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00:00:00,934 --> 00:00:10,610
and FORD.
We go further, so you can.
>> TONIGHT, ON "60 MINUTES
PRESENTS," AN HOUR OF MUSIC.
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00:00:11,644 --> 00:00:24,424
♪ I LEFT MY HEART... ♪
>> TONY BENNETT'S BEEN SINGING
AND SWINGING FOR 70 YEARS.
NOW, AT 95, HE'S STRUGGLING WITH
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00:00:24,491 --> 00:00:33,133
DEMENTIA, BUT AS WE SAW WHEN WE
SPENT TIME WITH HIM, NOT EVEN
ALZHEIMER'S COULD STOP THIS
LEGEND FROM GETTING BACK ON
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00:00:33,199 --> 00:00:42,909
STAGE WITH HIS FRIEND LADY GAGA
AND PUTTING ON WHAT MAY BE HIS
LAST AND BEST PERFORMANCE EVER.
♪ STEPPIN' OUT WITH MY BABY
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00:00:42,976 --> 00:00:47,714
CAN'T GO WRONG 'CAUSE I'M IN
RIGHT ♪
( TICKING )
♪ ♪ ♪
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00:00:47,781 --> 00:00:54,721
♪ ♪ ♪
>> AS OFTEN AS WE HEAR BANDS
PLAY, WE RARELY GLIMPSE BANDS AT
WORK; MUCH LESS THE BIGGEST BAND
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00:00:54,788 --> 00:01:04,898
THAT EVER WAS.
WELL, TELEPORT TO 1969, AND MEET
THE BEATLES.
♪ ♪ ♪
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00:01:04,964 --> 00:01:11,337
DIRECTOR PETER JACKSON WENT
DEEP, SIFTING THROUGH DOZENS OF
HOURS OF NEVER-BEFORE-SEEN FILM,
ALLOWING THE WORLD AN INTIMATE
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00:01:11,404 --> 00:01:17,343
LOOK AT THE BEATLES IN STUDIO,
AND AN INTIMATE LISTEN TO EVERY
CONVERSATION.
>> LEFT HIS HOME IN TUCSON,
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00:01:17,410 --> 00:01:19,212
ARIZONA.
( TICKING )
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00:01:21,848 --> 00:01:29,322
♪ ♪ ♪
>> NEW ORLEANS HAS BEEN QUIETER
THAN NORMAL DURING THE PANDEMIC.
♪ ♪ ♪
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00:01:29,389 --> 00:01:39,365
♪ ♪ ♪
BUT, MUSICIANS FIND A WAY.
TONIGHT, WE INTRODUCE YOU TO NEW
ORLEANS' SELF-PROCLAIMED "BEST
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00:01:39,432 --> 00:01:55,415
BAND IN THE LAND," SO YOU COULD
HEAR THEM, AND THEIR STORY.
>> THANK YOU.
AT EASE FOR A SECOND.
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00:01:56,583 --> 00:02:03,556
>> Alfonsi: GOOD EVENING.
I'M SHARYN ALFONSI.
WELCOME TO "60 MINUTES
PRESENTS."
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00:02:03,623 --> 00:02:10,663
TOMORROW'S GRAMMY AWARDS MAY
HAVE BEEN POSTPONED, BUT WE HAVE
AN HOUR OF MUSIC SURE TO LEAVE A
SONG IN YOUR HEART.
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00:02:10,730 --> 00:02:16,302
WE'LL JOIN THE BEATLES, AS THEY
PREPARE FOR THEIR FINAL PUBLIC
CONCERT ON A LONDON ROOFTOP; AND
THEN HEAR A VERY DIFFERENT KIND
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00:02:16,369 --> 00:02:23,576
OF BAND, MARCHING THROUGH THE
STREETS OF NEW ORLEANS.
BUT WE BEGIN WITH ANOTHER LOOK
AT ANDERSON COOPER'S POIGNANT
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00:02:23,643 --> 00:02:28,248
PORTRAIT OF THE LEGENDARY TONY
BENNETT.
WHEN TONY BENNETT'S FAMILY
ANNOUNCED HE HAD ALZHEIMER'S
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00:02:28,314 --> 00:02:35,588
DISEASE LAST FEBRUARY, FEW OF
THE 94-YEAR-OLD SINGER'S FANS
IMAGINED THEY'D EVER SEE HIM ON
STAGE AGAIN.
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00:02:35,655 --> 00:02:40,727
BUT THIS PAST SUMMER, WITH HIS
FAMILY'S HELP, HE BEGAN
REHEARSING FOR TWO CONCERTS AT
RADIO CITY MUSIC HALL, WITH HIS
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00:02:40,793 --> 00:02:47,834
FRIEND LADY GAGA.
NO ONE KNEW FOR SURE IF TONY
WOULD BE ABLE TO PULL IT OFF,
BUT HIS FAMILY BELIEVED THAT
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00:02:47,901 --> 00:02:55,108
TONY'S STORY COULD GIVE HOPE TO
OTHERS STRUGGLING WITH
ALZHEIMER'S, AND INVITED
ANDERSON COOPER AND A "60
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00:02:55,174 --> 00:03:05,652
MINUTES" CREW TO FOLLOW HIM,
PREPARING FOR WHAT WOULD LIKELY
BE HIS FINAL ACT.
♪ I LEFT MY HEART IN SAN
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00:03:05,718 --> 00:03:18,064
FRANCISCO ♪
>> Anderson Cooper: TONY BENNETT
HAS BEEN SINGING HITS AND
SWINGING JAZZ...
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00:03:18,131 --> 00:03:26,205
♪ HIGH ON A HILL ♪
>> Cooper: ...FOR SEVEN DECADES.
BUT FOR TONY, NOW, THOSE YEARS
ARE A DIM MEMORY, LOST IN THE
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00:03:26,272 --> 00:03:32,345
FOG OF DEMENTIA FROM
ALZHEIMER'S.
HE SPENDS MUCH OF HIS TIME IN
HIS NEW YORK APARTMENT LOOKING
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00:03:32,412 --> 00:03:37,850
THROUGH BOOKS AND OLD PHOTOS.
WHAT ARE THESE OF?
WE MET TONY AND HIS WIFE SUSAN
IN JUNE, A FEW WEEKS BEFORE HIS
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00:03:37,917 --> 00:03:42,589
95th BIRTHDAY.
IS THAT BOB HOPE?
>> Tony Bennett: BOB AND
DOLORES.
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00:03:42,655 --> 00:03:48,127
>> Susan Benedetto: THEY SENT
THAT FOR YOUR 75th BIRTHDAY.
AND IN A MONTH AND A HALF,
YOU'RE GOING TO BE 95.
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00:03:48,194 --> 00:03:52,165
( LAUGHS )
HOW ABOUT THAT?
>> Tony Bennett: IT'S AMAZING.
( LAUGHTER )
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00:03:52,231 --> 00:03:57,103
>> Cooper: DO YOU FEEL 95?
YOU DON'T LOOK IT.
>> Susan Benedetto: HOW OLD DO
YOU FEEL, TONE?
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00:03:57,170 --> 00:04:04,110
>> Tony Bennett: 95.
( LAUGHTER )
>> Cooper: TONY HAS HIS GOOD
MOMENTS-- BUT SUSAN HAS TO DO
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00:04:04,177 --> 00:04:10,683
MOST OF THE TALKING.
SHE SAYS HE FIRST GREW CONCERNED
ABOUT HIS MEMORY SIX YEARS AGO.
>> Susan Benedetto: WE CAME HOME
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00:04:10,750 --> 00:04:13,953
ONE NIGHT, AND HE SAID, "SUSAN,"
HE SAID, "I'M HAVING A HARD TIME
REMEMBERING THE NAMES OF THE
MUSICIANS."
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00:04:14,020 --> 00:04:17,423
AND--
>> Cooper: THE MUSICIANS HE WAS
PLAYING WITH?
>> Susan Benedetto: YEAH, ON S--
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00:04:17,490 --> 00:04:22,428
WHO HE WORKS WITH ALL THE TIME.
AND SO, IT WAS UNUSUAL.
AND I SAID, "WELL, DO YOU WANT
TO GO SEE A DOCTOR ABOUT IT?"
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00:04:22,495 --> 00:04:27,867
AND HE SAID, "I DO."
>> Cooper: DID YOU KNOW RIGHT
AWAY THAT IT WAS ALZHEIMER'S?
>> Dr. Gayatri Devi: YEAH.
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00:04:27,934 --> 00:04:32,639
>> Cooper: DR. GAYATRI DEVI IS
TONY'S NEUROLOGIST.
SHE DIAGNOSED HIM IN 2017.
>> Cooper: DO YOU KNOW WHAT IS
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00:04:32,705 --> 00:04:38,444
HAPPENING IN-- IN TONY'S BRAIN?
>> Dr. Devi: NO ONE REALLY
KNOWS.
BUT I KNOW THAT HIS HIPPOCAMPUS,
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00:04:38,511 --> 00:04:43,549
WHICH IS THE GRAND CENTRAL
STATION OF MEMORIES-- AND THE
CONDUIT THROUGH WHICH WE
RETRIEVE MEMORIES, AS WELL AS
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00:04:43,616 --> 00:04:48,021
LAY DOWN MEMORIES-- IS NOT
WORKING VERY WELL.
>> Susan Benedetto: LOOK AT
THIS, TONE.
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00:04:48,087 --> 00:04:53,326
>> Tony Bennett: WOW, WHAT'S
THAT?
>> Susan Benedetto: THAT'S A
PAINTING THAT YOU DID.
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00:04:53,393 --> 00:04:58,231
>> Cooper: SUSAN AND TONY HAVE
BEEN TOGETHER FOR MORE THAN 30
YEARS.
SHE'S NOW HIS FULL-TIME
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00:04:58,297 --> 00:05:03,736
CAREGIVER.
HOW MUCH DOES TONY UNDERSTAND
ABOUT WHAT'S GOING ON AROUND HIM
AT ANY GIVEN TIME?
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00:05:03,803 --> 00:05:09,409
>> Susan Benedetto: EVERY DAY IS
DIFFERENT.
TONY-- LATE AT NIGHT, SOMETIMES
EARLY IN THE MORNING, HE'S MORE
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00:05:09,475 --> 00:05:14,681
ALERT, IF I CAN USE THAT WORD.
SO, I'LL TELL HIM, "TONE, YOU'RE
GOING TO BE ON '60 MINUTES'."
HE'S, LIKE, "GREAT."
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00:05:14,747 --> 00:05:19,952
I SAID, "YOU REMEMBER THAT SHOW,
'60 MINUTES'?"
HE'S, LIKE, "I DO."
BUT IN ANY OTHER GIVEN MOMENT,
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HE WON'T KNOW.
>> Cooper: I MEAN, HE RECOGNIZES
YOU.
>> Susan Benedetto: HE
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00:05:23,756 --> 00:05:29,262
RECOGNIZES ME, THANK GOODNESS.
HIS CHILDREN, YOU KNOW.
WE ARE BLESSED IN A LOT OF WAYS.
HE'S VERY SWEET.
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00:05:29,328 --> 00:05:32,198
HE DOESN'T KNOW HE HAS IT.
>> Cooper: HE DOESN'T KNOW HE
HAS ALZHEIMER'S.
>> Susan Benedetto: NUH-UH.
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00:05:32,265 --> 00:05:39,439
>> Cooper: WHAT HE DOES KNOW IS
THAT HE'S AT HOME, NOT
PERFORMING ON STAGE.
HE'D CONTINUED TO SING AFTER HIS
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00:05:39,505 --> 00:05:43,376
DIAGNOSIS... BUT THE PANDEMIC
TOOK HIM OFF THE ROAD.
SUSAN SAYS IT'S BEEN HARD ON
HIM.
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00:05:43,443 --> 00:05:50,717
>> Susan Benedetto: IT WAS
GAYATRI DEVI, OUR DOCTOR, WHO
SAID, "IF HE WANTS TO SING, LET
HIM SING, BECAUSE THAT'S THE
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00:05:50,783 --> 00:05:54,087
BEST THING FOR HIM."
YOU KNOW, ALL THE MEDS AND ALL
THE TREATMENTS THEY DO TO
STIMULATE YOUR BRAIN, FOR HIM,
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00:05:54,153 --> 00:05:59,692
THERE'S NOTHING MORE STIMULATING
THAN PERFORMING.
>> Cooper: TONY'S OLDEST SON AND
MANAGER, DANNY BENNETT, CAME UP
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00:05:59,759 --> 00:06:04,497
WITH THE IDEA OF THE RADIO CITY
CONCERTS IN AUGUST WITH LADY
GAGA.
IT WAS BROADCAST ON CBS THIS
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00:06:04,564 --> 00:06:09,702
FALL.
>> Danny Bennett: THE PANDEMIC
WAS A BIG-- ( SIGHS )
IT WAS A BIG THING FOR ME.
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00:06:09,769 --> 00:06:15,775
LIKE, AN...
ENDING HIS CAREER ON-- ON THAT
NOTE...
>> Cooper: IT COULDN'T END THAT
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00:06:15,842 --> 00:06:19,378
WAY.
>> Danny Bennett: COULDN'T END
THAT WAY.
AFTER ALL THAT HE'D-- HE DID.
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00:06:19,445 --> 00:06:26,319
♪ OH, IT DON'T MEAN A THING IF
IT AIN'T GOT THAT SWING ♪
>> Cooper: TONY AND LADY GAGA
RELEASED THEIR FIRST ALBUM
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00:06:26,385 --> 00:06:38,064
TOGETHER IN 2014.
♪ DOO-WA, DOO-WA, DOO-WA I'VE
GOT YOU UNDER MY SKIN ♪
>> Cooper: IN 2018, HE WAS ABLE
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00:06:38,131 --> 00:06:46,739
TO RECORD ANOTHER ALBUM WITH
HER, WHICH WAS RELEASED LATE
LAST YEAR.
BY JUNE, HOWEVER, HIS DISEASE
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00:06:46,806 --> 00:06:50,576
HAD PROGRESSED, AND SUSAN TOLD
US SHE WASN'T SURE EXACTLY WHAT
WOULD HAPPEN AT THE PLANNED
RADIO CITY CONCERT.
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00:06:50,643 --> 00:06:54,480
>> Susan Benedetto: HOW YOU
DOING, HANDSOME?
>> Tony Bennett: OKAY.
>> Susan Benedetto: YOU WANT TO
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00:06:54,547 --> 00:07:04,757
LOOK OVER HERE AT ME?
( LAUGHS )
(♪ PIANO ♪)
>> Cooper: BUT WHEN IT WAS TIME
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00:07:04,824 --> 00:07:12,498
TO REHEARSE, SOMETHING
INCREDIBLE HAPPENED.
TONY'S ACCOMPANIST, LEE MUSIKER,
BEGAN PLAYING, AND SUDDENLY, THE
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00:07:12,565 --> 00:07:24,243
LEGENDARY SHOWMAN WAS BACK.
♪ LET SOMEONE START BELIEVIN' IN
YOU
♪ LET HIM HOLD OUT HIS HAND LET
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00:07:24,310 --> 00:07:35,855
HIM FIND YOU AND WATCH WHAT
HAPPENS!
♪ SMILE THOUGH YOUR HEART IS
ACHING
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00:07:35,922 --> 00:07:42,061
♪ SMILE EVEN THOUGH IT'S
BREAKING ♪
>> Cooper: HE HAD NO NOTES, NO
CUE CARDS.
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00:07:42,128 --> 00:07:50,336
♪ WHEN THERE ARE CLOUDS IN THE
SKY
♪ YOU'LL GET BY ♪
>> Cooper: WE WERE AMAZED.
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00:07:50,403 --> 00:07:56,075
ALL HIS OLD SONGS WERE SOMEHOW
STILL THERE.
HE SANG AN HOUR-LONG SET FROM
MEMORY.
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00:07:56,142 --> 00:08:11,190
♪ IF YOU JUST SMILE... ♪
( APPLAUSE )
>> Lee Musiker: BRAVO, TONY.
>> Tony Bennett: THANK YOU.
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00:08:11,257 --> 00:08:17,997
>> Cooper: THAT WAS INCREDIBLE.
YOU JUST START PLAYING SOMETHING
AND IT'S ALL THERE?
>> Musiker: WHEN I START
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00:08:18,064 --> 00:08:26,372
PLAYING, TONY IS COMPLETELY
ENGAGED.
AND THIS IS A WHOLE NEW
PERFORMANCE, AND NEW PHRASES,
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00:08:26,439 --> 00:08:32,078
NEW NUANCE.
NOTHING SHORT OF A MIRACLE.
>> Cooper: DR. GAYATRI DEVI
EXPLAINED HOW A TRANSFORMATION
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00:08:32,144 --> 00:08:39,285
LIKE THAT WAS POSSIBLE.
>> Dr. Devi: PEOPLE RESPOND
DIFFERENTLY DEPENDING ON THEIR
STRENGTHS.
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00:08:39,352 --> 00:08:43,689
IN TONY'S CASE, IT'S HIS MUSICAL
MEMORY, HIS ABILITY TO BE A
PERFORMER.
THOSE ARE AN INNATE AND HARD-
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WIRED PART OF HIS BRAIN.
SO, EVEN THOUGH HE DOESN'T KNOW
WHAT THE DAY MIGHT BE OR WHERE
HIS APARTMENT IS, HE STILL CAN
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00:08:53,666 --> 00:09:00,072
SING THE WHOLE REPERTOIRE OF THE
AMERICAN SONGBOOK AND MOVE
PEOPLE.
>> Cooper: HOW DOES MUSIC
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00:09:00,139 --> 00:09:04,911
STIMULATE THE BRAIN?
>> Dr. Devi: IT ENGAGES MULTIPLE
DIFFERENT PARTS OF THE BRAIN,
RIGHT?
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00:09:04,977 --> 00:09:09,582
SO THERE'S THE AUDITORY CORTEX
FOR HEARING.
THERE IS THE PART OF THE BRAIN
THAT DEALS WITH MOVEMENT AND
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00:09:09,649 --> 00:09:18,424
DANCE.
THERE IS THE VISUAL SYSTEM THAT
GETS ENGAGED, SO IT'S KIND OF
LIKE A WHOLE BRAIN ACTIVATOR.
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00:09:18,491 --> 00:09:25,598
>> Cooper: TONY COULD REMEMBER
THE SONGS-- BUT COULD HE
REMEMBER HOW TO PERFORM THEM IN
FRONT OF THOUSANDS OF PEOPLE?
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00:09:25,665 --> 00:09:30,503
LADY GAGA KNEW IT WASN'T GOING
TO BE EASY.
>> Lady Gaga: AND YOU KNOW,
ANDERSON, FOR THE FIRST COUPLE
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00:09:30,569 --> 00:09:37,510
OF WEEKS THAT I SAW TONY SINCE
COVID, HE CALLED ME
"SWEETHEART," BUT I WASN'T SURE
HE KNEW WHO I WAS.
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00:09:37,576 --> 00:09:44,517
>> Cooper: IN REHEARSALS THIS
JULY, SHE FOUND NEW WAYS TO
CONNECT AND COMMUNICATE WITH HER
OLD FRIEND-- WHEN ASKING HIM
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00:09:44,583 --> 00:09:51,290
QUESTIONS, SHE'D KEEP IT SIMPLE.
>> Lady Gaga: FOR EXAMPLE, IF I
WERE TO SAY, "TONY, WOULD YOU
LIKE TO SING 'LOVE FOR SALE',"
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00:09:51,357 --> 00:09:59,398
HE'LL SAY, "YEAH."
AND IF I SAY, "TONY, WOULD YOU
LIKE TO SING 'LOVE FOR SALE' OR
'IT DON'T MEAN A THING IF IT
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00:09:59,465 --> 00:10:03,135
AIN'T GOT THAT SWING'--"
HE MIGHT NOT HAVE AS EASY OF A
RESPONSE.
DO YOU WANT TO SING "ANYTHING
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00:10:03,202 --> 00:10:07,173
GOES?"
>> Tony Bennett: YEAH.
>> Lady Gaga: ALL RIGHT, GREAT."
ANYTHING GOES," EVERYBODY!
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00:10:07,239 --> 00:10:11,944
>> Lady Gaga: WHEN THAT MUSIC
COMES ON-- ( SNAPS )
IT'S-- SOMETHING HAPPENS TO HIM.
HE KNOWS EXACTLY WHAT HE'S
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00:10:12,011 --> 00:10:17,183
DOING.
AND WHAT'S IMPORTANT FOR ME,
ACTUALLY, JUST TO MAKE SURE THAT
I DON'T GET IN THE WAY OF THAT.
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00:10:17,249 --> 00:10:25,024
>> Cooper: ON OPENING NIGHT IN
EARLY AUGUST, RADIO CITY'S 6,000
SEATS WERE SOLD OUT.
IT WAS TONY'S 95th BIRTHDAY...
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00:10:25,091 --> 00:10:31,931
>> Crowd: ♪ HAPPY BIRTHDAY TO
YOU ♪
>> Cooper: ...AND HIS FANS WERE
WAITING.
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00:10:31,998 --> 00:10:40,840
>> Crowd: WE LOVE YOU, TONY!
>> Cooper: LADY GAGA OPENED THE
SHOW.
BACKSTAGE, SUSAN DID HER BEST TO
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00:10:40,906 --> 00:10:44,643
REMIND TONY WHAT WAS HAPPENING.
>> Susan Benedetto: WE'RE GOING
TO WATCH LADY GAGA'S SET.
>> Tony Bennett: RIGHT.
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00:10:44,710 --> 00:10:50,983
>> Susan Benedetto: AND THEN
YOU'RE GOING TO SING.
OKAY?
>> Tony Bennett: HOW MANY SONGS
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00:10:51,050 --> 00:10:55,755
AM I SINGING?
>> Susan Benedetto: I'LL TELL
YOU WHAT YOU'RE GOING TO SING.
>> Cooper: WHEN IT WAS TIME,
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00:10:55,821 --> 00:11:04,397
THEY WALKED TOWARD THE STAGE
TOGETHER.
THEN, THE LIGHTS WENT OUT, AND
THE CURTAIN WENT UP.
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00:11:04,463 --> 00:11:16,275
>> Tony Bennett: WOW!
>> Susan Benedetto: WELL, ONCE
HE SAW THE AUDIENCE, AND, YOU
KNOW, AND HE RAISES HIS HANDS,
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00:11:16,342 --> 00:11:20,513
HE'S-- I KNEW WE WERE ALL RIGHT,
BECAUSE HE BECAME HIMSELF.
HE JUST TURNE ON.
YOU KNOW, IT WAS LIKE A LIGHT
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00:11:20,579 --> 00:11:32,291
SWITCH.
♪ LET SOMEONE START BELIEVIN' IN
YOU
♪ LET HIM HOLD OUT HIS HAND LET
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00:11:32,358 --> 00:11:40,366
HIM FIND YOU, AND...
WATCH WHAT HAPPENS
♪ STEPPIN' OUT WITH MY BABY
CAN'T GO WRONG CAUSE I'M IN
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00:11:40,433 --> 00:11:49,508
♪ RIGHT
ASK ME WHEN WILL THAT DAY BE THE
♪ BIG DAY MAY BE TONIGHT!
THIS IS ALL I ASK ♪
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00:11:49,575 --> 00:11:56,382
>> Cooper: THERE MAY HAVE BEEN A
FEW MISSTEPS, BUT THE CROWD
DIDN'T CARE.
IT WAS TONY'S NIGHT, AND THE OLD
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00:11:56,449 --> 00:12:14,333
CROONER WAS IN COMMAND.
♪ BEAUTIFUL GIRLS WALK A LITTLE
SLOWER WHEN YOU WALK BY ME... ♪
( CHEERS AND APPLAUSE )
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00:12:14,400 --> 00:12:21,941
>> Cooper: HE SANG MORE THAN A
DOZEN SONGS, AND GOT AT LEAST 20
STANDING OVATIONS.
>> Tony Bennett: SHOULD WE KEEP
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00:12:22,007 --> 00:12:28,180
GOING?
( CHEERS AND APPLAUSE )
WOW!
WHAT A GREAT AUDIENCE.
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00:12:28,247 --> 00:12:36,188
>> Cooper: WHEN IT CAME TIME FOR
LADY GAGA TO JOIN HIM FOR SOME
FINAL DUETS, LISTEN TO WHAT TONY
SAID AS SHE APPEARED ON STAGE:
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00:12:36,255 --> 00:12:46,732
>> Lady Gaga: HEY, TONY!
>> Tony Bennett: WHOA, LADY
GAGA!
( CHEERS AND APPLAUSE )
111
00:12:46,799 --> 00:12:52,771
I LIKE THAT!
>> Lady Gaga: ME, TOO.
>> Tony Bennett: DO IT AGAIN.
>> Lady Gaga: OKAY!
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00:12:52,838 --> 00:12:58,110
THAT'S THE FIRST TIME THAT TONY
SAID MY NAME, IN A LONG TIME.
>> Cooper: REALLY, IN ALL THE
WEEKS LEADING UP TO IT, HE
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00:12:58,177 --> 00:13:03,382
HADN'T SAID YOUR NAME?
WOW.
>> Lady Gaga: I HAD TO KEEP IT
TOGETHER, BECAUSE WE HAD A SOLD-
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00:13:03,449 --> 00:13:08,521
OUT SHOW, AND I HAVE A JOB TO
DO.
BUT I'LL TELL YOU, WHEN I WALKED
OUT ON THAT STAGE, AND HE SAID,
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00:13:08,587 --> 00:13:15,427
"IT'S LADY GAGA," MY FRIEND SAW
ME.
AND IT WAS VERY SPECIAL.
♪ GO TO THE OPERA AND I STAY
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00:13:15,494 --> 00:13:33,112
WIDE AWAKE
♪ ♪ ♪
♪ ♪ ♪
♪ ♪ ♪
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00:13:33,179 --> 00:13:41,320
♪ ♪ ♪
>> Cooper: AND AT THE END OF THE
NIGHT, LADY GAGA WAS THERE TO
WALK TONY BENNETT OFF THE STAGE
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00:13:41,387 --> 00:13:48,360
ONE LAST TIME.
>> Lady Gaga: IT'S THE LAST
THING THAT I SAID TO TONY, ON
STAGE, WAS-- "MR. BENNETT, IT
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00:13:48,427 --> 00:13:57,436
WOULD BE MY HONOR IF I COULD
ESCORT YOU OFF THE STAGE."
AND HE SAID, "OKAY."
AND I DID.
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00:13:57,503 --> 00:14:04,310
AND, JUST SIMPLY BEING THE WOMAN
THAT GOT TO WALK HIM OFF STAGE,
THAT'S ENOUGH FOR ME.
YOU WERE SO AMAZING.
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00:14:04,376 --> 00:14:12,351
>> Tony Bennett: THE PUBLIC
LOVED IT.
>> Lady Gaga: THEY DID!
YOU WERE-- YOU WERE SPECTACULAR.
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00:14:12,418 --> 00:14:18,958
EVERYBODY, MR. TONY BENNETT!
>> Susan Benedetto: I THOUGHT IT
WAS A TRIUMPH, REALLY.
IT'S, LIKE-- YOU KNOW, CLIMBING
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00:14:19,024 --> 00:14:25,931
MT. OLYMPUS, AND HE MADE IT.
>> Cooper: A FEW DAYS AFTER THAT
TRIUMPH, WE MET TONY AND SUSAN
ON THEIR DAILY WALK IN CENTRAL
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00:14:25,998 --> 00:14:30,502
PARK.
HOW DID YOU FEEL ABOUT THE
CONCERT THE OTHER NIGHT?
>> Tony Bennett: I DON'T KNOW
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00:14:30,569 --> 00:14:33,839
WHAT YOU MEAN.
>> Cooper: I SAW YOU AT RADIO
CITY.
YOU DID A GREAT JOB.
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00:14:33,906 --> 00:14:40,980
>> Tony Bennett: OH, THANK YOU
VERY MUCH.
>> Cooper: TONY HAD NO MEMORY OF
PLAYING RADIO CITY AT ALL.
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00:14:41,046 --> 00:14:45,284
IS THIS A SAD STORY, TONY
BENNETT'S LAST PERFORMANCE?
>> Lady Gaga: NO.
IT'S NOT A SAD STORY.
128
00:14:45,351 --> 00:14:53,792
IT'S EMOTIONAL.
IT'S HARD TO WATCH SOMEBODY
CHANGE.
I THINK WHAT'S BEEN BEAUTIFUL
129
00:14:53,859 --> 00:15:01,200
ABOUT THIS, AND WHAT'S BEEN
CHALLENGING, IS TO SEE HOW IT
AFFECTS HIM IN SOME WAYS, BUT TO
SEE HOW IT DOESN'T AFFECT HIS
130
00:15:01,267 --> 00:15:12,911
TALENT.
I THINK HE REALLY PUSHED THROUGH
SOMETHING TO GIVE THE WORLD THE
GIFT OF KNOWING THAT THINGS CAN
131
00:15:12,978 --> 00:15:27,326
CHANGE AND YOU CAN STILL BE
MAGNIFICENT.
♪ YOUR GOLDEN SUN WILL SHINE FOR
ME! ♪
132
00:15:27,393 --> 00:15:38,070
( CHEERS AND APPLAUSE )
133
00:15:39,738 --> 00:15:44,543
>> Alfonsi: AT 95 YEARS OLD,
TONY BENNETT CONTINUES SETTING
RECORDS.
HIS ALBUM WITH LADY GAGA,
134
00:15:44,610 --> 00:15:52,151
RELEASED THIS PAST FALL, IS UP
FOR SIX GRAMMY AWARDS, INCLUDING
ALBUM OF THE YEAR.
HE IS THE OLDEST PERFORMER EVER
135
00:15:52,217 --> 00:15:54,453
NOMINATED IN THAT CATEGORY.
( TICKING )
136
00:15:56,689 --> 00:16:09,468
>> ANDERSON COOPER ON WITNESSING
WHAT WAS LIKELY TONY BENNETT'S
FINAL ACT, AT
www.60minu
137
00:16:11,804 --> 00:16:19,044
>> Alfonsi: IT'S JANUARY 1969,
AND THE BEATLES ARE
UNRECOGNIZABLE FROM THE WIDE-
EYED MOP-TOPS WHO APPEARED ON
138
00:16:19,111 --> 00:16:27,586
THE "ED SULLIVAN SHOW" JUST FIVE
YEARS PRIOR.
THEIR POPULARITY IS UNRIVALLED.
THEY'VE STOPPED TOURING, AND
139
00:16:27,653 --> 00:16:34,126
FAME IS EXACTING ITS PRICE.
NOW COMES A SELF-IMPOSED STRESS:
THEY'VE GIVEN THEMSELVES THREE
WEEKS TO RECORD 14 SONGS THAT
140
00:16:34,193 --> 00:16:40,999
THEY'LL PLAY TO A LIVE AUDIENCE,
ALL THE WHILE TRAILED BY
CAMERAS.
THE ASTONISHINGLY INTIMATE
141
00:16:41,066 --> 00:16:49,208
FOOTAGE WAS RECENTLY EXTRACTED
FROM A LONDON VAULT AND PLACED
IN THE CAPABLE HANDS OF
FILMMAKER PETER JACKSON.
142
00:16:49,274 --> 00:16:55,247
HIS RESULTING THREE-PART
DOCUMENTARY SERIES, "GET BACK,"
DROPPED LAST NOVEMBER ON
DISNEY+.
143
00:16:55,314 --> 00:17:02,688
AS JON WERTHEIM REPORTED AT THE
TIME, IT ADDS CONSIDERABLE LIGHT
AND JOY TO WHAT WAS ALWAYS
CONSIDERED TO BE THE BEATLES'
144
00:17:02,755 --> 00:17:11,029
DARKEST PERIOD.
YOU MIGHT SAY JACKSON TOOK A SAD
SONG, AND-- WELL, YOU KNOW THE
REST.
145
00:17:11,096 --> 00:17:20,372
♪ ♪ ♪
♪ ♪ ♪
♪ ♪ ♪
>> Wertheim: OFTEN AS WE HEAR
146
00:17:20,439 --> 00:17:27,312
BANDS PLAY, WE RARELY GLIMPSE
BANDS AT WORK, MUCH LESS THE
BIGGEST BAND THAT EVER WAS.
WELL, TELEPORT TO 1969, AND MEET
147
00:17:27,379 --> 00:17:37,790
THE BEATLES.
♪ ♪ ♪
♪ ♪ ♪
YOU'RE THE FIRST PERSON TO LOOK
148
00:17:37,856 --> 00:17:43,195
AT THIS WITH FRESH EYES IN YEARS
AND YEARS.
WHAT WAS IT LIKE WATCHING THIS
FOOTAGE?
149
00:17:43,262 --> 00:17:47,800
>> Peter Jackson: IT WAS
FASCINATING.
AND AFTER 50 YEARS, YOU'D HAVE
EVERY RIGHT TO BELIEVE THAT
150
00:17:47,866 --> 00:17:51,837
EVERYTHING WITH THE BEATLES HAD
BEEN TALKED ABOUT.
EVERY BIT OF FILM HAD BEEN SEEN,
EVERY BIT OF MUSIC HAD BEEN
151
00:17:51,904 --> 00:17:57,676
HEARD, THAT THERE WAS NO MORE
SURPRISES WITH THE BEATLES.
>> Wertheim: FROM HIS BASE IN
NEW ZEALAND, DIRECTOR PETER
152
00:17:57,743 --> 00:18:07,286
JACKSON TOOK A BREAK FROM
DIRECTING BIG-BUDGET STUDIO
FILMS LIKE "LORD OF THE RINGS,"
AND HAS SPENT THE LAST FOUR
153
00:18:07,352 --> 00:18:15,194
YEARS HANGING OUT WITH JOHN,
PAUL, GEORGE AND RINGO.
>> Jackson: SUDDENLY, BANG, OUT
OF NOWHERE COMES THIS INCREDIBLE
154
00:18:15,260 --> 00:18:21,733
TREASURE TROVE OF FLY-ON-THE-
WALL MATERIAL, 52 YEARS LATER.
IT STILL BLOWS MY MIND.
IT ACTUALLY, HONESTLY STILL
155
00:18:21,800 --> 00:18:27,706
BLOWS MY MIND.
>> Paul McCartney: SO HOW ABOUT,
HOW ABOUT CHANGING AROUND THESE
TWO, AND WHEN YOU SING "DON'T
156
00:18:27,773 --> 00:18:35,848
YOU KNOW IT'S GOING TO LAST,"
WE SING, "IT'S A LOVE THAT HAS
NO PAST."
>> Wertheim: SO, GIVE US SOME
157
00:18:35,914 --> 00:18:42,321
HISTORICAL CONTEXT HERE.
UNDER WHAT CIRCUMSTANCES WAS
THIS FOOTAGE SHOT?
>> Jackson: THEY'VE LOST WHAT
158
00:18:42,387 --> 00:18:48,227
THEY LOVED AS TEENAGERS.
THEY'VE LOST BEING THE FOUR GUYS
PLAYING IN A BAND.
SO, THEY'RE GOING TO RECORD A
159
00:18:48,293 --> 00:18:51,263
NEW ALBUM WITH SONGS THAT ONLY--
THAT THEY'RE ONLY GOING TO PLAY
LIVE.
AND THEY'RE NOT GOING TO DO ANY
160
00:18:51,330 --> 00:18:55,334
STUDIO TRICKS.
THERE'S GOING TO BE NO
MULTITRACKING.
AND THEY HAD TO-- THEY HAD TO
161
00:18:55,400 --> 00:19:01,607
FIGURE OUT WHERE AND HOW THEY
WERE GOING TO PERFORM TO AN
AUDIENCE.
>> McCartney: BOM, CHA, BOM-BOM.
162
00:19:01,673 --> 00:19:07,946
>> Wertheim: AS THE BEATLES
WROTE AND REHEARSED, THEY
ALLOWED A FILM CREW TO CAPTURE
EVERY RIFF, BOTH ON GUITAR AND
163
00:19:08,013 --> 00:19:12,451
IN CONVERSATION.
>> McCartney: I MEAN, CORNY IS
ALL RIGHT IN THIS ONE, BECAUSE
WHAT HE'S DOING IS CORNY.
164
00:19:12,518 --> 00:19:19,191
BUT SEE, THAT'S THE THING THAT
WILL MAKE IT NOT CORNY, IS IF WE
SING DIFFERENT WORDS.
SO IT'S-- "I'M IN LOVE FOR THE
165
00:19:19,258 --> 00:19:23,929
FIRST TIME."
>> Wertheim: THE MONTHS'-WORTH
OF FILMING YIELDED ONLY THE
FORGETTABLE 80-MINUTE
166
00:19:23,996 --> 00:19:33,805
DOCUMENTARY, "LET IT BE,"
RELEASED A YEAR LATER, AFTER THE
BEATLES BROKE UP.
A LIFELONG BEATLES FAN, PETER
167
00:19:33,872 --> 00:19:40,279
JACKSON HAD ALWAYS WONDERED,
WHAT HAD HAPPENED TO ALL THOSE
HOURS OF UNSEEN FOOTAGE?
>> Jonathan Clyde: SO, HERE WE
168
00:19:40,345 --> 00:19:46,218
ARE IN VAULT NUMBER THREE.
>> Wertheim: HIS TOLKIEN-LIKE
QUEST TOOK HIM DEEP UNDER THE
LONDON HEADQUARTERS OF APPLE
169
00:19:46,285 --> 00:19:52,124
CORPS, THE BEATLES' LABEL.
>> Jackson: THEY JUST SAID,
"WE'VE GOT IT ALL.
WE'VE GOT 57 HOURS OF FOOTAGE.
170
00:19:52,190 --> 00:19:58,363
WE'VE GOT 130 HOURS OF AUDIO."
AND THEN THEY SAID THAT THEY
WERE THINKING ABOUT MAKING A
DOCUMENTARY USING THE FOOTAGE.
171
00:19:58,430 --> 00:20:07,272
I JUST PUT UP MY HAND AND SAID,
"WELL, IF-- IF YOU ARE LOOKING
FOR SOMEBODY TO MAKE IT?
DON'T-- PLEASE JUST-- THINK--
172
00:20:07,339 --> 00:20:13,278
THINK OF ME."
>> Wertheim: BACK IN NEW
ZEALAND, JACKSON BEGAN THE
ULTIMATE BINGE-WATCH, SCREENING
173
00:20:13,345 --> 00:20:22,387
THIS MUSICAL MOTHER LODE, FRAME
BY FRAME.
GIVEN THAT ANY BEATLES FAN WILL
TELL YOU THAT "LET IT BE" COMES
174
00:20:22,454 --> 00:20:30,495
SHROUDED IN SADNESS-- FOREVER
ASSOCIATED WITH THE GREAT
DIVORCE IN ROCK AND ROLL
HISTORY-- JACKSON BRACED FOR THE
175
00:20:30,562 --> 00:20:34,633
GLOOMY WORST.
>> Jackson: I WAS WATCHING, I
WAS WAITING FOR IT TO GET BAD.
I WAS WAITING FOR THE NARRATIVE
176
00:20:34,700 --> 00:20:39,605
THAT I'D BELIEVED OVER THE YEARS
TO START HAPPENING.
I WAS WAITING FOR THE ARGUMENTS.
WAITING FOR THE DISCONTENT.
177
00:20:39,671 --> 00:20:44,209
WAITING FOR THE MISERY.
AND, YOU KNOW, IT DIDN'T HAPPEN.
I MEAN, IT SHOWS-- YOU KNOW, IT
SHOWS ISSUES.
178
00:20:44,276 --> 00:20:50,349
IT SHOWS PROBLEMS.
BUT-- BUT ANY BAND, ANY TIME,
HAS THO-- HAS THOSE-- HAS THOSE
PROBLEMS.
179
00:20:50,415 --> 00:20:54,519
THIS IS NOT A BAND THAT'S
BREAKING UP.
THESE ARE NOT GUYS THAT DISLIKE
EACH OTHER.
180
00:20:54,586 --> 00:21:08,000
THAT'S NOT WHAT I'M-- WHAT--
WHAT WE'RE SEEING HERE.
THAT'S NOT WHAT WAS BEING
FILMED.
181
00:21:08,066 --> 00:21:15,807
>> John Lennon: YEAH, BUT THE
>> Wertheim: HERE'S WHAT WAS
BEING FILMED: THE FOUR
LIVERPUDLIANS IN THEIR LATE 20s,
182
00:21:15,874 --> 00:21:20,479
WORKING COLLABORATIVELY,
SURROUNDED BY A STRIKINGLY
SMALL, TIGHT ENTOURAGE.
THERE'S LINDA-- LINDA EASTMAN,
183
00:21:20,545 --> 00:21:31,156
AT THE TIME-- TAKING PHOTOS.
AND, OF COURSE, YOKO ONO.
AS LONG AS WE'RE HERE, LET'S
DISPENSE NOW WITH THAT FAMOUS
184
00:21:31,223 --> 00:21:35,761
BIT OF BEATLES BREAK-UP
MYTHOLOGY.
THE CASUAL FAN LOOKING FOR "YOKO
ONO BROKE UP THE BEATLES"
185
00:21:35,827 --> 00:21:41,800
MIGHT COME AWAY FROM THIS
DISAPPOINTED, I SUSPECT.
>> Giles Martin: YEAH, I THINK
THAT'S A GOOD THING, YOU KNOW.
186
00:21:41,867 --> 00:21:46,338
I MEAN, YOKO DIDN'T BREAK UP THE
BEATLES.
AND-- AND NO ONE THING BROKE UP
THE BEATLES.
187
00:21:46,405 --> 00:21:51,843
>> George Martin: THAT'S THE
ORIGINAL.
>> Giles Martin: THAT'S THE
ORIGINAL.
188
00:21:51,910 --> 00:21:55,981
>> Wertheim: GILES MARTIN IS THE
SON OF LATE BEATLES PRODUCER
GEORGE MARTIN.
GILES GREW UP IN THE BEATLES
189
00:21:56,048 --> 00:22:03,955
ORBIT, AND HAS SINCE REMIXED
MOST OF THE BAND'S ALBUMS.
WHEN PETER JACKSON ENLISTED HIM
FOR THIS SERIES, MARTIN PLOWED
190
00:22:04,022 --> 00:22:09,227
THROUGH ALL THE HUNDREDS OF
HOURS OF AUDIO AND VIDEO.
>> Giles Martin: YOU CAN SEE THE
CRACKS APPEARING.
191
00:22:09,294 --> 00:22:14,700
THE ONE THING ABOUT THIS MOVIE
IS THAT PEOPLE UNDERSTAND WHY
THEY WERE GETTING TIRED OF EACH
OTHER.
192
00:22:14,766 --> 00:22:20,205
BECAUSE YOU GET THE SENSE OF
WHAT IT WAS LIKE TO BE IN A ROOM
WITH THEM, WHICH IS SUCH A
PRIVILEGE FOR ALL OF US.
193
00:22:20,272 --> 00:22:28,113
>> Wertheim: DESPITE THOSE
CRACKS, THE BEATLES ALCHEMY
REMAINS POTENT.
>> Jackson: AT ONE POINT, WE
194
00:22:28,180 --> 00:22:35,954
HAVE FOOTAGE OF PAUL McCARTNEY
SORT OF STRUMMING ON-- ON HIS
BASS, WHICH HE USES AS A GUITAR
HALF THE TIME.
195
00:22:36,021 --> 00:22:44,529
JUST SORT OF STRUMMING.
I THINK IT'S EARLY IN THE
MORNING, AND THEY'RE WAITING FOR
JOHN TO-- HASN'T ARRIVED YET.
196
00:22:44,596 --> 00:22:57,242
HE'S JUST BIDING SOME TIME.
HE SLOWLY FINDS THE TUNE.
♪("GET BACK")
>> Jackson: AND SO, YOU SEE THIS
197
00:22:57,309 --> 00:23:02,714
SONG KIND OF JUST BE PLUCKED OUT
OF THIN AIR.
>> McCartney: LEFT HIS HOME IN
TUCSON, ARIZONA.
198
00:23:02,781 --> 00:23:07,285
>> Lennon: IS TUCSON IN ARIZONA?
>> McCartney: YEAH.
IT'S WHERE THEY MAKE "HIGH
CHAPARRAL."
199
00:23:07,352 --> 00:23:13,358
LIKE, I CAN MAKE SENSE OF IT.
JOJO LEFT HIS HOME, HOPING IT
WOULD BE A BLAST, PRETTY SOON HE
FOUND THAT HE'D HAVE TO BE A
200
00:23:13,425 --> 00:23:20,132
LONER WITH SOME CALIFORNIA
GRASS.
AND NOW YOU THINK, OKAY, THAT
MAKES SENSE, BUT IT DOESN'T SING
201
00:23:20,198 --> 00:23:28,073
GOOD.
>> Wertheim: THE BEATLES HAD
ALWAYS BEEN FURIOUSLY
PRODUCTIVE, BUT THIS WAS THE
202
00:23:28,140 --> 00:23:36,047
CREATIVE PROCESS IN DOUBLE TIME:
14 SONGS IN 22 DAYS.
WAS THAT AS MUCH AN ABSURD TIME
PRESSURE IN 1969 AS IT WOULD
203
00:23:36,114 --> 00:23:40,552
APPEAR TO BE TODAY?
>> Giles Martin: YEAH.
THIS IS THE BIGGEST BAND ON THE
PLANET, SAYING WE'RE GOING TO
204
00:23:40,619 --> 00:23:46,525
DO-- WE'RE GOING TO DO OUR FIRST
SHOW IN THREE YEARS, IN THREE
WEEKS' TIME.
BUT WE DON'T KNOW WHERE IT'S
205
00:23:46,591 --> 00:23:54,232
GOING TO BE, AND WE DON'T KNOW
WHAT SONGS WE'RE GOING TO PLAY.
>> Wertheim: AS YOU LISTEN TO
ALL THE RECORDINGS FOR THIS
206
00:23:54,299 --> 00:23:58,904
PROJECT, WHAT IMPRESSIONS DID
YOU ARRIVE AT, IN TERMS OF THEIR
CHEMISTRY?
>> Giles Martin: MY IMPRESSION
207
00:23:58,970 --> 00:24:05,977
OF IT IS THAT PAUL AND JOHN KIND
OF KNEW THAT THEY WERE GROWING
APART, AND "LET IT BE" WAS
ALMOST LIKE A MARRIAGE THAT'S
208
00:24:06,044 --> 00:24:16,354
FAILING, AND THEY WANT TO GO
BACK ON THEIR DATE NIGHTS AGAIN.
>> Wertheim: COMPOUNDING
MATTERS, GEORGE HARRISON--
209
00:24:16,421 --> 00:24:24,196
RESTLESS IN HIS ROLE AND
BRISTLING UNDER PAUL McCARTNEY'S
DRVING AMBITION-- LEAVES THE
BAND AFTER A WEEK.
210
00:24:24,262 --> 00:24:28,500
>> Jackson: IT'S THE MOST LOW-
KEY WALK-OUT THAT YOU'VE EVER
SEEN IN YOUR LIFE.
IT'S JUST-- "I'M LEAVING NOW."
211
00:24:28,567 --> 00:24:33,438
"WHAT?"
"I'M LEAVING THE BAND NOW."
AND THEN HE GOES.
THERE'S NO FIGHT, THERE'S NO
212
00:24:33,505 --> 00:24:39,845
ARGUMENT, THERE'S NO
DISAGREEMENT.
>> Wertheim: JOHN WAS IN LOVE
WITH YOKO AND, IN HIS WORDS, HE
213
00:24:39,911 --> 00:24:46,284
WAS MISTREATING HIS BODY.
THE BAND WAS COMPETING FOR HIS
ATTENTION-- NOT ALWAYS
SUCCESSFULLY.
214
00:24:46,351 --> 00:24:52,190
>> Lennon: WHEN I WAS YOUNGER,
MUCH YOUNGER THAN TODAY, I NEVER
NEEDED ANYBODY'S HELP IN ANY
WAY.
215
00:24:52,257 --> 00:25:02,234
BUT NOW MY LIFE HAS CHANGED IN
OH-SO-MANY WAYS, A WOP-BOP-
ALOOMA, A-WOP-BAM-BOO.
>> McCartney: WE CAN'T CARRY ON
216
00:25:02,300 --> 00:25:08,273
LIKE THIS INDEFINITELY.
>> Lennon: WE SEEM TO BE.
>> McCartney: WE SEEM TO, BUT WE
CAN'T.
217
00:25:08,340 --> 00:25:16,448
SEE, WHAT YOU NEED IS A SERIOUS
PROGRAM OF WORK, NOT AN AIMLESS
RAMBLING AMONGST THE CANYONS OF
YOUR MIND.
218
00:25:16,514 --> 00:25:23,555
>> Wertheim: PAUL HAD,
GRUDGINGLY, BECOME THE BAND'S
HALL MONITOR, MORE LEAD THAN
SINGER.
219
00:25:23,622 --> 00:25:32,264
GEORGE WAS PERSUADED TO COME
BACK, BUT WITH THE LIVE
PERFORMANCE APPROACHING, THE
BEATLES DECIDED THEY NEEDED A
220
00:25:32,330 --> 00:25:39,104
CHANGE OF SCENERY.
THEY RELOCATED TO A MAKESHIFT
STUDIO IN THE BASEMENT OF APPLE
RECORDS.
221
00:25:39,170 --> 00:25:44,309
>> Lennon: I DIG A PYGMY BY
CHARLES HAWTREY AND THE DEAF
AIDS.
PHASE ONE, IN WHICH DORIS GETS
222
00:25:44,376 --> 00:25:55,887
HER OATS.
>> Wertheim: A SURGE OF FRESH
ENERGY ALSO CAME IN THE FORM OF
A KEYBOARD PLAYER: BILLY
223
00:25:55,954 --> 00:26:02,193
PRESTON, A 22-YEAR-OLD TEXAN
BROUGHT IN BY GEORGE.
♪ ("GET BACK")
♪ ♪ ♪
224
00:26:02,260 --> 00:26:19,010
♪ ♪ ♪
♪ ♪ ♪
♪ ♪ ♪
♪ ♪ ♪
225
00:26:19,077 --> 00:26:22,747
WHAT WAS THE INFLUENCE OF BILLY
PRESTON ON THIS ALBUM, AND ON
THE BEATLES AT THE TIME?
>> Giles Martin: THIS HOTSHOT
226
00:26:22,814 --> 00:26:28,153
COMES IN AND THEY JUST HAD TO
SUDDENLY IMPROVE THEIR PLAYING,
BECAUSE THEY HAD THIS FORCE OF
NATURE IN THE ROOM WITH THEM.
227
00:26:28,219 --> 00:26:34,859
AND I THINK THAT'S WHAT HE DID.
I THINK HE WORKED AS A CATALYST
AND GALVANIZED THEM SO THEY
COULD MAKE THE RECORD AND/OR DO
228
00:26:34,926 --> 00:26:46,204
THE RIGHT PERFORMANCE.
>> Wertheim: IT'S AN UPBEAT
SCENE, AT ODDS WITH HOW SO MANY
REMEMBERED THAT TIME, NOT LEAST
229
00:26:46,271 --> 00:26:52,811
THE PRINCIPALS THEMSELVES.
BUT PETER JACKSON'S "GET BACK"
SERIES DOESN'T JUST RESTORE LOST
FOOTAGE, OR THE BEATLES' MUSIC;
230
00:26:52,877 --> 00:26:58,650
IT RESTORES SOMETHING MUCH
DEEPER.
YOU MENTIONED MEMORY BEFORE.
I WONDER, DID THEIR
231
00:26:58,717 --> 00:27:04,956
RECOLLECTIONS MATCH UP WITH
THIS-- THIS DOCUMENTARY EVIDENCE
YOU WERE PRESENTING THEM WITH?
>> Jackson: 50 YEARS LATER, I'M
232
00:27:05,023 --> 00:27:12,397
TALKING TO-- TO RINGO AND PAUL.
AND THEIR MEMORY WAS VERY
MISERABLE AND UNHAPPY.
AND I'D SAY, "LOOK, WHAT--
233
00:27:12,464 --> 00:27:16,267
WHATEVER YOUR MEMORIES ARE,
WHATEVER YOU THINK YOUR MEMORIES
ARE, THIS IS THE ACTUAL TRUTH OF
IT.
234
00:27:16,334 --> 00:27:24,409
AND HERE, LOOK.
LOOK AT-- LOOK AT THIS."
♪("THE TWO OF US")
♪ ♪ ♪
235
00:27:24,476 --> 00:27:34,386
♪ ♪ ♪
♪ ♪ ♪
♪ ♪ ♪
>> Jackson: THEY STARTED TO
236
00:27:34,452 --> 00:27:40,825
REALIZE WHAT-- WHAT THIS IS.
I MEAN, THIS IS A-- AN
INCREDIBLY AMAZING HISTORICAL
DOCUMENT OF THE BEATLES AT WORK.
237
00:27:40,892 --> 00:27:47,532
AND FOUR FRIENDS AT WORK.
AND CLEARLY, THEY'RE FOUR
FRIENDS.
♪ ("FOR YOU, BLUE")
238
00:27:47,599 --> 00:27:56,608
♪ ♪ ♪
♪ ♪ ♪
♪ ♪ ♪
♪ ♪ ♪
239
00:27:56,674 --> 00:28:08,386
♪ ♪ ♪
♪ ♪ ♪
>> Wertheim: THE LOOMING
DEADLINE DIDN'T EXACTLY DAMPEN
240
00:28:08,453 --> 00:28:16,761
THE MOOD IN THE STUDIO.
♪ ("DIG IT")
♪ ♪ ♪
♪ ♪ ♪
241
00:28:16,828 --> 00:28:25,703
♪ ♪ ♪
>> Wertheim: AND WHAT OF THE
CULMINATION OF THESE SESSIONS,
THAT LIVE PERFORMANCE?
242
00:28:25,770 --> 00:28:33,078
THE BAND SIMPLY WALKED UP A FEW
FLIGHTS OF STAIRS, AND ON
JANUARY 30, 1969, PLAYED ATOP
THE APPLE OFFICES.
243
00:28:33,144 --> 00:28:46,357
♪ ("GET BACK")
♪ ♪ ♪
♪ ♪ ♪
>> Wertheim: NO ONE AT THE TIME
244
00:28:46,424 --> 00:28:56,468
SUSPECTED IT, BUT THIS WOULD
MARK THE BEATLES' FINAL
PERFORMANCE, BEFORE SPLITTING UP
14 MONTHS LATER.
245
00:28:56,534 --> 00:29:04,542
IT TOOK A HALF CENTURY, AND AN
EXACTING DIRECTOR ON THE OTHER
SIDE OF THE WORLD-- WHO KNOWS
PLENTY ABOUT THE POWER OF MYTH--
246
00:29:04,609 --> 00:29:14,953
TO REVISE THE LORE SURROUNDING
THE BEATLES BREAK-UP AND SET THE
RECORD STRAIGHT.
♪ ♪ ♪
247
00:29:15,019 --> 00:29:19,824
♪ ♪ ♪
♪ ♪ ♪
( TICKING )
248
00:29:22,627 --> 00:29:31,936
( TICKING )
>> Sharyn Alfonsi: LAST YEAR,
MARDIS GRAS CAME AND WENT IN NEW
ORLEANS WITHOUT MUCH FANFARE.
249
00:29:32,003 --> 00:29:39,644
BECAUSE OF THE PANDEMIC, FOR THE
FIRST TIME IN 42 YEARS, THE
CITY'S WORLD FAMOUS PARADES DID
NOT ROLL.
250
00:29:39,711 --> 00:29:44,415
INSTEAD, NEW ORLEANS WAS EERILY
QUIET.
UNLESS YOU LISTENED EXTRA
CAREFULLY.
251
00:29:44,482 --> 00:29:52,557
FAR FROM THE NORMAL PARADE ROUTE
WE FOUND A HIGH SCHOOL MARCHING
BAND BREAKING THE SILENCE.
THEY CALL THEMSELVES "THE BEST
252
00:29:52,624 --> 00:29:58,396
BAND IN THE LAND."
AS WE FIRST TOLD YOU LAST MARCH,
WE CALL THEM A STORY, AND A
BAND, YOU OUGHT TO HEAR.
253
00:29:58,463 --> 00:30:06,771
>> Ray Johnson: ALL RIGHT, HERE
WE GO, HORNS UP!
ONE, TWO, ONE, TWO, ONE!
♪ ♪ ♪
254
00:30:06,838 --> 00:30:21,553
♪ ♪ ♪
♪ ♪ ♪
>> Alfonsi: THE ST. AUGUSTINE
HIGH SCHOOL MARCHING BAND NEEDS
255
00:30:21,619 --> 00:30:31,396
NO INTRODUCTION IN NEW ORLEANS.
THE DRUMS AND HORNS HAVE ECHOED
THROUGH THIS CITY SINCE THE BAND
WAS FOUNDED IN 1952.
256
00:30:31,462 --> 00:30:41,472
♪ ♪ ♪
BUT, LIKE ANY AGING INSTRUMENT,
IT WAS IN NEED OF A TUNE-UP.
>> Ray Johnson: BAD LAST NOTE,
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00:30:41,539 --> 00:30:48,680
THE WHOLE STADIUM HEARD THAT!
>> Alfonsi: ENTER RAY JOHNSON.
>> Ray Johnson: DO IT AGAIN.
♪ ♪ ♪
258
00:30:48,746 --> 00:30:53,218
♪ ♪ ♪
>> Alfonsi: HE WAS HIRED AS THE
NEW BAND DIRECTOR IN 2020, AND
HE DIDN'T WASTE TIME WITH
259
00:30:53,284 --> 00:30:59,624
PLEASANTRIES.
CAN YOU TELL IF THEY'VE BEEN
PRACTICING?
>> Ray Johnson: YES, I CAN.
260
00:30:59,691 --> 00:31:04,629
EVERYTHING HAS TO BE PRECISE.
THE MARCHING, THE PRECISION,
STANDING CORRECTLY.
>> Alfonsi: AND CAN YOU HEAR IT
261
00:31:04,696 --> 00:31:07,865
IF ONE OF THEM IS OFF?
>> Ray Johnson: I CAN, YES.
>> Alfonsi: AND WILL YOU CALL
THEM OUT ON THAT?
262
00:31:07,932 --> 00:31:17,742
>> Ray Johnson: I SURE WILL.
IN NEW ORLEANS, MARCHING BAND IS
A CULTURE.
JUST LIKE IN SOME PLACES THEY
263
00:31:17,809 --> 00:31:25,483
HAVE FOOTBALL AS A CULTURE.
BUT HERE IN THIS CITY, THEY
LIVE, BREATHE, EAT, SLEEP,
EVERYTHING MARCHING BAND.
264
00:31:25,550 --> 00:31:30,455
>> Alfonsi: ST. AUG, AS ITS
KNOWN, IS ONE OF THE FEW
PREDOMINANTLY BLACK, ALL-BOYS
CATHOLIC HIGH SCHOOLS IN THE
265
00:31:30,521 --> 00:31:40,164
COUNTRY.
IT SITS IN NEW ORLEANS' SEVENTH
WARD, SEVEN BLOCKS FROM THE
MISSISSIPPI RIVER-- NOT THE PART
266
00:31:40,231 --> 00:31:45,970
OF THE CITY USUALLY FOUND ON
POSTCARDS.
THE SCHOOL IS SURROUNDED BY
REMINDERS OF A CITY FOREVER
267
00:31:46,037 --> 00:31:51,242
REBUILDING.
♪ ♪ ♪
>> Ray Johnson: DON'T RUSH!
>> Alfonsi: IN HERE, RAY JOHNSON
268
00:31:51,309 --> 00:31:57,248
IS REBUILDING TOO.
>> Ray Johnson: ACCENT!
>> Alfonsi: THE "BEST BAND IN
THE LAND" IS MORE OF A MISSION
269
00:31:57,315 --> 00:32:02,553
STATEMENT THESE DAYS.
>> Ray Johnson: YOU GOT WRONG
NOTES COMING FROM OVER HERE.
>> Alfonsi: SINCE HURRICANE
270
00:32:02,620 --> 00:32:09,594
KATRINA FLOODED THE SCHOOL IN
2005, IT'S BEEN A LONG HAUL.
THE MUSIC LIBRARY IS STILL A
TEMPORARY TRAILER ON THE
271
00:32:09,661 --> 00:32:14,165
BLACKTOP.
>> Ray Johnson: SCHOOL DIDN'T
COME BACK THE SAME.
AND INSTRUMENTS-- WE DIDN'T HAVE
272
00:32:14,232 --> 00:32:20,772
ENOUGH.
AND THE UNIFORMS WERE DAMAGED.
SO, WE HAD TO REBUILD
EVERYTHING.
273
00:32:20,838 --> 00:32:28,012
AND JUST NOW, WE WERE BEGINNING
TO SEE THE FRUITS OF OUR LABOR,
AND THEN HERE COMES COVID.
>> Alfonsi: HOW MANY KIDS ARE IN
274
00:32:28,079 --> 00:32:31,582
THE BAND NOW?
>> Ray Johnson: ON THE ROLL, I
HAVE 85.
>> Alfonsi: WHERE WOULD YOU LIKE
275
00:32:31,649 --> 00:32:38,122
THAT NUMBER TO BE?
>> Ray Johnson: 150.
>> Alfonsi: 150 ALLOWS FOR A
FULL BAND AND A DEEP BENCH.
276
00:32:38,189 --> 00:32:45,196
FOR DECADES, THEY EASILY HIT
THAT NUMBER.
ON A SIZZLING HOT BLACKTOP OVER
THE SUMMER, HUNDREDS OF STUDENTS
277
00:32:45,263 --> 00:32:53,137
WOULD TRY OUT FOR A SPOT.
THE COMPETITION WAS FIERCE.
MANY OF THE KIDS HAD GROWN UP
PLAYING MUSIC.
278
00:32:53,204 --> 00:32:57,608
RAY JOHNSON WAS ONE OF THEM.
WOULD YOU HAVE EVER SKIPPED
PRACTICE BACK IN THE '80s?
>> Ray Johnson: OH, NO, MA'AM.
279
00:32:57,675 --> 00:33:05,116
NO, NOT AT ALL.
IF YOU-- IF YOU SKIP PRACTICE,
YOU GOT TEN DUDES LINED UP TO
TAKE YOUR SPOT.
280
00:33:05,183 --> 00:33:10,188
♪ ♪ ♪
>> Alfonsi: THEY WERE A
POWERHOUSE.
ST. AUGUSTINE PLAYED FOR EIGHT
281
00:33:10,254 --> 00:33:17,829
PRESIDENTS, AND A POPE.
THE BAND'S FOUNDER, EDWIN
HAMPTON, WAS A NO-NONSENSE
DISCIPLINARIAN WHO CREATED THE
282
00:33:17,895 --> 00:33:23,134
BAND'S SIGNATURE STYLE.
>> Ray Johnson: MOST MARCHING
BANDS, WHAT THEY CALL "SHOW
BANDS," THEY MIGHT DANCE, OR
283
00:33:23,201 --> 00:33:31,609
PLAY POPULAR MUSIC.
THE DIFFERENCE THAT SETS ST.
AUGUSTINE APART, WE PLAYED
POPULAR MUSIC, BUT WE HAD A
284
00:33:31,676 --> 00:33:37,982
MILITARY STYLE.
>> Alfonsi: THAT MEANT EYES
FORWARD AND CHINS UP, NO MATTER
WHAT.
285
00:33:38,049 --> 00:33:45,656
PRISTINE UNIFORMS, PERFECT LINES
AND GRAVITY-DEFYING KNEES WOULD
WHIP MARDI GRAS CROWDS INTO A
FRENZY.
286
00:33:45,723 --> 00:33:55,500
>> LET'S GO MARCHING 100!
>> Alfonsi: IN 1960, RUBY
BRIDGES FAMOUSLY DESEGREGATED
NEW ORLEANS' PUBLIC SCHOOLS.
287
00:33:55,566 --> 00:34:02,306
SEVEN YEARS LATER, ST. AUGUSTINE
DESEGREGATED MARDI GRAS PARADES.
BAND MEMBERS SAY THEY WERE
URINATED ON AS THEY PASSED UNDER
288
00:34:02,373 --> 00:34:08,112
BALCONIES.
DR. KENNETH ST. CHARLES WAS THE
SCHOOL'S PRESIDENT IN 2020.
>> Dr. Kenneth St. Charles: SO,
289
00:34:08,179 --> 00:34:13,618
THEY HAD PEOPLE THROWING THINGS
AT THEM.
THEY HAD TO NOT RESPOND.
THEY HAD PEOPLE YELLING
290
00:34:13,684 --> 00:34:19,624
OBSCENITIES TO THEM.
THEY COULD NOT RESPOND.
>> Alfonsi: IT'S A LOT TO ASK
OF-- OF A YOUNG GUY.
291
00:34:19,690 --> 00:34:28,766
>> St. Charles: IT'S-- IT'S A
LOT TO ASK OF-- OF A 14, 15, 16-
YEAR-OLD KID, TO NOT RETALIATE.
YOU KNOW, WE TEACH THEM, AS WE
292
00:34:28,833 --> 00:34:37,308
DO IN OUR CHRISTIAN FAITH, "TURN
THE OTHER CHEEK."
>> Alfonsi: DR. ST. CHARLES
KNOWS THE DISCIPLINE REQUIRED IN
293
00:34:37,375 --> 00:34:44,315
THOSE MOMENTS.
IN 1981, HE AND HIS CLASSMATE,
RAY JOHNSON, WERE MARCHING IN A
MARDI GRAS PARADE FOR ST.
294
00:34:44,382 --> 00:34:55,026
AUGUSTINE WHEN AN ADULT WHO WAS
CHAPERONING THE BAND GOT INTO A
SCUFFLE WITH A PLAINCLOTHES
POLICE OFFICER.
295
00:34:55,092 --> 00:34:59,831
>> Ray Johnson: AND THEN THE GUN
WENT OFF.
AND ALL OF A SUDDEN, THE POLICE
STARTED SHOWING UP ON HORSEBACK
296
00:34:59,897 --> 00:35:04,368
AND THE BAND GOT DISARRAY AND
STUFF LIKE THAT.
SO, ONE OF OUR BARITONE PLAYERS
SAID, "RAY, YOU HAVE BLOOD ON
297
00:35:04,435 --> 00:35:10,174
YOUR UNIFORM."
AND THAT'S WHEN I STARTED
FEELING THE PAIN IN THE SIDE OF
MY FACE HERE.
298
00:35:10,241 --> 00:35:14,278
SO, THAT'S WHERE THE BULLET WENT
IN MY JAW AND CAME OUT THE BACK
OF MY NECK.
>> Alfonsi: YOU DIDN'T REALIZE
299
00:35:14,345 --> 00:35:18,082
YOU'D BEEN SHOT?
>> Ray Johnson: I DIDN'T KNOW I
WAS SHOT.
ONE POLICE OFFICER WAS TRYING TO
300
00:35:18,149 --> 00:35:25,623
GIVE ME FIRST AID.
SO, HE SAID, "LOOK," HE SAID, "I
GOT TO CUT THIS UNIFORM OFF YOU
TO SEE IF YOU'RE HIT ANYWHERE
301
00:35:25,690 --> 00:35:30,061
ELSE."
AND I SAID, "HOLD UP," I SAID,
"YOU CAN'T CUT THIS UNIFORM."
I SAID, "IT HAS BUTTONS ON IT.
302
00:35:30,127 --> 00:35:34,298
I CAN TAKE IT OFF."
>> Alfonsi: WHY DIDN'T YOU WANT
HIM TO CUT THE UNIFORM?
>> Ray Johnson: WELL, I KNEW
303
00:35:34,365 --> 00:35:41,806
THAT IF THIS MAN CUT THIS
UNIFORM, MR. HAMPTON WOULD
PROBABLY KILL ME.
>> Alfonsi: AFTER COLLEGE,
304
00:35:41,873 --> 00:35:48,012
JOHNSON RETURNED TO ST.
AUGUSTINE, WHERE HE WORKED AS AN
ASSISTANT TO EDWIN HAMPTON FOR
11 YEARS BEFORE LEAVING TO TEACH
305
00:35:48,079 --> 00:35:54,085
AT ANOTHER SCHOOL.
HAMPTON STAYED FOR ANOTHER 12
YEARS, UNTIL HE PASSED AWAY IN
2009.
306
00:35:54,151 --> 00:35:59,924
WITHOUT HIM, SOME AT ST.
AUGUSTINE THOUGHT THE BAND HAD
LOST ITS EDGE.
RAY JOHNSON WAS HIRED BACK TO
307
00:35:59,991 --> 00:36:08,399
SHARPEN IT.
>> Dr. Brice Miller: FOR ME, IT
WAS LIKE, DUDE, YOU'RE ABOUT TO
FALL DEEP INTO THE RITUALS OF
308
00:36:08,466 --> 00:36:17,241
THE TRADITION.
RAY IS, LIKE, THE ESSENCE OF ST.
AUG.
>> Alfonsi: BRICE MILLER PLAYED
309
00:36:17,308 --> 00:36:24,415
THE TRUMPET UNDER HAMPTON, THE
BAND'S FOUNDER AND JOHNSON IN
THE '90s.
HIS SON, BRICE, A SOPHOMORE, WAS
310
00:36:24,482 --> 00:36:29,887
A FAMILIAR NAME ON JOHNSON'S
ROSTER.
>> Brice Miller Jr.: HE ALREADY
KNEW WHO I WAS CAUSE OF MY DAD.
311
00:36:29,954 --> 00:36:37,562
SO HE EXPECTED A LOT FROM ME.
>> Dr. Miller: NOW HAVING MY SON
PARTICIPATING NOT ONLY IN THE
BAND, BUT WITH YOUR BAND
312
00:36:37,628 --> 00:36:42,600
DIRECTOR, IT WAS A BEAUTIFUL
THING.
>> Alfonsi: "BEAUTIFUL" MIGHT
NOT BE THE WAY SOME OF THE
313
00:36:42,667 --> 00:36:48,406
TEENAGERS WOULD DESCRIBE THE
INTRODUCTION.
>> Ray Johnson: NOW Y'ALL WANT
TO MEET THE REAL MR. JOHNSON?
314
00:36:48,472 --> 00:36:52,176
Y'ALL WANT TO MEET THE REAL MR.
JOHNSON?
IF Y'ALL ARE GOING TO SAY YA'LL
THE BEST BAND, Y'ALL GOT TO
315
00:36:52,243 --> 00:36:59,450
PROVE IT!
>> Alfonsi: SENIOR KABREL
JOHNSON AND EIGHTH-GRADER
LAWRENCE HONORE ARE PART OF THE
316
00:36:59,517 --> 00:37:06,724
DRUM LINE.
HONORE WASN'T MUCH BIGGER THAN
HIS SNARE DRUM WHEN HE DECIDED
HE WANTED TO PLAY FOR ST.
317
00:37:06,791 --> 00:37:10,361
AUGUSTINE.
>> Ray Johnson: PUT YOUR HEELS
TOGETHER, MR. HONORE.
>> Alfonsi: TELL ME YOUR
318
00:37:10,428 --> 00:37:14,699
IMPRESSION OF MR. RAY.
>> Lawrence Honore: I THINK HE'S
PRETTY NICE.
HE COULD BE FEISTY AT SOMETIMES,
319
00:37:14,765 --> 00:37:18,536
BUT THAT'S ALL DISCIPLINE.
>> Alfonsi: WHAT DO YOU MEAN,
FEISTY?
>> Honore: LIKE, HE YELLS, BUT--
320
00:37:18,603 --> 00:37:22,373
>> Kabrel Johnson: HE YELLS OUT
OF PASSION--
>> Ray Johnson: EVERYTHING HAS
TO BE SHARP!
321
00:37:22,440 --> 00:37:26,510
SO, TRUMPETS, WHAT'S GOING ON
NOW?
I NEED Y'ALL TO PLAY IT EVERY
TIME, THAT'S HOW Y'ALL ARE GOING
322
00:37:26,577 --> 00:37:31,882
TO GET GOOD AT IT!
>> Alfonsi: WHEN I'M SITTING
HERE TALKING TO YOU, YOU'RE SO
ALMOST SOFT-SPOKEN.
323
00:37:31,949 --> 00:37:36,520
AND YOU SEE YOU OUT THERE ON THE
BLACKTOP, AND IT GETS UP A
LEVEL.
>> Ray Johnson: RIGHT.
324
00:37:36,587 --> 00:37:40,658
>> Alfonsi: THAT'S BY DESIGN?
>> Ray Johnson: I WANT YOU TO BE
OUT YOUR COMFORT ZONE, BECAUSE I
NEED YOU TO PAY ATTENTION.
325
00:37:40,725 --> 00:37:49,400
AND WHEN YOU PAY ATTENTION, YOU
LEARN.
♪ ♪ ♪
>> Alfonsi: A FEW MINUTES INTO
326
00:37:49,467 --> 00:37:55,573
PRACTICE AND IT'S CLEAR THE
BAND'S PROGRAM ISN'T JUST
DESIGNED TO PRODUCE GOOD
MUSICIANS-- IT'S PART OF THE
327
00:37:55,640 --> 00:37:58,109
SCHOOL'S LARGER MISSION TO
PRODUCE GOOD MEN.
>> Ray Johnson: Y'ALL LOOK GOOD,
MAN.
328
00:37:58,175 --> 00:38:01,746
GREAT JOB.
PROUD OF Y'ALL, THANK YOU.
>> Dr. Miller: THAT'S THE
HISTORY OF THIS-- OF THIS
329
00:38:01,812 --> 00:38:06,083
SCHOOL.
YOUR TEACHERS ARE STRONG,
INTELLECTUAL BLACK MEN.
YOUR COACHES-- STRONG,
330
00:38:06,150 --> 00:38:14,492
INTELLECTUAL BLACK MEN.
YOUR BAND DIRECTORS-- STRONG,
INTELLECTUAL BLACK MEN.
SO, YOU SEE THAT WIDE RANGE,
331
00:38:14,558 --> 00:38:21,866
THAT WIDE DISPLAY OF, AGAIN,
BLACK MALE SUCCESS.
>> Alfonsi: THE SCHOOL PREACHES
DISCIPLINE, AND THE BAND DEMANDS
332
00:38:21,932 --> 00:38:30,207
IT.
THE ONLY WAY TO ACHIEVE ST.
AUGUSTINE'S SIGNATURE MILITARY
FORMATIONS IS TO STAY IN LINE,
333
00:38:30,274 --> 00:38:34,111
AND MAKE SURE THE GUY NEXT TO
YOU IS, TOO.
>> Student: WHERE MY TEMPO AT?
I NEED TO HEAR IT!
334
00:38:34,178 --> 00:38:38,449
PICK UP THEM LEGS!
>> Alfonsi: TELL ME ABOUT MR.
RAY.
WHAT HAS HE DONE FOR THE BAND?
335
00:38:38,516 --> 00:38:42,520
>> Kabrel Johnson: ONE YEAR AGO,
IS NOT THE SAME BAND YOU SEE
TODAY.
I'M NOT GOING TO LIE, WAS A
336
00:38:42,586 --> 00:38:47,658
LITTLE BIT LESS DISCIPLINED.
BUT NOW, IF YOU MOVE, YOU WILL
BE, YOU'RE GOING TO HAVE THEM
PUSH-UPS AFTER-- AFTER THAT
337
00:38:47,725 --> 00:38:51,295
PARADE--
>> Alfonsi: WAIT.
IF YOU MOVE, YOU HAVE TO DO
PUSH-UPS?
338
00:38:51,362 --> 00:38:53,998
>> Kabrel Johnson: OH, MOST
DEFINITELY.
>> Alfonsi: DO PEOPLE TRY TO GET
YOUR ATTENTION?
339
00:38:54,065 --> 00:38:58,202
>> Kabrel Johnson: OH, THEY DO.
I REMEMBER MY COUSIN HAS TRIED,
MY MOTHER HAS TRIED.
>> Alfonsi: SO YOU JUST HAVE TO
340
00:38:58,269 --> 00:39:02,373
BE EYES FORWARD--
>> Kabrel Johnson: YOU GOT TO BE
LOCKED IN.
>> Alfonsi: LAST WINTER, NOTHING
341
00:39:02,440 --> 00:39:08,446
SEEMED TO BE MOVING IN NEW
ORLEANS.
THE PANDEMIC SHUTTERED THE CITY.
EVEN BOURBON STREET SEEMED TO
342
00:39:08,512 --> 00:39:14,452
HAVE SOBERED UP.
>> Teacher: IT'S YOUR
RESPONSIBILITY TO LEARN.
>> Alfonsi: FOR ALMOST A YEAR,
343
00:39:14,518 --> 00:39:22,059
ST. AUGUSTINE BOUNCED BETWEEN
IN-PERSON AND VIRTUAL LEARNING.
>> Ray Johnson: WE CAN'T DECIDE
WHAT GOD IS GOING TO DO.
344
00:39:22,126 --> 00:39:28,599
IF HE SAY EVERYTHING SHUT DOWN,
EVERYTHING SHUT DOWN!
>> Alfonsi: WHEN BAND PRACTICE
WAS CANCELLED FOR A WEEK, THEN A
345
00:39:28,666 --> 00:39:36,974
MONTH, LAWRENCE HONORE
IMPROVISED.
WHEN THEIR HIGH SCHOOL FOOTBALL
GAME WAS NEARLY FLOODED, THE
346
00:39:37,041 --> 00:39:44,014
ENTIRE BAND CALLED AN AUDIBLE,
AND SHOOK THE STADIUM FROM
BELOW.
AND, WHEN THEY LEARNED MARDI
347
00:39:44,081 --> 00:39:49,920
GRAS PARADES WERE CANCELLED?
>> Ray Johnson: I DON'T KNOW WHY
Y'ALL COMING WIDE LIKE THAT.
>> Alfonsi: RAY JOHNSON DIDN'T
348
00:39:49,987 --> 00:39:54,725
MISS A BEAT.
>> Ray Johnson: BA-BOOMP, BA-
BOOMP, BA-BOOMP!
WELL, IT'S HARD, BECAUSE IT'S A
349
00:39:54,792 --> 00:40:02,066
TRADITION, YOU KNOW.
JUST LIKE ANYTHING ELSE, YOU
KNOW, YOU GOT TO SUCK IT UP AND
KEEP MOVING.
350
00:40:02,133 --> 00:40:06,570
>> Alfonsi: THAT'S WHAT BRICE
MILLER IS DOING.
HE IS A PROFESSIONAL MUSICIAN.
WHEN THE CITY SHUT DOWN IN 2020,
351
00:40:06,637 --> 00:40:12,610
HIS WORK DRIED UP.
HE STARTED VOLUNTEERING WITH THE
BAND.
BEFORE THIS, YOU KNOW, YOUR DAD
352
00:40:12,676 --> 00:40:17,114
WAS BUSY ALL THE TIME, RIGHT?
NOW YOU'RE SEEING A LOT MORE OF
HIM BECAUSE THE PANDEMIC.
WHAT'S THAT BEEN LIKE FOR YOU?
353
00:40:17,181 --> 00:40:22,653
>> Brice Miller Jr.: LIKE, I'M
ACTUALLY PROUD OF HIM, BECAUSE
HE'S ALSO KIND OF STRUGGLING.
YOU KNOW, HE'S A PROFESSIONAL
354
00:40:22,720 --> 00:40:27,458
MUSICIAN.
CAN'T DO NONE OF THAT.
JAZZ FEST, CAN'T DO ANYTHING.
BUT HE REALLY LOVES WHAT HE
355
00:40:27,525 --> 00:40:38,169
DOES.
BUT HE LOVES HIS FAMILY MORE.
>> Dr. Miller: I WANT HIM TO BE
THE BEST, THE MOST SUCCESSFUL
356
00:40:38,235 --> 00:40:52,383
THAT HE CAN POSSIBLY BE.
I DON'T WANT HIM TO BECOME A
STATISTIC IN ANY WAY.
THAT'S THE REALISM OF RAISING A
357
00:40:52,449 --> 00:41:04,094
BLACK BOY, AND RAISING A BLACK
BOY IN A CITY LIKE NEW ORLEANS.
>> Alfonsi: THAT REALISM DOESN'T
TAKE HOLIDAYS OFF.
358
00:41:04,161 --> 00:41:07,731
LAWRENCE HONORE'S GOOD FRIEND,
WHO ATTENDED A DIFFERENT SCHOOL,
WAS KILLED WALKING OUT OF A
STORE.
359
00:41:07,798 --> 00:41:12,503
>> Honore: ON CHRISTMAS NIGHT,
HE HAD GOT CAUGHT IN A
CROSSFIRE, AND THEY HAD SHOT HIM
IN THE HEAD.
360
00:41:12,570 --> 00:41:18,142
>> Alfonsi: AND HOW OLD IS HE?
>> Honore: 14.
>> Alfonsi: THE SAME AGE AS
HONORE.
361
00:41:18,209 --> 00:41:22,680
HE PLAYED AT HIS BUDDY'S
FUNERAL.
AND THEN, HIS MOM DROVE HIM
STRAIGHT TO BAND PRACTICE.
362
00:41:22,746 --> 00:41:31,455
WITH JUST ABOUT EVERYTHING
CANCELLED FOR A YEAR, IT WAS
HARD FOR ANYONE TO FIND A REASON
TO GET DRESSED.
363
00:41:31,522 --> 00:41:38,596
BUT THAT'S EXACTLY WHY RAY
JOHNSON HAD THE BAND DO IT
ANYWAY.
AND THEN, DIRECTED THEM TO MARCH
364
00:41:38,662 --> 00:41:45,669
THROUGH THE NEIGHBORHOOD.
♪ ♪ ♪
♪ ♪ ♪
♪ ♪ ♪
365
00:41:45,736 --> 00:41:54,144
THE ROUTE LACKED THE GRANDEUR OF
A MARDI GRAS PARADE, BUT LOCALS
POURED ONTO THEIR PORCHES
ANYWAY.
366
00:41:54,211 --> 00:42:01,585
EVEN WHEN THEY'RE A LITTLE
SCRATCHY, AND A LOT LOUD, IT IS
A JOYFUL SOUND IN THE SEVENTH
WARD.
367
00:42:01,652 --> 00:42:08,225
>> St. Charles: I THINK WHEN
PEOPLE HEARD US STARTING TO
PRACTICE AGAIN AND THE STUDENTS
COMING BACK, IT-- IT GAVE A
368
00:42:08,292 --> 00:42:14,431
SENSE OF, OKAY, THINGS ARE
GETTING BETTER.
>> Kabrel Johnson: I THINK IT'S
SO GOOD THAT THE BAND MARCHES
369
00:42:14,498 --> 00:42:20,137
AROUND THE BLOCK.
BECAUSE I FEEL LIKE THAT IS--
THAT IS ST. AUG.
THAT IS NEW ORLEANS.
370
00:42:20,204 --> 00:42:25,576
>> Honore: YEAH.
THAT'S WHAT PEOPLE NEED NOWADAYS
BECAUSE OF THE PANDEMIC.
THEY NEED SOMETHING TO CHEER
371
00:42:25,643 --> 00:42:32,783
THEM UP.
>> Alfonsi: THEY MARCHED DOWN
THE BLOCK, HANGING A RIGHT AT
HOPE STREET, RAY JOHNSON BEHIND
372
00:42:32,850 --> 00:42:39,390
THEM AT EVERY STEP.
♪ ♪ ♪
♪ ♪ ♪
♪ ♪ ♪
373
00:42:39,456 --> 00:42:42,526
(
374
00:42:46,163 --> 00:42:56,440
>> Alfonsi: I'M SHARYN ALFONSI.
THANKS FOR JOINING US.
WE HOPE YOU'LL STICK AROUND-- A
"60 MINUTES" WILDLIFE TOUR IS
375
00:42:58,509 --> 00:43:02,012
( TICKING )
Captioning funded by CBS
and FORD.