♪ >> from our studios in new york city, this is "charlie rose." begin this evening with a look of a presidential campaign. once again a tight contest with less than a week remaining before election day. hillary clinton currently holds a narrow lead, with 45% of voters supporting her, 42% for trump. according to the latest new york times poll, respondents say that recent revelations have made no impact on their decisions. joining me is bloomberg news' al hunt. who better to go to for a sense

we have at this moment? have you put this old thing in context? elusiveext is very these days, charlie. i think what you said is absolutely right. the race has tightened more than many of us thought. is a really close race, she, being hillary clinton, has an advantage with the electoral matters if it is a close race. if trump or clinton win by three or four points, the map won't matter. the polls are all over the place. cbs is a good poll, abc is good, bloomberg is good. a lot of them are not good polls. i am looking at the early voting patterns. there are a couple who follow it very closely. a guy named mike mcdonald at the university of florida. there is a huge surge in early voting. some states you can say with near certainty, it is almost clear who is going to win. nevada and colorado, hillary is

as close to certain as she can be. trump is doing better in iowa and ohio. florida, big surprise, is a tossup, which it probably will be until the we hours of the morning on november 9. i was in your home state of north carolina last week, charlie, and here's what's interesting when you look at early voting. republicans are doing a little better, but the big surges among unaffiliated voters, up 45% from four years ago. who are they? people aren't sure. that, i think, really captures the selection. charlie: but i read a thing in politicos playbook this morning that's suggesting there's no hidden trump vote. whatever analysis they indicate so far does not indicate what many people thought might be there as a hidden trump vote. al: right, the so-called bradley effect in california. i agree with that. there was no hidden trump vote

during the primaries. if there was, you would have probably seen it in. -- seen it then. i think a lot of people doing focus groups are not seeing that. most people for trump are proudly for trump. votingt sure who the 45% early in north carolina compared to last time, i'm not sure who they are. they may be young people, they may be suburban moderates, they may be people who favor her, but no one is certain. charlie: republicans claim to have come home in the last week or two. why is that? al: hillary. i'm not sure that the james comey revelation last friday really had a big impact. i don't think she lost in a votes. but i think there were -- lost any votes. but i think some republicans were resistant who said, i don't want four more years of this, and it brought back old memories. i think in a very small way, there are a number of

-- and in some industrial states like michigan, pennsylvania, wisconsin -- who have come home. charlie: there is one thing you notice in this campaign from the beginning. when the focus is on her because of e-mails, her numbers seem to decline. when the focus is on him because of attacks on women, verbally or otherwise, then he seems to go down. in other words, if it is a referendum on her, her numbers decline. if it is a referendum on him, his numbers decline. al: that is why the comey thing was so upsetting to democrats, because of the story. what has the story been for the last four days? all about hillary's e-mails and the fbi investigation, not about donald trump. that works to the republicans' advantage. the question is, over the last four days, with no he once again

exercised a great tension t has shown of stepping on his own narrative? do endorsements matter? newspapers, magazines? al: i don't think so. he's gotten an endorsement from some little paper in joseph, missouri, and the ku klux klan newspaper which they disowned, but those are the only endorsements they have gotten. my sense is that they see that as an advantage. the establishment is all against us. i'm not sure those endorsements matter at all. i am a little surprised, i spoke to the cumulative effect of all the republicans who endorsed clinton, i thought that would have an effect by now, but it has not. charlie: when you look at health care as an issue, how is that cutting? trump has gotten away with is saying, i'm going to

have a session after the election to repeal obama care, and probably a slight majority of americans say, yeah, i'm for that, until the question becomes witnessing -- what is he going to replace it with? they have gotten away with that. there are not people out there saying, ok, we are going to repeal obama care, but does that mean we will lose protection for kids up to the age of 25 or people with the existing conditions? he has managed to avoid addressing a lot of issues. i think on balance, the affordable health care act is a slight plus for republicans. does the media deserve some responsibility for the fact that he has not addressed these issues? al: i do, and the worst offenses were early on. he was given privileges that no other candidate had. he could do remote interviews. nobody else could do that. really looked at

his record until he was the nominee. i think there has been good coverage. the new york times, some networks have done a good job, but the media has let him get away with more than they should have. charlie: you and i are part of the media. why did it happen? al: because it is a great story. we are suckers for a great story. all the talk about ideological bias, that is so secondary. a,t the media falls prey to particularly with cable television, is a great story, and trump is a great story. this is a guy who says incredible things about people, he insults people with disabilities, he insults women, he insults a gold star mother, and that really kind of captured the attention of the media. i think there were voters out there who did not particularly like these insults but said, you know what he's not carefully stage-managed the way other candidates are. charlie: he was a bigger and

better performer onstage. al: yeah, and i think where the say, ok, down is to let's make the assumption he is going to be president, not that he is a great entertainer or great on stage, but if he's going to be president, what is he going to be like? is he going to surround himself with? i think -- you is he going t= -- who is he going to surround himself with? that remains a blank slate. charlie: some republicans have separated themselves on that issue, because that is where they have the most concern. someone like bob gates. ago said, donald trump achieved something i thought was impossible. i said, what's that? he said, he is making me support clinton. i feel good about it because he is so dangerous. i think there are a lot of national security types who feel that way. he has not offered any coherent

national security policy. but also, some of the people around him. there is no one who gives some great confidence. charlie: yet despite all of this, he is within, perhaps, three points in the national poll. three points. within three points, charlie. if things break way, which they don't very often, but sometimes they do -- haveie: you and others said there is a bit more momentum and enthusiasm, and that counts for something. al: that does. the offset is whether this great get outanalytics data the vote effort, whether that is an offset. sasha eisenberg, who works for bloomberg view -- bloomberg politics, has followed this and written a book about it. he believes that if any state is

45-45, she wins 37-44, because of that infrastructure, technological advantage. we will see if that is the case. charlie: is it different to what obama had? what obamaimilar to had. she is as good as what obama had because she has hired all the obama people. she invested in that early, and trump is lagging behind romney. charlie: but there is some indication that trump has gone heavy on data in the last four or five months. thethey use a group that mercer's support. again, this is not my area of expertise. talking to people like such a eisenberg, there is a sense that there is a huge gap. and when you get on stage, and i have been to places like pennsylvania and north carolina, and you talk about offices, contacts, every indices we have shows that the democrats are better organized than the republicans. does that upset that enthusiasm that you mentioned earlier? charlie: you talked about endorsements.

what about surrogates? can barack obama bring out the african-american vote? at michelle obama bring out the african-american vote, which is lagging behind in comparison with president obama? they will getink the african-american turnout that obama got in 2012, but i think it means closing days, both the president and the first lady can help with that. in north carolina, blacks have really liked behind. they had a big yesterday, so they are close to where they were four years ago, but not yet, i have a lot of that was obama. obama was in north carolina yesterday. they are doing a lot of robo calls to every household. michelle and the president are rock stars in the community, and i think they can help. i will tell you one person, if i were the clinton campaign -- they have never asked for my advice -- charlie: and he would never if they did. al: i will do it right now.

there is one person i would use in the community, and that is lebron james, who is probably more revered and anyone in that community in ohio than the president and the first lady. charlie: and he stood behind his indians to the better -- to be bitter end. al: boy, was a great to see that. charlie: there is this notion of fbi director comey. everybody said it has not had an effect, those who have been told about it. on the other hand, it seems to confirm on impression they had -- an impression impression they had in terms of dislike of secretary clinton. the president said, i have no doubt that he had any intention to influence the election. the president later began to speak about how he made mistakes. al: i don't think jim comey

intended to influence the madeion, and i think he di a terrible mistake, and i don't think he did it for partisan reasons. the problem with that argument is that he has argued that it has been revealed in the last couple of days, only weeks earlier that the fbi would not join the intelligence agencies in saying the russians are trying to influence the american elections, because he said that too close to election day. you can't get the bureau involved in something that has that kind of implications a month before the election. intended or not, that's exactly what he did last friday. charlie: are we all going to be up very late on tuesday night? al: very late or very early. at 7:30, ohio and north carolina come in. if north carolina and ohio both go for clinton, i don't think there is any way that trump can win. if they both go for trump, we will have a long night. charlie: al hunt, thank you as always. ♪

is here,david adjaye principal architect and founder of adjaye associates. for the is responsible moscow school of management and the sugar hill housing project in harlem. he was the lead architect for the national museum of african american history in washington,

the highly anticipated museum that opened to the public in september and is the final structure to be built on the national mall, completing its 200 year master plan. i am pleased to have david structureadjaye at this program. welcome. a big honor for us. this was not your regular commission. david: [laughs] charlie: tell me about the idea first expressed to you, and how you felt about it, and how it motivated you to do such a magnificent piece of work. david: it was an incredible competition at the smithsonian set in 2009. it was an international competition. we were thrilled to be on the short list. we thought -- we got incredible briefing documents, and we were just inspired. i was deeply inspired by the fact that this museum actually had a chance to be built. what we were trying to do, and

my team, adjaye associates, and myself, we were trying to build a new kind of museum. would have an emotional meaning to the content. not to just have architecture for its own sake, but to marry the two. charlie: so the building became a part of the content. david: absolutely. charlie: at how did you make that happen? decided we would actually directly not just look at architectural references, but also look at the history of the african-american community, the roots, the migration, the slave trade, the settlement south of america, the migration to the urban cities, and the way in which they became integrated into american society, and that became clues for deciding everything, from the shape of

the building to the detail of is reallyork, which in spina -- really inspired by the philip summons -- philip simmons ironwork in north carolina. from the crypt underground, and that you rise up to the top as though you are looking through a tree at the landscape, where you get to the top and have a sense of the community's contribution to american culture. theree: having been before the opening and participated in a cbs news broadcast, the idea of how long this had been planned as a museum, before we get to the architecture, how it finally president bush in the end, bush 43, how they had to go out and still raise money, how they had to reach out to the african-american community and find things that were part of themistory, and then bring

, and how it became something special to so many people. bebecame part of them to engaged in the process of bringing all the things together. david: i think it's completely unprecedented. it really is a kind of people's museum, because most museums have precious collections. competition,he there were very few objects collected, so over the space of eight years, the collection blossomed. month orvery other week, new things coming in, george clifton's shape -- slave ship arriving, all these incredible things. also, hearing from ordinary families about their voting slips that their grandmother gave them, things like that chart really powerful with so -- which were so emotional to see.

so there is a history of pain and suffering? david: absolutely. charlie: and there is also a history of celebration and achievement. david: exactly. it is a full arc. i think the reason we won the competition is because we refused to see the african-american community through on lens. that isit is a story remarkable, a celebration. it goes from the arc of pain to celebration. there is a lot to be done, but also a lot has been achieved. charlie: and the challenge of being on the mall. your neighbor is the washington monument. which choices did you decide to make there? david: it was important that , the palaceble site

on one side, and the memorial grounds on the other. the cruxbsolutely on of those two areas, so i wanted to make a building that was both a monument in a museum, sort of looking both ways, acknowledging both issues. for instance, in the building's geometry, i became interested in making sure that we made relationships to washington's monument. we knew that we were going to be photographed with that building forever. it can stand starkly against it, but i chose that we should rhyme with it. the 17 degree angle at the top of the pyramid of the building became the guiding angle. when you move around the building, it fuses and disengages. charlie: and this is not white marble? david: no, this is not a white marble building. that was from day one. ee grew clear that we want

d to add another quality to the classic architecture on the mall. after we won the competition. the competition, we did a dark building. we presented a project which had kind of a dark presence on the mall, and he felt that that resonated with finishing the spectrum of diversity in america. charlie: how did you choose that? david: for me, it was to do with the classical language. if you look at beautiful classical antiquities, bronze was kind of the great metal of the classical age. i thought, could we make a material that would speak to that casting tradition, because it is also the tradition that was very buoyant and powerful in the time of slavery. there were the greatest pastors, where a good portion of the community came from. there was a nice synergy that

can be made with the narrative, to say that this casting tradition, which also becomes the tradition that african-americans are famous for her in the south, can be connected. i felt bronze being the noble material seems right. we cannot make it out of bronze -- ethical reasons, technical reasons, so it was aluminum with a bronze coding. charlie: what was the technical reason? too heavy? david: it was guaranteeing the structure. because this was a building on the mall, we had to deliver a guarantee. charlie: couldn't put that in aluminum. david: exactly. aluminum is something that has been tested, but bronze has not, so it was difficult to get that agreed. in the end, it became challenging technically, but also, aluminum offered

environmental qualities that i became very attracted to. it was recycled, so it was sustainable, it was less onerous, and it also meant there was less pressure on the structure, it would be lighter, and in the end that was the right decision. charlie: also, the way you pronounce aluminum. -men-i-um.ooh charlie: that you are not american. what is it -- you have in your that when they see it, especially african americans, they want them to know and feel what? david: i wanted them to feel an emotional sense of inclusion. is peopleeresting look at the form and have said so many things to me. they say it looks like a boat, a crown.

i've had these incredible narratives. overwhelmingly, what they have all felt is an incredible sense of joy. that was important to me. when we were doing the analysis, i said this motif speaks of uplift. geometries they go upwards really make you, as a human being, think of a poor form. it is interesting to see how people have emotionally reacted to that. it works. charlie: there is the juxtaposition with or proximity to the washington monument. are you amazed with the layout of the plan? david: it is one of those magnificent landscape script -- landscape strategies. a brilliant man. he saw way ahead. for the contemporary and classical language to all somehow work. he was a brilliant, brilliant master planner. charlie: what is the building on the other side? david: that is the federal

triangle, the secretary of commerce's building. i know some of the teams in there, and they allowed us in. charlie: this was at dusk, and this one was at dawn, correct? david: exactly. charlie: the next slide, the exterior of the museum from the washington monument, that's what it looks like from the washington monument. it's big. david: it's a 400,000 square-foot building. it is a sick chicken smithsonian. -- significant smithsonian. it is not a half building. it is a proper museum. it completes long fonts master plan. be the longhis to side of the mall, and he thought this would be the last building to be built area we completed the vision. -- to be built. we completed the vision. charlie: this building is about

a narrative, about a people and a country, and that's different. i think that's the thing that i think is new, and it's about the 21st century. it's a very opportune to ring right now. opportuned thing right now. this building comes at such an opportune time for people to learn about each other's stories. there are the historical valleys, which may kind of a crypt, and the second part deals with migration from the south to urban centers, and the beginning of a professional class. you said you wanted the journey from the crypt to the corona to be a kind of migratory process towards the light. and then you go to the uppermost level, about the arts. it is meant to suggest the link between symbolic form and the museum's content. there is always this link between the building and the content. david: this, to me, is what i

was striving to do. or me, it is a conversation about where architecture is now, and whether we can start to make buildings thate have meaning rather than buildings which are scientific techniques. i'm trying to see if there is a way in which we can bring culture and the narratives of our time act into the technologies we have, which are amazing. this building is the first test of that. charlie: when you sit down to think about what it is you want to be inspired by, how do you go about that? david: i am one of those who have lightbulb moments. charlie: most people don't. the idea of a great moment is overdone. , aid: i'm a great reader great researcher. i have a very large library. when i need to work, i just dived into information. if i am not getting information, i go to places. the internet is a very powerful tool to search the world.

but i am very haptic. i need to be in places. i went down to new orleans and just wandered around the incredible architecture there. not long before the competition started. these things influenced. and the jails in my mind -- usually early in the morning is when sketching starts. i am a 5:00 sketcher. everything happens at that time. charlie: you must nap if you get up at that time. up at i get around -- get around 4:30, which drives my wife crazy. charlie: is that when you are fullest? david: my mind is -- charlie: how do you sketch? david: it is a series of marks. i am trying to clarify in my mind to the intent. charlie: was there a moment when you knew you had it? david: yes.

i was drawing, and i kind of made a sketch of a building within a building with light pouring in. i looked at it and i was like, oh my god, there it is. i looked at the reference image i was looking at, and then i looked at the image of the structure, i went, oh my god, there it is. then sent that sketch to my team and said, i think i have it, what do you think? they went, whoa. that's when you realize this thing is not just about you. isrlie: and that acceleration, pushing you forward. you know where you want to go. david: exactly. charlie: what did you do in moscow? david: i built the harvard business school, the first national business school for the country. charlie: so you are doing stuff all over the world. you are from africa, lived in the middle east, lived in europe. all those places shape do you? -- shaped you?

david: i think so. i think you are a product of where you have been and where you have been steeped in area -- in. charlie: why architecture? david: i wanted to become a chemist reedited throws everything off. my brother is a fantastic genetic -- a chemist. it throws everything off. my brother is a fantastic and noticed. he is -- fantastic geneticist. he is a biologist. i thought, i want to do chemistry and be great at it. charlie: what do your dad and mom do? my mom is a diplomat, but met my father and became a professional housewife. science was exciting. the family was diplomatic, business, lawyers, accountants, things like that. charlie: so you are the

architect in the family? david: claim am the first creator we know of. charlie: and you also said you are searching for a way to produce. very: yeah, i was fascinated by art. when i moved away from science, i went to art school, and i thought i wanted to be an artist, but then i became very scared, because i wanted the dialogue in a really active way, and i also wanted to have a professional career. i did not know how to manifest being an artist. i felt scared about the solo world of being by yourself, working on things, and whether that would be a career. charlie: whatever it was that made you wanted to be an artist -- what was it that made you want to be an artist that serve you being an architect? if i am honest, art is

probably my greatest inspiration , from the classical period to contemporary art. charlie: where does this go? because of the celebration of this, people are saying, i need me some david adjaye. david: it's very nice. we have incredible calls. we are working on a fantastic project in san francisco, our first master plan of the old shipyards site, which is really amazing. we are doing our first tower in new york, which is really exciting. charlie: on spruce street? david: on williams street. it is very exciting. a very large tower. doing a studio museum in harlem, which is the next big cultural institution we are doing. very excited about that. we are also working all over the world. we are doing a museum in san antonio, collections based. charlie: you also are doing

affordable housing in harlem. a beautifulwe did project for broadway housing, an incredible foundation organization that does work for giving homeless people into their first homes and helping them become integrated in society. i was so inspired by that as a new york auto -- new york model. that was the first project i wanted to launch myself in new york with. high designed for this community. charlie: homes around the world, but where do you go when you need to simply retort? -- retreat to? david: my family. charlie: thank you for coming. david adjaye. economic. -- back in a moment. ♪

charlie: carole bayer sager is here. she is in a category award-winning lyricist. me award-winning lyricist. she has written for artists like michael jackson -- and academ award winning lyricist. she has written for artists like michael jackson and whitney houston. here is one of her award-winning songs. ♪ >> ♪ baby you and me

got a groovy kind of love ♪ >> ♪ well hello there good old friend of mine ♪ >> ♪ but i know that i can't go back anymore ♪ on myime for me to do it own ♪ >> ♪ i'm on my own why did it end this way ♪ >> ♪ being in love makes me cry, cry, cry ♪ >> ♪ in times when we don't know ♪ charlie: you just said to me "the prayer" is one of your favorites. carole: it is.

the song i wrote with david foster is one of the best songs we have written, i've written. balearic, lead us -- the lyric, lead us to a place, guide us with your grace, is a theme where -- although it was written for a young girl in an animated film going off on a dangerous adventure, i think it is a theme that went through my life from day one, which was not feeling safe. but back to the record for a put the voicesu of celine dion and andrea song that ihis thought was good, it suddenly took on a whole mother -- whole other dimension that i did not know was in the song because their voices are so close to heaven. charlie: that's what it is supposed to do, isn't it? carole: yes, but not everybody

moves you to a place where your heart is almost overflowing, where you could feel a tear or -- the prayer ended up being a record that people get married too. they have memorial services and funeral services. i hear it at weddings, and funerals, and i think it is because it touches a very deep becauseside of people, with so many of us, we are wanting that feeling of safety. charlie: you wanted it your whole life, but you did not feel safe until you made it? it wellno, i made before that. my whole marriage took a back draft. i was always in secure -- i was always insecure. i never felt like i was enough. i pretty much never felt like i was enough my whole life.

i think that's why i started by adding a simple e to carol to make it carole with a e, because it looked a little prettier. in accumulated a series of names with my life. neil simon called me to girl with too many names who could have been a law firm. down to if yous felt loved as a child, if you felt criticized. i had an overly critical mom who did not know how to be nurturing. charlie: what gave you the capacity to write a hit song? what is that talent, what is that skill, and where does it come from? we just saw a whole list of great songs by you. carole: they weren't really the great ones. charlie: what were the great ones? carole: "that's what friends are because we raised so

much money for aids research. but i love this song. charlie: what else? "you and me, we wanted it all" is one of my better lyrics. you and me, we wanted it all, passion without pain, sunshine without rainy days. look how all our dreams came i've got mew and baby, you've got you. through it all, a little thing called love, a feeling deep inside. life,d music my whole songs. i wasn't to them as long as i could remember -- listened to them as long as i could remember. i wrote lyrics as a little girl at camp.

it is something i always knew i could do and wanted to do. my feelings could be expressed mean, some songs early on were like songs to my future self. i wrote a song with the list of -- with melissa manchester in the 1970's called "home to myself." i was not home to myself yet, but the words were. today i hear it and i go, yeah. charlie: what were the great collaborations for you? allen. i would say peter incredibly underrated songwriter, in my opinion. marvin hamlisch, who was a words.and special beyond him, and with peter, was joyful. they were so quick, they were so

alive. burt, but burt in a different way. i acknowledged him as a genius. but his process was not an easy one. he labored over which court to to use.hord he would go, do you like this chord, or do you like this ch ord? i would go, ok, i like that chord. he did not care what i liked. he just needed me in the room, so he could go back to this chord, this chord. it was ours. but only got to writing the melody, he was like, this is my melody, don't change a note, where is everyone else i had

written with would say, yeah, that's a good melody you just saying, carole. there was a flow. there was a back-and-forth. rt, the perfect example was when we were writing "that's what friends are for." he played this, and i thought, ok, ♪ who thought i would ever feel this way? ♪ he would go, carole, i need that note. he went to the piano and went, ♪ and i never thought i would feel this way. ♪ made the that note

song better, and maybe lyric better by accident, because now you are coming in on the middle of a song. charlie: would you tell him that? carole: i have told him that many times. charlie: did working together destroy the relationship? carole: it did not help, but i don't know if there would have been a relationship without me you this very hot songwriter at urt being cooled off at the time. come to you he because he needed help in this work? or the sheer fact that you think that, maybe, says -- carole: says that there would be problems. charlie: for there may have been a bit of an insecurity. carole: a bit. charlie: you were worried about him and other women. you were worried about -- burt, iwhen i met think i began to make him up and

pointed to do some kind of an illusion. he was driving a great big lincoln, -- a big green lincoln, and i thought his real car was in the shop. he was working in a one-bedroom apartment on wilshire boulevard with a piano and a sofa and sheet music all over the floor, and i thought, oh, they are probably fixing his new home for him. in fact, it's like maya angelou says, when someone shows you who they are, believe him. rt showed me who he was, and he went, oh, let's have this house in bel air, let's have elizabeth taylor as our friend, and let's have our parties. , whatever it was i fell in love with was his voice. he spoke in the rhythms in which he wrote a song. carole, say like, hey,

i want to be known for the parties i gave. want -- i don't want to be known for the parties i gave. i want to be known for my songs. i said, ok, let's throw less parties. we were not really meant to be together, other than to probably write the songs, because the songs were good. clearly we were meant to be together so that we could have christopher, or three-year-old son -- our 13-year-old son. 30-year-old son. rt goes to his own drum. --rlie: do the lyrics have lyricists have an elevated respect t for the composer? i have a respect for the

composer, particularly when i get the luxury of writing with such great composers. but i think they have a respect for the lyricist. it's that wonderful story when mrs. hammerstein met mrs. rogers at a party. you know that story, with mrs. rogers saying, oh, my husband wrote "oh, what a beautiful morning," and mrs. hammerstein -- , no, your husband wrote my husband wrote, oh, what a beautiful morning. began to truly live my life when i met bob. charlie: so what changed? carole: going back to the original thing we talked about, with the prayer, bob made me

feel safe. charlie: why? .arole: because he was real he had his feet on the ground, and he left me, -- loved me. he did not love me because i wrote hit the recs, and he did not -- wrote hit lyrics, and he did not love me for any reason other than he seemed to love me. , he was ay loved me man who, when christopher was five years old and said something not very respectful to go,said, i heard a voice excuse me, that's no way to talk to your mother, and i looked around, because i had never heard that in all the years that christopher was growing up until then. he was a man who set boundaries. he is a man who can love. who is fair and

decent, and i never had that in my life. charlie: and what did you leave out of this? carole: i left out certain things about my relationship with marvin hamlet, because i he is one of america's great composers. i loved him as a friend years after our relationship was over, and there was no reason to say that someone might feel bad about reading. charlie: you did not need to say that in order to paint your picture of marvin? carole: no, not at all. charlie: was it hard to write? carole: yeah. charlie: how did you go about it? i went about it because someone said, you should write a book. i went downstairs, started to think about it. i thought, you know, everybody compares their insides to other

people's outsides. i thought my book could help people. forget about all the collaborations and songs and the amazing artists i got to write with. one of the things i realized when i started the book was, oh my god, i've got a really big life, and i did not know it was a big life because i was living it. when i was able to live it. you know, thought, carole, you should tell your story, your journey, not just the musical part, because there are people you can help. charlie: so many songwriters want to be vocalists. carole: i guess i did. three records, but i always knew that no one was going to ask to hear my version of "over the rainbow." i had the luxury because i wrote the song. charlie: you had a number one

hit in australia. carole: i did, a song i wrote bette midlerler -- and bruce roberts. used to say to me, why are you always using the same words? home, light, friendship? some new words. she pulled out books with words in them, and we wrote this song which was a laundry list of what thrown out of the house should take with him. charlie: you say it gave you a big life. carole: not only did he give me a life, it saved my life. charlie: because? carole: because i could have been in a backboard somewhere. somewhere.d i was crazy frightened. frightened of bombs falling, frightened of diseases, where i

was sure i was dying of leukemia , then multiple sclerosis. you would not want to be inside of me, and you would not want to be with me. it was all inside, because on the outside, i appeared to be a girl.ly, lovely young waswhen nighttime phil, i terrified when nighttime fell -- fell, i nighttime was terrified to sleep in my own bed. and i had a great healing moment with my mother when she was dying of cancer. i made a decision that i was going to love her unconditionally, no matter what button she pushed in me. i was going to try to see if i could do that. for the most part, i succeeded, and she lived in our home the last year of her life.

all that for her illness, she , because she was being loved and was getting the attention she never got. story, the's your story of your life, the story of your insecurities, the story of your successes, the story of your big life. what else do you want to add to that life now? carole: i want to give back. i want to give more to other people. i spent an awful lot of time giving to myself. i don't know what form that will take. work with the los angeles county museum of art, but i don't know. i do say in the book that i have a need to be creative, so maybe something on broadway, maybe, i don't know. charlie: but you want it.

carole: i need to create. ♪

mark: i'm mark halperin john: and i'm john heilemann. "with all due respect" when you say this election is enough. that was a gladiator joke. on our menu tonight, some juicy fbi updates. the deep dish and buffet of other news. a free range cut of the sights and sounds of this busy day on the campaign trail. >> what's up fayetteville? >> i'm happy to be at the hom