tv 60 Minutes CBS August 1, 2010 7:00pm-8:00pm PDT
bag. it's on. [ ding ] captioning funded by cbs and ford-- built for the road ahead. >> logan: hank crumpton was the master spy who led the c.i.a. into afghanistan after 9/11, routing the taliban and al qaeda in just a matter of weeks. and, officially, you weren't here. >> that's correct. >> logan: we brought crumpton back to afghanistan, where he and the head of that country's intelligence agency warned america better win the war, because al qaeda continues to plot terror against the united states. >> the enemies we are fighting, they are truly forces of darkness.
>> simon: the unveiling was a major happening. >> ladies and gentlemen, there is a new species of human ancestor. >> simon: he lived almost two million years ago, and his skull is so well preserved, you can count his teeth, which are very much like ours. he was found by a nine-year-old boy, and he could change our understanding of where we came from. we were given rare access to the discovery, which is already being described as one of the most remarkable of our times. ♪ ♪ ♪ >> stahl: when derek paravicini is playing the piano, it's hard to believe there's anything he can't do. and yet, when you meet him away from the keyboard, the contrast is shocking. can you hold up three fingers for me? >> i can do that.
>> stahl: can you hold up three? >> i don't know how to do it. >> stahl: derek is a musical savant, blessed with an island of extreme talent in a sea of profound disability. ♪ ( cheers and applause ) >> i'm steve kroft. >> i'm lesley stahl. >> i'm bob simon. >> i'm morley safer. >> i'm lara logan. >> i'm scott pelley. those stories and andy rooney tonight on "60 minutes." people are shocked to find out i'm a mom. i hear hot babysitter a lot. hi. my sienna is great. it matches my style, it has great stuff for my kids, it has an available dual-view entertainment center. driving my sienna says, "sure, i'm a mom. but i'm not running around rocking mom jeans." miss, there's a diaper bag on your roof. please. ♪ [ male announcer ] meet the family
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>> logan: you don't hear from people like henry crumpton very often. that's because hank, as he's known, spent most of his adult life as a spy for the c.i.a. now, he's stepped out of the shadows and, tonight, you'll hear how just after 9/11, at age 44, he masterminded the downfall of the taliban and al qaeda in afghanistan. and as we first reported last december, he did it with just a handful of c.i.a. officers and special ops teams, and an army of afghan tribal warriors. hank crumpton probably knows more about the fight against al qaeda and the taliban than almost anyone else. and now that he is out of the c.i.a., he makes no secret about what he did in 2001 to defeat them. >> henry crumpton: i've described it as our own insurgency to overthrow the taliban, to attack al qaeda. >> logan: what were the orders you gave your men? >> crumpton: orders were fairly simple-- "find al qaeda and kill them, especially leadership.
destroy command and control. if the afghans, including taliban leaders, wanted to help us, we are receptive." >> logan: how did that work? i mean, going to each individual tribal leader one by one and offering them what? saying what? >> crumpton: well, in a very crude way, it would be a... a carrot and a stick. the carrot would be, "if you come cooperate with us, we will reward you and your people." the stick was, "if you do not cooperate, the chances of your survival are greatly diminished." and we would prove this by attacking taliban leaders who had rejected our overtures. >> logan: killing them? >> crumpton: yes. and the next day, we'd talk to the tribal leader that was next door. we would make him the same offer. given the incentive that we had set the previous day, he was much more amenable to negotiations in our favor.
>> logan: because he heard the guy that wouldn't cooperate was killed yesterday? >> crumpton: or in some cases, he saw that his.. his fellow commander, his... his tribal ally was killed. >> logan: hank crumpton took us with him last september to the place where his plan first began to unfold-- here in the panjshir valley, 70 miles north of the afghan capital. our helicopter touched down on the same riverbank where crumpton first landed in the dead of night nearly nine years ago. just across the river on a hill overlooking the landing site is the original safe house used by the c.i.a. in 2001. inside the now-renovated building, one of hank crumpton's old allies was waiting to greet him. >> crumpton: good to see you. good to see you again. >> muhammad arif: how you doing? >> crumpton: i'm doing very well, very well. >> logan: muhammad arif was a senior commander of the main coalition of afghan tribes opposing the taliban. hank crumpton's men-- small teams of seasoned operatives,
seen in these photos given to "60 minutes" by the c.i.a.-- flew into afghanistan on russian-made helicopters. on this one, they painted "9/11" on the tail. the teams linked up with arif's tribal militia. >> crumpton: and it worked very well. you could always depend on engineer arif and his men. we put our lives in... in your hands. >> logan: a few miles away, ascending thousands of feet up a winding mountain road, muhammad arif and hank crumpton showed us where they spied on the taliban and al qaeda. from this position overlooking the vast shomali plains, where the taliban army was dug in 40,000 strong, they gathered critical intelligence on enemy positions and movements. and this is where you fully expected the taliban and al qaeda to... to fight, right? to defend? to try and stop the advance towards kabul? >> crumpton: yes, they had the front line stretched all the way across. they were entrenched, and we
thought that it would be a stiffer fight. >> logan: the c.i.a.'s afghan allies were so successful infiltrating enemy lines and providing targets for u.s. air power that it took just over eight weeks for the taliban and al qaeda to collapse. hank crumpton never had more than four dozen c.i.a. officers on the ground at any one time, supported by small teams of special operations forces. so, how do you feel when you hear it referred to as the "u.s. invasion of afghanistan"? >> crumpton: i think that's incorrect. well, i was here and it was not an invasion; we were invited by our afghan allies. we were very few in number. the teams, in fact, were very small. >> amrullah saleh: they were, initially, eight-- eight people could not invade a country. >> logan: amrullah saleh has also spent his life in the shadows. until june, he was the man in charge of afghanistan's security. when it came to intelligence and clandestine operations, he was it.
and when hank crumpton was in afghanistan, amrullah saleh was always at his side. did you like him? >> saleh: yes. that's why i'm giving this interview. i don't meet the press. ( laughter ) >> logan: back then, at just 28 years old, saleh was the main conduit for intelligence sharing between the c.i.a. and the afghans. >> saleh: the same people who we were trying to kill those days, the bulk of them are alive. the war has not ended. >> logan: do you consider it your war? >> saleh: oh, yes. i am ready to die any moment. i am not fighting for america, no. this is my war. i am fighting for my wife, for my children, for my community, for this country, and indirectly fighting for america. because we have common enemies, yes. >> logan: amrullah saleh and hank crumpton share a deep bond. >> crumpton: good to see you. you look very good.
>> logan: this photograph from 2001 shows saleh and crumpton in the control tower at bagram airbase. at that time, the tower overlooked the taliban front line. today, the base it overlooks represents the heart of u.s. power and commitment to afghanistan. >> crumpton: this does look a lot different. you have glass. ( laughs ) >> logan: that's right, there's glass. >> crumpton: there's glass. there's no shell fragments laying around. >> logan: did it even cross your mind when you were here then what it would look like? >> crumpton: no, i didn't. we were focused on the enemy and the intelligence collection, the covert action, and getting to kabul. >> logan: and, officially, you weren't here. >> crumpton: that's correct. >> logan: today, the u.s. presence in afghanistan has surged by 30,000 more soldiers. and we wanted to hear from hank crumpton and amrullah saleh, two experienced veterans of the afghan fight, what they think about where the war is heading.
>> crumpton: we still have a window of opportunity that has not closed. but it is more difficult, because the taliban, well, they've gained ground. and it's frustrating, because we are fighting for the same ground that we won in '01, '02. >> logan: and fighting for it over and over and over again. >> crumpton: that's... that's correct. that's exactly right. it's easy to say, "okay, let's pack up. let's go home." but this is an enduring security concern for the united states, for our homeland. and for me, it's... it's much like deja vu, because prior to 9/11, i made this same argument. i said, "if we do not address the issue in afghanistan, we will suffer in the homeland. it will happen." and it did. >> saleh: the american public is underestimating the islamic fundamentalist groups, and terrorism and extremism. >> logan: what do you think would happen in afghanistan if the u.s. decided to withdraw? >> saleh: i am very clear on what will happen.
first, a massacre campaign will start. the human cost in this country will easily be up to two million people killed, at least. it will not be a big news for afghanistan. we are used to tragedies, throughout our history. but the cost for you will be bigger. >> logan: what will that be? >> saleh: glory comes from winning wars, not from retreat. >> logan: glory for al qaeda if the u.s. retreats? >> saleh: for al qaeda. >> logan: since amrullah saleh was the man responsible for afghanistan's security, he had a more immediate concern: what's happening across the border in pakistan. >> saleh: al qaeda and taliban are now headquartered in pakistan. the bulk of people we kill, neutralize or capture in afghanistan are the expendable part of the terror network.
the leadership is there, and they are not feeling the heat, apart from these occasional drone attacks. >> crumpton: in pakistan and elsewhere, where you see enemy safe haven, where they are the power, where they are the status quo, we must be the insurgents. we must work and recruit with locals, and we must collect intelligence. we must engage in subversion and sabotage, and be very precise. >> logan: if you were in your old job at the c.i.a., is that what you'd be doing right now? >> crumpton: yes. yes. >> logan: you would be inside pakistan and have men on the ground in the tribal areas... >> crumpton: uh-huh. >> logan: ... building the exact kind of relationships that you built with the afghans that helped defeat the taliban. >> crumpton: certainly. and i think, ultimately, that's how you win this type of war. you have to empower the locals so they have the victory. >> logan: hank crumpton also believes the u.s. cannot win without capturing or killing the enemy's leaders, especially osama bin laden.
that was something he tried very hard to do a decade ago. for two years before 9/11, crumpton had c.i.a. officers tracking the al qaeda leader inside afghanistan. >> crumpton: there were a couple of occasions in particular where we had no doubt he was there and we could have gained access to him. >> logan: by "gained access," you mean you could have killed him? >> crumpton: killed him or captured him. >> logan: this ten-year-old video of bin laden in afghanistan is the last time the c.i.a. had a confirmed visual bead on the head of al qaeda. back then, hank crumpton could never get authority to kill him. so, why is it that so many politicians and leaders today try and play down the importance of killing osama bin laden? >> crumpton: perhaps because we haven't succeeded yet. >> logan: amrullah saleh was also hunting bin laden and taliban leader mullah omar, and they were hunting him. just days before our interview, saleh's deputy was assassinated by a suicide bomber.
so, how did they get so close? >> saleh: they waited for him for a long time. >> logan: they could be waiting for you. >> saleh: sure, and if they kill me, i have told my family and my friends not to complain about anything because i have killed many of them, with pride. so, i am a very, very legitimate target, very legitimate. because when i stand against them, the desire to stand against them is part of my blood. i believe they are wrong. bin laden cannot engender a vision for this world or for this country. mullah omar is the same. i am not saying this to flatter the u.s. politicians or public. the enemies we are fighting, they are truly forces of darkness.
>> crumpton: there will be an attack in the homeland. and... and sadly, i think we... we face that prospect in the future. i think we'll be hit again. >> logan: an attack on the scale of 9/11? >> crumpton: it's certainly possible. or perhaps even greater. >> logan: there's no doubt in your mind about that? >> crumpton: none. >> mitchell: and good evening. a top b.p. official says the static kill procedure to permanently plug the gulf well will start on tuesday. saudi arabia and the united arab emirates will block blackberry messages for security reason. and "inception" held on for a third win at the weekend box office. i'm russ mitchell, cbs news. and try new things. so i asked my doctor
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a child asks, and it has bedeviled scientists for centuries. well, as we reported last april, we're a little bit closer to answering that after it was announced with great fanfare that the remains of a nine-year- old boy were found in south africa. he is almost two million years old. he's being called "sediba," which means source, and he stands somewhere on the road between ape and human. he lived in a period when our ancestors climbed down from the trees and started living on the ground. he belongs to a previously unidentified species, and anthropologists will be studying him for decades. before the announcement, we were given rare access to the discovery, which could be among the most important of our time. ( applause ) his unveiling was a major happening when he appeared at a press conference in johannesburg. >> professor lee berger: ladies and gentleman, there is a new species of human ancestor.
>> simon: professor lee berger, an american paleoanthropologist at vits university, named him astralopithicus sediba. and the most astonishing thing about him is his skull. 1.9 million years old, so well preserved that you can count his teeth. so very much like ours. where did sediba live? in these hills, just 50 minutes from johannesburg, in what is called "the cradle of humankind." after all, we humans came from africa. and scientists here have spent the better part of a century looking for fragments of our earliest ancestors. >> berger: there's probably nowhere else on planet earth that has a denser, better record of... of human origins than... than this land right here. >> simon: yet berger had been searching for fossils in caves here for years and hadn't found much of anything.
>> berger: and this is typical of caves in this whole area. >> simon: so he started a mapping project using a very modern tool, google earth. he discovered some 500 caves in the region, which no scientists had ever explored. >> berger: and then i started walking. and i walked a lot, hundreds of kilometers. >> simon: berger was walking through the malapa nature reserve with his trusted dog, tau, his nine-year-old son mathew, and his colleague, job kibii. and you came up with mathew and job. >> berger: that's right. >> simon: sounds like a biblical expedition. >> berger: it...( laughs ) it does, doesn't it? >> simon: they came across a cave, and that was the beginning of an astonishing series of events. >> berger: i literally said, you know, "here's the site. there are bones here. let's look around." mathew got up, ran over in that direction. a minute and a half later, he called me. >> simon: mathew found something which he knew would excite his father.
>> mathew berger: here's a rock that looks about the same size, and when i turned it over, there was a fossil. >> berger: i looked at that fossil in that rock and knew exactly what he had found. >> simon: he had found a clavicle, a collar bone. how significant was that? >> berger: that clavicle alone would've been a great find. it would have been enough for me, certainly. you know, most people who do what i do, do what job do go through their entire careers and never find even a single piece. i had found a few dozen fragments-- i mean, fragments-- before this. >> simon: it gets even better. on the other side of the rock, there was a jawbone, and a tooth, a canine. >> job kibii: that was amazing. we would turn to the clavicle. we high-fived. we turned to the canine. we high-fived. because we knew that we have hit a jackpot. >> simon: you hit the jackpot. >> kibii: yeah. >> simon: hitting the jackpot without even digging. why was it so easy? a hundred years ago, miners
blasted these caves, scattering rocks and unearthing fossils-- fossils including a skull. you found it... >> berger: right here. it was lying on its side, sticking out of the wall in this area. its body's, in fact, all the way up there. its foot is still in the rock just up at the top, there. >> simon: berger sent the rocks to his lab at the university of witwatersrand, where workers began painstakingly extracting the fossils. the dating of the rocks showed that they were around 1.9 million years old. analysis of the bones revealed that what the scientists had in their hands was not one skeleton, but two. a nine-year-old boy and a 30- year-old woman. >> richard leakey: i... i think it really is a most remarkable set of finds, and... and particularly the quality. i don't think we've found anything like this before. >> simon: when richard leakey, the world's most renowned paleoanthropologist, examined
the bones, he said they were almost too much to digest. >> leakey: it... it was a "wow" experience. i mean, there's a lot of stuff there. and it's spectacular. it is so full of information, so much data, that when, you know, i had to say to him after... after an hour, i said, "lee, i've had enough." >> simon: lee is still finding bones in that cave. has he struck a gold mine? >> leakey: yes, he's... he's got a treasure trove. no question, a treasure trove. >> simon: back at the site, berger and a team of geologists were trying to figure out exactly what had happened 1.9 million years ago. what had these creatures been doing? berger's best guess: they were searching for water and accidentally fell into this cave. >> berger: this is a single event. this is not something that happened over years or decades or hundreds of years, which is often the case with other fossil sites. this is a moment in time.
it happened in seconds, minutes, days or weeks. >> simon: how do you know that? >> berger: because it's one single unit of geology. everything is together, and everything is articulated so that, you know, almost for the first time in history, we can tell you that these two individuals looked each other in the eyes when they were alive 1.9 million years ago. >> simon: a glance frozen in a fossil? berger thinks so. but he's been accused in the past of letting his imagination roam a little too freely. nonetheless, he says, it's probable that these two creatures were related. >> berger: they are just primates, like we're just primates. primates live in troops, and these troops are very often related to each other, so there's a very good chance. >> simon: could they speak to each other? >> berger: i don't know whether they could speak to each other. but maybe we'll know one day. >> simon: did they have tools they could use together? >> berger: given what we're seeing in their shape and form,
there's no real reason to suggest that they might not be capable of manufacturing complex stone tools. >> simon: fire? >> berger: my guess, probably not. >> simon: but whatever they could or could not do, they are some of the rarest objects on earth. their value: priceless. for berger, the thrill is putting the bones, the jigsaw puzzle, back together. >> berger: it's like reconstructing her life. >> simon: and young sediba? his relatively long legs tell us that he could walk, and run, on two feet. his long arms and powerful hands suggest that he also felt at home in trees. and what about his skull? i get very nervous to see it coming out of the box. >> berger: ( laughter ) isn't it extraordinary? there's a face from 1.9 million years ago. >> simon: how old is moses? >> berger: ( laughs ) a few thousand years. nothing compared to this... >> simon: a few seconds. >> berger: a few seconds in the relation to the time this has
been around. it's almost a work of art, isn't it? >> simon: but how do you compare this work of art to something more contemporary? you told me before that this chap is 40 years old, and this chap is almost two million years old. how do you compare them? >> berger: you can see that little sediba has a nose here. the face is very similar in shape. and even, surprisingly, the teeth are almost the same size. >> simon: sediba's brain is smaller than ours, but larger than an ape's. berger calls him a hybrid, a strange mixture, an entirely new species. what is special about this species? >> berger: oh, well, this one doesn't just fall in that big picture between the apes and us, if you will. this is falling at a critical moment where we almost had no evidence. and i... i really do mean that-- literally, just a few fragments- - that period between where we turned from, effectively, an
apeman to something that is very, very close to us. >> simon: do you think it'll take a while before berger's discovery and interpretation become universally accepted? >> donald johanson: no doubt. no doubt. >> simon: when donald johanson discovered "lucy," the most famous fossil ever found, it took years before his views were accepted. why do you think this whole area is so contentious? >> johanson: we have an emotional commitment. people are studying the origins of all humankind. and everybody who finds fossils, finds a human fossil like this, becomes emotionally involved with them. we want our fossil to be on the tree. we want our fossil to be an ancestor to all humanity. and i think that's something that colors our thinking. >> simon: today, to examine and re-examine his own thinking, berger is using the most up-to- the-minute science to study these most ancient of creatures. he recently took sediba on a
trip to grenoble, france, to one of the world's most sophisticated x-ray systems, called a syncrotron. just a few years ago, you would have had to destroy the rock surrounding sediba to get a good look at him. that's not necessary now, since the scanner sees right through the rock. it can fill a screen with something one one-hundredth the size of a human hair. >> berger: it's going to peer into him, and it's going to tell us what treasures sit inside of him that we can't even imagine. i mean, we've really never been able to look at this level inside of something in our ancestral lineage that's as complete as this. >> simon: the teeth look remarkable. >> berger: they are. they look like yours or mine. >> simon: i... i wish. ( laughter ) >> simon: could he smile? >> berger: oh, yeah. >> simon: scans of sediba's teeth will tell scientists not only what he ate but where he ate it-- on the ground or in a
tree-- and, to a day, how old he was when he died. 60 scientists are already working on these questions. it's a sort of c.s.i. for fossils. >> berger: this is like a time machine. i mean, we are going to go back and look at their world. it is an adventure that we're right at the front pages of. and it's kind of like reading the greatest novel ever written, the human story. it's an incredible adventure that we're going to see the end to. >> simon: and it all began with a nine-year-old boy discovering another nine-year-old boy. you couldn't make that up. since we first broadcast this story, professor berger and his team have uncovered fossils of three more individuals, one of them an infant. [ female announcer] on a summer day, nothing tastes as great
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>> stahl: there are some people we meet in our "60 minutes" stories who we just can't let go, whose next chapter we're almost compelled to follow-- like derek, a masterful musician who is blind, with disabilities so severe he can't tell his right hand from his left, or hold anything but the simplest of conversations. as we reported earlier this year, we started following derek because of his gift at the piano, but it's what he's taught us about relationships, communication and what music is really all about that's kept us coming back.
♪ ♪ ♪ when derek paravicini is playing the piano, it's hard to believe there is anything he can't do. ♪ ♪ ♪ and yet, when you meet him away from the keyboard, as we first did in london seven years ago, the contrast is shocking. can you hold up three fingers for me? >> derek paravicini: i can do that. >> stahl: can you hold up three? >> derek: i don't know how to do it. >> stahl: you want me to show you three? >> derek: yes, please, yes. >> stahl: derek is a musical savant, blessed with an island of extreme talent in a sea of profound disability. do you know how long you've been playing the piano? >> derek: was it about a year, wasn't it? >> stahl: just a year ago? no. >> derek: no, it wasn't. >> stahl: derek, do you know how old you are? >> derek: i don't know how old i am, no. >> stahl: today, derek is 31. he grew up in an upper class british family, the nephew of camilla parker-bowles, now the duchess of cornwall.
but none of that matters much to derek. you going to have pizza tonight? >> derek: yes, pepperoni. in new york, what do they have? if i come next year, what do they have there? >> stahl: derek was excited to show us the skills that make him so exceptional-- his ability to instantly call up any piece of music he's ever heard, like "y.m.c.a." can you play that one? >> derek: can play "y.m.c.a." ( plays "y.m.c.a." ) >> stahl: and i asked him to play a show tune. ( plays "my favorite things" ) but it isn't just that derek remembers them; he can transform them effortlessly and seamlessly into the styles of different musicians, like jazz greats. switch to oscar peterson. ( plays "my favorite things" a la oscar peterson ) how's about dave brubeck?
( plays "my favorite things" a la dave brubeck ) >> adam ockelford: it's like he's got libraries of pieces and styles in his head. >> stahl: adam ockelford is derek's teacher. >> ockelford: and he can just whip out a piece book and a style book and just bring them together. it just kind of explodes. >> stahl: how derek's fingers can do this but can't button a button or zip a zipper remains a mystery. there are lots of theories about savants, but few real answers. in derek's case, the problems started early. he was born more than three months premature, weighing just a pound and a half. he hung on but was left blind and with severe cognitive impairment. derek's father, nic paravicini, says the first thing that really interested derek was a small toy keyboard. >> nic paravicini: my daughter suddenly said one day, "he's just played one of the hymns we... we heard in church this morning." >> stahl: how old was he? >> nic paravicini: three. and he... he didn't know,
because he couldn't see and no one had told him that you're meant to use your fingers to play the piano. so he used karate chops and elbows, and even his nose, i seem to remember. >> stahl: derek had never met a piano teacher until he literally crashed into one during a visit with his parents to a school for the blind. the teacher was adam ockelford, in the middle of a lesson. >> ockelford: suddenly, i felt a shove in the back. and he literally pushed me off the piano stool and just started karate chopping the... the keyboard. >> nic paravicini: we were terribly embarrassed, of course. >> ockelford: i thought he was mad, actually, because it was just chaos of notes and hair and elbows and... but then, suddenly, i noticed out of all of that was coming "don't cry for me, argentina." i thought, "crikey, he's... he's not mad at all; he's brilliant." >> nic paravicini: adam rang up, and he said, "i'd like to teach him." >> stahl: he called you and asked if he could teach your son? >> nic paravicini: yup. >> ockelford: it was almost as though derek's... derek, through his pushing me off the stool, was saying, "help," you know. he was saying, "i... i need... i
need..." of course, he didn't, but, "i need teaching." >> stahl: so it was compassion. >> ockelford: it was compulsion, i think. >> stahl: but how to teach a child who couldn't see, didn't understand much, and wouldn't allow anyone to touch his piano? >> ockelford: well, he was only tiny. i just picked him up and popped him the other side of the room. and then in the ten seconds i had before he... he raced back, i could just play... ( plays a scale ) >> stahl: to get him to repeat. >> ockelford: to get him to copy. and of course, by the time i played that, he was back, and pushed me off... >> stahl: pushing you off. >> ockelford: and copied it-- ( plays scale ) with his karate chops. >> stahl: before long, derek seemed to get it-- this was not someone trying to take away his precious piano; this was someone trying to reach him. >> ockelford: i think suddenly it clicked that he could have a conversation in sound. and suddenly, he just blossomed. >> stahl: so that ability to communicate was revelatory for him? >> ockelford: absolutely. from all this confusion that he must have experienced as a child, not understanding much language-- suddenly, here was a
language that he could control, he could play with, he could dialogue. all the things that we normally do with words, derek did with... with notes. ( applause ) >> stahl: his progress was astounding. after three years of daily lessons, derek was invited to play a few songs at a major charity fundraiser. ♪ ♪ ♪ it was there that adam first saw the thrill derek got from performing, and from feeling the love of the crowd. >> ockelford: when you're on a big stage, the applause hits you like a wave. and derek just jumped off of his piano stool. ( applause ) he was trembling with excitement and elation, that people are reacting to his playing. ( applause ) >> stahl: and he's been performing ever since-- in jazz halls, at benefits, in churches, connecting with audiences in ways most musicians wouldn't dare.
taking requests, with a twist. >> derek: would you like to have a piece, lady? >> my piece is "ain't no sunshine." do you know it? >> derek: i do know "ain't no sunshine." >> stahl: and the twist-- he'll play it in any key they choose. >> b major. >> ockelford: b major, derek. >> derek: b major. >> ockelford: ooh, wicked. >> stahl: and in any style. >> derek: what style would you like it in? >> ragtime. >> ockelford: ragtime. >> derek: ragtime. >> ockelford: okay. so, "ain't no sunshine," b major, ragtime. >> derek: okay. ( plays "ain't no sunshine" in b major ) >> stahl: remember, he had no idea what song would be chosen, no rehearsal. new key and new style-- no problem. ( plays "ain't no sunshine" in b major ) it's breathtaking to watch. think about all the thinking
almost anyone else would have to go through. >> ockelford: it's like having three computers all working at once, and you could just put them together straightaway without thinking. ♪ ♪ ♪ >> stahl: sometimes, when he's playing, he smiles. is that really him enjoying what he's doing? >> ockelford: yeah. sometimes, he does something quite funny, musically. you can see a little sparkle. >> stahl: he knows he's been adorable. >> ockelford: i think he's actually quite pleased with himself what he comes up with. ( music ends ) ( cheers and applause ) >> stahl: he loves people? >> nic paravicini: absolutely loves people. >> derek: bill. hello, bill. >> nic paravicini: he loves meeting people. >> derek: marion. >> nic paravicini: and then, he wants to know when he's going to meet them again. >> derek: can i come and stay with you, marion? >> marion: yes, you can. of course you can. >> nic paravicini: and it's rather engaging, because he always operates in the same way. he will put his hand out... >> derek: hello, norwin's brother. i'm derek. >> nic paravicini: ... because he doesn't know where the other
person's hand is going to come from. and he'll say, "i'm derek." >> derek: i'm derek, pippa. >> nic paravicini: i remember once coming out of church, and we had the archbishop of canterbury there. >> stahl: eww. >> nic paravicini: yes. and i said, "you're going to now meet the archbishop of canterbury." of course, derek said, "hello. i'm derek. hello, archbishop of canterbury." ( laughter ) it's... it's very... it's very engaging, though. the ar... of course, the archbishop loved it. >> derek: see you on friday, kelly. >> ockelford: derek's an extraordinarily warm person. to be honest, if he was just a musical computer, he wouldn't be that interesting. but his real love is actually people. and music is... is his way to get to people. >> derek: hello, florence. >> ockelford: and to help people. >> stahl: now, i understand that he's actually begun to work with older people... >> ockelford: as people get older and they start to lose some memories and language, music remains. ♪ ♪
♪ music's the first thing to develop. before you're born, you're... you're musical way... way before language, and it's the last thing... >> stahl: the last thing. >> ockelford: ... to go. and of course, derek, like this super jukebox, can tap into whatever they want. sometimes, people that haven't spoken for a year will start to sing. it's fantastic. >> stahl: derek's also given charitable concerts throughout his life that have raised in the millions. >> nic paravicini: they say good comes out of bad. well, it certainly has in derek's case. without knowing it, he's done more good than most of us will ever do. ( applause ) ♪ >> stahl: 25 years after derek shoved him off his piano stool, adam continues to work with derek weekly. he's written a book about him, helped him put out a cd, tried to give him all the opportunities he'd have as an artist were it not for his disabilities.
last year, adam felt derek was ready to do something that once seemed unimaginable: to headline his own full-length concert, with an orchestra, on a major london stage. it was a sell-out crowd. ♪ the featured piece in the performance was gershwin's "rhapsody in blue," a challenging piece for any pianist... ( playing "rhapsody in blue" ) ...not to mention one who is blind and needs to handle intricate back-and-forths with the orchestra without the benefit of seeing the conductor. >> ockelford: you could almost physically sense the connection between him and the orchestra and the audience. ( playing "rhapsody in blue" ) the immense musicality and the power of his musical communication was just fantastic. >> stahl: and you think he's aware of that?
>> ockelford: i think derek's learning about emotion through music, which, of course, is the reverse way around for most of us. >> stahl: and as we have discovered with derek, there's always something more. tonight, he was performer and, with a little help from the audience, composer. >> ockelford: first note? >> a "c." >> ockelford: second note? >> a b-flat. >> stahl: derek offered to create an original piece of music on the spot from three notes called out at random. >> ockelford: so, we've got c, b-flat, f-sharp. ( plays notes ) >> derek: f-sharp. >> ockelford: can you do a blues on that? >> derek: i can do a blues on that. ♪ ♪ ♪ >> stahl: he's really improvising, and he's truly creative? i mean, because you think of people with brain disorders, that there's a lot of rote involved. >> ockelford: derek undoubtedly is improvising and truly creative. ♪ what's happened in the last five
or six years is that his authentic voice has come through. >> stahl: it's almost a signature. you know it's derek. >> ockelford: he's a power... he's an insistent communicator. you can't not listen when derek's playing. there's something about his playing. ♪ ♪ ♪ >> stahl: did you used to think that derek was going to plateau? >> nic paravicini: that was something we were told. but it hasn't happened, and it won't happen now because he keeps progressing, both musically and socially. and i think that will continue. no plateaus. ( cheers and applause ) >> stahl: and before leaving derek, we had a request for our own encore, something he'd compose just for "60 minutes." what if we called it "the tick, tick, tick derek boogie"? >> derek: we can call it "the tick, tick, tick derek boogie," yeah. >> stahl: all right, well, let's play it. ( clock ticking; derek plays )
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