visit philipslifeline.com/caregiver today or call this number for your free brochure and ask about free activation. ♪ announcer: from our studios in new york city, this is charlie rose. charlie: mr. copeland -- mystique copeland is here. last month, she became the first african-american woman to be named in american ballet theatre's 75 year history. the news came after her role in swan lake. she began her training at the unusually late age of 13. she has overcome numerous obstacles to achieve the highest honors in dance and become a rare pop-culture celebrity. here's a look at her recent profile on cbs 60 minutes.

reporter: misty copeland will tell you she is never more alive than when she ahs -- is on stage. her athleticism and grace on full display. she can leap through the air. she can spin on a dime. she can make you believe she is a swan by a leak. -- lake. do you feel comfortable up there? misty: yes. something happens when you feel the energy and excitement from the audience heard you jump higher than you ever have. it is really magical. charlie: i am pleased to have missed the for the first -- misty copeland for the first time. nice to see you. are you better because you took the arduous journey that you took to be where you are? misty: it's hard to say.

but i think that because of all of the obstacles and the way i grew up and my life experiences, i think it has made me fight harder. it has pushed me to be better and not take things for granted. so maybe it has. charlie: it is a lesson in will. a lesson in support. a lesson in belief. what else made it happen? misty: talent. charlie: yes, of course. misty: it is so rare to make it. charlie: but what's it telling that you developed or that you begin with? misty: i think a combination. always. i don't think i could have made it with four years of training into american belly eatery -- ballet theater. that is very unusual. it is because i had natural ability. charlie: for a dancer, what does that mean?

misty: for a dancer, you spend all of those years of training as a child, because it has to become so ingrained in your muscle memory and you have to hold the body to do these things. it has to be second nature. when you get to the point you are on stage, you have to become an artist. i only had four years to do it. a lot of that was naturally there. the line of my muscles and flexibility i had naturally. even my musicality and ability to pick up movement. charlie: was it more likely you could do it with the body you had been otherwise? that otherwise somebody else might have wanted but it would not work? a great tennis star said, there is something the way my shoulder works. misty: absolutely, i think that is something that helped me get there quickly. my body was capable of supporting itself, because of my natural muscle development, the flexibility i had.

but it was also a mind connection to my body. you can have the ideal ballet body, but it does not mean you will have an understanding and go on stage and perform. there are so many elements that come into play. charlie: i was going to ask you, what is the difference in skill and artistry? misty: wow. artistry i think is something that you have to have an innate understanding and ability to come alive on stage. not every dancer has that. and then, the ability to understand how to become a character and portray a character, and be able to go to the top tier. and there are the techniques you learned from having good training from understanding how it works. working clean and strong, and being consistent. so many elements. charlie: i'm struck by it too it is in many ways, about

fundamentals. you talk about the audience and the art, the skill, the body, the willpower. and all of the best instruction you can possibly get. that combination of all those things. but you almost have to approach it as a craft. misty: absolutely. charlie: i have to do this, i have to do this? misty: yes. i think we are so similar, we are athletes, and so similar to athletes that compete and perform at high levels, but at the same time, our ability to become artists really separates us from that. the sensitivity that you have to have in becoming these characters on stage, it is very

detail oriented, but you also have to allow yourself to be in the moment. you have to take whatever it is you get from the audience. charlie: athletes compete with other people. who are you competing with? misty: definitely with yourself. every time for me when i step onto the stage, it is live. you have to be focused. it doesn't matter how many performances you do in two months, every single time it has to be like the first time. there are people in the audience who have never seen you before. charlie: there's a famous baseball story about a baseball player -- i think joe dimaggio. even though it was at the end of the season and it didn't matter he ran every minute to first -- ran all the first base, as if it was the world series. someone said, you don't need to do this. and he said, there is somebody in the stadium who has never see

me. and i want them to see me. misty: that's wonderful. i think it is true. it's something ingrained in us as athletes. they did -- discipline. there is something you get so used to that pattern that way of working. you have to finish and be your best all the time. charlie: have you ever said, if i had not had to struggle, if there were not so many obstacles, i would have in better sooner? misty: no. i think had i started sooner, i would have in better sooner. i think what really helped me from my background was my ability to use all of those experiences to become an artist. i think that having life experiences allowed me to have a better understanding of what it is to be a person. at a young age, i think a lot of athletes dancers you are in

this very secluded atmosphere and you spend so much time in the studio that you don't really have the experiences that a lot of people have. dating, going to parties. you are in the studio and all of a sudden a professional company. and it's like, here you go you are an adult. charlie: has it been such a love affair or do you think you been -- missed anything? misty: i don't regret one thing. misty:charlie: you don't regret a single minute spent in the studio? misty: not at all. i don't think i would have become the one and that i am today and all the experiences i have had here it --. charlie: the one in meaning the values you have? misty: to be as empathetic as i am, sympathetic, to be as strong, intelligent, open or loving and caring. i don't think i could have

become all of those things without ballet. charlie: people also think you are savvy. does that fit on your shoulders comfortably? because you understand the world, the cell -- social media world, the ballet world. you understand the environment you are in and how to master it. misty: i think that is something i developed because of my experiences of being alone in a ballet company, meaning i was the only black woman for a decade out of 80 dancers. i had to learn different ways of getting my voice heard. i think i just had to take a different route. i could not just sit back and rely on my talent to get me there. i had to understand how to communicate with my artistic director to say what i wanted, to express how much i valued my career and respected what i did. i think that goes a long way

when you are looking at how i have a person everything else in my career. i think that is hard for a lot of dancers to do. we don't ever develop those skills, when you are in a ballet company. everything is taken care of. we are treated like students our entire career. it is not an environment that really nurtures that type of -- charlie: it's not a normal existence, and you have to make sure that aspect of your own humanity has a chance to grow. misty: right. it doesn't happen for a lot of people. i felt if i was going to succeed in the ballet world, i had to make a lot of these things happen for me. charlie: you are now the principal dancer as good as it gets. i assume. have you just begun to develop all that you can be as a dancer? misty: absolutely.

i think maybe it was last season that i really started to feel like i had a hold on what it was i was really doing. again, so much came really natural leap for me. but there are no shortcuts in ballet. as much as everything was easy for me to do in terms of movement, there were a lot of holes in my training and in my understanding of what it was to really be a ballerina. i feel like ins -- just now holding that. it is exciting i am able to do these roles that i have just now starting to do for five more years. charlie: who had the best effect on you? misty:misty: raven wilkinson. an african-american former ballet theater. -- dancer. she has taught me what it is to

have pure heart, and love for what she did. for her ballet career, for ballet and dance. she comes to all of my performances. i have never once heard her complain about her career and the things she did not get to do because she was a black woman. but what she learned from it. and her being in my life, she said to me when i was promoted, that she did not think she would ever see that in her lifetime. charlie: she did not think in her lifetime? misty: right. it just means so much we are sharing this. charlie: i hate to be -- you would think not just because we have made so many strides, we have a long way to go, but it is because this is, art is supposed to be a place that recognizes talent. that is what art is about.

but if anything else, how good are you? in my right? [laughter] or am i naive? misty: i think that you have to be extremely gifted to get into an elite international rally comfort me -- ballet company. charlie: there is a perception. misty: yes. but once you get there, it doesn't matter how gifted you are. it is what you do with opportunities you have. and it has just been a tough path because i was the only one and are had never been an african-american woman to make it to this level at american ballet theatre. charlie: you feel what responsibility? misty: i feel like i have given myself this responsibility. that is to be the voice of so many african-american dancers that did not get the opportunities i have.

that did not have a voice. to try and educate a broader audience on what the classical ballet world is and all of those african-american women who came before me to create the path for me. charlie: i can imagine, it is a bit for young african-american girls, like it was for so many -- i saw so many tears in 2008 on the part of african-american men and women of age, because they never thought they would see it. and they saw a man at the congress, with his hand on the bible the next president of the united states. they never thought they would see it. and that'ss the way it is with you. and they will say, if ms. he can do it, i can do it. misty: that is what i hope.

that is why i have been so outspoken, and i wanted to be that person for those people. and i did not want it to be about me. i wanted it to be about what i represent and the future of ballet could hold for so many. charlie: it's incredible. take a look at this clip. ♪ misty: it's like this contrast of being extremely wild and animal is -- animalistic, but also having to have a sense of control.

>> there is something about her i've never seen anything like it before. and what i want to do is touch her and every time i tried to do that, she tries to fly away. that is when you see those moments. misty: the great thing about what they had created with the choreography is, it is a struggle. the story is a struggle. the choreography is a struggle. that has to be there. so you can't rehearse it to the point where it is too easy. which is what we do with ballet dancers.

charlie: that is from a brilliant documentary by rick burns. he said at the end, what did you say? misty: that what we strive for in the studio and work so hard for is to make it look effortless and easy. and something that was being created with the story "firebird" is that it should look like a struggle. it was a challenge of not over rehearsing. charlie: what is the visual -- visualization for you? as you execute the moves, i can relate this to sports only. if you are shooting a basket. you can literally see it your

friend stefan, before it leaves his hands, he can see it go through the net. misty: it doesn't happen in those moments. that is something we do in preparation, to be able to prepare, you want to visualize what it is you want it to be. but in those moments, and the reason we rehearse over and over again, so you when you are in the moments, you are not taking about the steps. you are so in it that you are the character and you are living as that character. charlie: in swan lake, do you think of yourself as a swan? misty: yes, you have to. i think that is something for me, it is number one. being an artist and being the characters on the stage, it is so much more to me than executing these steps. that is what makes people feel.

that is what art is about. it is not coming to see if someone is going to execute these steps, but i'm sure millions of people could do. charlie: it's what can speak to your heart. and elevate your emotions. misty: right. yes. charlie: does body shape make a difference? misty: it is definitely one of the requirements when it comes to this art form that you are supposed to look a certain way. i think skin color goes along with that. but my belief is that and with my own experience i had the ideal body. but then i went to pure beauty and my body -- i went through puberty and my body change. i was not seen as the ideal anymore. i think we have the ability to in a certain way and do cross training. with all that we know about taking care of us out these

days, -- ourselves these days you can be the shape you want to be. i think that is something i have done. charlie: do you know anybody who you believe has more willpower than you? misty: [laughter] i don't know. charlie: you can imagine anyone. you can't imagine anyone willing to work harder, to mold her body , to practice more, to be the best? misty: i think that dancers are rare people. and what we sacrifice and commit to do what we do with our bodies , we give our lives to be a part of this. there are no days you can take off. what i have to say about me personally is that beyond my career at american ballet theatre and what makes me even more of a hard worker is what i'm doing outside of my career. it does not mean i'm taking off

time to do these things. like help create project plie to be an investor and write a memoir. i know what my stories can do for so many people. that is all over time. that is because i am passionate about changing the world of ballet. charlie: changing ballet? misty: yes. charlie: i assume you are enormously popular because of the commercials for under armour. you have probably reached a lot more people than ever in your dancing life. does it give you power? does it give you, you are more than a principal dancer. your name, your image? and power? misty: i think that the power

that he gives me is for people to the me and hear me. -- see me and hear me. charlie: and want to see you and hear you. misty: right. i have wanted my voice to be heard for so long. this is an opportunity to be seen as a platform for people to know what it is i am saying. charlie: and what i've been -- what you've been through. knowing how you speak so passionately and eloquently about this, does anybody say just dance? misty: yes, absolutely. [laughter] and i have my days where, i don't want to talk. i was trained to be a dancer and i never liked talking, which is probably why i was drawn to dance. but i think part of my purpose is not just to be a ballet dancer. but it is to speak about these issues and in the classical

ballet world. not everyone is going to agree, not everyone is going to understand it. it is not or everyone. but those who it is reaching and affecting, and may be changing their lives, those are the people it is for. charlie: take a look at this. this is from the rick burns documentary," american ballet theatre history." here is misty copeland. ♪ misty: it is amazing to be involved and celebrating the history of this company. i came for the first time when i was 16. i joined the company when i was 19. it has been my dream from the time i knew what ballet was, to be a part of this company. because i knew the diversity of it and the diversity of the ballet they do, and the fact that we have theater in our

name, sets us apart from so many other classical companies. abt is all of those things, and always has been. i think the roles are so diverse, i think also to be a black woman and be a part of it, is even more special. and to make it sets that road for me, and it made it seem more tangible. i am just so proud to be a part of this company's history because it is american and represents what america is. charlie: that's part of you think you can fly? misty: [laughter] i think you have to do believe that. you have to have an imagination. when you are on stage and performing. [laughter] charlie: back to the question of the pioneer that you are.

do you think when -- and i'm asking this naively, but genuinely -- when people see you , with the extraordinary gift you have, do you think they see a black woman or they simply see a brilliant ballerina? misty: i would like to think they see me as a ballerina, as a dancer. but my experiences and the reality of this world is that there are some people that see me as a black woman of their -- up there or thought or think that i don't fit in. but i try to be the best dancer and artist that i can be. because when it comes down to it, that is what i am working so hard for day in and day out. charlie: to be the best dancer. misty: yes. charlie: take a look at this. the under armour commercial, viewed more than 8 million times. here it is. >> dear candidate, thank you for

your application to our valley academy. unfortunately, you have not been accepted. you lack the right feet, achilles tendons turnout, torso length, and bust. you have the wrong ballet body. and at 13, you are too old to be considered. ♪ charlie: thank you. a pleasure to view here. misty: thank you so much. charlie: congratulations on all

you have done. we will be right back. stay with us. ♪

charlie: " to kill a mockingbird" is one of the most cherished both american history. it inspired a generation of civil rights activists and literature lovers. harper lee wrote another book. it was called "go set a watchman" the sequel was held

by her editors. it was released to buzz and controversy. the protagonist atticus, moke once heralded as a hero revealed to be a darker character. he understands the culture of the south, also the former editor of the new york times. i am pleased always to have him at this table. welcome. michio sent the following. how could the stately atticus, described in the same terms as he is in "mockingbird" suddenly emerge as a bigot? you know this. you know literature, you know the south. and you read part of the book. howell: not to debate my former

colleague, but i think people who think this book should not have been published, and that it is of a trail by harper lee of her heroic character attica state, -- atticus finch have got it all wrong. charlie: how so? howell: because of the nature of the book and the sociology and history of the south, and because of the literary significance of this day of publication. let me walk through those briefly. this book is not just part of our southern literary tradition. this book is part of the global intellectual heritage. 40 million copies, taught in 70 countries around the world. it is important that we know everything we can about a landmark work like that.

secondly, from a sociological point of view, harper lee has very briefly given us another picture of the south, 20 years after the wonderful coming-of-age story of "to kill a mockingbird." charlie: she covers it 20 years later in the book geared the book was written around the same time in the 50's. howell: that's right. that is one of the remarkable things. but the picture she gets us 20 years after scouts idyllic childhood, shows us what really happened sociologically in the south at that time. i was there. i lived in this period. good people in the white community who had been in favor of equal treatment for the law and more humane racial

relations, hit a wall in, well, after the supreme court decision in 1954. and they simply said, too much too fast. this was a widespread phenomenon. most people were focused on the heroics of rights workers, but we are talking about educated upper-middle-class people. of good intention, who went to church who found they could not get over this hump. charlie: they could not get over it because the resistance and economic or psychological price they paid? howell: the term one heard, and one heard it at dinner tables and at church, too much too fast. moving too far, too fast. we are not ready.

those people would actually have an intellectual awareness and moral awareness that segregation had to end. but they were gradualists. for a southerner to cross the racial divide in that time to say, come into sympathy with what martin luther king was saying and what the civil rights movement was being and what black people aspire to, a white southerner of that time simply had to say to himself, setting aside all the details about the constitution and different educational levels -- they are right and we are wrong. and that generation in particular, atticus finch's generation, the greatest generation of the century,

simply were not the greatest generation when they got home after the war and confronted the rising expectation. charlie: after world war ii. is it a good book? howell: i think it is a very good book. the part of me that set out to be an english professor before i got kidnapped newspapers thinks this is a very significant moment in terms of literary scholarship. i will tell you why. here we get to see the growth process of a writer starting out and feeling her way toward the writer she wanted to be toward the story she wanted to tell. then abandoning it and giving it a more polished expression. the analogy i would make is this. hemingway in his life, published only 50 short stories for the public consumption. after his death, the stories he

wrote, struggling to beat come -- become the writer he became, were publicized and criticize here it --. it was exactly the right thing to do from the point of literary scholarship. harper lee and her family and her lawyer are exactly right to publish this book. it is very good on its own merit. this is in the southern kanin, -- cannon, and it will remain there along with william faulkner, flannery o'connor. charlie: you can put this solidly in that category. it is southern literature. howell: absolutely. charlie: but back to harper lee, why did she stop? howell: the two best behind re-freeze we have about her,

they are incomplete because she would not give complete access. apparently she was so, test by the elites of -- she was so traumatized by the daily news of fame that it hurt when the book came e -- she she did not like the celebrity. according to biographies, she formed in almost passionate dislike of newspaper people. she thought they were, as she put it bad modern practitioners of a formally honorable profession. we can speculate why she reacted so adversely to a level of adulation that other important writers relished, or at least

learn to tolerate. there have been a lot of speculations about that. some of it, completely erroneous. one of the most flagrant yank that truman capote -- being that truman capote helped her write the book. not true at all. there have been speculations she did not want her private life looked into. the world is pretty tiny. the major industry is her book. the cafe, the restaurant. the town is small. it has provided a boost for a town that really does not have the agricultural or industrial anchors that most alabama towns have. let me say this about that part of the black belt.

many black and white families there of the same name. two communities, that while divided by segregation, new one another in the most intimate way. not just in terms of procreation, but in terms of daily life. at that time there was a type of person in that black belt culture, let's say camden is the next town over. there was a minister there named kennedy who discovered the african-american population and started writing about it in the 30's. my friend mac williams he ran into the same problem in his 60's as atticus finch did. he was much further down the road towards being an integrationist then atticus

finch was, but he had that same sense of fairness, and the same sense of we are doing evil to these people who have done us no harm and then at our site for a century. but even he could not get quite to that last step. charlie: i don't understand what the last step is. howell: i fall back on the simplistic explanation. in the main, they are right and we are wrong. and this is adverse to the southern personality. you know that from your own experience in north carolina. alabama is the hot center of defiance, even at the expense of self punishment.

harper lee writes about it, and passing in this book. she talks about the blend of the celtic peoples who settled the south and provided the soldiers of the civil war, the soldiers of world war ii and american wars -- the science and a sense of the treatment of being looked down upon his much a part of the psyche. charlie: probably influenced by reconstruction. howell: yes. it still exists today. charlie: and the side of that is that we are still paying the price for slavery, and we just had a brilliant writer here to talk about it. we are still paying the price. it is deep in the psyche howell: it is. let me circle back to recapturing the point about the southern cannon.

william faulkner says the only subject for the novelist is human heart in conflict with itself. that is what harper lee is saying, giving this permission for this book to be published, atticus finch is a man who exemplifies the full southern iteration, the human heart in conflict with itself. a man who said, my primary principle is equal protection under the law for everyone and no special privilege for anyone. and yet, when his daughter comes home from new york he tells her we don't want them in our schools we don't want them. harper lee was not -- is not free of her own prejudices. in both of these books, the picture of white people who are not part of the managerial apple

and class i looked down upon as totally worthless, unredeemable rednecks. charlie: great to have you here. back in a moment. stay with us. ♪

charlie: charles kaiser is here.

he lived with a family in france. three of the siblings were active members of the french resistance. the family never discussed their wartime experiences with anyone for 50 years. his new book, "the cost of courage," recalls their story of heroism and sacrifice. i am pleased to have dr. here. love them. -- i am pleased to have the author here. welcome. how did you get into this story i am fascinated. get into connection with everybody in the family? charles: i have known them since 1962 and i have known the story since i was a little child because of my uncle who lived with them after the liberation. he told me the dramatic stories. he was an amazing storyteller and amazing man.

a great labor warrior. he represented the musicians and bakers. from the time i was a child, whenever we visited france, this was a family i stayed with. i fell in love with her when she was 38 and i was 11. she's only 91, i saw her a month ago in paris. charlie: fight long time, the family did not talk about it. charles: the cost of their courage was so gigantic. their family suffered so much because of the heroism of these three, that they never spoke about it among themselves or with their own children or anyone else here it the three siblings. eventually, andre dies in a plane crash. tackling dies of cancer in the 1990's here it and then --. and then the last realizes the story will die with her. she is a woman of duty. so she hired a research

assistant and forced herself to write 30 pages for her grandchildren. and at that point, the door was open. i saw that and translated it into english right away. from that moment on, she was not eager, but willing to talk about the story. charlie: great stories. tell me about the recruitment of entree. -- andre. charles: andre is an inspector in the department of ridges and highways. his older brother is recruited by his boss at the finance minister. andre asked the older brother robert, come into the resistance. the older brother said, i don't want to do that. but talk to my little brother. indeed, he did. he stayed until the end of 1942 when he told the gestapo. he escaped into the. needs -- he escaped into spain.

eventually he gets on an airplane to england in may of 1943. he meets charles de gaulle and tell him he wants to go back to france when the allied invasion takes place. but charles said, i need you to be my military delicate in paris. charlie: he represents charles de gaulle? charles: yes. the leader of the free french in london. he is in charge of coordinating all the resistance movement and the nine northern departments of france. which he does from september of 43 until january of 44, when one of his aides is arrested and leave the gestapo to his secret apartment. he performs the secret knock. andre goes to the door and opens

the door and there are two gestapo men with guns. they shoot him, but they don't kill him. they wound him. and andre has a cyanide pill in his pocket. and he has always said, if the germans get me, i will take the pill. but then he said, later on there i was with blood coming out of my stomach and i said to myself, everything is ruined anyway. i'm not going to take the pill. he goes to the hospital, they fix him to make him talk. he gets in a room by himself with curtains going up to a skylight. he's a little out of it. he decides he can climb to the cartons and he gets halfway up, and pops all the stitches after he falls back. and then two months later is shipped to us with -- auschwitz,

and to others, and amazingly survives to other concentration camps. and then he becomes a prominent and socialist. what is most extraordinary is this survivor of three german concentration camps, devotes the rest of his public life to reconciliation between france and germany. charlie: and his relationship to charles de gaulle, did he talk about that? charles: he was suspicious of charles de gaulle of not being sure he was a true democrat, but was eventually convinced. he became a real fan because he and his siblings agreed, the most important thing for france to do is to leave algeria. they think he was the only one with the strength to do that. charlie: the tragedy of the story, some people don't survive. charles: several members of the family not involved in the resistance do not survive.

they are rested three weeks before the liberation. they take the people who are there, shipped off on the last train to germany. they all die in the camps. charlie: three weeks before the end of the war? charles: three weeks. less change to germany. hence, the name of the book. charlie: what do you want us to understand about the resistance? charles: i want people to realize it did exist. one of the most annoying -- people would say regularly, i was there a french resistance? charlie: why would they say that? charles: there is a knee-jerk reaction on the part of many americans that france did not behave well during world war ii. certainly it is a mixed record. but they lost 90,000 troops in the two months they were at war and lost 350,000 civilians during the war. a lot of this -- charlie: what percentage of the

resistance? charles: probably a relatively small number, but many are killed in retaliation for acts carried out by the resistance. what is important to remember in the two days after the normandy invasion, there were 1000 acts of sabotage carried out by the resistance to prevent the germans from being able to reinforce the troops after the invasion. charles de gaulle -- eisenhower says in his memoirs, how grateful he was, and this was the equivalent of having 50 additional divisions. charlie: throughout france, here is what he said. and in estimable value. -- even though charles de gaulle is a pain in the but. charles: roosevelt hated him.

churchill was suspicious, but he was clever enough to realize in april of 1944, that it would be really important that french troops participate in the liberation of paris. he sends a message to eisenhower saying, please get french troops over to france. which eisenhower does in july and indeed, it is general leclerc under the french troops to liberate trance in august. -- france and honest. then charles de gaulle comes in and gives a famous speech. charlie: and who with famous members that we later new? charles: andre and others. there are a lot of people.

entree was one of the most famous people. charlie: one of the most famous people who had been in the resistance. by the time of-- charles: by the time of 1978, he's the chief spokesman for the party of economic affairs and poised to become the first socialist finance minister after world war ii, but he died in a plane crash. charlie: what are the most vivid memories? charles: i said to her once after i had known her for a long time, it must have been so romantic to be in the resistance. she looked at me like i was out of my mind. it was not romantic. it was all about fear and having to be suspicious of everyone you knew all of the time. but also it was of course, the most intense experience of her life. after the liberation, she doesn't feel this terrible voyage. -- bully. charlie:-- void.

charlie: when you say to them why do you do it what did they say? charles: she is brought up above all to be a patriot. and she comes back to paris after the occupation begins and sees these german soldiers and says that this is wrong. charlie: the book is called "the cost of courage.: ." thank you for joining us. see you next time. ♪

rishaad: it is tuesday and this is "trending business." we are live to bangkok, taipei and mumbai this hour. numbers and decline for the fifth day because of china around the world. brent crude is in a bear market on global oversupply and weakening demand while gold

remains near five-year lows. and a bumpy flight in china and hong kong. the buyer is delta looking to expand its presence in the asia-pacific. follow me on twitter. and don't forget the #trendingbusiness. let's get straight to the market action to we are clawing back some of these losses. >> we are seeing a couple of the big players like petrol and china and positive territory and paring back losses on the a market. that is kind of important because the try to very much consider the state of state linked markets. it is obviously going to stop the route, but having said that we are still down 5% on the shanghai composite. as is the biggest two-day