ford-- built for the road ahead. >> kroft: everyone has a different idea of what a robot is and what they look like, but the broad universal definition is a machine that can perform the job of a human. tonight, you will see how they have marched out of the realm of science fiction into the mainstream, competing for jobs and changing the economy. you'd think they'd run into each other. >> you would think that, but it never happens. >> when i see what computers and robots can do right now, i think we're going to find ourselves in a world where the work, as we currently think about it, is largely done by machines. >> stahl: each year as the anniversary of september 11

approaches, we remember the events of that awful day and honor its victims. next spring, at ground zero in new york city, one of the largest and most ambitious memorial museums in the world is scheduled to open its doors. >> just watch your step, leslie. it is a construction site. >> stahl: tonight, we will take you for an in-depth look at what our nation's 9/11 museum will be. >> logan: it is just unbelievable-- michael jackson sells more tickets dead than most artists do alive. >> that is absolutely true. he is the biggest selling artist on itunes, and he's sold approximately 50 million albums since he passed away. >> dancing, dancing, dancing! >> logan: tonight, you will hear about the most remarkable financial and image resurrection in pop culture history. wow. neverland, that's the actual sign from neverland? and get a rare look at what michael jackson left behind.

more cars. >> more cars. >> i'm steve kroft. >> i'm lesley stahl. >> i'm morley safer. >> i'm bob simon. >> i'm lara logan. >> i'm scott pelley. those stories tonight on "60 minutes." ♪ [ male announcer ] when we built the cadillac ats from the ground up to be the world's best sport sedan... ♪ ...people noticed. ♪ the cadillac ats -- 2013 north american car of the year. lease this cadillac ats for around $299 per month with premium care maintenance included.

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lucy oc: nice ride! vo: and how do those at crayola who brighten our lives. insure their employees' lives? charlie brown oc: they choose metlife! vo: get your insurance where over 40 million employees get theirs . join us for benefits season at youtube-dot-com slash metlife. >> kroft: one of the hallmarks of the 21st century is that we are all having more and more interactions with machines, and fewer and fewer with human beings. if you've lost your white collar job to downsizing, or to a worker in india or china, you're most likely a victim of what

economists have called "technological unemployment." there is a lot of it going around, with more to come. as we reported earlier this year, at the vanguard of this new wave of automation is the field of robotics. everyone has a different idea of what a robot is and what they look like, but the broad universal definition is a machine that can perform the job of a human. they can be mobile or stationary, hardware or software, and they are marching out of the realm of science fiction and into the mainstream. the age of robots has been anticipated since the beginning of the last century. fritz lang fantasized about it in his 1927 film, "metropolis." in the 1940s and '50s, robots were often portrayed as household help. >> may i take your hat and coat? >> kroft: and by the time the "star wars" trilogy arrived, robots, with their computerized brains and nerve systems, had

been fully integrated into our imagination. now they're finally here, but instead of serving us, we find them competing for our jobs; and according to m.i.t. professors erik brynjolfsson and andrew mcafee, one of the reasons for the jobless recovery. >> andrew mcafee: our economy is bigger than it was before the start of the great recession. corporate profits are back. business investment in hardware and software is back higher than it's ever been. what's not back is the jobs. >> kroft: and you think technology and increased automation is a factor in that? >> erik brynjolfsson: absolutely. >> kroft: the percentage of americans with jobs is at a 20- year low. just a few years ago, if you traveled by air, you would have interacted with a human ticket agent. today, those jobs are being replaced by robotic kiosks. bank tellers have given way to atms, sales clerks are surrendering to e-commerce... >> i'm an automated system. >> kroft: ...and switchboard operators and secretaries to voice recognition technology. >> brynjolfsson: there are lots of examples of routine, middle-

skilled jobs that involve relatively structured tasks, and those are the jobs that are being eliminated the fastest. those kinds of jobs are easier for our friends in the artificial intelligence community to design robots to handle them. they could be software robots, they could be physical robots. >> kroft: what is there out there that people would be surprised to learn about in the robotics area, let's say. >> mcafee: there are heavily automated warehouses where there are either very few or no people around. that absolutely took me by surprise. >> kroft: it's on display at this huge distribution center in devens, massachusetts, where roughly 100 employees work alongside 69 robots that do all the heavy lifting, and navigate a warehouse maze the size of two football fields, moving 10,000 pieces of merchandise a day from storage shelf to shipping point faster and more efficiently than human workers ever could. >> bruce wetly: we think its part of the new american economy. >> kroft: bruce welty is c.e.o.

of quiet logistics, which fills orders and ships merchandise for retailers in the apparel industry. this entire operation was designed around the small orange robots made by a company outside boston called kiva, and can now be found in warehouses all over the country. now, this is the order that she's is filling right on this screen. >> welty: yes. in a typical warehouse, she'd have to walk from location to location with a number of totes, and that's the innovation here is that the product comes to her. she's is filling right on this >> kroft: and all of this is preprogrammed? nobody has to sit there and tell these robots where to go? >> welty: no, no, it's all done with algorithms. a lot of mathematics, a lot of science that went into this. >> kroft: customer orders are transmitted from a computer to wi-fi antennas that direct the robots to the merchandise, guiding them across an electronic checkerboard with bar codes embedded in the floor panels. once the robot arrives at its destination, it picks up an entire shelf of merchandise and delivers it to the packing

station. it then speeds off to its next assignment. >> welty: they know if they need to get from point "a" to point "b" and they are not carrying anything, they can go underneath the grid. we call that "tunneling." so they are very smart. >> kroft: you'd think they'd run into each other. >> welty: yeah, you'd think that but it never happens. >> kroft: if you had to replace the robots with people, how many people would you have to hire? >> welty: probably one and a half people for every robot. >> kroft: so it saves you a lot of money? >> welty: yes. >> kroft: and it's not just going on in warehouses. el camino hospital in california's silicon valley has a fleet of robots called "tugs" that ferry meals to patients, medicines to doctors and nurses, blood samples to the lab, and dirty linen to the laundry. >> crossing hallway. >> kroft: a hospital spokesman told us the tugs are supposed to supplement nurses and hospital staff, not replace them. but he also believes that robots and humans working together is the beginning of a new era. robots are now wielding scalpels for surgeons, assisting in the most delicate operations,

allowing them to see and snip their way through prostate surgeries with minimal damage. and they have begun filling prescriptions in hospital dispensaries and local pharmacies. economic evolution has been going on for centuries, and society has always successfully adapted to technological change, creating more jobs in the process. but erik brynjolfsson and andrew mcafee of m.i.t. think this time may be different. >> brynjolfsson: technology is always creating jobs, always destroying jobs. but right now, the pace is accelerating. it's faster, we think, than ever before in history. so as a consequence, we are not creating jobs at the same pace that we need to. >> mcafee: and we ain't seen nothing yet. >> kroft: the changes are coming so quickly, it's been difficult for workers to retrain themselves and for entrepreneurs to figure out where the next opportunities may be.

the catalyst is something called computer learning or artificial intelligence-- the ability to feed massive amounts of data into super-computers and program them to teach themselves and improve their performance. >> siri: what's the weather like today? >> kroft: it's how apple was able to create siri, the iphone robot... >> siri: here's the weather for today. >> kroft: ...and google its self-driving car. >> brynjolfsson: we've been amazed at how rapidly this has been happening. >> this is jeopardy! >> brynjolfsson: ibm's deep qa system that plays "jeopardy," we had a contest here that played against our best m.i.t. students, the best harvard students we could put it up against. and not surprisingly, watson won. and it's being used in real, practical applications now on wall street and in call centers. siri-- millions of people are using that every day. >> mcafee: the fact that computers can now understand and respond to human speech, the fact that they can actually generate prose of decent quality, they can drive cars, they can win at "jeopardy"-- we're seeing technology demonstrate skills that it's never, ever done before.

>> kroft: and it is putting new categories of jobs in the sites of automation-- the 60% of the workforce that makes its living gathering and analyzing information. this piece of software, called e-discovery, is now used by law firms in the discovery portion of legal proceedings, a job that used to require hundreds of people sifting through boxes and boxes of documents. we now have robots gathering intelligence and fighting wars, and robot computers trading stocks on wall street. it's all part of a massive high- tech industry that's contributed enormous productivity and wealth to the american economy, but surprisingly little in the way of employment. >> mcafee: we absolutely are creating new jobs, new companies, and entirely new industries these days. when... when erik and i go out to silicon valley and look around, the scale and the pace of creation is astonishing. what these companies are not doing, though, is hiring a ton of people to help them with their work.

>> kroft: because they don't have them? because they can't find them? because they don't need them? >> mcafee: because they... they can't... they can't find everyone they need, but they don't need that many people to work in these incredibly large and influential companies. to make that concrete, apple, amazon, facebook and google are now all public companies. combined, they have something close to $1 trillion in market capitalization. together, the four of them employ fewer than 150,000 people, and that's less than the number of new entrants into the american workforce every month. >> kroft: and it's roughly half the number of people that work for general electric. ironically, one of the few bright spots is a modest rise in u.s. manufacturing, an early casualty of automation that is making a comeback because of it. this tesla factory in california turns out battery-powered cars, using state-of-the-art robots that can change tools and perform a multitude of different tasks, negating some of the advantages of moving jobs offshore. annual investment by u.s.

manufacturers in new technology has increased almost 30% since the recession ended, and research institutions and robotics companies, funded by venture capital, are constantly searching for innovations, like the roomba vacuum cleaner. >> rodney brooks: traditional robots inside factories... >> kroft: that was the brainchild of rodney brooks, a pioneer who ran the artificial intelligence lab at m.i.t. before launching i-robot, one of the most successful robotics companies in the u.s. this is his latest progeny, a friendly, affordable chap named baxter. >> brooks: it's meant to be able to go in a factory where they don't have robots at the moment, and ordinary workers can train it to do simple tasks. >> kroft: uh-huh. such as? >> brooks: well, a simple one is just, for instance, picking stuff up off a conveyor belt. so it's going to go down and find... find the object and grab it and bring it over and put it to another spot. >> kroft: baxter costs $22,000, and can be trained to do a new task by a co-worker in a matter

of minutes. it can also be upgraded like an ipad with new software as new applications are developed. >> brooks: and when you're training it... >> kroft: brooks and investors in his new start-up, rethink robotics, see a potential market worth tens of billions of dollars, and believe that baxter can help small u.s. manufacturers level the playing field against low-cost foreign competitors. >> brooks: if you're using robots to compete with a simple task that a low-paid worker does in a foreign country, you can bring it back here and do that task here. >> kroft: baxter costs 22 grand? >> brooks: yep. >> kroft: how long does he last? >> brooks: it lasts three years. >> kroft: three years? >> brooks: so you can think that as 6,500 hours. >> kroft: i think it works out to about $3.40 an hour? >> brooks: about that, yeah. >> kroft: right, $3.40, that's probably the wages of the chinese worker, right? >> brooks: it's just about right there now. >> kroft: so here you could buy one of these robots and it would be like getting a chinese worker? >> brooks: in... in a manner of speaking.

>> kroft: that strategy has already had some success at adept technology, the largest manufacturer of industrial robots in the country, with a wide and varied product line. >> john dulchinos: so this is our flagship product. this is our cobra robot. this is the class of robot that was used to automate philips electric shavers. >> kroft: the robots at the dutch company's factory in the netherlands proved to be so efficient and economical that philips decided to move its main shaver assembly line out of china and back to holland. >> brynjolfsson: i think that those workers in china, in india, are more in the bull's eye of this automation tidal wave that we are talking about than the american workers. >> kroft: but even if offshore manufacturing returns to the u.s., most of the jobs will go to robots. >> mcafee: when i see what computers and robots can do right now, i project that forward for two, three more generations, i think we're going to find ourselves in a world where the work, as we currently think about it, is largely done by machines.

>> kroft: and what are the people going to do? >> mcafee: that's the $64,000 question. science fiction is actually my best guide, because i think we are... in that time frame, going to be in a very weird, very different place. >> kroft: it brings to mind stanley kubrick's "2001: a space odyssey" and the rebellious computer robot, hal. technologically speaking, we are just about there. >> open the pod bay doors, hal. >> hal: i'm sorry, dave. this mission is too important for me to allow you to jeopardize it. >> kroft: everyone agrees that it's impossible now to short- circuit technology. it has a life of its own, and the world is all in, for better or for worse. >> hal: stop, dave. >> kroft: we wanted to leave you on this positive note. >> brynjolfsson: one thing that andy and i agree on is that we're not super worried about robots becoming self-aware and challenging our authority. that part of science fiction, i think, is not very likely to happen.

>> cbs money watch update sponsored by: >> good evening. ibm and time warner say they're moving medicare-eligible retirees off company health insurance plans and shifting them to private health care exchanges. apple's new iphone is expected tuesday, and slight unrest in the middle east, gas dropped 1.5 cents in the past week. i'm jeff glor, cbs news.

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[ male announcer ] could've had a v8. two full servings of vegetables for only 50 delicious calories. two full servings of vegetables >> stahl: each year as the anniversary of september 11 approaches, we remember the events of that awful day and honor its victims. next spring, at ground zero in new york city, one of the largest and most ambitious memorial museums in the world is scheduled to open its doors to do that permanently-- the national september 11 memorial

museum. it'll actually be located below ground, seven stories down. it's a project that's been plagued by delays, by funding battles, even a flood thanks to hurricane sandy. but if you can believe it, those things were the easy part. the bigger challenge-- how do you convey the horror of 9/11 without making it unbearable? memorialize a day most of us wish we could forget? tonight we'll take you down below, as we first did last april, for an in-depth look at what our nation's 9/11 museum will be. ground zero above ground is today a place of rebuilding and remembrance. at its center is a serene memorial plaza with two giant cascading pools, twin voids set into the footprints where the towers of the world trade center once stood.

each pool is surrounded by names-- 2,983 of them-- plus some who didn't even have a name. it's quiet and powerful as people come-- nearly ten million so far-- to touch and feel and, in some cases, mourn fathers, sisters, children. but you won't find anything here about what actually happened on 9/11; nothing about the buildings, the planes, nothing about the terrorists. all that will be the job of the museum and its director, alice greenwald. >> alice greenwald: we occupy literally the space below the memorial plaza. >> stahl: so, we're walking... >> greenwald: you're walking on the roof of the museum. >> stahl: this is not greenwald's first job on a project about a painful subject. she came here from the holocaust museum in washington, d.c. >> greenwald: just watch your step, lesley. it is a construction site. >> stahl: but at this construction site, the issues go

far beyond where to put the walls. virtually every decision here is fraught with meaning as you descend past two 50-ton beams recovered from the wreckage into a space... >> greenwald: welcome to foundation hall. >> stahl: ...that takes your breath away. ( gasps ) it's haunting and a little chilling knowing you're in the belly of ground zero, in the place where so many innocent people lost their lives. so, here we are. we're right where the buildings collapsed. we're in it. >> greenwald: most museums are buildings that house artifacts; we're a museum in an artifact. >> stahl: where we are is almost sacred. >> greenwald: i think you are become super conscious of where you're standing, and that's a powerful thing. it's a very powerful thing. >> anthoula katsimatides: it's the authentic site of loss. >> monica iken: it is... it is sacred and hallowed space. >> stahl: we spoke with four family members who are also members of the museum's board. paula grant berry's husband

david worked in tower 2, as did monica iken's husband, michael. anthoula katsimatides' brother john was in tower 1, and tom rogeér's daughter jean was a flight attendant on american airlines flight 11. >> paula grant berry: the site radiates something for us all in a very special way. >> iken: that's where the final resting place of our loved ones is. >> stahl: it has to be there? >> iken: it has to be there. >> has to be there. >> anthoula katsimatides: yes. >> monica iken: and you can feel it. >> greenwald: this is the remnant of the exterior structure that made up the twin towers. >> stahl: one of greenwald's first challenges in this hallowed space was deciding where the story of 9/11 should begin. >> greenwald: we begin with the voices of people from around the world, remembering where they were when they heard about the attack. >> someone barged in and said, "oh, my god, a plane has just crashed into the world trade center." >> stahl: the idea is to acknowledge that most visitors will bring their own memories of 9/11, which was witnessed within hours by people all across the globe. >> phone rang, woke me up. my business partner told me to

turn on the television. >> stahl: greenwald says we are all survivors of 9/11, so it's fitting that visitors will descend to the main exhibits of the museum beside an enormous staircase, now encased in wood, that served as an escape route. >> greenwald: on 9/11, hundreds of people ran to safety down this stair. >> stahl: the so-called "survivor staircase" is one of several artifacts so big, the museum had to be built around them-- like this fire engine lowered in through a hatch in the roof that will honor first responders, 441 of whom lost their lives; and the famous last column, the final, massive remnant of the towers to be removed from the site. but we found that some of the most powerful things on display here... okay, so that's flight 11. >> greenwald: takes off from boston. >> stahl: ...won't be physical artifacts at all. oh, look, the second plane.

a large projection on the wall will show the morning of 9/11 as it played out in the air... >> greenwald: flight 11 is hijacked. meanwhile, flight 77 leaves. >> stahl: ...with the simultaneous flight paths of the four planes. >> greenwald: and now, flight 93 takes off. impact has already happened in new york. >> stahl: oh, look at this. >> greenwald: and then, flight 93 is hijacked, turns around. >> stahl: among the agonizing decisions for the museum-- should they include the voicemail messages left by passengers aboard those planes, and other victims of 9/11, for their loved ones? one advisor told greenwald to think of these recordings as a form of human remains. >> greenwald: what he said-- and i've never forgotten it-- is that sound can be a more emotional form of communication because you hear the timbre of the human voice. >> baby, you have to listen to me carefully. i'm on a plane that's been hijacked. >> stahl: they plan to include a few recordings, seek permission from family members, and use them only with a purpose-- this one, from flight attendant

ceecee lyles to her husband-- as a testament to the professionalism of the hijacked crews. >> there are three guys; they've hijacked the plane. i'm trying to be calm. >> greenwald: she is so composed. >> stahl: she's in flight attendant mode. >> greenwald: she's in flight attendant mode. and at the very end of the call, she says something like, "i hope i see you again, baby." >> i hope to be able to see your face again, baby. i love you. bye. >> stahl: oh, my goodness. and, of course, audio is just the beginning of the sensitive questions about what should be exhibited. let me ask you, what about some of the horrific shots, for example, of people jumping? >> greenwald: this is probably, as far as i'm concerned, the most sensitive question for this museum. >> joe daniels: we went through a lot of debate internally about, "do we show that side of the story?" >> stahl: on the morning of september 11, joe daniels came

out of the subway to the gruesome sight of bodies falling from the north tower. today, he is president of the 9/11 memorial and museum. >> daniels: you never want to have to see that; someone 100 stories up, 1,000 feet in the air, having to make that kind of choice. on the same time, there's a very strong feeling that this was a part of the story; that a group of people from this group, al qaeda, put innocent people in a position to have to do that. >> stahl: when you think about what terrorism means, this really says it. >> greenwald: absolutely. it's an impossible thing for a human being to do to another human being, and yet it became possible on 9/11. so, for us not to acknowledge that would be to not be true to the story. >> stahl: but how? with video of people falling, or photographs? and what about the feelings of family members? greenwald told us that she knows that some will never want to see an exhibit on this subject, but many argued strongly that it had to be there.

>> greenwald: i have to say that we were also... i... i don't want to say accosted-- that's a little strong-- but, you know, shaken by the lapels by family members who said, "you have to tell the story. don't whitewash the story. tell it like it was. the world needs to know." >> daniels: so, we ultimately decided that we will include an exhibit, but do it in a way, in an alcove, where people will be clearly warned. and if they don't want to see it or have their family see it, they can easily avoid it. >> stahl: one exhibit they want everyone to see is what greenwald calls the heart of this museum, a space devoted to honoring the victims' lives with photographs of each of them lining the walls. those giant walls out there go all the way up. every bit of space will be covered... >> greenwald: right. >> stahl: ...with faces? >> greenwald: yes. the impression will be that you are surrounded by nearly 3,000 faces. >> stahl: these are the photographs that will cover those walls. look at those faces. look at all those faces.

>> greenwald: they're ages two and a half to 85, from over 90 countries, every sector of the economy, every possible ethnic group. >> stahl: visitors will be able to search these interactive tables and call up profiles of each person, with photos and recorded remembrances by family members and friends, like this one by the father of paul acquaviva, who died in tower 1. >> mr. acquaviva: he never had a bad word, literally, to say about anybody. he always looked at the positive. you know, i know, to be honest with you, he didn't get it from me because i'm very critical at times. to me, that was one of the most important things about paul. >> greenwald: some of them are funny. some of them are sweet. and we're not telling you who they are; their loved ones are telling you who they are. >> stahl: visitors can also search by birthplace or by company. >> greenwald: if i call up cantor... >> stahl: cantor fitzgerald was the company that lost more employees than any other.

>> greenwald: 658 people... >> stahl: look at that. >> greenwald: ...who died on 9/11 at cantor fitzgerald. >> stahl: from that one company. one of the 658 was john katsimitides, anthoula's brother. >> katsimatides: so, there's four of us growing up-- george, john, myself and michael. >> stahl: we were there the day she brought photos to contribute to john's profile to the museum's chief curator. >> jan ramirez: well, that is just so cute. >> katsimatides: i know. >> stahl: what's it like to go through the photographs and choose? >> katsimatides: i had an extremely difficult time doing that because, you know, you see him as a child growing up, you know, and then as a best man in all of his best friends' weddings. so, it's like, well, which one do you pick? because you just are so sad that the pictures stop here. >> stahl: families members all share the devastation of their loss, but the museum discovered that they are hardly a monolithic bloc. >> greenwald: it's the families of nearly 3,000 people. it's, you know, probably 10,000, 12,000 people, all of whom have

their own perspectives, their own desires, their own ideas about what kind of museum should be here. >> stahl: was absolutely every single tiny little thing an argument? >> paula grant berry: there were lots of issues. >> iken: oh, boy. ( whistles ) lots, lots. >> stahl: like whether to exhibit pictures of the perpetrators. and what about osama bin laden? do they belong in the 9/11 museum? well, what was the argument for not showing osama bin laden? >> daniels: that on this... this actual ground where the atrocity took place, this graveyard, to some extent, how could you demean the memory of my loved one by showing the image of the person that murdered him? >> stahl: but other family members took the opposite view, demanding accountability. >> katsimatides: it was absolutely important to point fingers. >> iken: you have to tell the story. >> katsimatides: you know, we had to express who did this to our loved ones.

>> daniels: we don't want any child or adult or student to walk through this museum and not leave knowing who did this to us, which is why we're going to go ahead and show those images. >> stahl: but the museum also wants people to know the stories of heroism and selflessness, the spirit of unity after the attacks, so there will be tributes here to recovery workers and volunteers. by the time this museum opens its doors next year, virtually no one under the age of 17 will have a firsthand memory of september 11, 2001. for almost a quarter of the population, 9/11 will not be a searing memory; it will be, well, something to learn about in a museum. >> katsimatides: we are worried about the children who don't remember 9/11. and this is the way to tell exactly what happened to future generations so no one ever forgets. >> stahl: even the painful, maybe most particularly the painful? >> berry: right. >> katsimatides: we're not talking about a simple little happening, you know.

we're talking about a brutal attack on our country, you know, where 3,000 people were innocent, and they were murdered that day. >> welcome to the cbs sports update presented by pacific life. i'm james brown. the a.f.c. north is winless after week one. cincinnati, pittsburgh and cleveland all lose today. the patriots make it ten- straight opening-day wins, and andrew luck leads the colt to a come-from-behind victory. serena williams downs victoria azarenka. tomorrow dzhokhar tsarnaev and raphael nadal square off in the men's championship, 5:00 eastern right here on cbs. for more sports news and information, go to cbssports.com. [ daughter ] my dad always talks about the deal he and mom made with me when i was ten. he said, "you get the grades to go to college -- and we'll help out with the school of your choice." well, i got the grades and, with dad's planning and a lot of hard work, i'm graduating today with a degree in marine biology.

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>> logan: it's been over four years since michael jackson died, but he continues to make headlines, some of them coming out of a los angeles courtroom, where his mother is suing for damages over his death from a powerful anesthetic in june 2009. but, as we first showed you last spring, the headline of this story is that michael jackson is making more money after his death than he ever did when he was alive. tonight, you'll hear about the most remarkable financial and image resurrection in pop culture history and get a rare look at what michael jackson left behind. the michael jackson brand is alive and well-- well paid, that is. extremely well paid. barcelona, spain. the 297th performance of the michael jackson immortal world tour. cirque du soleil produces the

show featuring their acrobats and contortionists, but michael jackson, or at least his music, is the star. ♪ ♪ >> john branca: we sold 230,000 tickets in two days in japan. we did 90,000 people in moscow, 190,000 people in mexico city alone. >> logan: john branca is an executor of michael jackson's estate; an architect, if you will, of how to make money off his legacy, most of which will eventually be turned over to jackson's three children. branca was jackson's lawyer and advisor off and on for over 25 years, and negotiated many of the singer's biggest deals during his lifetime. it's just unbelievable. michael jackson sells more tickets dead than most artists do alive. >> branca: that is absolutely true. worldwide box office now is over $300 million, and michael has

almost 60 million facebook friends. he's the biggest-selling artist on itunes, and he's sold approximately 50 million albums since he passed away. >> logan: it feels like you can't talk about all those great things about michael without talking about the fact that his image was so battered and tarnished by the time of his death. have his fans just forgotten about all of that? about all the weirdness? >> branca: as managers of the estate, we don't really pay attention to the tabloids. we look at the michael that we knew, the real michael, the artistic genius, the visionary. >> logan: the real michael jackson also told ed bradley on "60 minutes" that he let young boys sleep in his bed. you can't run away from that right? you can't hide from it. >> branca: well, i don't recall that interview, and... i just know the michael jackson that i knew was somebody i considered, you know, a very honorable person. >> logan: john branca chooses his words carefully.

another subject he doesn't like to discuss is michael jackson's family. jackson's father and some of his siblings challenged branca as executor and the validity of jackson's will, but the california courts upheld the will and branca's ability to carry out michael jackson's wishes. >> branca: there was a series of wills, and they were substantively almost identical. >> logan: in that 20% went to charity, 40% went to his children, and 40% went to his mother as long as she was alive and on her death would go to the children. the basic principle never changed. >> branca: never changed. the whole objective of michael's estate plan is to take care of his mother during her lifetime and to accumulate the principle and the assets for the benefit of michael's children. >> logan: the will named branca and john mcclain, a longtime friend of michael jackson, as co-executors. jackson's crippled image was not the only thing they had to contend with.

at first glance, michael jackson left more debt than anything. >> zack o'malley greenburg: the day he died, michael jackson had about half a billion dollars in debt. >> logan: zack o'malley greenburg is a senior editor for "forbes" magazine, and he's been covering the estate since jackson's death. how much did his lifestyle and his personality have to do with his debt? >> greenburg: he never stopped spending like it was the 1980s. we charted it in "forbes." i mean, he was making $50 million, $60 million, $80 million, over $100 million some of those years, and even into the '90s. but after the first allegations in 1993, he never toured in the u.s. again. he never got another endorsement deal in his lifetime. >> logan: the first allegations of child abuse? >> greenburg: in 1993, correct. he became, in many ways, radioactive to brands and to the sorts of companies that would, you know, contribute to those massive paydays in the '80s. >> logan: this is one of how many warehouses that you have? >> karen langford: five. >> logan: you can see how he spent his money and some of what made up his extravagant lifestyle in this california

warehouse. wow, that's the actual sign from neverland. >> langford: that is the actual sign from neverland that was over the gates. >> logan: karen langford was friends with michael jackson and worked with him from 1981 until his death. she's now the archivist for the jackson estate. there are rows and rows, floor to ceiling, of jackson's possessions, most of it never seen publicly since he died. this warehouse is 20,000-square feet. every inch of it is full. there are antiques and video games from neverland ranch, his grammys. best r&b vocal performance-male, 1983: "billie jean." and 30 years of cars he never wanted to get rid of. are these all michael's cars? >> langford: these are some of them. >> logan: some of them? >> langford: some of them. ( laughs ) >> logan: more cars. >> langford: more cars. >> logan: it's another rolls royce. >> langford: yeah, well, there's a... a few. >> logan: did he drive any of these cars? >> langford: he did drive on occasion. >> logan: late in his life, michael jackson financed much of

his lifestyle by routinely borrowing against his assets, but it wasn't these personal belongings that he used as collateral. although the copyright value of his own songs was worth well in excess of $100 million, the crown jewel of his investment strategy was his portfolio of other people's songs, especially those of the beatles. tell me about the music catalog, the publishing catalog that you advised michael to buy. >> branca: we started with the sly and the family stone catalog. we bought some rock classics-- "people get ready" by curtis mayfield, dion and the belmonts' "runaround sue," "the wanderer," "when a man loves a woman," "great balls of fire," "shake, rattle, and roll." but then, one day, i got the call that the beatles catalog was for sale. it was called a.t.v. music, and it was as if we had hit the mother lode. >> logan: and you paid? >> branca: the price was $47.5 million, and we later merged it with sony's music publishing

company to create one of the biggest publishers in the world, sony/a.t.v. music, that the estate, to this day, owns 50% of. >> logan: and so, how much is that worth today? >> branca: i... i wouldn't want to speculate about what it's worth, but it... >> logan: come on, john. ( laughs ) you didn't... >> branca: it's... >> logan: you didn't make all this money in this town without knowing what your investments are worth. ( laughs ) >> branca: well, it would be speculation at this point. >> logan: it's estimated to be worth, like, a billion dollars. >> branca: michael's half? >> logan: yes. >> branca: well, you know, you never really know what something's worth until you go to sell it, and we are not sellers. we are not going to sell any assets. >> logan: at the time of his death, michael jackson had borrowed $380 million against the value of the songs he owned, so the estate had to move quickly to avoid losing the songs to creditors. john branca sold future music rights to sony for a reported $250 million. it was the biggest record deal in history. branca's team also combed

through personal video shot during rehearsals for a comeback tour jackson was preparing for right before his death. the footage showed the talent michael jackson still possessed as a singer, dancer and entertainer then 50 years old. ♪ ♪ it was made into a movie called "this is it" and was released within months of michael jackson's death. so far, it's made over $500 million. ♪ ♪ >> greenburg: a lot of companies got on board with michael jackson once they saw the success of "this is it" and once they saw, you know, sony investing a quarter of billion dollars for that record deal. you know, then you see pepsi coming back and doing an endorsement with him. you see cirque du soleil coming in and doing a show. you know, i think that those first couple deals proved that michael jackson was no longer radioactive. >> logan: so, death erased all

his sins or even possible sins or suggestion of sins? >> greenburg: i think his death caused people to remember him as he was in... in the "thriller" years. you started to hear "billie jean" and "beat it" and "thriller" on the radio all the time. i think that that transported people back to the mid-'80s when michael jackson was at the peak of his career. >> logan: that's what the jackson estate and cirque du soleil gambled on. michael jackson's 1983 "thriller" video helped the "thriller" album become the largest selling ever. it had seven hit songs on it. his music drives the touring cirque du soleil production. jackson's estate and cirque du soleil are 50/50 partners, and while this show is expected to continue touring for years, a new production opened this summer in las vegas.

it's called "michael jackson: one," and we were allowed in to watch one of the final rehearsals. ♪ ♪ this show features more of classic michael jackson choreography and more of cirque du soleil's signature acrobatic production, created by founder guy laliberte. do people come here to see michael jackson? or are they coming to see something else? >> guy laliberte: i think people are coming here, yes, because they're passionate about michael. so, it's... it's very tricky because you're touch... you're... you're touching an... an iconic figure, and we have to be careful because the base fans, they are very, very difficult and demanding.

>> logan: making money on michael jackson's legacy is one thing, keeping it is another. john branca needed a team of lawyers to navigate a litany of claims against the estate. >> branca: there were so many claims that were filed, and i can honestly tell you that most of them were ridiculous, most of them were absurd. people making paternity claims and claims to have written all the songs that he ever wrote. and, you know, when you have an estate and you're in front of a court, you have to take these things seriously. >> logan: every single one? >> branca: every single one. >> logan: settling some, throwing some out? >> branca: throwing many out, settling the ones that we thought were valid. there's a couple that still... are still pending. >> logan: also still a work in progress is the sorting of michael jackson's effects. michael jackson's personal clothing? >> langford: uh-huh. >> logan: this is what he wore. there's that famous jacket. >> langford: here it is.

>> logan: wow. that's amazing. >> langford: this is one of the safes that we have and... >> logan: karen langford showed us some of the more valuable items, which are kept in this safe, like this sequined glove he wore while on tour. it's estimated to be worth over $80,000 at auction. can i touch it? >> langford: sure. >> logan: gently. >> langford: gently. >> logan: wow, it's kind of heavy. >> langford: uh-huh. >> logan: look at that. i mean, you can't look at that without... look at how it sparkles. >> langford: yup. >> logan: all of his belongings will be preserved until michael jackson's children come of age... >> langford: this is his shoes. >> logan: ...when they can decide what's to be done with all of it. the more time passes, the more its value and the more money his legacy generates. executors branca and mcclain get 10% of what they make for the estate, but their results speak

volumes-- they've already erased the half billion dollars of debt michael jackson had at his death. ♪ ♪ >> greenburg: since michael jackson died, the estate has taken over $600 million. >> logan: but he died in 2009. >> greenburg: he died in 2009, and he made... >> logan: it's... it's in four years, roughly four years... >> greenburg: $600 million. >> logan: $600 million. >> greenburg: over $600 million. and that's more than any single living artist has made over that period of time. >> logan: and he's not around to spend any of the money. >> greenburg: correct. >> hold for applause. hold for applause. and out. >> go to 60minutesovertime.com to see one of michael jackson's most personal items, his handwritten manifesto. weigh you down? as soon as you feel it, try miralax. it works differently than other laxatives. it draws water into your colon to unblock your system naturally.

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