♪ video killed the radio star. now, has the internet killed the record industry? >> stealing from us, straight up. and i want to fight 'em to the death. >> ladies and gentlemen, the strokes! >> may i have your attention, please? >> the president of the united states. >> the dixie chicks can say what they want to say. >> billboard's top ten singles, all by black artists. >> i don't please everybody with who i am, as a person. >> i love beyonce.

>> that's not a working telephone, is it? >> hello? >> empty shelves are all you will find here at tower records. it's now out of business.

three, two, one! >> this is a very special moment. the first performance at the mtv studios in the new pimillennium. please, welcome no doubt. >> i will always remember new year's eve, 1999. going into y2k, seeing no doubt on tv, playing "it's the end of the world as we know it" by rem. >>. ♪ it's the end of the world as we know it ♪ ♪ it's the end of the world as we know it ♪ >> it was a very appropriately apocalyptic song for, what turned out to be, a very apocalyptic decade.

>> so, we wake up. it's 2000. we are all alive, and we are still in the middle of teen-pop mania. >> boy bands were selling so many albums. ♪ every little thing i do never seems enough for you ♪ >> this is the biggest year in pop-music history, in terms of sales. you have britney spears selling of "oops i did it again" in the first week. ♪ oops i did it again i played with your heart got lost in the game ♪ >> everyone is falling in love with boy bands and girl groups. but then, justin timberlake leaves n'sync. with his debut album, jt established what his sound would be, and it's instantly appealing to a pop audience, and also an

r-and-b audience. ♪ cry me a river, cry me a river ♪ >> you know, justin timberlake leaving n'sync becomes the model for what can be done. >> you talk about people who are always going to be bigger than their group, that was beyonce. her solo album in 2003. first single is "crazy in love." it's got this incredible sample and that catches your ear. beyonce hasn't opened her mouth yet, and you are already hooked on that song. >> i remember being asked once, what do you think? christina? or britney? and i said, beyonce. "crazy in love." that's how it begins. it seemed like, almost overnight, she became a kind of icon. she became a deeply respected figure. >> beyonce, "naughty girl." >> in the early 2000s, the

industry was so dominated by pop sensations and booming cd sales, they were totally oblivious to the new generation that didn't think music was something you had to pay for. >> that has the recording companies up in arms and heading to court. at the center of their dispute is a music-sharing internet service known as napster. >> in the music industry, you are complacent. people had come to them and said you have to start investing in the technology that comes after the compact disk and they refused to do it. >> picking a fight this morning with the internet site napster.com. >> the lawsuits began when metallica heard, on the radio, a song that they hadn't released, yet. >> metallica's like, what? >> april 14th, metallica filed a lawsuit against napster for,

basically, encouraging people to steal and trade our music, illegally. >> we started this thing called ex-metallica fans dot org. we are asking the community to completely ban and boycott metallica. >> i am glad you are an ex-metallica fan because i don't want you to be a fan of ours, if that's your attitude. >> i can't speak for the other bands but i embraced file-sharing. >> if you have -- you got it off napster. >> our band was plucked out of obscurity and given a career because of napster. >> so, suddenly, i had a platform for sharing my music to the frustration of the label i was on. >> napster has built a multibillion-dollar bausiness based on people copying files to millions of people they don't know. >> there is a way the technology can be adapted to -- to benefit

all of the parties involved. the artists, the industry, and the users. >> napster should have been an early version of itunes. >> today, the u.s. court of appeals ruled that napster is infringing on copyrighted music. in essence, letting its users steal songs. >> the music-label executives, absolutely, didn't want any kind of itunes-style distribution infrastructure that would fit with the internet. because they were terrified of unbundling the single from the album. so, for a long time, they had been able to take one, hit song, like "complicated." that song comes out in the late '90s, it's going to move 20 million albums. five or six years later, it is no longer going to move 20 million albums. it is going to move 20 million songs at 99 cents each. so, you just lost 99% of your revenue. >> cd sales dropped almost one

quarter in just three years. that is an awful lot of lost business. >> labels didn't want this to happen but, ultimately, they were powerless to stop it. robinhood believes now is the time to do money. without the commission fees. so, you can start investing today wherever you are - even hanging with your dog. so, what are you waiting for? download now and get your first stock on us. robinhood. ...little things... ...can become your big moment. that's why there's otezla. otezla is not a cream. it's a pill that treats plaque psoriasis differently.

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intuit quickbooks helps small businesses be more successful with payments, payroll, banking and live bookkeeping. it is inevitable, i suppose, that just about the time i am becoming aware of hip-hop culture, it is literally coming of age. hip-hop has been around, i discovered, for some 25 years now. and during that time, it has not only established itself as

america's most popular, popular music. it has altered a language. >> the oscar goes to "it's hard out here for a pimp." >> you know what? i think it just got a little easier out here for a pimp. >> we have seen hip-hop seep into everything, right? it's in commercials. then, it's in soundtracks. and fashion and shoes and everything. >> i never done it with a machine. >> it was easy, so how do you do it with a -- >> yeah, we in the hood, we like -- >> in that moment, a lot of rappers were celebrating what they had accomplished. rappers, like jermaine dupri and ja rule were saying to the world, this is about survival and surviving racism in america, and we are going to share this with the world.

>> hip-hop's no longer the kid on the block, it's actually the predominant music. and then, what really takes it over the top is a young rapper from detroit. in 2000, eminem puts out the marshal mathers mp. eminem came from a white, working-class background, and those are the stories he told. it just put him on a different level, because he brought his own authenticity to the game. >> i saw 8 mile in times square opening night. i had to sit in front of the theater. it was one of the most satisfying movie experiences i have ever had. i mean, listen. when that comes through the speakers at a theater.

>> it's not quite purple rain but it was pretty damn good. >> in the 2000s, rappers weren't content to be musicians. they had to be actors and producers and label bosses, themselves. so, in the video for "in the club," the producers, dr. dre and eminem have set up a laboratory. then, it pans into a nightclub environment where he is chatting with models and drinking expensive champagne. so, what they are really doing is perfecting the science of the club banger. >> if you have kids now, you know, it's probably rap they're using to drive you up the wall. and the big star in rap, now, is

50 cent. fitty cent. however you want to say it. >> your grandmother is, absolutely, getting down to "in the club." she is calling it in the club but she is getting down to it. i mean, that was everywhere. it was in a commercial. >> sounds like he's integrated his hit "in da club." extraordinary. >> one of the biggest differences between the '90s and 2000s, in terms of hip-hop, is this idea of business. >> 33-year-old jay z is the reigning king of rap. he owns his own record label, clothing line, and movie production company, generating almost half a billion dollars a year in sales. >> with jay-z, you are watching a hip-hop artist grow up, from telling street tales, to someone who has money, who has fame, who is traveling in very different circles now.

even if he was rapping about some of the same things that everybody was rapping about, street life, drugs, it was in such a unique way that he was almost inventing a new language. >> i really love the black album. for jay z to be the first one to get rick reuben to produce in such a long time shows how special jay is, as an artist. >> thinking maybe we start a cappella with if you're having more problems, i feel bad for you, son. i got 99 problems but a bitch ain't one. >> that's money. >> rick reuben created so many classic, hip-hop records with the beastie boys and run dmc. taking a beat and mixing it with an ac/dc guitar staph.

♪ son do you know why i'm stopping you for ♪ >> what jay z represented was you could actually have real longevity in hip hop. and for the longest time, new york had been the center of the world in hip-hop. the south, for the most part, hadn't really made itself heard. and that starts to change in 2000s. and you are getting outkast. and outkast is amazing. >> outkast became rap's beatles because we found both but particularly, andre becoming more obsessed with a kind of adventurous landscape of music. >> serious hip-hop already knew

about outkast. but then, they have this song called "hey ya." it's barely a hip-hop song, really. i'm not sure what it is, but it's got this kind of frothy, '60s vibe. it sounds like something motown might have put out when they were doing a song of young america. next thing you know, everyone is singing this one line, shake it like a polaroid picture. polaroid was the instant camera and the picture came out. and for some strange reason, as the image was -- was forming, people would do this. they would shake it, as if that was going to make it happen faster. so, he says that line in the song and, suddenly, everyone's doing that. and you have this cultural moment that everybody feels a need to be part of.

then, you know you really tap into something, and that's what outkast did. move at your own pace. you can even finish the bachelor's degree you started in 12 months for $10,000. capella university. don't just learn. learn smarter. smells more amazing than ever. flings now so their laundry isn't that the dog's towel? hey, me towel su towel.

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guys we'll always stand up and salute we'll always recognize ♪ >> after september 11th, we saw this resurgence of patriotism. you know, a real re-embrace of the american flag from country music and the mainstream, nashville community. >> toby keith was the ultimate example of all of that. >> with all the genres reacting to 9/11, the war, country was probably the most literal and the most outspoken about it. ♪ and you say we shouldn't worry about bin laden have you forgotten ♪ >> in music, there was no opposition to that message. but when the quote/unquote war on terror began, they were

talking about invading countries. well, then, music had a lot to act in opposition to. >> the dixie chicks are the top country touring act of the year, despite their firestorm unleashed by their words. >> when natalie said, you know, we are so ashamed of our president right now. their career took a severe beating. >> protestors used -- to smash the group's cds. >> look no further than the uproar over the dixie chicks. >> how they could say i am ashamed at the president, come on, man. >> screw 'em, right? say it. >> they were questioning something that you were just supposed to accept. and it was women doing it, no less. >> i think they are the twits. these are the dumbest bimbos. >> these are foolish women who deserve to be slapped around.

>> we are going to boycott you if you don't stop playing it. >> that was the last one you are going to hear. >> country radio, overnight, turns its back on the dixie chicks. >> as a result of statements made by the dixie chicks, two radio networks ban the dixie chicks at a chain level. >> in a way, they were more daring than any punk band. >> great to be back. the return to the scene of the crime. >> they took on the establishment that wanted to own them. and they refused to knuckle under. >> i thought i would say something brand new, and just say, just so you know, we are ashamed the president of the united states. >> we've asked artists, for decades, to be barometers of culture and be voices of dissent. and in the wake of 9/11, it was just seen as a bridge too far. >> people wanted escapism, at the time, because there was a lot to escape. so, we were listening to norah

jones and jack johnson. and coldplay. >> when "yellow" came out, a lot of the hipster, alternative kids were like, i love this. and i was one of them. >> it felt great. it's like, here is radio head and u2 put together, in a pop-friendly package that's catchy, rock music. >> john mayer was this virtuoso guitar player who wrote these love songs. he was huge.

♪ your body is a wonder land >> in the 2000s, rock, itself, becomes weirdly apolitical for a time when the country was at war. >> post-9/11, some believe familial music will sell this holiday. >> nickelback. they had bigger hits than anybody. >> everybody's welcome in the nickelback club. we -- we got a big club. >> a lot of rock is not really doing what it used to do, and it's almost like it -- it lost its will to fight. unless you are talking about green day. >> you can't undersell how shocking it was that the definitive statement george bush's america came from green

day. >> it was kind of like a rock opera. you had to listen to it, from front to back, because it told the entire story of what was going on in the decade. ♪ wake me up when september ends ♪ >> the fear of terrorism. the media. the wars. people being sent off to fight. rock wasn't all that surprising, in the 2000s. when you got something like "american idiot," it was, wow, this is unexpected. this is shaking things up, a little bit. ...little things... ...can become your big moment. that's why there's otezla. otezla is not a cream. it's a pill that treats plaque psoriasis differently. with otezla, 75% clearer skin is achievable.

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in the early 2000s, we come to recognize the idea of producers as artists. they are no longer relegated to the background. >> one of my favorite timbaland moments is watching him play jay z "dirt off your shoulder" for

the first time. >> the best there is. >> you got that? >> timbaland really pushed the envelope. it's, very much, black, futuristic music. that music, a lot of it, was space-a space-aged driven. >> odd sounds, that reflect his own inner-ear vision. ♪ i said it's too late to apologize, it's too late ♪ >> timbaland was a little more technologically dense and whereas pharrell was mo, he did like dance tracks. it was a little more gritty.

it was very, very intricate. but, very rhythmically driven. >> pop stars figure out that you need hip-hop cred and you need a hip-hop producer. >> most interests me about the 2000s was that you had a grouping of hip-hop producers who were crossing over into topping pop charts. >> kanye is another one, you know, he is producing and working with jay z and alicia keys and ludicrus and janet jackson. he releases his first album, the college dropout. >> the first single for college dropout was a song called "smoother wider." in the hospital, with his jaw wired shot, he records the song.

>> it is essentially him rapping about how bad he wants to be a rapper. >> god saved my life. so he has me here for a reason. >> college dropout was a cool, first album. there are some great singles on there. but late registration, to me, is when it all came together. that's an incredible record. >> he did what the rock stars used to do, which was to indulge his narcissistic fantasies through the medium of music. rappers weren't really doing it. musically, it was brilliant. look. what is the narrative of the 2000s? well, it's the backpack-wearing dork, like mark zuckerberg, who becomes a billionaire. and kanye west is the

music-industry version of that. >> my greatest pain in life is never be able to see me perform. so, you are welcome to know a pleasure that i will never have. >> kanye was a rock star but he also makes it safe for rappers to be vulnerable. >> it's positive rap. he is not cussing, every other sentence. and he is not talking about shooting people up. he is talking about real things. >> what kanye does is sort of bring in a new generation of hip-hop figures, and you can see the difference, going forward. >> drake took the kanye west blueprint. i'm going to bear my soul and my feelings on a record. >> it wasn't just hip-hop. you know, r and b had been doing this for a long time in a really, kind of, personal way.

>> usher's confessions was deeply personal and relatable. he just laid it all out there. >> he has the style and i think that he is a big hope for people, at that time. that like, here is a brother that's really doing it. >> we had trey songz and chris brown, usher. but the superstars of r and b are the women, absolutely. >> alicia keys. uber talent. oh, my god. sings, composes, and plays? oh, she's a total package.

>> later, r and b becomes much more rhythmic. not written as flowing as the traditional, r and b songs. and beyonce understood, better than anybody, how to make r and b for a hip-hop generation. >> i feel like everyone remembers where they were when they first saw the single ladies video. like, how do i learn the dance? i can't learn it fast enough. >> kind of pop it, a little bit. >> pop it? okay. >> yeah. >> you know, she was a woman speaking for other women. and that was so welcome. >> rihanna comes along, and she is much more r and b than she is pop. she's got this sort of caribbean feel in her music, and there is

something really fresh about her. >> rihanna had this incredibly ambitious idea of what pop music was. and kept redefining herself as the edgiest, nastiest, most sophisticated pop star out there. >> "umbrella." i mean, i don't think there is probably a person in the whole world that doesn't know that song, and wasn't walking around for like months at a time. >> and so, towards the end of the decade, artists like rihanna with danceable riffs led into hip-hop became bigger and bigger and bigger. it became pop.

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were banned from new york, you could count on getting laughed out of the room in the country. new york was just the place that thought of rock and roll as dead. >> the predominant genre is hip-hop. no one is thinking about new york as the center for interesting, rock music, anymore. but after 9/11, you had all these bands kind of bubbling beneath the surface, who start popping up. and it really starts with the strokes. >> after 9/11, the city was burning. it was smoldering. vulnerability, anxiety. all this became how the country felt. we needed that sense of defiance. that hubristic sense of promise that bands can deliver. >> the most important band in the world for what they may inspire other people to do. >> much in the same way nirvana was the spearhead for grunge in

the '90s, the strokes really helped usher in a lot of other acts. >> the first ones to break, after the strokes, in terms of new york artists, is -- these are strange people. they are countercultural, by nature. karen o. is this violent, swaggering, rock boy and this heartbroken, teary, rock girl. and maps is one of those tracks that launched a thousand young, female singers in their bedroom, somewhere. >> so, you have this resurgence of rock. with this resurgence of brooklyn and indie music.

>> please, welcome tv on the radio. >> tv on the radio. there was a multiethnic, multiracial band coming out of brooklyn. you know, they were scholars of music. >> they made very proggy but, also, very punky-rock that sounded like nothing else that had ever been done. >> maybe the most brooklyn band that has ever emerged from brooklyn. >> they were a huge success, partly because of james murphy's ability to make pristine, electronic music, that still had a soul in it.

>> what you start to see is not a genre of music or a trend. it's a scene. and though, they were not a new york band connected spiritual to that moment. >> arcade fire was this big, anthemic rock band that just made these songs you wanted to holler along with. >> and to me, it felt like the moment indie rock crossed over, into something bigger. >> it's the first time that you had indie bands soundtracking commercials for mainstream, multinational products.

in part, because everyone is trying to figure out how do i make money, now that no one will pay for my albums. >> you know, historically, there had been some weariness about selling your music to advertisers. it was seen as selling out. in the 2000s, that totally disappeared. there is all these songs that became iconic, primarily through their use in ipod commercials. >> now, indie culture was cool, and you could market yourself as part of this new, global indie community. >> you get the killers or you get kings of leon. and, of course, the white stripes.

they all step into the role of capital-r rock star. >> people thought the strokes were going to save rock. you felt that there was going to be a movement forward. and for a while, it worked. but ultimately, it didn't really change the musical landscape. you probably say the white stripes or arcade fire, are the last really big rock band in the classical sense. so, what happened? in the early 2000s, the electric guitar started to be replaced by this song-sequencing software. and you started to see, the future is not rock music. the groundbreaking artist, who is going to completely change what we think good music sounds like, is not going to be playing an electric guitar.

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♪ if we started the decade

with boy bands we ended with girl bands. lady gaga is at the height of her power. >> listening to something like "poker face" or "bad romance," you could tell she was a student of roxie music, she was a student of disco, she was a student of drag balls. she was somebody who wanted to combine all of those elements into really aggressive, hard-hitting pop music. ♪ >> suddenly it was no longer enough where a pretty gown on the red carpet, you had to make art. you had to make a statement. >> you asked me if my music was distracted by my sexuality. if i was a guy, and i was sitting here with a cigarette in my hand grabbing my crotch and talking about how i make music because i love fast cars and [ bleep ]ing girls, you'd call me a rock star. >> lady gaga is a female empowerment role model. this is just the beginning of girls running the world.

♪ baby you're a firework ♪ come on let your colors burst ♪ >> we have katy perry, shakira, nikki minaj, taylor swift just coming into her own. ♪ walking the streets with you and your worn out jeans ♪ >> taylor swift is a song writer. at an impossibly early age she comes up with what might be the single of the decade, "you belong with me." ♪ if you could see that i'm the one who understands you ♪ >> and that just straps her career to a rocket. ♪ baby you belong with me you belong with me ♪ >> we saw someone like taylor swift become a huge sensation because of her myspace page, poster her music on her page and look where she is now, it's pretty incredible.

>> by the end of that decade, artists would make their own music and put it up on myspace, and all the sudden you could have a career. >> the internet age is a do-it-yourself operation. hang your star on youtube and see how brightly it shines. ♪ >> justin bieber was the first of the youtube kids. he was using the new tools of the internet to really do an end run around the traditional industry. ♪ and i was like baby baby baby oh ♪ ♪ like baby baby baby no >> the 2000s, the music industry was undergoing a massive shift with all of the technological change, and the fact that the price of music had effectively been ground down to zero. >> i'm standing outside where i used to buy my cds, a store that is now shuttered and shut down, as you can tell, like so many other music stores across the country. >> by the end of the decade, the music business was falling off a cliff.

it seemed like all of it was gone, reduced to rubble. >> the shuttering this weekend of virgin's last two stores in manhattan and hollywood marks the death of a once-booming chain, and another nail in the coffin of the music cd. >> by the mid-2000s, music labels realized that youtube, myspace and file-sharing software was the way people were discovering new music. what do you do? you get all of the people you've heard online together in one act, and you charge $130 to see it. this proved to be a very successful model. ♪ >> the one that really set it off was bonaroo and coachella. >> so you came here from england for this? >> for the festival, man. why not? it's coachella. >> all of a sudden that same generation that's discovering music peer to peer online wants to be somewhere in a field with

that peer enjoying the live music experience. >> i've seen about 40 different bands, any type of music you could imagine. >> music festivals, there would always be this deejay tent. over the years, that tent kept getting bigger and bigger. >> the superstar deejays, diplo, david guetta, cascade, these guys are pulling in millions as headliners. ♪ >> hip-hop stars are becoming rock stars. deejays are becoming rock stars. the only people who aren't becoming rock stars are rock stars. >> pop. ♪ >> the idea of just standing there and staring at someone on stage is a 20th century idea. whereas in the 21st century it's more interactive, more about us

as an organism. >> come on! >> clap your hands! clap your hands, y'all! clap your hands! >> in the 2000s, we saw an industry that seemed like it would never change. we saw it be forced to change. ♪ i've got a feeling >> online distribution of music broke down the barriers of taste, and suddenly everyone was listening to everything. ♪ that tonight's gonna be a good good night ♪ >> with the help of a computer, the past is just cool stuff you could discover. and that's what a whole generation of new musicmakers do. yes, the 2000s are the major of the machine. dut that doesn't mean there's not a search for the soul inside of the machine. ♪ tonight the night let's shoot it up ♪ ♪ i got my money hey let's put it up ♪ ♪ go out and smash it like oh my god ♪

♪ let's take it up ♪ i feel stressed out let's go way out losing all control ♪ ♪ here we come here we go ♪ easy come easy go imagine what it was like back when the rolling stones could shock parents everywhere. my, how times have changed. >> i see hustling. i see killing. that's what i rap about. >> you can take me out of the ghetto, but you can't take the ghetto up out of me, dog. >> it's a tough time to grow up in. and nirvana and kurt cobain in particular reflect the angst. >> i learned how to write for myself, and it's pretty ironic that most people related to it. >> boom, there it is, platinum record. >> country music has taken over the airwaves and the record