25]The only reason we even were able to keep going
[23:45.12]is we had a good reputation.
[23:47.96]Rage Against the Machine and Beck, you know,
[23:49.93]they gave us money off.
[23:51.90]Don Muller and Marc Geiger, the producers of Lollapalooza,
[23:54.70]really helped us financially.
[23:56.64]Everyone one of 'em, it was, like,
[23:58.00]"Oh, pay us later, you're good for it."
[23:59.90]And it's weird, at the time I thought, like,
[24:02.24]uh, it's you know, we're not really a good loan.
[24:04.84]I'm not so sure you should do this.
[24:06.08]
[24:10.55]At the same time, AEG built Staples Center,
[24:14.29]and they were looking to get in the concert business.
[24:17.59]We cut a deal with them.
[24:19.12]They came to us and said,
[24:20.93]"Why don't you find shows for us at the Staples Center,
[24:23.03]and become a concert promoter for us?"
[24:24.90]We're, like, sure, no problem.
[24:26.70]They said, "And you should do Coachella again."
[24:29.23]We're, like, "Really?
[24:30.87]It lost a lot of money. Are you sure?"
[24:32.57]
[24:40.58]Yes, we lost the first time.
[24:42.18]Now we're coming back, we've got a partner,
[24:44.15]and we start looking for bands,
[24:46.05]kind of the last minute because we cut our deal pretty late.
[24:48.72]
[24:52.89]Struggling for headliners, there's no one out there.
[24:55.29]I mean, having no headliner means you have no show.
[24:57.60]We're like, what about Jane's Addiction?
[24:58.100]
[25:02.97]After Lollapalooza,
[25:04.87]I was done.
[25:07.27]I just ripped all my clothes off,
[25:09.94]signifying I was gonna be like a newborn baby when I got home.
[25:14.95]RAYMOND Rick Van Santen, who was Paul's partner,
[25:17.28]came to Paul and said, "I think I can reach out to everybody,
[25:19.82]and we might be able to get them back together to perform.
[25:22.69]So Rick was, I guess,
[25:24.82]put in charge to kind of try to get me to do it,
[25:27.89]and, uh, I would do almost anything Rick wanted me to.
[25:31.86]
[25:42.17]You know, oh, oh, oh, oh, oh
[25:47.41]And so they were able to do another show,
[25:50.02]but I don't think 2001, the next year, the second year of Coachella,
[25:54.05]necessarily made a ton of money.
[25:55.19]
[25:57.05]We did that show, that was great,
[25:58.92]but it was just one day, we couldn't find anyone else.
[26:00.96]So it was just a one-day show.
[26:02.76]And it was fun but we made dumb mistakes.
[26:05.70]We forgot trashcans.
[26:07.43]Just really rookie stuff, you know?
[26:09.57]
[26:16.91]2002...
[26:19.04]I feel that the year we didn't make a mistake.
[26:22.81]Didn't really make any money financially,
[26:24.38]but didn't lose that much.
[26:26.32]
[26:27.75]All the artists were on time,
[26:29.35]no one's equipment melted down,
[26:31.39]it was just really really a good thing.
[26:33.09]A blueprint
[26:36.43]Of the pleasure
[26:39.06]I started in 2002.
[26:42.07]I remember watching Bjork just so beautifully pregnant.
[26:46.70]
[26:48.10]Up there in the wind and she just, like,
[26:50.88]looked so glamorous and exquisite.
[26:54.48]A secret code carved
[26:58.82]In me
[27:00.78]That's when music changed a little bit.
[27:03.12]There was a little bit more of an indie rock scene.
[27:05.72]You know, the New York scene started coming through.
[27:07.83]
[27:16.07]Get so scared of
[27:18.20]Get so scared of
[27:20.27]Shake, shake, shake, shake, shake, shake, shake, shake
[27:22.34]Shake, shake, shake, shake, shake, shake, shake, shake
[27:24.24]Coachella was just, like, really heating up.
[27:28.41]All these, like, indie New York darling bands came around,
[27:31.28]and it was so exciting for everybody.
[27:32.92]Out of the righteous and onto the...
[27:35.95]Like, you love that world.
[27:37.46]An the U.K. bands, and the NME bands,
[27:40.32]LCD and and, uh, Strokes and White Stripes
[27:44.06]and these things for the next few years
[27:45.93]was just ruling everything. It was awesome.
[27:49.20]Thirty notes in the mailbox
[27:51.54]Will tell you that I'm comin' home
[27:55.07]And I think I'm gonna stick around
[27:57.01]For a while so you're not alone
[27:59.81]For a while so you're not alone
[28:01.98]
[28:06.88]Goldenvoice was still
[28:08.19]a really small company,
[28:10.36]so it was just like hands- on everything,
[28:13.52]everybody does everything.
[28:15.03]
[28:19.30]2004, that was the first year
[28:21.57]we turned a profit.
[28:23.57]It was Radiohead, Pixies, Kraftwerk.
[28:25.87]It was just this combo that was just too good.
[28:28.91]And everyone wanted to buy a ticket.
[28:31.11]
[28:41.82]We didn't do one in 2000 to kind of recover,
[28:45.16]and then '01, '02, '03, it's just getting bigger, bigger, bigger,
[28:48.29]and then '04 just seemed like
[28:50.06]we can't get any bigger than this, this is crazy.
[28:52.30]
[28:57.40]It was not until 2004 with Radiohead,
[29:00.27]finally, it was like fully attended and fully realized
[29:02.57]as this is what it looks like with a lot of people here.
[29:05.08]
[29:09.98]So now we felt like
[29:11.42]there's gonna be a future for the show.
[29:14.62]It was always on the chopping block up until then.
[29:17.19]It was always, every time we did one,
[29:19.26]we thought it was gonna be the last.
[29:20.49]
[29:22.59]All rightey.
[29:23.86]-Can we go on now? -Yeah.
[29:25.40]Are we goin' on now?
[29:26.86]
[29:29.03]Jane's Addiction was the beginning,
[29:30.30]Pixies was like,
[29:31.64]okay, this is a thing that people like.
[29:33.54]Getting a band that hasn't played in a long time
[29:35.44]back together.
[29:36.37]
[29:45.02]RAYMOND The Pixies, I think, were as surprised as anybody
[29:47.45]that there was this level of interest.
[29:51.49]So to be brought out of that, to be put on the stage,
[29:53.66]and then have people receive it so warmly,
[29:57.13]and to do such a good show.
[29:58.96]You're into your Japanese fast food
[30:01.03]And I drop you off with your Japanese lover
[30:03.13]You're going to the beach all day
[30:06.17]You're so pretty when you're unfaithful to me
[30:09.24]RAYMOND It was now the new kind of benchmark.
[30:14.21]You're lookin' like you've got some sun
[30:18.12]It was such a big moment for the band and for us
[30:21.18]just to be part of them getting back together,
[30:23.69]and pulling off this big moment.
[30:25.99]Uh-oh, uh-oh, uh-oh, uh-oh
[30:29.66]Your bones got a little machine
[30:35.17]Paul seeks 'em out.
[30:37.00]I mean, like, he runs around in his head,
[30:39.04]"Who can I bring back together?"
[30:41.31]And I don't know if it started by accidentally
[30:43.68]asking us if we would do it because he was our friend,
[30:47.01]but whatever for whatever reason, man,
[30:49.28]he's got a good thing going.
[30:50.48]
[30:55.02]Bauhaus is so long ago to me now.
[30:58.32]I remember the first time around,
[30:59.69]we were just beginning to get really big,
[31:03.06]and, uh, we quit.
[31:04.70]Boom. And it stayed we don't
[31:06.96]we just we quit, and it's
[31:08.43]You know, it's a very English thing to do.
[31:09.97]
[31:11.44]I remember very clearly
[31:13.30]the phone call from Paul Tollett
[31:15.44]to do Coachella.
[31:18.11]I played it cool and simple. That's very interesting, Paul.
[31:20.64]I'll have a word with the others and, uh, I'll get back to you.
[31:22.75]Put the phone down, I was like Yes!
[31:25.12]
[31:26.95]The opening features Peter hanging upside-down,
[31:30.15]which was Peter's brilliant idea.
[31:33.39]I knew that I had to physically practice
[31:36.06]because there's a time limit of something like 15 minutes, I think,
[31:39.70]before you pass out, and it's a long song.
[31:43.23]The original idea was to release bats,
[31:46.20]hundreds of bats, into the audience at dusk,
[31:49.74]but they looked into and you cannot have a bird release
[31:53.78]after 5 p.m. for some reason,
[31:55.78]and bats, apparently, are considered to be birds
[32:00.28]under these circumstances,
[32:02.09]um, and, uh, it was also the the twin peril of, uh
[32:06.69]of rabies and bat shit.
[32:09.66]White on white translucent black capes
[32:15.70]Back on the rack
[32:17.50]
[32:22.47]Bela Lugosi's dead
[32:24.48]The bats have left the bell tower
[32:27.58]The victims have been bled
[32:29.81]Red velvet lines the black box
[32:33.72]
[32:35.08]Bela Lugosi's dead
[32:37.46]
[32:39.79]I had a lot of friends working on the show.
[32:42.19]Goldenvoice, at that time, they were building Coachella,
[32:45.16]would come to the Roxy and drop off
[32:48.23]Here's a pack of 20 tickets.
[32:49.70]Please come out to this place called Indio.
[32:51.80]We were like, "Yeah, we might go to that."
[32:53.84]And then I remember, like, year six or seven, we're like,
[32:57.71]"That's weird. Goldenvoice didn't come by and drop any tickets off."
[33:01.61]And there was that switch in the festival where
[33:03.85]you literally saw it turn into something that you had to do,
[33:08.09]you had to be at.
[33:09.09]
[33:26.50]Madonna, I was friends with her manager...
[33:28.87]Time goes by
[33:30.88]So slowly
[33:32.48]I was like, what about Madonna for Coachella?
[33:34.34]I'm like, wow, that's crazy,
[33:35.81]I mean, my headliners are booked.
[33:37.25]Well, what about the dance tent?
[33:39.75]I'm like, that's incredible.
[33:41.28]It's so different for Coachella,
[33:42.79]so when we put the poster out,
[33:44.32]I made sure it said "in the tent"
[33:45.89]to really set the pace for what that show was gonna be.
[33:49.19]
[34:06.88]Every little thing that you say or do
[34:10.48]I'm hung up
[34:12.45]I'm hung up on you
[34:14.65]Waiting for your call, baby, night and day
[34:18.29]I'm fed up
[34:20.22]I'm tired of waitin' on you
[34:22.73]Time goes by so slowly
[34:25.50]It was packed.
[34:27.70]There are so many people who love Madonna,
[34:29.73]but might not buy a ticket to go to a Madonna concert,
[34:33.37]but since she's like right over there,
[34:35.91]everybody went.
[34:37.08]
[34:37.91]Time goes by
[34:39.74]So slowly
[34:41.48]RAYMOND It was a sign that the show was growing up,
[34:42.95]that there was, like there were stars here.
[34:45.68]Time goes by
[34:48.59]I would argue that she was the firststar to play the show.
[34:53.22]Every little thing, every little thing
[34:56.39]I'm fed up
[34:59.10]
[35:07.50]If I'm in town, I usually go as a fan.
[35:10.51]because it's, you know, the state of music.
[35:13.21]It's the, pretty much,
[35:14.91]everything that's happening in music at the at the moment.
[35:18.25]I'm really excited to be here.
[35:19.95]Oh. I'm so excited to be here, like, um
[35:23.52]like, I'm not a very organized person,
[35:25.76]but this is one thing that everybody has said to me,
[35:28.63]wait until you get to Coachella.
[35:30.90]
[35:32.36]I I'm so excited to be here.
[35:34.90]
[35:38.80]Well, sometimes I go out by myself
[35:42.54]And I look across the water
[35:45.68]
[35:48.38]And I think of all the things
[35:50.35]Of what you're doing
[35:51.78]In my head I paint a picture
[35:53.92]I just remember that being, like.
[35:55.65]a super energetic time where the appetite for people,
[35:59.59]they just wanted in everything,
[36:00.96]new music, new music, new music.
[36:02.73]then, like, the most popular things on the poster
[36:06.40]were the things they didn't know.
[36:07.63]Won't you come on over
[36:09.27]Stop making a fool out of me
[36:13.44]Oh, why don't you come on over, Valerie
[36:17.31]
[36:19.84]Valerie
[36:23.41]Everybody was just so into music discovery.
[36:25.95]Coachella, when you look at it,
[36:27.68]there's no there's no one cohesive genre,
[36:30.72]it's just more cohesive in the idea that good is good.
[36:34.62]You know? That you don't define it by category.
[36:37.53]All the good people wanna rescue
[36:40.56]All the smart people wanna talk to you
[36:43.87]All the clever people wanna tell you
[36:47.57]All the little people wanna dance, it's true
[36:50.88]Cloud, block out the sun
[36:56.71]For the first years of Coachella,
[36:58.48]I would always go as a fan and see the great bands,
[37:01.02]and I asked Paul if I could, you know,
[37:04.46]interview people,
[37:05.99]and I I think I could get really good interviews,
[37:07.92]and they said, yeah, let's do that,
[37:10.43]and we we did.
[37:11.70]Hey, everybody, it's Rosanna Arquette.
[37:13.73]I'm here backstage with Calvin Harris.
[37:15.97]Here with Norman Cook live from Coachella.
[37:18.90]And we are with Justice. Roger Waters.
[37:21.04]Sir Paul McCartney. The Specials.
[37:23.07]It was my most favorite job I ever had in my life.
[37:25.44]The guys from Portishead, Geoff and Adrian.
[37:28.41]Nobody said no.
[37:29.71]And it would be like a joke,
[37:31.35]like, well, you're never gonna get Lauryn Hill.
[37:34.72]It's just not gonna happen.
[37:36.55]Thank you so much.
[37:37.96]Who inspires you?
[37:39.82]I'm inspired by beauty.
[37:41.36]I'm inspired by love,
[37:42.76]I'm inspired by things that I see come together.
[37:44.60]Us
[37:46.46]V. them
[37:48.70]Over and over again
[37:51.00]
[37:53.84]The one thing you guys did
[37:55.41]that was more special than anything to me,
[37:57.78]you guys brought Rage Against the Machine back.
[38:00.74]And when that happened, y'all,
[38:02.65]that's when it you know, I always said to myself
[38:05.02]Wu-Tang will play Coachella one day.
[38:07.42]Good evening, we are Rage Against the Machine
[38:09.62]from Los Angeles, California.
[38:11.39]
[38:13.52]Now it's exactly a year ago when I saw him,
[38:15.46]he didn't seem very keen on the industry
[38:17.50]or what it stood for.
[38:19.10]So for a guy like that to come out,
[38:22.13]okay, it's something serious, I it's it's a more
[38:24.67]he didn't come out for no money.
[38:26.07]You can't get him out his house for money.
[38:27.84]-Right. Right, right, right. -You know what I mean?
[38:29.84]Uh!
[38:30.78]
[38:45.62]The movie ran through me
[38:47.49]The glamour subdue me
[38:49.46]Rage Against the Machine is self explanatory, man.
[38:53.66]The songs especially when they
[38:55.63]speak to some truth and freedom, man
[38:57.84]you really can't fuck with that.
[39:00.10]They're one of the great groups
[39:01.87]to ever come out of Los Angeles,
[39:04.01]so everybody waits until the day
[39:06.18]that they're ready to play again.
[39:08.08]And it's right outside the door
[39:09.51]Now testify!
[39:10.72]
[39:13.42]Now testify!
[39:15.69]It's right outside the door
[39:17.02]Testify!
[39:18.99]And the next time they do, we're gonna be
[39:21.16]back on our hands and knees beggin' 'em,
[39:23.46]because they turn the crowd on that much.
[39:26.16]Mass graves for the pump when the price is set
[39:28.13]When the price is set
[39:30.07]Mass graves for the pump when the price is set
[39:31.74]When the price is set
[39:33.80]There's not that many groups in the world, man,
[39:36.77]that can do that,
[39:37.84]and less and less and less.
[39:40.81]
[39:57.66]Who controls the past now
[40:00.06]Controls the future
[40:01.76]Who controls the present now
[40:03.97]Controls the past
[40:05.67]Who controls the past now
[40:07.77]Controls the future
[40:09.24]Who controls the present now
[40:12.61]Now testify!
[40:13.74]
[40:16.75]Now testify!
[40:19.15]It's right outside the door
[40:20.68]Testify!
[40:21.75]
[40:24.52]Now testify!
[40:26.16]The war is right outside your door
[40:28.49]
[40:53.22]All along the western front
[40:56.59]People line up to receive
[41:00.29]During the mid 2000s,
[41:04.70]Coachella really established itself as,
[41:07.10]like, the ultimate indie festival.
[41:09.57]Ooh, ooh
[41:13.07]Shock me like an electric eel
[41:16.31]Baby girl
[41:20.04]Turn me on with your electric feel
[41:23.25]In popular understanding,
[41:26.88]Coachella became kind of this sacred indie temple.
[41:30.62]Baby girl
[41:33.99]Turn me on with your electric feel
[41:37.66]And then through the years,
[41:39.100]the DJ presence at Coachella
[41:41.63]became more and more of a thing.
[41:44.34]And then the Sahara tent became almost like a party unto itself.
[41:47.64]
[41:49.20]I think it's important to remind people that
[41:51.18]in 1999, festivals didn't have
[41:55.14]the huge LED panels that we know now,
[41:57.92]and the the huge stage production.
[41:59.65]
[42:06.32]You know, I felt like for most of the '90s,
[42:08.36]electronic music existed in a place where,
[42:10.93]if you weren't an electronic music fan,
[42:12.83]you generally didn't pay that much attention to it.
[42:14.56]
[42:16.33]One of the things that I thought was kind of amazing
[42:18.34]but odd about the first Coachella
[42:20.10]was that it was very electronic music oriented
[42:23.34]at a time, you know, when electronic music
[42:27.04]really was very, very underground.
[42:29.21]
[42:31.65]If I were governor of my state or mayor of my town,
[42:34.28]I would be passing new ordinances
[42:37.86]relating to stiff criminal penalties
[42:41.09]for anyone who held a rave;
[42:42.73]The promoter, the guy who owned the building.
[42:45.96]I would put the son of a gun in jail.
[42:48.40]So 2001, 2002 was a really tough time for dance music.
[42:52.34]
[42:54.17]The DEA created the Crack House Law
[42:56.77]and went after not only venues but event producers.
[43:00.11]All right, you're gonna have to clear this area.
[43:03.75]The venues didn't want to rent their facilities to you
[43:06.05]and some of the producers weren't even willing to produce anymore.
[43:09.65]
[43:17.29]The culture was almost destroyed completely.
[43:19.33]
[43:21.66]And you could have not had dance music at a festival at one point.
[43:24.70]
[43:26.87]So the whole rave scene, at that point, was on trial.
[43:30.17]And law enforcement wanted us to drop that type of music.
[43:33.88]
[43:37.18]In the early 2000s, the scene was struggling,
[43:40.82]but Coachella, they kept... doing it.
[43:45.49]And it was so great for dance music.
[43:47.79]
[43:56.07]I am so happy Coachella didn't jump on the bandwagon,
[43:59.74]because when the events are healthy,
[44:02.21]that pushes the music forward.
[44:03.77]
[44:08.24]We had Sahara tent, and we Dew Lab.
[44:12.48]When Dew Lab started out, it was just an art piece.
[44:15.28]We barely were even paying attention to 'em.
[44:17.49]They were DJ-ing in there.
[44:20.86]They've been an institution for us ever since.
[44:23.86]So we felt like we were doing good with electronic music.
[44:27.20]
[44:29.33]Daft Punk, Daft Punk, Daft Punk, Daft Punk...
[44:32.37]Then Coachella 2006,
[44:35.04]Daft Punk plays.
[44:36.91]And people's minds get blown.
[44:39.18]
[44:40.94]It, like, changed people's lives, including mine.
[44:43.45]Forever.
[44:44.68]
[44:46.25]We didn't know what to expect.
[44:47.52]And the first thing that you hear is
[44:50.19]the "Close Encounters" melody.
[44:52.89]Do, do, do, do, doo
[44:57.13]And it was, like Ohhh.
[44:59.30]
[45:00.86]And then you hear it again.
[45:02.03]Do, do, do, do, doo
[45:04.94]It's, like Ohhhh.
[45:06.80]And then the curtain slowly parts to reveal
[45:11.21]this fucking pyramid with these robots on top.
[45:15.95]And you're like, they are aliens.
[45:18.42]They are not from planet Earth.
[45:20.58]Television
[45:23.42]
[45:24.52]Rules the nation
[45:27.06]
[45:28.36]Television
[45:30.96]
[45:32.06]Rules the nation
[45:34.36]Around the world
[45:35.80]
[46:05.53]It was just such a mind- blowing performance.
[46:09.93]It was kind of the birth of EDM right there.
[46:11.97]
[46:15.54]From that point on,
[46:17.57]dance music needed to have a giant spectacle on stage.
[46:23.21]And so you could love it or you could hate it.
[46:26.12]I mean
[46:27.22]But the fact is that
[46:29.62]nothing was the same after that performance.
[46:33.26]Rules the nation
[46:36.09]
[46:40.50]And from that that moment, it was like
[46:44.03]I mean, it's all what DJs would be playing all across the country.
[46:46.64]Wherever I was playing, it was like,
[46:48.37]Daft Punk, Daft Punk, Daft Punk.
[46:51.01]Then we would always be doing, like,
[46:52.38]the pyramid that they did at Coachella.
[46:54.51]
[47:19.44]As headliners here today, it was just absolutely amazing.
[47:21.97]And how they got embraced by what they are
[47:24.47]as as a group, as an art as artists.
[47:26.98]By the end of the day, they brought, brought the funk kind of sound
[47:29.68]and the house music to the table,
[47:31.18]and and the new electronic sound.
[47:33.25]They're the ones that were there first before anyone else,
[47:35.35]so for me to hear them today was amazing.
[47:37.59]
[48:06.35]I think it's good. We're gonna have some good shows now.
[48:10.19]
[48:36.11]Technologically speaking,
[48:37.61]it's always new ideas and new concepts
[48:40.25]coming from the Sahara tent.
[48:41.48]
[48:44.59]The new technology shows up,
[48:46.36]and the artists with the creativity
[48:48.72]will utilize that technology to push the limits
[48:51.53]
[48:59.27]Just on an audio/visual level,
[49:01.77]regardless of who's performing in there,
[49:03.14]it's incredible.
[49:04.61]I'm not scared of technology.
[49:06.81]For me, this is always something that I use like a tool
[49:09.75]to bring across what I have in my head.
[49:13.25]It's the same thing as having a muscle car.
[49:15.58]Getting a V8 engine, 450 horse power,
[49:18.46]it's big power.
[49:20.49]When we get those big subs in there and light those things up,
[49:24.56]it could blur your vision.
[49:26.30]You could stand in front and everything turns fuzzy.
[49:29.17]One day, someone's gonna bring in too many subs
[49:31.27]and someone's just gonna, like
[49:32.47]their stomach is gonna explode.
[49:34.40]Ugh!
[49:36.07]
[49:47.65]Social media made a big difference.
[49:49.35]Like, as soon as Facebook and Instagram blew up,
[49:52.59]EDM blew up, because for years
[49:54.52]it was held down by people who control
[49:57.36]the radio and television, who control the media.
[50:00.43]It was big, it was, you know, felt like
[50:02.73]you could tell that the bands were starting to break,
[50:05.57]that this festival culture,
[50:07.60]this electronic music youth festival culture
[50:10.37]was... you know, like, pushing other genres out of the way,
[50:13.88]like, we are here.
[50:15.01]
[50:23.52]Tiesto on the main stage changed the game.
[50:25.89]And Paul Tollett, hats off for that booking
[50:29.33]because I think that was that was a controversial choice.
[50:31.19]
[50:32.46]People were pretty, uh, shocked
[50:34.43]that I played Coachella, main stage.
[50:36.30]And they were, like they didn't know what to expect.
[50:37.50]
[50:39.70]'Cause a lot of bands and, like, traditional musicians
[50:42.30]are, like, you're not us, man.
[50:44.54]Like, what, 'cause I don't sit behind the drum and play the drum?
[50:47.88]Like it or not, Tiesto's here and he's gonna play on the main stage.
[50:51.15]
[50:57.55]And that proved a point that
[51:00.22]large scale DJ culture was becoming a real thing.
[51:03.56]
[51:09.27]No one had done that at that time
[51:12.17]at a multi-genre music festival.
[51:14.44]Taking a dance act and having him play to that large of an audience
[51:17.74]was unbelievable and something that...
[51:21.61]pushed things forward for the industry that I love so much,
[51:24.78]and the culture that I love so much.
[51:26.18]
[51:35.79]At first, we felt that
[51:37.39]the main stage was a little big for us,
[51:39.83]but we were like, eh, you know what?
[51:41.63]Let's try it and let's do our best and pushed for it.
[51:43.47]
[51:45.37]But it definitely changed the sound
[51:46.77]going from night clubs to these big stages
[51:48.87]that made everything bigger, louder, more grand,
[51:51.84]and now we've graduated to where there's a pop element to it.
[51:55.24]
[52:03.92]I think that happens with any genre,
[52:05.69]from hip hop to, you know, to indie rock to whatever.
[52:09.23]There's always just layers. There's an underground,
[52:11.63]more independent sound that's more cultured,
[52:13.50]and, I guess, takes a little more digging to get to,
[52:15.76]and there's the stuff that's on the radio
[52:16.97]that's more accessible.
[52:19.70]
[52:23.01]People need not be afraid
[52:25.54]of big dance acts that have success,
[52:28.34]because you can always go find your house music or your techno.
[52:31.68]
[52:42.39]Yuma is a really interesting innovation
[52:44.100]because it's just about the music.
[52:47.26]
[52:49.43]It's more of the intimate club experience
[52:51.60]but on a larger scale and at a festival.
[52:53.90]
[53:18.73]The Yuma stage is very much, you know, sort of like
[53:21.50]the quintessential heads, you know,
[53:23.50]they know what they want.
[53:24.63]That's my favorite type of vibe.
[53:26.34]There's no screens, it's just music.
[53:29.21]
[53:40.85]It's around connecting to people.
[53:44.75]As we track the growth of electronic music,
[53:48.42]there doesn't seem any end in sight.
[53:50.89]People just seem to have the drive to have
[53:54.06]the time of your life.
[53:55.56]One, two
[53:57.40]Everybody jump
[54:00.34]
[54:08.84]I remember, like, the second Major Lazer show,
[54:10.71]and it was, like, the most epic
[54:12.62]Sunset is sort of the best time to play at Coachella.
[54:13.95]Nobody can tell you differently.
[54:15.62]Whether they say it's headlining, whatever,
[54:17.79]as long as it's sunset.
[54:18.82]
[54:25.93]EDM became a thing,
[54:28.36]and through that, I think,
[54:30.13]more and more people in North America
[54:32.37]finally got accustomed to the sonics of electronic music,
[54:35.57]'cause it used to be foreign.
[54:37.01]It used to be exotic and crazy.
[54:38.68]
[54:45.82]I knew it was gonna be a big moment in my career;
[54:47.82]first time on the main stage at Coachella.
[54:49.95]This is the festival the whole world looks at.
[54:52.12]Look into my eyes
[54:54.89]Eyes
[54:56.63]Are the windows to the soul
[55:00.100]I walked off stage that first week,
[55:02.83]and the guys who'd flown the drone, they walk up,
[55:05.60]and they're like, "Dude, oh, my gosh,"
[55:06.90]and they're freakin' out.
[55:08.90]And they whip out an iPad and it has the drone footage on it.
[55:12.91]And I'm just like Ahh!
[55:15.01]We're all, like, screaming looking at this thing,
[55:17.05]like rewinding it, like What?!
[55:19.08]How far back does the crowd go?
[55:21.85]Look into my eyes
[55:23.42]
[55:30.73]And there's a big red blast on the screen,
[55:33.20]and you can see it just lights the whole crowd up red.
[55:36.06]Look into my eyes
[55:38.44]
[55:45.88]Whether the radio wants to admit it
[55:47.74]or whatever, the TV,
[55:50.15]I don't know what's goin' on, but there's a movement,
[55:52.95]and it's solidified, and guess what?
[55:54.55]It's been 20 years in the making.
[55:56.05]Eyes
[55:58.49]
[56:27.88]At the end of the day,
[56:29.92]and I've said this all throughout the commotion of EDM,
[56:33.79]I've always said this, hip hop is, like,
[56:36.83]the generational music of North American youth.
[56:38.73]
[56:41.53]RAYMOND Early Coachella definitely had hip hop.
[56:44.20]You had hip hop DJs,
[56:45.77]you had, like, the Invisibl Skratch Piklz,
[56:47.10]which A-Trak was part of at the time.
[56:48.77]
[56:54.98]And that was like the height of turntablism
[56:57.21]in terms of, like, what Echelon and those guys were playing at.
[56:59.82]
[57:08.92]But I think it was what you would have expected at the time,
[57:11.93]it was the festival friendly versions
[57:14.76]of what was going on in hip hop.
[57:16.30]Well, I'd like to know
[57:18.10]If you got the notion
[57:19.60]'Cause we're number one
[57:21.77]I'm not tryin' to say my style is better than yours
[57:23.84]I'm just on some other shit
[57:25.74]I'm all about the beats and the lyrics
[57:27.74]So when you hear it you can feel it
[57:28.91]The vibe is energized...
[57:30.95]RAYMOND And there was all this alternative or underground
[57:33.32]or backpack hip hop or, you know,
[57:35.68]really like college hip hop.
[57:37.82]'Cause we take it back like Robbin Loxly
[57:39.66]Rockin' from country sides to spots
[57:40.86]Where hard rocks be
[57:42.69]RAYMOND If you really were to get into, like,
[57:44.06]culture and groups,
[57:45.96]the fans of that hip hop were
[57:49.23]I don't know if there was majority white,
[57:50.80]but it was largely white.
[57:53.00]Um, and way more over represented than...
[57:58.94]southern hip hop or like, you know,
[58:02.68]Wu Tang inspired, like, east coast hip hop,
[58:06.32]uh, and gangster rap and everything.
[58:09.05]That hip hop had a large black fan base.
[58:12.79]Motherfucker comin' straight outta Compton
[58:14.99]Crazy motherfucker named Ice Cube
[58:16.93]From the gang called Niggaz With Attitudes
[58:19.13]When I'm called off
[58:20.76]It wasn't that Goldenvoice
[58:21.100]didn't have history doing hip hop.
[58:23.70]You know, Goldenvoice had done early NWA concerts.
[58:27.10]It was a situation where
[58:29.14]you know, rap music was getting a black eye,
[58:31.91]you know, everywhere you looked.
[58:34.38]Like, nobody wanted to have anything to do with rap.
[58:36.98]Yeah, I mean, hip hop
[58:38.82]in Southern California in the '80s was hard to place.
[58:41.92]Uh, there was some violence associated with it,
[58:44.02]and many venues didn't want to book it,
[58:46.72]so that is code for call Goldenvoice.
[58:49.86]RAYMOND So the festival promoters
[58:52.26]had a history with doing hip hop,
[58:54.83]but the festival setting itself and festival culture was
[58:58.64]you know, was not as multicultural as it is today.
[59:02.67]
[59:05.74]I mean, what's the template for music festivals?
[59:08.11]Woodstock.
[59:10.25]There were not many people of color at that show.
[59:13.42]There were a handful,
[59:15.15]but if you see the movie,
[59:17.29]it's white girls with flower crowns
[59:18.42]and white guys with long hair.
[59:20.09]
[59:21.96]So when you think festival, that's what you think,
[59:23.93]and, you know, you could lose sight about
[59:25.40]how important that iconography is to people
[59:27.90]in determining what they do and how they celebrate music.
[59:30.93]
[59:34.07]So it took a while for culture to merge.
[59:37.77]And over time, it took, like, early acts to kind of break through,
[59:41.41]so if you look at the evolution of hip hop early days,
[59:44.71]it was everybody that fit into that indie realm.
[59:47.85]And then mid 2000s you had the flirtations with some of those bigger acts,
[59:51.99]and ones that offered a bit of crossover,
[59:54.89]uh, the biggest one, of course, being Kanye.
[59:57.36]
[60:10.74]I was at Coachella that year,
[60:13.04]'cause I played with Kanye.
[60:15.11]The Kanye performance was kind of hilarious
[60:17.11]because he showed up at least 20 minutes late
[60:21.25]20 to 30 minutes late.
[60:22.45]So we were onstage
[60:25.35]myself, the string section.
[60:27.82]
[60:29.96]And it's show time, and we knew Kanye was on his way.
[60:34.90]I don't think he knew about the traffic
[60:37.03]between L.A. and Indio,
[60:39.77]specifically during a day of Coachella.
[60:42.14]
[60:43.41]Please believe...
[60:45.01]
[60:50.15]And long story short,
[60:51.41]he showed up halfway into the set.
[60:53.35]And at a festival like Coachella, there's no wiggle room.
[60:57.02]It can't be like, "Okay, well, you can go over a half hour."
[60:59.29]'Cause someone else has a set right after.
[61:01.09]So he played a shortened set.
[61:03.93]Throw your diamonds in the sky if you feel the vibe
[61:07.46]Forever
[61:09.40]The Roc is still alive every time I rhyme
[61:12.37]Forever ever, forever ever, ever ever
[61:15.34]I mean, Kanye was always Kanye, right,
[61:17.34]but when he first came out,
[61:19.31]he was considered in that more backpack realm.
[61:22.04]After debris settles and the dust gets swept off
[61:24.51]Big K pick up where young Hov left off
[61:27.18]Right when magazines wrote Kanye West off
[61:29.52]I dropped my new shit, it sound like the best of
[61:32.19]A&R lookin' like, "Pssh, we messed up
[61:34.82]Grammy night, damn right, we get dressed up
[61:36.93]Bottle after bottle till we get next, uh
[61:39.96]Yeah, he next up
[61:42.16]It took artists like that
[61:44.13]that were kind of, like, the testing grounds for hip-hop
[61:46.90]at the festival.
[61:48.47]You couldn't have just jumped forward and put
[61:50.57]I mean, Lil Wayne was big in the mid-2000s.
[61:53.34]Jay-Z was big in the mid-2000s. It was too early for that.
[61:56.95]
[61:59.28]Power to make a diamond with his bare hands
[62:01.95]
[62:05.32]...if you feel the vibe
[62:07.56]Come on, come on
[62:09.22]Roc is still alive every time I rhyme
[62:11.29]Forever ever
[62:13.13]Ever ever
[62:14.50]Ever ever, ever ever, ever ever
[62:16.97]Ever ever, ever ever
[62:18.97]Ever ever, ever ever
[62:20.34]Ever ever, ever ever, ever ever
[62:23.37]
[62:27.51]I look at every demographic, like, man, hopefully I get the college kids,
[62:31.15]I wanna get the girls, the little kids,
[62:33.98]the older people, the niggas from the streets,
[62:37.19]backpackers.
[62:39.02]-All that. -You know?
[62:40.09]
[62:42.46]Kanye! Kanye! Kanye!
[62:44.19]
[62:46.86]-We gotta go? -Yeah.
[62:48.46]-We gotta go? -Yeah, man.
[62:50.20]-We can't sing one more?
[62:51.87]A-TRAK! A-TRAK!
[62:53.97]He can't do it, man.
[62:56.14]I'm sorry, brother.
[62:58.27]Well, it was the time when, you know,
[63:01.01]we had these artists
[63:03.01]that were just blowing up pretty quick.
[63:05.48]
[63:17.12]M.I.A., she was great,
[63:20.50]because she worked up the stages.
[63:23.63]And every stage was crazy every time.
[63:28.17]
[63:33.31]First time I ever played a festival was Coachella.
[63:36.95]That's my first festival ever.
[63:38.51]
[63:43.08]From my recollection, the next big thing was probably Jay-Z.
[63:47.26]
[63:49.46]Well, what happened is,
[63:51.16]we were promoting a festival back in New York,
[63:53.13]and Beastie Boys were headlining it.
[63:55.06]And we'd already had Beasties at Coachella before.
[63:56.67]And it was just so good.
[63:58.43]Well, now, don't you tell me to smile
[64:01.50]You stick around I'll make it worth your while
[64:03.51]My number's beyond what you can dial
[64:05.47]
[64:08.08]Some could say that's the first hip-hop headliner.
[64:10.45]But others, they were rock, they were punk rock,
[64:12.95]they were all these different genres.
[64:14.32]I run the marathon to the very last mile
[64:16.38]They certainly paved the way for future hip-hop headliners.
[64:19.99]You've got gall, you've got guile
[64:22.62]Step to me, I'm a rap-o-phile
[64:25.09]So we had Beastie Boys on this festival in New York,
[64:28.33]but they had to cancel.
[64:30.43]So we got Jay-Z to fill in. And when he came out,
[64:33.97]he went straight into "No Sleep Till Brooklyn."
[64:36.34]No sleep till
[64:38.01]
[64:47.58]Foot on the pedal, never ever false metal
[64:50.22]Engine running hotter than a boiling kettle
[64:52.62]My job ain't a job, it's a pretty good time
[64:55.09]City to city, I'm running out of rhymes
[64:57.16]On location, tour around the nation
[65:00.23]Beastie Boys never on vacation
[65:02.63]And it was awesome.
[65:05.27]Do what I do 'cause I'm willing and able
[65:07.40]I'm like, wow, Jay-z is that is that good live?
[65:11.17]Allow me to reintroduce myself
[65:13.68]My name is Hov
[65:15.44]H to the O-V
[65:17.18]I used to move snowflakes by the O-Z
[65:19.42]So we grabbed him for Coachella.
[65:22.12]CEO of the R-O-C
[65:25.12]Fresh out the fryin' pan, into the fire
[65:27.26]I be the music biz number one supplier
[65:30.26]Flyer than a piece of paper bearing my name
[65:32.66]Got the hottest chick in the game wearing my chain, that's right
[65:35.40]2010, Jay-z, that was like a big breakout.
[65:38.73]Fans were totally ready for it.
[65:41.67]They were ready for it musically.
[65:43.81]They were ready for his presence.
[65:45.98]
[65:48.31]They were ready for the show to take on hip-hop at that scale.
[65:51.48]Let me tell you dudes what I do to protect this
[65:54.32]I shoot at you actors like movie directors
[65:58.59]I think it was only a matter of time
[66:00.52]because everybody just thinks that rap is cool.
[66:02.56]Rap is cool. There's nothing cooler than rap.
[66:04.19]Rap is the coolest music ever.
[66:06.96]
[66:09.13]Any kid that you catch walking down the street
[66:12.10]or driving down the street, whatever,
[66:13.77]they know Lil Wayne records, they know Jay-Z records,
[66:15.60]they know Kanye records.
[66:16.60]
[66:20.41]Kanye came back in 2011
[66:23.24]with an incredible
[66:25.65]theater of a performance.
[66:27.82]Broke yet new ground.
[66:29.28]
[66:30.75]First time I went to Coachella,
[66:33.09]Kanye had invited me the first time to Coachella.
[66:36.19]And I went, and I had a great night.
[66:38.46]It was When I seen his show, actually
[66:41.26]At that time, that was the best hip-hop show
[66:43.60]I ever seen in my life.
[66:45.07]
[67:01.25]I'm living in that 21st century
[67:03.75]Doing something mean to it
[67:05.75]Do it better than anybody you ever seen do it
[67:08.59]Scream from the haters, got a nice ring to it
[67:11.83]I guess every superhero need his theme music
[67:14.83]No one man should have all that power
[67:18.27]The clocks ticking, I just count the hours
[67:21.40]Just the way he took that stage
[67:23.20]and took over that stage,
[67:25.81]it was hip-hop as art.
[67:27.04]
[67:36.18]And they say
[67:37.22]
[67:39.25]And they say
[67:40.76]And they say
[67:42.42]And we say
[67:43.73]And they say
[67:45.19]And they say
[67:46.83]And they say
[67:49.36]21st Century schizoid man
[67:52.17]
[67:55.90]To do it in that festival setting
[67:58.31]was just one more step in that march
[68:02.18]towards just the unstoppable beast
[68:05.85]that would become, like, the headliners.
[68:08.28]
[68:15.92]That year we had Arcade Fire
[68:17.79]which did the incredible ball drop.
[68:20.10]
[68:23.43]Awesome concept, beautifully executed.
[68:25.80]But there are few bands that can even, like, bring that.
[68:30.27]The rock headliners of those years had a harder time keeping up.
[68:34.24]
[68:36.64]That was the first year where we started livestreaming on YouTube.
[68:41.52]That was the thing that got us across the world.
[68:44.89]It really was shocking.
[68:46.79]You know, now all these different countries are coming.
[68:49.19]
[68:53.26]There was so much demand that year.
[68:55.56]More than 100,000 people were shut out.
[68:57.67]
[68:59.70]Thought about all these people
[69:01.34]who didn't get to go to Coachella.
[69:03.54]
[69:05.97]You know, he has a lot of ideas.
[69:07.61]And I remember when he said to me,
[69:11.45]"What's the only thing better than Coachella?
[69:14.55]Two Coachellas."
[69:16.22]
[69:18.85]It was just such an unprecedented move.
[69:21.46]No one had a two-weekend event like that.
[69:23.89]And people thought that that was just a selfish money grab...
[69:27.66]which I can understand.
[69:29.30]But it also made tons of sense, 'cause a lot of people
[69:31.83]that wanted to go to the show that couldn't go to the show.
[69:33.27]
[69:35.64]I always thought about doing two weekends.
[69:37.94]But we thought, "I'm gonna run out of headliners.
[69:40.34]if it's two different sets of music."
[69:42.51]
[69:44.91]So it hit me, like, "Every single artist needs to repeat."
[69:49.78]"Wait a second. The same artists come back
[69:51.69]and play a second time a week later?
[69:54.42]That's just weird."
[69:56.32]I didn't even know how they were gonna pull that off.
[69:57.73]-California love -Come on!
[70:00.76]Put your motherfuckin' dubs in the air
[70:02.93]Sing this shit!
[70:04.80]California
[70:06.80]-Knows how to party -What you say?
[70:10.04]It was hard to explain the two- weekend concept to Dre,
[70:15.38]'cause he didn't really know a lot about Coachella to begin with.
[70:18.78]
[70:20.88]But he knew about Burning Man, because
[70:23.32]him and Tupac bumped into it
[70:24.75]when they were filming that video.
[70:26.39]It was the funniest thing.
[70:27.76]The city of Compton
[70:28.79]Hey, yo, Dre,
[70:30.39]I think you should welcome everybody.
[70:32.23]
[70:35.100]Now, let me welcome everybody to the wild, wild west
[70:38.50]A state that's untouchable like Eliot Ness
[70:40.87]The track hits your eardrum like a slug to your chest
[70:43.64]Pack a vest for your Jimmy in the city of sex
[70:45.97]We lay out what we wanna do with him headlining Coachella.
[70:49.74]He said, "I'd like to do it, but I got this idea
[70:52.05]about like a 3-D thing or a hologram,
[70:54.78]or I got this art thing."
[70:56.72]I hope this ain't people's first show seeing a concert.
[71:00.39]After this one, you probably don't want to see it.
[71:02.46]It's kind of unfair what Dre is doing
[71:04.06]to the whole Coachella lineup on Sunday.
[71:06.63]It's all I gotta say.
[71:08.13]What's the surprises? Any surprises?
[71:10.87]Everybody gonna come out, that's all I gotta say.
[71:12.80]-People are gonna cry? -Yea...........
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....... FUL LİRİK & ALTYAZI İÇİN AŞAĞIDAKİ DÜĞMELERİ KULLANINI .......
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