1 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. 2 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 3 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 4 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 5 00:00:42,976 --> 00:00:47,714 CAN'T GO WRONG 'CAUSE I'M IN RIGHT ♪ ( TICKING ) ♪ ♪ ♪ 6 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 7 00:00:54,788 --> 00:01:04,898 THAT EVER WAS. WELL, TELEPORT TO 1969, AND MEET THE BEATLES. ♪ ♪ ♪ 8 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 9 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, 10 00:01:17,410 --> 00:01:19,212 ARIZONA. ( TICKING ) 11 00:01:21,848 --> 00:01:29,322 ♪ ♪ ♪ >> NEW ORLEANS HAS BEEN QUIETER THAN NORMAL DURING THE PANDEMIC. ♪ ♪ ♪ 12 00:01:29,389 --> 00:01:39,365 ♪ ♪ ♪ BUT, MUSICIANS FIND A WAY. TONIGHT, WE INTRODUCE YOU TO NEW ORLEANS' SELF-PROCLAIMED "BEST 13 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. 14 00:01:56,583 --> 00:02:03,556 >> Alfonsi: GOOD EVENING. I'M SHARYN ALFONSI. WELCOME TO "60 MINUTES PRESENTS." 15 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. 16 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 17 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 18 00:02:23,643 --> 00:02:28,248 PORTRAIT OF THE LEGENDARY TONY BENNETT. WHEN TONY BENNETT'S FAMILY ANNOUNCED HE HAD ALZHEIMER'S 19 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. 20 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 21 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 22 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 23 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 24 00:03:05,718 --> 00:03:18,064 FRANCISCO ♪ >> Anderson Cooper: TONY BENNETT HAS BEEN SINGING HITS AND SWINGING JAZZ... 25 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 26 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 27 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 28 00:03:37,917 --> 00:03:42,589 95th BIRTHDAY. IS THAT BOB HOPE? >> Tony Bennett: BOB AND DOLORES. 29 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. 30 00:03:48,194 --> 00:03:52,165 ( LAUGHS ) HOW ABOUT THAT? >> Tony Bennett: IT'S AMAZING. ( LAUGHTER ) 31 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? 32 00:03:57,170 --> 00:04:04,110 >> Tony Bennett: 95. ( LAUGHTER ) >> Cooper: TONY HAS HIS GOOD MOMENTS-- BUT SUSAN HAS TO DO 33 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 34 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." 35 00:04:14,020 --> 00:04:17,423 AND-- >> Cooper: THE MUSICIANS HE WAS PLAYING WITH? >> Susan Benedetto: YEAH, ON S-- 36 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?" 37 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. 38 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 39 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, 40 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 41 00:04:43,616 --> 00:04:48,021 LAY DOWN MEMORIES-- IS NOT WORKING VERY WELL. >> Susan Benedetto: LOOK AT THIS, TONE. 42 00:04:48,087 --> 00:04:53,326 >> Tony Bennett: WOW, WHAT'S THAT? >> Susan Benedetto: THAT'S A PAINTING THAT YOU DID. 43 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 44 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? 45 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 46 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." 47 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, 48 00:05:20,019 --> 00:05:23,690 HE WON'T KNOW. >> Cooper: I MEAN, HE RECOGNIZES YOU. >> Susan Benedetto: HE 49 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. 50 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. 51 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 52 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. 53 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 54 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, 55 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 56 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 57 00:06:04,564 --> 00:06:09,702 FALL. >> Danny Bennett: THE PANDEMIC WAS A BIG-- ( SIGHS ) IT WAS A BIG THING FOR ME. 58 00:06:09,769 --> 00:06:15,775 LIKE, AN... ENDING HIS CAREER ON-- ON THAT NOTE... >> Cooper: IT COULDN'T END THAT 59 00:06:15,842 --> 00:06:19,378 WAY. >> Danny Bennett: COULDN'T END THAT WAY. AFTER ALL THAT HE'D-- HE DID. 60 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 61 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 62 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 63 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. 64 00:06:50,643 --> 00:06:54,480 >> Susan Benedetto: HOW YOU DOING, HANDSOME? >> Tony Bennett: OKAY. >> Susan Benedetto: YOU WANT TO 65 00:06:54,547 --> 00:07:04,757 LOOK OVER HERE AT ME? ( LAUGHS ) (♪ PIANO ♪) >> Cooper: BUT WHEN IT WAS TIME 66 00:07:04,824 --> 00:07:12,498 TO REHEARSE, SOMETHING INCREDIBLE HAPPENED. TONY'S ACCOMPANIST, LEE MUSIKER, BEGAN PLAYING, AND SUDDENLY, THE 67 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 68 00:07:24,310 --> 00:07:35,855 HIM FIND YOU AND WATCH WHAT HAPPENS! ♪ SMILE THOUGH YOUR HEART IS ACHING 69 00:07:35,922 --> 00:07:42,061 ♪ SMILE EVEN THOUGH IT'S BREAKING ♪ >> Cooper: HE HAD NO NOTES, NO CUE CARDS. 70 00:07:42,128 --> 00:07:50,336 ♪ WHEN THERE ARE CLOUDS IN THE SKY ♪ YOU'LL GET BY ♪ >> Cooper: WE WERE AMAZED. 71 00:07:50,403 --> 00:07:56,075 ALL HIS OLD SONGS WERE SOMEHOW STILL THERE. HE SANG AN HOUR-LONG SET FROM MEMORY. 72 00:07:56,142 --> 00:08:11,190 ♪ IF YOU JUST SMILE... ♪ ( APPLAUSE ) >> Lee Musiker: BRAVO, TONY. >> Tony Bennett: THANK YOU. 73 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 74 00:08:18,064 --> 00:08:26,372 PLAYING, TONY IS COMPLETELY ENGAGED. AND THIS IS A WHOLE NEW PERFORMANCE, AND NEW PHRASES, 75 00:08:26,439 --> 00:08:32,078 NEW NUANCE. NOTHING SHORT OF A MIRACLE. >> Cooper: DR. GAYATRI DEVI EXPLAINED HOW A TRANSFORMATION 76 00:08:32,144 --> 00:08:39,285 LIKE THAT WAS POSSIBLE. >> Dr. Devi: PEOPLE RESPOND DIFFERENTLY DEPENDING ON THEIR STRENGTHS. 77 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- 78 00:08:43,756 --> 00:08:53,599 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 79 00:08:53,666 --> 00:09:00,072 SING THE WHOLE REPERTOIRE OF THE AMERICAN SONGBOOK AND MOVE PEOPLE. >> Cooper: HOW DOES MUSIC 80 00:09:00,139 --> 00:09:04,911 STIMULATE THE BRAIN? >> Dr. Devi: IT ENGAGES MULTIPLE DIFFERENT PARTS OF THE BRAIN, RIGHT? 81 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 82 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. 83 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? 84 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 85 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. 86 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 87 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'," 88 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 89 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 90 00:10:03,202 --> 00:10:07,173 GOES?" >> Tony Bennett: YEAH. >> Lady Gaga: ALL RIGHT, GREAT." ANYTHING GOES," EVERYBODY! 91 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 92 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. 93 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... 94 00:10:25,091 --> 00:10:31,931 >> Crowd: ♪ HAPPY BIRTHDAY TO YOU ♪ >> Cooper: ...AND HIS FANS WERE WAITING. 95 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 96 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. 97 00:10:44,710 --> 00:10:50,983 >> Susan Benedetto: AND THEN YOU'RE GOING TO SING. OKAY? >> Tony Bennett: HOW MANY SONGS 98 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, 99 00:10:55,821 --> 00:11:04,397 THEY WALKED TOWARD THE STAGE TOGETHER. THEN, THE LIGHTS WENT OUT, AND THE CURTAIN WENT UP. 100 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, 101 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 102 00:11:20,579 --> 00:11:32,291 SWITCH. ♪ LET SOMEONE START BELIEVIN' IN YOU ♪ LET HIM HOLD OUT HIS HAND LET 103 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 104 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 ♪ 105 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 106 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 ) 107 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 108 00:12:22,007 --> 00:12:28,180 GOING? ( CHEERS AND APPLAUSE ) WOW! WHAT A GREAT AUDIENCE. 109 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: 110 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! 112 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 113 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- 114 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, 115 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 116 00:13:15,494 --> 00:13:33,112 WIDE AWAKE ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ 117 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 118 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 119 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. 120 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. 121 00:14:04,376 --> 00:14:12,351 >> Tony Bennett: THE PUBLIC LOVED IT. >> Lady Gaga: THEY DID! YOU WERE-- YOU WERE SPECTACULAR. 122 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 123 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 124 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 125 00:14:30,569 --> 00:14:33,839 WHAT YOU MEAN. >> Cooper: I SAW YOU AT RADIO CITY. YOU DID A GREAT JOB. 126 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. 127 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, 257 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.