>> from our studios in new york city, this is "charlie rose." >> neil young is here. many consider him one of the most influential singer,

songwriter's in american history. of his career spanned more than five decades. his distinctive voice, artful link works and uncompromising vision. a 35th studio album this month called storytone. here's a look at his first single who is going to stand up? ♪ fuelsnd fossil buildhe line before we one more pipeline end fracking now build save the water and fil a life for our sons and daughters who's going to stand up and save the earth? say she hadto

enough? who's going to take on the big machine? who's going to stand up and save the earth? this all starts with you and me ♪ >> neil young has just published his second memoir called a super deluxe. it covers everything from his love of cars and painting to his crusade for mother earth. i am pleased to have him back at this table. how are we doing on your crusade for the environment? >> you know, the earth is precious. it is. friends who are on the same trip i am on -- there are many of them -- they feel the earth is like a huge ship that we need to turn around and take in a different direction or

we are going to hit something that we don't want to. >> there are many things i love about you. one is the curiosity of your mind, a. and, beyond the talent. look at the things you are doing. thememoir two years after piece, correct? >> yes. new paintings. i saw the exhibition. that is an example of what we are talking about. another album called "str orytone" which incorporates an orchestra. u.n. jack white have another thing. what is the outwar operative philosophy here? >> i am just doing the things i think i should do. a lot of what i do now is based on trying to get some value out of -- some lasting value out of

the rest of my life and the notoriety is that i have managed to get, i just a want to waste it all on a downhill slope of people magazine covers and stuff. i want to do something with my notoriety since somebody knows who i am, i want to say something that i think matters and let the chips falls well they may -- where they may. it is not like a career move or not a career move. i just want to do something that represents the thoughts of a lot of people who don't have a voice. >> the love affair of cars has been with you for a while. >> since as long back as i can remember. for my dad's first car which i thought was a great thing to every car i have ever looked at, i am curious about. they all have stories to tell. they are all full of memories and people and places they have

been. things that have happened in them. when you see a nice looking car and a junkyard, you wonder why it is in a junkyard. what happened to it? you might be able to find some clues if you look at it long enough. i used to go to a lot of junkyards and just look at them. >> and then you started painting. >> was that recent? >> almost two years ago, i started painting. i started watercolors. >> you started painting cars or per se? >> just cars. >> of this is a 1951 monarch sedan. this is your dad's car. >> the second one i can remember him having. was a 1948 or 1947, this one was a 1951. >> the next one is a 1948 you would roadmaster -- buick roadmaster. first named mort. >> mort was the first vehicle

that i owned. i bought it for $125. at a funeral home when they had a bunch of cars in the back and they were selling them. i went in there and there were two of them and they were identical. thehad a blue interior and other had red interior so i took the one with the blue interior. >> the next one is -- there is a fine car. >> a wild car, all right. a very special car. it has taken me a lot of places. i j-roll that car all the way across the country -- i drove that car all the way across the country. without much gasoline. >> ethanol and batteries? >> it operates on electric motor and a battery system. ethanol generator which does not affect the food

supply. it is made from the waste of food. it does not have any negative impacts on anything except oil companies. >> [laughter] that is ok with you. >> it is time to move on. >> tell me about storytone. >> it is a record of new songs. >> orchestral. also, a big band record for some big bands. that is pretty exciting for me because, you know, i have never done anything like that before. plus on this record, i only play harmonica. i did not play guitar or piano when i played with the orchestra. i just a day like frank sinatra or somebody with a big microphone and sang like the video showed. i found that singing that way was very freeing.

without having to think about anything out, not thinking about my core changes or the rhythm or how to sing in against the guitar or piano. i am a mediocre piano player so i really had to think about the chords. if i don't have that that think about, i am thinking wow, hey, i have an orchestra -- 60 instruments and 32 voices. for a couple of songs, they were that big. the other ones were about a 50 piece brass band for one of the songs. >> what is this thing you have which you want to revolutionize digital music? >> pono. it is the hawaiian word for righteous. huge a little player and a ecosystem supported by the player called pono world. you go to this place. right now, we are still

adjusting tracks. 1.5re at about on million tracks of our library. these are all the songs that everybody knows except now you can hear all of it, instead of just a small percentage of it which the mp3 is capable of producing. >> you think digital music has done what to music? >> it has made it into a content. it is content now, not music. you know. it is consumer content. in music, -- >> and not sound. >> is consumer content. consumers almost like are little lemmings. what is that? music was supposed to make me feel something. i want goosebumps.

my eyes and see the universe, see things, feel peoples hearts. music is a great language. people used it for centuries. for us to be here in the 21st century with all of our technology and have this recorded sound, have it takes such a dump. it is down to 5% of what our files hold or capable of. >> i am assuming you are very capable of the return of vinyl. >> vinyl is great. there are a lot of things people don't know about it. many times, vinyl is created from the digital masters that make cds. you are never going to have any more sound on vinyl than you would on cds. it plays back the cd t racks. if the vinyl is pressed from an -- thel analog master

thing people don't know is analog music is a reflection. it is like if you're looking up the mountain and use look at the lake, it is a totally calm day. it is upside down but it is perfect. a digital track is a reconstitution of the track. it is samples of everything. the more samples you have, the clearer it is. the more samples and the music, the clearer the music sounds and that is what we are trying to do. that issampling right possible to use in the studio for the musician to want to use it. >> this is what you once said. "iting about the past -- drags me down. i want to be as creative as i was when i started. " you seem to be as free as that because you are always being creative and that is why i laid out all these things you are experimenting with and doing. >> the past is like a giant

overcoat, you know? sometimes you have to put it on to go somewhere. when you're in the code, everybody knows who you are but if you take it off and hang it up somewhere, slither through the crowd -- >> does it inhibit you to? >> no, i just a like dealing with it all the time. it is something that happened and there was nothing i could do about it good or bad. it is over. >> i think this is rather interesting. what part of your life was the biggest waste in how crucial was that experience to your overall cobbler's men's -- your overall accomplishments? how crucial was that experience to what you have done? that is huge. because there is -- we live with our decisions.

we live with the decisions we make and they have consequences. you cannot really see into the future. you can see the past but as we said, there is no reason to discuss it because there is nothing you can do about it. we are really just here now. this thing about being here now is an incredibly important -- right now, as i am here, i have things on my mind that i want to do. that is what i really try to do. >> while you are living this life right now in this moment. >> yeah, this moment in my life and all of our lives. i just want to be in it. try to do what makes sense to me. or heard never asked you talk much about how you saw yourself and bob dylan. >> he is a hero of mine because his songs are so great. >> what about you?

>> that is amazing that he does. whenever he says that, i am always flabbergasted to think that -- i know that i have done some things. i really respect what he has done and the way he is true to his muse. he has not tried to be anything other than him. he has not been bending to do things. quite often, he has done things that have made people wonder what is going on. reinventing his own songs in ways that are totally unrecognizable and then abandoning playing guitar and starting to play piano. doing a lot of things. one of the great things about bob is his choice of musicians. he chooses some really great musicians and they are subtle. they are not like -- his bands are really great for his music. he is a truly great guitar player which people don't really

recognize. he is so over shouted. his songs are so overshadowed like everything in my view. people don't realize what a great singer he is, what a great guitar player he is, how great the tip -- how put together his band is. >> they primary think of them as a poet. >> he is a great poet. >> talk to me about woodstock. >> i can only talk to you a little bit about it. i was so -- [laughter] i actually was there. my biggest memory of woodstock is everybody is really excited. all these heavy musicians are walking around. we are just starting to get a foothold. hendrix is there, some of the stones were there. ,ou are looking around going wow, you never seen so many people like this at a show

before. when it happens for the first something special because there you were and there were half a million people. we have a generation. we are somebody. it is right now and we are somebody. we are making a difference. all of these people are with us. the music is a part of that. it is not a commodity or content. the music is the life of the thing. you are singing your songs and people are listening. it is going back-and-forth. that is what it was so beautiful about it. the thing about it that was not so beautiful to me was the filming. i thought the cameras all over the stage were like in the way of the music and the people. they were distractions. we were playing and they are right here with the camera going like this. i told them, do not come near me.

i have a very heavy guitar. i will hit you with it. stay off my part of the stage and a let me see you. i got really upset with them right away. >> they kept their distance? >> yes, they did. i way the light 110 pounds at the time so i was not much of a threat. i was intense. -- that is how i felt about the music. the music was for us and this thing was in between it. i think that is the beginning of what it is about what is happening. it is in the way of the music. the fact that it can be filmed, changed into videos and all these things happened. it made it bigger and more popular or more of a commodity or something. it took away the essence. ose insteada p of a sound.

>> you want a world where there is only live music? >> i don't mind the technology. let's not discouraged. it is like going into a garden and walking all over the plants and standing on a couple of plants. then, seen one plant you like and then saying ok, let's shoot that instead of going outside the garden and using long lenses. we can get right in there if we take our time. everything is still standing. we can leave it how we found it. capture it, let people hear it. >> how often do you have those experience? you have kept the faith with the music. >> i try. >> do you fail? >> sometimes, everybody does. >> how do you fail when you do? >> i get distracted. maybe i start thinking. it might get in the way.

>> thinking gets in the way of being creative? >> i think so. i feel that way. >> feeling is crucial, isn't it? >> it is. i like to try to be in there. don't want to be distracted by my thoughts when i am doing something. you are treating something, the last thing you want to hear from is your commentator. the guy inside your head saying that is pretty good or i don't like that. you don't want that guy. you never know when that will show up. i play my guitar in front of thousands of people and trying to get into a groove, but he is with me tonight. what the hell are you doing here? elliottffstage and -- or somebody says that was good. i had my commentator with me all night tonight. it was a very big distraction to

me. >> he is out there editing for me. >> addicting what i am going to do next. i hate that. you're into it 100% and you are hitting the last verse and feeling good and uf forgotten what you're doing and everything is great. then, what is next? the commentator comes up and says what is the ? thestart thinking about next song before you are done with the last one. it is like the weather. you cannot control it. >> when you write the first line of your obituary 100 years from now, what will it set? what do you wanted to say? >> thank you for letting me be here. number one, love. that is the message. that is what it is. happiness. that is what i think. everything i am trying to do now in my life has that as the overall platform.

even if i am standing there ofing move the tarzan earthf earth. let's think about the future of this planet. those are just symptoms of the problem. let's get rid of corporate control of government and democracy. let's start with things that are planning for our gent -- our grandchildren. let's plan for an earth that will be healthy. that is what i want to do. that is what i am trying to do. i've got nothing else to do, charlie. that's all i got. people, humanity, love and the planet. that's it. it just became more and more obvious the longer i did what i was doing and the more i saw things and traveled around the world the last couple of years looking at things. this is not going to work. you can see it is not going to

work. you can tell. there was only like -- i will try not to the grass into too many -- digress into too many facts. >> [laughter] facts? >> oh, god. you know. we've got like 10% of the fish that we had in 1950. we've got half of the animals on the planet that we had in 1950. we cannot go forward with that math. it does not work for our grandchildren. it is easy. we have to change things. i want to tell people about the things that they can do. you know that germany, the country from world war ii, a lot of people think that we be germany. america. that's ancient history. now, we have germany with 50%

renewable energy. people in states, congress are talking about maybe by 2020 we can be 3% renewable energy, but you cannot get rid of also feels. you cannot just replace them because there is nothing to replace them with. germany has 50% or noble energy in 2014. -- has 50% renewable energy in 2014. what happened to america leading the world? i think corporations took over america and i don't think they want to stop doing what they are doing because for the next three months, it will be more valued. that is really what our problem is. >> all of this spring from love. you are talking about the planet. everything that is motivated from what you just said is that you love the planet so much. >> yes, that is it. that's the whole thing. i even wrote a song book even before i knew what it meant

which is the way most of my songs are. it was called standing in the light of love. the things that i say i want to be there. i want to say it with that. there is a lot of anger with what i am saying because i am trying to think about the other 50% of the animals, the ones that are not there anymore. this species that are extinct. we are in the largest age of extinction in the planet's history right now. we need leaders who feel like that. we need a leader who feels like that. we need somebody really badly. we have an election coming up and we don't have anybody. there is nobody. >> in terms of 2016 for president? >> there is nobody who was going to -- go to world conferences and nobody speaks up and talks about the world. they talk about the skirmishes between the countries and how we are going to deal with bass and what about ices and this and that? all these internal things.

that is fine. that is part of taking care of business, but it is a world summit. let's talk about the planet. >> is their action? >> there is not enough action. there is not enough talk. action will come from the people. it starts from the bottom. very awarebecoming that their day-to-day life is becoming affected by decisions made by people at the top who do not listen to them. sound like ato revolutionary or somebody like that because i don't think i am. i just think i am a human being but i do see this and feel it on the street. you see it in the farmers, everywhere. farmers no longer have the freedom to use what seeds they want. this is america. farmers don't have the freedom to use what seeds to put into on theund and motorists federal interstate system do not have any choice of fuel to burn

because nothing is available but fossil fuels. on the federal interstate system that we paid for, we built and with our taxes. ofay our because i pay a lot taxes for many years even though i am a canadian. we have the leader of the free world in the white house and i am in the free world. that is how i look at it. that is for anybody that things canadian should not talk about america. i disagree. we really have to come together and make it so people have freedom of choice. so they have that feeling they are doing something good. they could make a choice. if there was one alternative fuel at a gas station out of every six pumps, if there was one green pump -- >> competition. >> what everybody lined up at the green pump? that is why they don't want that. >> it is really not the market

because there is no choice. >> there is no choice. how can there be a market? this is the federal interstate monopoly. that does not go together. it is not freedom. it is not right. it is just not american. i am american. that is how i feel about it. [laughter] >> see you soon. back in a moment. stay with us. ♪

>> how do we look at art? these questions are the focus of a book by philippe de montebello and art critic martin gaylord. they visited some of the worlds important paintings and sculptures to experience art. this is just wonderful because you look at through a look at the, you magic of art and understand it and appreciated more. through this dialogue between the two of you and you do it in such an interesting way. who started this? >> i suppose the idea evolved -- we met and bonded over lunch in

a restaurant over the louvre. started and said we would do conversations about what is a museum? then, philippe suggested it would be more fresh to respond to the works as we passed them. >> that is true because i tend to look at museums of containers of works of art. the content has always interested me more than the container. we looked at art and we talked about it. that our idea is reactions, our response to works of art could be translated at least in part into words and conceivably be helpful and useful to the reader. >> did the two of you find there is some basic difference in how

you approach this or how you did you find out surprising things about each other in your reaction to art? >> we certainly have different responses torent individual works. on the whole, we did stay pretty much with very high quality works in the british museum, the louvre, museums in holland and florence. we were not experimental in the terms of the works we were seeking but maybe perhaps with antiquities. >> i was apprised in new -- philippe was sharing me around and we had a very full day. we look to the new islamic galleries. he had somecovered

secret destination in his mind. he took me to the egyptian galleries and stopped in front of a fragment of yellow -- just a woman's lips. he said this is one of the most greatest works of art in the world. >> it is one of the great works of art in the world. it is simply an amazing object that speaks to us through 3000 years of history. part of the magic is it is fragmentary. simply what is there is obviously a work of the result of immense skill, sensitivity and imagination. what i love about it is the notion of the fragment and what is surprising about the fragment is the fragment is what lasts and the whoele is eternal. >> you might not be thrilled the top of the head would be restored.

the fact that it is not there is part of its greatness? >> to me, it is. having looked at it a great deal, it is a little bit like the character in a book you love. you don't want a movie made. you don't want the casting -- it could be wrong. it is not the image you have in your mind of that particular character. my mind's eye has something different than what existed. you have to think about the type of the head. >> the second one is the detail of the statue of -- why is this one? that nossumption was matter how scholarly you are, how much information you have, the reaction is personal. it is an emotional thing. one day, i asked philippe what was the first work of art you ever felt in love with?

>> the answer was is of the first work of art and also the first woman i fell in love with. i was 13 or 14 when the voices out.rens came a fabulous black-and-white for tone plates and in it was this image. i fell in love with her. high color, very dashing. i fell in love with it. andrsued it obviously wanted to look at other works of art. i guess my love for the medieval art comes from that. >> do you ever fall out of love with art? >> yes. the good things about this book is that it will make the ultimate viewer about relax and not feel guilty about things. one does feel out of love.

there are also moments where one is indifferent to a work that once had immense impact. another day, it will strike you again. we are all different. according tohanges our mood, our response, people around you. whatever mood you are in. it is nothing fixed. it is a sliding frame. >> it is different when there is a different room to look at it as opposed to when that is bustling with people. >> this is the great paradox of museums. you want as many people as possible looking at art but not with you. [laughter] public museums in the 18th century was the invention. in the 21st century, more and more people want to see a certain style of work.

the sistine chapel is absolutely packed. >> the next one is -- >> truly, we must go and i said surely we must not. thereupon will be 1000 people in line. not enough people go to it. we will probably be alone. >> it is a lovely museum. >> what do you say about this? >> it is a work that strikes immediately by the ferocity of the animal. at the same time, ferocity contained in they work of extraordinarily precise, delicate, almost like a goldsmith. you have a paradox. it is also the fourth century b.c. it survived in beautiful condition and has incredible presence. if you think it will leap out and take a big bite out of you.

>> the next one is a fragment of calix. >> it is a greek vase of the greee fifth century. i tell my reader that it is ok. if you don't understand certain things, if you are in different that everyone loves -- for years, i hated greek vases. i wanted to run away. curators told me to teach me. you collect wrong scummy love drawings? i said yes. she took me two little fragments and she said look at this as if it were drawn on paper. it is not a vessel. it is not something totalitarian. i said what a beautiful drawing. and she said now imagine it in a three-dimensional vessel. little by little, approached greek vasses in different ways.

>> there is what he just said. even the director of the metropolitan museum -- >> understand something previously that you had no interest in. the next one is the child. >> this is one of p hillipe's purchases. my question is how do works get into museums? somebody has to make a decision. phillipe as that responsibility. >> it is the most expensive purchase ever. >> it certainly is one of the most expensive in terms of dollars and converted dollars overtime. certainly, it is possible. >> $45 million at the time.

>> possibly per square centimeters. it was the last painting by the great master. there are no others known. it was extremely important for us. it was immensely beautiful. --marks the transition of >> the next one is this. you love this just in terms of sheer beauty. >> it is wonderful because it is so uncomplicated. it is exactly what you were looking at. it is wonderful, frivolous picture of the 18th century. erotic and revealing. look at where the young man is and where he is looking at. the colors are frothy. once in a while, it is nice not to have depths of very deep

emotions. >> it was part of an afternoon we had. we walked up the stairs made with marble and rich wallpapers and all these paintings. he drink in the atmosphere. how this sort of decor really works with paintings. >> it really was a kind of r egime of the time. the next one -- thehe last piece is -- great french 19th-century impressionist. the greatest painter that ever lived. this is an astonishing artist who translated paint into life, into truth at a level of dignity of the human person. this is a dwarf shown with enormous empathy.

he sensed that the quality of the paint in the surface that is simply miraculous. >> what do you think? >> i have to agree. you asked what we disagreed about. to him, velasquez is too many people as the very greatest painter. rembrandt.gest this is a masterpiece. face of thethat the subject seems as alive in this painting today as 350 years ago. >> well, it is looking at us. >> there is a gaze. looking up. >> he was looking straight at velasquez as he painted him and he was looking at him through the whole future and the miracle of velasquez is to be able to

sebastian to speak to us across time and space. >> why is there not more contemporary art in this book? >> it did not make the cut. we went to the sophia in madrid. there is no islamic art which is a passion of mine. there is no medieval art. the book is serendipitous to a certain degree. it is where we actually fit. i'm going to amsterdam for a lecture. we do not happen upon it. would love to speak about the painting. the pictures. so on and so forth. so much. >> it is logistics then? >> a lot of it was. we tried to put some border into it. there is certain coherence because we are doing a great deal of antiquity and european art.

>> the book is called rendezvous with art. martine montebello and gayford. it is great to know that when you look at a piece of art, so much goes into it and he gives you an informed sense of what has turned on two people about the joy of looking at art and understanding art. back in a moment. stay with us. ♪ >> nicholas kristof and sheryl wudunn are here. they became the first married couple to win a pulitzer prize in journalism for their coverage of the tiananmen square protests in 1990. their 2009 book "half the sky" argued that the oppression of women worldwide is the paramount moral challenge today. bill clinton says there is no one who better clarifies the social challenges of our times or the moral imperative to help meet them. their latest book looks at the art and science of giving. it is called "a path appears." i am pleased to have nicholas kristof and sheryl wudunn back

at this table. welcome. >> thank you. >> good to be back. >> tell me how this came about because we were talking beforehand and we both acknowledged that a lot of people want to do good. a lot of people have resources to make a contribution, but they don't really know how. >> that's right and it's appearing. our last book was "half the sky" about empowering women. sheryl and i spoke a lot about that and there were just so many people who then say, "what can i do?" i think there really is this yearning on the part of people to find an element of purpose or meaning to make a difference in the world. and, also to address issues like inequality that are hot button issues, but seem so grand that people wonder what can one person do. there is new evidence about what we can do. that one individual cannot solve a problem in its entirety, but can one individual make a powerful difference transforming the life of others? absolutely. >> so what's in the book? >> there are many things. first of all, we take on the fact that there is a growing gap

between the rich and the poor. a recent survey has shown that one of the greatest threats to our country, americans believe, is growing inequality. but, there are ways. nic said it's such a great problem. how can you play a role? the role of the individual is extremely important. there are a lot of new evidence-based strategies that point to some effectiveness such as starting early. we know there has been poverty. we have tried to remedy poverty, but what happens is we maybe intervening too late. we've got to start really early, almost in infancy. >> did this book come about because you realized there's a need for this or because you saw something you said we have to figure out a way to do something about this issue? >> both. it was a labor of love and something we believe in. you look around america, the world, you see huge needs. we believe that talent is universal but opportunity is

not. we can help spread that opportunity. we can create that here and abroad. >> there is the neurobiology of giving. what is that? >> it is very interesting. we made a visit to oregon and had our brains scanned because we wanted to see what happens in the brain when you give compared to when you get. these two researchers discovered when you give it stimulates the part of the brain that is stimulated when you indulge in pleasures like eating candy, flirting or falling in love. it is the pleasure center. half of the research subjects felt more intense pleasure when they gave than when they got it. >> it's a basic primal thing. >> you hear that parents who have a kid who is challenged. they always say he's given or

she's given me so much more than i have given them. >> it is a basic thing. there are efforts to help others. at the end of the day, it's a somewhat mixed record of success, but they have this almost perfect record helping ourselves. not only making us happier, but leaving us with better markers of physical health. >> ebola. give me your assessment today -- when you write about and i read your columns, you are critical in some ways about the management of this as others are. give me where you think we are today after the president has appointed a czar, after we have begun to learn more and after we have seen the horror stories of what it does. >> we have misdirected our horror and fear in the u.s. there was mismanagement in every place. but, we are not going to have an epidemic in the u.s. if nigeria, senegal can manage this -- previously, if congo and

uganda can then the u.s. can. the way to protect ourselves is not to build higher walls, not much about what we do here. the way to protect ourselves is to end the crisis at its source. right now, it is getting worse in those west african countries. there is a real risk that it's going to spread to others -- mali, ivory coast. the longer it rages out of control there, and it is doubling every two to four weeks, then the more risk there is that it's going to come right back here. if it gets to india, bangladesh, pakistan, it would be a catastrophe. >> on the other hand, though people have been worried about what's going on here in america, what that has done is raise awareness about the issue. >> accelerated treatments as well. >> well, yeah, but some of the ngo's that were working on ebola very early on said no one cares about this issue because it is all the way in africa. we can't get people to donate, interested or excited about this. now people are excited and i think that will help if you can redirect the anger and the

frustration. >> we would've been so much better off stopping this in march or april and we're better off stopping it now than in a few months. >> do we need more restrictions for people coming into the country from those areas? >> i don't think we need more restrictions. what we do need is much more awareness among americans. things that happen halfway around the world really do affect us and that's why in "a path appears" we talk about that specifically. we have to raise awareness about what is going on around the world. the divide between the rich and the poor and you can't just distance yourself from the poor. there is very interesting research that shows when you become wealthy, you actually look at poor people as objects, not as people. we need to stop doing that because things that happen, even in the developing world and poor areas, can very much affect us. >> no one has done more in terms of pointing the finger at the horror of child slavery and child sex abuse. are we making any progress because of the flags that you have been waving in your cause?

>> there are still 60 million children primary school-aged that are out of school. that is disatrous. but, it used to be quite recently more than 100 million. there is way more progress. in terms of sex trafficking, not everyone would agree. i think there has been progress abroad and at home partly because impunity has ended. if you traffic a girl these days whether it is in boston or india, you will probably get away with it. but, there is some risk in a way that was not true 10 years ago. and, that is the start of change. >> what changed? >> i think it was really awareness and empathy. traditionally, the problem has been that people would look out and see some 16-year-old girl on the street wearing inappropriate clothing. sort of come hithering to people. nobody was holding a gun to her head so she must be the criminal out there. increasingly, there has been an understanding that it is coercive. she's handing every dollar over to a pimp.

at the end of the day, she is the victim and we need to treat her that way. the people wait to go after are the pimps and johns. >> people are looking much more in their own backyard. i just came back from iowa and there is actually a local organization that is trying to fight trafficking in their area. there is trafficking in their area. when we are in tn -- when we are in tennessee, we were talking to the state. >> kidnapping young women in the area? >> these are girls from iowa. >> out-of-state or holding them hostage within the state? >> they are forcing them into prostitution. whether it is inside or outside, does not matter because there are people from iowa. we were talking to an attorney general's office of tennessee who did a survey of the entire

state. they were very surprised that in some of the most conservative areas, there was what they called trafficking going on there. these are places they never would've expected to see this. >> homegrown girls. we have this vision that it is asian or mexican women which exists. the biggest problem is somewhere around 100,000 homegrown girls every year traffic into the sex trade and it is not they are to a radiator somewhere but they are being controlled by pimps who have to time they think they are the boyfriend. >> or economical version. >> a little bit of both. >> is there an issue you. we had more time to look at because you think it is growing? you said it is momentum. offering a bigger challenge everyday. >> one of the issues we talk about at the point of changes early childhood education.

this is something that i think really can provide leverage to address poverty, inequality more. there is abundant evidence that it can have an impact. states have made a lot of headway. oklahoma polls incredibly well. i wonder if this is one of the few issues that they may be able to make joint headway on. they can work with the other in ways that can make this country more fair, more equitable, create opportunities. >> when you try to map out what happens in the development of the brain which is what happens with public investment in education. the fastest development of the brain occurs between ages zero and five. by five, the brain continues to shape and be molded, but at a much lower rate. our public investment starts at it can a garden and it actually gets progressively larger. it is also cheaper at that age. >> it is good news in the time

in which we see a lot of bad and difficult stories whether it is war in the middle east or ebola and other issues. here is a place to understand not only how you can transform lives but create opportunities. >> thank you very much. >> thank you for joining us. see you next time. ♪

>> i am pimm fox, and this is what i am taking stock of. a setback for commercial space ventures. today, a spacecraft for virgin galactic space tourism business crashed during a test flight in california's mojave desert that killed one of the pilots. some good news for investors. following the bank of japan's move to raise the target for monetary stimulus, stock prices jumped. the s&p 500 closed up 1%. central banks are the key for investors.