♪ ♪ in new yorkstudios city, this is "charlie rose." charlie: misty copeland is here. last month, she became the first african-american woman to be named principal dancer of the american ballet theater in its 75-year history. the news came a few days after her new york debut in "swan lake." she began her ballet training at the unusually late age of 13. in two decades, she overcame numerous obstacles to become a rare pop culture celebrity. here's a look at her recent profile on cbs "60 minutes."

>> misty copeland will tell you, she is never more alive than when she is on stage, on her toes, her athleticism and grace on display. she can leak through the air -- leap through the air. she can spin on a dime. ♪ you feel comfortable up there? misty: yes. something happens when you feel that energy and excitement from the audience, and you do, you jump higher than you ever have. it's this really magical thing that happens in those moments. charlie: i am pleased to have misty copeland at this table for the first time. misty: thank you so much for having me. charlie: are you better because you took the arduous journey that you took to be where you are? misty: it's hard to say. but you know, i think that because of all the obstacles,

just the way i grew up, my life experiences, i think it has made me fight harder. it has pushed me to be better and not take things for granted. so maybe it has. charlie: is it a lesson in will, a lesson in support, a lesson in belief? what else made it happen? misty: talent? [laughter] you know, it's so rare to make it. charlie: was a talent to develop, or talent you began with? misty: a combination. always. i don't think i could have made it with four years of training into american ballet theater, one of the top companies in the world. that's unusual. i had a lot of natural ability and talent. charlie: what does that mean? misty: for a dancer, you send

all those years of training as a child, because it has to become so ingrained in your muscle memory, and you have to mold the body to do these things because it has to be second-nature, when you get to the point on stage and you have to become an artist. i only had for 10 years -- four two years to do it. a lot of it was there. my ability to pick up movement. charlie: is it more likely you could do it with the body you have than otherwise? misty: absolutely. charlie: because of something physical. the same way a great tennis star said, there is something about the way my shoulder works that enables me to serve the way i do. misty: that is something that helped me get there quickly. my body was capable of supporting itself because of my muscle development that i have naturally, because of the flex ability i had. but it was also a mind connection to my body.

you can have the ideal ballet body, but it doesn't mean you will have an understanding and be able to go on stage and perform. so many elements come to play at this level. charlie: i was going to ask you, what is the difference between skill and artistry? misty: well, artistry is something that you have to have an innate understanding and ability to come alive on stage, and not every dancer has that. then, the ability to understand how to become a character and how to portray a character, to be able to read to the top tier. then, this technique you learn from having good training, from understanding how it works, working clean and strong and being consistent. there are so many elements. charlie: i am struck by it. it's like, it is in many ways about fundamentals.

you talk about the audience, the art, the skill, the body, the e best instruction you could possibly get. it's a commendation of those things. but you almost have to approach it as a craft. misty: absolutely. charlie: i have to do this, i have to do this, you know -- misty: yes. we are so similar. we're athletes. we are so similar to athletes that compete and perform at the highest level. but at the same time, our artists reallyme separates us from that, the sensitivity that you have to have in the coming these characters on stage. it's very detail-oriented, but you also have to allow yourself

to be in the moment and take whatever it is you are getting from the audience. charlie: athletes compete with other people. who are you competing with? misty: definitely with yourself. every time for me when i step onto the stage, it is life. you have to be so focused in that moment. it doesn't matter how many performances you do. every single time you get on stage, it has to be like it's the first time, because there are people in the audience who have never seen you. misty: have you ever had to thought, if i did not have to struggle so much, if there were not so many obstacles, i would have been better sooner? charlie: no -- misty: no. if i started sooner, i would have been better sooner. i think what really helped me from my background was my ability to use all of those experiences to become an artist. i think that having life

experiences allowed me to have a better understanding of what it is to be a person. at a young age, athletes, a lot of dancers, you are in this very kind of secluded atmosphere, and you spend so much time in the studio that you don't really have the experiences a lot of people have. dating, going to parties. you're in the studio, and all of a sudden you get into a professional company. here you go, you are an adult. charlie: do you think you missed something because of that? four has it been such a love affair that nothing else matters? misty: i don't regret one thing. charlie: you don't regret one minutes spent in the studio? misty: not at all. i don't think i could have become the woman that i am today without ballet, without all the experience i have had because of this career. charlie: the woman i am meaning, the person you are? misty: everything.

to be as empathetic as i am, as sympathetic. to be a strong. to be as intelligent. to be as open, as loving and caring, i don't think i could have become all those things without ballet. misty: does that fit comfortably on your shoulder? understand the ballet world, the social media world, the environment you live in. you understand how to master it. misty: that's something i developed because of my experiences in being alone in a ballet company. meaning, i was the only black 80an in the company of dancers for a decade. i had to learn different ways of getting my voice heard, of, i had to take a different route. i could not sit back and rely on my talent to get me there. i had to understand how to

communicate with my artistic director, to say what i wanted, to express how much i value my career and respected what i did. and i think that goes a long way when you are looking at how i have approached everything else in my career. i think that's hard for a lot of dancers. you don't ever develop those skills when you're in a ballet company. everything is taken care of for you. we are almost treated like students are entire career, you know? so it's not an environment that really nurtures that type of experience. charlie: it's not a normal existence. misty: no. charlie: and you have to make sure that aspect of your own humanity has a chance to grow. misty: right. it just doesn't happen for a lot of people. i felt if i was going to succeed in the ballet world, in the american ballet theater, i had to make a lot of things happen for me. charlie: you are the principal

dancer at the american ballet theater, as good as it gets. to developst begun all that you can be as a dancer? misty: absolutely. i think it was maybe last season that i really started to feel like i had a hold on what it was i was really doing. again, so much came really naturally for me. but there are no shortcuts in ballet. sortch as everything was of easy for me to do in terms of movement, there were a lot of myes in my training, in understanding of what it was to be a ballerina, and i feel i am just now kind of honing that. it is exciting. i have so much ahead of me. i have opportunities to do these roles that i am just starting to do for, i don't know, five to 10 more years. wilkinson, an

african-american former ballerina in monte carlo. she has just taught me what it is to have just pure heart, and love for what she did, for her ballet career. for ballet. for dance. she came to all of my performances. i have never once heard her complain about her career, and the things she didn't get to do because she was a black woman. ,ut what she learned from it and her being in my life. she said to me, she did not think she would ever see that in her life. charlie: she didn't think she would see it in her lifetime? misty: so it just means so much, sharing this together. charlie: i hate to be -- you would think, not just because we made a enormous progress, and we

have a long way to go, we say that every day, but it is because, art is supposed to be a place that recognizes talent. that is what art is about. not anything else. how good are you? [laughter] am i right? person?one more naive toty: i think that you have be extremely gifted to get into an elite international ballet company. charlie: there's a perception. misty: yes. but once you get there, it doesn't matter how gifted you are. it is what you do with the opportunities you have. it has just been a tough path, because i was the only one. there had never been an african-american woman to make it to this level in the american ballet theater. charlie: you feel what responsibility? misty: you know, i feel like i

have given myself this responsibility. that is to be the voice of so many african-american dancers who did not get the opportunities i have, who did not have a voice, to try and educate a broader audience on what the classical ballet world is, and all those african-american women that came before me and helped create this path for me. , it is ai can imagine bit for young african-american girls like it was, for -- i saw ,o many peers in 2008 african-american men and women of age who never thought they man, see it, and saw a putting his hand on the bible. they never thought they would

see it. that's the way it is for you, they see you dance across the stage and say, if misty can do it, i can do it. misty: that's what i hope. that's why i have been so outspoken. fornted to be that person those people. and i didn't want it to be about me. i wanted it to be about what i represent, what the future of ballet could hold for so many. ♪ ♪

>> she has been wowing the art world with her ever so slightly images of life in india.

her images challenge social taboos. >> it is like a kitchen, actually. lots of pots, cooking at the same time. the way i approach is very fluid. a lot of the time, my work is ideas-based, so the idea is imperative to how i begin the project. the ideas generated and asked -- the next ideas. >> what would you say your work is about? >> lots of things. lots and lots of things. >> "brilliant ideas," powered by hyundai motor.

♪ ♪ misty: it is like his contrast of being extremely wild, but at the same time having to have a sense of control. there to capture me, and to tame me.

ivan: she is a firebird. but there's something about her. i have never seen anything like it before. what i want to do is touch her. every time i try to do that, she tries to fly away. that's when you see those moments. misty: the great thing about what alexi created with the choreography is that it is a struggle. the choreography is a struggle. the story is a struggle. that has to be there, so you can't rehearse it to the point, which is what we do as ballet dancers. charlie: that's from a brilliant documentary by rick burns. that was "firebird." what did you say at the end? misty: that what we strive for in the studio and work so hard

for is to make it look effortless and easy. something that was being created with the story "firebird " was that it should look like a struggle. it was the challenge of not over-rehearsing so it became too effortless. charlie: what is the visualization for you? misty: you mean -- charlie: what are you thinking in your head as you instituted the moves? i can relate this to sports only. ,f you are shooting a basket you can literally see it when it leaves your hands, before it leaves your hands, swishing through the net. charlie: it is similar -- misty: it is similar, but it doesn't happen in those moments. that is something we do to prepare. you want to visualize what it is you want it to be.

but in those moments, the reason we rehearse over and over again, is so that when you are in those moments you are not thinking about the steps. you are so in it that you are that character, living as that character. do you: in "swan lake," think of yourself as a swan? misty: yes, you have to. me,ink that something for it's number one, being an artist, being those characters on stage, it is so much more to me than executing these steps. that's what makes people feel. that's what art is about. it's not coming to see if somebody is going to execute these steps, that i'm sure thousands, millions of people could do. charlie: it's what they do that speaks to your heart. misty: right. charlie: your emotions. does body shape make a

difference? m, it's definitely one of the requirements when it comes to this art form, that you are supposed to look a certain way. i think skin color goes along with that. with myelief is that, own experience, i had the ideal body when i started ballet, but then i went through puberty and my body completely changed. i wasn't the ideal ballerina anymore. i think we have the ability to eat in a certain way and do cross training, and with all we know about how to take care of our bodies these days, you can get it to be the shape you want it to be. i think that's something i have done with my body. charlie: do you know anybody, anybody who you believe has more willpower than you? [laughter] misty: uh, i don't know. [laughter] charlie: you can't imagine anybody? you can't imagine a woman who

worked harder to mold her body? misty: i think that dancers are rare people. and what we sacrifice and commit to do what we do with our bodies, we gave our lives to be a part of this. there are no days you can take off. what i have to say about me personally is that, beyond my career at american ballet theater, and what makes this more-- makes me even a harder worker, is what i do outside my career at abt. it doesn't mean and taking time off to do these things, like help create a diversity initiative, to be part of the boys and girls club, an ambassador, write a memoir, because i know what my story can do for summoning people -- that's all over time. that's because i'm passionate

about changing the world of ballet. charlie: changing ballet? misty: yes. charlie: so that it is open to more young african-american girls? misty: minority dancers in general. just educating the broader world about what classical ballet is. the beauty in it. what it can do for so many. just in america, people don't know about it. itt's why for so many years, has been dying. charlie: here's what i think. i assume you are enormously popular because of the commercials for under armour. huge. lot morebly reached a people than you will ever reach the rest of your dancing life. does it give you power? does it give you, misty copeland, you are more than a principal dancer.

you are a name. your image has power? misty: i think the power that gives me is for people to see me and hear me. charlie: and want to see you and here you. misty: right. i have wanted my voice to be heard for so long, and this is a platform. those opportunities to be seen, that's a platform for people to know what it is i am saying and hear it. charlie: and what you have been through. misty: and what i have been through. yeah, i think -- charlie: i want them to know what i have been through. i want them to know what i can represent. misty: yes. i think it is so important for people to understand that racism still exists, and it exists in

the ballet world, and it's very difficult. it is as simple as looking at the top ballet companies, and how rare it is to see minority dancers. i think abt at this point is really setting the new standard. not with just me, but with the promotion of another filipina woman who was promoted the same day as me. i believe she is the first filipina woman to ever be a principal dancer. abt is really kind of standing up and saying, this is the direction classical ballet should be going. charlie: knowing how you feel so strongly and deeply and eloquently about this, does anybody say, just dance? misty: yes, absolutely. [laughter] you know, i have my days where i don't want to talk. i was trained to be a dancer, and i never liked talking, which is probably why i was drawn to dance. purposeink part of my

is not just to be a ballet about, but it's too speak these issues in the classical ballet world. and not everyone's going to agree with me. not everyone's going to understand it, and it's not for everyone. but for those who it's reaching and affecting, that is maybe changing their life, those are the people that it is for. charlie: this is from rick burns' great documentary, "american ballet theater history." here is misty copeland. ♪ misty: wow. [laughter] it's amazing to be involved in cell of ridding the history of this company. i came to abt when i was 16. i joined the company when i was 19. the studio company. it has been my dream, from the

time i knew what ballet was, to be a part of this company. because i knew the diversity of it, the diversity of the ballets they do, that we have "theater" in our name, sets us apart from so many companies. ♪ abt is all those things, and always has been. it is so diverse. to be a black woman and to be part of it is even more special, and the fact that this is a company that has had african-american women definitely sets that road for me. it made it seem more tangible. i am just so proud to be a part of the company' is history, because it is american and represents what america is. charlie: does part of you think you can fly? [laughter] misty: i think you have to

believe that. you have to have an imagination. you have to leave all those things when you are on stage. charlie: back to the question of the pioneer that you are. , am asking this almost naively but i am genuinely asking it. people see you dancing, with all the extraordinary gifts you have, to they see a black woman, or divisively see a brilliant ballerina? misty: i would like to think they see me as a ballerina, as a dancer. but my experiences, the reality of this world, is that there are some people who see me as a black woman up there, or have thought or think that i don't fit in. but i try to be the best dancer and the best artist that i can be. because when it comes down to it, that's what i'm working so hard for, day in and day out. charlie: to be the best dancer. misty: yes.

charlie: take a look at this. this is the under armour commercial that has been viewed more than 8 million times. here it is. ♪ misty: dear candidate -- thank you for your application to our ballet academy. unfortunately, you have not been accepted. you lack the right feet, achilles tendon, turnout, torso length, and bust. you have the wrong body for ballet, and at 13, you are too old to be considered. ♪ ♪

charlie: misty, thank you. pleasure to have you here. congratulations on all that you have done. misty: thank you very much. charlie: we will be right back. stay with us. ♪

♪ ♪ and sonnyeslie penz moore, better known as diplo and

skrillex. they recently combined, creating forces to form a supergroup. here is a look at their single, "take you there," from their new album. ♪ ♪ ♪ ♪ i am pleased to have krillex at this table

for the very first time. here's why i'm very happy. i didn't know much about either of you. the more i read, the more i learned, the more i was excited to have you here. let me begin with this. do you think of yourselves as physicians, or some thing else -- musicians, or something else? sonny: it is a combination of being musicians. i came from singing in dance, playing guitar -- bands, playing guitar, piano. it, nation of a musician and an artist. wesley: in 2015, you have to have one foot in creating music, and also in how your show is put together. i am not a edition per se, but i earned how to- i l play music on my own. it is bigger than just playing a guitar and putting some thing together. you have to create an

atmosphere, which makes it more complex than just laying down some chords. charlie: it is a huge, $6.9 billion a year -- sonny: it was the timing. the internet, being able to share media happened at the same time when computers and music programs were so accessible to those of us who work younger coming into music. in bands, i found it easier to express myself fully for the computer. it is a one-stop shop. you upload your stuff. music videos are made by us. wesley: the distribution chain is broken. it used to be you had a band, you had to get your band together, find friends who like to make music, write songs together, rehearse for weeks and weeks, find somebody to borrow money or use a studio to record a record, shop your demo to a label, maybe do another year of a and r-ing.

that was a two-year process. now, i can literally get on my laptop, make a song, put it on youtube or sound cloud, and reach you in a couple hours, and that can be catapulted to something on the radio. the labels still do the same thing, creating dance, but we are -- bands, but we are in a different world, disturbing it ourselves. sonny: the renaissance of all art has become really digitized with music. people who edit on instagram, that gives normal people the outlet to be creative, and that can go deeper into music and editing, people making art in general. charlie: but it also has huge energy. wesley: yeah. sonny: it comes from it being a youthful movement. every year that goes by, the producers that are getting, not even getting signed, but becoming popular and making a

living, are becoming younger and younger. wesley: as producers, we don't have bands. our job is inside the computer, to make the loudest and craziest, the next, the biggest, something you have not heard before. it is our goal to always be progressive and make some thing brand-new and fresh. sonny: also to bring people together. especially with what we do, it's all about taking things that should not make sense and making them make sense, getting justin bieber on a record, when traditionally dance music you would not have something like that. charlie: let's talk about forming the band. whose idea? wesley: we are peers. ago,ed to l.a. six years and he was one of the only producers and you about, and he was just starting out as well. we became really good friends. we were always outsiders in this

dance world and the producer world, and we decided to create something together. it is special, because we have really strong quality control. it is not good enough until it is good enough for both of us, and that takes a lot of work. charlie: is it a long time? wesley: the record you played the video of, we recorded that in three hours one night in a hotel room, and then it took us another month to make the song sond the way it did. sometimes it might take a year to mix the record and produce it properly, even if it takes one night to write it. charlie: it's extraordinary, for two people who are really good to come together. usually they become really good and they split, and you guys came together. your competitors, almost. sonny: just like when you have two people, we respect each other so much and have that quality control. charlie: and complement each

other? sonny: as an you are nice, or we complement each other? if you listen to individual projects, they are so forward-thinking. we both try to push the envelope. jack u takes it to the next level. we have no rules other than that we make good music. wesley: electronic music is collaborative. i am always mixing music with people you would not expect, a rapper, a rock star, country music. we are working with different voice. we are not singers, per se. we are always looking to make things you have not heard before, things that are unexpected. charlie: how did that collaboration take place? wesley: we met bieber at a club. i have become friends with him in l.a. we met him at a club and said, we have this project, give us a

vocal, we will make this crazy. at we spent about two months his house on headphones at a table like this, playing around with it. we had ideas, a spark, and we took it to the finish line. charlie: take a look at this. here it is. ♪ ♪ ♪

sonny: it was a cool concept. we shot justin bieber dancing and performing in a very simple background, then took all of the stills from the video and opened an art gallery in l.a., and invited fans, haters, artists, to draw whatever they wanted to on justin bieber. you can take the stills, you see everything from compliments to illuminati," anything anyone wanted to say. wesley: really political messages. it was fan-made, the video. our album is so collaborative. we used justin bieber's voice for something that personified what it is to be justin bieber as a piece of art himself, doing graffiti on him. charlie: you two are 300 shows

a year? wesley: about that. this weekend, me and him collectively probably did 15 shows between thursday and sunday. charlie: all in new york. york,: four, three in new three in philly. he did las vegas, new york, philly, vancouver, somewhere else. charlie: sometimes the audiences are as big as 100,000 people. wesley: yeah. a couple times. charlie: where was that? wesley: quebec city, we played for 100,000 people. last week, we played for 60,000 people in l.a. charlie: how are you changing? how is what you do growing, other than the size of it? sonny: i think, back when we first started, there was a dj scene but i didn't come in as a dj. we were outsiders, doing it our

own way. we were not trying to go with how things were going. in the beginning, nobody considers -- l.a. gained a lot more respect from different. it's easier to collaborate. a lot of people even five years ago when we first started breaking into the scene, a lot considered ase positions, but media and the outside world didn't. now people trust us more. even with radio, we never set out to make radio records, but nationally are sound is crossing over. wesley: we never aimed for radio. main of producers, the goal is to get on the radio. theren bases will be regardless. we think of how the kids who come to our shows will like this. we never think, is the radio going to plug this? charlie: how do you measure

success? wesley: for me, it's personal. i just want to make great music. i do not care. that i love. i want music to give me dues bumps, when i listen to the record i gave. charlie: does that happen often? wesley: it happened when we finished this. sonny: you know, it's like, when you make a record and play it for the first time in front of an audience. it's a special feeling. there and wet up are curating the soundtrack to an amazing live experience for people. even at the festivals. we play festivals with rock bands, rap artist, whatever it is, and what we do is so maximal. the peak moment where, you know, it's all about the live energy of everyone together. that's what we are curating at that moment. that's more important than a song on the radio. if i have a song on the radio

that doesn't connect live, i would rather have it connect live. wesley: the taste of america has changed the last couple years. you used to have to have a machine to put records on the radio. i have a record with major lazer on the radio, released independently, no help from any major label. it's possible nowadays to put a great song on the radio with the right team, you know? charlie: take me through the process of creating something. wesley: we were recently on tour together in canada. we went to montreal and had a day off for the arcade fire. and heof mine was there, said, let's meet up with you guys. we went to his garage and played for 20 minutes. i got the files, and edited down these loops, and i will probably go back to montreal with the lead singer and sonny and record vocals.

i texted him, are you in town? sonny: sometimes we start with records and a vocal. "take you there," that first record, we recorded the vocal and the melody in a hotel room, but it took us a month to figure out what the track would be. that's the whole other side of the process. charlie: there is no precedent for what he is doing and could do? wesley: sonny was a real game changer. his production and mixing was really another level above what i hear on the radio. he has high standards for the way he makes me sick sound. he's the first guy who has a rock star presence in the dj world. he's from a band, so he can handle himself on stage. a lot of dj's are pretty boring. charlie: is that natural, or does that come from being a musician on stage? you understand movement, understand presence? sonny: i guess relating to an

audience is not about relating to an audience or trying -- it's about being true to yourself in the moment. better in front of a big audience than one on one with people? sonny: 30 people, i am dj-ing in front of, the more people, it is easier. wesley: he is better when 30 people are watching him than when he is by himself. charlie: you are better with people around you. sonny: yeah. charlie: the more people, the better you are? sonny: when you are playing a show, the energy you get from the stage is indescribable. it's constant feedback, a cycle. in the studio with people when you have good energy, people are having fun, it inspires you to continue to good on the right path. if people stop moving, you are not making the right sounds. charlie: what was it like, taking over the garden? madison square garden. sonny: bucket list, check that

thing. charlie: what else is on the bucket list? wesley: do charlie rose. sonny: of course. charlie: musically? sonny: you know what? wesley: it's strange we have people paying attention to this project out of nowhere. people are expecting another single from us. everything that has happened has happened organically. we have a really strange leverage now over artists to give us the best records they have done, and they respect us. for years, we struggled for people to respect us. charlie: how are you using that? wesley: when you are a producer, working with an artist, there is always negotiating. with a popstar, you find out where the comfort level is and how far you can take them in one direction or another. a long times, you only have a little say in the work. but with him and me, with this new record, we did 95% of it, the direction it went. charlie: that has to do with

bieber trusting you? wesley: exactly. once an artist does that, it takes the record to the other level and gives us confidence to do it again. sonny: a lot of times, people do music for a long time, get to a certain age, and they have families and kids, all this stuff. we are so inspired and hungry to, like you said, make great songs, make great tracks that some of nothing else and push the boundaries. even the justin bieber single, a top 10 record, isn't a pop format the way it is written. it's not a traditional pop song. it is changing the verse-chorus-verse-chorus-bridge -outro, the pop format. charlie: you have the reputation of being able to spot trends. what does that mean? sonny: you know, we are both kids inside. i'm in my late 20's. wesley: i'm in my mid-30's.

[laughter] sonny: i mean, we are like kids. we listen to music all the time, just like kids do. we are just into that. it's weird. i talked to a lot of people couple years younger than me. they talk about, i'm old, i'm getting old. the moment you start saying that, you start getting old. wesley: we have been living on the road for about a decade, both of us. the way we have been touring. i have been moving all over the place. this is inspiring to me. trends, i say we start we are on the show and on the radio because we are still hanging out with kids were making music we make, you know? underground stuff. we come from an underground sensibility. sonny: young kids, even in hip-hop, just music you can't really put a genre on.

we make it in our rooms, with our friends. nothing is fancy. we don't need all these suit people around checking up on us. we make it in our own environment. charlie: what about drugs? this is what "the guardian" wrote. "molly's ascent to the mainstream lexicon has roughly coincided with the ascension of the clumsily named electronic dance music to the top of the u.s. dance visit charts." sonny: i think every generation with music -- [laughter] charlie: are you responsible for the absent -- ascent of molly? sonny: i am not. i make music, i don't sell drugs. the patterns of any era that had music that exploded in youth culture, just

because of the ratio of how big it is, that creates a bigger ratio of drugs. drugs have always been used, disco era, cocaine, obviously lsd and marijuana -- there have always been drugs to this year, it happened to be molly. i don't know how it happened. skrillex, nowas matter what "the guardian" wants raves, mdma has been in since the beginning. it got bigger out here, so inevitably that culture came along with it. but the events we play, the audiences we reach out to, are so much more vast than what this article talked about. charlie: where do you think you and the music will be in five years? wesley: everything we are doing is growing. we are both humble. we feel lucky to be doing this.

i never had a job i was able to keep until i started making music. i'm just happy people are paying attention. charlie: of all the good things they say about you, what do you appreciate the most? sonny: about what? charlie: about the music, the fame, attention -- sonny: you know, there's somebody people coming to the shows. when you talk about something like drug use and the negative side of things, it is still the minority. the fact is, we are, i believe we are truly artists. groups -- o us, rp ur groups, are in a renaissance of how to create music with technology. that is awesome. i can lead to anything. wesley: it changes the way you think about music. there used to be barriers, genres, what you should listen to, what you shouldn't, what the limits are. to change people's ideas about music, that's important. sonny: i feel we are enabling a

lot of people, you know. when we first started out, we were not considered musicians. charlie: that has changed. sonny: there's been electronic music, obviously, since giorgio moroder and brian eno. charlie: when was that? sonny: in the 1970's, 1980's. wesley: french music in the 1960's. electronic music got notoriety music.roder doing it evolved into hip-hop, dance music, disco, pop, new wave, industrial music. and we are like the culmination of everything that happened before. just another filter that comes out. charlie: the easier you can make it for the audience to find it, the better off you will be. that's the keyword. wesley: that's why we are here today. we have always rode that wave. if we fought it, we would still

be in our studios complaining. sonny: one thing i am kind of bummed about, we distribute through major labels, because made the songs on soundcloud be taken down and limited to short previous. it's like night and day. those kids on soundcloud, we are some of the biggest people on soundcloud, with the most followers, and that is a huge asset to our business of how people listen to music. those kids that only go to soundcloud, who won't even go on spotify. that's how they listen to music. it eliminates a big asset, and cuts off your music to an audience that would potentially come to your shows and be fans. it's, there's definitely a lot of controversy. i almost witsh it was up to the people who owns the art at the end of the day. charlie: are you happiest in

front of a large crowd, at one with them and the music? sonny: both large and small, we are happiest. just connecting with people. you make a song, it gives you the chills, you feel it, and you get the experience of being heard in a different way from people, and you see how it creates energy in the room. it's a special feeling. for the audience, almost as much as us. wesley: i'm just lucky i can create a -- make a living creating, you know? i'm happy to do that an share it with people. my family could never believe i could make a living off of creating something, you know? charlie: my father wouldn't believe i could make a living sitting at a table talking, either. [laughter] and it's not about living. thank you. sonny: a pleasure. wesley: appreciate it. charlie: thank you for joining us. see you next time. ♪ ♪

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♪ host: u.s. stocks snapped the street and rallies the most since 2011. growing doubt. the market turmoil and weakness in china make a september hike increasingly uncertain. and an offer you can't refuse. -- worldwide selloff makes can refuse. they worldwide selloff makes hong kong's ipo performers the worst this year. i'm angie lau.