captioning funded by cbs and ford. we go further, so you can. >> for 133 years, a colossal statue of general robert e. lee towered over a traffic circle near downtown new orleans. until last year, when, to the cheers and jeers of onlookers, the confederacy's most celebrated military hero was hoisted off its pedestal. >> really, what these monuments were, were a lie. >> cooper: a lie in what sense? >> well, in the sense that-- that robert e. lee was used as an example, to send a message to the rest of the country, and to all the people that lived here, that the confederacy was a noble cause. and that's just not true. >> cooper: this is incredible. mayor landrieu agreed to show us what's become of generals lee and beauregard. they've been gathering dust for more than a year. wow.

>> welcome aboard. >> thank you. it's not often you get a ride to visit a farm on a boat, but former fisherman bren smith, the nation's leading advocate for a whole new type of farming, ocean farming, asked us to join him as he headed out to his version of fields to plant his staple crop, a type of seaweed called sugar and fail on your own terms, and have the pride of feeding our country. >> we cannot explain what you are about to hear. ♪ ♪ science doesn't know enough about the brain to make sense of alma. alma deutscher is an accomplished british composer in the classical style. she's a virtuoso on the piano and the violin. ♪ ♪ and she is 12 years old.

people compare you to mozart. what do you think of that? >> of course, i love mozart, and i would have loved him to be my teacher. but i think i would prefer to be the first alma than to be a second mozart. >> i'm steve kroft. >> i'm lesley stahl. >> i'm scott pelley. >> i'm anderson cooper. >> i'm bill whitaker. those stories, tonight, on "60 minutes." this is your wake-up call. if you have moderate to severe rheumatoid arthritis, month after month, the clock is ticking on irreversible joint damage. ongoing pain and stiffness are signs of joint erosion. humira can help stop the clock. prescribed for 15 years, humira targets and blocks a source of inflammation that contributes to joint pain and irreversible damage. humira can lower your ability to fight infections, including tuberculosis. serious, sometimes fatal infections and cancers,

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the chili pepper sweat-out. not cool. freezing away fat cells now that's cool! coolsculpting safely freezes and removes fat cells with little or no downtime. and no surgery. results and patient experience may vary. some common side effects include temporary numbness, discomfort,and swelling. ask your doctor if coolsculpting is right for you and visit coolsculpting.com today for your chance to win a free treatment. >> cooper: it's hard to forget the violence that broke out in charlottesville, virginia last august, when hundreds of white supremacists showed up to protest the proposed removal of

a statue of general robert e. lee, a confederate hero of the civil war. what happened that weekend reignited a national debate about what to do with some 700 other confederate monuments in towns and cities across the country, mostly in the south. earlier this year, we took a closer look at these monuments, and were surprised to learn not just when they were built and why, but who wants to tear them down, and who doesn't. we began in new orleans, where the culmination of then-mayor mitch landrieu's crusade to remove four confederate monuments looked more like a military operation than a construction job. when the city of new orleans removed a giant statue of p.g.t. beauregard, a confederate general who ordered the first shots fired in the civil war, they did it in the dead of night. construction crews wore bulletproof helmets and vests, and police snipers were stationed on rooftops nearby. mitch landrieu says it was impossible to find a local company that would take the job.

>> mitch landrieu: when we put the thing out to bid, the one contractor that showed up, had his life threatened. he had his car bombed. >> cooper: his-- his car was actually-- ? >> landrieu: his car was actually fire-bombed. death threats were coming in. and so, i couldn't find a crane. i could not find a damn crane. >> cooper: in new orleans, you could not get a-- >> landrieu: in new orleans. i couldn't find a crane in louisiana. >> cooper: mayor landrieu eventually found a contractor from out of state, and finally, after years of legal wrangling, took down four confederate monuments. the last one removed was a 16.5-foot bronze statue of general robert e. lee. it had stood for 133 years... ( cheers and jeers ) ...until may 19, 2017, when, to the cheers and jeers of onlookers, the confederacy's most celebrated military hero was hoisted off its 68-foot pedestal. >> landrieu: in a city that i represent, that's 67% african american, to have a young african american girl pass by that statue and look at it every day, i ask myself, "am i really preparing for her-- a really good future? is she feeling like she's getting lifted up by the

government, or is she being put down?" i mean, i think the answer's pretty clear. really, what these monuments were, were a lie. >> cooper: a lie in what sense? >> landrieu: well, in the sense that-- that robert e. lee was used as an example, to send a message to the rest of the country, and to all the people that lived here, that the confederacy was a noble cause. and that's just not true. >> cooper: this is incredible. mayor landrieu agreed to show us what's become of generals lee and beauregard. they've been gathering dust for more than a year... >> landrieu: that-- that's the first time i've seen them there. >> cooper: is that right? >> landrieu: uh-huh, yup. they're pretty daunting. >> cooper: ...hidden away in this hastily-built plywood shed, in a location we were asked not to reveal. >> landrieu: and you can see, they're in the civil war gear, the-- the military monuments. you know, they're there to revere them for their military service in propagation of the civil war. >> cooper: you look at these monuments, you would never know the confederacy lost. >> landrieu: well, that was the whole point. the whole point was to convince people that, actually, they won, and even in their defeat, it was a noble cause.

of tis to-- to confront point history. i mean, this wasn't an l.s.u.- alabama football game where it didn't matter who won and lost, and you just got bragging rights. i mean, we were talking about millions of people enslaved, 600,000 american citizens were killed, and they were trying to destroy the country. >> cooper: the statues' final fate is unclear, but they're unlikely to ever be displayed again on public property in the city of new orleans. >> landrieu: i really did want to make a definitive statement, as a white man from the south, as the mayor of a major american city at the dawning of the 21st century, that it's not unclear anymore about what the civil war was about and who won, and what the values are that we should really revere. >> cooper: after the removal of the statues in new orleans, and the violence in charlottesville, cities, universities, and activists across the country began re-thinking what confederate monuments said about baltimore, and also in austin, texas. ( yelling and chanting ) in durham, north carolina protesters tore down a statue of

a confederate soldier outside an old courthouse. ( yelling and cheering ) no state has more confederate monuments to revere or revile than the commonwealth of virginia. in richmond, the capital, there's a contentious debate about what to do about five prominent confederate statues on monument avenue. >> julian hayter: all these years later, the civil war, in many ways, is still contested ground. this is contested ground. >> cooper: this is ground zero of this debate. >> hayter: absolutely. in large part, because it was the capital of the confederacy. >> cooper: julian hayter is a historian at the university of richmond. >> hayter: monument avenue is not just a national tourist attraction, but an international tourist attraction. >> cooper: monument avenue is like a confederate walk of fameh e. lee and his horse, traveler; "stonewall" jackson; and jeb stuart; the president of the confederacy, jefferson davis; and lly, matew fontaine maury, a somewhat more obscure figure who tried and failed to start a confederate colony in

mexico. >> hayter: those monuments, in many ways, are part and parcel of what we call the lost cause. >> cooper: the lost cause, what does that mean? >> hayter: the lost cause, quite frankly, is just the confederate reinterpretation of the civil war. it's created almost immediately after the war ends, by confederate leadership. it was hard for a lot of people, in my estimation, to believe that their ancestors died and-- and fought for an ignoble cause. 600,000-and-some-odd people died in the civil war, which is more americans than died in the second world war. and people had to make sense of that. >> cooper: believers in the lost cause who raised money to build monuments in towns and cities across the country were often veterans, or their widows and children. lost cause ideology portrayed confederate soldiers as heroes defending states' rights against northern aggression, and downplayed slavery's role in causing the war. the first confederate statue on monument avenue wasn't built until 1890, 25 years after the

civil war ended. the last one went up in 1929. you've written that these statues serve white supremacy. >> hayter: sure. and that, by the way, is a critical component of the lost cause. the idea that african americans were not only happy slaves, but they were unprepared for freedom. the idea that african americans were helpless after the civil war. and in that way, it represents the continuation of the ways that whites think about black folks' intellectual abilities, not just during slavery, but shortly thereafter. >> cooper: in the years after slavery was abolished and the civil war ended, what became known as jim crow laws were passed that made african americans second-class citizens. >> hayter: there are laws that disenfranchise african americans from their-- the 15th amendment's right to vote. there are laws that restrict their movements. they represent, more broadly, the attempt to reassert control over african americans after the abolition of slavery. >> cooper: and these monuments are part of that? >> hayter: oh, absolutely.

they're just as much a part of jim crow as they are of the civil war and slavery. that's when they were built. they were built in the 20th century. very few people seem to understand that these monuments were built during-- during segregation. >> levar stoney: the monuments are just a symbol of the effort to ensure african americans stayed, maybe not in physical bondage, but in bondage in political and economically in this country and in this city. >> cooper: richmond's mayor, levar stoney, created a commission last year on the future of monument avenue. >> stoney: those who chose to erect those monuments and the figures who are glorified in those monuments-- they made some serious attempts to ensure that people who look like me would never hold any political office, ever, in virginia. >> cooper: with charlottesville, were you surprised at how many people were willing to come out and show their true colors, show their nazi flags? >> stoney: i think it woke a lot of people up, not just here in the commonwealth of virginia, but around the country.

( crowd chanting ) >> cooper: there have been protests in richmond over the future of monument avenue. the city has already spent more than half a million dollars on security. mayor stoney says he wants the statues taken down. >> stoney: it is, for me, the greatest example of nostalgia masquerading as-- as history. >> cooper: it's not real history? >> stoney: it's-- well, it-- it's the fake news of their time. >> professor william cooper: well, he and i just disagree. they're a part of history. >> cooper: william j. cooper says removing confederate monuments is a mistake. he was a professor of history at louisiana state university for 46 years, and is a past president of the southern historical association. one of the things that mitch landrieu said that stuck in my mind, he said there is a difference between remembrance of history and reverence for it. and that-- that these statues are revering a false history. >> prof. cooper: well, it's not a false history. it's not a false history. the monument was put up there by real people who had real beliefs. maybe we don't like their beliefs. but one of the things that

bothers me most as a historian is what i call "presentism," judging the past by the present. figuring that we are the only moral people, that nobody else could be moral if they didn't think like we think. >> cooper: when you hear people saying that these-- these-- these monuments celebrate white supremacy-- because that's sort of the common refrain. >> prof. cooper: when you say "celebrate white supremacy"-- that's not incorrect. i mean, they do celebrate white supremacy. but they weren't put up to celebrate white supremacy. >> cooper: really? i mean-- >> prof. cooper: no, they were put up to celebrate the confederacy. >> cooper: but, if the statues do celebrate white supremacy, should they be up today? >> prof. cooper: ( laughs ) well, should mount vernon be up today? should we go burn monticello down tomorrow? certainly thomas jefferson believed in white supremacy. >> cooper: you're saying this is >> prof. cooper: tt's a ry slippery slope. >> hayter: i would say the difference, the critical difference between washington and jefferson and lee, and men like lee, is that while washington and jefferson were complicated individuals-- and by our standards, thought about

ideas in an entirely anachronistic way, they also baked in the constitution the components that allowed people to dismantle the slave system. they built as much as they destroyed. i cannot say the same thing for the confederacy. >> cooper: professor hayter was appointed by richmond's mayor to the commission that's going to make recommendations on what should happen on monument avenue. >> hayter: there are 75 million people in the south who are the descendants of confederate soldiers. and who i am to tell them that they cannot celebrate their ancestor in a particular way? but i also have ancestors who were the victims of the slave system, and i see no reason why we can't find a usable way to tell two stories, or tell multiple stories. >> cooper: that tell the truth. >> hayter: not a romanticized version of the truth, where people are trying to absolve themselves from the deep inhumanities of what the confederacy stood for, but people who are willing to face

down history for what it is, in all its ugliness, and all its beauty. >> cooper: do you believe the statues should be removed? >> hayter: no. i'm a historian, and i think that the statues should stay, with a footnote of epic proportions. >> cooper: essentially, you're suggesting-- >> hayter: i'm suggesting we do a little bit of historical jujitsu. i'm-- right? i'm suggesting we use the scale and grandeur of those monuments against themselves. i think we lack imagination when we talk about memorials. it's all or nothing. it's leave them this way, or tear them down, as if there's nothing in between that we could do to tell a more enriching story about american history. >> cooper: historians call it recontextualization, the addition of signs or markers with information about when and why the statues were built, to help people see old monuments in a new light. so, you'd like to see signs or placards or historical lessons somewhere around here. >> hayter: anywhere around here, right. perhaps even on this sidewalk.

>> cooper: so that as people approach the statue-- >> hayter: they can read the story of-- >> cooper: and they can understand the context in, in which it was built-- >> hayter: absolutely, absolutely. >> cooper: --and the reason it was built. >> hayter: yep. you could have a glass placard here, and etched into that glass placard would be a story. and then when you look through it, you can still see the lee monument, but you see it through the lens of a more accurate historical depiction. >> cooper: last year, in a poll about monument avenue, more richmond area residents said they preferred some form of recontextualization over keeping the statues as they are or removing them. so someone walking down monument avenue today, what kind of a view do you think they would get about slavery, about the civil war? >> hayter: i don't think they'd get much of a view at all. >> cooper: the only representation of an african american you'll find on monument avenue is a statue of richmond native and tennis great arthur ashe. he's surrounded by children, and holds a stack of books in his right hand and a tennis racquet in his left. >> hayter: it was unveiled in 1996, in some ways as a

proverbial middle finger to the other monuments. and believe me, this town exploded when they told the public that they were going to build the-- the arthur ashe statue on monument avenue. >> cooper: a lot of people didn't want it built. >> hayter: oh, no. >> cooper: whatever recommendations made by julian hayter, and the monument commission he serves on, may have a limited impact. unlike in new orleans, the confederate statues here may be protected by state law, and the republican-controlled virginia general assembly is unlikely to approve major changes any time soon. one person who that might have disappointed is robert e. lee. before he died in 1870, he was on record opposing the building of civil war monuments in the north and the south. "wiser," he once wrote, "not to keep open the sores of war." >> who was behind the mayor's decision to take down the statues? >> robert e. lee's statue sits

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(burke) gives houseplant a whole new meaning. and we covered it. talk to farmers. we know a thing or two because we've seen a thing or two. ♪ we are farmers. bum-pa-dum, bum-bum-bum-bum ♪ >> stahl: many of us think of seaweed as a nuisance-- the

slimy, sometimes smelly stuff that clogs fishermen's nets, gets tangled in our ankles in the ocean, and washes up unwanted on the beach. even its name, sea- weed, implies something undesirable. and yet, as we first reported this spring, increasing numbers of fishermen, scientists, and foodies in this country are starting to look at seaweed very differently: as a promising source of food, jobs, and help cleaning ocean waters. with rising global populations and limited space to expand agriculture on land, they are turning to the sea-- and its "weeds"-- as a new frontier. >> bren smith: welcome aboard. >> stahl: thank you. it's not often you get a ride to visit a farm, on a boat. but we were on-board with bren smith, the nation's leading advocate for a whole new type of farming-- ocean farming. we joined him on a cold day in

december, the time of year he heads out to his version of fields to plant his staple crop, a type of seaweed called sugar kelp. >> smith: here it is. >> stahl: this is the farm? i can't see anything. >> smith: the whole idea is it's down under the water. so, see the white buoys? >> stahl: yes. >> smith: that's the edges of the farm. >> stahl: and the black ones? >> smith: black buoys are holding up a horizontal rope below the surface. so it's rows-- kind of rows of crops. so, this is the seed. >> stahl: he showed us what looked like a tube covered in fuzz. is that kelp? >> smith: yeah, these are the baby plants. they're about two millimeters. and these are going to grow to 15, 18 feet by the spring. it's one of the fastest growing plants on earth. >> stahl: and unlike all those plants that grow in earth, seaweed doesn't need fertilizer, or fresh water. it's what's called a zero-input crop. >> smith: so now we're just going to unravel it. >> stahl: just attach the string it grows on to rope, and suspend

it eight feet under water. and that's it, huh? >> smith: that's it. >> stahl: in five or six months, that fuzz will look like this. this was some of his crop last year. smith began leasing the right to farm this 20-acre plot of water in 2011 from the state of connecticut. his was the first commercial seaweed farm in the state. now there are nine, with a half dozen more in the works. >> smith: we hope, you know, in 10, 20 years, there are thousands of farmers doing this. we think it's the future, the time to move out in the ocean, and luckily, we can do it the right way. >> stahl: smith spent most of his life working the oceans in what he now considers the wrong way-- on industrial fishing boats, going after lobster, tuna, and cod. >> smith: we were tearing up whole ecosystems with our waters, and just really ing>>tak about the idea that you were depleting the population of fish?

>> smith: yeah, no, the oceans just seemed boundless. >> stahl: boundless, and bountiful. >> smith: the sense of meaning, of helping feed my country. you know, fishermen-- there's some jobs, you know, coal-- coal workers, farmers, i think steelworkers, and fishermen, where, you know, they're jobs that are soul-filling. you know, they're jobs that we write and sing songs about. and i just, i wanted that life. and it's-- i still do. >> stahl: but that life was increasingly in peril. cod stocks crashed due to overfishing, and after smith reinvented himself cultivating oysters in long island sound, hurricanes irene and sandy hit, destroying his crop two years in a row. >> charlie yarish: bren was really on the verge of bankruptcy. >> stahl: searching for a new career on the water, he sought advice from charlie yarish, a professor of marine biology whose lab at the university of connecticut studies some of the thousands of different types of seaweeds. >> yarish: but there's only

20 globally that are actually farmed. >> stahl: they're not all edible? >> yarish: no, they're not all edible. some of them actually are quite toxic. we have now all these strains... >> stahl: it was yarish who suggested smith consider sugar kelp, a local seaweed that gets planted after hurricane season is over, has a mild taste, and can also be used as animal feed and fertilizer. seaweed for you was the lightbulb? >> smith: yeah, yeah. >> stahl: the eureka moment. >> smith: we can create jobs here. we can protect and improve the environment. we don't have to make this choice. >> stahl: smith now operates one of the largest seaweed hatcheries in the country, with tanks full of developing kelp spores, and a processing room that comes alive in spring when he and his team bring in the harvest and get it ready for sale. blanched in the 170-degree water, kelp turns a vivid green and can then be sold fresh or

frozen, sometimes in the form of noodles. smith's customers include google for their cafeteria, yale university, and several restaurants and wholesalers. he has sold out the last four years. but at this kelp farm across the country in the waters outside seattle, producing food is almost beside the point. this is a test farm, where betsy peabody of the puget sound restoration fund and a team of scientists are doing an experiment to see whether seaweed can help fight the growing problem of ocean acidification, caused mainly by increasing carbon dioxide levels in the seas. >> betsy peabody: roughly 25% of co2 in the atmosphere is being absorbed into oceans. >> stahl: and that is what we're getting from fossil fuels? >> peabody: from both carbon emissions, from deforestation, and i think initially people thought, "well, thank goodness the oceans are taking up some of

that carbon dioxide." but then, scientists started to document that, in fact, when that carbon dioxide goes into the ocean, it causes chemical changes. >> stahl: changes like increasing the water's acidity, as documented in the u.s. government's 2017 climate science special report. the excess co2 causes "a decrease of carbonate ions, which many marine species use to build their shells and skeletons." worldwide, "ocean surface waters have become 30% more acidic over the last 150 years." and in the pacific northwest, the problem is compounded by currents that bring more carbon- rich waters to the surface. and that's where seaweed comes in. >> yarish: kelp take up carbon dioxide, like any plant does, and it just so happens it lives in the water. there are winners and losers in ocean acidification. organisms that produce carbonate

shells, like shellfish, they're a loser. they can't handle the lower ph. they can't deposit as much calcium in their shells. on the other hand, when seaweeds like kelp, they actually pick up that carbon dioxide because now it's easier for them to do photosynthesis. >> peabody: imagine trees on land, pulling co2 out of the atmosphere. well, seaweeds and kelp are really good at pulling co2 out of the water. >> stahl: so basically what you're doing is the equivalent of planting trees in the ocean? >> peabody: exactly. >> stahl: and then testing to see how much of a difference it makes. >> peabody: we've got scientific mooring buoys anchored at both sides. >> stahl: the yellow. >> peabody: the yellow buoys. >> stahl: they're measuring how water changes as it flows through the kelp field, and seeing if baby shellfish grown with the kelp do better at building their shells. results won't be in for more

than a year, and bren smith is eager to see them. he's been growing shellfish on his kelp farm, too, but not, he admits, because of the science. he says it's good business. in november, he and his team loaded thousands of baby mussels into netting that looked like massive sausages, then suspended them from ropes that hang down below the kelp. he calls it 3d ocean farming. >> stahl: why 3d? >> smith: we call it that because we're using the entire water column, and if you can stack crops on top of each other, it's just really efficient. you don't use large, you know, plots of ocean. but you get so much food. >> stahl: so you've got your seaweed. >> smith: yup. you've got the kelp here. and then we have the mussels. >> stahl: underwater, each row looks something like this. >> smith: off those same lines, we have scallops. and then below the whole system, we have cages with oysters in them. >> stahl: he brought up one of

those oyster cages from the bottom to show us. what kind are these? >> smith: we call these thimble island salts. let's haul some mussels. >> stahl: and he hauled up a mussel line so we could see their progress, too. they're in bunches. >> smith: these are about mid- size. so, they'll double in size and we'll harvest these just about the same time we harvest our kelp. so this is going to be a big harvest. >> stahl: so are you a fisherman, or are you a farmer? >> smith: i'm a farmer now. whether i like it or not, i'm an ocean farmer. and i talk to fishermen about this. i say, "listen. we have to make this transition, that heartbreaking move from being a hunter to a farmer. but what else are the pieces of what it is, sort of, to be a fisherman? it's to own your own boat, succeed and fail on your own terms, and have the pride of feeding our country. we get to keep those things." >> stahl: he's so convinced, he's launched a non-profit called greenwave to encourage others to follow his lead. >> smith: how are you? good to see you. >> stahl: husband and wife jay douglass and suzie flores are

among his seaweed-farming disciples. a former marine who served in afghanistan and iraq, douglass learned the ropes, literally, on smith's farm last spring, spent a year getting a permit for his own plot of ocean in connecticut, and built 36 anchors from scratch. the day he and flores went out to plant their first crop, smith was along for guidance. >> smith: we want to set this at an angle downwards. >> stahl: his non-profit provides free seed, and guarantees to buy 80% of their harvest for the first two years. he estimates that with a $10,000 to $20,000 investment and a boat, new farmers can turn a small profit the first year, rising to well over $100,000 later on. has anyone actually said, you know, "you guys are a little nuts?" >> both: yeah. >> jay douglass: people just, you know, kind of scratch their heads and say, "what do-- what

are you making all these anchors for?" and it's just, like, "i'm starting a kelp farm," you know. ( laughs ) >> stahl: "what the hell is kelp?" >> douglass: yeah, right. ( laughter ) >> suzie flores: "why?" >> douglass: yeah, "why," yeah. ( laughter ) >> stahl: which raises a question for this whole endeavor-- will americans in large numbers start eating seaweed? >> barton seaver: just toss some in there, a little kelp. >> stahl: chef and author barton seaver thinks so. he's written a whole cookbook of seaweed recipes. when i hear the word "seaweed," the last thing in my head is, "i want to eat that." ( laughs ) you think they'll buy it out there? >> seaver: i do. ( laughs ) i think, you know, ten years ago, kale wasn't on the shelf. >> stahl: he says first off, the name "seaweed's" got to go. he prefers "sea greens." so, is this one of the dishes you created? >> seaver: this is an italian dish that typically uses spinach. >> stahl: he suggests integrating seaweed-- pardon, sea greens-- into things we already know and like. are you nervous that i might not like it? >> seaver: in front of all of america? no! not at all. >> stahl: ( laughs )

surprisingly, it didn't taste fishy or seaweed-y, and he says kelp is rich in calcium, fiber, iron, and anti-oxidants. it's really good. it is really good. >> smith: i mean, this is what's exciting about this space. the oceans are a blank slate. for my generation, this is a really exciting moment. i can farm and grow food, but also i can soak up carbon and nitrogen while creating jobs, while giving people the opportunity to create small businesses. >> stahl: and while fulfilling his dream of living his life, on the water. >> smith: yeah. i want to die on my boat one day. that's sort of the goal. and i think if i look over my life, my goal is just always, "how do i keep working at sea?" >> this cbs sports update is brought to you by ford. hello, everyone. i'm bill macatee in silvis,

illinois, where michael cinl -- kim has just won the john deere classic at 27 under par. elsewhere france beat croatia to capture their second world cup final. and in tennis, novak djokovic won his third wimbledon title. for more news, go to cbssportshq.com. protect those who matter most, and make the summer go right with ford, america's best-selling brand. now during the ford summer sales event, get 0% financing for 60 months on a huge selection of suv's. and for the first time ever get 0% financing for 60 months plus $1,000 ford bonus cash on the 2018 ecosport. my secret visitors. appearing next to me in plain sight.

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>> pelley: we cannot explain what you are about to hear. science just doesn't know enough about the brain to make sense of alma. alma deutscher is an accomplished british composer in the classical style. she is a virtuoso on the piano and the violin. and when we aired this story last november, she was 12 years old. she's different from other prodigies we have known because at the age of ten, she wrote an opera, which demands comprehensive mastery; not just how to play the piano, but what is the range of the oboe? what can a cellist play? we don't know how she understands it all.

it seems that alma was born that way. what is your earliest musical memory? >> alma deutscher: i remember that when i was three, and i listened to this really beautiful lullaby by richard strauss, and that was when i really first realized how much i loved music. and i asked my parents, "but how can music be so beautiful?" >> pelley: do you remember the melody? >> alma deutscher: yes. do you want me to sing it? >> pelley: please. >> alma deutscher: ( sings ) >> pelley: those notes of richard strauss ignited a universe. at three, alma was playing piano and violin. ♪ ♪ when did the composing begin? >> alma deutscher: when i was four, i just had these melodies and ideas in my head, and i would play them down at the piano.

and sometimes my parents would think that i was just remembering music that i'd already heard before, but i said, "no, no, these are my melodies, that i composed." ♪ ♪ it needs to be much more, i think. >> pelley: last year, in austria, we watched alma prepare her violin concerto, and the premiere of her piano concerto. joji hattori conducts the vienna chamber orchestra. >> alma deutscher: just the clarinet. >> joji hattori: just the clarinet. >> alma deutscher: what they really want to hear is the violin and the clarinet. ♪ ♪ >> pelley: that night, the soloist was the composer herself. and as you listen, remember, she wrote all the notes, for all the instruments. ♪ ♪ ♪ ♪

♪ ♪ >> pelley: we could see alma was living a story. ♪ ♪ a story of loss. ♪ ♪ a story of redemption. ♪ ♪ ♪ ♪ scales of emotion beyond a child. ♪ ♪ and yet her vision was almost like wisdom.

♪ ♪ do you have any idea where this comes from? >> alma deutscher: i don't really know, but it's really very normal to me to go around... walk around and having melodies popping into my head. it's the most normal thing in the world. for me, it's strange to walk around and not to have melodies popping into my head. so, if i was interviewing you, i would say, "well, tell me, scott, how does it feel like, not having melodies popping into your head?" >> pelley: it's very quiet in my head, i must say. but, it appears, never quiet in hers. look what happened when we took a break from filming at the deutscher home. ♪ ♪ never mind the background noise, that's just the rustle of lunch. this is idle alma. when she has nothing to do, the

music flows from its mysterious source as fluently as breath. ♪ ♪ ♪ ♪ do you feel that there's anything about alma's gift that you don't understand? her parents, guy and janie, are professors. she teaches old english literature, and guy is a noted linguist. both of them are amateur musicians. >> guy deutscher: we don't understand creativity. does anyone? i mean, i think that's the crux of the mystery. where does it come from? this melodies popping into your head, it really is a volcano of imagination. it's almost unstoppable. >> pelley: it was guy who taught her how to read music. >> guy deutscher: i thought i was an amazing teacher because, you know, i hardly had to... >> pelley: you thought it was you! >> guy deutscher: i thought it was me. i hardly had to say something.

and, you know, her piano teacher once said, "it's a bit difficult with alma. it's difficult to teach her because one always has the sense she'd been there before." >> janie deutscher: she wouldn't be able to imagine life without dreams and stories and music. that's as unimaginable to her as it is strange for other people to think about a little girl with melodies in her head. >> alma deutscher: i love getting the melodies. it's not at all difficult to me. i get them all the time. but then, actually sitting down and developing the melodies and that's the really difficult part, having to tell a real story with the music. ♪ ♪ ♪ ♪ the story alma tells in her opera is "cinderella," but it's not the "cinderella" you know. ♪ ♪ ♪ ♪ it seemed demeaning to alma that cinderella was attractive just

because her feet were small, so she cast cinderella as a composer, and the prince as a poet. >> alma deutscher: cinderella finds a poem that was composed by the prince, and she loves it, and she's inspired to put music to it. and in the ball, she sings it to the prince. ♪ ♪ i think that it makes much more sense if he falls in love with her because she composed this amazing melody to his poem, because he thinks that she's his soul mate because he understands her. >> pelley: well, people can fall in love with composers. >> alma deutscher: exactly. ( laughter ) >> pelley: i think this may be one of those times. ( cheers and applause ) they fell in love with "cinderella" in its first production in vienna. there is another composer who had an opera premiere in vienna at the age of 11: mozart. people compare you to mozart. what do you think of that? >> alma deutscher: i know that they mean it to be very nice, to compare me to mozart.

>> pelley: it could be worse. >> alma deutscher: of course, i love mozart, and i would have loved him to be my teacher. but i think i would prefer to be the first alma than to be a second mozart. >> pelley: in israel, mozart joined alma on stage. she played his piano concerto with a cadenza. in a cadenza, the orchestra stops and the soloist breaks away in music of her own making. ♪ ♪ >> alma deutscher: it's something that i composed because it's a very early concerto of mozart, and the ry sime. it didn't go to any different keys. ♪ ♪ and i composed quite a long one, going to lots and lots of different keys, doing lots of things in mozart's motifs. ♪ ♪ >> pelley: so, you improved the cadenza of mozart? >> alma deutscher: well, yes. ( laughter ) >> robert gjerdingen: it's kind

of a comet that goes by, and everybody looks up and just goes, "wow." >> pelley: robert gjerdingen is a professor of music at northwestern in chicago. he has been a consultant to alma's education. >> gjerdingen: i sent her some assignments when she was six, seven, where i expected her to crash and burn because they were very difficult. it came back, it was like listening to a mid-18th century composer. she was a native speaker. >> pelley: a native speaker? >> gjerdingen: it's her first language. she speaks the mozart style. shea of elssoh >> gjerdingen: yes.d are tnesce. she's batting in the big leagues. and if you win the pennant, there's immortality. ♪ ♪ >> pelley: the route to immortality leads through california. last december, opera san jose staged "cinderella" in alma's

american debut. she was the belle of the ball, on the piano, organ and violin. >> alma deutscher: the piano music teachers say, "well you must choose the piano." and the violin music teachers say, "oh, you must choose the violin." but anyway, that's better than the piano teacher saying, "you must choose the violin." ( laughter ) >> pelley: yeah, that would be a bad sign. >> alma deutscher: that would be a bad sign, yes. ♪ ♪ >> pelley: fortunately, she doesn't have to choose. this is her composition, "violin concerto number one." ♪ ♪ >> alma deutscher: it's extremely jolly and very happy and jocular, that movement. i want to make the people who listen to it laugh and be happy. the first movement of the violin concerto is quite the opposite. it's very dark and dramatic.

♪ ♪ >> pelley: what does a girl your age know about dark and dramatic? >> alma deutscher: well, yes, that's an interesting question because, you know what? i'm a very happy person, so i have lots of imaginary composers. and one of them is called antonin yellowsink. >> pelley: antonin yellowsink, alma's imaginary composing friend, is an insight into the music of her mind. alma told us that she made up a country where imaginary composers write, each in his own style of emotion. so, how many composers do you have in your head? >> alma deutscher: i have lots of composers. and sometimes when i'm stuck with something, when i'm composing, i go to them and ask them for advice. and quite often, they come up with very interesting things. >> pelley: even the real world seems magical. the deutscher's moved to the

english countryside to be near a famous school of music. alma is privately tutored and home-schooled, alongside her sister helen, who also knows her way around the piano, and the tree house. i usually don't ask people your age this question, but, what have you learned about life? >> alma deutscher: well, i know that... that life is not always beautiful. that there's also ugliness in the world. that's why i... i've learned that i want to write beautiful music, because i want to make the world a better place. >> pelley: we cannot know how alma deutscher channels her music like a portal in time. but in a world too often ugly and too often overburdened with explanation, it is nice to take a moment, and wonder. ♪ ♪ ♪ ♪

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>> announcer: previously on "big brother" the level six a lanes of tyler, angela, winston, kaycee, brett and rachel have been secretly controlling the house. first they orchestrated steve being voted out over sam. julie: by a vote of 7-6, steve, you're evicted from the "big brother" house. >> announcer: then tyler convinced kaitlyn to back door swaggy c. >> i'm really sorry, swaggy. swaggy c thought he had five guaranteed votes to stay.