>> rose: welcome to the program. as summer comes to a close, we look back at some of our moments from the past year. tonight, music. tegan and sara, ben harper, bonnie raitt,ta massey washington and talent manager scooter baugh. >> it was 1995 and we were reflecting a lot of the music we were listening to. so it was grunge and bach and pump pock. over the 17 years we have been making music professionally music has changed but our ability to reflect the things we like and listen to, we've gotten better. i think our production reflected our confidence and interest in music, so i think naturally over eight records, we've turned to more, like, into a pop band. >> in this record, there was a lot of celebration that went into this record and cameras all over the studio, so many you've

forgotten they were there, hidden in places. that's the truth in the tape. they've cut up a documentary in and around this record and it shows in our natural habitat having a great time, and people say you've got to have friction to make great art, you've got to have a discord, and it wasn't. there was some disagreements at times, but it was so all in the name of progress of bringing out the best in the record. >> on the road is the front part. the coming up with album after album of songs. you know, when you find a great song, i don't write my own stuff that much, but when i find a song that really suits me and fits me and i've got a good arrangement in my head and i work with my great band, it's the finding and coming up with the record that's the work part that i do and the promotion that's not my favorite part but it's important to let the word be out, but the touring part is the part where the payoff, is that's the fun part. >> jazz has a very wise spans of

possibilities and sometimes you can get lost in that. one thing i learned from playing other styles of music was the importance of some of the subtleties that are more like a microscopic view of something, and when i took that kind of approach and then applied it to the wide spans of jazz, kind of really opened me up and opened my possibilities. they really become endless. >> rose: all about music when we continue. >> rose: funding for "charlie rose" has been provided by the following: >> and by bloomberg, a provider of multimedia news and information services worldwide. captioning sponsored by rose communications from our studios in new york city, this is charlie rose.

>> rose: tegan and sara quinn are here. the canadian duo have spent the last 17 careers creating music together. their unique sounds shipped to include folk, rock, indie pop and punk. they are strong supporter of thelytic community. their latest albums love you to death find them making lyrics in different genres. the songs are related lathable to many but seem to reflect the perm experiences of one. here they are performing the hit sing i'll boy -- "boyfriend ," in our studi ♪ tell you that i love you

that i can't hold back ♪ the feeling that you give me wanna give it right back rticular gameways win at this u want me to playe rules if ♪ you treat me like your boyfriend ♪ and trust me like a like a very best friend ♪ you kiss me like your boyfriend ♪ you call me up like you would your best friend ♪ you turn me on like you would your boyfriend ♪ but i don't want to be your secret anymore ♪ i'm trying to be honest 'cause i can't relax ♪ oh, when i get around you i can't hide the facts ♪ i let you take advantage cause it felt so good ♪ i blame myself for thinking we both understood ♪ you treat me like your

boyfriend ♪ and trust me like a like a very best friend ♪ you kiss me like your boyfriend ♪ you call me up like you would your best friend ♪ you turn me on like you would your boyfriend ♪ but i don't want to be your secret anymore ♪ don't wanna, don't wanna play the crying game ♪ do you feel the same? you feel the same ♪ don't wanna, don't wanna spin the bottle again ♪ do you feel the same? you feel the same ♪ you treat me like your boyfriend ♪ and trust me like a like a very best friend ♪ you kiss me like your boyfriend ♪ you call me up like you would your best friend ♪ you turn me on like you would your boyfriend ♪ but i don't want to be your

secret anymore ♪ you treat me like your boyfriend ♪ and trust me like a like a very best friend ♪ you kiss me like your boyfriend ♪ you call me up like you would your best friend ♪ you turn me on like you would your boyfriend ♪ but i don't want to be your secret anymore. ♪ >> rose: i'm pleased to have tegan and sara at this table for the first time. welcome, welcome, welcome. >> thank you so much for having us. >> rose: i heard this wonderful thing which was very flattering to me. i'm not sure whether it was you, tegan, or you sara, or both about your parents watching my show early on. >> we signed our first record deal in the early '90s and started touring the united states. we grew up in canada. one of the first things i

remember doing is sharing a hotel room and turning on the tv and watching you. >> rose: took a long time to get here. >> it's a marathon, not a sprint. we're excited. >> rose: indeed. but you also, in that time, have shifted in terms of the kind of music you wanted to express yourself. walk me through that. >> when we started playing music, we were teenagers, 15, so it was in 1995, so we were reflect ago lot of the music we were listening to. it was grunge, rock, and punk pop. over the 17 years we have been making music professionally, music has changed a lot, but i think our ability to reflect the things we like and listened to, we've gotten bert at that. i think our production reflected our confidence and interest in music. naturally over eight records, we turned into more like a pop band, but we always say we're making pop music but we're not pop stars. >> rose: you also say you're stepping up not selling out. >> that's true. the worst thing, because there is two of us, is for one of us

grow disinterested or not be as invested. because it's a family band, i think we owe each other our best and that meant challenges ourselves which means changing our sound. we're very invested in trying to reach a broader audience and reach the mainstream. there is not a ton of queer women in the industry and we're queer. we get a lot of support from main stream ar artists so we thought to take it and run with it. >> rose: how close are you? is every instinct the same, you know exactly what she's thinking, vice versa? >> i don't think it's prial like i can hear tegan's thoughts. i think developmentally because we had so many of the same things happen -- >> rose: it's both genetically and environmentally. >> sure. you always say -- i mean, we would say this only in intelligent company, but we would almost say sometimes our relationship is a bit like a marriage. when you've been married to someone for 35 years, you can read their thoughts.

i thawed, music is like our child. >> rose: but do you like the same thing? >> i think that we have a generaliary that we both fit in and i think we sit on either extremes. i like electronic music and sara liked really obscure electronic music. i like pop music and sara likes a very specific type of pop music. >> rose: are you competitive with each other? >> i think we've come to terms with what we described in our relationship, people wanted to define that as competition which made us feel like they were trying to divide us. so there was an instinct as we were younger to say, no, we're not competitive, we love each other. >> we push each other. do. i do it with tegan a lot. i'm the only one of the people who can at a to tegan, sing it this way, i i don't like that word or i think you can do better with this lyrics. >> we had a song called "back in your head" in 2008, and sara said she spent 80 hours

recording it again and again and laboring over every word. it became a big pop single, i wrote one in 20 minutes. i asked her about it and got zero comments and i asked her and it was, like, yeah, keep writing. i pulled out my key word board. i was, like, whatever, c, f, g. i wrote it and sent it to sara. she wrote back and said, finish it. >> rose: you did in 22 minutes. >> i did. >> rose: do you write more than she does? >> yeah. yeah, because she spends so much time. if i spent 80 hours on it, i would be, like, that's it, my opus. ( laughter ) >> rose: go ahead. i enjoy the time. tegan wants to complete it. that gives her the satisfaction. for me, the satisfaction is in the process. >> rose: you have a

relationship with your fans. grau out to have the way to connect. >> definitely. >> rose: part of it is social media and part of it is other things. >> one of our favorite records is bruce springsteen. >> rose: and also make sure that by the time he leaves the stage, you know, if he's not flat on his back, everybody in that arena knows he's given it everything he has. >> absolutely. when we started playing music, we had maybe eight or ten songs to play in a few hours. and there was pressure on us to entertain. in terms of the relationship to the audience, we understood we had taken the slower path and chosen the path of development and that meant we had to create a relationship with our audience. maybe our audience was small and there was nnly 50 people but the next time we came into town we had to make sure the 50 people

came. >> it made us feel less lonely. they were our peers. during those years where people go to college or suddenly have the freedom from their parents and are surrounded by people like them and we were alone, taking the greyhound bus, playing shows at night to people, strangers, so in a weird way, it was like our college years. we were trying to connect to the people. we wanted them to be our friends and part of our inner circle. >> it's quite genuine. we really like them. then as we developed and got older and as openly queer women, a lot of the audience changed. a lot of lgbt people reflected back in the audience and we were hearing incredible stories about how we inspired them and made them feel better about who they were and comfortable about coming out. we became very protective about our audience and we have to make sure we keep it very, very, very safe. so we can't lose that connection. so it's, you know, in every

conversation about everything we do, our audience is, like, number one. >> rose: thank you very much. an honor and pleasure to see you. >> thank you. >> rose: much success with this. >> rose: ben harper is here the three-time grammy award winner has been called a reluctant protest singer. his new album covers a wide range of top ngs including race in america and aging. it is called "call it what it is." first record with the innocent criminals in more than seven years. the atlantic calls the album unpredictable, weird and brilliant. here is ben harper performing call it what it is in our studio. ♪ they shot him in the back ♪ now it's a crime to be black

♪ so don't act surprised ♪ when it gets vandalized ♪ call it what it is ♪ call it what it is ♪ call it ♪ what it is ♪ murder ♪ now there is good cops. ♪ bad cops. ♪ white cops. ♪ black cops ♪ call it what it is ♪ call it what it is ♪ call it ♪ what it is ♪ murder ♪ murder, murder, murder ♪ treyvon martin

♪ ezel ford ♪ michael brown ♪ and so many, many more ♪ call it what it is ♪ call it what it is ♪ call it ♪ what it is ♪ murder ♪ government, ain't easy ♪ policing, ain't easy ♪ hard times, ain't easy ♪ oppression, ain't easy ♪ racism, ain't easy ♪ fear, ain't easy

♪ suffering, ain't easy ♪ call it what it is ♪ call it what it is ♪ call it ♪ what it is ♪ murder ♪ gun control ♪ mind control ♪ self control ♪ we've dug ourselves a hole ♪ but call it what it is ♪ call it what it is ♪ call it ♪ what it is ♪ murder

♪ call it what it is ♪ call it what it is ♪ call it ♪ what it is ♪ murder ♪ call it what it is ♪ call it what it is ♪ call it ♪ what it is >> rose: i'm pleased to have ben harper at this table for the first time. a welcome and a big welcome. >> thank you, a big thank you. >> rose: tell me about this song "call it what it is." >> some songs tap you on the shoulder. >> rose: yeah. and tell you it's time to get the done and on record in this

way, some you have to cobble together, but that was one that came out in one push. >> rose: really? yeah, one sitting. what do you expect people hearing the song will think? >> i try not to be overly concerned about what people will think or how it's perceived because it consumes you in a way that's not productive for me. >> rose: actually it is a reflection of your own feelings and emotions and thoughts and poetry. >> absolutely. >> rose: is writing easy for you? >> writing is natural for me. >> rose: yeah. not easy, but it's become a natural part of my day and of my life and of the way i filter emotions and ideas and sound. >> rose: yes. how often does it come, though, that the song chooses you or the feeling that, as it is with this? >> i'm, for the most part, consumed. >> rose: yeah. on a daily basis all day every day, in a way that almost inhibits other components of my life. however you learn to

compartmentalize it. because if i didn't, i would just be humming into a tape recorder all day. >> rose: in terms of your own obsessions and your own sort of daily engagement, how much is writing, how much is performing, how much is practicing? >> writing and practicing are a huge part of it because that's what proceeds the performance. >> rose: and is it as much fun as performing? >> it is. >> rose: it is? it really is. i love every aspect of it. >> rose: i feel the same way. getting prepared for an interview is as interesting as doing it. >> i love that. yes. and it's that urgency of learning about where music can take you, having done it so long, yet having it still reveal new aspects of it. >> rose: why is this your proudest professional accomplishment in. >> call it what it is is my

proudest musical accomplishment because i feel that it is an arrival for myself and for the band, the innocent criminals. >> rose: an arrival at whatath

some people say you have to have friction to make great art, you have to have discord. but there wasn't. there were disagreements at times, but it was so all in the name of progress and bringing out the best in this record. >> rose: when the atlantic calls you a reluctant protest singer -- >> that's the one part of the article i disagree on. >> rose: why? because i'm not. >> rose: you're not reluctant or a protest singer? >> i'm a protest singer but not reluctant. >> rose: you and your bandmates have known each other 20 years. >> 20-plus. not to brag. >> rose: but what does that give you? >> what that gives us is a secret code. it gives us a brotherhood that comes out in a recipe, it comes

out in a record like this, especially after this long. there's a certain amount of finishing each other's creative musical sentences that goes on on stage and on record that makes a difference. >> rose: i just want to come back at this. there is a sense in talking to you that this record represents something really, really special in your own evolution. >> thank you for hearing that. >> rose: a sense of reaching a place that you have been wanting to go. >> yeah is that a sense of being able to give it everything you've had, blood, sweat and tears, and putting it hear and gave it to you, i hope yound like it. >> that is it. and from the emotional -- there is a song "i wake up feeling like i've aged a year and wake up in fear to the dawn.

call it what it is, murder ." first time on record, i'm able to balance those in a way that one doesn't overshadow the other. i hope it doesn't. i think it doesn't. >> rose: when you look at the instrumentath

>> rose: thanks for being here. bonnie raitt is here, the rock and roll hall of famer and ten-time grammy winner sold more than 16 million records over a 45-year career. b.b. king called her the best damn slide player working today. she was named bun of rolling stone magazine's greatest singers and greatest guitar players of all time. her latest album dig in deep illustrates the delicate blabs of consistency and risk taking that defined her career. the "new york times" called it a digest of her proven strength and says, quote, for every bittersweet ballad there's a scheme rolling groove. here's a clip from her hit single, "gypsy in me." ♪ i don't know why but i'm like

the wind ♪ ♪ and i just keep on going free ♪ ♪ must be the gypsy in me, yeah ♪ ♪ the gypsy in me ooh... ♪ the gypsy in me ♪ i've got the wander lust ♪ it's somewhere else or bust ♪ yeah, i'm just a ♪ hello, goodbye, honey ♪ it's been good and i must be going ♪

♪ restless, i guess ♪ when i'm in one place for too long ♪ ♪ i don't know why but i'm like the wind and i just keep blowing free ♪ ♪ must be the gypsy in me, yeah ♪ ♪ the gypsy in me >> rose: i'm pleased to have bonnie raitt back at this table. you know what? 20 years, 1995. >> i know. incredible. >> rose: but how are you? i'm great. just getting ready to start the second leg of our couple-year-long tour, and we're doing our summer outdoor tour starting friday night. >> rose: you have been doing it for 45 years. >> yeah. started in 1970. so even a little bit more. >> rose: you used the word and you have talked about it, gratitude, but it's also the passion for music. >> oh, man. i mean, that's what makes being home and the breaks between the four after about a week, you start going, i miss that. it's not the fan adulation, it's

mostly just the playing and the songs and the feeling with the audience is nothing like it. it's what keeps us on the road. >> rose: keeps you young, keeps you everything. >> yeah you can't beat it. >> rose: makes you alive. you can't beat it. ♪ the wisdom coming in way ♪ how cruel is it fate has to find me all alone with something to say ♪ >> rose: how did you find the blues? >> when i first heard blueberry hill by fats domino and chuck berry, radical islamic radical e people separate it, but it's funky. i liked otis redding, aretha

franklin, i just love the r&b stuff and i think most of the world loves rhythm and blues and jazz. it has the beat and the the side to side thing that puts the rolling in rock. >> rose: i do know what you mean. you once said your guitar sounds like bacon smells. >> well, i was trying to think of something on the spot that is just undeniably -- >> rose: good. -- yeah, you know, in a way that's somewhat on the edge of guilty. i mean, there is nothing like the way it feels to play and have that sound come out of your amplifier or just on an acoustic guitar. but the slide guitar never stops giving. >> rose: b.b. said the best. i can't believe he would repeat that to journalists. i thanked him for it eternally. if i never got anything else, i would be able to have that. >> rose: live onat.

yeah. >> rose: but you are on the road, too. >> on the road is the fun part. the coming up with the album after album of songs, you know, when you find a great song, i don't write my own stuff that much, but when i find a song that suits me and fits me and i've got a good arrangement in my head and work with my great band, it's the finding and coming up with the record that's the work part that i do and the promotion that knots my favorite part, but it's important to let the word be out. but the touring part is the part where the payoff is. >> rose: where the crowds are, the connection to the audience. >> the thing that happens when you're playing is just indescribable. it's like an anointed exaltation. you forget all of the worries and all the aches and pains and you get out there, and i watched it happen with my dad and i feel the same way. >> rose: your dad used to watch my show. >> yes, he and i used to watch it together. we talked to each other from two

different cities. i'd say, are you watching charlie? he'd say, of course, i'm having cereal and watching charlie. >> rose: you have been sober for 30 years? >> mm-hmm. >> rose: is that hard? for me, luckily, it was just a piece of cake. from the first day i just really got it will be a lot easier to not do it rather than to manage how much and when. >> rose: yeah. there is other things you can get addicted to if you're an addictive type person, whether you work too much or co-dependent relationships you should be out of or food. >> rose: do you have some of those? >> part of so brighter is being aware of your tendency to use things to numb out or mood shift or to feed that big gaping thing that you're missing, whether it's love or sex or, you know, working or email or exercise. so i try to keep an eye on it. but the associat the sobriety pt it but it's been blessedly easy.

>> rose: have you changed musically? >> i hope i've deepened as a person and it's reflected in my choices, but a lot of choices musically have to do of not wanting to repeat something i've already done. so i want to keep layering and stretching, but i called my last record "slipstream" because i'm not reinventing the wheel. all of us do music -- i mean, there is not that many new songs out there. just when you think there is nobody new that can come up, then you get the alabama shakes or somebody who will just blow your mind with somebody completely new. so i like to keep my ears open and just keep stretching. i like to think that i'm still growing as a musician. i hope so. >> rose: you are. you did say once that your music is not for sissies. >> i mean, the topics that i choose in my ballads are -- that's what soul music to me is, whether it's country music or r&b or whatever, when you pick a great torch song or a great ballad that really turns the

rock over and you're looking at all the stuff that you don't want to look at, that's the reason i sing that song. that's why you want to reach people on a dipper level. it's not skipping a stone across the surface of the water. and then digging deep is -- you know, those grooves, when you love r&b and rock and roll as much as i do and you get the groove going, it's like digging a big trench and just sitting in it. it's fantastic. >> rose: great to see you. great to see you. >> rose: back in a moment. >> rose: the resurgence of jazz music is being embraced by millennialials and purists alike. kamassy washington is at the forefront. the new york times writes with his jazz, the young saxophonist has become his genre rarely produces anymore, a celebrity. his 172 minute album was met

with rave reviews from mainstream audiences and the jazz establishment. kammasy washington and the next step playing ray run in our studio. ♪ ♪ ♪ ♪

♪ ♪ ♪

♪ ♪ ♪ ♪ ♪ ♪ ♪

♪ ♪ ♪ ♪ ♪ ♪

♪ ♪ ♪ ♪ ♪ ♪ >> rose: i'm pleased to have kamasi washington at this table for the first time. welcome. >> thanks for having me. >> rose: to have you playing in the studio is even more impressive. >> yeah, it's beautiful. thank you. >> rose: you said interesting things. you said jazz is like a telescope and a lot of other music is like a microscope. >> what i meant by that is jazz has a very wide span of possibilities, and sometimes you can kind of get lost in that.

one thing i learned from playing other styles of music was the importance of some of the subtleties that are more like a microscopic view of something. when i took at kind of approach and applied it to the wide spans of jazz, opened my possibilities, they really became endless. ♪ ♪ ♪

>> rose: your dad introduced you to the saxophone? >> yeah, or music in general. he taught me to play music when i was three years old. >> rose: was he a musician? yeah, saxophonist. >> rose: how is that to have your phat there are? >> it's beautiful. i grew up idolizing him and his friends. i used to always wish other people could hear him, not just him but him and his friends and that whole sound of l.a. that was around when i was coming up. >> you say the beauty of music is in the search. >> yeah, absolutely. i mean, music is -- it's never ending and it's basically, you know, when you're trying to

create music, you're trying to re-create yourself. so when you create music you kind of look at yourself and you end up advancing yourself in a way. >> rose: you have described writing a song as going into a dark room to look for an unexpected treasure. >> yeah, because we would, you know, people don't realize as a musician -- i mean, we take the credit but it comes from somewhere else. >> rose: where does it come from? >> i don't know where it comes from. but i know it's like -- there are melodies and sounds and there are ideas floating around and as a musician, when i go to write music, i have to get in a certain head space, and it's like being in a dark room you're very familiar with and you start to learn where certain gems are. but you're always looking for the gem you've never found before. so it's, like, you're searching around, oh, i've been here

before, i've never been here. oh, what is this thing? it comes to you, and you take this thing and turn it into something you can share with other people. >> rose: where is jazz in the muse marketplace today? >> well, i think jazz has been trapped in a poor image, and i think that it's been trapped in this image of something that is an historic relic or something that's made to serve a purpose, to serve some other purpose other than just to enjoy. i think it's a music that's a reverse. it's such an expressive music, and when you hear jazz, you really hear a commune of people who are expressing themselves together, and i think that that freedom, once you get into it, that's how you really find someone say, i used to be into jazz, but not anymore. once you get it, it's sacred. >> rose: modern jazz is centered in new york?

>> new york has been the mecca of jazz. >> rose: since the '40s. yeah, but there's always been music from other places that fed new york. new york is the place where everyone kind of comes and brings the music from their region and brings it to new york and lets the rest of the world hear it. but it's always been that, you know, you have the crusaders coming from texas, and you have the sound from new orleans, and you have cool jazz from l.a. and you have, you know, there were just so many things that were happening in so many different places, but new york is the place where we all kind of commune and sew what we do. >> rose: so how close are you to kendrick lamar? >> i met kendrick recently. i had known kendrick's music for a long time from a close friend i had, terrence martin, who had been working with kendrick since -- he introduced me to his

music in 2008 and he told me then ken kick was going to be the john coltrane of hip-hop. >> rose: that's amazing. because kendrick is such a pure artist. that's what they have in common. john coltrane's music is so pure, it's so untainted with -- i don't know, with the world. it's like really from a different place. and kendrick is, too. he does stuff like, you know, go on tv and play a song and only play it that one time, you know, and not even put it out. he's a real, true artist. >> rose: he was magnificent at the grammys. >> unbelievable. one of the most amazing performances i've ever seen. >> rose: you saw kendrick's album this generation ice thriller. >> it was a big album and a changing album, the idea of the ultimate performer is what michael jackson kind of brings

to music. and i think what kendrick is doing is he's bringing the -- he's bringing, like, the expression of experience to music again. michael jackson's influence had taken it to the place where it was so much about entertainment, and that's beautiful, i love being entertained. but what kendrick is doing is he's bringing the entertainment along with a message, and that's kind of he's taking it to another level. >> rose: the interesting thing about your band is you've known most of them since you were very, very young. >> yeah, the first person i met in my band was ronald. i was three years old and he came to my third birthday party. back then i was a drummer. i got a drum set for my third birthday party and we had a big drum battle that supposedly -- i don't know who won, but --

>> rose: you grew up in ingle englewood. >> i grew up in south central l.a. >> rose: was that time sort of surrounded by the gang culture in englewood as we think about it, and compton. >> yeah, it was definitely a gang culture. there were gangs, drugs, but there was a lot of culture, as far as jazz, poetry. if you didn't fall into the pressure of the negative, there was light attend of the tunnel that you can go toward. >> rose: it's great to have you here and to see the band and to hear from you and to take a look at this album. >> oh, thank you. >> rose: back in a moment. stay with us. >> rose: the 34-year-old manager made a name after he

discovered justin bieber on youtube and he guided bieber fro.he had successful tech stars like uber and spot phi to the hit television series scorpion. i am pleased to have him here at this table for the first time. welcome. when did you see the youtube video of justin bieber? >> i was probably just 25 years old. i went through my e-mails. an artist asked me to consult and look at an artist he was interested in and sent me a youtube clip. they were singing aretha

franklin "respect." i clicked on a related video thinking it was the same person just at a different view. and instead of being the 22-year-old singer, it was a 12-year-old. it was a different person just happened to be singing the same song, one of justin's first six videos from a church talent competition. and i watched every sing one of those videos, instantly knew he was the did i had been looking for and tracked him down that night. >> rose: you knew he could become what? >> it's strange but in that moment, you know, i worked at aa record place and was 20 years old when i took a vp job there. for 20 years i helped run a company and very big artists and had ideas about social media. my boss gave me a great opportunity but didn't believe in the ideas. i ended up leaving the company. i had philosophies of what kind of artists i was looking for. asher roth was first and then

justin. when i first saw justin, i saw the plan of how i could make him one of the world east biggest pop stars. >> rose: what's the plan. a combination of using youtube to build an audience. i would never let him say, hi, my name is justin bieber. i would say, just sing, and we would keep it very raw so to the outside person it didn't look like anything was being produced. by him not saying hi, this is justin bieber, the interaction they were having is more intimate. it was like maybe i'm seeing something i shouldn't see. that simple difference made the engagement different. >> rose: almost like eavesdropping on someone. >> exactly. when people talk about millions

and billions of impressions they're trying to achieve, they don't realize people are having one screen in front of them and it's a very intimate thing. when you're making the content, it's how would i get someone to move one on one. >> rose: this is the video on youtube. (singing) >> that was the one that pushed me over the edge. >> rose: made you know. that was the one. it was because he was singing "so sick" by neil, and the soul in his voice is something you can't teach. for a 12-year-old kid to sing that song with that kind of emotion, that's not voice lessons, that's real.

>> rose: i would assume that's common to the biggest tall minute the world. >> yeah. >> rose: there is something that you can't teach. >> completely. >> rose: pabt who they are, and what they do, whether it's fashion, music, theater, film. >> there is an "it" factor, and for justin, there was a tone in his voice that you can't teach. and then there was just this ability that -- you know, he was kind of everything. he was a strong young man from the day i met him. he had the personality. he had the charm. he has a way of, you know, very early on -- you know, we went from a water park show to four months later playing arenas. >> rose: four months. first it was two years of developing online and building the audience. once we had the audience and went with the music, it was like a sleeping giant. i still remember playing in a

water park and holding the kids back with the security, 60 kids in upstate new york, and four months later we're playing our first arena in hartford civic center. >> rose: you said he's a lot like you or vice versa. what do you think you share? >> he is restless like me. he has the te at the the at th . >> rose: that's the bieber side of your life. now there is kanye west. >> yeah, different aspect of my life. >> rose: yeah, it is. are you ready for this? >> so i've known kanye for about ten years. you know, there were different points where we talked about working together and i always shied away from it because i enjoyed our friendship and i was nervous if we worked together, it would ruin our friendship.

recently i reached out to say how are you. i was checking in as a friend, seeing all the tabloids, kind of curious. it led to a conversation and he said, look, you're doing this. you're coming in, you're going to be a part of this and i need you to step in and manage me. and i finally kind of agreed. and i can tell you, the one thing that is my goal with working with him is i hope the world gets to see the guy that i've gotten to know. >> rose: who is that guy? a lot of people have an assumption about him that he might be selfish or arrogant. >> rose: or self-obsessed. completely. and the guy i've gotten to know, who i'm learning to translate for others, is someone who literally got himself into financial trouble because he would give the shirt off his back to help someone. he's one of the most giving human beings i've pet in my entire life. he doesn't know how to say no when someone needs help.

he feels he can help everyone. when he gets frustrated, it's not because he's trying to make money or take wealth, he's trying to say let me help, let me help, let me help. he is the definition of a true artist, but at his core, he's one of the best people i've ever met. i think for me, when i work with people, that's the starting point. i have to make sure i enjoy else, i have to enjoy thatne experience. >> rose: so what do you want to do with him? >> well, one, i want to help him take his journey to where he wants to go. >> rose: and where is that? whether it be with apparel, whether it be with the idea of creativity and putting stuff into the world that changes and shapes culture for a positive way, that's his goal. he really wants to, you know, be a positive force in the world in the most significant way possible. culturally, he has shown to be

that person. >> rose: cultural reach. cultural reach, how we see music shifting when he puts stuff out, how we see sneakers becoming the biggest selling sneakers out there and how fashion changes. he's a very significant person. when you have intimate conversations with him, you can't help but walk away and feel, wow, there is something extremely special there. >> rose: but you understand how he drives people crazy. >> i think he understands. >> rose: and is that the point? >> i can understand kanye so a certain point. i think only kanye can truly understand kanye, but i think that the point isn't to drive people crazy. you know, i think everything erything he's doing is hey, stracting from his music, if you walk up to a masterpiece and you see one stroke, you might say, why are all these other strokes around? if you take a few steps back, you will see the whole picture. i think if you take a few steps

back you will see the whole landscape that makes him so brilliant at what he does. i work with him and every day i'm learning and being pushed, but, at the same time, i ambulatently honest, and i have told him, you might not like all my ideas but you're going to hear them. he's great listener. he's someone who takes pieces and puts them together beautifully. there are very special people, he's one of them. >> rose: thank you. pleasure. >> rose: you've chose upgreat mentors. good to have you. >> thank you very much. i appreciate it? thank you for joining us. for more about this program and earlier episodes, visit us online at pbs.org and charlierose.com. captioning sponsored by rose communications captioned by

media access group at wgbh access.wgbh.org >> rose: funding for "charlie rose" has been provided by: >> and by bloomberg, a provider of multimedia news and information services worldwide.

♪ this is "nightly business report" with tyler mathisen and sue he. >> now what? a good but not great jobs report puts a wrench in the fed's plans to possibly raise interest rates. or does it? drug plan. hillary clinton jumps into the fray as she pledges to crack down on drug price hikes. and shifting mind-set. meet the entrepreneur hoping to change the way americans get around town. all this and more for friday, september 2nd. good evening, everyone. welcome. i'm sharon epperson in tonight for sue. >> i'm bill griffeth in for tytonight. for all the hand wringing, anticipation of breast rates leading up to today's jobs report, the number itself