it's going to stick. >> bottom-line, it might be saved a little bit by an economy that see melissa: i'm melissa francisnd here's what's "money" tonight. i go one-on-one with jeffrey katzenberg, ceo of dream works animation. the studio just signed a blockbuster deal with netflix that could change the face of it. v, film as w know it. katzenberg tells us his game changing strategy ahe knows it. throwing lavish conferences, targeting political groups. the irs is up to its eyeballs in scdals. we talk to the man who was there at top, formerrs commissioner mark everson on how it got to this. the music industry wouldn't be the same without them. clive davis and quincy jones are living legends, launching careers of everyone from bruce

springsteen to whitney houston. i sat down with each of them on what is next for the business of music. even when they say it's not it is always about money. melissa: we start today with an icon of the movie business, jerey katzenberg. he is cofounder and ceo of dreamworks animation. the studio sign ad m major multiyear original content deal with netflix. it is the largest deal of its kind in netflix history. it gives members exclusive access of 300 hours of new tv epodes. the dreamworks shows will be inspired by characters from its hit franchises like "shrek" and kung fu panda. the big question, will this deal launch dreamworks animation from a movie studio to a all-out multiplatform media business? that is where i started out when

i spoke with jeffrey katzenberg recently. it looks like it will throw off a lot w of revenue for your 100 million in the first year. you think by 25th teen it will kick up to 200 million annually. break break that down for me. how is the cost sucture for me. how is the difference between a doing a series and a big movie? >> the thing that is great about this, it doesn't have the same volatility to it. you know, this is a very substantial long-term output deal. we have the stability of netflix as a great platform, you know, for family entertainment today. it iser really has become the go-to destination. because of the size and scale of that, as well as the size and scale of this order, it allows us to really build up what will be an ongoing, almost utility business for us that doesn't have the same, you know, volatility of movies. melissa: no, absolutely.

it is much more predictable of course what you're going to get for it because you presell the series but does it cost, i have no sense of the business. is it half as much to make 13 episodes of a series ast is to do a big movie if you consider marketing? what is y the proportion like? >>op well, you know it, i have t done d the math on this but whai will say is that we are goi to produce about 1200 episodes overthe next five years. it represents just under a billion dollars and, we'll, we'll probably see about a 30% margin on that revenue. melissa: oh, wow, that is terrific. what is the margin like on a movie? >> ours are about 35%. our, they're very, very high. the animated movies, traditionally for us have been in the sort of mid to high 30% business. the movie business typically is closer to 10 to 12%.

melissa: hmmm, interesting. why did you pick netflix versus, i mean there is so much competition out there right now for people trying to get original content because this is really the key. whenhe amazon is trying to get people toome in and b dedicated to them and look on prime, you also have i tunes. there is hulu outthere. there are a lot of different distributors and outlets competing for premium content, so why did you pick netflix? what did they offer you? >> well i have to say a combation ofy things. i think first of all netflix picked us. so i got to give them, you know, a large degree of credit. melissa: they came to you with idea or what do you mean by that? >> yes. very much so, yes. so we got in business with netflix several years ago. we were one of the first companies to makee an output del with them for our animated feature films. they made a tremendous, tremendous commitment to us about two years ago and then last year the end of last year

they started the to go into original content for family entertainment the way they have already taken a great leadership in terms of broader, general content like with "house of cards" and "arrested development." so we committed together last year to do "turbo," a tv series of our "turbo" which is our movie coming out in a few weeks. it really exposed both of us in a good way to their ambitions what they're doing and growing their platform and frankly them to us, in terms of our bandwidth, of our classic media library and the opportunity to do something significantly greater than just doing a one or two, one-off tv shows. melissa: you mentioned "turbo" which is the new character coming out. it's a snail, right? >> he's a garden sil from van nuys who gets that special

power and, can go uperst. melissa: i can't wait s to see that. it looks like it is your first crossover product that would be in theaters but also have a series online at netfl or on your tv at netflix, however you view how you're getting that system. is that theet model you see goig forward, that you want both or will you create charact exclusively found on netflix? >> well, we'll do both. you know, we have some original content c that we're doing for,s part of the netflix deal. we have some of our classic media titles that we will be making for them and for sure we will be taking those properties off of our big feature films that can be adapted. that has been vy, very successful with us. we've had three blockbuster hits for nickelodeon with madagascar, "kung fu panda" and "monsters vs. aliens" and a great success for cartoon networks with our

dragons tv sho so we've had a really good tck record for that. so this is really expanding on it. melissa: youit mentioned "housef cards" and it proved one of the fascinating new phenomenons on netflix which is how quickly people consume the content that's on there. there was a study that said, a bunch of peep a big percentage that went through "house of cards,", the entire first seasn in 48 hours. we watch cartoons on netflix at my house.rs exactly. we watch netflix. >> guilty. melissa: with the cartos my kids k consume them very, very fa as well when they like something. do you think there will be pressure on you to come up with even more content? and do you think you can grow this business beyond the 200 million mark annually? >> so the answer is, we hope there's pressure on us to do it and we'reonfident that we can continue to scale this. you know, we have a great foundation of talent here. we have the bandwidth to do this. and the degree to wch it

really proves itself out which, i have a high degree of confidence in. more importantly, netflix does. this is something that we'll be an ongoing long-term business partnership between us and netflix. melissa: what do yout think it says about the movie business, that you're moving in this direction and, we know what it says fort broadcast television. that a lot of series are moving on to netflix and other devices where it's, it's pay as you go and watch it when you want it and stream it and not the normal way people used to consume televisionme shows. what does it say for the movie business? do you think that the movie busiss is getting smaller? >> no, not at all. these are, this is about, you know, a growing opportuni for dreamworks, particularly for our brand, the b success we've had n the movie business. the oly reason this exists today is because of what you talked about at the top of this, which is "madagascar" and

"shrek" and "kung fu panda," and the crudes and "turbo." they're the heart and soul what we do and they createan some opportunies beyond their life within movie theaters. what we're doing is growing our company to take advantage of thate and get full value out of it. we see these things complimentary to one another. the movie business continues to be very, very strong for us, a very important part of our business and it's the foundation of the company. melissa: we'll have a lot more of our interview with jeffrey katzenberg after the break. he talks about the recent $600 million hit, the croods and how they can make even more money in the future! the irs is on a scandal bender. how did they get to this? we'll ask one of the agency's former commissioners how they get it under control. "piles of money" coming up.

melissa: we all know jeffrey katzenberg's dreamworks animation for its big hits like "shrek" and "madagascar." what happens when not every movie you're pumping out is knot a hit? how much damage does it do to the company's bottom line? here is more of my interview

with ceo jeffrey katzenberg. as we all know, anyone that watched for a period of time it's a very tough business and not everything can b a huge hit like "shrek." dream work's animations past 13 films. >> why? why? why can't everything be like "shrek"? melissa: i know it is hard but your last 13 films -- >> the movie business. go on. melissa:roduction budget of 130 million. rise of the guardians grossed 302 million. you ended almost 90 million-dollar write-down on that. you had significant layoffs. 350 people in this past year. do you think this turns that around? >> well, first let me answer the first question which is, you know, dreamworks animation made 19c accident. animated movies in three

gears -- cg-animated movies. 13 of the 19 have been pritable. i don't think there has ever been a more consistent, profitable movie enterprise than that. the average box office of those 19 movies is over $50million. so it is not just that they were successful. they were extremely successful. "guardians" is a movie we're really proud of. you're right, unfortunately it didn't hit a bull's-eye for us. because we do proce our movies at a very expensive, very high-end, ifat we don't hit a bull's-eye we could have something amiss like "guardians." you know, so yes, did we have to do a reset off of that? we did but the movie business as a whole has been extremely profitable for, for our company and, expanding into television doesn't lessen that risk in it. what it does do it diversifies our revenue. for sure it creates some

stability in other revenue sources for us, but, you know, we love the movie business. it is vy, very good for us. we had a $600 million hit with crudes. we're not shying away from that business -- th crud. we have big titles next year. melissa: people try to take the volatility you t mentioned out f the movie business. maybe one way do to do that is charge different prices at movie theater for different tickets this is something steven spielberg tald about, a two-tier system and blockbuster ticket price and ticket price for what you call smaller movies. they tried this with "world war z" with a megaticket. it was $50. you got to go early and dvd and popcorn, that sort of thing. is that model interesting for you where you charge different pricesng for different tickets? do you thinkff that would work better? >> not>> really for our product. our, movies are for a family

audience. they're seen, you know, around the rld, you know,5% of our business is done outside of the united states. you know, we are about being inclusive and creating an experience tha the whole family can share together and, you know, i think those kind o premium experiences are fine but theye not a rlacement for, you know, for our business and, yo know, i think it is the fact that, you know, our movies are so accessible and are so, you know, reasonable frankly. if you think about it, an average ticket price of under $8 there is almost no better value that, you know, you can do in terms of going to find two hours of entertainment anywhere or on the planet today. melissa: number but always get you in the end with all the merchandise. see it is not what i spend on taking my kids to the movies. it's the endless stream of bags and cars and lunch pails and everything else i end up having to pie. that is where it really cost me. if i think i hadn't taken the kid to the movie i wouldn't be

buying that stuff. but i digress. >> melis. gerri: i'm sorry, you meant to say how much you appreciate when your kids fall in love with wonderful characters and want them to continue in life and want to bring them holm and play with them and become their best friend. you wanted to say thank you, jeffrey, wee appreciate that. melissa: i did. if only you institute some sort of a rebate program where i get points in the end and get some dollars back or something. i spend so endlessly. let me ask you a little bit of a mean question. you left disney to start dreamworks. >> uh-oh. melissa: since 2005, disney's stock is u 133%. dreamworks, down 33%. is this something that irritates you? does it keep you awake at night? am the first person that ever mentioned it? and you would have never known the stats had i not said it? what is your reaction to that? >> we, listen, you know the disney company is a great company. frankly, you know, bob iger has just done a stunning job there

in this last decade, you know, and i have just the greatest adration for him and the job that he's done. we're a teeny little speck compared to them and you know, we're trying to build our own enterprise. i have great confidence in where we are today and more importantly where we're going in the futre. i think that, you know, dreamworks has come into itself as a great brand recognized around the world. opportunities are opening up all the time for us, whether netflix here or china or,ou know, theme park businesses. it is a great horizon for us. you know, the stock market, up and down. they appreciate you. they don't appreciate you. you know, i think we're on a great track todaynd i'm confident about our future. melissa: afterwards he laughed and told me actually that wasn't a mean question. which i was glad to hear although i do ask tough questions a the time so there. next on "money" the irs has

turned into public enemy number one. will we ever know who is really responsible for the targeting scandal? the former commissioner of the irs tells us how to get to the bottom of all of it. plus without clive davis there may have been no aretha franklin, bruce springsteen or alicia keyes. the legend tells us who is the next superstars of the industry. that is coming up. do you ever have too much money?

melissa: you may not be hearing as much about it right now but make no mistake, the irs targeting scandal is far from over. congressional investigators are expanding their probe to nail down exactly how this started and who's to blame. but so f investigators have gotten plenty of conflicting information from irs officials. i recently spoke to the man who knows the inner working of the irs down to the smallest details and that's former irs

commissioner mark everson to hear his thoughts on how it all happened. you have to be sitting at home listening to these stories and they either sound right to you or they sound implausible to you. so far, what sound right to you? >> well, thanks for having me, melissa. let me say this. my experience with agency, i was atnc the service as you know frm 03 through 07. my experience was everybody from the top to bodied their level best to stay clear of politics and be absolutely impartial. melissa: so you must have been shocked by this? did this story, did it blow your mind th? you said, wait a second, this doesn't sound like the place i know and people i know? >> exactly right. very sad. what you have here failures frankly at three levels. one there were people in cincinnati for lack after better term lost their mind if you will. therre was no excuse for using, oh, the words they used, tea party, patriot, things like that to cullut the applications that would get extra scrutiny.

theha intermediary of level of supervision if you will, lois learne supervising all exempt organization, once they knew they had problems took two years to clean it up. that is way too long. finally at the top of the organization the commissioner's office really had its head in the sand. you can't that. there were, lots of concerns as in 11 and 12. melissa: let me ask you details about all of that. >> go ahead. melissa: do you believe, is it believable, plausible that the lks inincinnati thought this up on their own? that it wasn't coming anywhere higher that they decided to go out andan do this? >> initial decisions they took in the first ig report by which applications they would pick out for extra scrutiny, that is pretty well-established. that was done at the lowest level. whates happened is, once they we selected for scrutiny, then as you indicated they would go up into washington for review and that was over the top. some of the questions that were asked at the request of the

washington people were inappropriate at s has been demonstrated. melissa: so at that point inevitably highers up now what was going on? they were getting this information and gettingec the documents and you think people highere up the food chain had o have known at that point what was goingd on? >> that's right. that's appropriate too. because if you're getting into a new area of the law you want to make sure it's done correction e correctly. the idea it would go to washington is hardly surprising. as i said just a moment ago, my problem is, that it took so long to settle this down, to get correct procedures, and then en the commissioner was asked about it, instead of saying look we had some issues in this area. we'vens sorted them out. now we're doing it properly, he instead said there is no targeting. he gave the impression this was all shipshape and there were no issues. melissa: why woulde w heo that n your opinion? >> i have no idea. it was entirely indirect -- melissa: political? >> i have no idea. i don't believe that's the cas you know, this is, this whatas to be developed to the congressional investigation if you will.

i have no reason to question his testimony. i just think it was, it was badly bungled. melissa: yeah. >> you can't -- melissa: this is the thing that has caused a lot of people pause. now this is where we made it in the foodus chain. when we're talking about former irs commissioner douglas shulman and him visiting the white house 157 times during this period, how many times did you in that role visit the white house? >> well i would go over there and beg for mey and other things. what i said,ld i testified to ts best same issa committee about a year ago on the affordable care act, i only remember going over there once to talk about policy issues with other agencies. look -- melissa: why would he go 157 times, do you think? is it right to infer from that, that maybe they were talking about this issue? >> i think that's a leap and maybe it will be a established. but there's no evidence to support that right now. he had plenty of business over there in the sense that the affordable care act is a very significant responsibility for

the service. in fact my concern when i testified last year was it drew the service too closely into the rest of the government. melissa: yeah you. >> want the agency to have a lot of independence and unfortunately he answered the questione. abouthis rather snarky and talked abt a easter egg hunt. he had very good reason to be over there and should have shown more deference to congress and -- melissa: commissioner, real quick, before we run out of time. how u do we clean this up? you've been on inside. do we have to clean house and get rid of a lot of people or endemic to the oanization? i have a feeling you're saying not true to the last one. first thing that has to happen here the president needs toee appoint a permanent commissioner. there is no way youer would let the cia or the fbi run months and nths without a permanent leader that needs to happen and individual of stature who will take charge of this. take over for danny werfel who i think is doing a good job getting to the bottom of everything. we need to have a thorough

airing of this by the congress. i suggest ad joint committee of senate and house members look at it like iran-contra. my concern here, melissa, tax reform could be jeopardized by this if the tax-writing committees of finance and and means rather than tax reform, that would b a shame. lissa: it would really. former commissioner mark everson, thanks for coming on the show. we appreciate your insight and i hope you come back. >> thank you very much. melissa: of course he is 100% right, we need tax reform so badly. this plus all the other recent scandals are pulling attention and probably resources from that really important issue. it's too bad. next on "money," they're music stars and then there are music legends. have got two tonight. starting with clive davis who launched careers of whitney houston and countless others. stay tuned to hear his take on music's next breakout stars. plus, how can you follow an interview with clive davis? i don't know. how about a sit-down with quincy

jones. we talk to him about his new venture to revolutionize the music industry. "piles of money" and plenty of

melissa: the business of music means big money. "the financial times" reports last year global music industry revenues hit a whopping $16.5 billion. that is the first time it has

increased since 1999. music is always evolving but one man has always stayed one step ahead. he has launched the careers of bruc springsteen, aretha franklin, whitney houston, alicia keys, to name a few. the one and only music legend an influential power force, clive davis. of the his new book, the soundtrack of my life. was on "the new york times" best-seller list f eight weeks! i had a chance to talk to him about the business of music. i want to start with business of music. we were talking about the revenues there a bit and seems like every time there's a new trend in the way we're all consumes music it changes. ere was i tunes. streaming has gotten so huge. generating $1.2 billion in royaltielast year. what does the future hold for business? how do you see it changing? >> first of all, i'm very optimistic number one. when n ew technology comes in yu wonder about the underlying

product. isr the product still vital? music is such a part of everybody's life. number one you know that music will be ere forever. melissa: that's a great point. >> and secondly, i was very hardened at the turn b this last year because we -- turn about, because we really had to deal with a piracy problem and admittly of the slowness of the record industry to get with the digital revolution and provide ab legal alternative. piracy has to be rooted out. it creative people in our music and our world really have to be compensated. so we've got to root out piracy and illegality. melissa: do you feel likehat is getting better or worse? do you feel like you're getting a handle on it? >> i feel like it's a major problem and more work has to be done. we are not significant back on this. music more vital than ever, really. melissa:n the digital age where revenue comes from has it

shifted? you see performers make more money on tour. has the business model shifted? >> there has been a shift and there is no question that live performances are a major part of the artist's revenue, and that albums, sales, have been affected by the piracy, there's no question. but i'm heartened, that with adell's 21 million worldwide sales, i'm hardened with the arrival of new artists with electronic world becoming so important, they're not really led to the creative, edgy artists that we need to keep an industry of music healthy. but with today with mumford and sons, with miguel, with emmill lee sandee i had them at a grammy part he held the night before. melissa: legendary grammy party. it is the party of the year.

>> ith wanted to show the vitaly ofde music. along with doing a duet with the great gladys knight paired with jennifer hudson with new voice with the great old time voice. melissa: i'm enjoying yr book. it feels like you're talking to me. the wriing style is very much you telling a story. it is especially exciting about reading stories of finding new artists. how you discovered them and cultivated them. when you find a new artis you be them the most profitable they can be because it is a business while trying to keep them unique and what made them special in the first place? how do you balance that? >> the uniqueness comes from the artist. i don't make them unique. i'm just not sweet talking here. melissa: how do you preserve it then? >> well, for example, whether it was whitney houston or whether it was alicia keys, in the case

of whitney, she did not write her own material, there was a question of two years going and showcasing here and having with great writer with track record to see her, to see a major new talent anda we attracted michael masser and great writers to come up with a saving all my love for you and you give good love and the songs that helped define her era. in the case of alicia, qstion of waiting. she is a young renaissance woman who writes her own material, arranges, produces. we waited the same two years for alicia to refine the material. she was a teenager. and to say, i'm ready. and there, it was a question of, how do you spread the word? and every time i gave a speech, i would put alicia on and she, you create those opportunities, the ultimate being "the oprah winfrey show" where she took it by storm and, by the time her album came out, she entered the

charts at number one. melissa: yeah. you read again and again in your book about young artists who, youb know, want to work with you and you made some careers. what would you say to all the young artists out there who won't get the experience of working with you? what is the aice that you would give them? >> well, you know, the advice is, that they have got to refine their craft. i mean it is really, comes from the artist and if there are a writer they have to keep working on material and getting that material heard. in the event it is just, coming from the voice, then you've got to get someone that helps you come up with your signature songs, that will define you. melissa: you've got to work on your cft. i like that. another thing that's magical about you is reviving careers. who's career would you like to revive right now? who do you look at right now, boy i could really help them? >> ie n the revival i've had the

best experience, equal to that of a discovery, in reviving, whether was aretha or rod stewart or carlos santana, supernatural or rod stewart with great american songook. i love the all-time, talking about all-time talents but she never peeks. if she ever does peak, mary j. blige i would always think is a all-timer who should appeal to every generation of music listener. melissa: clive davis, the book is called, "the soundtrack of my life." as if i need to plug it because it is obviously selling likeotcakes. there it is on the screen. thank you so much for coming on. >> you've been a pleasure. thank you. melissa: thank you soo much. i do love me some mary j. blige. clive davis is such an interesting man. his book is definitely word reading. up next quincy jones is also one of the most influential figures in music industry. he made stars out of big names

from michael jackson to bono. he is nowhere near slowing down. he talks about where he thinks the next big opportunities lie for the business of music. at the end of the day, it is all about money.

melissa: on to another music icon. quincy jones has won 27 grammys. holeds the record for most nominations ever, 79. he worked and developed some of the biggest names in music from frank sinatra to michael jackson to bono. the legendary quincy jones has done it all. at age 80 he is starting a new chapter with playground sessions a new way to bring music education to children. he is also a partner in spotify, which has a major competitor with google's own music subscription streaming service. i talked with quincyhat about the music business is changing and what he sees the biggest threat to the industry today? >> 98% piracy everywhere on the planet. technology is too late. with once we work with cds and

digital, once we got with cds and digital everyone is master. vinyl is not like that. you couldn't do that you can do millions of records off one cd. it is everywhere and started with sean fanning who is on my panel now with a consortium along with alan kay, who started itte all. if they had listened to him we wouldn't be in the shape. 18 years old playing around with t toh t and full access music. but, he is, we're on each other's side now. melissa: quincy says his biggest concern about piracy, musicians working for years but still unable to even support themselves. >> that is for the young people ig care about it. i have a hard time with that. convincing ae child to become a musician because they don't gt rewarded for it. can't pay, can't eat and can't pay their rent. melissa: quincs passion for children led him to partner wit3

chris vance for his newest business venture, play ground sessions. his goal? take away a need for expensive private lessons that most families can't afford. and use popular music to hook and inspire kids instead of traditional scales. >> youes know the basic idea, a downloadable software that works for botha pc and mac. right from the beginning you go to an itunes-like store and choose the song you want to learn. we do arrangements of composition at rookie level. some are beginning just starting out. you can advance to more intermead yacht level through advance. melissa: it is not quincy's only current proct. not surprisingly, he is also working with steven spielberg on a film that will show how essential music is to our everyday lives. >> we are planning to do a film on, i don't know how much it will help or not, called the day all the music stopped. because my beat-down and my love

for music and that will be the last thing that will leave this planet. you can't live without it. nobody can. they have so much of it they take it for granted. in the fir part of the film we smother them with music in elevators and radio and tv. then with the very intelligent plot line, we strip all of it out. no music. just, sounds. and see -- i could never pull this off in reality because somebody wouldli have an it pod somewhere but -- ipod. we're talking with spielberg about this, trying to get some stuff like that going. melissa: so what keeps him motivated? from working with new young artists to movies, to spotify. but for quincy, it is really not all about money. >> i came from a school, old school, with bee poppers, we never ever thought about money or fame, never. even doing "thriller." i didn'. do something that gives me gose i want to do something that gives me gooset bumps.

turned out to the biggest selling record in music history. my mindt doesn't go that way. get something i think. never has been. everything i do, i love, if it isv there, what happens. it's a food feel -- good feeling. melissa: i think it mus be a good feeling to be quincy jones, that's for sure. okay, you can eat hotdoos and burgers at your 4th of july barbecue, but carls, jr., may have come up with a product even more american than apple pie! thank you fast-food guys for making my dream come true. all the details in "sre change." you can never have too much money or too much frosting.

melissa: well u know what time it is? it is time for "spare change." we had a blast not too long ago with two of our favorite "spare change" all-stars. monica crowley and brian babst. first up, you want to live next to then queen? now you can. for a cool $325 million, that's right. this 50,000 square foot, six-story house would break the record for the most expensive property in britain. theer owner is an elderly member of a middle easten royal family of course. and he has owned the home since the '70s. u think?yo monica, is that a bargain? is that a steal? >> when i first saw the story as i prepared for this segment, i thought it was 38 million. that is good deal. melissa: good gile. >> 38 million-dollars for personal propert then i saw $380 million.

he claims he put millions and millions of dollars renovating it and restoring it back to pristine condition. this has to be one remarkable residence for this amount of money. i mean -- melissa: it has got to be. >> that is insane. melissa: you're a real estate maven. is this listing of a lifete or the ultimate white elephant? >> london pulls off the olympics and gets cocky. no. the amazing part about this, it is such a massive property and yet still not the biggest privat residence. that is still buckingham palace. but on a per foot basis actually it is cheaper than a lot of recent trades in new york. melissa: wow! so you're saying it's a deal? >> its absolute buy. melissa: monica and i should pool the money and go over there. >> take a collection around the office. melissa: who buys something like that? exactly who already owns it? >> your friendly russian neighborhoode oligarch can find $380 million in the couch cushions. melissa: can you borro that or all cash? what percent do you have to put

down on 380 million? >> get an appraisal tm. melissa: i think fha would back the loan sadly. >> by the way, melissa, if you have to take a loan for this you probably can't afford it. melissa: you probably can't afford it. if i'm asking these questions you definitely can't afford it. here is fun one from our own fox family. take a lookt what happened to fx news's mike tobin reporting live from boston last night. >> section explosion goes off according to the fbi at the location wherea he dropped it -- please don't do that where he dropped his knapsack [laughter] melissa: he is so money. he is so money. please don't do that. he didn't even, he didn't even stop. barely a pause. >> i have two heroes here. made the photo bombing off the kissing totally inappropriate. melissa: right. >> that said. mike tobin is really cute. he is really cute. can't fall the girls for trying. certainly mike tobin is my hero,

he didn't miss a beat. melissa: please don't do that. he is so polite. please don't do that. not even rude. what the f-bomb. please don't do that. and he keeps going. it wasep incredible. they go back to shepard smith who alsos didn't react. likek bizarre owe news land. >>b this something, walter cronkite did not have to put up wi. >> you can't fault girls for trying. mike tobin is very cute. melissa: he is so "money." check up, check out the new dessertandwich. >> time for bikini season. melissa: carl's jr is doing a test run. would you try this? >> hand scoops. know someone is really getting inus on the artisan crae food preparation. they have didn't throw this vanilla ice cream together. melissa: pop-tarts are homemade. that is what you're focused on eating something like that. clearly at 30 in the morning. >> put the hand-made thing because don't want it confused

with a ice cream sandwich which is premade. twoof little pieces of heaven, e cream and pop-tarts. $1.49. melissa: what a deal. thist is carls, jr. genius. total breakthrough. earnings next quarter for them through the roof. if theyt only made cinnamon or chocolate i would be down with it. i don't love strawrry. i'm being so picky. we told but a fancy house. this is bird house. features home gym, open kitchen and a pool. every amenity a well to do bird needs. what do you think? would you buy this for the backyard? he might not get too close to the kitchen to turn himself into a mcnugget. >> i asked myself, has apparently an infinity pool. only thing that is missing a panic room when sylvester comes up. melissa: when the cats come buy. >> checking tourists shows up. melissa: seeing what is wrong with it.

>> what is wrong with it? there is so much wrong with a luxury house for a birds. wild birds or, birds, whatever thiss is a little insane. i think it is taking the real estate craze we wertalking about before in london one step -- >> what could go wrong? melissa: realuick. a new study shows fewer bank accounts actually leads to more savings. a report says with multiple bank accountsan it is easier to justy send spend than from just one account. what do you guys think? i total agree? >> agree. you have so many accounts you'e not focused on, well i have assets in another account. doesn't really matter. you keep it in one account you see it go up and down. >> no bank accounts equals massive savings? melissa: wow, he may have busted us. that is all the "money." we'll see you back here tomorrow for a special power of money edition for the 4th of july.

♪ >> in the '50s,@ there was a new sound. >> @♪ wake up, little susie @ ♪ wake up @ >> it had rhythms and lyrics that spoke to . >> @♪ maybellene ♪ why can't you be true @ >> and all across america, radio stations gave us the latest hits. >> @♪ well, you can rock it,@ you can roll it ♪ ♪ do the stop and even stroll it at the hop @♪ >> there was chuck berry,@ jerry lee lewis, buddy holly,@ and of course, the king. >> @♪ well, since my baby left me ♪ ♪ well, i found a new place to dwell ♪ ♪ well, it's down at the end of lonely street