WEBVTT

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[MUSIC PLAYING]

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(SINGING) [INAUDIBLE]
went walking right by--

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We came across the story of
a blues man from the 1930s,

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a guy called Robert Johnson.

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Now, the story goes
that Robert Johnson

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sold his soul to the devil
at the crossroads in the Deep

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South.

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He sold his soul.

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And in return, he was given the
secret of a black technology,

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a black secret technology, that
we know to be now as the blues.

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The blues begat jazz.

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The blues begat soul.

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The blues begat hip hop.

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The blues begat R&B.

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Now, flash forward 200 years
into the future, next figure,

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another hoodlum, another bad
boy scavenger poet figure,

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he\'s called a data thief.

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200 years into the future, the
data thief has told a story.

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If you can find the crossroads,
a crossroads, this crossroads,

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if you can make an
archaeological dig

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into this crossroads, you\'ll
find fragments, techno fossils.

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And if you can put
those elements,

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those fragments, together,
you\'ll find the code.

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Crack that code, and you\'ll
have the keys to your future.

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You\'ve got one clue.

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And it\'s the phrase
\"mothership connection.\"

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[MUSIC PLAYING]

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The \"Mothership Connection,\"
it\'s kind of George Clinton\'s

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obvious--

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it\'s his 1974 album in
which you have an alien.

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You have George Clinton
who\'s like an alien in kind

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of silver foil, and he\'s
getting out of a spaceship.

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You can\'t work out whether he\'s
getting out of the spaceship

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or getting back
into the spaceship.

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By this time, black
music had-- black

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itself had become commercial.

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It was hip to be black
and into the music

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and know the dance bands of
James Brown and all of that.

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So and rock and roll had
just like faded out in \'69.

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So it was time to make a change.

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This figure is a thief.

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He\'s a data thief.

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And he\'s surfing across the
internet of black culture,

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breaking into the vaults,
breaking into the rooms,

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and stealing fragments,
fragments from cyber

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culture, techno culture,
narrative culture.

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[MUSIC PLAYING]

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That data thief has
two gadgets that he\'s

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going to use to navigate his
way through our present--

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a black box and a rather
special pair of sunglasses.

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G. Clinton, George Clinton,
Parliament, Funkadelic, funk,

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uncut funk, the bomb,
George Clinton, I think,

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is a fucking maniac.

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I was always fond of Star Trek.

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I\'m a Star Trek
freak, a sci-fi freak.

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So the next record, I
had to find another place

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that they hadn\'t perceived
black people to be.

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And that was on a spaceship.

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So I pictured them in
there laying in there

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like it was a Cadillac
and sliding through space,

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chilling, have them come
here from the planet serious.

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[MUSIC PLAYING]

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I went to see a
concert when I was

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a little kid at this
place called the Olympia

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Ballroom in Detroit.

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I\'ll never forget it.

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I mean, for me, that
was my first concert

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I\'ve ever been to in my life.

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And I remember it
because I\'ll never

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forget this man coming
out on top of the roof

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on a cable dressed in a diaper
and big white platform boots

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playing a guitar and
called himself Star Child.

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And then this other
dude walks out

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of a so-called
spaceship that lands out

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of the middle of the stage.

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And these guys are
playing this music.

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[MUSIC PLAYING]

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When I think about it
right now, I\'m there.

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The mothership connection
is Clinton\'s symbol

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for what happens to funk when
you pass it through the studio

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and when it becomes kind
of a astro or becomes space

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or becomes extraterrestrial.

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The \"Mothership Connection\" is
like the link between Africa

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as a lost continent in the
past and between Africa

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as an alien future.

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Roaming the internet, the data
thief discovers a new world--

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Africa.

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Somewhere in this street is
the secret of the mothership.

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The data thief knows
that the first touch

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with science fiction came
when Africans playing drums

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to cover distance.

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Water carried the
sound of the drums.

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And the sound
covered the distance

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between the old
and the new world.

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This was the data thief\'s first
visit, his first clue that

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took him back to the new world.

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P-Funk is pure funk OK?

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I mean, it\'s uncut
and undiluted.

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It\'s a pure funk, just no
cut, no extra ingredient

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or additives.

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[EAGLE SCREAM]

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[POPPING]

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[HEAVY BREATHING]

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He\'s in the land
of African memory.

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In the history of
vault, a woman says,

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it\'s after the end of the world.

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Don\'t you know that yet?

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Confused, the data thief
returns to the future.

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[MUSIC PLAYING]

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The music is different here.

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The vibrations are different.

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Sun Ra, George Clinton\'s
mentor, period.

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In the new world,
the data thief finds

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two rooms marked Lee Perry\'s
Black Ark and Sun Ra\'s

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Arkestra.

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You get everything with Sun Ra.

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You get ragtime, and he
covered all those periods.

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You get swing.

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You get be bop, and you get--

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He\'s admired by
John Cage, so you

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get some of that European
vanguard tinge to his music.

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It\'s very difficult to have
a conversation with him.

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I recall having a
discussion with him

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during one of his rehearsals.

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Every time I\'d
prepared to answer

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one of his long monologues,
he\'d start up the band,

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so I would be drowned out.

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The data thief
asks Sun Ra and Lee

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Perry for the secret of
the mothership connection.

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And they said, our music is
a mirror of the universe.

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We explore the
future through music.

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The Black Ark, which is
Lee Perry\'s studio and also

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his label, the Arkestra,
which was from about 1955 on,

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Sun Ra\'s band--

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[MUSIC PLAYING]

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--and the mothership,
\"Mothership Connection,\"

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which was George Clinton\'s
major Earth tour of about 1977

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are three spaceship images
that these musicians are using

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as vehicles for this
kind of subversion

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that I\'m talking about
and this idea that I\'m

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talking about of exploration.

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I am the firmament computer.

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I am the sky computer.

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I am the orbit computer.

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[ELECTRIC BUZZING]

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Lee Perry, I\'ve heard
the name, but I\'m not

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quite sure who that is.

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It\'s interesting to look
at Lee Perry in reggae,

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George Clinton in funk,
and Sun Ra in jazz

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as three figures who are
working with a shared

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set of mythological
images and icons.

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I think it\'s uncanny the
fact that they\'re all

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using space iconography and
certain tropes of madness

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and extraterrestriality largely
independent of one another,

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largely without ever having come
in contact with one another\'s

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work.

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I cover the Earth and hold
it like a ball in my hand.

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[MUSIC PLAYING]

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Space, for black people,
it\'s not something new.

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I really believe that
we\'ve been there,

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that we\'re returning to that,
and that the consciousness

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of black people
or all mankind is

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striving to return to where
the essence of the roots

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have come from, whether somebody
came in gave us our intellect

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genetically or cloned us
or switching on our genes

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to start evolving
the way we have

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or that we are descendents
from the stars.

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[MUSIC PLAYING]

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The data thief knows there\'s
a connection between music,

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space, and the future.

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Entering a room marked
Space Exploration,

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he finds the name Bernard
Harris, Astronaut.

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He asks him, what does
the mothership connection

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mean to you?

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Well, it means to me,
number one, in college,

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we used to party off
this album quite a lot.

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But it also is a reflection of
one man\'s vision of the future.

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And that is of us as
human beings exploring

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space, but more importantly,
a black man, black people,

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out exploring space.

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We\'re doing that now.

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We\'re going to be doing
that in the future.

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Roger, roll Endeavor.

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All maneuvers complete
aboard Endeavor.

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I have always wanted to
be an astronaut since I

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was about eight years old.

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I was one of those kids that
was fascinated with science

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and science fiction.

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I always count myself as
one of the original Trekkies

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or Trekkers or whatever
they call it these days.

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And so through that fantasy
of imagining being in space,

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then I started reading about it.

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I started researching
NASA and finding out all

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about what it was all about.

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And when I saw the first
human beings walk on the moon,

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I was hooked.

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That was it.

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I remember being so
excited and in awe

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that we stepped on the moon.

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That\'s it.

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You got in right there.

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But coming out of it,
that glorious moment,

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I didn\'t see my brother.

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I didn\'t see us there.

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And I decided to
have a part in that.

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When they called me in and
asked me to assist them

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in recruiting the first
women and minority

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astronauts for the space shuttle
program, I could not say no.

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I knew that Nichelle
was involved

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with the early recruitment
program that went on at NASA.

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And in fact, from
her efforts and a lot

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of folks here at Johnson
Space Center\'s efforts

00:13:03.060 --> 00:13:06.450 align:middle line:84%
and also probably some efforts
of some of the civil rights

00:13:06.450 --> 00:13:08.820 align:middle line:84%
leaders that we\'ve
had in this country,

00:13:08.820 --> 00:13:12.157 align:middle line:84%
we got our first three
African-American astronauts.

00:13:12.157 --> 00:13:19.462 align:middle line:90%


00:13:19.462 --> 00:13:25.306 align:middle line:90%
[MUSIC PLAYING]

00:13:25.306 --> 00:13:29.700 align:middle line:90%


00:13:29.700 --> 00:13:35.460 align:middle line:84%
I walked in, and I saw men and
women of all colors working

00:13:35.460 --> 00:13:36.990 align:middle line:90%
at every level.

00:13:36.990 --> 00:13:43.530 align:middle line:84%
Scientists, administrators,
secretaries, photographers,

00:13:43.530 --> 00:13:48.210 align:middle line:84%
journalists, all the way
down to maintenance engineers

00:13:48.210 --> 00:13:51.180 align:middle line:90%
were black and white.

00:13:51.180 --> 00:13:53.970 align:middle line:84%
I thought, why in
the world is this not

00:13:53.970 --> 00:14:01.150 align:middle line:84%
being represented for
the public to see,

00:14:01.150 --> 00:14:04.300 align:middle line:84%
that this NASA that I\'m
seeing represents all of us?

00:14:04.300 --> 00:14:05.520 align:middle line:90%
It looks like Star Trek.

00:14:05.520 --> 00:14:11.400 align:middle line:90%
[MUSIC PLAYING]

00:14:11.400 --> 00:14:23.650 align:middle line:90%


00:14:23.650 --> 00:14:26.410 align:middle line:84%
The data thief wanders
through the ruins,

00:14:26.410 --> 00:14:31.000 align:middle line:84%
the detritus, the wastelands
of our late 20th century.

00:14:31.000 --> 00:14:34.300 align:middle line:84%
And he comes across a little
piece of stone, a fragment.

00:14:34.300 --> 00:14:37.990 align:middle line:84%
Written on it is
a strange phrase.

00:14:37.990 --> 00:14:42.160 align:middle line:84%
\"The line between social
reality and science fiction

00:14:42.160 --> 00:14:44.470 align:middle line:90%
is an optical illusion.\"

00:14:44.470 --> 00:14:47.430 align:middle line:84%
Puzzled, he wanders
off in search

00:14:47.430 --> 00:14:50.020 align:middle line:84%
of people who will confirm
this strange theorem.

00:14:50.020 --> 00:14:53.410 align:middle line:90%


00:14:53.410 --> 00:14:55.420 align:middle line:84%
The guy behind me
to my right here

00:14:55.420 --> 00:15:00.020 align:middle line:84%
is a man Mike Banks from
Underground Resistance,

00:15:00.020 --> 00:15:04.930 align:middle line:84%
one of the pentacle
techno forces in Detroit

00:15:04.930 --> 00:15:08.080 align:middle line:90%
at the very moment.

00:15:08.080 --> 00:15:11.550 align:middle line:84%
We perpetuate the
technological revolution

00:15:11.550 --> 00:15:14.160 align:middle line:84%
through music, music
being something

00:15:14.160 --> 00:15:15.820 align:middle line:84%
that people listen
to when it opens.

00:15:15.820 --> 00:15:17.530 align:middle line:84%
That\'s the first
thing they hear.

00:15:17.530 --> 00:15:21.000 align:middle line:84%
If they are going to be ready
for a technological future,

00:15:21.000 --> 00:15:22.860 align:middle line:84%
I think music better
prepares them.

00:15:22.860 --> 00:15:28.460 align:middle line:84%
Technological music better
prepares them for the future.

00:15:28.460 --> 00:15:31.373 align:middle line:84%
I think the original
philosophy of the music

00:15:31.373 --> 00:15:35.460 align:middle line:84%
that we were doing,
the Detroit techno,

00:15:35.460 --> 00:15:37.140 align:middle line:84%
whatever it\'s called
now, however it\'s

00:15:37.140 --> 00:15:39.840 align:middle line:84%
been called up, I think
really honestly, it

00:15:39.840 --> 00:15:45.210 align:middle line:84%
stems from the fact that
Juan Atkins, he had an idea,

00:15:45.210 --> 00:15:47.910 align:middle line:84%
that he wanted to
infiltrate the music

00:15:47.910 --> 00:15:50.880 align:middle line:84%
industry as a black artist
doing electronic music.

00:15:50.880 --> 00:15:53.670 align:middle line:84%
At the time, there were no black
artists really doing it other

00:15:53.670 --> 00:15:57.360 align:middle line:84%
than George Clinton, the
Parliament, Funkadelic age.

00:15:57.360 --> 00:15:59.108 align:middle line:90%
There was a couple of people.

00:15:59.108 --> 00:16:01.650 align:middle line:84%
There was George Duke, Stanley
Clarke that were experimenting

00:16:01.650 --> 00:16:02.870 align:middle line:90%
with it every now and then.

00:16:02.870 --> 00:16:04.620 align:middle line:84%
But there was really
no black artists that

00:16:04.620 --> 00:16:06.600 align:middle line:90%
were moving down that lane.

00:16:06.600 --> 00:16:10.410 align:middle line:84%
Well, the synthesizer, to me,
was the first breakthrough

00:16:10.410 --> 00:16:12.240 align:middle line:90%
for electronic music.

00:16:12.240 --> 00:16:15.660 align:middle line:84%
And by me frequenting
the music shops

00:16:15.660 --> 00:16:21.750 align:middle line:84%
and being very enthusiastic
about science fiction

00:16:21.750 --> 00:16:24.000 align:middle line:84%
and all things
futuristic, of course,

00:16:24.000 --> 00:16:27.870 align:middle line:84%
the synthesizer
represented the ability

00:16:27.870 --> 00:16:31.500 align:middle line:84%
to make these futuristic
sounds and space sounds

00:16:31.500 --> 00:16:35.467 align:middle line:84%
and UFO sounds and
implement that in the music

00:16:35.467 --> 00:16:36.300 align:middle line:90%
and over the tracks.

00:16:36.300 --> 00:16:39.660 align:middle line:84%
Because I wanted to land
a UFO on top of the track.

00:16:39.660 --> 00:16:45.528 align:middle line:90%
[MUSIC PLAYING]

00:16:45.528 --> 00:16:57.270 align:middle line:90%


00:16:57.270 --> 00:17:00.030 align:middle line:84%
The connection between the
architects of Afrofuturism,

00:17:00.030 --> 00:17:03.830 align:middle line:84%
between Sun Ra and Lee
Perry and George Clinton

00:17:03.830 --> 00:17:08.670 align:middle line:84%
and between techno and jungle
later on the \'80s and the \'90s

00:17:08.670 --> 00:17:11.190 align:middle line:84%
is simply that they
hold nothing in common

00:17:11.190 --> 00:17:14.099 align:middle line:84%
with the common idea of black
music, which is that it belongs

00:17:14.099 --> 00:17:16.710 align:middle line:90%
to the street or to the stage.

00:17:16.710 --> 00:17:19.950 align:middle line:84%
They\'re neither live musics
nor the kind of musics

00:17:19.950 --> 00:17:21.659 align:middle line:90%
that exist out in the urban.

00:17:21.659 --> 00:17:22.890 align:middle line:90%
They\'re studio musics.

00:17:22.890 --> 00:17:25.109 align:middle line:84%
They\'re impossible,
imaginary musics.

00:17:25.109 --> 00:17:26.810 align:middle line:84%
And yet, because
they\'re imaginary,

00:17:26.810 --> 00:17:30.030 align:middle line:84%
they even more powerful
because they suggest a future.

00:17:30.030 --> 00:17:31.590 align:middle line:90%
They don\'t reflect the past.

00:17:31.590 --> 00:17:32.640 align:middle line:90%
They imagine the future.

00:17:32.640 --> 00:17:37.368 align:middle line:90%
[MUSIC PLAYING]

00:17:37.368 --> 00:17:39.830 align:middle line:90%


00:17:39.830 --> 00:17:42.980 align:middle line:84%
Detroit is a symbolic
location in American culture

00:17:42.980 --> 00:17:46.370 align:middle line:84%
because it\'s where the
American automotive industry\'s

00:17:46.370 --> 00:17:47.210 align:middle line:90%
heart was.

00:17:47.210 --> 00:17:49.850 align:middle line:84%
It was the sort of
industrial space.

00:17:49.850 --> 00:17:52.850 align:middle line:84%
But once one encounters
the information industry,

00:17:52.850 --> 00:17:54.980 align:middle line:84%
those industries
are now in decay.

00:17:54.980 --> 00:17:57.230 align:middle line:90%
So now Detroit becomes a relic.

00:17:57.230 --> 00:18:00.810 align:middle line:84%
It\'s a decaying structure at
a crossroads, so to speak.

00:18:00.810 --> 00:18:04.580 align:middle line:84%
Techno coming out of
Detroit represents

00:18:04.580 --> 00:18:08.810 align:middle line:84%
that kind of urban youth\'s
view of change, of saying,

00:18:08.810 --> 00:18:12.260 align:middle line:84%
no longer do we have
this industrial base.

00:18:12.260 --> 00:18:14.220 align:middle line:84%
No longer do we have
this security anymore.

00:18:14.220 --> 00:18:15.230 align:middle line:90%
Everything is flux.

00:18:15.230 --> 00:18:19.361 align:middle line:90%


00:18:19.361 --> 00:18:21.155 align:middle line:84%
I think Detroit
techno started because

00:18:21.155 --> 00:18:26.000 align:middle line:84%
of the type of music that
Detroiters were exposed to,

00:18:26.000 --> 00:18:28.850 align:middle line:84%
because of the love
the DJs in Detroit

00:18:28.850 --> 00:18:31.790 align:middle line:84%
still have to this
day for Kraftwerk.

00:18:31.790 --> 00:18:36.470 align:middle line:84%
The Kraftwerk influence
helped the sequencing

00:18:36.470 --> 00:18:40.820 align:middle line:84%
and the rigidness of it, the
rock, the crazy sounds of it,

00:18:40.820 --> 00:18:44.228 align:middle line:84%
P-Funk, the funk of it and
the backbone, the groove.

00:18:44.228 --> 00:18:49.208 align:middle line:90%
[MUSIC PLAYING]

00:18:49.208 --> 00:19:16.100 align:middle line:90%


00:19:16.100 --> 00:19:19.900 align:middle line:84%
One my first mission as
a tribute to my heritage

00:19:19.900 --> 00:19:23.170 align:middle line:84%
as a black person
in this world, I

00:19:23.170 --> 00:19:26.740 align:middle line:84%
flew a flag that was
a combination of all

00:19:26.740 --> 00:19:31.400 align:middle line:84%
the country\'s flags of
the continent of Africa.

00:19:31.400 --> 00:19:32.530 align:middle line:90%
So I have this.

00:19:32.530 --> 00:19:35.770 align:middle line:84%
And my hopes is
that this summer,

00:19:35.770 --> 00:19:38.410 align:middle line:84%
when I\'m visiting Africa,
that I will take it around

00:19:38.410 --> 00:19:41.850 align:middle line:84%
through the different
countries and display this.

00:19:41.850 --> 00:19:43.060 align:middle line:90%
And why?

00:19:43.060 --> 00:19:45.640 align:middle line:84%
Why, because this
is my heritage,

00:19:45.640 --> 00:19:48.280 align:middle line:84%
and to say that I
know acknowledge

00:19:48.280 --> 00:19:50.860 align:middle line:84%
that I know that black people
were the first astronomers

00:19:50.860 --> 00:19:53.690 align:middle line:84%
and mathematicians
in this world.

00:19:53.690 --> 00:19:58.120 align:middle line:84%
And it seems only natural
that one of their sons

00:19:58.120 --> 00:20:00.890 align:middle line:84%
would come back from
space and say, hey,

00:20:00.890 --> 00:20:03.143 align:middle line:84%
look what we have
accomplished together.

00:20:03.143 --> 00:20:08.566 align:middle line:90%
[FRACTURED SINGING]

00:20:08.566 --> 00:20:13.989 align:middle line:90%
[MUSIC PLAYING]

00:20:13.989 --> 00:20:19.905 align:middle line:90%


00:20:19.905 --> 00:20:23.020 align:middle line:84%
Ever since the \'50s,
you\'ve had electronics

00:20:23.020 --> 00:20:25.340 align:middle line:84%
which have summoned up
the alien, the monster.

00:20:25.340 --> 00:20:26.840 align:middle line:84%
And in the \'70s,
you had disco which

00:20:26.840 --> 00:20:29.940 align:middle line:84%
summoned up the idea of
the clone and the robotic.

00:20:29.940 --> 00:20:32.230 align:middle line:84%
By the time you get to
the \'80s and Derrick May,

00:20:32.230 --> 00:20:37.060 align:middle line:84%
techno is now something
like a species jump.

00:20:37.060 --> 00:20:39.970 align:middle line:90%
Techno, to me, means--

00:20:39.970 --> 00:20:42.400 align:middle line:84%
I think the idea
for me has always

00:20:42.400 --> 00:20:49.180 align:middle line:84%
been to express man and
machine intertwined.

00:20:49.180 --> 00:20:53.140 align:middle line:84%
Kraftwerk, they did an album
based on the philosophy

00:20:53.140 --> 00:20:55.090 align:middle line:90%
of man and machine.

00:20:55.090 --> 00:20:57.040 align:middle line:84%
And they called the
album \"Man-Machine.\"

00:20:57.040 --> 00:21:00.310 align:middle line:84%
OK, I think to bring these
two elements together

00:21:00.310 --> 00:21:02.950 align:middle line:84%
and to take technology
to a level of human,

00:21:02.950 --> 00:21:07.030 align:middle line:84%
of human instinct, has always
been most important for me,

00:21:07.030 --> 00:21:10.358 align:middle line:84%
to make people see the human
side of the technology.

00:21:10.358 --> 00:21:16.450 align:middle line:90%


00:21:16.450 --> 00:21:18.330 align:middle line:84%
Most people that are
making this music

00:21:18.330 --> 00:21:21.330 align:middle line:84%
or trying or attempting
to make this music

00:21:21.330 --> 00:21:26.935 align:middle line:84%
have no idea of really those
two very simple elements.

00:21:26.935 --> 00:21:29.310 align:middle line:84%
Just take the salt, take the
pepper, and mix it together.

00:21:29.310 --> 00:21:32.200 align:middle line:84%
And what you come up with,
you have a nice piece of soup.

00:21:32.200 --> 00:21:34.320 align:middle line:84%
You put some onions in
there and some croutons.

00:21:34.320 --> 00:21:35.820 align:middle line:84%
Then you sit back,
and you sit it.

00:21:35.820 --> 00:21:36.960 align:middle line:90%
And it\'s good.

00:21:36.960 --> 00:21:40.460 align:middle line:90%


00:21:40.460 --> 00:21:44.460 align:middle line:84%
For me, I came in,
really, to breakbeat.

00:21:44.460 --> 00:21:48.850 align:middle line:84%
And breakbeat music was
the main rebel driver

00:21:48.850 --> 00:21:51.522 align:middle line:84%
wanting to be with
[INAUDIBLE] full stop.

00:21:51.522 --> 00:21:55.761 align:middle line:84%
And hip hop was
generated by breakbeat.

00:21:55.761 --> 00:21:59.220 align:middle line:84%
And I think from the point
of view I am, where I\'m at,

00:21:59.220 --> 00:22:02.940 align:middle line:84%
we had a European background
to look over our shoulder.

00:22:02.940 --> 00:22:07.355 align:middle line:84%
And we had an American dream
to look at in the forefront.

00:22:07.355 --> 00:22:09.343 align:middle line:84%
But I think the American
dream as you pursued,

00:22:09.343 --> 00:22:12.325 align:middle line:84%
it was no longer
the American dream.

00:22:12.325 --> 00:22:13.816 align:middle line:90%
It\'s after the end of the world.

00:22:13.816 --> 00:22:15.804 align:middle line:90%
Don\'t you know that yet?

00:22:15.804 --> 00:22:18.289 align:middle line:90%
It\'s after the end of the world.

00:22:18.289 --> 00:22:19.780 align:middle line:90%
Don\'t you know that yet?

00:22:19.780 --> 00:22:21.768 align:middle line:90%
It\'s after the end of the world.

00:22:21.768 --> 00:22:23.790 align:middle line:90%
Don\'t you know that yet?

00:22:23.790 --> 00:22:27.950 align:middle line:84%
Well, I\'ve always contended
that black existence and science

00:22:27.950 --> 00:22:30.550 align:middle line:90%
fiction are one and the same.

00:22:30.550 --> 00:22:34.190 align:middle line:84%
That\'s as someone who has
obviously experienced life

00:22:34.190 --> 00:22:35.900 align:middle line:84%
as a black person
and has been reading

00:22:35.900 --> 00:22:40.889 align:middle line:84%
science fiction since he
was maybe 9 or 10 years old.

00:22:40.889 --> 00:22:43.354 align:middle line:90%
It\'s after the end of the world.

00:22:43.354 --> 00:22:45.330 align:middle line:90%
Don\'t you know that yet?

00:22:45.330 --> 00:22:49.560 align:middle line:84%
The form itself, the
conventions of the narrative,

00:22:49.560 --> 00:22:51.930 align:middle line:84%
in science fiction
in terms of the way

00:22:51.930 --> 00:22:54.480 align:middle line:84%
they deal with the
subject, it\'s usually

00:22:54.480 --> 00:22:59.190 align:middle line:84%
someone who was at odds
with the apparatus of power

00:22:59.190 --> 00:23:01.860 align:middle line:84%
in the society and whose
profound experience

00:23:01.860 --> 00:23:07.170 align:middle line:84%
is one of cultural dislocation,
alienation, estrangement.

00:23:07.170 --> 00:23:13.080 align:middle line:90%


00:23:13.080 --> 00:23:14.920 align:middle line:90%
We\'re not believed.

00:23:14.920 --> 00:23:21.430 align:middle line:84%
We\'re like aliens trying to tell
our experience to Earthlings.

00:23:21.430 --> 00:23:22.842 align:middle line:90%
People don\'t believe us.

00:23:22.842 --> 00:23:24.830 align:middle line:84%
You see, we live
in-- now, there\'s

00:23:24.830 --> 00:23:27.380 align:middle line:90%
a normal life in this country.

00:23:27.380 --> 00:23:29.450 align:middle line:90%
The police don\'t plant evidence.

00:23:29.450 --> 00:23:31.880 align:middle line:90%
They don\'t lie.

00:23:31.880 --> 00:23:35.570 align:middle line:84%
And drug dealers call
ahead and make appointments

00:23:35.570 --> 00:23:36.860 align:middle line:90%
before they execute people.

00:23:36.860 --> 00:23:39.920 align:middle line:84%
This is like the upper
class white world.

00:23:39.920 --> 00:23:42.770 align:middle line:84%
We tried to tell them that this
is happening in Oakland where

00:23:42.770 --> 00:23:43.270 align:middle line:90%
I live.

00:23:43.270 --> 00:23:45.663 align:middle line:84%
And they say, well, your
experience is so incredible.

00:23:45.663 --> 00:23:46.580 align:middle line:90%
You\'re making this up.

00:23:46.580 --> 00:23:47.860 align:middle line:90%
And you\'re paranoid.

00:23:47.860 --> 00:23:50.920 align:middle line:84%
So I think living
in this country

00:23:50.920 --> 00:23:54.385 align:middle line:84%
for African Americans
is a far out experience.

00:23:54.385 --> 00:23:59.720 align:middle line:90%
[MUSIC PLAYING]

00:23:59.720 --> 00:24:06.568 align:middle line:90%


00:24:06.568 --> 00:24:08.360 align:middle line:84%
When I began to go to
Europe, I\'d come back

00:24:08.360 --> 00:24:10.235 align:middle line:84%
and say, well, not all
white people are same.

00:24:10.235 --> 00:24:12.808 align:middle line:84%
I can go to Germany and
Italy, places like that,

00:24:12.808 --> 00:24:14.100 align:middle line:90%
and have much more credibility.

00:24:14.100 --> 00:24:16.255 align:middle line:84%
We can have more
credibility there than here.

00:24:16.255 --> 00:24:17.880 align:middle line:84%
And I think one of
the reasons for that

00:24:17.880 --> 00:24:20.580 align:middle line:84%
is that there\'s a lot
of denial on the part

00:24:20.580 --> 00:24:22.091 align:middle line:84%
of the American
European population.

00:24:22.091 --> 00:24:22.966 align:middle line:90%
Do you understand me?

00:24:22.966 --> 00:24:28.560 align:middle line:90%


00:24:28.560 --> 00:24:31.270 align:middle line:84%
Greg Tate is the
writer who argued

00:24:31.270 --> 00:24:34.180 align:middle line:84%
that black people
in America certainly

00:24:34.180 --> 00:24:38.770 align:middle line:84%
live the estrangement that
science fiction writers talk

00:24:38.770 --> 00:24:39.420 align:middle line:90%
about.

00:24:39.420 --> 00:24:41.860 align:middle line:84%
All the stories about alien
abduction, all the stories

00:24:41.860 --> 00:24:45.040 align:middle line:84%
about alien spaceships taking
subjects from one planet

00:24:45.040 --> 00:24:48.400 align:middle line:84%
and taking them to another,
genetically transforming them,

00:24:48.400 --> 00:24:49.360 align:middle line:90%
Greg is really saying--

00:24:49.360 --> 00:24:51.940 align:middle line:84%
Greg is kind of recasting
American history

00:24:51.940 --> 00:24:54.610 align:middle line:84%
in the light of science
fiction and saying, well,

00:24:54.610 --> 00:24:56.290 align:middle line:84%
look all those
things that you read

00:24:56.290 --> 00:24:58.660 align:middle line:84%
about alien abduction and
genetic transformation,

00:24:58.660 --> 00:24:59.680 align:middle line:90%
they already happened.

00:24:59.680 --> 00:25:01.780 align:middle line:84%
How much more alien
do you think it

00:25:01.780 --> 00:25:07.120 align:middle line:84%
gets than slavery, than these
entire mass populations moved

00:25:07.120 --> 00:25:10.450 align:middle line:84%
and genetically altered,
entire status moved,

00:25:10.450 --> 00:25:11.980 align:middle line:90%
forcibly dematerialized?

00:25:11.980 --> 00:25:14.200 align:middle line:84%
It doesn\'t really get
much more alien than that.

00:25:14.200 --> 00:25:17.560 align:middle line:90%
[MUSIC PLAYING]

00:25:17.560 --> 00:25:20.140 align:middle line:84%
The first touch
with sci-fi is when

00:25:20.140 --> 00:25:23.200 align:middle line:84%
the slaves were using drums to
communicate over the distance.

00:25:23.200 --> 00:25:25.690 align:middle line:84%
So the slave owners
would institute reforms

00:25:25.690 --> 00:25:27.760 align:middle line:84%
that the slaves were no
longer allowed to play

00:25:27.760 --> 00:25:30.100 align:middle line:90%
certain rhythms, if at all.

00:25:30.100 --> 00:25:33.010 align:middle line:84%
And they weren\'t allowed to
speak even their own languages.

00:25:33.010 --> 00:25:35.260 align:middle line:84%
And they had to learn the
slave master\'s language

00:25:35.260 --> 00:25:39.010 align:middle line:84%
which was English in Jamaica
or in the States or Spanish

00:25:39.010 --> 00:25:40.540 align:middle line:90%
or Portuguese.

00:25:40.540 --> 00:25:43.090 align:middle line:84%
But there was always a
sense of displacement

00:25:43.090 --> 00:25:45.970 align:middle line:84%
of the original \"code\"
of their language,

00:25:45.970 --> 00:25:50.720 align:middle line:84%
and drums with the new code, or
the downloaded new information

00:25:50.720 --> 00:25:52.960 align:middle line:84%
had to be downloaded into
the cortex or whatever.

00:25:52.960 --> 00:25:55.960 align:middle line:84%
Most science fiction
tales dramatically

00:25:55.960 --> 00:25:58.960 align:middle line:84%
deal with how the
individual is going

00:25:58.960 --> 00:26:01.810 align:middle line:84%
to contend with these
alienating, dislocating

00:26:01.810 --> 00:26:03.940 align:middle line:90%
societies and circumstances.

00:26:03.940 --> 00:26:07.930 align:middle line:84%
And that pretty much sums
up the mass experience

00:26:07.930 --> 00:26:13.540 align:middle line:84%
of black people within the
post-slavery 20th century

00:26:13.540 --> 00:26:16.350 align:middle line:90%
world.

00:26:16.350 --> 00:26:20.220 align:middle line:84%
Rumor has it that before
Robert Johnson made

00:26:20.220 --> 00:26:23.370 align:middle line:84%
his deal with the devil
at the crossroads,

00:26:23.370 --> 00:26:25.298 align:middle line:84%
he couldn\'t play
to save his life.

00:26:25.298 --> 00:26:28.770 align:middle line:90%
He sold his soul.

00:26:28.770 --> 00:26:30.258 align:middle line:90%
In return, he got the secret.

00:26:30.258 --> 00:26:35.218 align:middle line:90%
[MUSIC PLAYING]

00:26:35.218 --> 00:26:41.666 align:middle line:90%


00:26:41.666 --> 00:26:46.160 align:middle line:84%
Our thief from the
future gives up

00:26:46.160 --> 00:26:50.090 align:middle line:84%
the right to belong
in his time in order

00:26:50.090 --> 00:26:54.820 align:middle line:84%
to come to our time to find
the mothership connection.

00:26:54.820 --> 00:27:00.825 align:middle line:84%
The thief becomes an
angel, an angel of history.

00:27:00.825 --> 00:27:05.050 align:middle line:84%
The data thief can visit
the Old World and the New.

00:27:05.050 --> 00:27:08.166 align:middle line:84%
But he can not be
a part of either.

00:27:08.166 --> 00:27:11.810 align:middle line:84%
He doesn\'t know
this is his problem.

00:27:11.810 --> 00:27:15.360 align:middle line:84%
But when he makes his last
trip to Africa, he will.

00:27:15.360 --> 00:27:18.800 align:middle line:90%


00:27:18.800 --> 00:27:21.480 align:middle line:84%
In the \'50s and \'60s,
there was a young writer

00:27:21.480 --> 00:27:23.880 align:middle line:84%
that came along called
Samuel R. Delany.

00:27:23.880 --> 00:27:27.300 align:middle line:84%
And he\'s like a bohemian
black gay figure

00:27:27.300 --> 00:27:31.380 align:middle line:84%
who introduced a lot of
different black and Native

00:27:31.380 --> 00:27:33.150 align:middle line:84%
Indian characters
into science fiction.

00:27:33.150 --> 00:27:35.250 align:middle line:90%
And his key book is \"Dhalgren.\"

00:27:35.250 --> 00:27:37.380 align:middle line:84%
And that\'s a key book for
black science fiction,

00:27:37.380 --> 00:27:39.930 align:middle line:84%
because that\'s the first
time that black characters

00:27:39.930 --> 00:27:43.830 align:middle line:84%
in science fiction aren\'t merely
protagonists, but as it were,

00:27:43.830 --> 00:27:48.000 align:middle line:84%
changed the entire turns of
how science fiction is written.

00:27:48.000 --> 00:27:51.900 align:middle line:84%
The cities that I had in mind
for the side of the dialogue

00:27:51.900 --> 00:27:55.570 align:middle line:84%
that my novel \"Dhalgren\"
represents, as I said,

00:27:55.570 --> 00:27:58.800 align:middle line:84%
are New York, Los
Angeles, Cincinnati.

00:27:58.800 --> 00:28:01.410 align:middle line:84%
I can\'t think of a
major American city

00:28:01.410 --> 00:28:05.100 align:middle line:84%
where half the city
has not been in a ruin.

00:28:05.100 --> 00:28:09.480 align:middle line:84%
In fact, the term \"inner
city,\" which at this point

00:28:09.480 --> 00:28:12.720 align:middle line:84%
is an American term, is
the term for that burnt out

00:28:12.720 --> 00:28:15.330 align:middle line:84%
section of your city
where people do not live,

00:28:15.330 --> 00:28:20.610 align:middle line:84%
where the general
functions of urban life

00:28:20.610 --> 00:28:22.470 align:middle line:90%
go on at a very depressed rate.

00:28:22.470 --> 00:28:27.330 align:middle line:90%
[MUSIC PLAYING]

00:28:27.330 --> 00:28:29.152 align:middle line:90%


00:28:29.152 --> 00:28:31.110 align:middle line:84%
Any music which comes
from an inner city, which

00:28:31.110 --> 00:28:32.610 align:middle line:84%
arise from an inner
city and comes

00:28:32.610 --> 00:28:36.180 align:middle line:84%
from different areas for a
city being a city which has now

00:28:36.180 --> 00:28:39.990 align:middle line:84%
developed so far along the
line, its multicultural status

00:28:39.990 --> 00:28:41.990 align:middle line:90%
has changed.

00:28:41.990 --> 00:28:43.657 align:middle line:84%
And I think that the
moral freedom of it

00:28:43.657 --> 00:28:45.023 align:middle line:90%
is that we have no--

00:28:45.023 --> 00:28:46.440 align:middle line:84%
we want to be free
with our music,

00:28:46.440 --> 00:28:48.140 align:middle line:84%
and we want take from
whatever we want to take from.

00:28:48.140 --> 00:28:50.490 align:middle line:84%
And I think the rebelliousness
before was that--

00:28:50.490 --> 00:28:51.480 align:middle line:90%
fuck everybody else.

00:28:51.480 --> 00:28:53.647 align:middle line:84%
We want to take music from
where we want to take it.

00:28:53.647 --> 00:28:55.290 align:middle line:84%
Because we can make
something with it

00:28:55.290 --> 00:28:59.440 align:middle line:84%
which is a new rhythm to your
ears, but you can\'t hear it.

00:28:59.440 --> 00:29:01.270 align:middle line:84%
I\'ve heard jungle songs
of classical music,

00:29:01.270 --> 00:29:05.220 align:middle line:84%
jungle songs of bits and
pieces of TV commercials,

00:29:05.220 --> 00:29:09.325 align:middle line:84%
jungle songs of sounds
of water running.

00:29:09.325 --> 00:29:10.200 align:middle line:90%
You know what I mean?

00:29:10.200 --> 00:29:14.580 align:middle line:84%
It\'s a true urban
response in another sense

00:29:14.580 --> 00:29:21.150 align:middle line:84%
of accelerated culture as viewed
through a lens of pot and LSD,

00:29:21.150 --> 00:29:25.350 align:middle line:84%
which are also ways of
exploring your environment too.

00:29:25.350 --> 00:29:30.720 align:middle line:84%
Every day, the data thief
finds new words and phrases.

00:29:30.720 --> 00:29:36.030 align:middle line:84%
Today, he finds inner
city and the blues.

00:29:36.030 --> 00:29:38.498 align:middle line:84%
Blues came out of a
depression, without a doubt.

00:29:38.498 --> 00:29:40.290 align:middle line:84%
It was singing about
the situation and what

00:29:40.290 --> 00:29:42.125 align:middle line:84%
was going on and
then playing rhythms

00:29:42.125 --> 00:29:43.250 align:middle line:90%
about those kind of things.

00:29:43.250 --> 00:29:47.000 align:middle line:84%
It didn\'t necessarily have
to have too many vocals in it

00:29:47.000 --> 00:29:49.250 align:middle line:84%
or a lot of vocals
to say anything.

00:29:49.250 --> 00:29:51.840 align:middle line:90%
The mood of that music was blue.

00:29:51.840 --> 00:29:52.760 align:middle line:90%
Its frame was sad.

00:29:52.760 --> 00:29:55.010 align:middle line:84%
It meant a lot of different
things for certain people.

00:29:55.010 --> 00:29:57.920 align:middle line:84%
And I think when that
music is conceived,

00:29:57.920 --> 00:30:02.900 align:middle line:84%
it doesn\'t really have any
effect on the outside world

00:30:02.900 --> 00:30:04.198 align:middle line:90%
until later on.

00:30:04.198 --> 00:30:08.590 align:middle line:90%
[MUSIC PLAYING]

00:30:08.590 --> 00:30:16.900 align:middle line:90%


00:30:16.900 --> 00:30:18.440 align:middle line:90%
We are considered as outsiders.

00:30:18.440 --> 00:30:20.900 align:middle line:84%
We\'re considered as
people who are not part

00:30:20.900 --> 00:30:22.100 align:middle line:90%
of the American experience.

00:30:22.100 --> 00:30:24.975 align:middle line:84%
As a matter of fact,
in the 19th century,

00:30:24.975 --> 00:30:28.220 align:middle line:84%
African Americans were excluded
from 4th of July celebrations.

00:30:28.220 --> 00:30:30.860 align:middle line:84%
So there\'s always been this
feeling in this country there

00:30:30.860 --> 00:30:33.520 align:middle line:84%
we\'re aliens, that
we don\'t belong here.

00:30:33.520 --> 00:30:35.520 align:middle line:84%
There was always people
who wanted us to go back

00:30:35.520 --> 00:30:36.810 align:middle line:90%
to where we came from.

00:30:36.810 --> 00:30:38.060 align:middle line:90%
I don\'t know where I would go.

00:30:38.060 --> 00:30:40.750 align:middle line:84%
Maybe I\'ll go to Dublin because
some of my ancestors are Irish.

00:30:40.750 --> 00:30:43.275 align:middle line:84%
Or maybe I\'d go to Tennessee
because some of my ancestors

00:30:43.275 --> 00:30:44.078 align:middle line:90%
are Cherokee.

00:30:44.078 --> 00:30:46.620 align:middle line:84%
Or maybe I\'d gone to Yoruba land
because some of my ancestors

00:30:46.620 --> 00:30:48.120 align:middle line:90%
are probably from West Africa.

00:30:48.120 --> 00:30:49.470 align:middle line:90%
I wouldn\'t know where to go.

00:30:49.470 --> 00:30:53.010 align:middle line:84%
But there\'s always this mention
to send us back, send us back

00:30:53.010 --> 00:30:54.390 align:middle line:90%
to some other place.

00:30:54.390 --> 00:30:56.618 align:middle line:84%
Send us back to the
planet of our origin.

00:30:56.618 --> 00:31:00.974 align:middle line:90%
[MUSIC PLAYING]

00:31:00.974 --> 00:31:03.878 align:middle line:90%


00:31:03.878 --> 00:31:05.815 align:middle line:84%
I\'ve often written
that science fiction

00:31:05.815 --> 00:31:07.190 align:middle line:84%
doesn\'t try to
predict the future

00:31:07.190 --> 00:31:11.090 align:middle line:84%
but rather offers a significant
distortion of the present.

00:31:11.090 --> 00:31:13.680 align:middle line:84%
And what I mean, I guess,
is that a lot of people,

00:31:13.680 --> 00:31:16.640 align:middle line:84%
when they hear the word science
fiction, the first thing they

00:31:16.640 --> 00:31:19.790 align:middle line:84%
assume is that this is a
story or a novel that\'s

00:31:19.790 --> 00:31:23.030 align:middle line:84%
going to tell them what\'s
going to happen in sometime

00:31:23.030 --> 00:31:24.780 align:middle line:90%
in tomorrow or the day after.

00:31:24.780 --> 00:31:26.197 align:middle line:84%
And I just don\'t
think that that\'s

00:31:26.197 --> 00:31:28.970 align:middle line:84%
what science fiction writers
are really interested in doing.

00:31:28.970 --> 00:31:32.900 align:middle line:84%
I think we sit around, and we
look at what we see around us.

00:31:32.900 --> 00:31:35.660 align:middle line:84%
And we say, how could
the world be different?

00:31:35.660 --> 00:31:40.400 align:middle line:90%
[MUSIC PLAYING]

00:31:40.400 --> 00:31:43.730 align:middle line:90%


00:31:43.730 --> 00:31:47.330 align:middle line:84%
Back when Ronald Reagan
had just become president,

00:31:47.330 --> 00:31:50.750 align:middle line:84%
people were talking about
winnable nuclear wars.

00:31:50.750 --> 00:31:53.240 align:middle line:84%
And I thought if people are
falling for this kind of thing,

00:31:53.240 --> 00:31:55.790 align:middle line:84%
there must be something
basically wrong

00:31:55.790 --> 00:31:57.860 align:middle line:90%
with the human species.

00:31:57.860 --> 00:32:00.060 align:middle line:90%
So I thought about it.

00:32:00.060 --> 00:32:03.440 align:middle line:84%
And what I wound up doing
really was putting the thing

00:32:03.440 --> 00:32:07.370 align:middle line:84%
that I came up with into the
mouth of my main character--

00:32:07.370 --> 00:32:10.430 align:middle line:90%


00:32:10.430 --> 00:32:12.290 align:middle line:84%
not my main
character, my aliens.

00:32:12.290 --> 00:32:14.810 align:middle line:84%
I had them arrive right
after a nuclear war

00:32:14.810 --> 00:32:16.430 align:middle line:90%
so that I could make my point.

00:32:16.430 --> 00:32:20.390 align:middle line:84%
And I had them tell my
character that human beings

00:32:20.390 --> 00:32:25.280 align:middle line:84%
had two characteristics that
didn\'t work well together.

00:32:25.280 --> 00:32:26.810 align:middle line:90%
One, they were intelligent.

00:32:26.810 --> 00:32:28.850 align:middle line:90%
And that was good, no problem.

00:32:28.850 --> 00:32:31.760 align:middle line:90%
And two, they were hierarchical.

00:32:31.760 --> 00:32:34.460 align:middle line:84%
And unfortunately, the
hierarchical tendencies

00:32:34.460 --> 00:32:35.870 align:middle line:90%
were the older.

00:32:35.870 --> 00:32:37.610 align:middle line:84%
And so sometimes,
the intelligence

00:32:37.610 --> 00:32:41.325 align:middle line:84%
was put at the service of
the hierarchical behavior.

00:32:41.325 --> 00:32:44.090 align:middle line:90%
[POPPING]

00:32:44.090 --> 00:32:49.030 align:middle line:90%
[MUSIC PLAYING]

00:32:49.030 --> 00:32:53.000 align:middle line:90%


00:32:53.000 --> 00:32:58.560 align:middle line:84%
Isn\'t it strange that
in the Second World War,

00:32:58.560 --> 00:33:03.870 align:middle line:84%
computer technology was
used to aid and abet

00:33:03.870 --> 00:33:06.830 align:middle line:90%
the military industrial complex?

00:33:06.830 --> 00:33:10.800 align:middle line:84%
But by the end of our
century, that technology

00:33:10.800 --> 00:33:16.420 align:middle line:84%
has mutated, devolved, and
diversified to such a degree

00:33:16.420 --> 00:33:20.950 align:middle line:84%
that African-American musicians,
young black British musicians,

00:33:20.950 --> 00:33:23.980 align:middle line:84%
can use computer
technology to construct

00:33:23.980 --> 00:33:28.264 align:middle line:84%
a soundtrack to the end
of the industrial epoch?

00:33:28.264 --> 00:33:30.260 align:middle line:90%
That is strange.

00:33:30.260 --> 00:33:33.750 align:middle line:84%
And it\'s something that
puzzles the data thief.

00:33:33.750 --> 00:33:35.510 align:middle line:84%
Well, yeah, I think
it\'s very true

00:33:35.510 --> 00:33:37.730 align:middle line:84%
that computer
technology started out

00:33:37.730 --> 00:33:41.090 align:middle line:84%
in the military sphere
in the post-war period.

00:33:41.090 --> 00:33:43.730 align:middle line:84%
By the time you get
to the \'80s and \'90s,

00:33:43.730 --> 00:33:47.780 align:middle line:84%
it\'s true that computer
technology and cheap software

00:33:47.780 --> 00:33:50.090 align:middle line:84%
has now become, has
now created what

00:33:50.090 --> 00:33:53.810 align:middle line:84%
we could call an ecology, an
analog or a digital ecology,

00:33:53.810 --> 00:33:56.180 align:middle line:90%
by which you can use technology.

00:33:56.180 --> 00:33:59.010 align:middle line:84%
You can use a synthesizer
sequences, programmers

00:33:59.010 --> 00:34:02.570 align:middle line:84%
and workstations, you
can now use them as ways

00:34:02.570 --> 00:34:05.312 align:middle line:90%
to create sonic worlds.

00:34:05.312 --> 00:34:06.770 align:middle line:84%
And some of those
sonic worlds will

00:34:06.770 --> 00:34:08.540 align:middle line:90%
secede from mainstream worlds.

00:34:08.540 --> 00:34:11.270 align:middle line:84%
And some of them will be
antagonistic towards it.

00:34:11.270 --> 00:34:15.100 align:middle line:84%
The point is that the route
to the cybernetic, the route

00:34:15.100 --> 00:34:16.850 align:middle line:84%
through the [INAUDIBLE]
machine allows you

00:34:16.850 --> 00:34:18.800 align:middle line:90%
much more possibility for that.

00:34:18.800 --> 00:34:22.790 align:middle line:84%
The point is the explosion and
the proliferation and mutation

00:34:22.790 --> 00:34:24.830 align:middle line:90%
of African-derived rhythms.

00:34:24.830 --> 00:34:27.920 align:middle line:84%
So yeah, techno and Underground
Resistance, yeah, they

00:34:27.920 --> 00:34:30.455 align:middle line:84%
are waging war on mediocre
audio-visual programming.

00:34:30.455 --> 00:34:34.576 align:middle line:90%
[MUSIC PLAYING]

00:34:34.576 --> 00:34:36.000 align:middle line:90%


00:34:36.000 --> 00:34:43.469 align:middle line:84%
New words-- sonic warfare,
sonic Africa, Afrofuturism,

00:34:43.469 --> 00:34:47.370 align:middle line:84%
digitized diaspora,
analog ecology.

00:34:47.370 --> 00:34:52.870 align:middle line:90%


00:34:52.870 --> 00:34:55.530 align:middle line:84%
He\'s in the land
of African memory.

00:34:55.530 --> 00:34:59.160 align:middle line:84%
Every entrance into these
vaults brings new information

00:34:59.160 --> 00:35:04.657 align:middle line:84%
of victories and defeat,
dreams and catastrophes.

00:35:04.657 --> 00:35:08.650 align:middle line:90%
New words-- alien, slave.

00:35:08.650 --> 00:35:10.780 align:middle line:84%
Well, I think what
sampling technology

00:35:10.780 --> 00:35:13.870 align:middle line:84%
has allowed in this area
of black musical production

00:35:13.870 --> 00:35:16.850 align:middle line:84%
is the creation of
digitized race memory.

00:35:16.850 --> 00:35:20.080 align:middle line:84%
And I think that
what sampling allows

00:35:20.080 --> 00:35:23.410 align:middle line:84%
for a generation that
didn\'t have access

00:35:23.410 --> 00:35:27.880 align:middle line:84%
to musical education
is a way of collapsing

00:35:27.880 --> 00:35:31.870 align:middle line:84%
all eras of black
music into a chip

00:35:31.870 --> 00:35:36.330 align:middle line:84%
and being able to freely
reference and cross-reference

00:35:36.330 --> 00:35:40.400 align:middle line:84%
all those areas of sound and
all those previous generations

00:35:40.400 --> 00:35:43.215 align:middle line:90%
of creators simultaneously.

00:35:43.215 --> 00:35:47.666 align:middle line:90%
[MUSIC PLAYING]

00:35:47.666 --> 00:36:10.722 align:middle line:90%


00:36:10.722 --> 00:36:12.430 align:middle line:84%
Traditionally speaking,
the record player

00:36:12.430 --> 00:36:13.570 align:middle line:90%
was an inert object.

00:36:13.570 --> 00:36:14.860 align:middle line:90%
It simply played the records.

00:36:14.860 --> 00:36:18.465 align:middle line:84%
The vinyl was like this
kind of slab of material

00:36:18.465 --> 00:36:21.000 align:middle line:84%
that you played and just
played the contents of it.

00:36:21.000 --> 00:36:22.375 align:middle line:84%
It\'s only when
you get to hip hop

00:36:22.375 --> 00:36:23.875 align:middle line:84%
that you get the
record player being

00:36:23.875 --> 00:36:25.630 align:middle line:84%
used as an instrument
in its own right.

00:36:25.630 --> 00:36:26.880 align:middle line:90%
And you get the vinyl.

00:36:26.880 --> 00:36:29.320 align:middle line:84%
You get vinyl being
selected right down

00:36:29.320 --> 00:36:33.310 align:middle line:84%
to the particular breakbeat and
then sampled and then scratched

00:36:33.310 --> 00:36:35.640 align:middle line:84%
and then used in all
kinds of different terms.

00:36:35.640 --> 00:36:39.100 align:middle line:84%
And we could say that one
thing that black producers do

00:36:39.100 --> 00:36:42.670 align:middle line:84%
is that they release what
I call the intellikey

00:36:42.670 --> 00:36:43.390 align:middle line:90%
of an instrument.

00:36:43.390 --> 00:36:47.572 align:middle line:84%
They release the potential
energy which lies inert

00:36:47.572 --> 00:36:48.655 align:middle line:90%
in any kind of technology.

00:36:48.655 --> 00:36:53.392 align:middle line:90%
[MUSIC PLAYING]

00:36:53.392 --> 00:37:02.273 align:middle line:90%


00:37:02.273 --> 00:37:04.190 align:middle line:84%
To remain on the cutting
edge, you must have--

00:37:04.190 --> 00:37:06.273 align:middle line:84%
there\'s a certain aggression
with this music which

00:37:06.273 --> 00:37:08.840 align:middle line:84%
remains on the cutting
edge, to root out a tune,

00:37:08.840 --> 00:37:12.240 align:middle line:84%
to rinse it out, to just
make you pay attention

00:37:12.240 --> 00:37:17.820 align:middle line:84%
there and then, not to be
meltdown time and time again

00:37:17.820 --> 00:37:21.540 align:middle line:84%
where it just becomes
something which--

00:37:21.540 --> 00:37:25.360 align:middle line:84%
on the cutting edge, you
get it straight first off,

00:37:25.360 --> 00:37:28.020 align:middle line:84%
straight information,
straight out in dance

00:37:28.020 --> 00:37:30.448 align:middle line:84%
and straight out in aggression
or movement, you know?

00:37:30.448 --> 00:37:35.388 align:middle line:90%


00:37:35.388 --> 00:37:39.974 align:middle line:84%
Africa, the data
thief\'s last visit,

00:37:39.974 --> 00:37:44.790 align:middle line:84%
he would like to return
home but can not.

00:37:44.790 --> 00:37:48.830 align:middle line:84%
No escaping from this
time, this space,

00:37:48.830 --> 00:37:52.190 align:middle line:84%
and he continues
collecting information,

00:37:52.190 --> 00:37:54.720 align:middle line:84%
wandering the boundaries
between science

00:37:54.720 --> 00:37:58.790 align:middle line:90%
fiction and social reality.

00:37:58.790 --> 00:38:01.620 align:middle line:84%
This is the data
thief\'s new home,

00:38:01.620 --> 00:38:04.410 align:middle line:90%
the zone of optical illusions.

00:38:04.410 --> 00:38:08.010 align:middle line:84%
Technology has broken time
down, because we are the future.

00:38:08.010 --> 00:38:11.605 align:middle line:84%
Because the time we\'re
in is the future.

00:38:11.605 --> 00:38:15.300 align:middle line:84%
And in this technology
we\'re living in now,

00:38:15.300 --> 00:38:17.450 align:middle line:84%
if I go to a Tutsi
tribe in Africa

00:38:17.450 --> 00:38:20.390 align:middle line:84%
right down in some
real back of the woods

00:38:20.390 --> 00:38:23.110 align:middle line:84%
and show up with this
recordable instrument,

00:38:23.110 --> 00:38:26.950 align:middle line:90%
it will show this [INAUDIBLE].

00:38:26.950 --> 00:38:31.533 align:middle line:84%
It will show this camera
that I can press it,

00:38:31.533 --> 00:38:33.450 align:middle line:84%
and I can show an image
of her there and then.

00:38:33.450 --> 00:38:36.270 align:middle line:90%


00:38:36.270 --> 00:38:37.240 align:middle line:90%
We\'re then gone on.

00:38:37.240 --> 00:38:40.447 align:middle line:84%
We\'re then some kind
of like super being.

00:38:40.447 --> 00:38:41.530 align:middle line:90%
We\'re like something else.

00:38:41.530 --> 00:38:44.402 align:middle line:84%
Who are we to that
in their eyes we are?

00:38:44.402 --> 00:38:45.360 align:middle line:90%
But that\'s still there.

00:38:45.360 --> 00:38:46.110 align:middle line:90%
That still exists.

00:38:46.110 --> 00:38:48.300 align:middle line:84%
Those people are still
alive who are out

00:38:48.300 --> 00:38:50.790 align:middle line:84%
in the middle of
fucking nowhere.

00:38:50.790 --> 00:38:53.170 align:middle line:84%
And when you show them
technology like that,

00:38:53.170 --> 00:38:54.480 align:middle line:90%
then it is an optical illusion.

00:38:54.480 --> 00:38:56.985 align:middle line:84%
Because we\'re always
looking for the future.

00:38:56.985 --> 00:39:00.214 align:middle line:84%
And it\'s right
underneath our nose.

00:39:00.214 --> 00:39:02.070 align:middle line:90%
It wasn\'t then, but it is now.

00:39:02.070 --> 00:39:06.480 align:middle line:90%
[MUSIC PLAYING]

00:39:06.480 --> 00:39:14.320 align:middle line:90%


00:39:14.320 --> 00:39:17.980 align:middle line:84%
Jungle describes
[INAUDIBLE],, a changing room.

00:39:17.980 --> 00:39:21.400 align:middle line:84%
It\'s changing from
something that

00:39:21.400 --> 00:39:24.730 align:middle line:84%
was more analog
into something that

00:39:24.730 --> 00:39:26.750 align:middle line:90%
is turning totally digital.

00:39:26.750 --> 00:39:29.350 align:middle line:90%
I think the jungle is using--

00:39:29.350 --> 00:39:33.530 align:middle line:84%
well, the rhythms anyway,
rhythms that came from drums,

00:39:33.530 --> 00:39:36.670 align:middle line:84%
normal drums which have
been put through a process,

00:39:36.670 --> 00:39:41.690 align:middle line:84%
digitized, and manipulated
them digitally to create

00:39:41.690 --> 00:39:45.736 align:middle line:90%
sounds unheard before, really.

00:39:45.736 --> 00:39:48.508 align:middle line:84%
People ask you the difference
between techno and jungle.

00:39:48.508 --> 00:39:52.960 align:middle line:84%
And I jump to agitate
and [INAUDIBLE]..

00:39:52.960 --> 00:39:54.520 align:middle line:90%
There\'s no difference.

00:39:54.520 --> 00:39:56.370 align:middle line:84%
It\'s just that it
wasn\'t what techno is.

00:39:56.370 --> 00:39:57.810 align:middle line:90%
It\'s what we took from techno.

00:39:57.810 --> 00:39:58.810 align:middle line:90%
It\'s like anything else.

00:39:58.810 --> 00:39:59.852 align:middle line:90%
It\'s not what hip hop is.

00:39:59.852 --> 00:40:01.260 align:middle line:90%
It\'s what we take from it.

00:40:01.260 --> 00:40:03.720 align:middle line:84%
I like stuff that
Derrick May made

00:40:03.720 --> 00:40:07.770 align:middle line:84%
and stuff that Carl Craig made
because it came from somewhere.

00:40:07.770 --> 00:40:10.690 align:middle line:84%
It was something which had
a better meaning to me.

00:40:10.690 --> 00:40:12.300 align:middle line:90%
Jungle, I hate the way--

00:40:12.300 --> 00:40:13.788 align:middle line:84%
I hate the word
jungle, if you want

00:40:13.788 --> 00:40:14.913 align:middle line:90%
to know the truth about it.

00:40:14.913 --> 00:40:16.640 align:middle line:90%
What the fuck does jungle mean?

00:40:16.640 --> 00:40:18.210 align:middle line:84%
OK, it was called
breakbeat before.

00:40:18.210 --> 00:40:19.560 align:middle line:90%
Now it\'s called jungle.

00:40:19.560 --> 00:40:21.030 align:middle line:90%
Where does jungle come from?

00:40:21.030 --> 00:40:22.357 align:middle line:90%
What is jungle?

00:40:22.357 --> 00:40:23.190 align:middle line:90%
What does that mean?

00:40:23.190 --> 00:40:26.100 align:middle line:90%


00:40:26.100 --> 00:40:29.780 align:middle line:84%
Jungle actually comes
from an area in Jamaica

00:40:29.780 --> 00:40:33.890 align:middle line:90%
that they call the jungle.

00:40:33.890 --> 00:40:37.620 align:middle line:84%
And MCs from there, I
think, elaborate on that.

00:40:37.620 --> 00:40:43.560 align:middle line:84%
So when it came out on
sound systems tapes people,

00:40:43.560 --> 00:40:48.900 align:middle line:84%
people got latched onto it and
started using it as a name.

00:40:48.900 --> 00:40:49.400 align:middle line:90%
Joe--

00:40:49.400 --> 00:40:52.893 align:middle line:90%


00:40:52.893 --> 00:40:55.890 align:middle line:90%
Hm.

00:40:55.890 --> 00:41:00.250 align:middle line:84%
Sad inside, happy face on the
outside, put all his heart

00:41:00.250 --> 00:41:04.630 align:middle line:84%
and love into some big record
company, and they sold him out.

00:41:04.630 --> 00:41:10.200 align:middle line:84%
Derrick May, to me, it\'s like
he kicked me off, you know?

00:41:10.200 --> 00:41:11.590 align:middle line:90%
We fought in the air.

00:41:11.590 --> 00:41:12.540 align:middle line:90%
It is what it is.

00:41:12.540 --> 00:41:13.810 align:middle line:90%
It feels surreal.

00:41:13.810 --> 00:41:18.670 align:middle line:84%
All the early trans like
stuff, I would have been lost.

00:41:18.670 --> 00:41:23.290 align:middle line:84%
Because I was lucky to see
[INAUDIBLE] on the radio

00:41:23.290 --> 00:41:27.220 align:middle line:84%
and think, yeah,
that\'s the direction.

00:41:27.220 --> 00:41:28.310 align:middle line:90%
That\'s where I want to go.

00:41:28.310 --> 00:41:30.710 align:middle line:84%
Or else I don\'t know what I
would have been doing now.

00:41:30.710 --> 00:41:35.147 align:middle line:90%
[MUSIC - \"SUN IS SHINING\"]

00:41:35.147 --> 00:41:36.133 align:middle line:90%


00:41:36.133 --> 00:41:45.500 align:middle line:84%
(SINGING) Oh, oh,
oh, sun is shining.

00:41:45.500 --> 00:41:49.937 align:middle line:90%
The weather is sweet, yeah.

00:41:49.937 --> 00:41:55.360 align:middle line:84%
Make you want to move
your dancing feet.

00:41:55.360 --> 00:42:00.340 align:middle line:90%


00:42:00.340 --> 00:42:02.710 align:middle line:84%
Music\'s made us look at
music through a microscope.

00:42:02.710 --> 00:42:06.140 align:middle line:84%
Technology has made us look
at it through a microscope,

00:42:06.140 --> 00:42:08.580 align:middle line:90%
without a doubt.

00:42:08.580 --> 00:42:10.420 align:middle line:84%
People say now, is this
the future of music?

00:42:10.420 --> 00:42:11.337 align:middle line:90%
We are the future now.

00:42:11.337 --> 00:42:13.918 align:middle line:90%
We are in the future.

00:42:13.918 --> 00:42:15.460 align:middle line:84%
Blues wasn\'t made
on samplers, so how

00:42:15.460 --> 00:42:16.540 align:middle line:90%
can it be relevant to us?

00:42:16.540 --> 00:42:18.580 align:middle line:84%
It was just the
music and rhythms.

00:42:18.580 --> 00:42:20.080 align:middle line:84%
Those rhythms have
now been recorded

00:42:20.080 --> 00:42:23.890 align:middle line:90%
on various technical equipment.

00:42:23.890 --> 00:42:25.750 align:middle line:84%
So therefore, we
can then catch it

00:42:25.750 --> 00:42:28.060 align:middle line:84%
and put it in his
place in history,

00:42:28.060 --> 00:42:31.290 align:middle line:84%
because it\'s there
recorded, done.

00:42:31.290 --> 00:42:34.360 align:middle line:84%
And because of technology
being able to then take

00:42:34.360 --> 00:42:37.160 align:middle line:84%
from any of those eras, time
is irrelevant, completely

00:42:37.160 --> 00:42:40.150 align:middle line:84%
irrelevant, for
that main reason.

00:42:40.150 --> 00:42:43.450 align:middle line:84%
Well, I think that information
and technology is moving

00:42:43.450 --> 00:42:45.506 align:middle line:90%
at breakneck speed right now.

00:42:45.506 --> 00:42:49.170 align:middle line:90%


00:42:49.170 --> 00:42:52.950 align:middle line:84%
The techno music
is definitely going

00:42:52.950 --> 00:42:55.930 align:middle line:84%
to be a more advanced that
goes along with the way

00:42:55.930 --> 00:42:57.850 align:middle line:90%
information is traveling now.

00:42:57.850 --> 00:43:00.640 align:middle line:84%
I think it\'s
inconceivable as to where

00:43:00.640 --> 00:43:03.640 align:middle line:84%
we will be in the
next five years

00:43:03.640 --> 00:43:07.270 align:middle line:84%
but I see a lot of just
new ways of listening

00:43:07.270 --> 00:43:10.370 align:middle line:84%
to music, new ways
of buying music

00:43:10.370 --> 00:43:14.090 align:middle line:90%
through computer networks.

00:43:14.090 --> 00:43:20.264 align:middle line:84%
And techno music is definitely
the sound for this environment.

00:43:20.264 --> 00:43:24.638 align:middle line:90%
[MUSIC PLAYING]

00:43:24.638 --> 00:43:27.560 align:middle line:90%


00:43:27.560 --> 00:43:30.840 align:middle line:84%
In the 18th century, slaves
like Phillis Wheatley

00:43:30.840 --> 00:43:33.360 align:middle line:84%
read poetry to prove
that they were human,

00:43:33.360 --> 00:43:35.400 align:middle line:84%
to prove that they
weren\'t furniture,

00:43:35.400 --> 00:43:37.110 align:middle line:84%
or to prove that
they weren\'t robots,

00:43:37.110 --> 00:43:38.850 align:middle line:84%
and to prove that
they weren\'t animals.

00:43:38.850 --> 00:43:41.570 align:middle line:84%
In that sense, a certain
idea of cybernetics

00:43:41.570 --> 00:43:44.580 align:middle line:84%
is already being applied
to a black subject

00:43:44.580 --> 00:43:46.892 align:middle line:90%
ever since the 18th century.

00:43:46.892 --> 00:43:49.350 align:middle line:84%
I think what we get at the end
of the 20th century in music

00:43:49.350 --> 00:43:53.580 align:middle line:84%
technology is a point
where producers willingly

00:43:53.580 --> 00:43:56.640 align:middle line:84%
take on the role of a
cyborg, willing to take

00:43:56.640 --> 00:43:59.760 align:middle line:84%
on that man-machine
interface just to explore

00:43:59.760 --> 00:44:01.740 align:middle line:84%
the mutation that\'s
already happened to them

00:44:01.740 --> 00:44:04.780 align:middle line:84%
and to accelerate
them some more.

00:44:04.780 --> 00:44:07.530 align:middle line:84%
Now, the question is,
like cyborgs, for what?

00:44:07.530 --> 00:44:10.200 align:middle line:84%
Well, the reason is, of course,
to get out of here, to get out

00:44:10.200 --> 00:44:12.120 align:middle line:90%
this time here, this space now.

00:44:12.120 --> 00:44:16.070 align:middle line:90%
[MUSIC PLAYING]

00:44:16.070 --> 00:45:13.088 align:middle line:90%