this is cbs3 storm watch update. i'm anne i'm cbs3 lauren casey with latest on homerun. the system stalled offshore. moving five miles per hour. the center is offshore. it will is still be about 200 miles away from the coast line, model this morning and today, painting a better scenario for the coast line as far as impacts from the system. the latest advisory from the national hurricane center, a post tropical storm but intense winds at about 70 miles per hour. it is likely to jog to the northwest as we head into tonight and through the day tomorrow. but again, with that track, a bit farther east we've expecting less impacts al our coast line but still concerned bore the potential for moderate coastal

flooding. could see gustings mainly tonight and the first half of labor day gusting up to 45 miles an hour, dangerous rip currents. tropical storm warnings remain in effect until further notice and i'll have more coming up on the 6 to find a home deep amidst our cultural identity. today, it's a catch phrase, an idiom of our english language, a style all its own and even a symbol of true heroism. but, today we recall the original roots of rock and roll's sound. the soul and spunk it forged through the decades and the personalities that have appropriated its beat for our listening pleasure. so, we start where else? the beginning. if we were going to script the debut of rock and roll in

american culture, we might be tempted to craft a cinematic moment where in a single television appearance a young star debuts a new sound, a new style complete with devilsh good looks and all at once charms, seduces and changes america for ever. well that cinematic moment is exactly how history played out from the first note elvis played on ed sullivan's show and forever changed us. it was one of seminal moments in television history. the power of the medium and the force of an unforgetabel performer on full display. a defining moment for a musical force that could not be censored. "this man stood on stage, shook his hips and startled america." his sound came from his deep south gospel roots and

instinctive understanding of blues and country but his moves were so raw, so passionate, so sexual that he was actually branded "subversive and dangerous." "press coverage was highly critical. they talked about his threat to the morals of the country and how if this were not stopped, young people would be subjected to all kinds of immoral thoughts and sexual thoughts." september 9, 1956 was the first of elvis's three appearances on the ed sullivan show. sullivan, backed by the power of winning ratngs publicly declared he'd never have elvis on his "family show." that changed after elvis turned up on his competitor's steve allen's show and despite the fact elvis wore a tuxedo and sang to a hound dog, allen trounced sullivan in the ratings. ironically, neither sullivan nor elvis were actually at

sullivan's new york studio the night of his first performance. the talk show host was recovering from a serious car accident and elvis was in hollywood filming a movie so charles laughton did the honors. wearing a loud plaid jacket, elvis started things off with "don't be cruel" and "love me tender." elvis performed for the national audience as only he could, shaking moving, grooving and gyrating. later he wished ed well and sang little richard's "ready teddy" and "hound dog." the reaction was instant. "you tell america this man is too dirty to be on stage, suddenly everyone looks and pays attention." by the last time elvis appeared on sullivan's show, four months later in 1957, cbs censors were ready ordering the cameras to shoot him only from the waist up. but it was too late, the masses had already crowned him the

king of rock and roll and there would be no turning back. when our journey continues, they helped define the sound of the late '60s and early '70s, crosby stills nash and young's own graham nash sits down to talk about how the turmoil of the time helped guide the songs they created. "in 1969, it was basically almost heavy metal you know there were lots of marshall amps on stage you know and hendrix and led zeppelin of course, c-s-n made this not an accoustic record but kind of a gentler record even though it had some good rock and roll on there and we kind of knew that it might just slip on righthrough everybody and go to the top of the charts which it did." the release of an album that proved to be a pivotal moment within the music world. plus, the irish rock band from dublin equally known for their sound as for their bold views on politics and religion

"and i think im a good salesman of-- of ideas, songs, melodies, if i believe in them. you know, people getting out on the streets, getting organized and fighting to eliminate extreme poverty is working and thats the mission because i believe if people understand it and see the successes of it then they'll do more of it. i arrived as an activist. social justice was part of u2's agenda." and we turn back the lens of time on the enigmatic musician who redefined sexy. stay with us, as we look back on the evolution of rock 'n' roll "through the decades."

as the rock movement evolved from the bobby soxers that elvis dazzled in the '50s to the more complex and self-contained folk sound of the 1960s. one of the most important voices to come out of that era was graham nash and his band - crosby stills nash and young. if there was one band whose music could score a soundtrack to the late '60s and early '70s, it would be crosby, stills and nash. or c-s-n and y as they'd be

known with the frequent addition of neil young. "i don't know how i write songs." "i don't know what this process is. i see something. i feel something. i have to explain to myself what it that i'm periencing. that's what i do. how i do that? i don't have a clue and i don't want to know." the first of rock's so-called supergroups formed at the end of 1968 t's very interesting being in a band with three sometimes four strong writers." "we knew that we had the goods. we knew that we could play music, play rock and roll so it was very interesting time." all of the members had had success before. and the band came together right as both rock music and the counter-culture found themselves at a crossroads. "in 1969, it was basically almost heavy metal you know there were lots of marshall amps on stage, you know, and hendrix and led zeppelin of course, c-s- n made this not an accoustic

record but a gentler record even though it did have some good rock and roll on there and we kind of knew that it might just slip on right through everybody and go to the top of the charts which it did." then they were at places like woodstock where the band performed only their second concert. "i wonder why people are so fascinated with woodstock." "it was the end of a bunch of people getting together in the garage and making music and becoming stars and the begining of corporate invasion into music because when all the corporations saw half a million kids that they could sell another pair of sneakers and another cola to." as for the song "woodstock," the tale of a spritual journey to that remote farm in upstate new york, it was a hit that went all the way to number 11. even if the story of it's creation takes place, not in the rain or amid the crowd but in a hotel room. "joni mitchell was supposed to

play woodstock. she was supposed to play the last day on a sunday but on a monday she was supposed to do the dick cavett show which was her first major american broadcast in her career. when it was obvious there was going to be more than 100,000 people there, our magers decided that maybe joni shouldn't goand so joni didn't go to woodstock. by the time we got back to the hotel, she'd already written woodstock - 90- percent of it anyway and it was amazing to us that she could pin down the exact essence of what was happening at woodstock in a song, having never been. that's how good she is." as the '60s came to a close, the media spotlight was shining on places like new york's greenwich village and san francisco's haight- ashbury. musicians started migrating to an area in the hollywood hills known as laurel canyon. "during the first c-s-n record, i was in love with joni and living with joni in laurel canyon.

"steven was in love with judy collins and dave was in love with his girlfiriend, christine. by the time we got to asking neal to join us and doing the record of dejavu, christine had been killed, i was no longer with joni and steven wasn't any longer with judy collins so it's a very different album, different feeling." while the band would be almost as notable for their feuds as for their music. if you're trying to understand that time in america, the sounds of crosby, stills, nash and young light the way. "we had the songs and we had the songs that seemed to have fit the era of those late '60s, early '70s. yeah, we were a pretty decent band." c-s-n-y didn't work in a vaccuum. the music they made came out of collaborations and life experience. one of those who helped influence the c-s-n-y sound and certainly their life experience, was

singer and songwriter , judy collins. her hit song, both sides now, came out of new york's then- burgeoning folk music scene. burgeoning folk music scene. judy collins was a fixture of the early '60s music scene in greenwich village playing some of the village's most famous clubs alongside a who's who of the moment. "the first time that i was in new york working was at gertie's folk city in 1961. now i'll tell you that when i got there all the people that i knew from the c-ds, from the records rather, were there. joan was there. mimi was there, her sister. dave enronk was there. peter, paul and mary were there before they became peter, paul and mary, ramblin' jack elliott was there and this guy who was this young, ratty looking, badly dressed guy named

robert zimmerman was there singing old woody guthrie blues. i was the headliner and i thought well how did this happen i mean i just started doing this and then i discovered why they were all there. they were all there because my opener was a 13 year old named arlo guthrie." then collins hit the top ten on the pop charts with "both sides now." the vietnam war and civil rights movement were in full swing. the women's liberation movement was picking up momentum and in the midst of it all was judy collins. "l-b-j was president of course, during the worst of the war and we thought that j-f-k was going to stop the war. we thought that kennedy would be our man in the white house and when he was killed, i think there was a huge shock and shift in

the way people perceived things. mostly they said if not now, when. it was if the mask came off and the truth was out." "the truth was most people had been lying to us who were in government, presidents included and the world was not the world we had grown up with in the eisenhower years and we were in a new place and we better do something about this and i think that the action in combination with the music stuck with people. it makes people think, probably quite rightly, that something was happening there that was extremely powerful and that they would have loved to been a part of and if they aren't a part of it physically they could be a part of it musically. they can experience all of this music." "what was it about? it was very, very powerful - powerful to live through, powerful to

survive, thank god that i did, and powerful to still believe it had a huge impact on the culture, which i think it did." still to come, we remember the release of an iconic rock opera. one that crossed into terrority no album had dared to tread before and we look back on when the voice of a rock movement brought his own story to an early end. "the lead singer of nirvana, a rock group especially popular with people in their teens and twenties shot and killed himself at his home in rock and roll began as the

music of rebellion. its next

iteration was the soundtrack of the counterculture from california to greenwich village. by the mid-'60s, ambitious concept albums like the beach boys' "pet sounds" and the beatles' "sgt. pepper" broke new artistic ground. but then , "the who" released the first great rock opera, "tommy," and history was made once again. "an opening at the metropolitan opera is usually an occasion for a lot of people to get dressed up in evening clothes, furs and jewels and then brace themselves for an evening of verdi, puccini, or wagner. well, this opening at the met is not like that. if there are any furs in the audience the odds are they're second-hand and instead of evening clothes and jewels you get blue jeans and love bds. and you don't get puccini, either. instead you get the who." in 1968, the who was just another ambitious band looking for a way beyond the standard three-minute radio play.

pete townshend, the who's lead guitarist and chief songwriter, had an inspired idea - a full-scale rock opera. the result was 'tommy.' a double-album extravaganza, a composition dealing with the life story of a tormented deaf, dumb and blind boy. it was a critical and commerical success and scored hit singles with "i'm free," "pinball wizard," and "see me, feel me." townshend's yearning, harmonically complex music drew on themes from his own childhood. "tommy can you hear me? can you feel me near you?" classical composer leonard bernstein praised the work and in 1970 "tommy" was given two dates at the met, new york's high church of opera. the

reaction bordered on the ecstatic. "it was the most fantastic thing i've ever seen. i'm still rushing from being inside. it's unreal." "you could feel the vibrations from the people, you could feel the vibrations coming from them, and it was just -- everybody just had the same feelings at the same time. it was just beautiful." "it's just nice to see people of this age group in the met." "but also, the piece kind of elevated rock to a certain degree and so it's nice to give it -- put it in a building that sort of is on the same level with what it's done for its own milieu. you know what i mean?" "you know, we've taken over. we've taken over the met, man. we've freaked it all out. it's beautiful. it's really fantastic." "tommy's" journey continued: there was a ballet in 1970 and an orchestral rendition recorded by the london symphony. then in 1975, controversial film director ken russell turned it into a star-studded, surrealist movie featuring jack nicholson,

tina turner and elton john with the title role played by the who's own roger daltrey. "tommy," in all its incarnations is now considered a milestone in rock and roll's conquest of higher culture. "because tommy was so innovative "and risky when it first came out, you know i had to wait a long time for -- just for people to say, 'oh yeah, tommy a rock opera' and not, what a pretent-- pretentious, you know -- outrage perpetrated on -- on -- on you know, the wonderful chevrolet life of rock-and- roll, you know?" "when the mother smashes the mirror and he discovers life, he takes his life into his own hands. he realizes that he's alone. and i think that certainly was my discovery in all this, is that we -- that's what rock- and-roll is. rock and roll is about that moment when you discover that you're alone. you know, it's not about leaving home. it's not about deserting your family -- it's just about, that one day

you wake up, you could be 15, 16, 17, sometimes you can be 12 years old -- but at some time, you have that conversation with your folks, you either stay or you go but whatever you do, from that moment, you're on your own." there are few bands that have topped the charts with consistency "through the decades" all while spreading a message of social change when we continue, we delve into the story of irish rock band, u-2. plus, we look back on the life and legacy of a man who redefined what it means to be masculine and became rock royalty in process. you're watching "through the decades." you're watching "through the decades."

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get 100 meg internet, tv and phone for just 69.99 a month online for 2 years, guaranteed with a 2 year agreement. only fios offers speeds this fast at a price this good. we turn the lens of time back to 1981 when the idea of taking your music 'on-the-go' was the newest thing. "just about anywhere you go this weekend you may be listening to music or if you're really lucky as bernard goldberg reports, you may be watching people listening to music." "from the noisy streets of new york to the laid back tranquility of california, americans are tuning out and tuning in. it's the latest fad, tiny stereo cassette players with

featherweight headphones. it's caught on all over america but nowhere as it has in new york where more and more people are discovering that about the only space they've got is between their ears - in a manner of speaking of course." "you know listening to beethoven and walking in manhattan ... you know walking on the streets, it's pretty nice as opposed to hearing the sirens going by and the jackhammers. it just puts you in your own world all by yourself." "it's like carrying your stereo with you, you know, on your head and it's light." "whether they wear pinstripes or no stripes they're discovering that at least musically speaking, you can take it with you, about 750,000 people nationwide are doing just that." "everybody's buying the machines. anyone from a wealthy executive who likes to spend his weekends out on his sailboat listening to beethoven to the street kid listening to new wave music down in the subways."

"well, this is all it is. there's a lot of noise and confusion down here. it just centers me. you know, i just got to go about five stops but it feels good." "is it the 'me generation' gone wild, a height of anti-social behavior, electronic snubbery?" "the rest of the world tunes out to me sometimes so i might as well do it to them." "some still prefer last year's model. the radio that's about as big as the empire state building and as loud as world war ii that exemplify the sophistication for which new york is so admired." "do you bother a lot of people with that?" "no." "you bother me." "bothers the hell out of me. i think you are invading my life space with that damn thing." "yeah? i am?" "yeah. you are really. not only mine but everybody else around here." "can i ask everybody here, isn't this ridiculous?" "you're a country dude!" "it's nice to know that music can bring serenity to people, that music has charms to soothe the savage breast. it's really

quite comforting." "i've had it up to here! i can't take it anymore!" "life is but a dream!" "thank you! thank you!" "life is but a dream!" "mark goldberg. cbs news.rock n constant motion through the decades, adapting, and transforming as new artists tap into that classic sound and make it their own. the artist, the band that the world knows for its own constant reinvention of the genre, is none other than the legendary bono and maybe, the most well known band in the world, u-2. "u2, u2, u2, u2...whoooo" from the moment that drummer larry mullen, junior posted a want ad at their high school. paul hewson, better known as bono, "as the wordsmith of the group..."

david evans known as the edge and adam clayton all met for the first time in mullen's kitchen and and these four irish musicians have been playing rock n roll almost ever since. in the beginning, they thought they may be a punk band. the sound of the era but rock became their anthem. by 1985, rolling stone had dubbed them the band of the decade. "we're very lucky people to be doing jobs like we do - to be in rock n roll bands." rock n roll, they thought, had more to offer than just music to the masses, it was part of a tradition of calling truth to power. "the greats - jimmy hendrix, the who, bob dylan, the people whose records i have bought, i think the members of our audience have bought, are all associated, and have always been associated

with speaking out, so i don't think i am doing anything that new." at a concert benefitting amnesty international u-2 gathered with sting and others to bring that message to their audience. "because we're in rock n roll, if you like, is the symbol of rebellion and we want to make our world a better place through rebellion." "i think it's actually a very good thing for rock n roll and a good thing for rock n roll fans to see us doing." but, it wasn't until 1987, when joshua tree was released that their fame hit levels unseen since the beatles. the album and concert on top of a liquor store in l-a catapulted the irishman to superstar status on a global scale. they buttoned up that success at the grammys and with a new album "rattle and hum" the following year. "rock and roll should stop the traffic now and again, you know." that was accompanied by a film

by the same name, debuting in the streets of los angeles. "i still haven't found what i am looking for." the crowd couldn't get enough of bono's impromptu performance. the band only sky rocketed from there and in addition to their pop appeal and rock star status, they took on a more permanent identiy as advocates for social justice. and i think im a good salesman of-- of ideas, songs, melodies, if i believe in them. you know, people getting out on the streets, getting organized and fighting to eliminate extreme poverty is working and thats the mission because i believe as people understand it and see the successes of it--" "mm." "then theyll do more of it. i mean i arrived as an activist, you know-- you know, social justice was part of u2s, you know--"

"yeah." "--agenda." bono, the bands front man, would take the mantle sitting with members of the u-s senate, the united nations, even the pope over the years. "the pope turned out to be a very cool guy. yeah. i--i noticed him staring at me during the meeting, and i thought it was my natural charisma. but--but actually, it turned out i was wearing sunglasses during--and i'm--maybe he's not used to people wearing shades. and it wasn't that i was being in any way disrespectful. and---so i-- i took them off, and he kept staring at them in my hand. and i said, you know, 'as well as being a--a great holy man, i know you're a great showman. do you want these?' and he took them and he put them on." "and it was quite a special moment." u2 solidifed its status as one of the best selling bands of all time and continues to perform even as their media darling status wanes and some grow tired of

their social justice mission. their luster may have aged but their rock n roll sound remains solid gold. when we come back, we remember two rock legends who maybe couldn't have been more different from each other but left an indelible impact on the music world. first, we'll remember the lead singer who helped to create the grunge rock sound that dominated the '90s then we'll look back on the legacy of musical and style icon - prince. legacy of musical and style icon - prince. by the early 1990s, rock had

been pushed to the side as the '80s pop stars took center stage - paula abdul, whitney houston and madonna ruled the airwaves. but, push back was coming. a desire for something harder, edgier and soulful and none brought that grunge rock onto the scene, quite like nirvana did, giving rock a whole new understanding and taking it away far too soon. "he was about making the music he wanted to make and the fact that it connected with this audience, you know, is almost irrelevant." in 1989, kurt cobain, along with fellow seattle area friend krist novoselic, started the alternative rock band, nirvana, producing their first

album in 1990. the next year they added drummer dave grohl and released "nevermind " with its smash single "smells like teen spirit." nirvana would go mainstream, the album would go platinum and cobain was crowned the voice of a generation, a rock star, something he never aspired to. (singing) "here we are now entertain us." "here we are now. entertain us. kurt hated this businesss of voice of a generation but the use of that second person plural, 'here we are now' is something you didn't get from the hair metal bands, you didn't get from michael jackson." "cobain was seen as a man who had everything - success, a beautiful wife, a baby and a drug problem." "i think they knew he was troubled. they knew he was battling drug problems. they knew that the marriage with courtney love was very controversial. it had

its ups and downs." "do you like fatherhood?" "vodka? yes, i love vodka." "these troubles caught up with him so people were not surprised, "they knew he had troubles. he's a guy that wrote really good songs and made us feel connected to him through that and also had troubles that claimed his life." "the lead singer of nirvana, a rock group especially popular with people in their teens and twenties shot and killed himself at his home in seatlle, washington today." "just last month, cobain was hospitalized for an overdose of drugs and alcohol. kurt cobain was 27." it was a loss that shook the music world but even his fans while shaken weren't surprised. "you know, he almost o-d'd a couple of weeks ago and he was in a coma and we almost lost him then." "well, it's just sad, really. a really sad thing." the aftermath gripped the country. his wife, musician courtney love told barbara walters she felt responsible for his suicide because she had staged

an intervention for him as he struggled with his addictions. "this is a woman who feels very guilty and what happened is that after the intervention she screamed at him one day because evidently he had dropped their baby daughter, frances bean. the child was heavily dressed and she had a hood on so she didn't get hurt." "and courtney said, 'you dropped this baby. you dropped this baby!' and he was so filled with guilt that she feels that was the trigger that made him kill himself." jim derogatis who interviewed the singer before he died says music was cobain's life and he had been looking forward to the music he would make in the future. "kurt cobain was a man who could just as soon imagine not breathing or not eating as not playing music. it was that important to him." "the man i met, i very rarely recognize in media portraits. you know he's depressed. he's in pain. it's angst. it's a

product of divorce, drug addicted, miserable s-o-b. no. no. no. no. he had a very strong vision and he was very, very smart. he intended to live a long time and continue to make music. there was not a death wish there." "this was a man who loved music. for him, every time he picked up the guitar it was an act of saying, 'i'm glad to be alive.'" while his music proclaimed life, his death worried some about the impact it would have on his gen x-er fans. "he was a very gifted person but i don't think they're gonna take this as some message that you should just give up." "i personally think he had a lot of self emotional problems that he just couldn't deal with himself and he chose to be selfish about it." "right. there's other ways to deal with you're problems, you know? everybody's got 'em." "in fact, some are hoping cobain's death may serve to demystify and deglorify the somewhat romantic notion of suicide and might ultimately save lives."

ulitmately, there was not a rash of teenagers that followed suit but the music kurt left behind remains revolutionary, a tribute to an era that he alone came to define. "i think it's easy to romanticize nirvana from this point in time almost three decades later but the fact is, that they are very, very good. they were very good and they're timeless in their strengths like all great rock and roll." over twenty years after we mourned kurt cobain's loss, we said good bye to another artist who charted much of the new territory of our modern american musical landscape. his navigation was unlike anything we'd seen before, defying any one label. he crossed over into nearly every genre of music - jazz, pop, r & b but we can't deny that prince was also just a little bit rock and roll. he was inducted into the hall of fame in 2004 and today we

remember prince's impact on the sound and his imprint on us. few performers commanded a stage and a thirlled an audience quite like prince. aruguably, one of the most talented musicians of his generation. "sing it!" "purple rain, purple rain" "oh yeah" rock star, visionary, provocateur, legend - just a few of the words that have been used to describe him. he won seven grammys. "my early days in the business. there's a guy who he's still in the business and he's very famous so i won't say his name but he told me that i wasn't going to make it and i needed to go back and work on some disco music or something (laughs)." prince grew up in minnesota. his life's path would be

strongly influenced by his jazz musician parents and the nearby minneapolis music scene. he was a shy kid but friends say he came alive whenever he played music. "i deal with everything through my music. emotionally i stay centered through music. it's the best medicine in the world." at 19, prince signed with warner bros and in short order, proved prolific. writing, composing, performing and producing most of his own work, he released four albums in four years. his fifth release in 1982 would be his breakthrough. with his title track, he invited the world to party like it's 1999. the album, went multi-platinum. his sixth album two years later took his fame to rarified heights. purple rain went straight to

number one on the billboard charts where it stayed for 24 weeks. the movie--by the same name grossed 68-million dollars at the box office. prince seemed unstoppable...and was emerging as an artist in a league of his own in both talent "prince made electric drums sexy, right? they were very mechanical until prince found how to make the syncopation and make the beat and make the tones to make them soothing almost but definitely sexy." and style "it was a very edgy, modern edwardian with the high neck, ruffled blouses and the tailored suits and the sparkles and the heels and the accessories. it was so over-the-top and flamboyant and out of this world, yet still very much him." "prince is my favorite, i love prince" "we want prince! we want prince!" prince seemed to break down barriers of both race and gender. "i think he changed the way

that people style them selves. now it's called gender fluid, but to be whoever you are. i think he really encouraged that." and he redefined what it meant to be a sex symbol. "he's adorable!" never one to shy away from provactive lyrics, prince inspired the parental advisory label on c-ds after an outraged tipper gore heard his song "darling nikki," and founded the parents music resource center. but for all of his freedom of expression through music, prince was highly protective of his private life. in 1996, prince married mayte garcia, one of his back up dancers. "i sort of made an off the cuff statement like that. i said there's my future wife i was being coy but low and behold." in a rare moment in 1997, he spoke about his marriage. "i think the most profound thing that's happened to me is the way i view women now and

going through my wife's pregnancy had a really powerful effect on me." the couple suffered a painful loss after their son was born with a rare genetic disorder. he died within a week of his birth. he and garcia divorced in 2000. prince married again in 2001, to manuela testolini, the same year he became a jehovah's witness. that marriage would end in divorce in 2006. in the mid '90s, prince began what would be a long and very public legal battle with warner bros who he eventually parted ways with in 1996. "i felt pressure not being able to live my life the way i wanted to and under the constraints of most contracts, an artist can't really be an

artist they can just sort of go according to their rules and regulations. that was pressure for me." when he learned the label owned not only all of his music but also his name, he dropped it for an unpronouncable symbol and took to writing slave on his face. in 2014, in a landmark deal, prince emerged victorious. he regained full ownership of his music catalog. the very thing he had been fighting for. "if one sticks to one's guns one will get through. the way one wants to. not the way somebody else tells you." prince seemed invincable. "it's just such a loss, i'm sorry..." on april 21, 2016 prince died. within hours, hundreds of fans showed up at the gates of his

paisely park mansion. "just to pay respects, i was here yesterday and i went to first avenue last night. i just really loved his music and grew up with him, so" in the two weeks after his death, prince's albums sold more than four million copies in the u.s. alone and artists from bruce springsteen to paul mccartney have paid tribute to the man who has left an immeasaurable legacy. "you all feel good tonight?" "there's a core audience that's never really going to go away." "i've had these friends for a long time and they're going to bring their kids this is my job i'm going to be doing this a while." still ahead here on "through the decades," the bizarre story behind the time the king of rock 'n' roll unexpectedly showed up at the white house. unexpectedly showed up at the white house. we end our look at rock and

roll "through the decades," right back where we began with 'the king.' in an unforeseen chapter of history, the world of rock n roll crossed paths with the world of politics, when elvis went unannounced to see president richard nixon at the white house with an urgent message. one was the leader of the free world. the other, the king of rock and roll. their meeting was initially a

secret but has since achieved the status of legend. "and i got a call one night about two in the morning, i was asleep and i said 'who is this?' and he said 'it's me,' so i knew it was elvis. and he said, "i'm at the airport, i don't want anybody to know where i'm at. can you meet me?" "and elvis had written a letter on the plane which he had me proofread. and, uh, elvis had only written about three letters in his life." "and there were a lot of things i think grammatically that could've been changed but the letter was so honest and so to the point, it was just a beautiful letter. so i figured we'd go the hotel, i'd been up a couple of days now, and clean up and whatever he said, 'we've gotta go by the white house, drop this letter off.' i said, 'elvis, don't you want to go to a hotel first?' and he said, 'no, i think the president should get this as soon as possible.'" "i was sitting at my desk and i

got a call from dwight chapin, who is the president's scheduling secretary and he says, 'bud, the king is here.' and i looked at the president's schedule and i said, 'what king? there aren't any kings on the schedule here. what are you talking about?' he said, 'no, not any two-bit king, the king, the king of rock, elvis presley, he's right here.' i said 'dwight, come on, it's gonna be a long day, four days before christmas.' he said, 'no, i'm reading this letter. he wants to meet with the president and he wants to help on the drug program and that's what you work on.'" "you gotta understand this was the early '70s. 1970. and there was a big drug influence that was really, it was generated a lot by certain types of rock music. it was advocating and he felt real responsible." "but what he was saying was, 'if i'm the king of rock and roll, then i should do something about this image.'" "just to get elvis over to the desk took a little effort, because he walked in the door and he looked at the eagles

engraved in the ceiling and eagles engraved in the carpets in the floor, and i knew it sort of overwhelmed him. 'i'm a poor boy from tupelo, mississippi and i'm here in the oval office of the president of the united states.'" "and he had wanted a federal narcotics badge. which they had turned him down. but nixon didn't and he gave it to him." "the president said, 'get him a badge. i want him to have one.' elvis is overcome and he steps forward and he grabs the president and he hugs him which wasn't the norm in that white house." "they were really extremes, and at the same time, i think they had a ... elvis had an understanding. he was a very human person. if somebody was ... if we had an underdog within our group, you can damn well bet elvis was gonna take up for him and i think he understood what was happening to nixon, and he felt -- he felt a sensitivity there." the meeting remained secret for thirteen months. since then, the image of that december 21 meeting of the president and the king has become the most requested photo

in the history of the national archives. that'll do it for us today.

i'm bill kurtis. as we leave, one last look back at the history of rock and roll "through the decades."

captioning sponsored by cbs >> quijano: where is hermine headed next? the deadly storm gained strength leaving a path of destruction along the coast. also tonight, voters weigh in on hillary clinton's honesty issues, and whether donald trump's minority outreach is changing minds. a cold case solved in central minnesota. what lead police to the remains of a boy who had been missing for decades. a powerful earthquake felt in seven states rattled the oil & gas industry. and pope francis celebrates mother ter-- elevates mother teresa to sainthood. >> mother teresa was called saint of the gutters and before becoming pope francis was referred to as the bishop of the