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Something good.

This is the last day
of our rehearsal.

We've been rehearsing
for two weeks.

Working what numbers
we're gonna do...

There's always a bit
of rust to rub off.

Rehearsal's a big word
for bonding.

When you sit and play
the first song

it's the same feeling
as it was when I first joined.

We haven't seen each
other for a while and it's fresh

like reuniting and lots of it
comes magically flooding back.

Kind of feeling when you
rehearse the last couple of days

all it really needs
is an audience.

Yeah.

So this tour we're gonna
visit nine Latin American cities

and hopefully the tenth that we
haven't yet visited

is gonna be Havana, Cuba.

To try and put on a big show,
that is really hard

but we're gonna try
our best to do it.

To see the world from
a Rolling Stones point of view,

nobody else sees the world
the way we do.

It's the explorer in us,
I think.

The Christopher Columbus
in all of us

that wants to see
what's round the corner

and is it round or is it flat?

Stand by.
Stand by, everybody.

At the start of the
tour it's like being

on a tightrope that, once you've
set foot on it, that rope widens

and becomes a bridge
you can run across.

House lights go, please.
House lights go.

Ladies and gentlemen,
The Rolling Stones!

Present arms!

A lot of the Latin American
countries

in the '60s and '70s were
under military dictatorships.

They had censorship of songs

and basically styles of music
they didn't like.

The Rolling Stones,
being part of

this '60s kind
of rebellious movement,

this idea of freedom of
expression and sexuality

was an anathema
to a lot of these regimes.

In several countries,
rock 'n' roll was banned.

The minute you ban something,

you're gonna create
a movement around it.

Anything that smacks
of rebellion,

they sort of take to heart.

Thank you!

When Obama started
to free up relations,

it seemed an obvious thing on a
tour of Latin America to do Cuba

so we started to investigate it.

But the idea of doing it
and the actual organising it

is somewhat
two different things.

Cuba. Cuba, Cuba, Cuba.

Every single day.
It's all about Cuba.

I wake up in the middle of the
night and go,

"Oh. I fucking forgot.
Oh, shit!"

People have done theatres,
people have done small things.

But to put The Rolling Stones
there and do a free show,

nothing has happened like this
in Cuba before. Ever.

Ever.

Let me just... This is Adam.
He's gonna lead this project.

He has considerable experience

in dealing with communist
governments.

He opened China for us and now
he's gonna open Cuba for us.

This is a place where

they don't function
and operate the way we do

so e-mail and phone calls
and that kind of stuff.

It's just not the same.

This has gone up to the very top
of the food chain. Raúl Castro.

They look at this as almost
a piece of government policy.

That this event will be
something that can symbolise,

in a very positive way,
that the country is opening up.

Adam, I know they're saying
the right things

and they want it to happen.
But in a way that's irrelevant.

We know.
We want it to happen too.

We are going to have to, within
a very short space of time,

take a view as to whether
the show is feasible.

In terms of next steps,
we're on a very tight timeline.

That's probably our biggest
constraint which we're aware of.

So decisions are gonna
have to be made imminently.

We can't talk about this,
even to our own staff yet.

When it's time to announce it
to everybody else we'll do that.

Otherwise the rumours and
everything will crush us.

Every day that we lose on this,
makes it harder.

Argentina is the first
South American country

the Stones played
and this is where

we really got in contact
with this continent.

During the military dictatorship

and then the Falklands War,
we couldn't play there.

In our absence, a kind of cult,
a kind of fashion emerged,

called the 'Rolingas',
dedicated to The Stones.

The Stones are a religion here.

They're so much more
than just a band.

It's like an urban tribe.

Rolinga culture is uniquely
Argentinian.

I can't really explain it, it
flows, runs through your veins.

This is our way of life,
it won't go out of fashion.

His name is Jagger.

He is called Jagger
after his majesty.

The person who taught us
how to be.

When I was 11, I used to look at
the tongue logos on walls.

I used to ask,
'What is this? What is this?'

And when they showed
what it was,

that was the best thing that
ever happened to me.

I feel proud of what I am

and the fact that people
look at me and say,

'Oh look, there goes
the Rolinga'

I love it, I love it!

- I love it!
- I love it!

The first time we came,
it was unbelievable.

It was like a large version of
the '60s. It was mad.

And it's been like that
ever since.

We are at
the Four Seasons Hotel.

We are going to see the best
band in the world,

The Rolling Stones.

We're here because everyone
says they always stay here.

Let's hope they come out,
that's why we're all here.

I've been here
almost three days.

Incredible.
I slept here yesterday.

Charlie Watts is in the last
window, in that balcony.

And we've been told that
Keith Richards is in this one,

this window.

Gentlemen, come on in.

I was hoping
it was room service.

Our humble abode.

To me, if I'm in Argentina,
this is home.

The temporary home,
which is not too shabby, really.

Come on.

Ah, had a restless night.

I think these are
the windows to see.

Let's see what we can do.

Richards!

The wake-up call is, "Richards,
Richards, Olé Olé Olé."

And you, "Oh, well.
Time to get up, I guess."

For some reason, they've always
been great supporters of ours.

We are at
the '40 x 5 Tributo' bar.

We are with friends
on this very special day.

We're going to what could be
the last Rolling Stones concert

in our country.

That's why we invited
our friends to share

this 'Beggars Banquet'
for all of us.

Argentinians don't like being
told how to behave.

I think The Rolling Stones music

is something we captured
and made our own.

It's a beautiful relationship
we have with them.

It is like a circus.

It's a circus we've made,
by the way.

We built the ring and
the tent and without it,

we'd have eight people
sitting there.

After 50 years,
they've kind of got used to

some mad crowds and mad fans.

But you'd expect after
the fourth or fifth visit

for things to die down.

He just saw Mick
in the car and it's amazing.

He can't believe it.

It's very emotional.

Come on!

Come on!

One more time!

Do it one more time.

We're very lucky because
when I first joined The Stones

you had like 20 people
in the club.

Here we are,
whatever age we are,

and there's all these people
cheering.

You can't help but get
drawn into the crowd.

It is so enthralling
and sometimes,

they're louder than the band
and if they jump up and down,

I've found myself
just jumping up and down.

I use muscles that
I don't even know I had.

They bring out
another part of you.

Ten years is far too long.

Finally, we meet again.

Argentinians, I don't know,
somehow they've woven us

into their incredible
warp and weft.

And we're part of it.

And it makes me
quite humble, actually.

We are Blues Motel.

We are a band connected with the
Rolinga or Stones rock scene.

Unfortunately, during the
dictatorship here in Argentina,

radio wasn't allowed to
broadcast English music.

When democracy returned,

it allowed the broadcasting of
foreign music.

And that made it easier for us
to listen to those sounds.

In 1995, for the first time

The Rolling Stones arrived
in Argentina.

That moment was crucial

because it was the first contact
Rolingas had

with The Rolling Stones.

After the arrival of
The Rolling Stones,

more bands started coming out.

Many bands took the baton of
Stones rock

and started spreading it.

We are proud to represent that
style of music.

Stones music.

Come in.

- Hi, guys.
- Hi.

- How you doing?
- Hey, Mick.

- How are you? Hola.
- How are you?

Very well, thank you.

- You came to the show in 1995.
- Yeah.

Yes. And it was a great show.

- In the River Plate.
- In River Plate Stadium.

And when it starts
'Not Fade Away', it's like...

Argentina. Started fire.
On fire.

Yeah, it was great.

When we arrived at the airport,
it was very crazy.

People following us in the cars.
Beep-beep.

- Like the '60s.
- A bit like that.

Kinda like the '60s. Exactly.

And when we did the first show,

with all the audience pogo-ing
like this all at once.

It's fantastic.
Oh, it was really great.

When we play in Argentina, it's
kind of a special place for us.

It's kind of different playing
here than anywhere else.

It's a very emotional thing

to be in the middle of
that crowd.

But it's not really you
that they're looking at.

It's an act out version of you.

You try to live a more or less
life like everybody else.

And it's just a kind of thing
that you do on your work day

and then you come back
and you're just you.

Especially in a country
like Argentina.

You're very aware
that you're on.

You can't just walk out of the
hotel and go shopping

or walking or go to a café.

You can't really do that
in Buenos Aires, really.

So you have to make
much more effort to get out.

It's ridiculous, at any age.

You know, ducking down
at the backs of fans and things,

and escaping people chasing you
for autographs and things.

But that's part of your gig.

So I might as well
just enjoy it.

I was always
a bit of a performer

in these family get-togethers
that people used to have.

So you all had to do something
and I used to do dances

and impersonations,
that was my thing.

But I think in that way of life,
you weren't allowed to be shy.

When I went on stage, I knew
something was happening.

I didn't quite intellectually
and rationally figure it out

but I knew that
I was doing something

that was exciting the audience.

So what I learnt in
the early '60s on my own

and with the band about how
to get an audience going,

nearly all of that's
still with me now.

Nobody's ever done this in Cuba.

There's no point of reference
for what we're trying to do.

There's a lot of concern,

I think primarily about
how to logistically pull it off.

Hopefully, everybody
will stay patient.

Hopefully everybody will believe
this is doable because it is.

But it needs to be done in a way

that's different than anybody
has ever done.

And it needs to run at the pace
the locals move at.

We're dealing with a country

that hasn't had diplomatic
relations with other countries,

has never hosted
a concert of this size.

It's not a guarantee
until it's a signed contract.

We're getting into what we might
term heart attack territory now.

Come 15th February, we have to
ship the entire stage,

all our equipment from Belgium.

We're a bit on a knife edge
until we know that

the Cuban government
have signed their contract.

I wake up every morning thinking

about this and go to sleep
and I'm sweating bullets.

We're just going on faith.
I don't know how else to do it.

I sort of have this philosophy,

'Maintain a positive attitude,
abolish all fear'.

I'm maintaining
a positive attitude

but I am scared to death.

On this tour, there are places
we've never been before.

One of them's Uruguay.
We've never played there.

It's near Argentina but we've
never played in Montevideo.

The thing is about
when you're on tour,

if you're open-minded and you
wanna go out of the hotel

and you force yourself a little
bit to be free and easy,

you come across these
really fun things.

About two in the morning
we drove out of town

and we met
this family of drummers.

It was a really interesting side
trip for me. Very unexpected.

Travelling can make you
very creative.

It's just having that down-time.

You never quite know what's
gonna turn up

but things happen.

I had this one stoned night
in '68.

Mick and I and probably Marianne
and he said,

"Let's go to South America."

Keith and I had never
been on a boat before

so we took the boat
from Lisbon to Rio,

and arriving in Rio in the dawn,

seeing this beautiful,
majestic harbour

and the giant Christ and the
Sugarloaf Mountain and so on.

By the time we got to Brazil,
it was a breath of fresh air

because nobody gave a damn
who you were.

We weren't that well known
at that time in South America.

So we could roam about
fairly freely.

That whole trip in Brazil
was super vivid.

I can remember absolutely
everything about it.

And Keith had this beginning to
this 'Honky Tonk Women' song.

We went off to this ranch which
is a long way out of São Paulo.

- Don't think the city.
- It was the middle of nowhere.

It was totally. But it was
a big coffee plantation.

And they very kindly lent us
this ranch

and we stayed there for...
I don't know,

it seemed like quite a while.

The other thing I remember about
that ranch house was...

the screams when Marianne
and Anita used the toilet.

And those black blind frogs
had come flushing in!

Yes!

And I also caught the cook
and the handyman

in the kitchen going like...

- Cos it must happen every time.
- Yeah, of course.

Every time some visitor comes,
they'd go, "Oh, my God."

Half a dozen frogs would come
out when you flushed.

What do you do on a ranch
and it's late,

evening is coming up and...

- you've got a couple of guitars?
- No TV.

And sitting around
and suddenly...

Hank Williams came to mind.

I mean,
maybe that's retrospect or not

but I don't think so.

I think we were just kicking
around old country songs.

I remember we were
by the river once.

There was a beautiful river and
I remember sitting by the river.

That was the first time
I remember it coming together.

And I started to get into
that one pump.

And then Mick came up with
'the bitch' and 'Jackson'

- and we were off.
- Off.

And let's not forget
the Honky Tonk Woman herself.

- Oh, yeah.
- That Cathy James.

- Yeah, that's right.
- Cathy.

Who was a great friend
of the whole band.

Yes.
And her friend Candy.

Yeah. Well, Candy,
I never got there.

That's how it grows.

- Something like that.
- That's the way it went.

You always have this chemistry
with certain people

and I definitely have it
with Keith.

I enjoy being
in the studio with him

and on stage we also have
special moments together.

There is no rational
thing about human chemistry,

especially two blokes coming
straight out of Dartford.

Mick and I are quite famous

for having our squabbles
and everything.

We can irritate
each other immensely

cos we're quite different.

But at the same time we also
know that we were given

this amazing gift between us.

Yeah!

São Paulo is famous
for street art of every kind.

It's been sort of
encouraged a bit.

I find it to be inspiring

to go to the different areas
in South America, artistically.

It's always a pleasant thing
for me

to meet up with
the artist friends.

I'm looking forward to reuniting
with Ivald Granato.

He doesn't speak any English.
He just goes, "I love you",

and I go "I love you",
and then we paint.

That's how we communicate.

- Ah-ha! My friend. I love you!
- Hello. I love you.

The entire neighbourhood has
been taken over

by this art movement.

This has become a centre
for young people

who work with graffiti.

Come in to my studio. My house.

Yeah. I haven't been for years.
This time I will stay sober.

All right.

It's in your blood.
Oh?

Very...
You are always very colourful.

- Very colourful.
- Colour and boom.

Yes.

Yeah, it's very expressive art.

Very good. Very good indeed.

Ah-ah-ah!

When I was young, my brothers
were artists and musicians.

They were eight and ten
years older than me

so if they painted,
I would paint.

And if they played,

I would pick up the nearest
instrument and play that.

The way I approach
my music and art

is with the same
element of risk.

I love that.
You watch things take shape

or you listen to things
take shape.

It's a great release.

Travelling to new places,
meeting new people

is a real source of inspiration.

It's the element of the unknown
always coming up.

I've never been one
to sit still in one place.

I come from the canals of
England and these water gypsies

that haul timber and my family,
for generations,

has always been on the move.

My earliest memories,
three or four years old,

I was always drawing.

I was born with it.

I was born with a pencil
and a pick in my hand.

I make paintings to keep sane.

My musical and artistic side
work together.

They bounce off each other.

I have the wonderful
group effort

where I can be part of a unit

but I have this wonderful
private expression

where I'm the boss.

I never saw any other life.

I had to make it work
the way it is.

No other life.

Shut up, I'm working!

This is home.
Wherever I am in the world,

it's the one place
that doesn't change.

The stick is a very
superstitious thing.

If it's about to rain or if it's
where you're playing outdoors,

and then it's,
"Keith, it's raining."

And if I don't go out, outside,

and do a few mysterious
movements,

it would disappoint
the whole crew.

From like the lighting people,

the stage people,
the sound people,

because they rely upon
this stick to stop the rain.

And the weird thing is
that it works.

Yeah, come on.

First time I heard
'Sympathy For The Devil'

I was in a house
I lived in in Sussex.

And Mick came for dinner and he
sang it on the front doorstep.

That started off as a very
sort of Dylan-esque ballad.

Mick or I sort of realised that
this is an interesting song

but not in this style.

And so you start to search
around for other ways.

Because we had already
been to Brazil

we were very samba orientated.

When we wanted to
up the groove a bit,

instead of making it into a rock
song, we made it into a samba.

My name is Osvaldinho da Cuica.

I am a sambista.

Samba is the soundtrack
of our country.

Samba was born from
the oppressed.

It was born from the needy,
from the favelas, the slums.

It is the voice of the people.

Samba came from
a feeling of rebellion.

It came from a society that
fought for its own space

for a better way of life.

Samba shows the good
and the bad.

It talks about God
and the devil.

When The Rolling Stones' music
speaks about the devil,

it speaks about reality.

That's part of the universe.

We're all just kind of
in a state of shock.

President Obama's just announced

that he will visit Cuba
on March 21st.

It's actually pretty
terrible news

because it's roughly
12 hours after

when our concert
would take place.

Everything that we had planned
will need to be revisited.

We just finally started having
a picture of what it looked like

and now I have no idea
what this looks like.

They don't feel like they can do
The Rolling Stones

and then bring in Obama
like the next day.

It's just too big of a jolt
to their system.

They are now formally requesting

could we reschedule it
five days later, i.e. the 25th?

How long is it since an American
president visited Cuba?

Oh, we're talking sort of
80 years or something.

80 years. So he wants to go on
the day we've scheduled to go!

I mean, you've gotta laugh.
You'd cry, but...

OK. Listen, listen.
I'll talk to everyone else.

I'll look at the dates,
the holding point in Miami,

you go and see
if you can find the money

and then we'll reconvene.

Reconvene. OK.

- All right, Mick.
- Thanks so much.

All right. Speak to you later.
Bye.

You've gotta be ready in life

for unpredictable
things to happen.

You have to be ready
for anything.

Porto Alegre in Brazil
was a fantastic feeling

of just being out
among the elements.

Well, the rain stick
is not infallible.

You're out there with them

and you're all being pissed on
at the same time.

And, there's another special
bond created with the audience.

Lima is enormous now
compared to when,

when I was here in 1968.

It's like every other
city in the world.

Up they go, up they go,
like tombstones.

Fascinating to see again.

I can't wait for this show
cos it's never been on our list.

This is our first time to play
here professionally.

Or even amateurly,
when I think about it.

The next steps on this
tour are stepping

through the known,
into the unknown.

Today we are doing a 'Parapa'.

It's an offering
to the 'Apos Guamanes',

the Gods of the Andean world.

This place, Cerro San Cristobal,
is the highest peak in Lima

and this way our offering can
easily reach the Gods.

The scissor dance began
as an act of resistance

against the Spanish

who came to impose
their own culture.

What the dancers did is
to resist their culture

in order not to surrender
to Catholicism.

If I don't dance,
then I can't be at peace.

The art of the dance
is in my heart.

GLORY TO GOD

I think when you go to a place,
if you're a musician,

it's great to see something
of the local culture.

Often we'd just have

on the spur of the moment
entertainment.

And to have that little family
backstage was a delight.

Great drumming.

There was this vibrancy
of those dancers.

I felt compelled to join in
myself.

I think one of the
great gifts for a long life

is that you're always learning
and always discovering.

Now we can't find them.

- We can't find them?
- We can't find them.

When I'm in South America,

I just feel like they wanna hear
a bit of something.

I don't really speak Spanish
but I can kind of get by.

Even better...

So I just try to do
research on each town.

There's usually some really
good food things.

Like Peru, people
like to eat hamsters.

So, it's all good material.

The food here is great.

The best in South America.

My daughter brought
her guinea pig.

And now we can't find it!

Thank you!

I suppose show-business,
I'm a bit outside it.

I've never really
sort of believed it.

It's a lot of bullshit,
a lot of it.

When I was 13, I had a newspaper
and a pair of brushes.

I had a banjo.

Took the neck off
and played the banjo.

Then my dad bought me a drum kit
from a bloke in the pub.

And that was it.

The biggest thing you can do
as a drummer, really,

is to have a room dance.
Cos that's what it's about.

You can't play the drums
in the living room at home.

It's not like a piano
or a guitar.

It's an accompanying thing.

So you have to go on the road.

I'm not playing for me,
particularly.

It's not about me.

It's the thing that gives me
most pleasure.

Just keeping it together,
really.

I'm just doing the best I can...
for them to play the song.

You never announce the show

until you are cast-iron sure
that it's definitely on.

So there's an exhalation
of relief when it was announced.

Well, we finally got
a booked date

and a signed contract to go
to Havana on the 25th.

It's been so much organisation

and to and fro that it's quite
a relief, actually, yeah.

- Looking forward...
- For you!

Can I just say it's very
difficult for Ron

- to keep a secret about a gig.
- Exactly, that's why!

So I proved really good on this,
haven't I?

Yeah, yeah.

A big, tricky thing now
is to get the hotels done.

We were looking at using a boat
for a hotel and living on

and quarters but now it's become

too expensive
and too much to deal with.

When will I know
if this show's happening?

Probably not until we get off
the plane in Havana.

We're just being prepared for
anything and everything, really.

It's all you can do.

Mexico, obviously being right
on the border with the USA,

I think that the Mexican people
feel very closely

musically involved
with rock 'n' roll.

It's where there isn't a border
between Mexicans and Americans.

And once again, it's music that
can cross the bridge.

I'm Javier Batiz.

I was the leader
of the Mexican counterculture.

Carlos Santana was one
of the people I taught to play.

When I arrived in Mexico City
in the 60s,

people were very conservative.

Alcohol was not sold in any
form, no beer or anything.

They wouldn't sell anything.

Mexico City in the 60s became
a city of Rock and Roll.

It was something very new
for the rulers.

Then the city government began
to get scared.

They did not understand it was
a new world, a new music.

This is cool.

Couple of guys I recognise.

Alex.

- Oh, maestro!
- How are you?

- Nice to see you.
- Armando, this is my son Ty.

- Hello. Nice to meet you.
- Nice to meet you.

- Yes!
- Ah! Ha-ha!

We played together in 2006,
didn't we?

- When The Stones came here.
- Yeah, ten years ago.

Armando put the festival on,
right, in 1971?

Yeah.
Because we love rock 'n' roll

and Mexican bands
want to have a festival

similar to the
Woodstock festival.

This is the crowd
at Avándaro Festival.

The most important festival in
Mexico in rock 'n' roll history.

They were expecting
10,000 people.

But 500,000 arrived.

They were very difficult years
for young people.

If they saw you with long hair
and certain clothes,

they would arrest you and
you could spend time in jail.

We protested with music.

Our instruments were our weapons
to tell the youth

that the government was bad.

Towards the end of '71,

when the Avándaro Festival
happened,

the government got scared to see
so many people gathered there

and wanted to eradicate
Rock and Roll

from our country forever.

They banned rock music

after the Avándaro Festival
until 1985.

It was a punch in the gut
for all Mexicans.

How can you stop Rock and Roll?
You can't.

Stopping Rock and Roll
is like stopping life.

During the repression
we never thought that

we could one day have the chance

to see them here in our country.

The presence of the 'Rollings'
for us is magical.

It's like a dream come true.

Having The Rolling Stones
here in Mexico

has created euphoria.

The Rolling Stones were part of
the revolution

that took place here in Mexico,

in the freedom of expression.

The guitar is very important
in Mexico.

Here when a baby is born,
they send mariachis...

out of joy.

When you die, the farewell is
with mariachi music too,

with guitar.

We're born with music.
We die with music.

Mexico is a big guitar country.

If there's an instrument
in the house, it'll be a guitar.

As a kid, it was the instrument
that just caught my eye.

I don't know if it was talking
to me or I was talking to it.

Anyway, we got together
like that.

I felt I'd been given a very
complicated puzzle to solve.

And if I could just figure a
little bit more out every time,

then there was another bit
of the puzzle solved.

I'm still doing it, it still
mystifies me, the damn thing.

Not many people get a chance
to do this

with thousands of people
as a job.

Olé Olé Olé, Richards.

Olé Olé Olé...

When you're exchanging
that much appreciation

to each other,
it's profoundly touching.

Olé Olé Olé, Richards.

Olé Olé Olé, Richards.

It's not something
you can ever get used to.

It always touches
you when it happens.

I don't think anybody
could remain impervious to that.

You realise
that you've gone to heaven.

Thank you.

I was feeling pretty good.

The Cubans were doing
everything they promised.

'Opie' has production covered,
so I'm starting to think,

"Maybe we've got this.
Maybe it's gonna work."

And then out of the blue,

the Pope decides to pick a fight
with The Rolling Stones.

Woke up with some frantic calls

from my counterparts
in the government here.

There is now concern
about the concert

taking place on March 25th
because it's Good Friday.

And this is of course
after we had to reschedule

the original date of March 20th
because of the Obama visit.

And I just, about lost it
at that point.

It's just ridiculous.
It truly is ridiculous.

The Pope's got his own agenda.

For him to object
what day we gonna play,

it's a bit cheeky
as far as I'm concerned.

He's not my manager.

And we went,
"No. We're not moving."

Joyce wrote this very strong,
impassioned letter

to the Cuban government saying
why we're not moving

and shouldn't have to move.
And they bought it.

So, we're back on.

This is a new day.

This is a new day.

Even as Cubans prepare for the
arrival of The Rolling Stones,

we're moving ahead with more
events and exchanges

that bring Cubans and Americans
together as well.

The other day the President of
the United States came to Cuba.

Countries have to exchange
things with each other

in musical terms
but political too.

Music has no borders.

If Cuba has no music,
it has no life.

My name is Franco Pablanco.

I've been a mechanic
for 23 years.

My passion is fixing old cars.

I spend all my time here,

with American cars.

The embargo affects us
in all ways.

Parts don't come in,
nothing comes in.

They don't exist, so we have to
do things ourselves.

And it gets done. By hand.

Fixing them, passing them down
to our children, cousins.

Changes are happening.

Because for 80 years the
President of the United States

has not come to Cuba.

And he came.

The future is out there.

I have been doing this
job for many years.

I like it because people come
to me with a broken instrument

and I am able to save it
for them.

If there weren't people taking
care of these things,

there wouldn't be
any instruments,

there would be no music.

I have lived all my life
with the embargo.

There started to be a shortage
of everything

and things stopped coming
into our country.

The musicians themselves
had nowhere

to buy their instruments.

You have to keep improvising.

There are no strings.

You can walk around
the stores in Havana

and you won't find any.

There are even people
who make the strings.

But for the metal parts
they use wire coil

taken from burned out engines.

I think that a new Cuba
is being born

and I am convinced
we will move forward

and new generations will be able
to enjoy something much better.

Everything you see, we brought.

The stage, the towers,
the video.

We brought a lot of heavy
equipment and a lot of crew,

just so the technical side could
all work and we could work

with everybody locally
to make it right.

There has absolutely
come a moment

when now it's one group
and it's not two groups.

And the Cubans are helping us
with anything that they can

and our team have learnt
their sensibilities,

what's important to them,
what's not.

As is already well known,

on this Friday, March 25th,
at 8:30pm,

the concert of the famous
British band

The Rolling Stones will be held

in the vicinity
of Havana Sports Complex

We're on the plane to Havana

and we're gonna land
in about 15 minutes.

It's very gratifying
cos lots of people

have worked very hard
to make it happen.

We've trolled this world
continuously for 50 odd years

and to break into somewhere new

is an exciting chapter
for us all.

It's a pleasure to be in Cuba
for the very first time.

Time changes everything and
we're very pleased to be here.

I'm sure it's gonna be
a great show.

Tomorrow, I think it is.
God, is it really tomorrow?

Yeah.

We're full of anticipation
and excitement.

It's gonna be
a real adventure of discovery.

The Rolling Stones,
when I was young,

if you listened to that music
you would be arrested.

And if you had it recorded,
they came,

took everything from you
and you were taken to prison.

At least we will have the
freedom to listen to them now.

This is something many
generations including mine

had stolen by this government.
They stole our youth.

So today you can imagine,
after all these years,

being able to experience this
myself is something really big

to every Cuban who loves rock.

When I first heard a record by
The Rolling Stones in 1965,

that was truly underground music
in Cuba.

I personally went to jail for
listening to a song in a park.

To be able to go up to
the police and say

'Look, today I've been able to
listen to this music freely'.

After 50 years this is like
an overdose of freedom.

Obama and The Rolling Stones
all in one week!

The chains are broken,
censorship has fallen,

everything went down.

Viva Cuba!

Rock and Roll, Cuba is free
because of us!

Viva Los Rollings!

To have opportunities
to play in new countries,

and in the Cuba case,
to play in a country

where there's never been
a rock concert,

it's great to push those
boundaries for us.

When you play a place that
you've never played before,

you never know
how it's gonna work

and you don't know how
the crowd's gonna behave.

People never believed
that this could happen.

For the Cuban people,
this represents hope.

This represents new ideas,
fresh ideas.

And you can't help but feel that
and be part of it

and it's amazing.

Did you see those kids
running in?

It was so exciting.

Everyone is so pumped for this.
It's a historic event.

I think this is a bit surreal

standing here,
looking at this sight.

Because in a way, you can't
believe we finally got here.

And I do feel very emotional.
I do.

Oh, don't have me crying
on camera. That's awful.

Olé Olé Olé...

Olé Olé Olé...

I had a good look at the crowd.

- You have?
- Yeah.

- Is it good?
- Pretty good.

It's very
'festively', as you'd expect.

Who knows what it's like?

Where we're going?

- Hey, 'Opie'.
- Hey, 'Opie'.

Thanks for everything, mate.

Fantastic job.
Thank you so much.

Here we go.

- Congratulations.
- We haven't done it yet.

- See you back in England.
- Yeah. See you next week.

They're gonna see something
they've never seen before.

And they're gonna hear something
they've never heard before.

That's the name of the game.

Ladies and gentlemen

The Rolling Stones!

Yeah!

Come on.

For some people that have
lived through the bans

and everything, it's a very
emotional moment.

I talked to a lot of the older
people that were going

and they were quite
emotional about this.

Much more than I thought
they were gonna be.

I mean, I'm always like,

"Yeah, it's just The Rolling
Stones playing Cuba, so what?"

But I realised to them
it's something

that they never, ever thought
was gonna happen.

Thank you!

We know that years ago

it was difficult to listen
to our music in Cuba.

I think that things
are finally changing.

Are you ready?

Come on, Keith.

Come on.

Hey!

Thank you very much, everybody!

Thank you so much, Cuba!

I think
it's a very poignant thing,

that after you've been on
the road for like 50 plus years

that you can still get together
and have a goal and achieve it.

There is something there
that sticks us together.

It's nothing you ever
catch us talking about.

I feel that I'm incredibly
blessed, really.

It's a sort of camaraderie,
isn't it?

You don't even say anything and
you know what Ronnie means.

You know what
Keith's laughing at.

Or Mick, who won't even
say anything.

It's as deep as that, I suppose.

When the tour's finished,

we all go our separate ways

but there's a magic
that we all share.

We have these amazing detailed
memories of things

that have happened in the past,
that we've experienced together.

They're so precious.

That is the glue, the wobbly
stuff that keeps us together.