0:00:12.904,0:00:15.477
[child yelling]

0:00:19.140,0:00:20.140
- We'd like to thank y'all.

0:00:20.140,0:00:22.459
You know, I thank y'all[br]personally, you know,

0:00:22.459,0:00:24.000
for coming out.

0:00:25.813,0:00:30.678
[applause]

0:00:30.678,0:00:31.498
Please.

0:00:31.498,0:00:31.998
Please.

0:00:31.998,0:00:33.970
Thank you, DJ Baby Dee.

0:00:33.970,0:00:34.970
[laughter]

0:00:35.650,0:00:38.260
- Say it again.

0:00:38.260,0:00:39.260
- DJ Baby Dee..

0:00:39.260,0:00:41.130
[laughter]

0:00:42.501,0:00:45.190
This day is an exceptional day,

0:00:45.190,0:00:47.480
because it's the day[br]of the opening.

0:00:47.480,0:00:50.090
So what counts now[br]and what is the change

0:00:50.090,0:00:52.070
and what is[br]the most important thing

0:00:52.070,0:00:54.430
to me as an artist[br]is every day–

0:00:54.430,0:00:57.460
to be every day here,

0:00:57.460,0:01:02.721
every day here to be present[br]and to produce something.

0:01:02.721,0:01:06.000
Why the presence and the[br]production is so important?

0:01:06.000,0:01:08.830
Because I believe[br]only with the presence

0:01:08.830,0:01:10.434
and the production,

0:01:10.434,0:01:13.320
we can create the condition

0:01:13.320,0:01:17.827
that the residents[br]are implicated.

0:01:17.827,0:01:20.659
So every day we will be here,

0:01:20.659,0:01:24.893
and we will be present and[br]produce the Gramsci Monument.

0:01:24.893,0:01:28.689
Because this, what you see,[br]is not the Gramsci monument.

0:01:28.689,0:01:32.371
It's only the structure[br]of the Gramsci monument.

0:01:32.371,0:01:35.229
'Cause what I want to do[br]is a new kind of monument.

0:01:35.229,0:01:37.583
So this new kind of monument,

0:01:37.583,0:01:40.590
I have to construct it[br]every day in being here,

0:01:40.590,0:01:42.993
in being present[br]and in producing

0:01:42.993,0:01:46.150
and in addressing it first

0:01:46.150,0:01:50.450
to the family who lives[br]in fifth floor there

0:01:50.450,0:01:54.229
or the family who lives there[br]in first floor

0:01:54.229,0:01:57.320
or the woman who lives up there[br]in the fifth floor.

0:01:57.320,0:01:58.500
They are my public.

0:01:58.500,0:01:59.500
This is the challenge.

0:01:59.500,0:02:03.042
This what's about,[br]the Gramsci monument:

0:02:03.042,0:02:06.509
To create memory,[br]a common memory.

0:02:08.534,0:02:10.700
- Ace, deuce, and no use.

0:02:10.700,0:02:11.700
[laughter]

0:02:14.251,0:02:16.070
- The three the hard way.

0:02:16.070,0:02:16.570
- Yo!

0:02:18.255,0:02:19.272
- These are my buddies here.

0:02:19.272,0:02:21.107
I could tease 'em all day long.

0:02:21.107,0:02:24.120
But they--I know not to get out[br]of line with 'em neither too,

0:02:24.120,0:02:25.120
'cause they'll slap me around

0:02:25.120,0:02:27.013
like if I'm one of[br]their children.

0:02:27.013,0:02:29.271
- You wouldn't[br]have never figured

0:02:29.271,0:02:33.928
it would've been like this[br]when they first started out.

0:02:36.939,0:02:43.008
- I believe that every human being[br]has an understanding of art.

0:02:43.008,0:02:49.980
What is separating us is smaller[br]than what is unifying us.

0:02:49.980,0:02:51.822
But in order to unify,

0:02:51.822,0:02:54.940
you have really to take[br]something who goes beyond.

0:02:54.940,0:02:57.415
And this is art to me.

0:03:00.000,0:03:01.480
What I wanted, actually,

0:03:01.480,0:03:06.000
is to establish a new term[br]of monument.

0:03:06.000,0:03:07.550
Why it's new?

0:03:07.550,0:03:09.335
Its location.

0:03:09.335,0:03:11.000
It is not in a park.

0:03:11.000,0:03:12.690
It's not in a city center.

0:03:12.690,0:03:14.170
It's where people are living.

0:03:14.170,0:03:15.730
Why where people are living?

0:03:15.730,0:03:16.980
Because I want to address it

0:03:16.980,0:03:20.420
to what I call[br]a nonexclusive audience.

0:03:21.274,0:03:27.778
It is new because its duration[br]has no ambition of eternity.

0:03:27.778,0:03:30.569
It wants to create memory.

0:03:30.569,0:03:35.599
Actually, in every artwork,[br]I would like to establish

0:03:35.599,0:03:38.970
a new term of form,[br]a new term of art.

0:03:38.970,0:03:40.981
This is my big ambition,[br]of course.

0:03:43.584,0:03:45.528
- There's a lot of people[br]came walkin' around,

0:03:45.528,0:03:47.354
looking while they was[br]building it.

0:03:47.354,0:03:47.901
- Right.

0:03:48.530,0:03:50.423
- And they wasn't sure at all.

0:03:51.267,0:03:53.086
- A lot of people call[br]this place the wood.

0:03:53.086,0:03:54.476
- Yeah, the wood.

0:03:55.330,0:03:58.479
- What did he call it?

0:03:58.479,0:03:59.479
- The little rascals.

0:03:59.479,0:04:01.355
- Oh, yeah,[br]the little rascal clubhouse.

0:04:01.355,0:04:01.855
- Yeah, that's what I call it.

0:04:01.855,0:04:03.147
- That's the best one.

0:04:03.354,0:04:05.720
The one that Phil[br]had called it, he said,

0:04:05.720,0:04:07.942
"Little House on the Prairie[br]meets the Bronx."

0:04:07.942,0:04:08.939
I was like, "That's it.

0:04:08.939,0:04:11.090
Michael Landon's[br]nowhere around."

0:04:11.090,0:04:12.654
[laughs][br]Yup.

0:04:12.654,0:04:16.989
Because I decided to do it[br]where people are living,

0:04:16.989,0:04:21.874
I must find somebody[br]who agree with my project.

0:04:21.874,0:04:25.515
I call it the key figure,[br]Erik Farmer.

0:04:25.694,0:04:29.130
Erik is the president[br]of forest houses,

0:04:29.130,0:04:30.500
the key to the neighborhood.

0:04:31.624,0:04:33.509
ERIK FARMER: The first response was,[br]"What is this?"

0:04:33.509,0:04:34.789
Like, "What is this about?"

0:04:34.789,0:04:36.370
You know, I don't know anything[br]about art.

0:04:36.370,0:04:37.770
I don't know[br]who Antonio Gramsci is.

0:04:37.770,0:04:40.210
I didn't know[br]who Thomas Hirschhorn was.

0:04:41.064,0:04:42.790
My understanding[br]of a monument

0:04:42.790,0:04:46.300
was something that–[br]it pretty much doesn't move.

0:04:46.300,0:04:48.150
It just– you know,[br]it stays there.

0:04:48.150,0:04:49.800
So I'm like,[br]"How can it be a monument

0:04:49.800,0:04:51.592
but you're saying[br]you're gonna take it down?"

0:04:51.592,0:04:53.729
So he was explaining to me[br]this is, like, a new concept.

0:04:55.774,0:04:57.400
And he actually brought me[br]some books,

0:04:57.400,0:04:59.080
some past work he did.

0:04:59.080,0:05:01.340
You know, I read up on him[br]and all that.

0:05:01.744,0:05:06.840
It's a monument,[br]but it's a temporary monument.

0:05:08.278,0:05:10.110
Once he told me that,

0:05:10.110,0:05:11.940
I got a understanding[br]of what he wanted to do.

0:05:12.929,0:05:15.740
And I knew[br]he was into tape before this.

0:05:15.740,0:05:17.900
He's, like, a tape freak[br]or something.

0:05:17.900,0:05:19.080
I never– he loves tape.

0:05:19.080,0:05:20.930
I never seen nobody[br]like that before.

0:05:20.930,0:05:23.840
And he tells me, you know,[br]"You can use tape for anything."

0:05:23.840,0:05:25.581
How can you use tape[br]for anything?

0:05:25.581,0:05:27.634
But he really does it, really.

0:05:33.590,0:05:37.249
Thomas is–[br]he's definitely out there.

0:05:37.249,0:05:39.130
But he got me out there[br]with him.

0:05:39.130,0:05:40.500
Then– then a banner.

0:05:40.500,0:05:41.940
- So then we do one banner more.

0:05:41.940,0:05:43.280
Can we hang it in your house?

0:05:43.280,0:05:45.280
- Of course, I told you.

0:05:45.280,0:05:46.789
Whenever you're ready.

0:05:46.789,0:05:47.800
Whenever– yes.

0:05:47.800,0:05:53.181
- I asked Erik to compose a team[br]of 15 people

0:05:53.181,0:05:56.157
to build the structure.

0:05:56.157,0:05:58.504
[saw whirring]

0:05:59.438,0:06:04.099
What was important,[br]I didn't tell him I need some specificity.

0:06:04.099,0:06:05.830
I just needed residents.

0:06:05.830,0:06:07.370
And he composed the team.

0:06:07.370,0:06:10.619
And I'm very proud,[br]even when it was very difficult,

0:06:10.619,0:06:14.280
to go to the end with the team.

0:06:14.280,0:06:17.580
I told it in the beginning, but[br]when you are doing an artwork.

0:06:17.580,0:06:24.699
And especially in public space,[br]it's never a completely success.

0:06:24.699,0:06:28.640
But what is nice,[br]it's never a completely failure.

0:06:30.910,0:06:33.800
- Thomas uses me[br]as one of his main carpenters.

0:06:33.800,0:06:35.090
He'll tell me to do something,

0:06:35.090,0:06:38.530
and I'll take my construction experience[br]to try to add something to it.

0:06:38.530,0:06:40.340
But if he doesn't want to do it[br]that way, you know,

0:06:40.340,0:06:41.340
Thomas is the boss.

0:06:41.340,0:06:42.677
We have to do it his way.

0:06:42.677,0:06:44.830
A lot of times, Thomas listens[br]to how I do things.

0:06:44.830,0:06:47.692
So when they walk on it,[br]everything is balanced.

0:06:47.692,0:06:48.692
- Oh.

0:06:48.940,0:06:50.389
- He's not a construction guy.

0:06:50.389,0:06:52.320
You know, as he say,[br]he's an artist.

0:06:52.320,0:06:53.320
You know what I'm saying?

0:06:53.320,0:06:55.310
He's not a construction guy[br]at all.

0:06:55.310,0:06:58.290
- Well, we had plans[br]made by an architect

0:06:58.290,0:07:00.990
but only to get permission.

0:07:00.990,0:07:01.990
[laughs]

0:07:01.990,0:07:06.280
And, I mean–[br]but also it was helpful,

0:07:06.280,0:07:08.270
because, for example, I learned

0:07:08.270,0:07:12.360
a staircase have[br]a certain dimension.

0:07:12.360,0:07:16.440
So that I try to do–[br]not so good, but we tried.

0:07:17.201,0:07:18.789
The same with the ramp.

0:07:18.789,0:07:22.250
I mean, it has to have a kind[br]of level, of course, to go up.

0:07:22.250,0:07:23.250
- I would go backwards,

0:07:23.250,0:07:26.470
and then when it turned up,[br]I would turn around.

0:07:26.470,0:07:27.909
So it's fine, Thomas.

0:07:27.909,0:07:28.909
- Okay.

0:07:28.909,0:07:32.139
To me, it seems the only way[br]to work together.

0:07:32.139,0:07:35.860
Which I would like to call[br]in coexistence.

0:07:35.860,0:07:39.757
Seems to me much more honest[br]to say "Coexistence"

0:07:39.757,0:07:41.120
than "Collaboration."

0:07:42.581,0:07:44.270
They will be paid[br]for their work,

0:07:44.270,0:07:46.840
because it's like[br]I'm coming in a gallery

0:07:46.840,0:07:50.159
And working with the people[br]who are working for the gallery

0:07:50.159,0:07:51.160
or for the museum.

0:07:51.160,0:07:52.954
They're paid as well.

0:07:54.280,0:07:55.639
- When he first got there,

0:07:55.639,0:07:57.870
he didn't want people to focus[br]on making money

0:07:57.870,0:08:00.110
and people just focused[br]on doing a job.

0:08:00.110,0:08:03.960
He wanted people to understand[br]what this gentleman was about, Antonio Gramsci.

0:08:05.061,0:08:08.960
- I was very happy that in the[br]neighborhood of forest houses,

0:08:08.960,0:08:12.000
people who didn't know[br]Antonio Gramsci

0:08:12.000,0:08:15.389
made very immediately[br]the connection

0:08:15.389,0:08:18.736
To Nelson Mandela or Malcolm X.

0:08:19.276,0:08:23.220
Gramsci is a philosopher[br]of Marxist thinking,

0:08:23.220,0:08:25.590
and he comes from italy.

0:08:25.590,0:08:28.960
He went to prison[br]for his thinking.

0:08:28.960,0:08:30.652
He didn't made a book.

0:08:30.652,0:08:36.000
He made his notebooks, who are[br]like layers of thinkings,

0:08:36.000,0:08:42.759
always related to very practical things[br]but still with a big ambition.

0:08:51.390,0:08:54.475
This is not a cultural project[br]but an art project.

0:08:56.520,0:09:00.240
It's very important[br]to understand it as a sculpture,

0:09:02.801,0:09:07.935
as something who wants to engage[br]with the surrounding buildings.

0:09:10.350,0:09:11.640
Why these materials?

0:09:11.640,0:09:13.937
Because they're materials[br]that everybody use and knows.

0:09:15.330,0:09:18.207
It's not because[br]it's in forest houses,

0:09:18.207,0:09:20.850
in a socially[br]not favorite neighborhood

0:09:20.850,0:09:25.196
that it is with cardboard[br]or with tape and with wood.

0:09:25.196,0:09:28.980
No, it belongs[br]to my aesthetic vocabulary.

0:09:30.193,0:09:32.040
- Shotgun, too hot to trot.

0:09:33.276,0:09:36.540
Yo, we're here live, 91.9 fm.

0:09:36.540,0:09:39.040
Don't forget to stop by[br]The Gramsci bar and grill,

0:09:39.040,0:09:41.534
Where they've got all the[br]beautiful food and everything.

0:09:41.534,0:09:42.510
It is so...

0:09:44.139,0:09:47.363
- [singing][br]♪early in the morning♪

0:09:47.363,0:09:49.967
♪drive into the street♪

0:09:49.967,0:09:51.428
That's it.

0:09:51.428,0:09:53.639
[indistinct conversation]

0:09:55.549,0:09:56.695
- No, island.

0:09:56.695,0:09:58.379
Do you know how to spell?

0:09:58.941,0:09:59.941
- Island?

0:10:02.120,0:10:04.779
- On 5:00 sunday,[br]we got Mr. Marcus steinweg

0:10:04.779,0:10:06.029
with the daily lecture.

0:10:06.029,0:10:08.950
Mondays, we got our Gramsci theater.

0:10:08.950,0:10:14.754
[people talking at once]

0:10:14.754,0:10:16.444
- I'm going mad!

0:10:20.287,0:10:21.100
People: Whoo!

0:10:22.786,0:10:24.136
- Capitalism?

0:10:24.540,0:10:25.890
Capitalism?

0:10:26.901,0:10:28.160
Capitalism.

0:10:28.160,0:10:29.356
- You learn.

0:10:29.648,0:10:32.890
I met people[br]from all walk of life.

0:10:33.680,0:10:34.680
I love that.

0:10:34.680,0:10:36.871
That was– that was the best.

0:10:36.871,0:10:37.891
- All over the world.

0:10:37.891,0:10:39.180
- That's right.

0:10:39.180,0:10:40.240
- The second part of my work

0:10:40.240,0:10:42.770
is what I call[br]public interventions.

0:10:42.770,0:10:44.950
I go out of the museum[br]and gallery world,

0:10:44.950,0:10:47.020
And I try to reach an audience[br]that is larger

0:10:47.020,0:10:52.499
than the small audience that[br]we know goes to the art world.

0:10:52.499,0:10:55.769
And the third part[br]of my practice is teaching.

0:10:56.443,0:10:58.339
That's fine, yeah.

0:10:58.339,0:10:59.339
This is working?

0:10:59.339,0:11:00.339
Okay, okay.

0:11:00.339,0:11:01.339
- Sorry.

0:11:01.339,0:11:02.339
- It's okay.

0:11:04.968,0:11:06.918
- And if it wasn't here,[br]they wouldn't have came.

0:11:06.918,0:11:07.938
- Right.

0:11:10.118,0:11:12.684
- 'Cause why would they want[br]to come here?

0:11:17.336,0:11:19.810
- On fridays,[br]Mr. Thomas Hirschhorn himself

0:11:19.810,0:11:22.839
At 11:00 in the morning[br]to 3:00 in the afternoon

0:11:22.839,0:11:24.670
with his art school.

0:11:24.670,0:11:26.089
His art school is very good.

0:11:26.089,0:11:28.370
I've been to the class[br]and everything,

0:11:28.370,0:11:31.180
and it's right here[br]on the Gramsci monument stage.

0:11:31.180,0:11:35.360
Thomas Hirshhorn's art school class,[br]11:00 in the morning.

0:11:35.360,0:11:41.230
And his art school class,[br]it contains energy, yes; quality, no.

0:11:41.230,0:11:44.179
- Never about judging a person, never.

0:11:44.179,0:11:47.079
But judging a work with it, yes,

0:11:47.079,0:11:49.779
because I believe[br]only the judgment of something

0:11:49.779,0:11:53.070
we did ourself[br]or some other else did

0:11:53.070,0:11:55.620
can help us to go forward.

0:11:55.620,0:11:57.089
- If you can't take criticism...

0:11:57.089,0:11:58.170
- Don't come.

0:11:58.170,0:11:59.814
- Don't come to the class.

0:11:59.814,0:12:01.083
- Energy, yes.

0:12:01.083,0:12:02.453
Quality, no.

0:12:03.779,0:12:07.649
I'm not interested[br]in the criteria of quality,

0:12:07.649,0:12:11.070
because I think the criteria[br]of quality is exclusive.

0:12:11.070,0:12:15.415
So that's why I try to invent[br]another criteria

0:12:15.415,0:12:18.326
who replace the criteria[br]of quality,

0:12:18.326,0:12:20.080
the criteria of energy.

0:12:21.182,0:12:22.513
- It was kind of rough.

0:12:23.007,0:12:24.456
- And make brown, right?

0:12:24.456,0:12:25.741
- Can red and blue and orange?

0:12:25.741,0:12:27.130
- Yeah, the last one,

0:12:27.130,0:12:29.276
Because they're opposites.

0:12:29.276,0:12:31.734
Orange and blue are opposites,[br]because orange...

0:12:31.734,0:12:34.040
Thomas came to my school.

0:12:34.040,0:12:36.300
I graduated from Princeton University.

0:12:36.300,0:12:40.147
And he did a lecture, and I had[br]a studio visit with him.

0:12:40.147,0:12:43.580
And his expression[br]"energy, yes; quality, no"

0:12:43.580,0:12:46.720
is something[br]that really resonated with me.

0:12:46.720,0:12:50.670
So I emailed him afterwards,[br]asking if I could be involved

0:12:50.670,0:12:54.570
in his next project,[br]and he said yes.

0:12:54.570,0:12:56.750
In the beginning,[br]it was more like a class.

0:12:57.222,0:12:59.180
Like, for the first[br]five or six weeks,

0:12:59.180,0:13:02.320
there was very, like,[br]specific activities

0:13:02.320,0:13:05.730
that we were doing[br]about different artists,

0:13:05.730,0:13:07.730
different ideas in art,

0:13:07.730,0:13:10.310
different technical[br]art concepts.

0:13:10.310,0:13:11.709
But then in the last few weeks,

0:13:11.709,0:13:14.570
it's been more kind of just,[br]like, an open workshop,

0:13:14.570,0:13:16.390
'cause now the kids[br]are coming in,

0:13:16.390,0:13:18.930
and they have a lot more[br]of their own ideas.

0:13:18.930,0:13:20.387
You want to spray the inside?

0:13:20.387,0:13:22.617
- No, don't spray the inside.

0:13:22.819,0:13:23.819
- All right.

0:13:24.000,0:13:25.400
You could spray the inside.

0:13:25.848,0:13:27.370
- This is not a collaboration.

0:13:27.370,0:13:30.120
This is work in coexistence

0:13:30.120,0:13:33.720
That me, I do it 100%,[br]but the other also 100%.

0:13:33.720,0:13:35.920
So I cannot interfere.

0:13:35.920,0:13:37.440
I don't want to interfere.

0:13:37.440,0:13:40.940
And I want to take[br]the responsibility– and I can–

0:13:40.940,0:13:43.529
of 100%[br]of what the other does also.

0:13:43.529,0:13:46.122
That I call[br]unshared authorship.

0:13:46.122,0:13:48.870
So, for example,[br]in the radio station,

0:13:48.870,0:13:52.889
what the DJ Gucci[br]Or DJ Baby Dee told

0:13:52.889,0:13:58.160
and how they told it, I take[br]100% responsibility about.

0:13:58.160,0:14:01.352
- Offices have a certain amount[br]of collars to get monthly,

0:14:01.352,0:14:02.860
I was told.

0:14:02.860,0:14:07.770
I was told, when I was writing tickets,[br]that I had a minimum of 27 tickets

0:14:07.770,0:14:10.620
I had to write per month minimum.

0:14:10.620,0:14:11.779
Look around you.

0:14:11.779,0:14:14.440
Notice that when you enter[br]upon a projects,

0:14:14.440,0:14:17.170
what is it[br]that you're walking through?

0:14:17.170,0:14:19.181
Whereas it–[br]they were not there years ago.

0:14:19.181,0:14:20.011
- It's, like, gated.

0:14:20.011,0:14:21.011
- Raw iron gates.

0:14:21.011,0:14:21.831
- Yeah.

0:14:21.831,0:14:24.790
- Once you enter[br]upon those raw iron gates,

0:14:24.790,0:14:27.240
you're practically going[br]through a door.

0:14:27.240,0:14:29.419
That's the insignia[br]of trespassing.

0:14:29.419,0:14:31.350
- The thing is, do we go down?

0:14:31.350,0:14:32.350
Do we make a complaint?

0:14:32.350,0:14:33.058
- Of course.

0:14:33.058,0:14:34.058
- Do we fight the ticket?

0:14:34.058,0:14:34.558
Wait a minute.

0:14:34.558,0:14:35.058
Let me just finish.

0:14:35.058,0:14:37.540
Do we fight the ticket,[br]or do we just let it sit

0:14:37.540,0:14:39.370
and get a warrant[br]and then double up our problem?

0:14:39.370,0:14:40.529
- I think I have a solution.

0:14:40.529,0:14:41.529
- Yeah, yeah, solution.

0:14:41.529,0:14:42.649
Let's hear a solution.

0:14:42.649,0:14:44.470
- I've been going through it,[br]So...

0:14:44.470,0:14:48.390
- Then, at 4:00, we got the daily lecture[br]with Mr. Marcus Steinweg.

0:14:48.390,0:14:53.110
His daily lecture for today is[br]"For the Love of Philosophy."

0:14:53.110,0:14:57.430
- A kind of ontological void[br]or emptiness.

0:14:57.430,0:14:59.290
What does it mean, then,[br]for the change

0:14:59.290,0:15:02.050
now transform situation[br]of the human subject?

0:15:02.050,0:15:05.699
What does it mean for the[br]definition of what thinking is?

0:15:05.699,0:15:08.839
So thinking is first[br]to deal with this lack,

0:15:08.839,0:15:10.990
with this void,[br]with this emptiness.

0:15:10.990,0:15:12.949
call it the inexistence of God.

0:15:12.949,0:15:16.930
Call it simply a kind of–[br]Call it a kind of–

0:15:16.930,0:15:17.930
the whole of freedom,

0:15:17.930,0:15:19.500
like Jean-Paul Sartre[br]is claiming that.

0:15:19.935,0:15:22.144
- He said that yesterday[br]he don't believe in God.

0:15:22.144,0:15:23.483
And I said, "What you mean,[br]you don't believe in God?"

0:15:23.483,0:15:26.240
That, like, it got to me.

0:15:26.240,0:15:29.240
I had to get up and say– I had[br]to get up and say something.

0:15:29.240,0:15:30.839
"What you mean,[br]you don't believe in God?"

0:15:30.839,0:15:33.080
He said[br]he don't believe in nothing.

0:15:33.080,0:15:34.434
I said, "Okay."

0:15:35.602,0:15:37.509
- When I'm in front[br]of an artwork,

0:15:37.509,0:15:40.149
there are two questions.

0:15:40.149,0:15:41.500
Where do you stand?

0:15:41.770,0:15:44.429
What do you want?

0:15:44.429,0:15:45.569
- Without getting too deep,[br]too heavy–

0:15:45.569,0:15:48.411
- Yo, this next song is a joint[br]called I got it.

0:15:49.287,0:15:51.819
And this is basically based[br]on anybody

0:15:51.819,0:15:53.620
who's ever tried[br]to accomplish something

0:15:53.620,0:15:56.380
When the odds[br]was really against you

0:15:56.380,0:15:58.110
but you still pushed forward[br]anyway.

0:15:58.110,0:15:59.230
- Yeah, yeah.

0:15:59.230,0:16:01.490
- With that said, soundman.

0:16:01.490,0:16:03.180
[latin guitar music]

0:16:03.180,0:16:06.000
♪like flaunting these roses♪

0:16:06.000,0:16:08.387
♪so many phony imposers♪

0:16:08.387,0:16:10.793
♪so many days on the humble♪

0:16:10.793,0:16:14.025
♪now feel my attitude crumble♪

0:16:14.025,0:16:16.377
♪and I won't shut it off♪

0:16:16.377,0:16:18.859
♪I've paid every cost♪

0:16:18.859,0:16:21.933
♪so all that shots I call♪

0:16:21.933,0:16:23.628
♪who are you to doubt it?♪

0:16:23.628,0:16:25.590
♪many floors in entertainment♪

0:16:25.590,0:16:28.011
♪I bear my soul[br]'fore it's naked♪

0:16:28.011,0:16:30.398
♪too many dreams now faded♪

0:16:30.398,0:16:33.878
♪they're saying[br]I'll never make it♪

0:16:33.878,0:16:36.000
♪and I should fold my cards♪

0:16:36.000,0:16:38.551
♪damn, I've come too far♪

0:16:38.551,0:16:41.294
♪I shine above them all♪

0:16:41.294,0:16:43.853
♪and everything I love,[br]Man, I got it♪

0:16:43.853,0:16:45.302
Thanks for the love,[br]Forest Projects.

0:16:45.302,0:16:46.800
We out of here.

0:16:46.800,0:16:49.490
- I told y'all[br]I was gonna be crazy.

0:16:49.490,0:16:51.310
You didn't believe me.

0:16:51.984,0:16:53.500
I told you.

0:16:54.966,0:16:55.923
MARCELLA PARADISE:[br]Speaking and talking

0:16:55.923,0:16:56.940
to other people,

0:16:56.940,0:16:58.940
Listening[br]to other people lectures,

0:16:58.940,0:17:02.730
saying where they came from[br]and from where you came from,

0:17:03.292,0:17:04.148
we're gonna miss it.

0:17:04.148,0:17:04.961
- Yeah.

0:17:06.000,0:17:07.050
- Yeah.

0:17:07.050,0:17:08.339
- We ain't feel it yet.

0:17:08.339,0:17:10.559
We ain't feel it yet,[br]but it's gonna bring some tears.

0:17:10.559,0:17:12.579
It's gonna bring some tears[br]here.

0:17:12.579,0:17:14.512
- 'Cause that means[br]the people go.

0:17:14.512,0:17:17.049
- Right, and it's just gonna be[br]something loss here.

0:17:17.049,0:17:18.940
Just gonna be[br]like someone die.

0:17:18.940,0:17:19.940
- Mm-hmm.

0:17:19.940,0:17:23.076
- Now I understand[br]what a monument means.

0:17:23.076,0:17:28.980
It's something that stays in[br]your heart and in your memory,

0:17:28.980,0:17:31.423
because they only have it once.

0:17:31.423,0:17:32.935
- Yeah.