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This programme contains very strong language. | 0:00:02 | 0:00:04 | |
In 1967, the Motor City was burning. The biggest riot in American history erupted in Detroit. | 0:00:04 | 0:00:09 | |
# Calling out... # | 0:00:09 | 0:00:10 | |
The riot wasn't the only revolution going on. The '60s saw Detroit create wave after wave of music, | 0:00:10 | 0:00:17 | |
that would capture the sound of a nation in upheaval. | 0:00:17 | 0:00:20 | |
# ..For dancing... # | 0:00:20 | 0:00:21 | |
In the early '60s, an aspirational record label would transcend Detroit's inner city, | 0:00:21 | 0:00:26 | |
to take black music to a national audience. | 0:00:26 | 0:00:31 | |
Once Motown became a major, major player, | 0:00:31 | 0:00:33 | |
the music industry, well, that also put Detroit more on the map. | 0:00:33 | 0:00:39 | |
People in the town were just so proud. | 0:00:39 | 0:00:41 | |
If they'd go to California or New York, they'd say, "Where you from?" | 0:00:41 | 0:00:44 | |
"I'm from Motown." They wouldn't say Detroit, they'd say Motown. | 0:00:44 | 0:00:48 | |
And in the late '60s, a bunch of surburban kids | 0:00:48 | 0:00:50 | |
would descend into the inner city, to create revolutionary rock | 0:00:50 | 0:00:55 | |
that expressed the rage of young, white America. | 0:00:55 | 0:00:58 | |
We wanted to rewrite society. | 0:00:58 | 0:01:02 | |
We wanted to build it from the ground up. | 0:01:02 | 0:01:05 | |
Just tear everything down and start over. | 0:01:05 | 0:01:07 | |
On the one hand we were serious political revolutionaries who wanted to overthrow the government, | 0:01:07 | 0:01:14 | |
on the other hand we were on acid! | 0:01:14 | 0:01:16 | |
Kick out the jams, motherfucker. They were, like, the ones we all got branded by. | 0:01:16 | 0:01:22 | |
Detroit, in the '60s, was a city on fire. | 0:01:22 | 0:01:26 | |
In the recording industry, there is a hot town. | 0:01:28 | 0:01:32 | |
And when one good thing happens, | 0:01:33 | 0:01:36 | |
then, whoosh! | 0:01:36 | 0:01:38 | |
They will swoop in from the coasts. | 0:01:38 | 0:01:41 | |
In the '60s, Detroit had its moment. | 0:01:44 | 0:01:48 | |
# ..So messed up | 0:01:48 | 0:01:49 | |
# I want you here... # | 0:01:49 | 0:01:51 | |
Detroit, Michigan. | 0:02:01 | 0:02:03 | |
A Midwestern blue collar city. | 0:02:03 | 0:02:05 | |
Known as the Motor City since the '20s, | 0:02:09 | 0:02:13 | |
Detroit is the hard-working home of the American car industry. | 0:02:13 | 0:02:17 | |
# Well, my mother loved me... # | 0:02:18 | 0:02:20 | |
In the economically-prosperous '50s, four out of five cars in the world | 0:02:23 | 0:02:27 | |
were made in the USA. | 0:02:27 | 0:02:29 | |
Detroit became the city where they built the American Dream. | 0:02:33 | 0:02:36 | |
# She had to stay out all night long... # | 0:02:37 | 0:02:39 | |
This was the manufacturing centre of America and, thus, the world. | 0:02:41 | 0:02:48 | |
And if you wanted it built, we built it in Detroit. | 0:02:48 | 0:02:50 | |
# ..in the town, people | 0:02:50 | 0:02:52 | |
# I was walking down Hazel Street... # | 0:02:55 | 0:02:56 | |
Detroit, as a city, was a great city. | 0:02:58 | 0:03:00 | |
Er, it was a booming city. | 0:03:00 | 0:03:03 | |
You had a lot of people who migrated. | 0:03:03 | 0:03:06 | |
# I 'cided I'd drop in there that night | 0:03:07 | 0:03:09 | |
# When I got there... # | 0:03:10 | 0:03:11 | |
There were lots of factories there that had attracted | 0:03:12 | 0:03:17 | |
many black families from the south. | 0:03:17 | 0:03:19 | |
# They was really havin' a ball... # | 0:03:20 | 0:03:21 | |
Fuelled by migrant job seekers, | 0:03:21 | 0:03:23 | |
the city's population swelled to a record two million. | 0:03:23 | 0:03:26 | |
One of whom would become Detroit's first musical star. | 0:03:26 | 0:03:31 | |
ANNOUNCER: From Mississippi, it's that famous boom-boom boy, | 0:03:31 | 0:03:35 | |
John Lee Hooker. | 0:03:35 | 0:03:37 | |
Chicago was the home from home for southern blues men, | 0:03:37 | 0:03:40 | |
but John Lee Hooker bypassed the Windy City, in favour of its less glamourous neighbour. | 0:03:40 | 0:03:45 | |
# Boom boom boom boom | 0:03:45 | 0:03:46 | |
# I'm gonna shoot you right down | 0:03:48 | 0:03:49 | |
# Right offa your feet | 0:03:51 | 0:03:53 | |
# Take yer home with me | 0:03:54 | 0:03:56 | |
# Put yer in my house | 0:03:57 | 0:03:59 | |
# Boom boom boom boom... # | 0:04:01 | 0:04:02 | |
Hooker came to Detroit in 1948 looking for a job | 0:04:02 | 0:04:06 | |
and found one at the Ford Motor Company. | 0:04:06 | 0:04:09 | |
# When you're talkin' to me | 0:04:10 | 0:04:11 | |
# That baby talk... # | 0:04:13 | 0:04:15 | |
He passed through Detroit like so many working folk, | 0:04:15 | 0:04:20 | |
working their way up Highway 61, the famous highway Dylan memorialised, | 0:04:20 | 0:04:25 | |
which was basically the artery from the south up to the Midwest | 0:04:25 | 0:04:30 | |
and I think Hooker represents this kind of migratory spirit. | 0:04:30 | 0:04:35 | |
# Wa-a-a-a-a-a, babe... # | 0:04:35 | 0:04:37 | |
The southern disposessed, looking for a new life. | 0:04:37 | 0:04:41 | |
# Yes, ma'am... # | 0:04:42 | 0:04:43 | |
John Lee did for the blues, what nobody else was doing at the time. | 0:04:43 | 0:04:48 | |
He brought it out and with his style of music, | 0:04:48 | 0:04:51 | |
it was not traditional blues that he was playing, | 0:04:51 | 0:04:54 | |
it was different and it made everybody listen. | 0:04:54 | 0:04:57 | |
It just turned the blues scene around, in the city of Detroit. | 0:04:57 | 0:05:01 | |
Blues is such a three-chord thing. | 0:05:07 | 0:05:09 | |
His only had one! | 0:05:09 | 0:05:11 | |
HE LAUGHS | 0:05:11 | 0:05:12 | |
It was like the drone. It was all rhythm. | 0:05:12 | 0:05:15 | |
You know, start the thump going. | 0:05:15 | 0:05:18 | |
John Lee Hooker's primitive style would become a benchmark for Detroit rock 'n' rollers. | 0:05:18 | 0:05:23 | |
But the next factory worker to put his stamp on music | 0:05:23 | 0:05:27 | |
would transform American pop. | 0:05:27 | 0:05:30 | |
Berry Gordy Jr worked briefly for the same car manufacturer as John Lee Hooker. | 0:05:31 | 0:05:35 | |
He took inspiration from his time on the line to set up a record label | 0:05:35 | 0:05:40 | |
with its sights on young America. | 0:05:40 | 0:05:43 | |
# The best things in life are free | 0:05:48 | 0:05:51 | |
# But you can give them to the birds and bees | 0:05:51 | 0:05:54 | |
# I need mo-o-o-ney | 0:05:54 | 0:05:55 | |
-# I need mo-o-o-ney -That's what I want... # | 0:05:55 | 0:05:57 | |
The idea for an assembly line, starting with a frame | 0:05:58 | 0:06:02 | |
and ending up a brand-new shining car, was just fascinating to me. | 0:06:02 | 0:06:05 | |
# That's what I want | 0:06:05 | 0:06:06 | |
# That's what I want. # | 0:06:06 | 0:06:07 | |
So, when I started my operation, that's what I wanted. | 0:06:07 | 0:06:10 | |
A kid to come in off the street one door, an unknown person, and out another door a star. | 0:06:10 | 0:06:15 | |
# Whoa-yeah | 0:06:15 | 0:06:18 | |
Is there a letter In your bag for me? | 0:06:16 | 0:06:18 | |
# Please, please, Mr Po-o-ostman | 0:06:18 | 0:06:23 | |
Cos it's been a mighty long time | 0:06:20 | 0:06:23 | |
# Whoa-yeah | 0:06:23 | 0:06:27 | |
Since I've heard From this boyfriend of mine | 0:06:24 | 0:06:27 | |
# There must be some word today... # | 0:06:28 | 0:06:31 | |
Working out of his inner city home, Gordy named Motown after Detroit. | 0:06:31 | 0:06:35 | |
Like a production line, Motown sought to create pop records | 0:06:35 | 0:06:40 | |
that had a uniform sound. | 0:06:40 | 0:06:42 | |
# ..A letter for me | 0:06:42 | 0:06:43 | |
# I was standing here waiting Mr Postman... # | 0:06:44 | 0:06:47 | |
There was something about the first three or four records | 0:06:47 | 0:06:51 | |
that came out of Motown. | 0:06:51 | 0:06:52 | |
You didn't tie 'em together right away, but after a while - | 0:06:52 | 0:06:55 | |
Please, Mr Postman, My Guy. | 0:06:56 | 0:06:59 | |
Shop around and you realise, "Oh, there's something about these records." | 0:07:00 | 0:07:05 | |
You could tell, "Oh, these records are from the same place." | 0:07:05 | 0:07:08 | |
Gordy built Motown by exercising complete artistic control. | 0:07:09 | 0:07:15 | |
The acts had no say, as The Supremes, | 0:07:15 | 0:07:18 | |
a girl group from Detroit's Brewster project, would find out. | 0:07:18 | 0:07:22 | |
When Where Did Our Love Go? was brought to us... | 0:07:22 | 0:07:26 | |
..we said, "That doesn't seem like it's gonna be a hit, | 0:07:27 | 0:07:32 | |
"and we need a hit." | 0:07:32 | 0:07:33 | |
Give a little better feeling on those guitar fingers. | 0:07:33 | 0:07:36 | |
Also, the piano could add a little more... | 0:07:36 | 0:07:38 | |
We got them to do it. Although they were shattered - they hated it. | 0:07:38 | 0:07:43 | |
This didn't sound like a hit. You know, it was just hand clapping. | 0:07:43 | 0:07:46 | |
"Baby, Baby..." It was so simple. | 0:07:49 | 0:07:52 | |
# ...Baby don't leave me | 0:07:52 | 0:07:54 | |
# Oh, please don't leave me | 0:07:54 | 0:07:57 | |
# All by myself... # | 0:07:58 | 0:08:00 | |
Diana's attitude... | 0:08:00 | 0:08:02 | |
you know, pissed off attitude about... | 0:08:02 | 0:08:05 | |
She was definitely letting you know she didn't like this song! | 0:08:05 | 0:08:08 | |
# Ooh, deep inside me... # | 0:08:08 | 0:08:12 | |
But it was just what the song needed. | 0:08:12 | 0:08:14 | |
# ..hurts so bad | 0:08:14 | 0:08:15 | |
# You came into my heart now... # | 0:08:16 | 0:08:19 | |
That was the first, Where Did Our Love Go? | 0:08:19 | 0:08:22 | |
13 number one songs that we alone, we wrote them. | 0:08:22 | 0:08:26 | |
Consecutive, one after the other. Bam, bam, bam... | 0:08:26 | 0:08:30 | |
# Nowhere to run to, baby... # | 0:08:32 | 0:08:35 | |
In-house song writers, Holland, Dozier, Holland were the engine that drove Motown. | 0:08:36 | 0:08:40 | |
They could even turn company secretary Martha Reeves | 0:08:40 | 0:08:44 | |
into a pop star at Ford, where Berry Gordy had worked. | 0:08:44 | 0:08:49 | |
He took us to the Ford Motor Company. | 0:08:49 | 0:08:51 | |
And no-one knew we were coming. The workers were saying, | 0:08:51 | 0:08:54 | |
"Get those women out, we're working!" | 0:08:54 | 0:08:56 | |
But the cars were being made and I don't think anyone else will ever have that privilege. | 0:08:56 | 0:09:01 | |
# ..I go | 0:09:01 | 0:09:02 | |
# Your face I see | 0:09:02 | 0:09:04 | |
# Every step I take | 0:09:04 | 0:09:06 | |
# You take... # | 0:09:06 | 0:09:07 | |
These guys were actually welding the fenders on | 0:09:07 | 0:09:10 | |
and putting the screws in the different places | 0:09:10 | 0:09:12 | |
and we were getting on and off of this car and we watched it go from start to finish | 0:09:12 | 0:09:17 | |
singing Nowhere To Run. | 0:09:17 | 0:09:19 | |
We got spray-painted! We almost got tripped by cords, wires and things. | 0:09:19 | 0:09:24 | |
# ..I know you're no good for me... # | 0:09:24 | 0:09:26 | |
It was a Mustang. And it was a wonderful experience. | 0:09:26 | 0:09:30 | |
#...Be, no | 0:09:30 | 0:09:31 | |
# Each night as I sleep... # | 0:09:31 | 0:09:34 | |
I think that for Detroiters, | 0:09:34 | 0:09:37 | |
Motown was like the car industry, you know. | 0:09:37 | 0:09:41 | |
It became a brand that people loved. | 0:09:41 | 0:09:45 | |
And once Motown became a major, major player in the music industry, | 0:09:45 | 0:09:52 | |
that also put Detroit more on the map. | 0:09:52 | 0:09:55 | |
People in the town were just so proud, you know, | 0:09:55 | 0:09:58 | |
about having this place here in town. | 0:09:58 | 0:10:00 | |
"Yeah, I'm from Motown." You know. | 0:10:00 | 0:10:02 | |
They go to California or New York they say, "Where're you from?" | 0:10:02 | 0:10:06 | |
They'd say, "I'm from Motown." They wouldn't say Detroit, they'd say Motown. | 0:10:06 | 0:10:10 | |
# I got sunshine | 0:10:10 | 0:10:14 | |
# On a cloudy day... # | 0:10:14 | 0:10:17 | |
By 1965, Motown had become as its motto boasted, | 0:10:19 | 0:10:23 | |
the sound of young America. | 0:10:23 | 0:10:25 | |
Detroit dominated the mainstream US charts. | 0:10:25 | 0:10:29 | |
# I guess you... # | 0:10:30 | 0:10:33 | |
But Gordy's manufactured pop was not the sound of young, black Detroit. | 0:10:33 | 0:10:36 | |
# ..feel this way | 0:10:36 | 0:10:38 | |
# My girl | 0:10:39 | 0:10:42 | |
My girl | 0:10:40 | 0:10:42 | |
My girl... # | 0:10:41 | 0:10:42 | |
The campaign for civil rights had started in earnest in America | 0:10:42 | 0:10:45 | |
and Detroit had seen the largest march in history in 1963, | 0:10:45 | 0:10:50 | |
when Martin Luther King led the great march to freedom. | 0:10:50 | 0:10:54 | |
# I've got a sweeter song | 0:10:56 | 0:10:58 | |
# Than the birds in the trees... # | 0:11:00 | 0:11:01 | |
Black people were beginning to demand more, | 0:11:01 | 0:11:04 | |
but conditions in Detroit's inner city hardly met their expectations. | 0:11:04 | 0:11:08 | |
# ...You say | 0:11:08 | 0:11:10 | |
# What | 0:11:10 | 0:11:11 | |
# What can | 0:11:11 | 0:11:11 | |
# What can make | 0:11:11 | 0:11:12 | |
# What can make me | 0:11:12 | 0:11:12 | |
# What can make me feel | 0:11:12 | 0:11:13 | |
# What can make me feel this | 0:11:13 | 0:11:14 | |
# What can make me feel this way? | 0:11:14 | 0:11:14 | |
# My girl | 0:11:15 | 0:11:18 | |
My girl | 0:11:16 | 0:11:18 | |
My girl... # | 0:11:17 | 0:11:18 | |
Overcrowding, unemployment and an aggressive all-white police force | 0:11:18 | 0:11:23 | |
had combined to create a ghetto, that left some inhabitants seething. | 0:11:23 | 0:11:27 | |
REPORTER: Do you hate white people? | 0:11:29 | 0:11:31 | |
Do I hate 'em? Yeah, I hate 'em. | 0:11:31 | 0:11:32 | |
Do you hate white people? | 0:11:32 | 0:11:34 | |
Tried to kill one of 'em. | 0:11:34 | 0:11:35 | |
You did try? | 0:11:35 | 0:11:36 | |
-I say, I would. -You would try and kill one? -That's right. | 0:11:36 | 0:11:39 | |
Would you fight white people, would you try and kill white people? | 0:11:39 | 0:11:43 | |
Mm-hmm. All day long. | 0:11:43 | 0:11:44 | |
All of us was caught up in the Motown sound. | 0:11:44 | 0:11:47 | |
I mean, all of us was in love with The Temptations and The Supremes | 0:11:47 | 0:11:50 | |
and The Marvelettes and Smokey Robinson and all that. | 0:11:50 | 0:11:53 | |
We all loved that. | 0:11:53 | 0:11:54 | |
They didn't necessarily voice songs that gave the movement strength, | 0:11:54 | 0:11:59 | |
but we liked them. | 0:11:59 | 0:12:01 | |
We did receive a lot of criticism say, being homogenised. | 0:12:01 | 0:12:06 | |
You know, being too white, or too this, or whatever. | 0:12:06 | 0:12:09 | |
But our, and I remember my brother, who was in Vietnam at the time | 0:12:09 | 0:12:13 | |
was saying, "Mary, why don't you wear an afro?" | 0:12:13 | 0:12:16 | |
You know. "Because that's just not our style." | 0:12:16 | 0:12:18 | |
# ..Baby love | 0:12:19 | 0:12:19 | |
# Oh, baby love... # | 0:12:19 | 0:12:22 | |
Motown's style was to aim for the burgeoning teenage market, | 0:12:24 | 0:12:28 | |
the demographic of youth, white or black. | 0:12:28 | 0:12:30 | |
Berry Gordy had created the world's first cross-over label. | 0:12:30 | 0:12:34 | |
# Baby love | 0:12:36 | 0:12:37 | |
# My baby love | 0:12:37 | 0:12:39 | |
# Why must we separate, my love... # | 0:12:39 | 0:12:43 | |
Berry gets a bad rap, I think, for being too slick | 0:12:43 | 0:12:47 | |
and having his artists too slick. | 0:12:47 | 0:12:50 | |
But people forget the social times, this was a revolutionary thing to do | 0:12:50 | 0:12:55 | |
and this was his way of bringing the audience together | 0:12:55 | 0:12:58 | |
and appealing to a diverse audience, | 0:12:58 | 0:13:01 | |
which really brought blacks and whites together. | 0:13:01 | 0:13:03 | |
If you have... If I sit down with a black woman from Detroit of my age, | 0:13:03 | 0:13:08 | |
we have the same musical taste | 0:13:08 | 0:13:10 | |
and that doesn't happen in a lot of generations. | 0:13:10 | 0:13:13 | |
When I was in high school, black music was your national anthem. | 0:13:15 | 0:13:20 | |
It was local music. Motown and Detroit was... | 0:13:20 | 0:13:23 | |
The singles came out and you went downtown to the Motown Revue | 0:13:23 | 0:13:26 | |
and saw these artists. | 0:13:26 | 0:13:27 | |
# ..but I love yer... # | 0:13:27 | 0:13:29 | |
Those were local anthems and for us it was important in a sense that, | 0:13:29 | 0:13:34 | |
at least for white surburban kids in this pasty surburban life, | 0:13:34 | 0:13:38 | |
This was exoticism. It was...sex. | 0:13:38 | 0:13:41 | |
# You really got a hold on me... # | 0:13:41 | 0:13:45 | |
Come on! | 0:13:45 | 0:13:47 | |
# You really got a hold | 0:13:45 | 0:13:47 | |
# Ba-by! | 0:13:47 | 0:13:49 | |
# I... # | 0:13:50 | 0:13:51 | |
Our music was love music. | 0:13:51 | 0:13:53 | |
We knew that music soothed the soul. | 0:13:53 | 0:13:57 | |
We were giving our people what they wanted from us. | 0:13:57 | 0:14:00 | |
# But I need you... # | 0:14:00 | 0:14:02 | |
They stuck with us. The music has lasted | 0:14:02 | 0:14:05 | |
and it's part of history as being a love movement, as opposed to an uprising, | 0:14:05 | 0:14:11 | |
or a protest. | 0:14:11 | 0:14:12 | |
# ..got a hold on me | 0:14:12 | 0:14:14 | |
# You really got | 0:14:14 | 0:14:16 | |
# Oh, yes yer have | 0:14:15 | 0:14:16 | |
# A hold on me | 0:14:16 | 0:14:17 | |
# You really got a hold... # | 0:14:17 | 0:14:19 | |
We're not politicians and we weren't there to try and solve | 0:14:19 | 0:14:24 | |
the world's problems with a song. | 0:14:24 | 0:14:26 | |
You know, because, at best, we were trying to bring people together | 0:14:26 | 0:14:31 | |
with our music, Motown. It was the end of race music, you know. | 0:14:31 | 0:14:35 | |
# Hold me | 0:14:35 | 0:14:36 | |
# Hold me ple-e-e-ase... # | 0:14:37 | 0:14:41 | |
Hagh! | 0:14:41 | 0:14:42 | |
Well, I never thought of it in terms of black or white or answers, | 0:14:45 | 0:14:51 | |
I felt that the emotions of people are the same all over, | 0:14:51 | 0:14:56 | |
and quality is quality, you know. | 0:14:56 | 0:15:00 | |
Whilst Motown was putting inner city Detroit on the world map, | 0:15:02 | 0:15:06 | |
a group of white, working-class surburban kids, | 0:15:06 | 0:15:09 | |
known as The Motor City Five, also hoped to take the world by storm. | 0:15:09 | 0:15:13 | |
We came out of the surburbs. We all came from families that were working-class people, | 0:15:14 | 0:15:20 | |
like, my father started at Ford's in the 1940s. | 0:15:20 | 0:15:24 | |
Our vision was to create a music that hadn't been done before. | 0:15:26 | 0:15:32 | |
# ..Me want to hide... # | 0:15:32 | 0:15:33 | |
And Chuck Berry, probably, was the main influence on the MC5. | 0:15:35 | 0:15:40 | |
# I stood up on the stand | 0:15:40 | 0:15:42 | |
# With my eyes shut tight | 0:15:42 | 0:15:44 | |
# Didn't want to see anybody | 0:15:44 | 0:15:46 | |
# Feelin' happy | 0:15:46 | 0:15:48 | |
# Havin' a good time, now hey | 0:15:48 | 0:15:49 | |
# Doin' all right, doin' all right | 0:15:49 | 0:15:52 | |
# Doin' all right, Doin' all ri-ght... # | 0:15:52 | 0:15:55 | |
England, of course, was the focal point. | 0:15:55 | 0:15:59 | |
The British first wave had revolutionised popular culture. | 0:15:59 | 0:16:05 | |
The Americans were struggling to keep up. | 0:16:06 | 0:16:09 | |
The big American acts, all of a sudden, seemed hopelessly square. | 0:16:09 | 0:16:13 | |
# Run salt into the dancing crowd | 0:16:22 | 0:16:24 | |
# They'll like screaming out loud | 0:16:25 | 0:16:27 | |
# I saw you standin' there | 0:16:27 | 0:16:29 | |
# I saw you alone | 0:16:29 | 0:16:30 | |
# Saw you alone, hey-hey... # | 0:16:31 | 0:16:34 | |
And then New York, as always, had its, um, power. | 0:16:34 | 0:16:38 | |
And Los Angeles, of course, is the other centre, the other pole | 0:16:38 | 0:16:43 | |
of the American recording industry. | 0:16:43 | 0:16:46 | |
But no-one ever considered Detroit as part of that equation. | 0:16:48 | 0:16:52 | |
They were down river boys. | 0:17:16 | 0:17:18 | |
They were guys who lived in the disused parts of Detroit. | 0:17:18 | 0:17:22 | |
The industrial parts. | 0:17:22 | 0:17:24 | |
And, really, when you grew up in Detroit in those areas, | 0:17:25 | 0:17:28 | |
you had one of two ways to go. College wasn't the option. | 0:17:28 | 0:17:30 | |
It was usually, were you gonna work the line, in a tool and dye shop | 0:17:30 | 0:17:34 | |
and how many fingers were you gonna lose by the end of your career? | 0:17:34 | 0:17:39 | |
The MC5 were managed by John Sinclair, | 0:17:43 | 0:17:45 | |
a middle-class bohemian whose artist commune was based in the heart of the inner city. | 0:17:45 | 0:17:50 | |
I wanted to come here to be around the jazz players | 0:17:51 | 0:17:55 | |
and the beatniks and the dope fiends and the people who were not normal! | 0:17:55 | 0:18:00 | |
The young white people that came here, came here on purpose. | 0:18:04 | 0:18:07 | |
They came here to find urban adventure, you know. | 0:18:07 | 0:18:11 | |
EERIE MUSIC | 0:18:11 | 0:18:13 | |
White people had not shared in the largesse of America at this time | 0:18:18 | 0:18:24 | |
yet it was right there, beyond their reach. They wanted that. | 0:18:24 | 0:18:27 | |
Whereas, we were the children of people who had gotten the pay-off, | 0:18:27 | 0:18:32 | |
and found that, "So what?" You know, it wasn't what we were looking for. | 0:18:32 | 0:18:38 | |
We weren't looking for a life of total safety and ease, | 0:18:40 | 0:18:43 | |
we wanted some danger. | 0:18:43 | 0:18:45 | |
He had great weed. | 0:18:48 | 0:18:50 | |
Just fantastic. | 0:18:51 | 0:18:52 | |
And he had a great record collection. | 0:18:52 | 0:18:55 | |
# ..In school about freedom | 0:18:55 | 0:18:57 | |
# And when you try to be free They never let ya... # | 0:18:57 | 0:18:59 | |
Basically, we just wanted to hang out, you know, and be cool like him. | 0:19:00 | 0:19:03 | |
Sinclair was kind of like an agent provocateur. | 0:19:06 | 0:19:11 | |
He was just a guy who knew how to grab headlines. | 0:19:11 | 0:19:14 | |
He was a big, bearded presence and physically he was like a guru. | 0:19:14 | 0:19:20 | |
# And when we say the pledge of allegiance... # | 0:19:22 | 0:19:24 | |
Sinclair took MC5 from blue collar suburbs to the heart of the city, | 0:19:25 | 0:19:30 | |
getting them a residency at Detroit's psychedelic Gran De ballroom. | 0:19:30 | 0:19:35 | |
# The air's so thick | 0:19:35 | 0:19:36 | |
# It's like drowning in molasses | 0:19:36 | 0:19:38 | |
# I'm sick and tired of... # | 0:19:38 | 0:19:40 | |
The music scene in Detroit was born at the Grand De ballroom. | 0:19:40 | 0:19:45 | |
That was like our petri dish. | 0:19:45 | 0:19:47 | |
We put the bacteria in and watched it multiply! | 0:19:47 | 0:19:50 | |
We would come to the Gran De, take acid and freak out with the MC5. | 0:19:54 | 0:19:59 | |
It was very far out. | 0:20:00 | 0:20:02 | |
These kids would come from the suburban context, where they had seen The Beatles on television | 0:20:02 | 0:20:07 | |
and they thought that was great. | 0:20:07 | 0:20:09 | |
They would come here and this was a place that was a different world. | 0:20:09 | 0:20:14 | |
Maybe they'd get laid! | 0:20:14 | 0:20:15 | |
Oh, you would walk in, | 0:20:23 | 0:20:24 | |
you would park and it was a very dangerous neighbourhood, | 0:20:24 | 0:20:27 | |
so, if you made it through the doors intact, it was an accomplishment. | 0:20:27 | 0:20:33 | |
It was like an adult playground, perhaps. | 0:20:35 | 0:20:38 | |
# Yes, yes, yes, yes... # | 0:20:38 | 0:20:41 | |
People would be dancing and then at the back there'd be a platform | 0:20:41 | 0:20:45 | |
doing a light show. | 0:20:45 | 0:20:49 | |
Lots of people of all sorts, | 0:20:49 | 0:20:52 | |
all ages, different costumes, different kinds of dress. | 0:20:52 | 0:20:57 | |
It was freedom. | 0:20:57 | 0:20:58 | |
It had a tremendous amount of atmosphere. It was the perfect venue. | 0:21:04 | 0:21:09 | |
It was not on the street level, it was upstairs. | 0:21:09 | 0:21:12 | |
And here was this fantastic room | 0:21:15 | 0:21:19 | |
with these archways and a promenade around and a stage at one end | 0:21:19 | 0:21:24 | |
and it was, kind of, big and cavernous and mysterious. | 0:21:24 | 0:21:29 | |
It had... It was just full of atmosphere. | 0:21:30 | 0:21:33 | |
And we knew that the place had been used in previous decades | 0:21:33 | 0:21:38 | |
as a ballroom for swing dancing | 0:21:38 | 0:21:42 | |
and jitterbugging, it was so... It had all that charisma about it. | 0:21:42 | 0:21:46 | |
And here we were in the mid-'60s, | 0:21:46 | 0:21:50 | |
bringing something completely new to it. | 0:21:50 | 0:21:55 | |
It was our palace. | 0:21:55 | 0:21:56 | |
And I'm having the warmest memories of spectacular sex acts, | 0:21:56 | 0:22:02 | |
performed in various parts of this building. | 0:22:02 | 0:22:05 | |
HE LAUGHS | 0:22:05 | 0:22:08 | |
Very warm memories! | 0:22:08 | 0:22:10 | |
BLUES VOCAL | 0:22:10 | 0:22:12 | |
Whilst the inner city was a playful adventure for the white kids, | 0:22:15 | 0:22:18 | |
conditions for the black population were becoming intolerable. | 0:22:18 | 0:22:23 | |
Trouble was on its way. | 0:22:23 | 0:22:25 | |
I mean, we had a police crew called the big four, | 0:22:27 | 0:22:31 | |
four big white guys who rode round in a big four-door sedan, | 0:22:31 | 0:22:35 | |
used to jump outta the car all the time, threatening black people standing on the corner. | 0:22:35 | 0:22:40 | |
# ..fire bomb bustin' All around me... # | 0:22:40 | 0:22:42 | |
And they'd jump out and say, "Go home." | 0:22:42 | 0:22:45 | |
We'd say, "We at home. You go home!" | 0:22:45 | 0:22:47 | |
POLICE SIREN WAILS | 0:22:47 | 0:22:50 | |
In our mind, it was inevitable that there would be a riot by black people in Detroit | 0:22:51 | 0:22:56 | |
because the conditions were so bad. | 0:22:56 | 0:22:58 | |
Because when Detroit was gonna blow, it was gonna blow! | 0:23:04 | 0:23:07 | |
On 23rd July, 1967, Detroit erupted into riots. | 0:23:09 | 0:23:15 | |
It was the hatred of the police department that sparked that. | 0:23:20 | 0:23:24 | |
I mean, the fact that they decided to raid | 0:23:24 | 0:23:27 | |
an after-hours joint and arrest everybody... | 0:23:27 | 0:23:29 | |
I mean, an after-hours joint was part of our life here in this city. | 0:23:29 | 0:23:33 | |
# ..Takin' my wife and my family | 0:23:33 | 0:23:35 | |
# And little Johnny... # | 0:23:36 | 0:23:37 | |
This is the street that the police brought their cruisers at | 0:23:37 | 0:23:41 | |
and parked out here to arrest all those people. | 0:23:41 | 0:23:43 | |
And that's where the first bricks were thrown, right here, | 0:23:43 | 0:23:47 | |
and begin to spread down 12th Street that way | 0:23:47 | 0:23:50 | |
then Lenwood, Dexter, you know, involved the whole city before it was over. | 0:23:50 | 0:23:55 | |
# ..The Motor City's burnin' | 0:23:55 | 0:23:56 | |
# Ain't a thing that I can do... # | 0:23:59 | 0:24:01 | |
The rioting lasted five days, during which 43 people were killed. | 0:24:01 | 0:24:07 | |
33 of whom were black. | 0:24:07 | 0:24:09 | |
Everybody sort of thought we were gonna have a riot | 0:24:13 | 0:24:16 | |
because there had been racial issues that had mounted up | 0:24:16 | 0:24:19 | |
and killings and aggravations by some police. | 0:24:19 | 0:24:22 | |
# They're dancin' in the street... # | 0:24:23 | 0:24:25 | |
This place was terrorised and there had to be a change. | 0:24:25 | 0:24:28 | |
# .. An invitation Across the nation... # | 0:24:28 | 0:24:31 | |
And it wasn't only the city that would be changed for ever. | 0:24:31 | 0:24:34 | |
Detroit's music would be profoundly affected by the riots. | 0:24:34 | 0:24:39 | |
Motown was dragged into this reality when one of Martha Reeves' old hits | 0:24:39 | 0:24:43 | |
became the unofficial anthem of the rioters. | 0:24:43 | 0:24:46 | |
# ..And DC now | 0:24:46 | 0:24:48 | |
# Dancin' in the street | 0:24:48 | 0:24:49 | |
# Can't forget the Motor City | 0:24:49 | 0:24:51 | |
# Dancin' in the... | 0:24:51 | 0:24:52 | |
The riots happened and Marvin Gaye, | 0:24:52 | 0:24:55 | |
who has been known to write revolutionary songs, | 0:24:55 | 0:24:59 | |
this is prior to What's Going On, | 0:24:59 | 0:25:01 | |
thought if he sang a song about dancing in the street, they would stop fighting in the street. | 0:25:01 | 0:25:06 | |
It was to quench the riots, not incite them. | 0:25:06 | 0:25:08 | |
# ..Oh | 0:25:09 | 0:25:10 | |
# It doesn't matter what you wear | 0:25:10 | 0:25:13 | |
# Just as long as you are there... # | 0:25:13 | 0:25:16 | |
The civil rights movement had escalated, the riots had arrived. | 0:25:16 | 0:25:20 | |
Detroit had changed. It was no longer this idyllic little city. | 0:25:20 | 0:25:26 | |
We could no longer sing about the birds and the bees, | 0:25:27 | 0:25:30 | |
because that was not really what was on our minds. | 0:25:30 | 0:25:34 | |
I... The music had to change and it did. | 0:25:36 | 0:25:38 | |
# Oh-oh-oh-oh | 0:25:38 | 0:25:41 | |
# Ah-h-h | 0:25:42 | 0:25:43 | |
# You think that I don't feel love | 0:25:44 | 0:25:46 | |
# But what I feel for you is real love | 0:25:46 | 0:25:48 | |
# In other's eyes I see reflected | 0:25:48 | 0:25:50 | |
# A hurt, scorned Rejected love child! | 0:25:50 | 0:25:54 | |
# Never meant to be | 0:25:55 | 0:25:57 | |
# Love child | 0:25:58 | 0:25:59 | |
# Born in poverty | 0:26:00 | 0:26:02 | |
# Love child | 0:26:02 | 0:26:03 | |
# Never meant to be | 0:26:05 | 0:26:06 | |
# A love child... # | 0:26:07 | 0:26:08 | |
The Motown artist who later became acclaimed for his social conscience | 0:26:08 | 0:26:13 | |
would be Marvin Gaye, whose 1971 masterpiece, What's Going On? | 0:26:13 | 0:26:18 | |
was a record that Berry Gordy tried to bury. | 0:26:18 | 0:26:22 | |
# Mother, mother | 0:26:22 | 0:26:24 | |
# There's too many of you cryin'... # | 0:26:26 | 0:26:29 | |
After the riots the factories closed down. | 0:26:29 | 0:26:32 | |
They closed down work, so no-one had any work. | 0:26:32 | 0:26:35 | |
So now you have poverty. | 0:26:35 | 0:26:37 | |
Now people are grasping for jobs, for money, for this, for that. | 0:26:37 | 0:26:42 | |
Drugs come into the picture. | 0:26:44 | 0:26:46 | |
So much was destroyed. | 0:26:51 | 0:26:52 | |
# ..Mother, mother | 0:26:52 | 0:26:54 | |
# We don't need to escalate | 0:26:55 | 0:26:58 | |
# War's not the answer | 0:27:01 | 0:27:03 | |
# For only love can conquer hate | 0:27:04 | 0:27:08 | |
Although the Motown sound had finally begun to diversify, | 0:27:09 | 0:27:12 | |
the label had outgrown the crumbling city of Detroit. | 0:27:12 | 0:27:15 | |
Berry Gordy had become interested in making films with Diana Ross | 0:27:15 | 0:27:20 | |
and Hollywood beckoned. | 0:27:20 | 0:27:22 | |
In the wake of the riots, Motown would ship out west, | 0:27:23 | 0:27:26 | |
leaving a gaping hole in the city. | 0:27:26 | 0:27:28 | |
Motown went to LA. | 0:27:30 | 0:27:32 | |
I was sad as hell cos I wanted the dream of Detroit to stay around, | 0:27:32 | 0:27:37 | |
but when they got Lady Sings The Blues... | 0:27:37 | 0:27:40 | |
Berry's eyes were set on the bigger picture. | 0:27:41 | 0:27:43 | |
And he didn't realise, at the same time, he still had all of us, | 0:27:43 | 0:27:47 | |
we could've kept Motown going with the new version. | 0:27:47 | 0:27:50 | |
And the white music scene would also be affected by the unrest. | 0:27:53 | 0:27:56 | |
The MC5 lived within the riot zone and were caught up in the chaos. | 0:27:57 | 0:28:01 | |
# Dealin' in debt! | 0:28:02 | 0:28:03 | |
# And stealin' In the name of the Lord... # | 0:28:03 | 0:28:07 | |
I was exhilarated. I wanted to overthrow the system | 0:28:07 | 0:28:11 | |
and I thought, "Man, they're taking it to the max! | 0:28:11 | 0:28:16 | |
"They're going up against them!" | 0:28:16 | 0:28:18 | |
You know. "We're going up..." I mean, I felt I was part of this. | 0:28:18 | 0:28:23 | |
NEWSREEL: Law and order have broken down | 0:28:24 | 0:28:27 | |
in Detroit, Michigan. | 0:28:27 | 0:28:28 | |
Pillage, looting, murder and arson | 0:28:29 | 0:28:33 | |
have nothing to do with civil rights. | 0:28:33 | 0:28:36 | |
# ..All he left us was alone... # | 0:28:36 | 0:28:39 | |
We lived right in the middle of the ghetto. | 0:28:39 | 0:28:41 | |
Our sympathies were with the rioters, completely. | 0:28:45 | 0:28:49 | |
Against the police - we hated the police. | 0:28:49 | 0:28:51 | |
Hated the police! | 0:28:51 | 0:28:53 | |
The Detroit police were becoming like the Gestapo. | 0:28:53 | 0:28:59 | |
Seriously. | 0:29:00 | 0:29:01 | |
They were coming, looking for it. | 0:29:01 | 0:29:03 | |
# You know the Motor City's burnin', baby | 0:29:03 | 0:29:07 | |
# There ain't a thing... # | 0:29:09 | 0:29:11 | |
Early one morning the police broke the door in | 0:29:11 | 0:29:15 | |
and arrested us all and they found a bow and arrow in the house. | 0:29:15 | 0:29:20 | |
They said we were snipers shooting the police with bows and arrows! | 0:29:20 | 0:29:25 | |
So, "OK, take 'em all in." | 0:29:25 | 0:29:27 | |
I walk out on the street and there's a US Army tank on my street | 0:29:27 | 0:29:33 | |
pointing its big gun at my door! | 0:29:33 | 0:29:36 | |
This is on my street, in my city! | 0:29:36 | 0:29:39 | |
In the face of relentless police oppression, the MC5 decided to form their own revolutionary group. | 0:29:39 | 0:29:46 | |
They called themselves the White Panther party. | 0:29:46 | 0:29:50 | |
The White Panther party was kind of a universal way of saying, | 0:29:50 | 0:29:53 | |
you know, "Hey, let's take this shit over." | 0:29:53 | 0:29:58 | |
I admired the Black Panther party. | 0:30:01 | 0:30:03 | |
To me they were heroes. | 0:30:03 | 0:30:05 | |
These guys were from the neighbourhood...and we all did. | 0:30:06 | 0:30:11 | |
They had a 10-point programme, | 0:30:11 | 0:30:14 | |
so we decided we'd have a three-point programme. | 0:30:14 | 0:30:16 | |
Point two is, total assault on the culture by any means necessary. | 0:30:16 | 0:30:21 | |
Including rock 'n' roll, dope and fucking in the streets. | 0:30:21 | 0:30:24 | |
You know, rock 'n' roll, dope and fucking in the streets. | 0:30:24 | 0:30:28 | |
You can't approach the White Panther party without a sense of humour. | 0:30:28 | 0:30:32 | |
On the one hand we were serious political revolutionaries who wanted to overthrow the government, | 0:30:34 | 0:30:39 | |
on the other hand, we were on acid. | 0:30:39 | 0:30:42 | |
My take in the MC5 was that we could express this frustration | 0:30:43 | 0:30:50 | |
with the slow pace of change, with the contradictions, | 0:30:50 | 0:30:53 | |
with the injustices that we felt. | 0:30:53 | 0:30:57 | |
And we could do it through our band. | 0:30:57 | 0:30:59 | |
Kick out the jams, motherfuckers! | 0:30:59 | 0:31:02 | |
# Yeah! I, I, I, I, | 0:31:03 | 0:31:06 | |
# I'm gonna! | 0:31:06 | 0:31:07 | |
# Ah, kick 'em out! | 0:31:08 | 0:31:10 | |
# Yeah! | 0:31:11 | 0:31:12 | |
# Well I feel pretty good | 0:31:16 | 0:31:17 | |
# And I guess that I could | 0:31:17 | 0:31:19 | |
# Get crazy now, baby | 0:31:19 | 0:31:21 | |
# Cos we all got in tune | 0:31:22 | 0:31:24 | |
# And when the dressin' room | 0:31:24 | 0:31:26 | |
# Got hazy now, baby | 0:31:26 | 0:31:28 | |
# I know how you want it, child | 0:31:29 | 0:31:31 | |
# Hot, sweet and tight | 0:31:31 | 0:31:32 | |
# The girls can't stand it | 0:31:33 | 0:31:34 | |
# When you're doin' it right | 0:31:34 | 0:31:36 | |
# Let me up on the stand! | 0:31:36 | 0:31:38 | |
# And let me kick out the jam... # | 0:31:38 | 0:31:40 | |
I mean, we wanted to rewrite society. | 0:31:40 | 0:31:43 | |
We wanted to build it from the ground up. | 0:31:43 | 0:31:46 | |
You know, tear everything down and start over. Do it right this time. | 0:31:46 | 0:31:51 | |
# Yes I'm starting to sweat | 0:31:53 | 0:31:54 | |
# You know my shirt's all wet | 0:31:54 | 0:31:56 | |
# What a feelin... # | 0:31:56 | 0:31:57 | |
And motherfucker, of course, was not only a paean to the language of black Americans, | 0:31:58 | 0:32:04 | |
in which motherfucker is a key word. | 0:32:04 | 0:32:07 | |
Saying motherfucker was like dropping a 20lb bomb of shit in the middle of a church service. | 0:32:07 | 0:32:15 | |
# And let me kick out the jams... # | 0:32:15 | 0:32:17 | |
The MC5's Kick Out The Jams was actually a hit on local radio. | 0:32:19 | 0:32:22 | |
And at the time, you could burn herbs ceremonially, | 0:32:22 | 0:32:26 | |
on a lone road on the highway somewhere. | 0:32:26 | 0:32:30 | |
I remember a particular night when Kick Out The Jams came on the radio | 0:32:30 | 0:32:33 | |
and we beat the hell out of the dashboard. | 0:32:33 | 0:32:36 | |
And truly this was, you know, the id of the nation. | 0:32:36 | 0:32:40 | |
It was the screaming, angry, libidinous howl from... | 0:32:40 | 0:32:46 | |
It was Allen Ginsberg's howl to a beat. | 0:32:46 | 0:32:49 | |
I was part of an entire generation of people my age, | 0:32:51 | 0:32:56 | |
who believed the country was going in the wrong direction. | 0:32:56 | 0:32:59 | |
And then, to experience polarising events, | 0:32:59 | 0:33:04 | |
to go through the rebellion of 1967 in Detroit | 0:33:04 | 0:33:07 | |
and hear the city of Detroit at war for a week, | 0:33:07 | 0:33:11 | |
to deal with the contradictions in the Vietnam War. | 0:33:11 | 0:33:17 | |
Our government is saying we have to go there | 0:33:17 | 0:33:19 | |
and fight people that have nothing to do with us, | 0:33:19 | 0:33:23 | |
that have no impact on our lives, whatsoever. | 0:33:23 | 0:33:26 | |
If they're coming through the Windsor Tunnel, we're there! | 0:33:26 | 0:33:30 | |
But they weren't coming through the Windsor Tunnel. | 0:33:30 | 0:33:32 | |
The anger and frustration of young, white Detroit was part of a nationwide uprising, | 0:33:34 | 0:33:40 | |
a second front fought on home soil, in which American youth | 0:33:40 | 0:33:43 | |
went up against the authorities in cities across the land. | 0:33:43 | 0:33:48 | |
POLICE SIREN WAILS | 0:33:52 | 0:33:55 | |
The police were just the front lines, but the school principals, | 0:33:57 | 0:34:02 | |
the congressmen, the city council, all authorities... | 0:34:02 | 0:34:06 | |
The last thing they wanted was to turn on you. | 0:34:06 | 0:34:09 | |
They wanted you to turn off and go along with the programme. | 0:34:09 | 0:34:13 | |
We were under constant pressure from the Detroit Police Department | 0:34:18 | 0:34:23 | |
and later the state police and then federal government got involved. | 0:34:23 | 0:34:28 | |
The FBI - | 0:34:28 | 0:34:30 | |
we entered into their sphere. | 0:34:30 | 0:34:33 | |
The Detroit authorities decided it was time to take action | 0:34:39 | 0:34:43 | |
and take out the man they saw as the Pied Piper of the city's youth. | 0:34:43 | 0:34:47 | |
I believe they used the marijuana laws to silence him. | 0:34:56 | 0:35:01 | |
But if you give two joints to this little hippy chick, | 0:35:01 | 0:35:07 | |
who turned out to be an undercover agent, that gets you 20 to life. | 0:35:07 | 0:35:13 | |
That's what he was facing. | 0:35:13 | 0:35:15 | |
Sinclair was sentenced to 10 years in jail. | 0:35:17 | 0:35:20 | |
It was for two joints of marijuana. | 0:35:20 | 0:35:22 | |
Hardly a crime. | 0:35:25 | 0:35:27 | |
Certainly not something you need to keep someone segregated from the public for. | 0:35:27 | 0:35:33 | |
They took John away in handcuffs | 0:35:36 | 0:35:39 | |
and we were like lost sheep. We didn't ever expect that to happen. | 0:35:39 | 0:35:43 | |
We thought he'd get sentenced, get appeal bond and we'd get him out. | 0:35:43 | 0:35:48 | |
That didn't happen. they were so dead-set in locking him up | 0:35:48 | 0:35:52 | |
that, all of a sudden, we lost our leader. | 0:35:52 | 0:35:55 | |
He couldn't continue managing the band | 0:35:57 | 0:35:59 | |
and it was right at the time, right at the point, when the MC5 needed to make the step | 0:35:59 | 0:36:05 | |
from being a local band to being, you know, on a major label, | 0:36:05 | 0:36:09 | |
be on tour and make calculated, smart decisions | 0:36:09 | 0:36:14 | |
and there wasn't anybody there to make the decisions. | 0:36:14 | 0:36:17 | |
Whilst their leader languished in jail, | 0:36:18 | 0:36:21 | |
The MC5's progression was put on hold. | 0:36:21 | 0:36:23 | |
But the influence of their revolutionary, acid-drenched rock | 0:36:23 | 0:36:28 | |
had already reached some unlikely places in Detroit. | 0:36:28 | 0:36:31 | |
They used to call themselves the White Niggers. | 0:36:32 | 0:36:34 | |
They were really gone! | 0:36:34 | 0:36:36 | |
Kick out the jams, motherfucker. | 0:36:38 | 0:36:40 | |
They were like the ones we all got branded by, | 0:36:40 | 0:36:44 | |
but they were really the bad boys. | 0:36:44 | 0:36:46 | |
George Clinton had originally come to Detroit with the Parliaments to audition for Motown. | 0:36:49 | 0:36:54 | |
Our notion of black music, until George Clinton, was Motown. | 0:36:55 | 0:36:59 | |
Motown was our local music, | 0:36:59 | 0:37:02 | |
until, one of our school dances, this guy showed up with his band | 0:37:02 | 0:37:07 | |
and came to lip-sync I Wanna Testify in the upper gym of our high school | 0:37:07 | 0:37:12 | |
and we looked at him cross-eyed, | 0:37:12 | 0:37:14 | |
like this was the world's first black hippy, as far as we knew. | 0:37:14 | 0:37:18 | |
# ..Down so dog-gone low | 0:37:18 | 0:37:22 | |
# Had to look up at my feet... # | 0:37:22 | 0:37:24 | |
George is a genius. He takes from everything. | 0:37:24 | 0:37:27 | |
And they were just part of this wildness. | 0:37:27 | 0:37:32 | |
They were not your run-of-the-mill negroes. | 0:37:32 | 0:37:35 | |
They had another destination. | 0:37:35 | 0:37:39 | |
And then they saw the MC5 and then they started taking acid. | 0:37:42 | 0:37:46 | |
# Sure been delicious to me... # | 0:37:46 | 0:37:48 | |
Berry Gordy had turned the Parliaments down, so Clinton opted for a radical change of direction. | 0:37:49 | 0:37:55 | |
Yeah, the Temptations on acid. By the time Testify came out | 0:37:57 | 0:38:01 | |
Beatles and The Rolling Stones, the English invasion had started. | 0:38:01 | 0:38:05 | |
So, we realised we were a little bit late for Motown itself | 0:38:05 | 0:38:09 | |
and so we said, "It's time for us to change." | 0:38:09 | 0:38:13 | |
Combining rock and soul to create groundbreaking funk, | 0:38:15 | 0:38:18 | |
Parliament Funkadelic occupied a strange middle ground in Detroit's racial mix. | 0:38:18 | 0:38:24 | |
George Clinton is like the other side, in some ways, of the MC5 coin, | 0:38:24 | 0:38:29 | |
in that he took Detroit and spun it. | 0:38:29 | 0:38:32 | |
The Funkadelic wouldn't have been that without the flamboyance of white rock. | 0:38:37 | 0:38:43 | |
FUNK MUSIC | 0:38:43 | 0:38:46 | |
We were too black for white folks and too white for black folks. | 0:38:51 | 0:38:55 | |
But the audience that we did have stuck with us, period. | 0:38:55 | 0:38:59 | |
And every year there would be more and more of the colleges. | 0:39:01 | 0:39:04 | |
They'd always got a new set of kids every year. | 0:39:04 | 0:39:08 | |
Those were the people he mowed over - | 0:39:10 | 0:39:12 | |
stoned white kids. Black kids were listening to something else | 0:39:12 | 0:39:16 | |
as the mothership took off around the country. | 0:39:16 | 0:39:19 | |
What black musicians were doing | 0:39:21 | 0:39:23 | |
was just incredibly important to my group, The Stooges. | 0:39:23 | 0:39:29 | |
It was the only music that sounded better than the damn English music! | 0:39:31 | 0:39:35 | |
Which was so very good, | 0:39:35 | 0:39:37 | |
but blacks still sounded better. | 0:39:37 | 0:39:39 | |
It's still, they... They trumped it. | 0:39:39 | 0:39:42 | |
George Clinton wasn't the only act in Detroit to benefit from the MC5. | 0:39:51 | 0:39:55 | |
The five had a little brother band. | 0:39:55 | 0:39:57 | |
Another bunch of white kids from Detroit's metropolitan fringes. | 0:39:57 | 0:40:01 | |
As London has Oxford... | 0:40:01 | 0:40:05 | |
..Detroit has Ann Arbor. | 0:40:06 | 0:40:07 | |
The area functioned economically as an educational centre, | 0:40:10 | 0:40:15 | |
which fed the transport and war industries centred in Detroit. | 0:40:15 | 0:40:22 | |
# No funk | 0:40:22 | 0:40:24 | |
# My babe | 0:40:24 | 0:40:25 | |
# No funk... # | 0:40:26 | 0:40:27 | |
Hell of an easy place to get a band going. | 0:40:28 | 0:40:31 | |
There was loose money floating around the university. | 0:40:31 | 0:40:36 | |
There were church groups that were only too eager | 0:40:37 | 0:40:40 | |
to get the sinful activities under their roof, where they could watch! | 0:40:40 | 0:40:44 | |
And The Stooges played a lot of our early gigs at a Unitarian church. | 0:40:44 | 0:40:50 | |
# ..Out | 0:40:50 | 0:40:51 | |
# For another day... # | 0:40:52 | 0:40:55 | |
The Stooges opened for the MC5 at the Gran De ballroom, | 0:40:55 | 0:40:58 | |
but instead of revolutionary rock 'n' roll, | 0:40:58 | 0:41:01 | |
they were an avant garde outfit with a wild stage act. | 0:41:01 | 0:41:04 | |
We loved the MC5, | 0:41:06 | 0:41:09 | |
but there was no way we could be like the MC5. | 0:41:09 | 0:41:13 | |
We had to do something original, something of our own. | 0:41:13 | 0:41:16 | |
That was a big part of Iggy's job. | 0:41:16 | 0:41:20 | |
And he did a really good job at it. | 0:41:20 | 0:41:22 | |
We were as high energy, dedicated and driving | 0:41:23 | 0:41:28 | |
and tough, but different. | 0:41:28 | 0:41:31 | |
Some people really liked it and some people really didn't. | 0:41:31 | 0:41:36 | |
Then some people began to approach the stage, wanting to be our fans, | 0:41:36 | 0:41:41 | |
wanting to get near us and some other people | 0:41:41 | 0:41:44 | |
wanted to stand up and say, "Fuck you! | 0:41:44 | 0:41:46 | |
"This is wrong!" You know. | 0:41:46 | 0:41:49 | |
"You can't do..." It was really like, "You're ruining everything! | 0:41:49 | 0:41:53 | |
"We're on the verge of a new age here! | 0:41:53 | 0:41:57 | |
"We're taking over! We don't need you!" | 0:41:57 | 0:41:59 | |
# ..It's 1969, OK? | 0:41:59 | 0:42:02 | |
# War across the USA | 0:42:04 | 0:42:06 | |
# It's another year for me and you | 0:42:08 | 0:42:11 | |
# Another year with nothin' to do | 0:42:13 | 0:42:15 | |
# It's another year for me and you | 0:42:17 | 0:42:20 | |
# Another year With nothin' to do... # | 0:42:20 | 0:42:22 | |
It was just mayhem. | 0:42:22 | 0:42:24 | |
It was pretty much just having one riff and just going off on it | 0:42:24 | 0:42:29 | |
and letting it go where it goes. | 0:42:29 | 0:42:31 | |
# Now last year I was 21 | 0:42:31 | 0:42:33 | |
# I didn't have a lot of fun... # | 0:42:36 | 0:42:38 | |
If there was a large crowd of people in the room | 0:42:39 | 0:42:42 | |
and they weren't sure how to let things happen to them, | 0:42:42 | 0:42:47 | |
then I had to give them a little help! | 0:42:47 | 0:42:51 | |
# Oh-my and-a boo-hoo... # | 0:42:51 | 0:42:54 | |
Or we would have had a non-event, which would have led to a non-career. | 0:42:54 | 0:43:00 | |
Yeah. | 0:43:02 | 0:43:04 | |
# ..I don't care... # | 0:43:04 | 0:43:05 | |
The Stooges would develop a totally new primitive sound, | 0:43:07 | 0:43:10 | |
inspired by Detroit. | 0:43:10 | 0:43:11 | |
When I was in elementary school, we had a field trip to the Rouge Industrial Complex. | 0:43:14 | 0:43:20 | |
There was a machine that would just drop a piece of sheet metal... | 0:43:20 | 0:43:26 | |
Whow! | 0:43:26 | 0:43:26 | |
I wanted to make music. I thought it should sound like that. | 0:43:29 | 0:43:32 | |
And I loved it. It was so impressive. It was power. | 0:43:33 | 0:43:38 | |
# So messed up | 0:43:42 | 0:43:44 | |
# I want ya here... # | 0:43:44 | 0:43:46 | |
That one piano note, driving and driving. | 0:43:47 | 0:43:50 | |
And the sleigh bells putting those dins... | 0:43:50 | 0:43:54 | |
Putting that big din of sound over simple music. | 0:43:54 | 0:43:59 | |
It did have kind of an assembly line, robotic kind of feel to it. | 0:43:59 | 0:44:03 | |
# ..And I lay right down In my favourite place... # | 0:44:06 | 0:44:10 | |
Detroit people are good people, they're smart, but they're tough. | 0:44:10 | 0:44:14 | |
And the music they wanted was tough and hard and dry. | 0:44:14 | 0:44:20 | |
# ..I wanna be your dog | 0:44:20 | 0:44:22 | |
# And now I wanna be your dog... # | 0:44:22 | 0:44:26 | |
It was an answer to all the florid excesses of pop | 0:44:28 | 0:44:34 | |
and back to an elemental, primitive feeling, "I wanna be your dog." | 0:44:34 | 0:44:37 | |
To speak of Detroit, Motown was the apotheosis of the extended chord, | 0:44:39 | 0:44:45 | |
but Detroit rock 'n' roll came along and said, | 0:44:45 | 0:44:48 | |
"To hell with all this finery. Let's go back to the basics." | 0:44:48 | 0:44:52 | |
And I think Iggy was... That was as raw as it ever got. | 0:44:52 | 0:44:56 | |
The Stooges' primitivism harked back to Detroit godfather, John Lee Hooker. | 0:45:01 | 0:45:06 | |
But instead of inner city blues, their music oozed adolescent, suburban boredom. | 0:45:06 | 0:45:12 | |
# Outta my mind on | 0:45:12 | 0:45:14 | |
# Saturday night | 0:45:14 | 0:45:15 | |
# 1970 | 0:45:16 | 0:45:17 | |
# Rollin' in sight | 0:45:18 | 0:45:19 | |
# Radio burnin' | 0:45:20 | 0:45:21 | |
# Up above | 0:45:22 | 0:45:23 | |
# Beautiful baby | 0:45:24 | 0:45:25 | |
# Feed my love all night | 0:45:26 | 0:45:28 | |
# Till I blow | 0:45:29 | 0:45:30 | |
# Away... # | 0:45:31 | 0:45:32 | |
Yeah, Iggy was right. | 0:45:33 | 0:45:35 | |
When you look at what the concerns of youth are, | 0:45:35 | 0:45:38 | |
you have something that's really incredibly perceptive. | 0:45:38 | 0:45:43 | |
It's almost like poetry, you know, these little phrases | 0:45:43 | 0:45:48 | |
that capture the state of youth. | 0:45:48 | 0:45:52 | |
The somewhat monotony, the sense of closed doors. | 0:45:52 | 0:45:56 | |
The sense of rootlessness and boredom. | 0:45:56 | 0:46:00 | |
There was no way it would fit into FM radio or anything playing then. | 0:46:02 | 0:46:07 | |
There was a different definition of what music is | 0:46:09 | 0:46:13 | |
and of what rock 'n' roll is. The Stooges were that, | 0:46:13 | 0:46:18 | |
as the Ramones were that five or six years later. | 0:46:18 | 0:46:22 | |
The Stooges are totally the starting point | 0:46:24 | 0:46:28 | |
for what would become punk. | 0:46:28 | 0:46:31 | |
VOICEOVER: That's peanut butter. | 0:46:34 | 0:46:36 | |
Ahead of their time, The Stooges would not find due recognition until later. | 0:46:36 | 0:46:41 | |
Instead, it took an outsider to export the Detroit sound worldwide. | 0:46:41 | 0:46:47 | |
Consistently, for 50 years, there's been a phenomenon | 0:46:50 | 0:46:54 | |
in which, in the recording industry there is a hot town. | 0:46:54 | 0:46:59 | |
And when one good thing happens that lights up a town, | 0:47:00 | 0:47:06 | |
then, whoosh! They will swoop in from the coasts. | 0:47:06 | 0:47:12 | |
In the '60s, Detroit had its moment. | 0:47:12 | 0:47:15 | |
All sorts of people, you know, were gonna get signed | 0:47:15 | 0:47:19 | |
and I think that's why Alice Cooper went there and became a Detroit band. | 0:47:19 | 0:47:25 | |
Having been on the fringes of LA's rock scene in the late '60s, | 0:47:29 | 0:47:33 | |
Alice Cooper met with little success before moving back to Michigan. | 0:47:33 | 0:47:38 | |
# ..Like the rain | 0:47:38 | 0:47:40 | |
# I'll be back home again... # | 0:47:40 | 0:47:42 | |
In Los Angeles or New York, if you're going to a Ramones concert, | 0:47:44 | 0:47:50 | |
if you're gonna go to an Alice concert or a Kiss concert back then, | 0:47:50 | 0:47:54 | |
you'd come home from work, go home, put on your black turn-up Levis, | 0:47:54 | 0:47:58 | |
put on your leather jacket, mess up your hair, smear some make-up on | 0:47:58 | 0:48:03 | |
and go to the show. | 0:48:03 | 0:48:04 | |
In Detroit they would just come from work, cos that's what they wore. | 0:48:04 | 0:48:09 | |
# I'm 18 and I don't know what I want | 0:48:09 | 0:48:13 | |
# 18, I just don't know what I want | 0:48:13 | 0:48:17 | |
# 18, I gotta get away | 0:48:18 | 0:48:22 | |
# I've gotta get... # | 0:48:24 | 0:48:25 | |
They gigged with The Stooges, three months later they were neighbours! | 0:48:25 | 0:48:30 | |
You know, and all of a sudden it was, "Under my wheels", | 0:48:30 | 0:48:33 | |
and "18", and they... | 0:48:33 | 0:48:36 | |
..they killed us. | 0:48:36 | 0:48:38 | |
He was smearing peanut butter over himself and jump in the audience, | 0:48:38 | 0:48:41 | |
he was a show unto himself. Musically, they weren't theatrical. | 0:48:41 | 0:48:45 | |
The band just kind of stood there and played, Iggy did all the work. | 0:48:45 | 0:48:49 | |
Whereas Alice Cooper, every single song was a theatrical bit. | 0:48:49 | 0:48:54 | |
# Livin' in the middle of town | 0:48:54 | 0:48:57 | |
# I'm 18! | 0:48:57 | 0:48:59 | |
# I get confused every day | 0:48:59 | 0:49:02 | |
# 18 and I just don't know... # | 0:49:02 | 0:49:06 | |
They took our themes... | 0:49:06 | 0:49:07 | |
..articulated them well enough... | 0:49:09 | 0:49:11 | |
..threw all the crazy shit out. | 0:49:12 | 0:49:14 | |
Did very, very good song craft. | 0:49:15 | 0:49:18 | |
And good vocals. Good, strong, nasty rock vocals | 0:49:19 | 0:49:24 | |
and they did the units. | 0:49:24 | 0:49:26 | |
# School's out for summer... # | 0:49:26 | 0:49:31 | |
Alice Cooper took the Detroit sound and turned it into a lucrative pantomime, | 0:49:31 | 0:49:36 | |
leaving the uncompromising Stooges and MC5 in limbo. | 0:49:36 | 0:49:40 | |
# ..School's been blown to pieces... # | 0:49:40 | 0:49:46 | |
I think everyone went home to their respective mothers, basically. | 0:49:46 | 0:49:51 | |
That's what I did first. | 0:49:51 | 0:49:53 | |
We were all broke. | 0:49:53 | 0:49:56 | |
I was strung out. | 0:49:58 | 0:50:00 | |
I decamped home | 0:50:00 | 0:50:03 | |
until I was... | 0:50:03 | 0:50:05 | |
stabilised enough to go out and seek further employment. | 0:50:05 | 0:50:11 | |
And what happens is | 0:50:12 | 0:50:15 | |
it's a crushing defeat. | 0:50:15 | 0:50:16 | |
It's a blow to your ego. | 0:50:16 | 0:50:19 | |
One day you were the golden child, | 0:50:19 | 0:50:22 | |
and you're not any more, and it's painful. | 0:50:22 | 0:50:25 | |
And what I did was found the painkilling properties | 0:50:25 | 0:50:31 | |
of Jack Daniels and heroin. | 0:50:31 | 0:50:33 | |
It's a sad tale, that all the Detroit bands kind of ended badly. | 0:50:38 | 0:50:43 | |
But then... | 0:50:43 | 0:50:46 | |
You know, it's not surprising in terms of Detroit. | 0:50:46 | 0:50:49 | |
There is a sense that Detroit... will get you. | 0:50:51 | 0:50:56 | |
But there would be a happy ending for one person from Detroit's rock scene. | 0:51:05 | 0:51:09 | |
John Sinclair was two years into his sentence when fellow revolutionaries John and Yoko Lennon | 0:51:09 | 0:51:16 | |
got wind of his plight and came to Michigan. | 0:51:16 | 0:51:18 | |
Here's a song I wrote for John Sinclair. One, two, one, two, three, four... | 0:51:18 | 0:51:24 | |
# It ain't fair, John Sinclair | 0:51:31 | 0:51:35 | |
# In the stir for breathing air | 0:51:35 | 0:51:38 | |
# Won't you care for John Sinclair? | 0:51:38 | 0:51:40 | |
# In the stir for breathing air | 0:51:40 | 0:51:43 | |
# Let him be, set him free | 0:51:43 | 0:51:46 | |
# Let him be like you and me | 0:51:46 | 0:51:49 | |
# They gave him ten for two | 0:51:51 | 0:51:54 | |
# What else can Judge Columba do? | 0:51:54 | 0:51:57 | |
# Got to, got to, got to, got to, got to | 0:51:57 | 0:52:01 | |
# Got to, got to, got to, got to, got to... # | 0:52:01 | 0:52:05 | |
On the following Monday, John was free. | 0:52:05 | 0:52:08 | |
There was a person in the Corrections Department of Michigan | 0:52:09 | 0:52:15 | |
who made the decision to let John out three days after John Lennon came. | 0:52:15 | 0:52:19 | |
I mean, the coincidence... | 0:52:19 | 0:52:23 | |
It was just amazing. | 0:52:26 | 0:52:29 | |
# What else can Judge Columba do...? # | 0:52:33 | 0:52:36 | |
# Got to, got to, got to, got to | 0:52:36 | 0:52:39 | |
# Got to, got to, got to, got to, got to, got to set him free... # | 0:52:39 | 0:52:47 | |
I've been out of trouble for 35 years, since I got out of prison, | 0:52:49 | 0:52:53 | |
because I don't do that any more. | 0:52:53 | 0:52:55 | |
I don't give a fuck what they do! | 0:52:55 | 0:52:57 | |
I'm gonna sit here and have my joint, I don't care what they think. | 0:52:57 | 0:53:01 | |
I'm just gonna stay out of their way. | 0:53:01 | 0:53:03 | |
# ..Free! # | 0:53:03 | 0:53:05 | |
As the new decade arrived, Detroit started to resemble a ghost town. | 0:53:19 | 0:53:24 | |
Motown finally completed its move to LA in '72, | 0:53:24 | 0:53:29 | |
where a few of its more visionary artists pioneered a tougher new funk sound, | 0:53:29 | 0:53:33 | |
with a real grip on what the black inner city was becoming. | 0:53:33 | 0:53:37 | |
# A boy is born In hard time Mississippi | 0:53:37 | 0:53:42 | |
# Surrounded by four walls That ain't so pretty | 0:53:42 | 0:53:47 | |
# His parents give him Love and affection | 0:53:47 | 0:53:52 | |
# To keep him strong Moving in the right direction | 0:53:52 | 0:53:56 | |
# Living just enough | 0:53:56 | 0:53:59 | |
# Just enough for the city | 0:53:59 | 0:54:04 | |
# Ha! | 0:54:04 | 0:54:06 | |
# His father works some days For fourteen hours | 0:54:06 | 0:54:11 | |
# And you can bet He barely makes a dollar | 0:54:11 | 0:54:16 | |
# His mother goes To scrub the floors for many | 0:54:16 | 0:54:20 | |
# And you'd best believe She hardly gets a penny | 0:54:20 | 0:54:24 | |
# Living just enough Just enough for the city... # | 0:54:24 | 0:54:32 | |
What you had in Detroit was happening already before the riots. | 0:54:32 | 0:54:37 | |
You had a city that was going black at its core | 0:54:37 | 0:54:41 | |
and white people that didn't like that and were moving out | 0:54:41 | 0:54:44 | |
to surround the city. | 0:54:44 | 0:54:46 | |
Detroit continued to decline, | 0:54:49 | 0:54:51 | |
through the first Arab oil embargo, | 0:54:51 | 0:54:54 | |
and that's when Chrysler, GM and Ford got caught producing cars | 0:54:54 | 0:55:00 | |
that did nine miles to the gallon, | 0:55:00 | 0:55:03 | |
and the Japanese said, "We can make a car that gets 40 miles to the gallon!" | 0:55:03 | 0:55:07 | |
And so that was the beginning of the end in Detroit. | 0:55:07 | 0:55:10 | |
Life both rose and fell with the fortunes of the American auto companies, | 0:55:10 | 0:55:15 | |
and at that time, they left Detroit like an empty peanut shell. | 0:55:15 | 0:55:21 | |
They drained the life blood out of it, and the money disappeared | 0:55:21 | 0:55:26 | |
and the manufacturers disappeared to where the taxes were more favourable. | 0:55:26 | 0:55:30 | |
But whilst the city's industry has been decimated, | 0:55:30 | 0:55:34 | |
its music has survived. Today, | 0:55:34 | 0:55:37 | |
even some of those who may have overindulged in the '60s are still going strong. | 0:55:37 | 0:55:42 | |
The Stooges are playing now... They're more vital | 0:55:48 | 0:55:52 | |
and more fabulous than ever. Their audiences are bigger than ever. | 0:55:52 | 0:55:57 | |
People who weren't born then love them more than ever. | 0:55:57 | 0:56:02 | |
Finally it's gotten through. And if we look around now, | 0:56:02 | 0:56:05 | |
the Beatles are not the major influence. | 0:56:05 | 0:56:09 | |
It's more likely that the Stooges and the Ramones are. | 0:56:09 | 0:56:12 | |
As simple as the Stooges' music is, in a sense, probably now | 0:56:12 | 0:56:18 | |
it's far more popular than it was in 1969 or '70. | 0:56:18 | 0:56:22 | |
You know, even today, | 0:56:25 | 0:56:27 | |
with the kind of nouveau garage-ic sounds that come out of there - | 0:56:27 | 0:56:34 | |
the Demolition Doll Rods, the White Stripes... | 0:56:34 | 0:56:37 | |
# I'm gonna fight 'em all... # | 0:56:37 | 0:56:39 | |
These are bands that really bring it down to an elemental level. | 0:56:39 | 0:56:45 | |
# They're gonna rip it off... # | 0:56:45 | 0:56:49 | |
You've got a good riff, you've got a phrase to stick over it, | 0:56:49 | 0:56:53 | |
you whack the snare and there you are. | 0:56:53 | 0:56:55 | |
# ..I can't forget | 0:56:55 | 0:56:58 | |
# Back and forth through my mind | 0:57:00 | 0:57:03 | |
# Behind a cigarette | 0:57:03 | 0:57:05 | |
# And the message coming from my eyes | 0:57:08 | 0:57:11 | |
# Says leave it alone... # | 0:57:11 | 0:57:14 | |
And along with the White Stripes, | 0:57:14 | 0:57:16 | |
Eminem resides at the top of Detroit's musical pile. | 0:57:16 | 0:57:20 | |
The world's biggest hip-hop star, | 0:57:20 | 0:57:22 | |
Slim Shady, is another suburban white kid | 0:57:22 | 0:57:25 | |
upholding Detroit's musical tradition | 0:57:25 | 0:57:27 | |
for blending black and white. | 0:57:27 | 0:57:30 | |
# You'd better lose yourself In the music, the moment | 0:57:30 | 0:57:32 | |
# You own it You better never let it go | 0:57:32 | 0:57:35 | |
# You only get one shot Do not miss your chance to blow | 0:57:35 | 0:57:38 | |
# This opportunity comes Once in a lifetime... # | 0:57:38 | 0:57:41 | |
His songs bring to life the social problems of modern Detroit. Within its eight-mile road boundary | 0:57:41 | 0:57:46 | |
the population has now halved to under a million, over 80% of whom are black | 0:57:46 | 0:57:52 | |
and a third of whom live below the breadline. | 0:57:52 | 0:57:55 | |
# This world is mine for the taking | 0:57:55 | 0:57:57 | |
# Make me king | 0:57:57 | 0:57:59 | |
# As we move toward A new world order | 0:57:59 | 0:58:01 | |
# A normal life is boring | 0:58:01 | 0:58:02 | |
# But superstardom's close to post mortem | 0:58:02 | 0:58:05 | |
# It only grows harder Only grows hotter... # | 0:58:05 | 0:58:08 | |
You think of Detroit in the modern period | 0:58:08 | 0:58:12 | |
as a huge, vast African-American ghetto. | 0:58:12 | 0:58:16 | |
Take New Orleans after the flood - | 0:58:16 | 0:58:19 | |
Detroit has been through all this and they didn't even have a natural disaster! | 0:58:19 | 0:58:25 | |
It just got washed over by America, you know? | 0:58:25 | 0:58:29 | |
We stand here today... | 0:58:31 | 0:58:33 | |
Me and Chuck was just talking earlier. | 0:58:33 | 0:58:36 | |
Chrysler just signed a new contract two weeks ago, and today on the news | 0:58:36 | 0:58:41 | |
they announced they're laying off 12,000 people permanently. | 0:58:41 | 0:58:45 | |
Half of those 12,000 people are directly here in the city of Detroit, | 0:58:45 | 0:58:49 | |
which is gonna make things that much more devastating than it is now. | 0:58:49 | 0:58:53 | |
Everything has just been dismantled. | 0:58:53 | 0:58:56 | |
You ride down the streets here, it looks like Lebanon or something. | 0:58:56 | 0:58:59 | |
# No more games I'm a change what you call rage | 0:58:59 | 0:59:03 | |
# Tear this...roof off like two dogs caged | 0:59:03 | 0:59:06 | |
# I was playing in the beginning The mood all changed | 0:59:06 | 0:59:08 | |
# I been chewed up and spit out And booed off stage | 0:59:08 | 0:59:11 | |
# But I kept rhyming And stepwritin' the next cypher | 0:59:11 | 0:59:14 | |
# Best believe Somebody's paying the pied piper | 0:59:14 | 0:59:17 | |
# All the pain inside Amplified by the fact | 0:59:17 | 0:59:20 | |
# That I can't get by with my 9 to 5 | 0:59:20 | 0:59:23 | |
# And I can't provide the right type of life for my family... # | 0:59:23 | 0:59:26 |