WEBVTT 00:09.755 --> 00:13.797 (waves lapping) (seagulls cawing) 00:16.089 --> 00:18.463 (footsteps) 00:24.797 --> 00:29.005 Bono: There's something in him that's attracted to rage. 00:29.005 --> 00:32.713 That's the thing, I think, to explore. 00:33.839 --> 00:35.755 Man: Oh, the bear, Jimmy. 00:37.755 --> 00:41.005 What is it about the bear, by the way? 00:41.005 --> 00:44.755 I like-- I like bears more than I like, probably... 00:45.713 --> 00:47.505 It's my favorite animal, 00:47.505 --> 00:50.839 because... not only can it get you on land, 00:50.839 --> 00:53.296 if you go in the water, it will come for you there, 00:53.296 --> 00:56.755 and it is faster than you on land and in water. 00:56.755 --> 00:59.296 And it's big as all hell. 00:59.296 --> 01:02.296 That is the ultimate machine as far as I'm concerned. 01:02.296 --> 01:04.047 (loud bang) 01:04.047 --> 01:06.255 God got that one really right. 01:06.255 --> 01:08.463 ♪ ♪ 01:08.463 --> 01:09.964 Snoop Dogg: Jimmy "Eye-oh-vee-nee." 01:09.964 --> 01:12.797 That's how you say his name in Italy. 01:12.797 --> 01:14.463 Jimmy is "Italioni." 01:14.463 --> 01:15.839 That's why they can't really fuck with him 01:15.839 --> 01:17.964 like they really want to. You know what I'm saying? 01:17.964 --> 01:20.922 Overplay the fettuccine. 01:20.922 --> 01:23.089 Iovine: My mother was very intense. 01:23.089 --> 01:25.380 Mormile: She felt that everyone was taking advantage of him. 01:25.380 --> 01:28.797 She was always looking at the angle that someone might have, 01:28.797 --> 01:30.922 and Jimmy picked up that. 01:30.922 --> 01:32.755 Iovine: She loved me, but she worried a lot. 01:32.755 --> 01:37.171 That just... made me twitch, literally. 01:37.171 --> 01:39.380 (laughter) 01:39.380 --> 01:40.880 In my neighborhood, (bottle shatters) 01:40.880 --> 01:42.672 either you could punch good, 01:42.672 --> 01:46.171 duck good, or have a great sense of humor. 01:46.171 --> 01:47.505 I was the latter. 01:47.505 --> 01:48.880 I was nowhere near a tough guy, 01:48.880 --> 01:51.296 but there were sure a lot of tough guys around. 01:51.296 --> 01:54.171 Everyone in the neighborhood, they wanted to-- 01:54.171 --> 01:56.588 to earn a few extra bucks. 01:56.588 --> 01:59.213 As a longshoreman, my dad used to tell me 01:59.213 --> 02:02.171 there were extra things lying around the pier. 02:02.171 --> 02:04.630 He'd bring home 12 catcher's mitts. 02:04.630 --> 02:06.672 And I said, "What am I gonna do with 12 ca--" 02:06.672 --> 02:08.463 My uncle would bring things home, 02:08.463 --> 02:10.505 my next-door neighbor would bring things home, 02:10.505 --> 02:14.171 and they would trade them, and that was the culture. 02:14.171 --> 02:16.547 Steve Stoute: So you're dealing with Italian, 02:16.547 --> 02:18.922 short-man complex from Brooklyn. 02:18.922 --> 02:21.089 You're dealing with a lot of energy, 02:21.089 --> 02:23.672 and he took that into the record business. 02:23.672 --> 02:25.005 Tom Petty: Jimmy's one of those guys 02:25.005 --> 02:26.880 that if you think you killed him, 02:26.880 --> 02:28.755 you better go back and shoot him again, 02:28.755 --> 02:30.713 because he'll get up. (laughs) 02:30.713 --> 02:32.089 ♪ ♪ 02:32.089 --> 02:33.880 It's opera. 02:33.880 --> 02:36.797 Italians love the opera. 02:36.797 --> 02:39.047 Big emotions. Violence. (crowd cheering) 02:39.047 --> 02:42.213 That energy, that rage. 02:42.213 --> 02:45.005 He has it. He just doesn't come off as angry. 02:45.005 --> 02:47.630 But under the skin of it... (screaming) 02:47.630 --> 02:49.880 (thunder rumbles) ...he likes blood and bones. 02:52.380 --> 02:54.421 (seagulls cawing) 03:01.338 --> 03:03.338 ♪ ♪ (car honking) 03:03.338 --> 03:05.713 (people shouting) 03:09.421 --> 03:11.672 And they looking for that rock. (laughter) 03:11.672 --> 03:13.755 ♪ ♪ (people chattering) 03:13.755 --> 03:16.130 (phone cameras clicking) 03:16.130 --> 03:18.213 (chattering continues) 03:25.047 --> 03:27.421 Nigga used to want to shoot at me. Now he wanna rap with me. 03:27.421 --> 03:29.380 Dr. Dre: The first time I heard Snoop, 03:29.380 --> 03:31.839 a friend of mine had a bachelor party. 03:31.839 --> 03:35.505 ♪ Swing down, sweet chariot stop and let me ride ♪ 03:35.505 --> 03:38.547 Dr. Dre: I met Snoop before that. He was selling drugs. 03:38.547 --> 03:41.421 And my step-brother Warren G popped this tape in. 03:41.421 --> 03:44.130 Snoop Dogg: ♪ Rolling in my six-four ♪ 03:44.130 --> 03:45.630 I'm like, "That's Snoop?" 03:45.630 --> 03:47.880 I'm like, "Man, this is a fucking diamond in the rough, 03:47.880 --> 03:49.338 and we need to polish it up." 03:49.338 --> 03:52.380 So, it went from that to me receiving a phone call. 03:52.380 --> 03:55.463 I hung up. Like, "Nigga, this ain't no motherfucking Dr. Dre." 03:55.463 --> 03:58.922 Nigga called back like, "Nigga, be at the studio Monday." 03:58.922 --> 04:00.839 Dr. Dre: So, Snoop comes in the studio, 04:00.839 --> 04:04.130 I put this track up for him, and he's just freestyling, 04:04.130 --> 04:05.964 and this shit was super sick. 04:05.964 --> 04:11.171 And then the thought of my solo album started becoming a reality in my mind. 04:11.171 --> 04:14.922 Had Snoop, Warren G, had D.O.C. to help out with the lyrics, 04:14.922 --> 04:16.255 and that's a great beginning. 04:16.255 --> 04:18.839 ♪ Creeping down the back street on deez ♪ 04:18.839 --> 04:21.213 ♪ I got my Glock cocked 'cause niggas want these ♪ 04:21.213 --> 04:23.755 ♪ Now soon as I said it, seems I got sweated ♪ 04:23.755 --> 04:26.505 ♪ By some nigga with a TEC-9 trying to take mine ♪ 04:26.505 --> 04:28.421 ♪ You want to make noise, make noise ♪ 04:28.421 --> 04:31.547 ♪ I make a phone call, my niggas coming like the Gotti boys ♪ 04:31.547 --> 04:34.089 Dr. Dre: I had just got a new house in Calabasas, 04:34.089 --> 04:36.505 completely empty with the exception 04:36.505 --> 04:39.463 of my bedroom and downstairs studio. 04:39.463 --> 04:42.213 So, we downstairs making song with no furniture. 04:42.213 --> 04:44.338 Some nights it would be me, him, 04:44.338 --> 04:47.547 and then some nights there would be about a thousand motherfuckers in there. 04:47.547 --> 04:49.089 ♪ Sweet chariot stop and let me ride ♪ 04:49.089 --> 04:51.171 A lot of people have come out-- hold up, baby. 04:51.171 --> 04:53.338 Dr. Dre: Kurupt stayed there. Snoop lived there, 04:53.338 --> 04:54.839 Daz, Nate Dogg. 04:54.839 --> 04:57.672 It's just full of really creative people. 04:57.672 --> 05:00.421 We would party for a while. I hear somebody go, 05:00.421 --> 05:03.338 ♪ With my mind on my money, and my money on my mind ♪ 05:03.338 --> 05:05.130 "Bam. Yo, hold that. 05:05.130 --> 05:06.839 Let's go in the studio. Let's lay that." 05:06.839 --> 05:08.213 ♪ Hop back as I pop my top, ya trip ♪ 05:08.213 --> 05:10.338 Snoop Dogg: We created some great fucking music. 05:10.338 --> 05:12.130 ♪ Commence to pop, pop, pop, yeah ♪ 05:12.130 --> 05:15.296 But it was domestically dysfunctional. You know what I'm saying? 05:15.296 --> 05:17.047 Dr. Dre: People fucking in the bathrooms. 05:17.047 --> 05:19.213 People fucking anywhere except my room. 05:19.213 --> 05:20.380 (music slows, stops) 05:20.380 --> 05:22.630 ♪ ♪ Snoop Dogg: But we was just happy 05:22.630 --> 05:24.380 to be outta the 'hood, working with Dr. Dre. 05:24.380 --> 05:26.005 I was on house arrest. 05:26.005 --> 05:28.380 Snoop Dogg: This was one of the baddest motherfuckers to ever do it. 05:28.380 --> 05:30.380 I mean, his ear is different. You can't really say, 05:30.380 --> 05:33.964 "Why did he pick me out of all of the rappers that was rapping in the '80s 05:33.964 --> 05:35.713 and say, 'Well, I'mma put you down with me?'" 05:35.713 --> 05:38.338 I don't know why, but he always put me up. 05:38.338 --> 05:40.922 Hey, Snoop Doggy Dogg, welcome to Yo! MTV Raps. 05:40.922 --> 05:42.005 Was up, Fab? 05:42.005 --> 05:43.505 Fab 5 Freddy: Snoop really was a street guy, 05:43.505 --> 05:45.880 but he was the personality I had not seen in rap. 05:45.880 --> 05:48.171 It was a whole other flow. 05:48.171 --> 05:50.255 Snoop Dogg: My thing back then was freestyle. 05:50.255 --> 05:53.089 Like, I didn't know how to write, but D.O.C. was my teacher. 05:53.089 --> 05:56.089 He was the one who showed me, "Do this like this, 05:56.089 --> 05:58.421 and that, and this, and, uh..." 05:58.421 --> 06:01.296 He gave me that line. You know what I'm saying? 06:01.296 --> 06:04.255 And then it was some white boys, and they had a truck. 06:04.255 --> 06:07.171 And motherfucker had... some sort of device, mechanism. 06:07.171 --> 06:09.213 He was like, "This is-- 06:09.213 --> 06:11.380 Dude, this is the hydroponic. 06:11.380 --> 06:13.089 It's hydroponic, man." 06:14.296 --> 06:17.588 Nigga, we just smoking. Niggas was getting fucked up. 06:17.588 --> 06:19.922 I'm becoming a hippie. I'm becoming a stoner. 06:19.922 --> 06:21.630 By the end of the night, niggas was like, 06:21.630 --> 06:24.630 "Nigga, that hydrochronic, nigga. 06:24.630 --> 06:26.505 Nigga, that hydrochronic is the shit." 06:26.505 --> 06:29.672 We fucked around and fucked the whole name up. 06:29.672 --> 06:32.213 Yeah, he like, "Nigga, your shit is bomb, nigga. 06:32.213 --> 06:34.421 Your album should be called The Chronic , nigga." 06:34.421 --> 06:38.463 And I was wearing that white hat with the green leaf on it. 06:38.463 --> 06:41.130 It was like everything was coming together like magic. 06:41.130 --> 06:42.713 (exhales) (chimes tinkling) 06:42.713 --> 06:45.672 ♪ Free your mind and come fly ♪ 06:45.672 --> 06:48.213 (man shouts) ♪ With me, it's hip ♪ 06:48.213 --> 06:50.839 I love you, Mommy. Vicki Iovine: I love you too. 06:50.839 --> 06:52.255 Iovine: Here we go. Let's go. 06:52.255 --> 06:54.922 Iovine: In 1989, I wanted to stop producing records. 06:54.922 --> 06:59.338 I didn't wanna be out all night producing records and not seeing my kids, 06:59.338 --> 07:01.296 so I went to a couple of friends, 07:01.296 --> 07:04.547 I went to David Geffen, seek their advice, you know. 07:04.547 --> 07:06.171 Allen Grubman: Geffen, Geffen, Geffen. 07:06.171 --> 07:08.005 Let me get you to understand this properly. 07:08.005 --> 07:10.338 You don't have to say Madonna's last name. 07:10.338 --> 07:13.255 You don't have to say Cher's last name. 07:13.255 --> 07:15.713 You don't have to say Bono's last name. 07:15.713 --> 07:18.880 You don't have to say David's last name. Got it? 07:20.171 --> 07:22.338 Jimmy used to sit on his knee 07:22.338 --> 07:24.463 and learn from David. 07:24.463 --> 07:26.255 My first impressions of Jimmy 07:26.255 --> 07:28.130 were that he was a sponge, 07:28.130 --> 07:31.672 that he picked up everything he heard or saw. 07:31.672 --> 07:33.171 Iovine: David had a record company, 07:33.171 --> 07:35.755 and it was really successful, and I always admired David, 07:35.755 --> 07:40.171 so I said, "Wow, man, maybe I could start a record company." 07:40.171 --> 07:43.171 He wanted to make a lot of money, 07:43.171 --> 07:46.839 and, uh, record producers don't make that much money. 07:46.839 --> 07:49.797 People talk about those things. 07:49.797 --> 07:54.839 Iovine: David taught me the art of business in music, 07:54.839 --> 07:58.547 and I was going in not knowing anything about business. 07:58.547 --> 08:01.922 And because David sold Geffen Records, 08:01.922 --> 08:04.421 everybody wanted to get in the label business, 08:04.421 --> 08:07.338 and it was incredible competition. 08:07.338 --> 08:10.213 So then, there was a guy named Ted Field 08:10.213 --> 08:13.880 who was starting a record company, and we really hit it off. 08:13.880 --> 08:15.880 David: Ted Field was the renegade 08:15.880 --> 08:17.839 of the very wealthy Marshall Field's family. 08:17.839 --> 08:20.630 He didn't want to take over any of the family businesses, 08:20.630 --> 08:23.130 and he had a passion for entertainment. 08:23.130 --> 08:25.380 Iovine: So, we decided to do this together, 08:25.380 --> 08:28.130 and I brought along Doug Morris from Atlantic. 08:28.130 --> 08:29.713 I said, "Jimmy, you wanna start the label. 08:29.713 --> 08:32.588 You know, I'm in for half if you want it." 08:32.588 --> 08:34.005 I was always in for half. 08:34.005 --> 08:35.922 Iovine: And that's how Interscope came about. 08:35.922 --> 08:38.588 And naturally, because Atlantic's our partner, 08:38.588 --> 08:40.047 they brought along Time Warner, 08:40.047 --> 08:41.713 'cause Time Warner owns Atlantic. 08:41.713 --> 08:44.296 You get a guy you know is gonna get hits, 08:44.296 --> 08:46.964 you make him the boss. He's gonna bring in the music. 08:46.964 --> 08:50.338 And the other people who do the other stuff... 08:50.338 --> 08:52.630 they do the other stuff. Iovine: Everyone thinks 08:52.630 --> 08:54.547 that I'm gonna come in and do rock and roll, 08:54.547 --> 08:58.130 'cause I came from U2, and Tom Petty, and Springsteen, and all this stuff. 08:58.130 --> 08:59.922 But I came in and wanted a hit, 08:59.922 --> 09:02.089 so I came back from lunch one day with Ted, 09:02.089 --> 09:05.421 and all of the secretaries are looking at this video, 09:05.421 --> 09:06.755 and it was in Spanish. 09:06.755 --> 09:10.005 They said, "Oh, we love this guy. He's so beautiful," 09:10.005 --> 09:12.505 and they're all singing this "Rico Suave." 09:12.505 --> 09:15.630 ♪ ♪ 09:15.630 --> 09:16.964 ♪ Rico ♪ 09:20.130 --> 09:21.338 ♪ Suave ♪ 09:21.338 --> 09:23.089 "Man, fuck it. We're gonna sign this." 09:23.089 --> 09:24.880 "What? This is gonna be our first signing?" 09:24.880 --> 09:26.089 ♪ Rico ♪ 09:26.089 --> 09:27.338 "This what we're going 09:27.338 --> 09:29.130 to be known for as a record company?" 09:29.130 --> 09:30.797 He goes, "I don't care. We're just signing it." 09:30.797 --> 09:32.505 (rapping in Spanish) 09:34.797 --> 09:37.797 Whalley: I said, "Well, if we're gonna sign this, 09:37.797 --> 09:40.672 "I'm gonna go find something that is so out there 09:40.672 --> 09:43.630 that people won't know what the heck we're doing." 09:43.630 --> 09:47.630 So I hit the road, and I end up finding a group called Primus. 09:47.630 --> 09:49.839 ♪ Hello, Mr. Krinkle ♪ 09:49.839 --> 09:51.588 ♪ How are you today? ♪ 09:51.588 --> 09:55.130 ♪ Seems the rumors are about your team might move away ♪ 09:55.130 --> 09:59.005 Whalley: The odd part was Primus liked odd things in the world, 09:59.005 --> 10:00.839 and one of the reasons they signed with us is 10:00.839 --> 10:03.255 because they thought it was the coolest thing 10:03.255 --> 10:06.505 that we had a company that had "Rico Suave." 10:06.505 --> 10:08.296 ♪ Rico ♪ Whalley: Go figure. 10:08.296 --> 10:10.338 I didn't know Gerardo would be a hit, but it was. 10:10.338 --> 10:11.880 Huge hit. Put us on the map. 10:11.880 --> 10:14.005 ♪ Suave ♪ So next thing you know, 10:14.005 --> 10:17.171 it felt like everyone wanted to be with Interscope. 10:17.171 --> 10:18.922 Iovine: It was a complete free-for-all. 10:18.922 --> 10:22.005 Primus, Helmet, 4 Non Blondes. 10:22.005 --> 10:23.839 Tupac was signed by Tom Whalley, 10:23.839 --> 10:25.463 and then Mark Wahlberg, 10:25.463 --> 10:26.839 who was known as Marky Mark, 10:26.839 --> 10:28.171 with his brother, Donny. 10:28.171 --> 10:30.130 And No Doubt. 10:30.130 --> 10:31.630 Woman: What's your name? 10:31.630 --> 10:35.255 I'm Gwen. Woman: Gwen is now going to glue her costume. 10:35.255 --> 10:36.964 ♪ ♪ 10:36.964 --> 10:39.880 Follow me. Okay, here we go. 10:41.130 --> 10:43.213 Man: Is it true that you wanna be a big star 10:43.213 --> 10:44.547 and tour the-- the world? 10:44.547 --> 10:47.755 Yes. I wanna be a star. Yeah. 10:47.755 --> 10:49.755 ♪ ♪ 10:51.588 --> 10:53.130 ♪ Sometimes ♪ 10:53.130 --> 10:55.463 Stefani: The first time I met Jimmy was at a showcase. 10:55.463 --> 10:58.922 Probably '91. I had no idea what Interscope Records was. 10:58.922 --> 11:00.880 I didn't know who Jimmy Iovine was. 11:00.880 --> 11:03.213 ♪ I chose a road when I was young ♪ 11:03.213 --> 11:05.672 ♪ In search of fun, temptation won ♪ 11:05.672 --> 11:08.005 ♪ And all my soul I did surrender ♪ 11:08.005 --> 11:10.005 Stefani: It was just them there and us playing, 11:10.005 --> 11:11.463 and there was no audience. 11:11.463 --> 11:12.839 And we knew that these were, like, 11:12.839 --> 11:14.839 guys that can help us make a record, 11:14.839 --> 11:16.421 but I was super naive. 11:16.421 --> 11:19.338 I didn't know anything about getting signed. 11:19.338 --> 11:23.797 I just sang and wrote songs and made clothes. 11:23.797 --> 11:26.047 ♪ ...somewhat ♪ 11:26.047 --> 11:29.047 ♪ Like a bulb behind a shade and... ♪ 11:29.047 --> 11:30.839 Stefani: But I remember Jimmy came up to me 11:30.839 --> 11:33.755 and kind of pulled me aside, and he said to me, 11:33.755 --> 11:35.755 "You're gonna be a star in six years." 11:35.755 --> 11:38.296 ♪ Because my eyes are closed too tight ♪ And I was like... 11:38.296 --> 11:40.547 "Okay, first of all, I'm gonna have, like, 10 kids 11:40.547 --> 11:42.755 "by the time six years comes around, 11:42.755 --> 11:44.505 "and I won't be doing this still. 11:44.505 --> 11:48.547 "And, um, who are you? And why six years? 11:48.547 --> 11:51.380 That's a weird number." You know, but he was right. 11:51.380 --> 11:54.296 I hadn't gone through what I needed to go through 11:54.296 --> 11:55.964 to write the record that was gonna 11:55.964 --> 11:58.296 actually make a difference and touch people, you know? 11:58.296 --> 12:01.797 And so he bought us an 8-track recorder, 12:01.797 --> 12:03.839 we built a studio in our garage, 12:03.839 --> 12:06.296 and we went in there, and we learned how to write music. 12:06.296 --> 12:09.630 But we write, like, a few songs and be like, "Okay, let's go play it for Jimmy." 12:09.630 --> 12:13.130 And it would always be, like, a bit of a, like... (sighs) 12:13.130 --> 12:16.547 "Write another song. Write another song. Write another song." 12:16.547 --> 12:18.463 And it's a frustrating relationship, 12:18.463 --> 12:20.672 because when you're an artist, you think you're done, 12:20.672 --> 12:22.713 and in his mind, you're never done. 12:22.713 --> 12:25.630 We had very few releases in '91. 12:25.630 --> 12:28.964 And Jimmy was a renowned producer, very creative, 12:28.964 --> 12:31.171 but he wasn't renowned as a business man. 12:31.171 --> 12:33.713 Iovine: So, you know, I didn't feel comfortable around executives. 12:33.713 --> 12:37.005 I felt comfortable around artists and record producers, 12:37.005 --> 12:39.672 because they know how to get the best out of artists. 12:39.672 --> 12:41.255 And then I found my niche. 12:41.255 --> 12:47.171 I said, "Okay, I gotta find great producers, and I produce them." 12:47.171 --> 12:48.505 ♪ ♪ 12:48.505 --> 12:51.630 ♪ Why are you doing this to me? ♪ 12:53.755 --> 12:58.296 ♪ Am I not living up to what I'm supposed to be? ♪ 12:58.296 --> 13:03.839 Cohen: Our first real adventure was getting Nine Inch Nails. 13:03.839 --> 13:06.630 ♪ I think you owe me ♪ 13:06.630 --> 13:10.547 ♪ A great big apology, terrible lie ♪ 13:10.547 --> 13:14.505 1991 was when Jimmy first got a sniff of Nine Inch Nails. 13:14.505 --> 13:16.922 ♪ Terrible lie ♪ Holy shit, this guy's incredible. 13:16.922 --> 13:20.255 Every day conversations about, "We gotta get Nine Inch Nails." 13:20.255 --> 13:23.380 ♪ Terrible lie ♪ But it wasn't just a band on the free market 13:23.380 --> 13:24.672 that everybody was trying to sign. 13:24.672 --> 13:26.713 They were signed to a label... ♪ Terrible lie ♪ 13:26.713 --> 13:28.839 ...and they fucking hated that label. 13:28.839 --> 13:31.547 TVT was just a collection of shit. 13:31.547 --> 13:33.547 Berman: And the guy who ran that label 13:33.547 --> 13:35.880 wasn't gonna make anybody's lives easy. 13:35.880 --> 13:40.463 Trent and I began to have a little bit of... difficulty. 13:40.463 --> 13:42.505 Berman: He had 'em signed for seven albums, 13:42.505 --> 13:45.880 and everybody in the business knew they wanted off the label. 13:45.880 --> 13:48.130 This is what, personally, I'm looking for, 13:48.130 --> 13:53.047 that next guy that can write these lyrics and have this attitude, 13:53.047 --> 13:54.713 and he had the stage presence. 13:54.713 --> 13:56.380 He produced those records himself. 13:56.380 --> 13:58.047 He had every ounce of it. 13:58.047 --> 14:02.463 ♪ I want so much to believe ♪ 14:12.964 --> 14:14.421 Reznor: You know, the thing-- 14:14.421 --> 14:17.047 I mean, the thing that was so frustrating to me at that time was, 14:17.047 --> 14:19.839 my whole life I knew I wanted to be on stage doing this. 14:19.839 --> 14:22.839 And I remember it was this slow build, 14:22.839 --> 14:25.588 where each little moment you could savor, 14:25.588 --> 14:28.588 like, hearing my song on college radio first time. 14:28.588 --> 14:30.421 "Holy shit!" You know, that was, like, 14:30.421 --> 14:32.005 the greatest thing in the world. 14:32.005 --> 14:35.338 I'd finally, through a combination of hard work and luck, 14:35.338 --> 14:38.588 cracked the door open, signed to TVT. 14:38.588 --> 14:41.005 Then I recorded a collection of songs 14:41.005 --> 14:43.463 that we felt proud of, turned it in to Gottlieb, 14:43.463 --> 14:48.421 and then he said, "Well, this record's an abortion." 14:48.421 --> 14:51.089 And that's a blow coming when you've never made a record before. 14:51.089 --> 14:53.421 "He's put records out. Maybe he knows more than I do." 14:53.421 --> 14:54.713 And he said, "You fucked up 14:54.713 --> 14:56.755 what could've been a good career." 14:56.755 --> 14:58.463 But that was the album, and we put it out, 14:58.463 --> 15:00.296 and we just toured. 15:00.296 --> 15:02.130 And as each small tier 15:02.130 --> 15:03.505 of success started happening, 15:03.505 --> 15:05.255 the record started to sell. 15:05.255 --> 15:09.255 And I thought that would result in Gottlieb saying, 15:09.255 --> 15:10.880 "Hey, you did know what you were doing." 15:10.880 --> 15:12.547 But instead, it was, 15:12.547 --> 15:14.505 "If you sold a million copies of this album, 15:14.505 --> 15:16.547 then we need to sell four million on the next one." 15:16.547 --> 15:18.338 Um, I didn't see it that way. 15:18.338 --> 15:20.130 And I knew he wasn't going to get out of the way. 15:20.130 --> 15:22.922 Trent would not be the first artist who-- who thought, 15:22.922 --> 15:25.672 "Gee, now I'm having a taste of success. 15:25.672 --> 15:30.130 Wouldn't it be nice to be off an independent label and on a big label?" 15:30.130 --> 15:33.922 Whalley: Pretty much every major label were all willing to fund a lawsuit 15:33.922 --> 15:35.922 to help them get out of their contracts, 15:35.922 --> 15:37.797 'cause they think Nine Inch Nails is that great. 15:37.797 --> 15:41.588 This is the first time I saw Jimmy thinking, like, kind of three-dimensional. 15:41.588 --> 15:44.255 He said, "We won't win if we go down the lawsuit route. 15:44.255 --> 15:46.630 Everyone else is gonna do that, so we gotta do something different." 15:46.630 --> 15:48.922 Iovine: The only way to really facilitate this 15:48.922 --> 15:52.839 is somebody goes and convinces the label to take on a partner. 15:52.839 --> 15:54.880 I said, "Well, how are we gonna do that?" 15:54.880 --> 15:58.880 Bono: The phone. That is his theater of war. 15:58.880 --> 16:01.130 That's where he is deadly. 16:01.130 --> 16:03.463 Berman: He started to speak to Steve Gottlieb 16:03.463 --> 16:05.880 every day for one year straight. 16:05.880 --> 16:08.547 He lived in the bathroom for a year, on the phone. 16:08.547 --> 16:10.213 Iovine: Every morning at six o'clock, 16:10.213 --> 16:12.130 I'd call everybody involved. 16:12.130 --> 16:15.547 And he'd sit on this director's chair, feet up like this. 16:15.547 --> 16:18.213 At the same time signing Nine Inch Nails, 16:18.213 --> 16:20.755 at the same time working TVT, 16:20.755 --> 16:24.296 treating both of 'em in a way that he could see 16:24.296 --> 16:26.588 the resolution. They couldn't see it. 16:26.588 --> 16:29.672 Iovine: The lawyer, Steve, Trent's manager. 16:29.672 --> 16:33.047 And he used anger, charm, guile, deviousness. 16:33.047 --> 16:36.130 He had a red-hot focus. It was nuclear. 16:36.130 --> 16:39.130 I'm just gonna sit in here. I can outlast anybody. 16:39.130 --> 16:42.213 Vicki: He did not come out of that bathroom for one year. 16:42.213 --> 16:44.380 The kids-- I just kept saying, you know, 16:44.380 --> 16:45.630 "Daddy's living in the bathroom." 16:45.630 --> 16:48.421 It was painful. Jimmy wouldn't give up. 16:48.421 --> 16:51.922 Whalley: And when Steve realized that he was not going to win this battle, 16:51.922 --> 16:54.880 he agreed to sign over the contract to Interscope. 16:54.880 --> 16:57.089 Anybody knows Steve Gottlieb, 16:57.089 --> 16:58.922 just getting him to that point 16:58.922 --> 17:02.047 was something that only Jimmy could do. 17:02.047 --> 17:04.421 ♪ ♪ 17:09.922 --> 17:11.130 Empathy. 17:15.463 --> 17:19.755 Um, I think his... his ability 17:19.755 --> 17:23.089 to take the other person's point of view, 17:23.089 --> 17:26.130 and to understand it and appreciate it 17:26.130 --> 17:28.630 and put himself in those shoes. 17:28.630 --> 17:32.130 That also informs... 17:32.130 --> 17:33.964 why he's so good 17:33.964 --> 17:36.964 as-- as a marketer... 17:36.964 --> 17:38.964 um... 17:38.964 --> 17:40.839 you know, in terms of his being able 17:40.839 --> 17:44.588 to understand people and really think about, 17:44.588 --> 17:47.922 you know, their primal motivations, their desires, 17:47.922 --> 17:51.130 and really try and-- and have this kind of... 17:51.130 --> 17:56.005 Vulcan mind meld of what is gonna, uh, move them. 17:56.005 --> 17:58.505 ♪ ♪ 18:03.255 --> 18:06.463 Iovine: So after all that, I still hadn't met Trent in person. 18:06.463 --> 18:08.755 By that time, he was completely allergic 18:08.755 --> 18:10.713 to record company executives. 18:10.713 --> 18:12.338 Reznor: It was in a hotel room, 18:12.338 --> 18:14.338 and I purposely turned the lights down. 18:14.338 --> 18:16.672 And I just thought, "I'm gonna have to portray myself 18:16.672 --> 18:18.964 as not someone that you want to deal with." 18:18.964 --> 18:21.505 Iovine: I went into this room. It's dark, and there's candles. 18:21.505 --> 18:23.130 I mean, it was like a meeting with Dracula. 18:23.130 --> 18:25.005 Reznor: You know, he kind of said, "What do you want?" 18:25.005 --> 18:29.005 And I said, "Well, I'd like you to give me an advance for an album, 18:29.005 --> 18:30.922 "and then just leave me alone. 18:30.922 --> 18:33.755 "And I'll give you the album, and I'll give you singles, 18:33.755 --> 18:35.089 "and I'll give you the artwork. 18:35.089 --> 18:37.463 "But I don't want someone sitting in the studio. 18:37.463 --> 18:39.588 "I have an idea. Please don't ruin it 18:39.588 --> 18:41.463 as it's trying to come out of me." 18:41.463 --> 18:43.380 "Okay, what else do you want?" 18:43.380 --> 18:45.505 ♪ ♪ 18:45.505 --> 18:49.005 "Um, well, I'd like to have a record label 18:49.005 --> 18:52.880 where I could sign other bands if I felt like that." 18:52.880 --> 18:54.880 "Okay, what else do you want?" 18:54.880 --> 18:56.839 I couldn't think of anything else. 18:56.839 --> 18:59.839 You know? So I said, "By the way, here's Broken. You can put that out." 18:59.839 --> 19:03.130 Cohen: They actually gave us Broken as a free additional record. 19:03.130 --> 19:06.171 It was amazing, because after all we had been through with them-- 19:06.171 --> 19:07.547 nobody really knew about it, 19:07.547 --> 19:10.672 but we were sort of scrambling for cash for a minute. 19:10.672 --> 19:13.130 Whalley: Interscope wasn't doing great at that moment, 19:13.130 --> 19:17.922 and Jimmy had this mad, obsessed focus on the big picture. 19:17.922 --> 19:20.505 (switches click) (machines whirring down) 19:20.505 --> 19:22.797 ♪ ♪ 19:22.797 --> 19:26.463 Iovine: The '90s were really volatile times in America, 19:26.463 --> 19:28.213 and music was incredible. 19:28.213 --> 19:30.964 It really had something to say. 19:30.964 --> 19:32.630 And we wanted a record company 19:32.630 --> 19:34.547 in the spirit of Atlantic Records 19:34.547 --> 19:38.421 in 1970 when they had Ray Charles, Led Zeppelin, 19:38.421 --> 19:41.089 Aretha Franklin, The Rolling Stones. 19:41.089 --> 19:43.755 Those were the greatest artists of their time, 19:43.755 --> 19:47.296 both from the urban world and from the rock world, 19:47.296 --> 19:49.130 and that's what we were trying to do. 19:52.296 --> 19:55.255 Berman: I walked into Jimmy's office one day. 19:55.255 --> 19:58.839 He goes, "Steve, you know what your problem is?" 19:58.839 --> 20:00.755 And he drew a straight line. 20:00.755 --> 20:02.296 And he goes, "That's you." 20:02.296 --> 20:05.130 He goes, "You know what we gotta bring into your life?" 20:05.130 --> 20:07.547 And he squiggles. "We gotta get some of that." 20:07.547 --> 20:11.922 (people yelling) (distant sirens) 20:11.922 --> 20:13.338 Fuck the police! 20:13.338 --> 20:16.880 We going to Westwood, Brentwood, Whitewood. All that. 20:16.880 --> 20:19.089 ♪ I can feel it ♪ 20:19.089 --> 20:20.797 Newsman: It began as a high-speed chase, 20:20.797 --> 20:22.922 according to the California Highway Patrol, 20:22.922 --> 20:25.255 and ended early Sunday morning with Rodney King 20:25.255 --> 20:27.755 being brutally beaten by Los Angeles police officers. 20:27.755 --> 20:30.130 ♪ Tonight's the night I get in some shit ♪ 20:30.130 --> 20:32.964 ♪ Yeah ♪ ♪ Deep cover on the incognito tip ♪ 20:32.964 --> 20:35.089 ♪ Killing motherfuckers if I have to ♪ 20:35.089 --> 20:38.089 ♪ Peeling caps too, 'cause you niggas know I'm coming at you ♪ 20:38.089 --> 20:40.213 ♪ I guess that's part of the game ♪ (siren blares) 20:40.213 --> 20:43.380 ♪ But I feel for the nigga who thinks he just gonna come and chance things ♪ 20:43.380 --> 20:46.296 ♪ With the swiftness, so get it right with the quickness ♪ 20:46.296 --> 20:48.588 ♪ And let me handle my business, yo ♪ 20:48.588 --> 20:50.588 Dr. Dre: During the making of The Chronic, 20:50.588 --> 20:52.630 LA was literally on fire. 20:52.630 --> 20:57.505 Niggas was coming in the studio with TVs, toasters and all kinda shit. 20:57.505 --> 21:00.171 It was like a fucking swap meet in the mic booth. 21:00.171 --> 21:02.880 Like, "Man, what the fuck are you guys doing? 21:02.880 --> 21:05.296 We trying to work on a fucking record." 21:05.296 --> 21:07.338 I personally was like, "Fuck that, nigga." 21:07.338 --> 21:09.880 'Cause I went out looting and stole all kinda shit, 21:09.880 --> 21:12.047 and brought it all back to studio. We even had deals. 21:12.047 --> 21:15.505 "Yeah, get your ass in the car, nigga. Come on." (gunfire) 21:15.505 --> 21:17.171 (alarm rings) 21:17.171 --> 21:20.171 Newsman: A Los Angeles Times poll out today 21:20.171 --> 21:22.922 says that California has had a breakdown of moral values 21:22.922 --> 21:25.047 and a lack of economic opportunity 21:25.047 --> 21:28.505 as the two leading causes of the Los Angeles riots. 21:28.505 --> 21:31.463 Well, young rap musicians have some ideas of their own 21:31.463 --> 21:33.713 about what caused the deadly violence. 21:33.713 --> 21:35.672 Yeah, well, you know how dogs think that-- 21:35.672 --> 21:37.255 dogs is mainly, you know-- 21:37.255 --> 21:39.005 they cool as long as you don't fuck with 'em 21:39.005 --> 21:40.547 or irritate 'em. Once you irritate 'em, 21:40.547 --> 21:43.505 they react, you know, and that's how we are. You know? 21:43.505 --> 21:45.213 We-- we cool and all, but, you know, 21:45.213 --> 21:47.380 once something pop, everybody-- 21:47.380 --> 21:49.213 (barking, growling) 21:49.213 --> 21:53.547 ♪ ♪ 21:55.797 --> 21:59.130 Wow. New York. Just like I pictured it. 21:59.130 --> 22:02.296 Skyscrapers. Everything. (laughs) 22:02.296 --> 22:04.171 Snoop Dogg: Where the chicken place at? 22:04.171 --> 22:07.713 The Chronic took about eight months to a year to make, 22:07.713 --> 22:10.005 and then the part of shopping it, 22:10.005 --> 22:11.421 that's a whole 'nother deal. 22:11.421 --> 22:12.547 Where's that leg at? 22:12.547 --> 22:15.047 Dr. Dre: This was that do-or-die album. 22:15.047 --> 22:17.713 Put my body into this record, and my soul into it. 22:17.713 --> 22:20.005 I had mixed it, mastered it, 22:20.005 --> 22:21.964 did all the artwork and everything. 22:21.964 --> 22:25.130 The way it is in the stores right now is the way I was shopping it. 22:25.130 --> 22:27.089 I'm going to every record company 22:27.089 --> 22:29.922 there is in Los Angeles, fly out to New York. 22:29.922 --> 22:31.755 I'm playing it for everybody. 22:31.755 --> 22:35.089 For some reason, everybody's turning me down. 22:35.089 --> 22:36.588 (car honks) 22:36.588 --> 22:40.089 There were so many companies out there that turned Death Row down 22:40.089 --> 22:44.089 that didn't even wanna be dealing with that, coming off of the NWA situation. 22:44.089 --> 22:47.213 Nobody wanted to deal with this gangsta rap thing. 22:47.213 --> 22:48.713 Dr. Dre: Some of the companies was saying 22:48.713 --> 22:51.255 they didn't wanna deal with the situation I was in 22:51.255 --> 22:53.338 as far as Ruthless and the contracts. 22:53.338 --> 22:56.005 And Eazy-E and Jerry Heller, they're trying to starve me out 22:56.005 --> 22:58.213 to get me to come back in on my hands and knees. 22:58.213 --> 23:00.296 But I started second-guessing myself. 23:00.296 --> 23:04.421 Is it possible that what I think is good isn't good 23:04.421 --> 23:07.839 because everybody is telling me it's not working? 23:07.839 --> 23:09.713 Newsman: And this was what they were calling trash, 23:09.713 --> 23:12.547 cassettes and CDs of rap they say is offensive. 23:12.547 --> 23:15.047 Michael Fuchs: 1992, there was 23:15.047 --> 23:18.296 tremendous hostility to the rap business. 23:18.296 --> 23:22.421 The police were very sensitive to what had happened in Los Angeles, 23:22.421 --> 23:24.255 and a guy named Bill Bennett, 23:24.255 --> 23:27.005 with C. Delores Tucker, adopted this topic. 23:27.005 --> 23:30.171 That's what gangsta rap is doing to our children, 23:30.171 --> 23:31.922 turning them into gangsters. 23:31.922 --> 23:33.880 Fuchs: It was a very high-profile war. 23:33.880 --> 23:35.713 Newsman: ...protest with Dr. Dre. 23:35.713 --> 23:37.296 Stoute: The record companies were scared. 23:37.296 --> 23:39.130 Not because it wasn't making money. 23:39.130 --> 23:41.338 They were afraid to deal with the people. 23:41.338 --> 23:43.047 Iovine: We come out of the rock and roll world, 23:43.047 --> 23:45.089 you know, so I wasn't really understanding hip-hop, 23:45.089 --> 23:46.713 and I'm the first person to admit that. 23:46.713 --> 23:49.505 But I had a lot of respect for John McClane, 23:49.505 --> 23:52.839 and John came to me and said that he had 23:52.839 --> 23:56.463 this record by this producer that was extraordinary. 23:56.463 --> 23:58.505 It was the guy from NWA. 23:58.505 --> 23:59.880 ♪ ♪ 23:59.880 --> 24:02.047 I didn't know who Dr. Dre was, 24:02.047 --> 24:03.839 but just like Trent Reznor, 24:03.839 --> 24:06.672 there was three or four different lawsuits pending. 24:06.672 --> 24:09.922 There's a lot of complications, a lot of weird stuff. 24:09.922 --> 24:13.839 No one wanted to go near it, and it was a mess. 24:13.839 --> 24:17.672 All I remember is that Dre and Suge came in to play us The Chronic. 24:23.672 --> 24:25.130 ♪ ♪ 24:25.130 --> 24:27.880 (woman sighs) 24:27.880 --> 24:31.505 I said, "Dre, who... who recorded this for you?" 24:31.505 --> 24:33.130 He said, "What do you mean?" 24:33.130 --> 24:34.880 I said, "Well, who's the recording engineer?" 24:34.880 --> 24:36.380 And he said, "Me." 24:36.380 --> 24:38.463 "You produced it and you were the engineer?" 24:38.463 --> 24:40.505 "Yes." I said, "Wow." 24:40.505 --> 24:43.672 This guy will define Interscope. 24:43.672 --> 24:46.380 Snoop Dogg: ♪ One, two, three and to the four ♪ 24:46.380 --> 24:48.713 ♪ Snoop Doggy Dogg and Dr. Dre is at the door ♪ 24:48.713 --> 24:51.005 ♪ Ready to make an entrance, so back on up ♪ 24:51.005 --> 24:52.922 ♪ 'Cause you know we're about to rip shit up ♪ 24:52.922 --> 24:54.213 ♪ Give me the microphone first ♪ 24:54.213 --> 24:55.755 ♪ So I can bust, like a bubble ♪ 24:55.755 --> 24:57.380 ♪ Compton and Long Beach together ♪ 24:57.380 --> 24:59.005 ♪ Now you know you in trouble ♪ 24:59.005 --> 25:01.089 ♪ Ain't nothing but a G thang ♪ Both: ♪ Baby ♪ 25:01.089 --> 25:03.588 ♪ Two loc'ed out niggas, so we're ♪ Both: ♪ Crazy ♪ 25:03.588 --> 25:06.171 ♪ Death Row is the label that ♪ ♪ Pays me ♪ 25:06.171 --> 25:08.922 ♪ Unfadeable, so please don't try to fade this ♪ ♪ Hell yeah ♪ 25:08.922 --> 25:11.005 ♪ But, um, back to the lecture at hand ♪ 25:11.005 --> 25:14.089 Iovine: Dre's sonics were far superior 25:14.089 --> 25:17.213 to any rock record being made or any hip-hop. 25:17.213 --> 25:19.630 It just sounded better than everything else on my speakers. 25:19.630 --> 25:23.964 Jimmy was unlike any other record exec that I ever met. 25:23.964 --> 25:26.922 He wasn't talking about how many records we were gonna sell. 25:26.922 --> 25:29.421 It was a conversation about the art. 25:29.421 --> 25:32.089 Iovine: I said, "Wow, these guys remind me 25:32.089 --> 25:34.588 "of when I first saw The Rolling Stones. 25:34.588 --> 25:36.505 "They're the same as Mick and Keith. 25:36.505 --> 25:39.005 They scare you, but the music brings you in." 25:39.005 --> 25:41.672 ♪ But now it's time for me to make my impression felt ♪ 25:41.672 --> 25:44.130 ♪ So sit back, relax, and strap on your seat belt ♪ 25:44.130 --> 25:46.797 ♪ You never been on a ride like this before ♪ 25:46.797 --> 25:49.338 ♪ With a producer who can rap and control the maestro ♪ 25:49.338 --> 25:52.005 ♪ At the same time with the dope rhyme that I kick ♪ 25:52.005 --> 25:54.713 ♪ You know and I know, I flow some old funky shit ♪ Shh! 25:54.713 --> 25:58.463 I said, "I'll tell you what, if you guys don't move on me 25:58.463 --> 26:01.296 "and give me two to three weeks, 26:01.296 --> 26:03.463 I can clear up all these lawsuits." 26:03.463 --> 26:05.839 And Suge and Dre looked at me and said... 26:05.839 --> 26:07.296 "Okay, that sounds good to me." 26:07.296 --> 26:09.463 Stoute: I don't know any other white executive 26:09.463 --> 26:11.047 who would've took on what Jimmy took on, 26:11.047 --> 26:12.797 which was one of the biggest headaches 26:12.797 --> 26:14.964 to come through the industry ever, probably. 26:14.964 --> 26:16.588 Berman: I remember sitting in the meeting, 26:16.588 --> 26:18.255 and the promotion guys are saying, 26:18.255 --> 26:20.338 "We ain't gonna get radio to play that." 26:20.338 --> 26:24.797 And Jimmy's like, "I want you to buy radio spots in the top markets. 26:24.797 --> 26:26.797 "All of them. Get this hook played, 26:26.797 --> 26:28.755 "because the hook is undeniable. 26:28.755 --> 26:30.380 I'm the boss. Go do it." 26:30.380 --> 26:32.839 ♪ Like this, that and this and, uh ♪ 26:32.839 --> 26:34.171 92.3, The Beat. 26:34.171 --> 26:35.797 Now what you wanna say to the East? 26:35.797 --> 26:37.588 ♪ And who gives a fuck about those? ♪ 26:37.588 --> 26:40.922 ♪ So just chill till the next episode ♪ 26:40.922 --> 26:42.839 Nas: When The Chronic hit, it changed the world. 26:42.839 --> 26:45.672 Musically, he's now left Earth-- 26:45.672 --> 26:48.089 funk, break beats, reggae. 26:48.089 --> 26:51.171 The whole fanatic development, the ebb and flow, 26:51.171 --> 26:52.839 the stories about the uprising, 26:52.839 --> 26:55.505 the riots, coming out of that dark period. 26:55.505 --> 26:58.338 Nas: And he delivered Snoop on a silver platter 26:58.338 --> 27:00.089 with bullet shells around it. 27:00.089 --> 27:03.089 ♪ Falling back on that ass, with a hellafied gangsta lean ♪ 27:03.089 --> 27:04.338 ♪ Getting funky on the mic ♪ 27:04.338 --> 27:06.255 ♪ Like a old batch of collard greens ♪ 27:06.255 --> 27:08.380 ♪ It's the capital S, oh yes, I'm fresh, N double-O, P ♪ 27:08.380 --> 27:10.755 ♪ D, O, double-G, Y, D, O, double-G, you see ♪ 27:10.755 --> 27:13.380 Snoop Dogg: And Jimmy Iovine was like, "Snoop, 27:13.380 --> 27:15.964 "I wanna get you guys on the cover 27:15.964 --> 27:18.213 "of the Rolling Stone's magazine. 27:18.213 --> 27:19.713 You guys are like Mick and Keith," 27:19.713 --> 27:22.213 I'm like, "Who the fuck is Mick and Keith, nigga? 27:22.213 --> 27:24.338 "Fuck the Rolling Stone magazine, nigga. 27:24.338 --> 27:26.880 "I wanna be on The Source magazine cover, nigga. 27:26.880 --> 27:29.713 Do you know that is hip-hop supremacy?" 27:29.713 --> 27:31.964 "No, no, the Rolling Stone magazine is the--" 27:31.964 --> 27:34.713 I'm like, "Man, I don't even fuck with the Rolling Stones. 27:34.713 --> 27:37.089 "I couldn't tell you one of them nigga's songs, man. 27:37.089 --> 27:38.922 Fuck them." (laughs) 27:38.922 --> 27:40.130 (explosion) 27:40.130 --> 27:41.588 And that motherfucker blew up, nigga. 27:41.588 --> 27:43.130 ♪ ♪ That motherfucker was everywhere. 27:43.130 --> 27:44.380 I started going on tour, 27:44.380 --> 27:45.588 and it was just white folks 27:45.588 --> 27:47.005 coming up to me left and right, 27:47.005 --> 27:49.588 like, "Oh my God! We love you, Snoop Doggy Dogg!" 27:49.588 --> 27:51.588 All around the world, like, "Damn, Jimmy Iovine. 27:51.588 --> 27:55.630 "I ain't never had that many white people coming to me in my whole life, cuz, 27:55.630 --> 27:57.421 "telling me how much they love me, cuz. 27:57.421 --> 27:58.922 Thank you. I appreciate that." 27:58.922 --> 28:00.880 We started having success right away, 28:00.880 --> 28:04.296 so I put Suge and Dre, and Death Row Records 28:04.296 --> 28:06.213 right next to me on the same floor. 28:06.213 --> 28:07.630 Morris: Jimmy took Suge under his wings. 28:07.630 --> 28:09.964 I mean, Jimmy used to have football games at his house. 28:09.964 --> 28:12.797 He would have Suge over there every Sunday with the Kennedys. 28:12.797 --> 28:14.089 All right, team! Go team! 28:14.089 --> 28:16.630 Every Sunday, it was football at the Iovines. 28:16.630 --> 28:18.713 How many people have a football field at their house? 28:18.713 --> 28:20.588 Mormile: We would never know who was going to show up. 28:20.588 --> 28:23.089 Wachter: Wayne Gretzky would show up, and Bon Jovi. 28:23.089 --> 28:24.588 Gene Simmons. Tom Jones. 28:24.588 --> 28:26.922 John McEnroe. Wachter: Eddie Van Halen played, 28:26.922 --> 28:30.672 and it was an honest to goodness serious football. 28:30.672 --> 28:32.505 You didn't! You blocked me the entire way up! 28:32.505 --> 28:34.922 Man: Did not! Second down. No, no. No. 28:34.922 --> 28:36.964 Second down. No complete. Third down. 28:36.964 --> 28:39.630 Second down. Jimmy, Jimmy, Jimmy. 28:39.630 --> 28:41.296 The ball's up there. Jimmy. 28:41.296 --> 28:43.338 Wachter: Jimmy was very serious about winning, 28:43.338 --> 28:46.005 but I gotta tell you, we were all serious about winning. 28:46.005 --> 28:48.005 ♪ Said Betty Boob to the Alleyoop... ♪ (people shouting) 28:48.005 --> 28:52.255 Man: Hey! Hey! Yeah, Jimmy! Yeah, Jimmy! Yeah, Jimmy! 28:52.255 --> 28:54.713 Cohen: The reason Interscope was successful 28:54.713 --> 28:57.213 versus a lot of the other startups at the time 28:57.213 --> 28:58.964 is Jimmy was an animal. 28:58.964 --> 29:00.171 I mean, the most driven 29:00.171 --> 29:02.047 and brilliant person at the same time. 29:02.047 --> 29:04.797 He was never off, and he didn't understand 29:04.797 --> 29:07.296 why everybody else wasn't the same way. 29:07.296 --> 29:09.255 ♪ If ya feel it ♪ 29:09.255 --> 29:10.713 Vicki: We were both in production mode. 29:10.713 --> 29:12.463 I was producing kids and a family, 29:12.463 --> 29:14.922 and he was producing his company. 29:14.922 --> 29:18.213 We had the goal to make this incredible career. 29:18.213 --> 29:19.338 Vicki's an attorney. 29:19.338 --> 29:20.880 Vicki's just, you know, 29:20.880 --> 29:22.505 she's very, very smart, 29:22.505 --> 29:24.296 and Vicki ran their life. 29:24.296 --> 29:27.421 Vicki: The vision was, we knew that Jimmy's thing 29:27.421 --> 29:29.672 was going to be the thing that would change the world, 29:29.672 --> 29:34.588 so it was worth it for me to make small sacrifices. 29:34.588 --> 29:36.839 I mean, Jimmy used to talk to his artists 29:36.839 --> 29:39.213 every single night. 29:39.213 --> 29:41.964 Stefani: He would literally have panic attacks on the weekends 29:41.964 --> 29:44.713 because it was the weekend, and he couldn't get ahold of people. 29:44.713 --> 29:46.505 Like, he would just call, call, call, call. 29:46.505 --> 29:49.964 Like, obsessive, because he didn't really care at all 29:49.964 --> 29:52.505 about anything but hip-hop. Let's face it. 29:52.505 --> 29:54.089 Johnson: The street game is about money, 29:54.089 --> 29:57.047 getting that paper. Jimmy admired Suge. 29:57.047 --> 29:58.338 They cared about each other. 29:58.338 --> 30:01.171 They was making money together, winning. 30:01.171 --> 30:03.588 But I don't think Jimmy realized 30:03.588 --> 30:05.338 how deep the culture shock was 30:05.338 --> 30:07.213 that he was getting ready to get into at the time. 30:07.213 --> 30:08.755 ♪ ♪ Man: Hey! 30:08.755 --> 30:10.964 It ain't called "What's my name." It's called "Who Am I." 30:10.964 --> 30:12.839 Woman: "Who Am I." Snoop Dogg: Yeah. 30:14.005 --> 30:15.839 ♪ Ei, yi, yi, yi, yi, yeah ♪ 30:15.839 --> 30:18.880 ♪ The Dogg Pound's in the house, The Bomb ♪ 30:18.880 --> 30:20.213 ♪ Ei, yi, yi, yi, yi, yeah ♪ 30:20.213 --> 30:21.588 Johnson: After The Chronic came out, 30:21.588 --> 30:23.089 the most anticipated album-- 30:23.089 --> 30:26.130 not just in America but over in Europe, everywhere-- 30:26.130 --> 30:29.213 was gonna be Snoop's first album, Doggystyle. 30:29.213 --> 30:34.171 ♪ Snoop Doggy Dogg ♪ ♪ Tha bomb ♪ 30:34.171 --> 30:38.255 ♪ Snoop Doggy Dogg ♪ 30:38.255 --> 30:40.964 ♪ It's the bow to the wow, creeping and crawling ♪ 30:40.964 --> 30:43.463 ♪ Yiggy yes y'allin, Snoop Doggy Dogg in ♪ 30:43.463 --> 30:45.463 ♪ The motherfucking house like every day ♪ 30:45.463 --> 30:48.421 ♪ Dropping shit with my nigga, Mr. Dr. Dre, like I said ♪ 30:48.421 --> 30:50.047 Johnson: I mean, it was laid out. 30:50.047 --> 30:51.672 I mean, Jimmy and them had learned a lot 30:51.672 --> 30:54.213 from The Chronic, great marketing plan. 30:54.213 --> 30:57.421 Fuchs: And also music that converted to CDs. 30:57.421 --> 30:59.755 And people didn't understand that it cost 30:59.755 --> 31:03.505 a lot less to make a CD than it cost to make cassettes. 31:03.505 --> 31:05.547 So that was the most lucrative time 31:05.547 --> 31:08.380 in the history of the music business. (cash register dings) 31:08.380 --> 31:10.672 ♪ Snoop Doggy Dogg ♪ 31:10.672 --> 31:11.922 Johnson: We knew we was getting ready 31:11.922 --> 31:13.338 to make a killing with this music. 31:13.338 --> 31:15.338 Nas: Oh, it was crazy. But you know what that means 31:15.338 --> 31:18.171 when that word "million" is hitting the street in the '90s, 31:18.171 --> 31:20.755 street guys rapping about the streets. 31:20.755 --> 31:24.505 Now we attach the word million to the name, it flipped the streets. 31:24.505 --> 31:27.255 'Cause now everybody's muscling their way into rap. 31:27.255 --> 31:30.047 ♪ Now just throw your hands in the motherfucking air ♪ 31:30.047 --> 31:32.547 Freddy: In fact, what happened in the shooting in that video, 31:32.547 --> 31:34.463 first morning, crowd gathers. 31:34.463 --> 31:36.463 My assistant directors are coming over to me, 31:36.463 --> 31:38.588 going, "Fab, we got a problem." I'm like, "What?" 31:38.588 --> 31:40.713 "These guys are not listening to anybody." 31:40.713 --> 31:42.463 They were trying to ask people to step back. 31:42.463 --> 31:44.839 One fight breaks out over there. Another fight breaks out. 31:44.839 --> 31:47.171 "Yo, fuck you. We ain't moving nowhere, cuz." 31:47.171 --> 31:49.338 And Dre said, "I can't say nothing to them guys." 31:49.338 --> 31:51.672 Next thing I know, police helicopters hovering, 31:51.672 --> 31:53.047 so we shut down the shoot. 31:53.047 --> 31:54.964 ♪ Dog ♪ ♪ Nasty dog ♪ 31:54.964 --> 31:57.588 (siren blaring) ♪ Doggy Dogg ♪ 31:57.588 --> 32:00.296 Freddy: So later we went back to Dre's house and we huddled. 32:00.296 --> 32:03.588 Dre said, "Look, Fab, if you can hang, you're welcome to stay here, 32:03.588 --> 32:06.130 and, like, we will get this video done." 32:06.130 --> 32:08.672 (people chattering) (piano music playing) 32:11.839 --> 32:13.630 Freddy: That whole summer I felt like 32:13.630 --> 32:16.505 I was living in the record, The Chronic... 32:16.505 --> 32:19.005 The Bomb. ...because the sex, the violence, 32:19.005 --> 32:20.797 the 'hood, it was a wild scene. 32:20.797 --> 32:23.171 Man: Dr. Gin and Juice. Man 2: Chug, chug, chug. 32:23.171 --> 32:25.338 Freddy: But I remember after three shoots 32:25.338 --> 32:26.713 where Snoop didn't show up. 32:26.713 --> 32:29.630 I was like, "Dre, man, when is Snoop gonna get here?" 32:29.630 --> 32:31.755 And that's when Dre explained to me 32:31.755 --> 32:33.380 that somebody had been shot and killed, 32:33.380 --> 32:34.964 and that Snoop was on the low. 32:34.964 --> 32:37.713 Newsman: It happened in this Los Angeles park. 32:37.713 --> 32:42.171 Snoop's bodyguard shot and killed 24-year-old Philip Woldemariam. 32:42.171 --> 32:45.089 Snoop didn't pull the trigger, but he, the bodyguard, 32:45.089 --> 32:47.089 and a third man were all charged with murder 32:47.089 --> 32:50.089 because prosecutors say they hunted down Woldemariam 32:50.089 --> 32:51.630 after an earlier argument. 32:51.630 --> 32:53.296 Snoop Doggy Dogg, whose real name 32:53.296 --> 32:55.380 is Calvin Broadus, claims self-defense. 32:55.380 --> 32:57.797 Newsman: This would be appropriately characterized 32:57.797 --> 33:00.547 as a gang-motivated type killing. 33:00.547 --> 33:02.421 Iovine: I remember Suge calling and saying, 33:02.421 --> 33:04.380 "You're about to hear something on the news. 33:04.380 --> 33:06.880 "Just know that our guys are all right, 33:06.880 --> 33:08.588 and it's all gonna be okay." 33:08.588 --> 33:12.672 Next thing I knew, cops everywhere, surrounding the building. 33:12.672 --> 33:17.005 That was rough. You know, we'd never been involved in something like that. 33:17.005 --> 33:20.672 The D.O.C.: That caught me completely off-guard, 33:20.672 --> 33:23.630 but by that time gangbanging had showed up. 33:23.630 --> 33:25.089 You know, and Suge would show up 33:25.089 --> 33:27.630 with these big dudes, red everywhere, 33:27.630 --> 33:30.005 and Snoop had his crew in blues, 33:30.005 --> 33:31.755 and it was just nuts. 33:31.755 --> 33:33.421 ♪ ♪ 33:33.421 --> 33:35.922 (vehicle beeping) 33:35.922 --> 33:38.755 Yeah, you know... 33:38.755 --> 33:42.089 it was kind of exciting, because the environment was kinda thuggish. 33:42.089 --> 33:44.922 It was Bloods on this side, Crips on this side, 33:44.922 --> 33:47.255 and I'm hearing all these different war stories. 33:47.255 --> 33:51.089 And I feel like it was something I needed, 33:51.089 --> 33:53.839 because if I'm producing a record for a particular artist, 33:53.839 --> 33:58.630 it's like you-- you have to get into the type of vibe that they're in 33:58.630 --> 34:02.922 and understand the type of environment that they're coming from creatively. 34:02.922 --> 34:06.797 And just, you know, you have to almost be that person. 34:06.797 --> 34:10.463 ♪ ♪ 34:10.463 --> 34:13.255 (music box playing) 34:15.130 --> 34:17.463 ♪ ♪ 34:17.463 --> 34:20.630 Morris: Marilyn Manson? Yeah, he was pretty rough. 34:20.630 --> 34:23.421 Trent insisted that we sign him. 34:23.421 --> 34:25.130 Reznor: He's a really smart guy 34:25.130 --> 34:27.797 that I thought was making really compelling music, 34:27.797 --> 34:29.213 you know, and believed it. 34:29.213 --> 34:31.338 Were we both a hundred percent aware 34:31.338 --> 34:34.880 that we were using mechanisms to shock people? 34:34.880 --> 34:36.338 Yeah. Of course we did. 34:36.338 --> 34:39.296 ♪ This is for the G's, and this is for the hustler ♪ 34:39.296 --> 34:41.922 ♪ This is for the hustler, go back to the G's"♪ 34:41.922 --> 34:44.630 Reznor: So we were looking at some houses to rent 34:44.630 --> 34:46.839 to set up studio in a house, 'cause that's what we wanted to do, 34:46.839 --> 34:50.797 just live and breathe and constantly make music and see what happens. 34:50.797 --> 34:53.130 And one house in particular... (barking) 34:53.130 --> 34:55.755 ...which happens to be the cheapest, was on Cielo Drive. 34:55.755 --> 34:59.672 Nice yard, beautiful view, you know, peaceful vibe. 34:59.672 --> 35:01.296 Then to find out that's where the-- 35:01.296 --> 35:04.171 that's where the Manson-Tate murders took place. 35:04.171 --> 35:05.588 (music box playing) 35:05.588 --> 35:08.171 And thought, "Well, fuck it, let's rent that house." 35:08.171 --> 35:09.505 (dog howls) 35:09.505 --> 35:13.338 Iovine: So Dre had Snoop and Trent had Marilyn Manson. 35:13.338 --> 35:15.421 And when you have great artists like that, 35:15.421 --> 35:20.130 you want their message and what they're doing as pure as possible. 35:20.130 --> 35:23.839 What you do is you give 'em the keys and you say, "Drive." 35:23.839 --> 35:26.713 (revs) ♪ You let me violate you ♪ 35:26.713 --> 35:28.672 Dr. Dre: Back at that time, I loved fast cars. 35:28.672 --> 35:29.880 I had a white Testarossa. 35:29.880 --> 35:32.547 ♪ You let me desecrate you ♪ 35:32.547 --> 35:35.213 Dr. Dre: I speed out on Wilshire Boulevard. 35:35.213 --> 35:37.547 ♪ You let me penetrate you ♪ 35:37.547 --> 35:39.588 Dr. Dre: A cop gets behind me. (sirens blaring) 35:39.588 --> 35:42.880 Woop, woop! ♪ You let me complicate you ♪ 35:42.880 --> 35:45.380 I put it in gear, and I take off. 35:45.380 --> 35:49.421 ♪ Help me ♪ ♪ I broke apart my insides ♪ 35:50.797 --> 35:52.213 ♪ Help me ♪ ♪ I've got... ♪ 35:52.213 --> 35:55.089 Dr. Dre: Somewhere between 100, 120 miles an hour, 35:55.089 --> 35:56.880 I see more lights behind me, 35:56.880 --> 35:59.547 so I decide I wanna go a little faster. 35:59.547 --> 36:01.755 Now I'm in a high-speed chase. 36:01.755 --> 36:03.797 ♪ Help me get away from myself ♪ 36:03.797 --> 36:04.880 I don't know what he was doing. 36:04.880 --> 36:05.880 It was ridiculous. 36:05.880 --> 36:07.672 (revolver chamber spins) (gunshot) 36:07.672 --> 36:09.547 ♪ ♪ 36:09.547 --> 36:14.755 ♪ I want to feel you from the inside ♪ 36:14.755 --> 36:19.130 ♪ I want to fuck you like an animal ♪ 36:20.463 --> 36:23.588 ♪ My whole existence is flawed ♪ 36:25.672 --> 36:28.797 ♪ You get me closer to God ♪ 36:28.797 --> 36:31.588 (cheering) 36:39.338 --> 36:40.547 (engine revving) 36:40.547 --> 36:44.089 Andre got into the high-speed chase in that Ferrari 36:44.089 --> 36:49.421 about a year into... us dating. 36:49.421 --> 36:52.588 I suppose I was innocent and naive 36:52.588 --> 36:56.797 about all of the stuff that has to do with Dr. Dre. 36:56.797 --> 37:01.463 I loved that he was confident and yet humble. 37:01.463 --> 37:03.296 It's such a great combination. 37:03.296 --> 37:05.964 We were incredibly compatible. 37:05.964 --> 37:10.130 But my family and friends were leery 37:10.130 --> 37:13.255 because they only knew Andre through media. 37:13.255 --> 37:16.130 They didn't know the Andre that I knew. 37:16.130 --> 37:20.296 But I think a persona was connected to him 37:20.296 --> 37:23.421 that wasn't true. They knew Dr. Dre. 37:23.421 --> 37:26.755 Her family is giving her pressure about me, 37:26.755 --> 37:30.296 because they're reading about a lot of the bullshit that was happening with me. 37:30.296 --> 37:33.089 (sirens blaring) And the fucked up part about that is, 37:33.089 --> 37:34.797 we just started dating when... 37:34.797 --> 37:36.964 (helicopter whupping) 37:36.964 --> 37:39.171 ...had to turn myself in for five months. 37:39.171 --> 37:41.880 (police radio chatter) 37:45.672 --> 37:48.421 ♪ ♪ 37:48.421 --> 37:50.505 (helicopter whupping) 37:55.296 --> 37:56.380 Money. 37:58.755 --> 38:00.922 Hey, hey. Corey Hawkins: There he is. 38:00.922 --> 38:02.505 What's up with it? There he is. 38:02.505 --> 38:04.047 How you doing, man? I'm good. 38:04.047 --> 38:05.171 How you doing? 38:05.171 --> 38:06.839 I don't know. It's bittersweet. (laughs) 38:06.839 --> 38:08.338 Ah. Last night, huh? 38:08.338 --> 38:10.880 Say hi to Mr. Young again. Hi. How you doing? 38:10.880 --> 38:12.047 You coming to the party? 38:12.047 --> 38:14.089 Hawkins: Yeah, yeah, yeah. Dr. Dre: Yeah, yeah. 38:14.089 --> 38:16.005 All right. (sighs) (door closes) 38:17.338 --> 38:19.213 This is the last night of shooting. 38:19.213 --> 38:21.213 I'm excited. Yeah, I told her, 38:21.213 --> 38:23.588 "You're gonna learn a lot about dad." (laughs) 38:23.588 --> 38:24.755 Man: What have you learned? 38:24.755 --> 38:27.922 A lot. (laughter) 38:27.922 --> 38:30.463 I might go to the studio tonight after the set. 38:30.463 --> 38:32.213 Man: I might follow you. 38:32.213 --> 38:34.047 (laughs) I have no idea what I'm doing. 38:34.047 --> 38:36.380 ♪ ♪ 38:36.380 --> 38:38.005 Man: People that inspire you 38:38.005 --> 38:41.255 may not necessarily be the nicest people to be around. 38:41.255 --> 38:42.338 Man 2: Yeah. Man: Mmm. 38:42.338 --> 38:44.380 Yet they inspire you. Right? 38:44.380 --> 38:47.672 It's a hell-- it's a hell of a motherfucking gray area. 38:47.672 --> 38:51.047 Man 2: Yeah. Man: You know? And you gotta be vigilant about-- 38:51.047 --> 38:53.421 Dr. Dre (on speaker): What's important right now are the fills 38:53.421 --> 38:55.672 at bar two and bar four. Okay. 38:55.672 --> 38:57.255 Light ones at two, you know what I mean? 38:57.255 --> 38:59.755 Okay, let me do a take-- Dr. Dre: And then stronger ones at eight. 38:59.755 --> 39:02.797 Okay. (Dr. Dre vocalizes drumbeat) 39:02.797 --> 39:04.755 Trevor: Okay. Dr. Dre: Or... (vocalizes drumbeat) 39:04.755 --> 39:06.505 Trevor: Okay, see which one. Okay. 39:06.505 --> 39:09.296 Dr. Dre (on speaker): Every now and then, switch it up. Trevor: Okay, okay. 39:09.296 --> 39:11.421 ♪ ♪ 39:13.005 --> 39:14.922 ♪ You know, baby mama drama ♪ 39:14.922 --> 39:17.296 ♪ I just need a little... ♪ 39:17.296 --> 39:19.463 Dr. Dre: I'm not feeling the snare drum sound yet. 39:19.463 --> 39:21.713 ♪ Record company motherfuckers asking... ♪ 39:24.213 --> 39:27.255 (Dr. Dre vocalizing tune) 39:27.255 --> 39:29.255 Punch in a little bit later. ♪ Yeah ♪ 39:29.255 --> 39:30.964 (vocalizes tune) 39:30.964 --> 39:32.839 Make me feel it, Trev. 39:32.839 --> 39:34.964 What happened to that crash, Trev? 39:36.588 --> 39:39.421 (on speaker) I need something a little bit more impressive! 39:39.421 --> 39:42.089 ♪ ♪ 39:49.839 --> 39:52.296 (music fades) 39:59.505 --> 40:02.130 ♪ ♪ (exhales, chuckles) 40:03.588 --> 40:05.630 ♪ I shall not fear no man but God ♪ 40:05.630 --> 40:08.213 ♪ Though I walk through the valley of death ♪ 40:08.213 --> 40:11.463 ♪ I shed so many tears ♪ ♪ If I should die before I wake ♪ 40:11.463 --> 40:15.005 ♪ Please God walk with me ♪ ♪ Grab a nigga and take me to Heaven ♪ 40:19.130 --> 40:22.130 ♪ Back in elementary, I thrived on misery ♪ 40:22.130 --> 40:24.922 ♪ Left me alone, I grew up amongst a dyin' breed ♪ 40:24.922 --> 40:27.171 ♪ Inside my mind couldn't find a place to rest ♪ 40:27.171 --> 40:29.713 ♪ Until I got that "Thug Life" tatted on my chest ♪ 40:29.713 --> 40:31.130 ♪ Tell me, can you feel me? ♪ 40:31.130 --> 40:33.880 ♪ I'm not livin' in the past, you wanna last ♪ 40:33.880 --> 40:35.922 ♪ Be tha first to blast, remember Kato ♪ 40:35.922 --> 40:37.463 ♪ No longer with us, he's deceased ♪ 40:37.463 --> 40:39.380 ♪ Call on the sirens, seen him murdered ♪ 40:39.380 --> 40:41.213 ♪ In the streets, now rest in peace ♪ 40:41.213 --> 40:43.505 ♪ Is there heaven for a G? Remember me ♪ 40:43.505 --> 40:48.171 ♪ So many homies in the cemetery, shed so many tears ♪ 40:48.171 --> 40:51.338 ♪ Ah, I suffered through the years and shed so many tears ♪ 40:51.338 --> 40:53.130 Iovine: Five years before he was on Death Row, 40:53.130 --> 40:55.505 Tupac was on Interscope and did three albums. 40:55.505 --> 40:59.505 In the beginning, it was a social class thing that he was confronting. 40:59.505 --> 41:00.839 He really wanted 41:00.839 --> 41:02.964 to represent disillusioned youth. 41:02.964 --> 41:05.547 Tupac: This world is such a gimme, gimme, gimme. 41:05.547 --> 41:06.797 You know, everybody's, like-- 41:06.797 --> 41:08.171 you're taught that from school-- 41:08.171 --> 41:09.213 everywhere, big business. 41:09.213 --> 41:10.255 You wanna be successful? 41:10.255 --> 41:11.338 You wanna be like Trump? 41:11.338 --> 41:13.421 "Gimme, gimme, gimme," push, push, push, push, 41:13.421 --> 41:15.380 step, step, step, crush, crush, crush. 41:15.380 --> 41:19.880 I mean, can you imagine somebody having $32 million? 41:19.880 --> 41:23.380 Thirty-two. $32 million. 41:23.380 --> 41:25.797 And this person has nothing? 41:25.797 --> 41:27.047 And you can sleep? 41:27.047 --> 41:30.213 Whalley: It was the systems that prevented the poor 41:30.213 --> 41:33.755 from finding opportunity in life that he was confronting. 41:33.755 --> 41:38.547 And what made him great is that he was highly emotional. 41:38.547 --> 41:42.089 But all of a sudden, things went strange. 41:42.089 --> 41:44.463 Newsman: Shakur is no stranger to violence. 41:44.463 --> 41:47.713 In November 1994, he was shot during a robbery 41:47.713 --> 41:49.505 at a Manhattan recording studio. 41:49.505 --> 41:52.713 $40,000 worth of jewelry was taken from him. 41:52.713 --> 41:55.713 He also has a rap sheet as long as some of his songs. 41:55.713 --> 41:58.505 This was his reaction after his latest conviction. 41:58.505 --> 41:59.797 Nothing the court can do 41:59.797 --> 42:02.839 can punish me more than I've been punished already. 42:02.839 --> 42:04.171 Newswoman: In what way? 42:04.171 --> 42:06.130 By being shot five times. Twice in the-- 42:06.130 --> 42:07.588 I mean, nothing the judge could tell me 42:07.588 --> 42:10.380 could make me not want to carry a gun more than getting shot. 42:10.380 --> 42:12.296 So I'm picking up, feel me? 42:12.296 --> 42:14.588 ♪ ♪ (guns cock) 42:14.588 --> 42:16.255 (gun fires, cocks) 42:16.255 --> 42:19.089 Morris: These kids were real. This stuff was really real, 42:19.089 --> 42:20.547 and we were right in the middle of it. 42:20.547 --> 42:21.797 ♪ ♪ (gunshot) 42:21.797 --> 42:23.588 Iovine: When you take those extremes 42:23.588 --> 42:26.755 and you nurture them and not interfere 42:26.755 --> 42:28.839 with what they're doing, 42:28.839 --> 42:31.130 the potential is limitless. 42:31.130 --> 42:33.463 And that's what Interscope was about, 42:33.463 --> 42:35.421 empowering those artists. 42:39.922 --> 42:41.672 Morris: And I tell you what we got from it. 42:41.672 --> 42:44.922 We got some anxiety, we got a lot of laughs, 42:44.922 --> 42:47.964 and we huddled in the, um, foxhole. 42:47.964 --> 42:49.839 ♪ And I don't want ya ♪ 42:49.839 --> 42:51.839 ♪ And I don't need ya ♪ 42:51.839 --> 42:55.171 ♪ Don't bother to resist or I'll beat ya ♪ 42:55.171 --> 42:56.380 ♪ It's not your fault ♪ 42:56.380 --> 42:58.296 ♪ That you're always wrong ♪ 42:58.296 --> 43:01.089 ♪ The weak ones are there to justify the strong ♪ 43:01.089 --> 43:04.463 (whirs, clunks) ♪ The beautiful people, the beautiful people ♪ 43:04.463 --> 43:08.130 ♪ It's all relative to the size of your steeple ♪ 43:08.130 --> 43:11.547 ♪ You can't see the forest for the trees ♪ 43:11.547 --> 43:16.380 ♪ And you can't smell your own shit on your knees ♪ 43:16.380 --> 43:19.005 Newsman: Marilyn Manson, the most controversial act 43:19.005 --> 43:22.630 on the road today, coming to a sold-out arena near you. 43:22.630 --> 43:25.505 Newsman 2: He is causing cultural fights all over the country. 43:25.505 --> 43:27.672 Marilyn Manson, he's evil. 43:27.672 --> 43:30.588 ♪ Hey, you, what do ya see? ♪ 43:30.588 --> 43:33.005 Newsman: In every city, Manson's arrival 43:33.005 --> 43:35.380 stirs protests and angry headlines. 43:35.380 --> 43:39.505 I've always identified with the character of Lucifer in the Bible. 43:39.505 --> 43:41.839 Man: We're here to worship Satan. 43:41.839 --> 43:44.964 Criminal charges can be a career ender, 43:44.964 --> 43:48.588 but not in the case of Snoop Doggy Dogg. 43:48.588 --> 43:51.630 Some accuse the rapper of making crime pay. 43:51.630 --> 43:53.713 Snoop Dogg: Murder scene? That's why people 43:53.713 --> 43:55.463 do videos on sex and murder. 43:55.463 --> 43:57.797 Cohen: From our point of view, everybody had the right 43:57.797 --> 44:00.880 to say what they were saying as long as they weren't breaking the law. 44:00.880 --> 44:04.380 If anything, we were always trying to calm things down. 44:05.380 --> 44:07.255 It was just... impossible. 44:07.255 --> 44:09.213 (men yelling) (crowd cheering) 44:09.213 --> 44:11.171 ♪ Hey, you, what do ya see? ♪ 44:11.171 --> 44:13.296 Some of y'all don't appreciate what we talking about, 44:13.296 --> 44:15.089 but this is the only way we got to make money. 44:15.089 --> 44:17.130 And if you don't let me make my money on the street, 44:17.130 --> 44:20.463 I guarantee you, I will make money on the street. 44:20.463 --> 44:22.797 Connie Chung: The rap star Tupac Shakur... (spitting) 44:22.797 --> 44:24.047 ...is free on bond tonight 44:24.047 --> 44:25.922 after his arrest this weekend in Atlanta, 44:25.922 --> 44:28.964 charged with shooting two off-duty police officers. 44:28.964 --> 44:31.380 Newswoman: He has been criticized for anti-police lyrics. 44:31.380 --> 44:32.880 Tupac: I don't gotta be a role model. 44:32.880 --> 44:35.296 I don't gotta hold your hand. I don't gotta do shit. 44:35.296 --> 44:37.089 ♪ ♪ (shouting) 44:44.922 --> 44:48.713 Newsman: Marilyn Manson's latest album recently went triple platinum. 44:48.713 --> 44:51.089 Man: On the next page, the words go... 44:52.171 --> 44:54.421 "It's not about East or West. 44:55.380 --> 44:57.755 "It's about niggas and bitches... 44:58.839 --> 45:00.089 power and money..." 45:00.089 --> 45:02.089 ♪ The beautiful people ♪ 45:02.089 --> 45:04.171 "...riders and punks." 45:04.171 --> 45:06.421 (gunshots) "Which side are you on?" 45:06.421 --> 45:08.922 Then there's the sound of a gun cocking and firing. 45:08.922 --> 45:11.839 (shouting) (electricity crackles) 45:11.839 --> 45:14.505 ♪ Hey, you, what do ya see? ♪ 45:14.505 --> 45:18.255 ♪ Something beautiful or something free? ♪ 45:18.255 --> 45:21.463 ♪ Hey, you, are you trying to be mean? ♪ 45:21.463 --> 45:24.964 ♪ You live with apes man, it's hard to be clean ♪ (shouting) 45:24.964 --> 45:27.713 ♪ The beautiful people, the beautiful people ♪ 45:27.713 --> 45:31.463 (shouting) ♪ The beautiful people, the beautiful people ♪ 45:31.463 --> 45:35.130 ♪ The beautiful people, the beautiful people ♪ 45:35.130 --> 45:37.964 ♪ The beautiful people, the beautiful people ♪ 45:41.922 --> 45:43.880 Tupac: Happy New Year to you too. 45:43.880 --> 45:46.296 You did your job. I'm out of money. 45:46.296 --> 45:48.505 I'm out of... all my resources. 45:48.505 --> 45:51.005 You made me look like the bad guy in my own community, 45:51.005 --> 45:52.630 and I appreciate it. 45:52.630 --> 45:55.421 Man: "These niggas are still fucking talking. 45:55.421 --> 45:58.964 You niggas still breathing. Fucking roaches." 46:00.171 --> 46:02.839 (whirring) 46:03.839 --> 46:06.130 (birds chirping) (vehicle whirring) 46:11.463 --> 46:14.047 (beeping) 46:20.630 --> 46:23.880 ♪ When Puff roared out his name, oh! ♪ 46:23.880 --> 46:30.005 ♪ Puff the magic dragon lived by the sea ♪ 46:30.005 --> 46:33.630 ♪ And frolicked in the autumn mist ♪ 46:33.630 --> 46:36.588 Iovine: New York Times magazine section did a story on me, 46:36.588 --> 46:39.338 and from what I understand, this guy Johnathan Leo 46:39.338 --> 46:42.463 was at someone's house in the Hamptons, and they were saying, 46:42.463 --> 46:45.755 "Who are the most disgusting purveyors of smut in the world?" 46:45.755 --> 46:48.630 So this guy Johnathan Leo says, "Look what Time Warner's doing. 46:48.630 --> 46:54.380 They just bought 25 percent of this guy's record company for $100 million." 46:54.380 --> 46:57.380 So the next day in US News & World Report, 46:57.380 --> 47:02.713 he wrote a story saying, "Time Warner buying 25 percent of Interscope 47:02.713 --> 47:06.880 is like buying 25 percent of a mustard gas factory." 47:06.880 --> 47:10.672 So I'm like, "Oh man. Here we go." 47:10.672 --> 47:13.713 ♪ ♪ (whirring) 47:16.089 --> 47:18.880 Ted Koppel: There has never been a time in the history of the world 47:18.880 --> 47:22.755 that so much sex and violence masquerading as entertainment 47:22.755 --> 47:25.380 has been easily and readily available 47:25.380 --> 47:27.755 to so many people. Never. 47:27.755 --> 47:31.130 You do have a responsibility to assess the impact of your work 47:31.130 --> 47:33.755 and to understand the damage that comes 47:33.755 --> 47:37.505 from the incessant, repetitive, mindless violence 47:37.505 --> 47:42.255 and irresponsible conduct that permeates our media all the time. 47:42.255 --> 47:44.255 Bob Dole: A line has been crossed, 47:44.255 --> 47:48.588 not just of taste but of human dignity and decency. 47:48.588 --> 47:51.880 You don't have to degrade our women. 47:51.880 --> 47:55.880 To kill people, to disrespect each other. Well, it's not all right. 47:55.880 --> 47:57.922 Those pay who them have a responsibility. 47:57.922 --> 48:00.755 The corporate executives who hide behind the lofty language 48:00.755 --> 48:02.922 of free speech should understand this: 48:02.922 --> 48:06.880 We will name their names and shame them as they deserve to be shamed. 48:06.880 --> 48:09.089 Both: Time Warner. Man: Time Warner's the biggest. 48:09.089 --> 48:11.171 Time Warner owns a company called Interscope... 48:11.171 --> 48:13.463 The Death Row-Interscope coup. 48:13.463 --> 48:15.463 Dole: ...which columnist John Leo called 48:15.463 --> 48:18.839 the "cultural equivalent of owning half the world's mustard gas factories." 48:18.839 --> 48:21.130 Joe Lieberman: To me, this music is the equivalent 48:21.130 --> 48:22.797 of yelling, "Fire," in a crowded theater. 48:22.797 --> 48:26.213 The fire starts. Meanwhile, simultaneously... 48:26.213 --> 48:27.797 The media and entertainment industries 48:27.797 --> 48:29.255 are buzzing over what may become 48:29.255 --> 48:31.421 the third mega-media merger of the summer. 48:31.421 --> 48:34.463 The deal would create the biggest media company in the world, 48:34.463 --> 48:37.713 but both sides say there are still major issues to be worked out. 48:37.713 --> 48:40.338 Because of the proposed merger with Turner, 48:40.338 --> 48:43.839 Time Warner needs tremendous amounts of regulatory approval, 48:43.839 --> 48:46.922 and want to be looked at with a great deal of favor. 48:46.922 --> 48:48.588 Iovine: Jerry Levin called me in his office 48:48.588 --> 48:50.005 in the height of the insanity, 48:50.005 --> 48:51.588 and Jerry was a very decent man. 48:51.588 --> 48:53.005 He was the CEO of Time Warner. 48:53.005 --> 48:56.421 He said, "Jimmy, my son teaches with Tupac's lyrics 48:56.421 --> 48:59.505 in Harlem. I get it." He said, "I got a problem. 48:59.505 --> 49:02.839 "Dole has got the cable bill, I need his help, 49:02.839 --> 49:05.547 and I gotta sacrifice something." 49:05.547 --> 49:07.797 So I said, "That sounds reasonable." 49:07.797 --> 49:09.213 But that's his problem. 49:09.213 --> 49:10.797 Newsman: All this means continuing headaches 49:10.797 --> 49:13.964 for new Time Warner Music Group chairman Michael Fuchs. 49:13.964 --> 49:16.296 Fuchs: I was coming into chaos. 49:16.296 --> 49:19.005 This is probably why I was given the job. 49:19.005 --> 49:22.338 The board was sick of what was going on, 49:22.338 --> 49:26.672 so I was told, "It's time to clean house." 49:26.672 --> 49:30.839 Maybe they thought I should be more respectful or something, you know? 49:30.839 --> 49:32.380 Iovine: We meet with Michael Fuchs. 49:32.380 --> 49:34.213 He says, "For the next six months, 49:34.213 --> 49:36.880 I'm gonna evaluate each and every one of you," 49:36.880 --> 49:38.130 and he points to me as well. 49:38.130 --> 49:40.505 And he goes, "I'm the Michael Jordan of management." 49:40.505 --> 49:42.505 So, I look at Michael Fuchs, and I said, 49:42.505 --> 49:44.463 "But, Michael, this is baseball." 49:44.463 --> 49:46.839 This guy went nuclear. 49:46.839 --> 49:48.338 Jim Moret: Time Warner's music division 49:48.338 --> 49:50.089 has been in turmoil for months. 49:50.089 --> 49:52.630 Heads have been rolling as the new boss cleans house 49:52.630 --> 49:53.880 while the company remains 49:53.880 --> 49:56.255 under attack from foes of gangsta rap music. 49:56.255 --> 49:59.213 Newsman: Fuchs spent the summer ousting the rap label's defender, 49:59.213 --> 50:01.713 Doug Morris, from his chief executive post. 50:01.713 --> 50:03.922 Michael Fuchs just panicked. 50:03.922 --> 50:05.839 Fuchs: I fired Doug. I felt there was 50:05.839 --> 50:09.171 a loyalty to the music industry, 50:09.171 --> 50:12.089 but not necessarily loyalty to the company. 50:12.089 --> 50:13.547 We were doing great, 50:13.547 --> 50:15.839 and suddenly we're out the window, 50:15.839 --> 50:17.880 going splat on the pavement. 50:17.880 --> 50:19.171 Not him. Me first. 50:19.171 --> 50:21.713 I hated the fact that it was me first. 50:21.713 --> 50:24.922 The music business is very tight, 50:24.922 --> 50:27.089 tight like a pack of thieves, you know. 50:27.089 --> 50:29.797 You got some guys from Brooklyn in this war 50:29.797 --> 50:34.421 with all of these enormously powerful entities. 50:34.421 --> 50:38.255 And Time Warner's first instinct 50:38.255 --> 50:41.797 was to buy the whole thing and attempt to clean it up-- 50:41.797 --> 50:45.755 Death Row Records-- which was an absurdity. 50:59.964 --> 51:02.380 Iovine: I get a phone call at midnight from Suge Knight. 51:02.380 --> 51:05.255 And he says to me, "Yo, who's the guy we hate at Time Warner?" 51:05.255 --> 51:07.672 I said, "Michael Fuchs." He goes, "Yeah, that's him. 51:07.672 --> 51:10.213 "They want me to meet him and Melba Moore, 51:10.213 --> 51:13.964 and Dionne Warwick at Dionne's house tomorrow morning." 51:15.296 --> 51:17.964 I said, "Where? Who? 51:17.964 --> 51:21.964 Melba Moore, Dionne Warwick, and Michael Fuchs?" 51:21.964 --> 51:24.922 "Yeah, and they're getting the mayor of Compton to come." 51:24.922 --> 51:28.130 I'm like, "What the fuck is this guy doing?" 51:28.130 --> 51:32.255 I was told to police the lyrics a little more. 51:32.255 --> 51:34.338 Iovine: "Michael Fuchs wants to talk to me about a deal." 51:34.338 --> 51:37.797 Fuchs: Dionne Warwick said, "Fly out here. 51:37.797 --> 51:40.338 "Suge's like my nephew. He lives in the neighborhood. 51:40.338 --> 51:42.922 He'll come over. You'll talk about things." 51:42.922 --> 51:44.839 I'm a partner of his. 51:44.839 --> 51:48.089 We own the label as much as he does. 51:48.089 --> 51:52.130 For him to fly out and meet with one of our major labels 51:52.130 --> 51:54.839 without calling us is unacceptable 51:54.839 --> 51:56.839 in any form of business. 51:56.839 --> 51:58.505 So I call Suge. I said, "Suge, 51:58.505 --> 52:01.839 meet me tomorrow morning at Jerry's Deli at eight o'clock." 52:01.839 --> 52:03.755 So, I go to Jerry's Deli, 52:03.755 --> 52:06.380 I meet Suge and David Kenner, Suge's lawyer, 52:06.380 --> 52:10.171 and I know that if Suge walks into that meeting, 52:10.171 --> 52:12.463 Michael Fuchs-- he would do anything 52:12.463 --> 52:14.672 to either put Interscope out of business 52:14.672 --> 52:16.713 or get this thing done with these lyrics. 52:16.713 --> 52:19.213 So, Suge and I were gonna stay in that restaurant 52:19.213 --> 52:23.255 with David Kenner and just wait until Michael Fuchs left. 52:23.255 --> 52:25.547 Dionne kept trying to call Suge. 52:25.547 --> 52:26.755 Iovine: And Suge was incredible. 52:26.755 --> 52:29.380 So every time, Warwick would call and say, 52:29.380 --> 52:31.005 "Hi, baby, when are you getting here?" 52:31.005 --> 52:33.880 He would say, "I'm down the street," and hang up. 52:33.880 --> 52:37.255 And he'd say, "I'll take a chicken breast, Cheerios." 52:37.255 --> 52:39.547 And another hour passed. (phone rings) 52:39.547 --> 52:41.672 "Hey, where are you?" "I'm almost there. 52:41.672 --> 52:43.421 I'm at the light." By three o'clock, 52:43.421 --> 52:45.880 I realized Jimmy was hostile. 52:45.880 --> 52:49.755 Iovine: She says, "Michael said if you guys want more money, it's cool." 52:49.755 --> 52:53.547 He goes, "Yeah, I'm on my way," and he never goes. 52:53.547 --> 52:55.755 Grubman: I don't even think it was just money. 52:55.755 --> 52:57.380 I think it's a matter of principle. 52:57.380 --> 52:59.380 By taking their money, he would've lost control. 52:59.380 --> 53:01.755 Iovine: By five o'clock, Fuchs had to leave. 53:01.755 --> 53:03.922 Who had time for that? 53:03.922 --> 53:06.463 So she calls up, "You embarrassed me. (phone rings) 53:06.463 --> 53:08.338 What are you doing? I looked foolish." 53:08.338 --> 53:11.130 And Suge looks at the phone and goes, "Hey, you're the psychic. 53:11.130 --> 53:12.839 How come you didn't know I wasn't coming?" 53:12.839 --> 53:15.255 And hangs up. (laughs) (phone rings) 53:15.255 --> 53:18.089 (ringing continues) 53:19.089 --> 53:21.089 Don't worry about this. 53:21.089 --> 53:22.922 (both laugh) Woman: Whoever's there. 53:22.922 --> 53:24.755 So, you're saying that Death Row 53:24.755 --> 53:27.964 does not present any negative images to black youth? 53:27.964 --> 53:30.005 No, I think it's a positive image. 53:30.005 --> 53:31.047 I think Death Row's 53:31.047 --> 53:32.380 real positive to black youth. 53:32.380 --> 53:33.547 Woman: Mm-hmm. 53:33.547 --> 53:35.255 I mean, it's letting-- it's letting people know 53:35.255 --> 53:36.421 you can be yourself 53:36.421 --> 53:37.797 and still be a child of God, 53:37.797 --> 53:39.047 and still be successful. 53:39.047 --> 53:43.171 (wind blowing) (jet engines roaring) 53:46.005 --> 53:50.338 (indiscernible radio chatter) 53:55.922 --> 53:57.463 Dr. Dre: 1995... 53:59.047 --> 54:01.964 was such a transitional period for me. 54:04.130 --> 54:07.505 When I was in jail being isolated like that... 54:07.505 --> 54:11.588 and not having anything to do except think for five months... 54:13.005 --> 54:15.630 it forced me to reflect and think 54:15.630 --> 54:17.338 about the people that were around me. 54:17.338 --> 54:20.005 Were they helping me? Were they friends or foes? 54:20.005 --> 54:23.047 ♪ ♪ 54:23.047 --> 54:26.380 It also gave me the opportunity to realize 54:26.380 --> 54:29.255 how much Nicole was in love with me 54:29.255 --> 54:31.380 and how much I was in love with her. 54:32.588 --> 54:34.964 Her visits were so important, 54:34.964 --> 54:36.421 because she didn't have to do that. 54:36.421 --> 54:38.089 We just started dating. 54:38.089 --> 54:40.547 She could've said, "Fuck you. You're in jail." 54:41.630 --> 54:43.213 She was just there for me. 54:43.213 --> 54:45.213 ♪ ♪ 54:52.505 --> 54:54.171 And then Eazy dies. 54:54.171 --> 54:57.338 And, you know, me and him had been talking 54:57.338 --> 55:00.213 about getting together, doing music again, but... 55:02.338 --> 55:04.880 I got to the hospital and... 55:06.047 --> 55:07.880 I saw Cube, me and him embrace. 55:07.880 --> 55:09.964 We hadn't seen each other in a long time, 55:09.964 --> 55:11.505 you know, throughout all the bullshit. 55:11.505 --> 55:13.463 We hadn't seen each other until that moment. 55:13.463 --> 55:16.213 And I went up to see E. 55:16.213 --> 55:19.713 He was just laying there with this machine breathing for him, 55:19.713 --> 55:21.213 this tube in his mouth. 55:21.213 --> 55:23.630 ♪ ♪ And... 55:23.630 --> 55:24.964 it was really fucking me up, man. 55:24.964 --> 55:26.338 It tripped me out a little bit. 55:26.338 --> 55:27.505 So I reached over, 55:27.505 --> 55:29.171 said a couple of words to him, 55:29.171 --> 55:31.255 spoke a few words in his ear. 55:31.255 --> 55:34.296 And... that was that. I left. 55:34.296 --> 55:36.755 And that was the last time I saw him. 55:36.755 --> 55:39.922 ♪ ♪ 55:39.922 --> 55:42.255 You know, all these things happened around the same time, 55:42.255 --> 55:44.421 but I would say it was probably in a month's period. 55:44.421 --> 55:46.255 It was a lot to deal with. 55:46.255 --> 55:50.463 And then we had the 1995 Source Awards. 55:50.463 --> 55:52.255 That shit was crazy. 55:52.255 --> 55:54.255 Snoop Dogg: ♪ La-da-da-da-dahh ♪ 55:54.255 --> 55:56.463 Dr. Dre: ♪ It's the motherfucking D-R-E ♪ 55:56.463 --> 55:57.839 Men: ♪ Dr. Dre, motherfucker ♪ 55:57.839 --> 55:59.463 ♪ La-da-da-da-dahh ♪ 55:59.463 --> 56:02.213 ♪ You know I'm mobbing with the D-O-double-G ♪ ♪ Say whut? ♪ 56:02.213 --> 56:04.130 ♪ Straight off the fucking streets of C-P-T ♪ 56:04.130 --> 56:07.089 ♪ King of the beats, you ride to 'em in your Fleet ♪ ♪ Fleetwood ♪ 56:07.089 --> 56:09.380 ♪ Or Coupe DeVille rolling on dubs ♪ 56:09.380 --> 56:12.547 ♪ Now, how you feel? Whoopty-whoop, nigga ♪ All: ♪ Whut? ♪ 56:12.547 --> 56:14.922 Okay, I'm good. All right. Cool. 56:14.922 --> 56:18.130 Snoop Dogg: Twenty years ago in this building right here is where it all took place. 56:18.130 --> 56:20.505 Dr. Dre: I haven't been in this motherfucker since that day. 56:20.505 --> 56:21.839 Snoop Dogg: Are you serious? Yeah. 56:21.839 --> 56:23.296 You know, that's the same spot 56:23.296 --> 56:25.171 that Suge got up there and said that shit. 56:25.171 --> 56:28.255 We were surrounded that night. I was itching that night. Oh yeah, everything-- 56:28.255 --> 56:29.380 ♪ ♪ 56:29.380 --> 56:30.964 Nas: When The Source Award was coming up, 56:30.964 --> 56:35.547 the whole city was excited. This was our Grammys, Oscars. 56:35.547 --> 56:38.672 If you don't make your name today, you don't exist. 56:38.672 --> 56:39.964 (cheering) 56:39.964 --> 56:43.255 Yeah! Yeah! Check it! 56:43.255 --> 56:45.130 Nas: At the time, Death Row was 56:45.130 --> 56:48.171 the biggest money maker in rap, hands down. 56:48.171 --> 56:49.547 Keep the hands raised! 56:49.547 --> 56:51.463 Snoop Dogg: Death Row, we had our section right here. 56:51.463 --> 56:53.839 Fifteen Bloods, 15 Crips, 56:53.839 --> 56:56.421 fo' shizzle. Family members. Fifty people total. 56:56.421 --> 56:58.380 And then right here you had Queens, 56:58.380 --> 57:00.296 Brooklyn on the side, Bronx behind us, 57:00.296 --> 57:01.797 New Jersey, Staten Island. 57:01.797 --> 57:04.130 Every part of New York that you can imagine. 57:04.130 --> 57:06.047 Dr. Dre: For me, it was the first time 57:06.047 --> 57:08.421 the East Coast is really embracing 57:08.421 --> 57:10.005 what we're doing on the West Coast. 57:10.005 --> 57:13.296 The D.O.C.: You know, New Yorkers wasn't going platinum anymore, 57:13.296 --> 57:16.380 because the generation before us, fizzling out. 57:16.380 --> 57:19.255 But Bad Boy and Puffy were coming up. 57:19.255 --> 57:23.839 They were about to be the next Death Row or bigger, 57:23.839 --> 57:27.005 because Puff's a smart guy. His ear is incredible. 57:27.005 --> 57:28.755 Sean "Puffy" Combs: Nah, nah, no phones allowed. 57:28.755 --> 57:31.089 I need you to pay attention to me. The D.O.C.: And he fine-tuned 57:31.089 --> 57:33.255 the business side more than anybody. 57:33.255 --> 57:35.005 They need to see how meticulous 57:35.005 --> 57:36.338 I take this flyness. 57:36.338 --> 57:37.797 You know what I'm saying? 57:37.797 --> 57:39.338 I'm from the East Coast. 57:39.338 --> 57:40.505 New York, New York. 57:40.505 --> 57:41.672 New York in this motherfucker! 57:41.672 --> 57:43.505 Harlem, New York, we up in this bitch. 57:43.505 --> 57:46.505 Straight up Brooklyn in the house! 57:46.505 --> 57:47.922 Representing! 57:47.922 --> 57:49.171 (cheering) 57:49.171 --> 57:53.296 The entire night, the room was electrified with tension. 57:53.296 --> 57:55.797 Everybody knew there was gonna be some shit 57:55.797 --> 57:59.047 between the boroughs coming here to make a name. 57:59.047 --> 58:00.547 The furthest thing from my mind 58:00.547 --> 58:02.505 was any beef with Death Row. 58:02.505 --> 58:04.421 ♪ ♪ 58:04.421 --> 58:07.797 Dr. Dre: And then Suge Knight walks on stage 58:07.797 --> 58:10.547 and says the most outrageous shit ever. 58:10.547 --> 58:13.713 Just completely disrespects Puff. 58:13.713 --> 58:16.213 Knight: And one other thing I'd like to say. 58:16.213 --> 58:18.630 Any artist out there wanna be a artist 58:18.630 --> 58:21.005 and wanna stay a star and don't wanna have to worry 58:21.005 --> 58:25.047 about the executive producer trying to be all in the videos, 58:25.047 --> 58:27.630 all on the records, dancing, 58:27.630 --> 58:30.839 come to Death Row. (scattered shouting, cheering) 58:30.839 --> 58:34.463 (tense music playing) (heart beating) 58:38.463 --> 58:41.130 (heart beating faster) 58:47.171 --> 58:48.630 (heartbeat stops) 58:50.630 --> 58:52.880 I was like, "Oh shit. He done fucked up." 58:56.380 --> 58:59.089 Snoop Dogg: For the spirit, we supporting him 58:59.089 --> 59:01.755 and clapping 'cause he's with us. 59:01.755 --> 59:03.296 Yay! (echoes) 59:04.964 --> 59:06.421 But then nigga started to think, 59:06.421 --> 59:08.463 "Well, what the fuck did this nigga just say?" 59:08.463 --> 59:10.505 Nas: I thought it was gangsta 59:10.505 --> 59:13.296 that he would be in New York and say that. 59:13.296 --> 59:15.296 So for a few seconds, 59:15.296 --> 59:18.130 I was loving it, because I was like, 59:18.130 --> 59:19.338 "If we came here to rumble, 59:19.338 --> 59:21.380 let's turn this thing into a rumble." 59:21.380 --> 59:22.672 That's the worst shit to do, 59:22.672 --> 59:24.630 is to disrespect a nigga in his home turf. 59:24.630 --> 59:26.171 He's talking about me in the videos. 59:26.171 --> 59:27.463 I'm like, "Fuck him." 59:27.463 --> 59:29.255 Dr. Dre: In my opinion, it made 59:29.255 --> 59:32.089 all the New York niggas start coming together. 59:32.089 --> 59:34.047 Snoop Dogg: They loved us, but when that moment happened, 59:34.047 --> 59:36.797 they hated the shit out of us just that quick. Like that. (snaps fingers) 59:36.797 --> 59:38.547 It felt dangerous. 59:38.547 --> 59:41.755 It felt like, "This shit is dangerous right here." 59:41.755 --> 59:44.797 Snoop Dogg: It was just a room full of pit bulls and gorillas. 59:44.797 --> 59:47.421 This was niggas that was wild. It was animals. 59:47.421 --> 59:49.463 You know what I'm saying? Hyenas. 59:49.463 --> 59:51.839 We got a bunch of niggas with us that was fresh outta the pen, 59:51.839 --> 59:53.588 niggas with a lot of shit to prove. 59:53.588 --> 59:55.839 You know, niggas that just love getting active. 59:55.839 --> 59:59.005 Dr. Dre: And there's thousands of these niggas with guns and-- 59:59.005 --> 01:00:02.463 Nas: Death Row had things on 'em. Bad Boy had things on 'em. 01:00:02.463 --> 01:00:05.130 I'm pretty sure Wu-Tang was prepared. 01:00:05.130 --> 01:00:08.005 That night I saw the headlines next day, 01:00:08.005 --> 01:00:09.964 "Stupid Source Awards 01:00:09.964 --> 01:00:12.171 "Gathers Up Stupid Rappers 01:00:12.171 --> 01:00:14.588 and They Shot Each Other." 01:00:14.588 --> 01:00:18.171 Rap is done. A bloodbath. 01:00:18.171 --> 01:00:20.505 Winner is... Uh-oh-- 01:00:20.505 --> 01:00:24.922 we're gonna have some trouble here-- the D-R-E, Dr. Dre. 01:00:24.922 --> 01:00:27.005 (cheering) Nas: Then when Snoop got on stage-- 01:00:27.005 --> 01:00:28.505 bandana'ed up, braids-- 01:00:28.505 --> 01:00:30.047 it looked like he came for war. 01:00:30.047 --> 01:00:34.213 Wait, wait, wait! The East Coast don't love Dr. Dre and Snoop Dogg? 01:00:34.213 --> 01:00:36.713 The East Coast ain't got no love 01:00:36.713 --> 01:00:39.797 for Dr. Dre and Snoop Dogg, and Death Row? 01:00:39.797 --> 01:00:41.296 Y'all don't love us? 01:00:41.296 --> 01:00:43.839 (audience grumbling) Y'all don't love us? 01:00:43.839 --> 01:00:45.380 So I'm like... 01:00:45.380 --> 01:00:47.130 "Is he getting ready to say, 'Fuck New York'?" 01:00:47.130 --> 01:00:49.630 Well, let it be known then, we don't give a fuck! 01:00:49.630 --> 01:00:52.463 We know y'all East Coast! We know where the fuck we at! 01:00:52.463 --> 01:00:54.797 The East Coast in the motherfucking house. 01:00:54.797 --> 01:00:57.213 (loud grumbling) 01:00:57.213 --> 01:00:59.089 Snoop Dogg: You match aggression with aggression. 01:00:59.089 --> 01:01:03.089 But you match aggression with aggression with love, with asking. 01:01:03.089 --> 01:01:06.421 Nas: Snoop had the power right there to make it go either way. 01:01:06.421 --> 01:01:07.588 And nigga said, "You know what? 01:01:07.588 --> 01:01:10.296 "For the sake of what that nigga just said, 01:01:10.296 --> 01:01:12.839 "we're gonna let y'all walk up outta here. 01:01:12.839 --> 01:01:15.713 But, nigga, y'all better hurry up and get the fuck outta here." 01:01:15.713 --> 01:01:17.922 ♪ ♪ 01:01:19.672 --> 01:01:22.380 Iovine: So, when all this stuff is going on at Warner, 01:01:22.380 --> 01:01:27.922 this sort of war begins between Bad Boy and Death Row, 01:01:27.922 --> 01:01:30.089 and that's when we all realized, 01:01:30.089 --> 01:01:32.089 "Whoa, we're not in Kansas anymore." 01:01:33.421 --> 01:01:36.880 ♪ ♪ 01:01:39.089 --> 01:01:41.588 Nas: The Source Awards changed everything. 01:01:41.588 --> 01:01:44.588 Now you realized where your power was. 01:01:44.588 --> 01:01:48.922 There was no limits to where a CEO or a mogul can wind up, 01:01:48.922 --> 01:01:52.672 so now it becomes more serious at the top. 01:01:52.672 --> 01:01:55.005 ♪ When the la-la hits ya, lyrics just splits ya ♪ 01:01:55.005 --> 01:01:57.463 ♪ Head so hard, that your hat can't fit you ♪ 01:01:57.463 --> 01:02:00.380 ♪ Either I'm with ya or against ya, format venture ♪ 01:02:00.380 --> 01:02:03.130 Snoop Dogg: The dialogue at Death Row now becomes 01:02:03.130 --> 01:02:07.130 Suge is more vocal for what's being said and what's being done. 01:02:07.130 --> 01:02:10.797 Dr. Dre don't work under nobody's schedule or demands. 01:02:10.797 --> 01:02:12.130 Same shit, different toilet. 01:02:12.130 --> 01:02:14.630 Berman: I was in the trenches with Suge. 01:02:14.630 --> 01:02:18.839 A lot of my stuff was around "What was Dre gonna focus on? 01:02:18.839 --> 01:02:21.380 Was Dre gonna work? What's he working on?" 01:02:21.380 --> 01:02:23.755 Iovine: 'Cause Dre wasn't any faster then than he is now, 01:02:23.755 --> 01:02:27.797 but when Suge told me, he and Tupac wanted to get together, 01:02:27.797 --> 01:02:31.505 what I thought of is, Dre and Pac. 01:02:31.505 --> 01:02:33.964 Tupac's in prison. 01:02:33.964 --> 01:02:35.171 (door slams) 01:02:37.630 --> 01:02:39.421 Man: Tupac, since your period 01:02:39.421 --> 01:02:42.922 of incarceration in Clinton Correctional Facility, 01:02:42.922 --> 01:02:46.547 have you taken the time to reflect on your gangster thug image? 01:02:46.547 --> 01:02:48.005 (laughs) 01:02:50.505 --> 01:02:54.839 Um, I don't see it as me having this gangster thug image. 01:02:54.839 --> 01:02:58.713 Thug life would be more... accurate. 01:02:58.713 --> 01:03:01.463 But it's not a image, it's just a way of life. 01:03:01.463 --> 01:03:04.713 It's a mentality. I don't feel like what I did was so evil. 01:03:04.713 --> 01:03:06.839 I just feel like what-- the way I was living 01:03:06.839 --> 01:03:10.338 and my mentality was a part of my progression to be a man. 01:03:12.338 --> 01:03:13.839 Nas: Pac was a different beast. 01:03:13.839 --> 01:03:16.296 A lot of rappers like to claim they're Pac, 01:03:16.296 --> 01:03:19.338 'cause they thugs. That's not Pac. 01:03:19.338 --> 01:03:20.463 No doubt. 01:03:20.463 --> 01:03:24.005 You know, this is a guy who saw a black person 01:03:24.005 --> 01:03:27.089 being harassed by police officers and shot 'em. 01:03:27.089 --> 01:03:30.255 You're not Pac until you're fighting with killers. 01:03:30.255 --> 01:03:34.797 Whalley: But that was a moment in time where Tupac had fear in him. 01:03:34.797 --> 01:03:39.089 Here's a young man accused of things he didn't do and put in jail, 01:03:39.089 --> 01:03:41.463 and he didn't know who to trust anymore. 01:03:41.463 --> 01:03:45.130 And somehow or another, he found that in Suge. 01:03:45.130 --> 01:03:49.839 Iovine: Time Warner wouldn't allow us to bail out Tupac, 01:03:49.839 --> 01:03:54.255 so what happened was we advanced Death Row the money, 01:03:54.255 --> 01:03:56.338 and Death Row bailed out Tupac. 01:03:56.338 --> 01:03:58.505 ♪ ♪ 01:03:58.505 --> 01:04:01.213 Cohen: I imagine that Pac himself believed Suge bailed him out, 01:04:01.213 --> 01:04:04.047 but the truth is we and Time Warner put up the money. 01:04:04.047 --> 01:04:06.338 I mean, look. Shh. 01:04:06.338 --> 01:04:10.171 I was definitely part of bailing out Tupac. 01:04:10.171 --> 01:04:13.755 ♪ California Love ♪ 01:04:15.421 --> 01:04:17.213 (man shouts indiscernibly) 01:04:17.213 --> 01:04:18.964 (radio chatter) 01:04:20.380 --> 01:04:24.255 (emphatically) Can you dig it? 01:04:24.255 --> 01:04:25.922 ♪ California ♪ (shouting) 01:04:25.922 --> 01:04:27.672 ♪ Knows how to party ♪ 01:04:27.672 --> 01:04:29.463 Berman: Now you got Tupac... 01:04:29.463 --> 01:04:30.755 Tupac is back. 01:04:30.755 --> 01:04:33.880 Berman: ...part of that Death Row fucking volcano. 01:04:33.880 --> 01:04:35.296 ♪ In the city... ♪ 01:04:35.296 --> 01:04:37.421 And they played "California Love" for the first time. 01:04:37.421 --> 01:04:40.755 Tupac: A song with Tupac, Dre, and Roger Troutman? 01:04:40.755 --> 01:04:44.338 Holy fuck! Start manufacturing, start shipping. 01:04:44.338 --> 01:04:47.171 Man: Come on, y'all, that's worth your money. 01:04:47.171 --> 01:04:49.130 Berman: Guys, you just made my job easy. 01:04:49.130 --> 01:04:52.630 California, get up! Berman: You know an eruption's gonna happen. 01:04:52.630 --> 01:04:55.047 ♪ Keep it rockin' ♪ 01:04:55.047 --> 01:04:57.755 ♪ Out on bail fresh outta jail, California dreaming ♪ 01:04:57.755 --> 01:04:59.047 ♪ Soon as I stepped on the scene ♪ 01:04:59.047 --> 01:05:00.296 ♪ I'm hearing hoochies screaming ♪ 01:05:00.296 --> 01:05:02.089 ♪ Fiending for money and alcohol ♪ 01:05:02.089 --> 01:05:03.839 ♪ The life of a West Side player ♪ 01:05:03.839 --> 01:05:05.463 ♪ Where cowards die and the strong ball ♪ 01:05:05.463 --> 01:05:08.213 ♪ Only in Cali where we riot not rally to live and die ♪ 01:05:08.213 --> 01:05:10.797 ♪ In LA we wearing Chucks, not Ballies ♪ ♪ That's right ♪ 01:05:10.797 --> 01:05:13.630 ♪ Dressed in locs and khaki suits and ride is what we do ♪ 01:05:13.630 --> 01:05:16.505 ♪ Flossing but have caution, we collide with other crews ♪ 01:05:16.505 --> 01:05:17.630 ♪ Famous because we program ♪ 01:05:17.630 --> 01:05:19.630 Dr. Dre: When Tupac came into the studio, 01:05:19.630 --> 01:05:20.964 he just stayed in the booth, 01:05:20.964 --> 01:05:22.755 wrote the song, laid the song, 01:05:22.755 --> 01:05:24.630 put up another track. That was amazing. 01:05:24.630 --> 01:05:27.880 He would just write about five or six songs before he comes out. 01:05:27.880 --> 01:05:29.380 ♪ But give me that bomb beat from Dre ♪ 01:05:29.380 --> 01:05:31.296 ♪ Let me serenade the streets of LA ♪ 01:05:31.296 --> 01:05:33.171 ♪ From Oakland to Sacktown ♪ 01:05:33.171 --> 01:05:35.047 ♪ The Bay Area and back down ♪ 01:05:35.047 --> 01:05:37.505 ♪ Cali is where they put they mack down, give me love! ♪ 01:05:37.505 --> 01:05:40.171 Snoop Dogg: Pac was like, "Fuck that. I'm on it. Right now. 01:05:40.171 --> 01:05:42.672 "California Love," whoopdie whoop, do the video." 01:05:42.672 --> 01:05:44.630 Nigga, you probably have never even seen Mad Max. 01:05:44.630 --> 01:05:46.213 "I'mma put the suit on, nigga. Let's go." 01:05:46.213 --> 01:05:49.964 And Dre is great at taking Tupac's built up frustration 01:05:49.964 --> 01:05:51.880 and making that shit sound fucking awesome. 01:05:51.880 --> 01:05:53.380 Iovine: And I said, "Dre, you nailed it." 01:05:53.380 --> 01:05:56.380 You heard Dre take just another step in production. 01:05:56.380 --> 01:05:59.047 Next year Death Row gonna start printing our own money. 01:05:59.047 --> 01:06:00.505 We making so much, we need-- 01:06:00.505 --> 01:06:03.672 Iovine: But as success builds, as visibility builds, 01:06:03.672 --> 01:06:06.672 as fame builds, people react differently. 01:06:06.672 --> 01:06:08.797 Dr. Dre: Tupac. I did not see it coming. 01:06:08.797 --> 01:06:12.296 ♪ Shake, shake it, baby ♪ Iovine: When Pac and Suge got together, 01:06:12.296 --> 01:06:15.421 it created a very volatile situation. 01:06:15.421 --> 01:06:17.255 They were gonna do what they were gonna do, 01:06:17.255 --> 01:06:18.672 and we couldn't control that. 01:06:18.672 --> 01:06:20.755 I just wanna send a shout out to Bad Boy Records. 01:06:20.755 --> 01:06:22.547 Iovine: It became about something that none of us 01:06:22.547 --> 01:06:24.672 really understood. It became a street war. 01:06:24.672 --> 01:06:27.005 We're coming to overthrow the government y'all got right now, 01:06:27.005 --> 01:06:29.547 which is Bad Boy, Nas, and all that bullshit. 01:06:29.547 --> 01:06:31.047 And we will bring a new government here 01:06:31.047 --> 01:06:32.713 that will feed every person in New York. 01:06:32.713 --> 01:06:36.296 Cool, man. All right, man. Peace. Thanks a lot. (crowd chattering) 01:06:36.296 --> 01:06:37.964 Snoop Dogg: Now, Tupac was my friend, 01:06:37.964 --> 01:06:41.047 so I had no problem with playing my role, you know. 01:06:41.047 --> 01:06:42.547 "Nigga, you need to wear suits, nigga. 01:06:42.547 --> 01:06:45.255 "Hugo Boss, nigga. Jewelry. Do this, do that. 01:06:45.255 --> 01:06:46.588 Nigga, let your hair down." 01:06:46.588 --> 01:06:49.797 But once he started badmouthing Dre, 01:06:49.797 --> 01:06:51.964 I'm feeling like that's coming from Suge. 01:06:51.964 --> 01:06:55.047 But still, it's still coming outta Pac's mouth. 01:06:55.047 --> 01:06:57.005 I kinda pushed away from him. 01:06:57.005 --> 01:06:59.588 The D.O.C.: I don't think Suge ever understood... 01:06:59.588 --> 01:07:04.463 that the power behind everything great that was happening was Dre. 01:07:04.463 --> 01:07:06.755 ♪ ♪ Dr. Dre: I wanted to leave. 01:07:06.755 --> 01:07:10.880 I wanted to leave Death Row and everything that was accumulated. 01:07:10.880 --> 01:07:13.839 Peter Paterno: I was going, "Dre, this label's worth a lot of money. 01:07:13.839 --> 01:07:16.922 You should get paid for it. You own half the label." He goes, "No." 01:07:16.922 --> 01:07:18.839 Dr. Dre: I didn't want anything following me. 01:07:18.839 --> 01:07:20.505 ♪ ♪ Paterno: "I'm done. I'm done." 01:07:20.505 --> 01:07:23.296 Iovine: So I called Dre. I said, "Don't break up the Beatles. 01:07:23.296 --> 01:07:25.922 You keep the band together." You know? 01:07:25.922 --> 01:07:27.380 And he said, "No, I can't do it. 01:07:27.380 --> 01:07:28.755 There's nothing I can do about it." 01:07:28.755 --> 01:07:30.421 Dr. Dre: Everything just changed. 01:07:30.421 --> 01:07:33.130 It became a lot more violent. You know? 01:07:33.130 --> 01:07:36.922 Engineers getting beat down, just random people getting beat down 01:07:36.922 --> 01:07:39.839 and shot at in the studio, in the mic booth. 01:07:39.839 --> 01:07:43.672 All kinda shit I was just... against. 01:07:43.672 --> 01:07:45.964 Man: You saw some of this? 01:07:45.964 --> 01:07:47.588 I'm not saying that on camera, Allen. 01:07:47.588 --> 01:07:50.505 Snoop Dogg: There was always incidents that are secret 01:07:50.505 --> 01:07:52.213 and that we will never speak on. 01:07:52.213 --> 01:07:55.171 The D.O.C.: Power, control, celebrity. 01:07:55.171 --> 01:07:57.964 It'll fuck anybody. Anybody. 01:07:57.964 --> 01:08:00.839 And it happened to Death Row. 01:08:02.047 --> 01:08:04.213 There's a story nobody knows about, 01:08:04.213 --> 01:08:07.797 'cause they brought this person into my office of all places. 01:08:07.797 --> 01:08:11.421 And the beating that they commenced to put on that dude, 01:08:11.421 --> 01:08:12.964 there was blood everywhere. 01:08:12.964 --> 01:08:14.964 And the dude is pulling on my pants leg. 01:08:14.964 --> 01:08:17.296 You know, I just wanted to get out. 01:08:17.296 --> 01:08:18.839 Snoop Dogg: No, nigga, you can't leave. 01:08:18.839 --> 01:08:20.005 And if you do leave, nigga, 01:08:20.005 --> 01:08:21.463 you gonna leave in a box. 01:08:21.463 --> 01:08:23.338 ♪ ♪ 01:08:23.338 --> 01:08:24.713 Man: That was Death Row? 01:08:24.713 --> 01:08:26.463 Snoop Dogg: That's Death Row. 01:08:28.547 --> 01:08:31.130 Iovine: I said, you know, "Gangstas spend 01:08:31.130 --> 01:08:33.755 "their whole life trying to become legitimate. 01:08:33.755 --> 01:08:37.338 "You guys are earning tens of millions of dollars legitimately. 01:08:37.338 --> 01:08:40.171 Why get involved with any of this nonsense?" 01:08:40.171 --> 01:08:46.171 I mean, look, I-- at one moment I said to my ex-wife, 01:08:46.171 --> 01:08:49.505 I said, "Am I defending free speech 01:08:49.505 --> 01:08:51.255 or am I funding Hamas?" 01:08:51.255 --> 01:08:53.047 I was so confused. 01:08:53.047 --> 01:08:56.672 It was so intense and s-- 01:08:56.672 --> 01:09:01.296 I was on a new page I'd never seen in my life before every day. 01:09:01.296 --> 01:09:05.380 You know, on the news, every time we're watching TV, something would come on. 01:09:05.380 --> 01:09:09.922 This thing happened, you know, this guy got killed or shot or-- 01:09:09.922 --> 01:09:13.296 you know, and... there was always a reason for it. 01:09:13.296 --> 01:09:15.922 And I don't know if I justif-- I don't know what I did. 01:09:15.922 --> 01:09:17.296 I was on a mission. 01:09:17.296 --> 01:09:20.338 I was on a very, very intense mission. 01:09:20.338 --> 01:09:23.213 Woman: What do you feel when you hear a record like Tupac's new one? 01:09:23.213 --> 01:09:25.213 Man (on phone): I love Tupac's new record. 01:09:25.213 --> 01:09:28.296 Woman: Right, but don't you feel like that creates... 01:09:28.296 --> 01:09:30.047 tension between East and West? 01:09:30.047 --> 01:09:32.338 He's talking about killing people. 01:09:32.338 --> 01:09:35.547 "I had sex with your wife," And not in those words. 01:09:35.547 --> 01:09:40.672 ♪ Oh, I'll give you all the love ♪ 01:09:40.672 --> 01:09:44.421 ♪ I want in return, sweet darling ♪ 01:09:44.421 --> 01:09:46.964 Grubman: I am sitting in the south of France 01:09:46.964 --> 01:09:52.255 having a wonderful time, baking my body. 01:09:52.255 --> 01:09:55.922 And then somebody comes over to me and says, "You have a phone call." 01:09:55.922 --> 01:09:57.421 And it's from Jimmy Iovine. 01:09:57.421 --> 01:09:58.880 ♪ ♪ 01:09:58.880 --> 01:10:01.089 "Allen, listen, we're gonna have a meeting 01:10:01.089 --> 01:10:04.421 over at Warner's with everything that's happening." 01:10:04.421 --> 01:10:07.547 That was his signal to tell me to get my ass back. 01:10:07.547 --> 01:10:10.296 Thank God for the Concorde. 01:10:10.296 --> 01:10:11.588 ♪ ♪ 01:10:11.588 --> 01:10:14.547 I take off at 10:30. I'm in New York at 9:30. 01:10:14.547 --> 01:10:16.755 Iovine: So Ted, Allen, and Skip Brittenham 01:10:16.755 --> 01:10:18.839 go over, have the meeting at 9:30. 01:10:18.839 --> 01:10:20.588 And, you know, I'm banned. Right? 01:10:20.588 --> 01:10:22.839 "We'll have the meeting, but he can't come." 01:10:22.839 --> 01:10:27.338 They thought that they could manage Ted Fields and a lawyer. 01:10:27.338 --> 01:10:29.630 Iovine: Ted's staying at the Four Seasons. 01:10:29.630 --> 01:10:32.255 I'm at the Saint Regis with David Cohen. 01:10:32.255 --> 01:10:33.630 They call us up at 10:30, 01:10:33.630 --> 01:10:35.130 and Ted says, "I got great news!" 01:10:35.130 --> 01:10:38.672 Warner's proposed to buy our share of the company 01:10:38.672 --> 01:10:43.130 for $150 million. And I'm ecstatic. 01:10:43.130 --> 01:10:46.130 I hang up the phone, and I run there. 01:10:47.130 --> 01:10:48.255 (whooshes) 01:10:48.255 --> 01:10:51.463 We go upstairs, and I say, "What did you say?" 01:10:51.463 --> 01:10:55.505 Allen said, "Shut up. We all-- they gave us $150 million. 01:10:55.505 --> 01:10:58.839 We get rid of Death Row. Nobody likes that music anyway." 01:10:58.839 --> 01:11:00.505 Jimmy says, "No way, we're not doing that." 01:11:00.505 --> 01:11:03.213 Allen says, "You idiot! You're gonna get all this money." 01:11:03.213 --> 01:11:04.755 "$150 million." 01:11:04.755 --> 01:11:07.089 "We can't do it. We're out." "Are you nuts?" 01:11:07.089 --> 01:11:08.672 Iovine: "Fuck that." Are you crazy? 01:11:08.672 --> 01:11:10.755 Iovine: "I've never been so sure." 01:11:10.755 --> 01:11:13.463 "Are you fucking crazy?" "No. No. No." 01:11:13.463 --> 01:11:14.797 We didn't do it. 01:11:14.797 --> 01:11:17.213 Morris: Jimmy, against the advice of his attorneys, 01:11:17.213 --> 01:11:19.463 had the courage to say, "No. I'm gonna ride 01:11:19.463 --> 01:11:21.547 with Death Row. This is what we do." 01:11:21.547 --> 01:11:23.922 Grubman: So then Time Warner decides 01:11:23.922 --> 01:11:26.547 that they have gotta sell their share to us. 01:11:26.547 --> 01:11:28.588 So everything is good. We're happy. 01:11:28.588 --> 01:11:30.171 Iovine: Meanwhile, every time I'd call Geffen, 01:11:30.171 --> 01:11:32.338 he would say, "You can't be this lucky 01:11:32.338 --> 01:11:33.588 to get your company back." 01:11:33.588 --> 01:11:35.171 I did say that. I said, "Jimmy, 01:11:35.171 --> 01:11:37.130 this is the greatest thing that ever happened to you." 01:11:37.130 --> 01:11:38.839 Grubman: 'Cause Doug now, by the way, 01:11:38.839 --> 01:11:41.547 is no longer at Warner's. He's at MCA. 01:11:41.547 --> 01:11:44.213 Iovine: And him, Geffen, and Edgar Bronfman 01:11:44.213 --> 01:11:45.964 took our company in. 01:11:45.964 --> 01:11:48.547 We bought it again. We bought Interscope. 01:11:48.547 --> 01:11:50.505 Grubman: This was a defining moment, 01:11:50.505 --> 01:11:53.839 and people lost, which was the Warner side, 01:11:53.839 --> 01:11:58.797 and people won, which was the Interscope and MCA side. 01:11:58.797 --> 01:12:00.797 Morris: The success was remarkable. 01:12:00.797 --> 01:12:03.047 At one point, Interscope was responsible 01:12:03.047 --> 01:12:05.463 for the top four albums in Billboard. 01:12:05.463 --> 01:12:09.672 Stefani: He predicted it. Literally six years on the dot 01:12:09.672 --> 01:12:12.089 from when Jimmy came up to me. 01:12:12.089 --> 01:12:15.547 "Don't Speak" was number one around the world... 01:12:15.547 --> 01:12:17.005 and I was a huge star. 01:12:17.005 --> 01:12:19.922 Everyone did great but me. 01:12:19.922 --> 01:12:24.171 ♪ Don't speak, I know just what you're saying ♪ 01:12:24.171 --> 01:12:25.588 Fuchs: But when you think back, 01:12:25.588 --> 01:12:27.588 what was the reason to be upset? 01:12:27.588 --> 01:12:31.255 ♪ Don't tell me 'cause it hurts ♪ 01:12:31.255 --> 01:12:32.880 (phone chimes) Iovine: Doug. 01:12:32.880 --> 01:12:34.755 Morris (on phone): Hello? How you doing? 01:12:34.755 --> 01:12:37.630 Yeah. It's crazy, right? It's gonna get worse. 01:12:37.630 --> 01:12:39.255 I don't know what the hell's going on. 01:12:39.255 --> 01:12:41.964 (Morris speaks on phone) 01:12:44.588 --> 01:12:47.089 Stevie Nicks: I remember being at Jimmy's house 01:12:47.089 --> 01:12:48.421 in the house he's in now 01:12:48.421 --> 01:12:51.421 for something after some Grammys or something, 01:12:51.421 --> 01:12:55.880 and he was supposed to go to this thing but he didn't go, 01:12:55.880 --> 01:12:57.588 and there was a stabbing. 01:12:57.588 --> 01:13:00.255 And I remember his oldest son saying, 01:13:00.255 --> 01:13:03.421 "Dad, you better start to be careful now, 01:13:03.421 --> 01:13:06.089 because somebody's gonna blow your head off." 01:13:06.089 --> 01:13:09.463 And at that point I'm like, "This is really too serious now." 01:13:09.463 --> 01:13:12.255 It was deadly serious 01:13:12.255 --> 01:13:15.213 with Death Row and death threats. 01:13:15.213 --> 01:13:17.380 Gordon: I felt like it was getting too dangerous 01:13:17.380 --> 01:13:19.380 for Jimmy, his family, and me, 01:13:19.380 --> 01:13:21.547 because one night he called me, and he said, 01:13:21.547 --> 01:13:23.130 "I want you go to a premiere with me." 01:13:23.130 --> 01:13:25.296 So I go over, we started to get in the car, 01:13:25.296 --> 01:13:29.380 and he said, "Okay, you guys better put these-- put these on now." 01:13:29.380 --> 01:13:30.672 I said, "Put what on?" 01:13:30.672 --> 01:13:33.505 And we had to wear a bulletproof vest to the premiere. 01:13:33.505 --> 01:13:37.296 And I've made a lot of movies, and I was head of a studio. 01:13:37.296 --> 01:13:39.463 I've been to many, many premieres, 01:13:39.463 --> 01:13:41.255 but I've never worn a bulletproof vest 01:13:41.255 --> 01:13:43.463 going down a red carpet. That's Jimmy. 01:13:43.463 --> 01:13:46.505 Whalley: I said, "You're making music. 01:13:46.505 --> 01:13:49.672 This is-- wow. This-- how'd it get to this?" 01:13:49.672 --> 01:13:51.922 Man: I remember riding in the car with Suge once, 01:13:51.922 --> 01:13:55.130 and Jimmy had invested hundreds of hours 01:13:55.130 --> 01:13:58.130 into the human being to really help him. 01:13:58.130 --> 01:14:03.588 I said, "Jimmy has given so much of himself to you. 01:14:03.588 --> 01:14:08.463 Why is it going to the place it's going?" 01:14:09.880 --> 01:14:12.089 And Suge said, "It's what I know." 01:14:12.089 --> 01:14:15.755 (crowd cheering) Tupac: Hey yo, I got some new shit for y'all tonight. 01:14:15.755 --> 01:14:19.839 Nas: It was, like, "Forget how y'all knew rap before. This is a new day." 01:14:19.839 --> 01:14:22.130 Oh yes. "Let's go all the way." 01:14:22.130 --> 01:14:24.255 Tupac: See, it's this nigga named Nas, 01:14:24.255 --> 01:14:27.463 and he kicking with these niggas named Mobb Deep, 01:14:27.463 --> 01:14:30.421 and they kicking with some niggas named Bad Boy. 01:14:30.421 --> 01:14:33.213 Nas: Fear is a good thing, 'cause it can keep you in check. 01:14:33.213 --> 01:14:34.755 But I say fuck 'em all! 01:14:34.755 --> 01:14:38.547 He crossed lines that you just knew somebody's gonna get hurt. 01:14:38.547 --> 01:14:40.505 So I'm about to take this nigga beat 01:14:40.505 --> 01:14:42.089 ♪ ♪ and whoop his ass 01:14:42.089 --> 01:14:44.047 with his own motherfucking beat. 01:14:44.047 --> 01:14:47.171 (crowd cheering) 01:14:47.171 --> 01:14:50.755 1996, everything came together that same year. 01:14:50.755 --> 01:14:53.380 What? ♪ Menacin' methods label me a lethal weapon ♪ 01:14:53.380 --> 01:14:55.755 ♪ Making niggas die, witnessin' breathless imperfections ♪ 01:14:55.755 --> 01:14:57.380 ♪ Can you picture my specific plan ♪ 01:14:57.380 --> 01:14:59.213 ♪ To be the man in this wicked land? ♪ 01:14:59.213 --> 01:15:01.213 ♪ Underhanded hits are planned ♪ 01:15:01.213 --> 01:15:03.089 ♪ Scams are plotted over grams of rock ♪ 01:15:03.089 --> 01:15:06.797 ♪ Undercover agents die by the random shots, we all die in the end ♪ 01:15:06.797 --> 01:15:09.505 Berman: Tupac was two different people living in the same body. 01:15:09.505 --> 01:15:11.089 ♪ Fuck friends and foes ♪ 01:15:11.089 --> 01:15:14.255 Berman: This was one of the greatest poets of a generation-- 01:15:14.255 --> 01:15:17.089 totally gracious, totally engaged-- 01:15:17.089 --> 01:15:21.171 but you saw the fuel of what was driving him. He was almost manic. 01:15:21.171 --> 01:15:22.713 ♪ How can I show you how I feel inside? ♪ 01:15:22.713 --> 01:15:25.171 ♪ We outlawz, motherfuckers, can't kill my pride ♪ 01:15:25.171 --> 01:15:28.421 Whalley: What made him great is that he was highly emotional, 01:15:28.421 --> 01:15:30.797 but he's just lashing out. 01:15:30.797 --> 01:15:32.630 Niggas shot me five times. 01:15:32.630 --> 01:15:35.005 I came outta jail and sold five million. 01:15:35.005 --> 01:15:36.755 Them niggas can't fuck with us. 01:15:36.755 --> 01:15:38.255 Whalley: I could only interpret it 01:15:38.255 --> 01:15:40.213 as that he was trying to figure out who the enemy was. 01:15:40.213 --> 01:15:41.964 ♪ Unh, gutter ways ♪ 01:15:41.964 --> 01:15:44.755 Combs: We never got into disliking any of the artists, 01:15:44.755 --> 01:15:49.880 but we had a problem with Suge really disrupting our, you know, quality of life. 01:15:49.880 --> 01:15:51.463 ♪ "Westside" was the war cry ♪ 01:15:51.463 --> 01:15:53.255 ♪ Bustin' all freely screaming, "Fuck ♪ 01:15:53.255 --> 01:15:55.047 ♪ All y'all niggas," in Swahili ♪ 01:15:55.047 --> 01:15:57.547 ♪ Pistol packin', fresh out of jail, I ain't goin' back ♪ 01:15:57.547 --> 01:16:01.755 It was just very sad, and... ♪ Say my name three times, like Candyman ♪ 01:16:01.755 --> 01:16:05.005 See, I can't answer. This is a slippery slope for me, you know what I'm saying? 01:16:05.005 --> 01:16:07.089 ♪ Send me to hell, 'cause I ain't beggin' for my life ♪ 01:16:07.089 --> 01:16:10.839 ♪ Ain't nothing worse than this cursed-ass hopeless life, I'm troublesome ♪ 01:16:10.839 --> 01:16:13.713 Announcer: And now, ladies and gentlemen 01:16:13.713 --> 01:16:17.380 in attendance, it's showtime! 01:16:17.380 --> 01:16:19.463 Men: ♪ All you niggas die ♪ 01:16:19.463 --> 01:16:22.630 Iovine: I remember them going to the fights in Vegas, 01:16:22.630 --> 01:16:24.755 and I always thought that was dangerous, you know? 01:16:24.755 --> 01:16:27.089 And... they went to the fight that night. 01:16:27.089 --> 01:16:29.672 ♪ All you niggas die ♪ (ring announcer speaks indiscernibly) 01:16:29.672 --> 01:16:32.505 (yelling) 01:16:32.505 --> 01:16:35.255 (men vocalizing) 01:16:35.255 --> 01:16:37.463 Iovine: There was this fight. Hey, hey, hey, hey! 01:16:37.463 --> 01:16:39.922 ♪ All you niggas die ♪ (shouting) 01:16:39.922 --> 01:16:43.005 (vocalization continues) 01:16:43.005 --> 01:16:44.713 Iovine: It's on video. 01:16:46.672 --> 01:16:48.338 ♪ All you niggas die ♪ 01:16:48.338 --> 01:16:49.755 Iovine: Everyone has seen it. 01:16:49.755 --> 01:16:53.213 (vocalization continues) 01:16:53.213 --> 01:16:56.005 Iovine: And... next thing you know... 01:16:56.005 --> 01:16:58.839 ♪ All you niggas die ♪ 01:16:58.839 --> 01:17:02.421 (gunshots) (glass shatters) 01:17:02.421 --> 01:17:04.880 (car engine revs) (tires squeal) 01:17:04.880 --> 01:17:08.380 (bullet casing clinks) ♪ All you niggas die ♪ 01:17:08.380 --> 01:17:11.672 (crickets chirping) 01:17:19.880 --> 01:17:21.171 Snoop Dogg: I was in LA... 01:17:22.463 --> 01:17:24.547 Me and Pac wasn't seeing eye to eye. 01:17:24.547 --> 01:17:27.380 So, I got a-- a page. 01:17:27.380 --> 01:17:29.547 Nigga was like, "Put on the news." 01:17:29.547 --> 01:17:32.713 ♪ ♪ Dan Rather: The rap singer Tupac Shakur 01:17:32.713 --> 01:17:35.380 was killed in a drive-by shooting in Las Vegas. 01:17:35.380 --> 01:17:37.421 No one has been arrested in the killing. 01:17:37.421 --> 01:17:39.630 Shakur was 25 years old. 01:17:39.630 --> 01:17:43.255 (sirens wail) (police radio chatter) 01:17:43.255 --> 01:17:48.047 So, I drove to Vegas to go, um-- to go see. 01:17:48.047 --> 01:17:52.839 And his mama was in the hallway, and she was like, 01:17:52.839 --> 01:17:54.964 "Go in there, say something to him, baby." 01:17:54.964 --> 01:17:56.463 I'm like, "All right." 01:17:56.463 --> 01:17:58.713 I went up in there and just, you know... 01:17:58.713 --> 01:18:02.755 ♪ ♪ 01:18:02.755 --> 01:18:03.964 Fucked up. 01:18:06.880 --> 01:18:10.171 It was... just the worst thing that could happen. 01:18:10.171 --> 01:18:14.755 You know, these are things that... everybody wishes 01:18:14.755 --> 01:18:18.296 they could have prevented somehow, you know? 01:18:18.296 --> 01:18:21.713 And, "If only, if only," you know? And... 01:18:24.588 --> 01:18:27.547 There was no reason for Tupac to die, you know? 01:18:27.547 --> 01:18:30.880 And... especially like that. 01:18:30.880 --> 01:18:34.505 A life is lost, company's going down the hill, 01:18:34.505 --> 01:18:36.255 everybody's in disarray, 01:18:36.255 --> 01:18:39.296 and... Dre on the sideline watching. 01:18:39.296 --> 01:18:42.672 And everybody's saying, "I see why you left, Dre." 01:18:42.672 --> 01:18:45.964 Newsman: Los Angeles superior court judge ordered Knight into court 01:18:45.964 --> 01:18:47.922 for violating his probation 01:18:47.922 --> 01:18:49.755 and then raised troubling questions 01:18:49.755 --> 01:18:53.130 about why Knight hadn't been locked up before now. 01:18:53.130 --> 01:18:55.463 Iovine: Suge went to prison for a long time, 01:18:55.463 --> 01:18:59.630 and that was the end. 01:18:59.630 --> 01:19:02.171 Dr. Dre: I feel like the gangsta rap era's over. 01:19:02.171 --> 01:19:04.047 You know, put out negative energy, 01:19:04.047 --> 01:19:06.296 it's gonna come back to you, period. 01:19:06.296 --> 01:19:08.672 Live by the gun, die by the gun. 01:19:08.672 --> 01:19:10.421 ♪ ♪ 01:19:10.421 --> 01:19:12.964 It's time for something else, you know? 01:19:12.964 --> 01:19:15.964 I just been trying to put together a new family, 01:19:15.964 --> 01:19:18.839 and... basically just start all over. 01:19:18.839 --> 01:19:25.005 ♪ ♪ 01:20:23.380 --> 01:20:25.922 ♪ ♪