Original subtitles

[dog barking]

[TV in background]

[speaks Portuguese]

[drums plays]

[music - "Sympathy For The Devil"]

[crowd cheering]

♪ Ah yeah ♪

♪ Get on up ♪

♪ Ooh-ooh ♪

♪ Ooh-ooh ♪

♪ Ooh-ooh, Ooh-ooh, Ooh-ooh, Ooh-ooh, Ooh-ooh ♪

♪ Ooh-ooh ♪

♪ Ooh-ooh ♪

♪ Ooh-ooh ♪

♪ Ooh-ooh ♪

♪ Ooh-ooh ♪

♪ Ooh-ooh ♪

♪ Ooh-ooh ♪

♪ Ooh-ooh ♪

♪ Ooh-ooh ♪

♪ Ooh-ooh ♪

♪ Ooh-ooh ♪

♪ Ooh-ooh ♪

♪ Ooh-ooh ♪

♪ Ooh-ooh ♪

♪ Pleased to meet you ♪

♪ Hope you guess my name ♪

[Mick Jagger] This is the last day of our rehearsal.

We've been rehearsing for two weeks in this space.

Working what numbers we're gonna do...

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

[Keith Richards] Rehearsal's a big word for bonding.

[chuckles]

[Charlie Watts] When you sit and play the first song,

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

[Ronnie Wood] We haven't seen each other for a while and it's fresh,

like reuniting and lots of it comes magically flooding back.

[Keith] Kind of feeling when you rehearse the last couple of days...

all it really needs is an audience.

-Yeah. -You know.

[music - "The Last Time"]

[Mick] 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 there is really hard,

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

♪ Oh, no ♪

[Keith] To see the world from a Rolling Stone 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?

[man on radio] Stand by. Stand by, everybody.

[Ronnie] 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 that you can run across.

[man on radio] House lights go, please. House lights go.

[compere] Ladies and gentlemen, The Rolling Stones!

[cheering]

[music - "Start Me Up"]

[cheering]

♪ Yeah, if you start me up ♪

♪ If you start me up I'll never stop ♪

♪ Start me up ♪

♪ Start me up I'll never stop ♪

♪ Running hot ♪

♪ Ticking, I will blow my top ♪

♪ Blow my top ♪

♪ Start me up ♪

♪ Start me up I'll never stop ♪

♪ Never stop ♪

♪ Never, never, never stop ♪

♪ You made a grown man cry ♪

♪ You made a grown man cry ♪

♪ You made a grown man cry ♪

♪ Spread out the oil ♪

♪ The gasoline ♪

♪ I wanna smooth ride ♪

♪ In a mean, mean machine ♪

♪ Start it up ♪

♪ Start me up ♪

♪ Kick on the starter, give it all you got, all you got ♪

♪ I can't compete ♪

♪ With the riders in the other heats ♪

♪ If you rough it up ♪

♪ If you like it you can slide it up ♪

♪ Start me up ♪

♪ Start me up I'll never stop ♪

♪ Never stop, never, never, never stop ♪

♪ You make a grown man cry ♪

♪ Make a grown man cry ♪

♪ You make a grown man cry ♪

♪ My eyes dilate ♪

♪ My lips go green ♪

♪ I wanna smooth ride ♪

♪ In a mean, mean machine ♪

[crowd cheering]

[in Portuguese] Present arms!

[Mick] 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.

[Keith] In several countries, rock 'n' roll was banned.

The minute you ban something,

you're gonna create a movement around it.

You know, anything that smacks of rebellion,

they sort of take to heart.

♪ Start me up ♪

[cheering]

Thank you!

[Mick] 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." You know, "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 preface 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.

[speakerphone] Adam, I know they're saying all 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.

[music - "Ventilator Blues"]

[Keith] Argentina is the first South American country

The Stones played and this is where

we really sort of got in contact with this continent.

[Mick] During the military dictatorship

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

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

called the "Rolingas", dedicated to The Stones.

♪ When your spine is cracking ♪

♪ And your hands they shake ♪

♪ Heart is bursting ♪

♪ And your butt's gonna break ♪

[woman in Spanish] 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.

[in Spanish] I can't really explain it, it flows, runs through your veins.

[man in Spanish] This is our way of life, it won't go out of fashion.

[in Spanish] His name is Jagger.

He is called Jagger after his majesty.

The person who taught us how to be.

[woman in Spanish] 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!

-[in English] I love it! -I love it!

[sirens]

[crowd cheering]

[Charlie] 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.

[man in Spanish] 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.

[car radio plays The Rolling Stones]

[music - "Too Tight"]

[in Spanish] I've been here almost three days. Incredible. I slept here yesterday.

♪ Baby, don't get too tight with me ♪

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

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

[laughs]

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.

[crowd] Richards!

[screaming and cheering]

[he chuckles]

[Keith] The wake-up call is, "Richards, Richards, Olé, Olé, Olé."

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

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

[music - "Tumbling Dice"]

♪ Mmmm, yeah ♪

[in Spanish] Time to eat!

[applause and whistling]

[man in Spanish] We are at the '40 x 5 Tribute' 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.

♪ And, oh, oh, oh! Call me the tumblin' dice ♪

♪ You got to roll me ♪

♪ You got to roll me ♪

♪ Yeah ♪

♪ You got to roll me ♪

[crowd cheering]

♪ You got to roll me ♪

♪ You got to roll me ♪

♪ You got to roll me ♪

♪ You got to roll me ♪

♪ Ah, yeah ♪

♪ You got to roll me ♪

♪ Baby ♪

[Charlie] It is like a circus.

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

You know, we built the ring and the tent and without it,

we'd have eight people sitting there.

[Keith] After 50 years, I'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.

[sirens]

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

We can't believe it.

It's very emotional.

[guitar plays]

[music - "Bitch"]

[cheering and whistling]

[crowd chanting]

♪ Oh, no, not my baby ♪

Look at the lights.

Look at the lights.

[bass guitar plays a riff]

[cheering and applause]

[music - "Out Of Control"]

♪ Uh-huh-huh ♪

♪ Uh-huh-huh ♪

♪ Uh-huh-huh huh ♪

Come on!

♪ Uh-huh-huh ♪

♪ Uh-huh-huh ♪

♪ Uh-huh-huh huh ♪

Come on!

♪ Uh-huh-huh ♪

♪ Uh-huh-huh ♪

♪ Uh-huh-huh huh ♪

One more time!

♪ Uh-huh-huh ♪

♪ Uh-huh-huh ♪

♪ Uh-huh-huh huh ♪

♪ I was out in the city ♪

♪ I was out in the rain ♪

♪ I was feeling down-hearted ♪

♪ I was drinking again ♪

♪ Uh-huh-huh ♪

♪ Uh-huh-huh ♪

♪ Uh-huh-huh huh ♪

Do it one more time, baby.

♪ Uh-huh-huh ♪

♪ Uh-huh-huh ♪

♪ Uh-huh-huh huh ♪

♪ I was standing by the bridges ♪

♪ Where the dark water flows ♪

♪ I was talking to a stranger ♪

♪ About time a long ago ♪

♪ I was young ♪

♪ I was foolish ♪

♪ I was angry ♪

♪ I was vain ♪

♪ I was charming ♪

♪ I was lucky ♪

♪ Tell me how have I changed ♪

♪ Now I'm out (Now I'm out) ♪

♪ Yes, I'm out ♪

♪ Of control (Of control) ♪

♪ Yes, I'm out (Now I'm out) ♪

♪ Oh, I'm out (Yes, out) ♪

♪ Of control (Of control) ♪

♪ Lord, help me now ♪

[Charlie] 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.

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

I mean, 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.

♪ Now I'm out (Now I'm out) ♪

♪ Now I'm out (Yes, I am) ♪

♪ Of control (Of control) ♪

♪ Now I'm out (Now I'm out) ♪

♪ Now I'm out (Yes, I am) ♪

♪ Of control (Of control) ♪

[cheering]

[Mick in Spanish] Ten years is far too long.

Finally, we meet again.

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

into their incredible warp and weft.

[laughs]

And we're part of it.

And it makes me very, very... Well, quite humble, actually.

[music playing in the distance]

[man in Spanish] 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.

[sings in Spanish]

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.

[guitarist in Spanish] 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.

[Mick] Come in.

-Hey, guys. -Hi.

-How you doing? -Hey, Mick. How are you?

-Hola. -Hola.

-Cómo estás? -Muy bien.

-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. Starting 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 then, uh, when we did the first show,

with all the audience going... 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.

[crowd chanting]

[crowd singing]

[music - "Paint It Black"]

♪ I see a red door and I want to paint it black ♪

♪ No colours any more ♪

♪ I want them to turn black ♪

♪ I see the girls walk by ♪

♪ Dressed in their summer clothes ♪

♪ I have to turn my head until my darkness goes ♪

♪ Oh oh oh oh oh oh oh oh oh oh oh oh ♪

♪ Oh oh oh oh oh oh oh oh oh oh oh oh ♪

♪ Oh oh oh oh oh oh oh oh oh oh oh oh ♪

♪ Oh oh oh oh oh oh oh oh oh oh oh oh ♪

[woman singing in Spanish]

[blues music]

[Mick] 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 just do on your work day

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

[woman singing in Spanish]

[Mick] 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.

But 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 in the backs of vans and things,

and escaping, people chasing you for autographs and things.

But that's part of your gig, you know.

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, you know, still with me now.

[Adam Wilkes] 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 do they logistically pull it off.

You know, 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 what anybody has ever done.

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

[Jane Rose] 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.

[Joyce] 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.

[Paul Gongaware] 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, you know,

"maintain a positive attitude, abolish all fear".

I'm maintaining a positive attitude

but I am scared to death.

[music - "Miss You"]

[Mick] On this tour, we visit a few places we've never been before.

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

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

♪ I've been holding out so long ♪

♪ I've been sleeping all alone ♪

♪ Lord I miss you ♪

♪ I've been hanging on the phone ♪

♪ I've been sleeping all alone ♪

♪ I will kiss you ♪

♪ Ooh ooh ooh ooh ooh-ooh-ooh ♪

♪ Ooh ooh ooh ooh ooh-ooh-ooh ♪

♪ Ooh ooh ooh-ooh ♪

♪ Ooh ooh ooh ooh ooh-ooh-ooh ♪

[Mick] 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 a little way

and we met this family of drummers.

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

♪ I can't get no ♪

♪ Satisfaction ♪

♪ I can't get no ♪

♪ Satisfaction ♪

[Mick] Travelling can make you very creative.

You know, it's just having that down-time awareness.

You never quite know what's gonna turn up,

but things happen.

[Keith] I had this one stoned night in '68.

Mick and I and probably Marianne, and he said,

"Let's go to South America." You know. [chuckles]

[Mick] 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 Mountains and so on.

[Keith] By the time we got to Brazil,

it was a bit of... 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.

[Mick] 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 Sao 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 long while.

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

the screams when Marianne and Anita used the toilet.

What happened?

And those black blind frogs had come flushing in! [laughs]

Yes!

And I also caught the cook and the handyman

in the kitchen going like... [sniggers]

-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? -MTV.

And sitting around and suddenly...

Hank Williams came to mind.

I mean, at least... 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 river there, a beautiful river and I remember sitting by the river.

That was the first time I remember it actually 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. -Cathy James.

-Yeah, that's right. -Cathy.

-Who was a great friend of the whole band. -Yes.

-[laughs] -And her friend Candy.

Yeah. Well, Candy, I never got there. [chuckles]

[plays guitar intro]

[music - "Honky Tonk Women"]

♪ Yeah, I was sitting in a bar ♪

♪ Tipping that jar in Jackson ♪

♪ And on the street ♪

♪ The summer sun, it shines ♪

♪ There's many a bar room queen ♪

♪ I met in Jackson ♪

♪ But I just can't seem to drink you off my mind ♪

♪ It's the honky tonk women ♪

♪ They gimme, gimme, gimme the honky tonk blues ♪

♪ It's the honky tonk women ♪

♪ Gimme, gimme, gimme the honky tonk blues ♪

♪ I laid a divorcee in New York City ♪

♪ I had to put up some kind of a fight ♪

♪ She had to sling me right across her shoulder ♪

♪ She blew my nose and then she blew my mind ♪

♪ It's the honky tonk women ♪

♪ Yeah, they gimme, gimme, gimme the honky tonk blues ♪

♪ Yeah, it's the honky tonk women ♪

♪ They gimme, gimme, gimme the honky tonk blues ♪

That's how it grows.

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

♪ Honky tonk, honky tonk women ♪

♪ Gimme, gimme, gimme the honky tonk blues ♪

[Mick] You always have this special chemistry with certain people

and I definitely have it with Keith.

I enjoy being in the studio with him

and, of course, being on stage we also have our special moments together.

[Keith] 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've been given

this amazing gift between us.

Yeah!

[cheering]

[Mick] Sao Paulo is famous for street art of every kind.

It's been sort of encouraged a bit.

[Ronnie] 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.

[laughing]

[in Portuguese] The entire neighbourhood has been taken over by this art movement.

This has become a centre for young people

who work with graffiti.

[in English] Come in to my studio. My house.

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

[laughing]

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. -[laughing]

[Ronnie] 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, you know.

I never saw any other life.

I had to make it work the way it is.

No other life.

[thunder]

[Keith] Shut up, I'm working! [laughs]

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... You know, 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.

[laughs]

[crowd chanting]

[music - "Sympathy For The Devil"]

♪ Ooh-ooh ♪

♪ Ooh-ooh ♪

♪ Ooh-ooh ♪

♪ Ooh-ooh ♪

♪ Please allow me to introduce myself ♪

♪ I'm a man of wealth and taste ♪

♪ I've been around for many a long year ♪

♪ Stole many a man's soul to waste ♪

♪ And I was 'round when Jesus Christ ♪

♪ Had his moment of doubt and pain ♪

♪ Made damn sure that Pilate ♪

♪ Washed his hands and sealed his fate ♪

♪ Pleased to meet you ♪

♪ Hope you guess my name ♪

♪ But what's puzzling you is just the nature of my game ♪

♪ I stuck around St Petersburg ♪

♪ When I saw it was a time for a change ♪

♪ Killed the Tsar and his ministers ♪

♪ Anastasia screamed in vain ♪

♪ I rode a tank ♪

♪ Held a general's rank ♪

♪ When the blitzkrieg raged ♪

♪ And the bodies stank ♪

♪ Pleased to meet you ♪

♪ Hope you guess my name ♪

♪ But what's puzzling you ♪

♪ Is just the nature of my game ♪

Yeah, come on.

[Charlie] First time I heard "Sympathy For The Devil"

was in a house I lived in in Sussex.

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

[Keith] 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.

[Mick] 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.

[playing samba]

[in Portuguese] 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.

[crowd cheering]

[Adam] 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.

[Joyce Smyth on the phone] They are now formally requesting

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

How long 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!

[they both laugh]

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. -Bye.

[guitar music]

[Mick] You've gotta be ready in life for unpredictable things to happen.

You have to be ready for anything.

[Ronnie] What I love about in Brazil was a fantastic feeling

of just being out among the elements.

♪ Oh whoa ♪

[Keith] 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.

[music plays]

♪ Whoa whoa ♪

♪ Lai lai lai lai-lai-lai ♪

[Spanish guitar music]

[Keith] Lima is enormous now compared to when,

you know, when I was here in 1968. [chuckles]

It's like every other city in the world. They burn.

Up they go, up they go, like tombstones. [chuckles]

You know, 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.

[slide guitar]

[Ronnie] The next steps on this tour are stepping

through the known, into the unknown.

[Peruvian music]

[man in Spanish] 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.

[drumming]

[chanting]

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

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

[Ronnie] Often we'd just have on the spur of the moment entertainment.

And to have that little family backstage was a delight.

[drumming and chanting]

[Keith] Great drumming.

There was this vibrancy of those dancers.

I felt compelled to join in myself.

You know. [chuckles]

[Ronnie] I think one of the great gifts for a long life

is that you're always learning and always discovering.

[music stops, applause]

[man speaks Spanish]

[man corrects Mick's Spanish]

[Mick] 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...

[Mick] 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, this is... It's all good material.

[in Spanish] The food here is great.

[crowd cheering]

The best in South America.

[cheering]

My daughter brought her guinea pig.

[cheering]

And now we can't find it!

[laughter]

[concert music plays]

♪ And don't do that ♪

♪ And don't do that ♪

♪ And don't do that ♪

[music - "Midnight Rambler"]

♪ Mm-hm-mm ♪

♪ Mm-hm-mm ♪

♪ Mm-hm-mm ♪

♪ Mm-hm-mm ♪

♪ Mm-hm-mm ♪

♪ Mm-hm-mm ♪

♪ Mm-hm-mm ♪

♪ Mm-hm-mm ♪

♪ Mm-hm-hm-mm ♪

♪ Well, I ain't talking 'bout the Boston ♪

♪ Well, now I heard ♪

♪ It's not one of those ♪

♪ Well, I'm just talking 'bout the Midnight ♪

♪ Yeah, the one you never seen before ♪

♪ He's called the hit-and-run ♪

♪ Raper in anger ♪

♪ Or just a knife-sharpened tippie-toe ♪

♪ Or just the shoot 'em dead brainbell jangler ♪

♪ Everybody got to go ♪

♪ Yeah ♪

[cheering]

♪ Yeah ♪

[cheering]

[music continues]

[police siren]

♪ And it hurts ♪

[Mick] Thank you!

[Charlie] 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.

♪ Dance ♪

♪ Dancing ♪

♪ Let's dance ♪

♪ Dancing ♪

[Charlie] 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.

♪ Dancing ♪

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.

[Keith] 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.

[Mick] Well, we finally got a booked date

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

There'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, chaps?

Yeah, yeah.

[Opie] Our 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.

[bell rings]

[upbeat music]

[Keith] 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.

[in Spanish] 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 'n' 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.

[in Spanish] 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.

[Alex in Spanish] 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 'n' roll

from our country forever.

[Armando in Spanish] They banned rock music

after the Avándaro Festival until 1985.

[man in Spanish] It was a punch in the gut for all Mexicans.

How can you stop rock 'n' roll? You can't.

Stopping rock 'n' roll is like stopping life.

[Alex in Spanish] 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.

[cheering]

[music - "Street Fighting Man"]

♪ Everywhere I hear the sound of ♪

♪ Marching, charging feet, boy ♪

♪ 'Cause summer's here and the time is right ♪

♪ For fighting in the street, boy ♪

♪ Well, what can a poor boy do ♪

♪ Except to sing for a rock 'n' roll band ♪

♪ 'Cause in sleepy London town ♪

♪ There's just no place for a street fighting man ♪

♪ No ♪

[man in Spanish] 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.

[mariachi music]

[Keith] 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.

♪ You've got my heart ♪

♪ You got that silver ♪

♪ You've got that gold ♪

♪ You've gone them diamonds ♪

♪ From the mines ♪

♪ That's all right ♪

♪ We'll find some time ♪

[Keith] 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,

uh, then there was another bit of the puzzle solved.

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

[crowd cheering]

Not many people get a chance to do this

with thousands of people, you know, as a job.

[crowd chanting]

[crowd chanting] Olé Olé Olé, Richards.

[crowd] Olé Olé Olé...

[Keith] When you're exchanging that much appreciation

to each other, it's profoundly touching.

[crowd chanting] Olé Olé Olé, Richards.

[crowd chanting] Olé Olé Olé, Richards, Richards!

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

It always touches you when it happens. It's, uh...

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

You realise that you've gone to heaven.

[music - "Wild Horses"]

♪ I watched you suffer ♪

♪ A dull, aching pain ♪

♪ And now you decided ♪

♪ To show me the same ♪

♪ No sweeping exits ♪

♪ Or offstage lines ♪

♪ Can make me feel bitter ♪

♪ Or treat you unkind, yeah ♪

♪ Cos wild horses ♪

♪ Couldn't drag me away ♪

♪ Cos wild, wild horses ♪

♪ We'll ride them some day ♪

♪ Cos wild horses ♪

♪ Couldn't drag me away ♪

♪ Cos wild, wild horses ♪

♪ We'll ride them some day ♪

[cheering]

Thank you.

[Paul] I was feeling pretty good.

The Cubans were doing everything they promised.

Opie, I know, has production covered.

So I was starting to think, "Maybe we've got this. Maybe it's actually 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 a 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, you know, about lost it at that point.

It's just ridiculous. It truly is ridiculous.

[Keith] The Pope's got his own agenda.

For him to object what day we gonna play,

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

He's not my manager.

[Paul] 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.

[President Obama] This is a new day.

[speaks Spanish]

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.

[drumming]

[man in Spanish] 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.

[whistling]

[man in Spanish] 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.

[mambo music]

[dog barking in distance]

[woman in Spanish] 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.

[music - "Gimme Shelter"]

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.

[Patrick Woodroffe] 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 for them, what's not.

♪ War, children ♪

♪ It's just a shot away ♪

♪ It's just a shot away ♪

♪ War, children... ♪

[speaks Spanish]

[woman in Spanish] 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.

[Mick] 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.

[Keith] We've trolled this world continuously for 50 odd years

and to break into somewhere new

is an exciting chapter for us all.

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

[in English] Time changes everything and we're very pleased to be here.

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

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

[mambo music]

[Ronnie] We're full of anticipation and excitement.

It's gonna be a real adventure of discovery.

[mambo music]

[mambo music]

[suspenseful music]

[man in Spanish] 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.

[man in Spanish] 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 'n' roll, Cuba is free because of us!

[music - "Jumpin' Jack Flash"]

Viva Los Rollings!

♪ I was born in a cross-fire hurricane ♪

♪ And I howled at my ma in the driving rain ♪

♪ But it's all right now, in fact, it's a gas ♪

♪ But it's all right ♪

♪ I'm Jumpin' Jack Flash, It's a gas, gas, gas ♪

[Mick] 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.

[Adam] 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.

[Joyce] 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, you'll have me crying on camera now! That's awful.

[crowd chanting] Olé Olé Olé...

[crowd] Olé Olé Olé...

I had a good look at the crowd.

-You have? -Yeah.

-Is it good? -Pretty good.

It's very "festivally", as you'd expect.

Who knows what it's like?

Where we going?

[crowd cheering]

[loud boom]

[crowd cheering]

-Hey, Opie. -Hey, Opie.

Thanks for everything, mate.

Fantastic job. Thank you so much.

[music plays]

[Paul] Here we go.

Come on, guys. Great one.

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

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

Love it!

[indistinct chatter]

Guys, come on!

[crowd cheering]

[samba music]

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

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

And, uh, that's the name of the game, you know.

[compere] Ladies and gentlemen...

[crowd shouting]

..The Rolling Stones!

[crowd cheering]

[music - "It's Only Rock 'n' Roll"]

♪ If I could stick that deep in my heart ♪

♪ Spill it all over the stage ♪

♪ Would it satisfy your cheating heart ♪

♪ Would it help to ease my pain ♪

♪ Ease the pain ♪

♪ If I could win ya, if I could sing ya ♪

♪ A love song so divine ♪

♪ Would it be enough for your cheating heart ♪

♪ I would have been alone and cried ♪

♪ Would I cry ♪

♪ I said, I know ♪

♪ It's only rock 'n' roll but I like it ♪

♪ Well, I know ♪

♪ It's only rock 'n' roll but I like it ♪

♪ Like it, yes, I do ♪

♪ Oh, well, I like it ♪

♪ Yes, I like it ♪

♪ I like it ♪

♪ Can't you see ♪

♪ This old boy is getting lonely ♪

♪ Do you think that you're the only girls around? ♪

♪ I bet you think that you're the only women in town ♪

♪ Come on, baby ♪

Yeah!

♪ I said I know it's only rock 'n roll but I like it ♪

♪ I know it's only rock 'n roll but I like it ♪

♪ I know it's only rock 'n roll but I like it ♪

♪ I know it's only rock 'n roll but I like it ♪

♪ Like it, yes, I do ♪

♪ But I like it ♪

♪ I like it ♪

♪ I like it ♪

♪ I like it ♪

♪ Yeah, I like it ♪

♪ (It's only rock 'n roll) But I like it ♪

♪ (It's only rock 'n roll) But I like it ♪

♪ (It's only rock 'n roll) But I like it ♪

♪ (It's only rock 'n roll) ♪

Come on.

♪ (It's only rock 'n roll) ♪

[Mick] 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.

♪ But I know it's only rock 'n roll but I like it ♪

♪ It's only rock 'n' roll ♪

♪ I know it's only rock 'n roll but I like it ♪

♪ Like it, yes, I do ♪

[cheering]

Thank you!

[in Spanish] We know that years ago

it was difficult to listen to our music in Cuba.

I think that things are finally changing.

[cheering]

Are you ready?

[music - "I Can't Get No Satisfaction"]

♪ I can't get no satisfaction ♪

♪ I can't get no satisfaction ♪

♪ Cos I try and I try and I try and I try ♪

♪ I can't get no ♪

♪ I can't get no ♪

♪ When I'm drivin' in my car ♪

♪ That man comes on the radio ♪

♪ And he's tellin' me more and more ♪

♪ Useless information ♪

♪ Supposed to fire my imagination ♪

♪ I can't get no ♪

♪ No, no, no ♪

♪ Hey, hey, hey ♪

♪ Cos that's what I say ♪

♪ I can't get no satisfaction ♪

♪ I can't get no satisfaction ♪

♪ Cos I try and I try and I try and I try ♪

♪ I can't get no ♪

♪ I can't get no ♪

♪ When I'm watchin' my TV ♪

♪ And that man comes on to tell me ♪

♪ How white my shirts can be ♪

♪ But he can't be a man 'cause he does not smoke ♪

♪ The same cigarettes as me ♪

♪ I can't get no ♪

♪ No, no, no ♪

♪ Hey, hey, hey ♪

♪ That's what I say ♪

♪ I can't get no satisfaction ♪

♪ I can't get no girl reaction ♪

♪ Cos I try and I try and I try and I try, try, try ♪

♪ I can't get no ♪

♪ I can't get no ♪

♪ When I'm ridin' round the world ♪

♪ Doin' this and signing that ♪

♪ Tryin' to fix up some girl ♪

♪ Who tells me baby better come back later next week ♪

♪ Cause you see I'm on a losing streak ♪

♪ I can't get no ♪

♪ No, no, no ♪

♪ Hey, hey, hey ♪

♪ That's what I say ♪

Come on, Keith.

Come on.

♪ Hey, satisfaction, baby (Satisfaction, baby) ♪

♪ I'm gonna get me some satisfaction ♪

♪ Gotta give me some (Satisfaction) ♪

♪ Gotta, gotta, gotta, gotta (Satisfaction) ♪

♪ Gotta, gotta, gotta (Satisfaction) ♪

♪ (Satisfaction) ♪

♪ (Satisfaction) ♪

♪ And I say ♪

♪ Hey! Hey! Hey! ♪

♪ Hey! Hey! Hey! ♪

♪ Hey, hey, hey, hey, hey, hey, hey, hey! ♪

♪ Hey, hey, hey, hey, hey, hey, hey, hey! ♪

♪ Hey, hey, hey, hey, hey, hey, hey, hey! ♪

♪ Hey, hey, hey, hey, hey, hey, hey, hey! ♪

♪ Hey, hey, hey, hey Satisfaction ♪

Hey!

♪ Satisfaction, baby ♪

♪ Satisfaction (Satisfaction) ♪

♪ Satisfaction (Satisfaction) ♪

♪ Satisfaction (Satisfaction) ♪

♪ Satisfaction (Satisfaction) ♪

Thank you very much, everybody!

Muchas gracias, Cuba!

[cheering]

[cheering]

[Mick] 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 actually have a goal and achieve it.

[Keith] There is something there that sticks us together.

It's nothing you'd ever catch us talking about.

I feel that I'm incredibly blessed, really.

[Charlie] 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.

[Ronnie] 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.

[music - "Let It Loose"]

Subtitle translation by Terry Ardley