Return to Transcripts main page

CNN'S AMANPOUR

Parkland, Florida Massacre Anniversary; David Hogg, Parkland Shooting Survivor, is Interviewed About Parkland Shooting; Eradicating Parkland Scourge by its Roots; Patricia Oliver, Mother of Parkland Shooting Victim, and Manuel Oliver, Father of Parkland Shooting Victim, are Interviewed About Parkland Shooting; "Parkland: Birth of a Movement;" Dave Cullen, Author, "Parkland: Birth of a Movement, is Interviewed About Parkland Shooting. Aired 1-2p ET

Aired July 8, 2019 - 13:00   ET

THIS IS A RUSH TRANSCRIPT. THIS COPY MAY NOT BE IN ITS FINAL FORM AND MAY BE UPDATED.


(COMMERCIAL BREAK)

[13:00:00] CHRISTIANE AMANPOUR, CHIEF INTERNATIONAL CORRESPONDENT: Hello, everyone, and welcome to "Amanpour." Today, we're looking back at some of

our favorite interviews from this year. So, here's what's coming up.

(BEGIN VIDEO CLIP)

DAVID HOGG, PARKLAND SHOOTING SURVIVOR: We are fighting for our survival as a generation.

(END VIDEO CLIP)

AMANPOUR: A day that shook America. We look back at the first anniversary of the high school massacre in Parkland Florida with the student survivor

turned activist, the parents of one victim and a journalist who followed the students for a year.

Then later in the show, rock icon, Lenny Kravitz, tells our Hari Sreenivasan how his new album came to him in a dream.

Welcome to the program, everyone. I'm Christiane Amanpour in London.

It was a clear day a year ago in Parkland, Florida. In fact, it was Valentine's Day. And surely, thoughts of love and friendship were in the

air. But as classes were wrapping up, a former student arrived at the campus and he was with an AR-15, that's a military style assault rifle, and

he entered and he began firing. And this is the moment the police officers reach one class of terrified students.

(BEGIN VIDEO CLIP)

UNIDENTIFIED MALE: You guys good?

UNIDENTIFIED MALE: We're good.

UNIDENTIFIED MALE: Police, police.

UNIDENTIFIED MALE: Put your phones away. Put your phones away.

(END VIDEO CLIP)

AMANPOUR: When it was over, 17 people lay dead. Among them were Nicholas Dworet, 17, Jaime Guttenberg, 14, and Joaquin Oliver, 17. And in a moment,

I'll speak with Joaquin's parents.

But first, the murders at Marjorie Stoneman Douglas High School had an effect unlike any other mass shooting, spurring survivors into action and

fueling a nationwide movement, from school walkouts to state legislatures and a massive rally in the nation's capital.

And at the center of the movement were two young students, Emma Gonzalez and David Hogg. Here's Hogg the day after the massacre.

(BEGIN VIDEO CLIP)

HOGG: My sister, she's a freshman, and she had two of her best friends die. And that's not acceptable. That is something that we should not let

happen in this country, especially when we're going to school. It's something that we really need to take a look at

(END VIDEO CLIP).

AMANPOUR: David Hogg and, indeed, the entire March For Our Lives Organization are going dark on this anniversary. They say they are

swearing off social media through the weekend as they reflect on the tragedy and on their struggle ahead.

So, I managed to speak with David from Florida yesterday.

David Hogg, welcome to the program.

HOGG: Thank you for having me.

AMANPOUR: I wonder where you will be on this anniversary and what you're thinking? Because clearly there are a lot of survivors, people who are

affected who want to remember and clearly, there are a lot who don't all rather who don't want to be in public, who want to be at home, perhaps

visit the cemetery, just be quiet by themselves. What will you be doing and what do you think the gamut of remembrance will look like?

HOGG: I will be with my sister and I will be just being as close to her as possible and just making sure that I'm there for whatever she needs that

day. She lost four friends a year ago on February 14th and I want to be there for her. And I'm going to be reflecting at the same time at the

effect that all the young people across the United States have had on gun violence prevention in this country.

Over the past year, we have gotten over set over 67 new gun laws passed in over 25 states. In several states, we enacted extremist protection orders

which give people the ability to disarm people like domestic abusers and people that are risk themselves and others through due process. And all

the amazing work that's been done this year because of the advocacy of groups like March For Our Lives, like Moms Demand Action, like Giffords and

like the Brady Campaign.

AMANPOUR: Because you have taken on this massive political social cultural burden, if you like, or struggle, you're only 18, you were 17 when this

happened, I think, have you have the time yourself along with your sister, along with your friends to grieve and to mourn what happened or do you feel

that you've been thrust into a political route so heavily?

HOGG: So, it's interesting that you say that because grieving is supposed to be a natural process of after you lose somebody, but you can't grieve

after an instance like this because you don't lose people to gun violence, people are stolen from us due to gun battle. People don't just happen to

die as a result of old age in this instance, they happened to die as a result of a man or woman with a gun.

So, what I work to do on a daily basis and my way of grieving is by going out there and making sure that no matter whether people hate me or love me,

they realize [13:05:00] that we can't -- the second we start debating these issues and the second we start talking and yelling at each other and not

fighting against the source of evil which is gun violence is a second we lose as Americans because that's when somebody else dies as a result of

preventable gun violence.

As Americans and human beings across the world, we have to realize that we cannot fight against each other when we're trying to solve an issue like

gun violence, we have to fight against gun violence as the source of that evil.

AMANPOUR: And fight together presumably against that evil. But I just want to pick up on what you have just said, "No matter if people love me,

support me or stay hate me, this is what I have to do," just talk about that a little because you have received so much support in your own country

and around the world but you have also received a certain amount of the haters, you know, the people who simply don't want to see you standing up

to gun violence.

What sort of hate if you had to absorb over the last year?

HOGG: Oh, a massive amount. But I don't feed into it because I realize that is not what is going to end gun violence. What's going to end gun

violence is by getting people who hate me and the people who love me to work together with the understanding that even though you may not believe

in new gun laws, even though you may not support us in our efforts, the one thing that I think we can agree on as human beings is that preventable gun

violence is an issue that must be addressed in the United States.

And if you believe in funding mental health care more, that's great, but don't just say that as a politician or as an American, actually go out if

you're a politician and fund mental health care to Federal level, in our schools and in our communities. Go out and actually hold our politicians

accountable in the first place and don't just continue to debate these issues and remain inactive.

AMANPOUR: You have taken activism, grassroots activism, to a whole new level and I want to know how you feel it's going, what you feel you've

achieved, you mentioned the dozens and dozens of gun safety bills and things that have been passed in 26 states or so in the District of Columbia

around the country.

But the activism itself, the movement, the fact that you've put this in the public sphere where it looks like it can't be denied anymore. Just give me

a sense of what you've had to do and how you've done that.

HOGG: We've had to go around -- across the country and make sure that we aren't voting for Democrats or Republicans but we're voting for people that

actually represent us and care about the fact about whether or not we live through another school day, whether or not we're able to live our walk to

school and not be shot on our way to school or in our school.

And what that activism is really look like is probably the thing I'm most proud of is the stories that we don't hear. We don't hear the stories of

other mass shootings that don't happen or other acts of gun violence that don't happen because the laws that we've created prevent them from

happening in the first place.

There have been several instances in plotted school shootings and mass shootings that were stopped by the extremist protection orders that were

enacted in over 13 states. That (INAUDIBLE) need be enacted in every state because they go through due process to disarm people that are risk to

themselves or others like the (INAUDIBLE) in my school was that could have been stopped had we had this law in the first place at our school -- at --

in our state.

AMANPOUR: But who -- have you had to learn what it means to be a protest movement? Are there any great protesters of the past who you or your

friends have taken lessons from or sought guidance from?

HOGG: Of course. There are many protesters that we look through from the past. But one person I always look towards as a mentor of mine and as an

amazing person that's been working for decades in gun violence prevention and never gets enough credit because she's such an amazing woman that has

been working in this is Erica Ford started the New York City Crisis Management System that literally is a system that works through the public

health department not to incarcerate more youth but to interrupt shootings as they're happening and stop them right before they happen. By using

people from the community go out and reduce gun violence.

In one community that they started in, in Jamaica Queens, where there used to be 17 murders in a year before they started, they have had one murder in

the past 17 years. And she continues to be a massive inspiration to me. It's people like Noel who's in charge of my brother's keeper in Houston,

Texas continue to be inspirations to me. It's our fellow activists that we work with like Edna Chavez, Bria Smith, Alex King and others from around

the country that have been working for years in gun violence prevention that have lost siblings, cousins, parents, aunts, uncles and so many others

as a result of gun violence. They continue to be an inspiration to me.

And, of course, there is the amazing people like Martin -- Dr. King who have always been an inspiration to me and I continue to use his principles

of (INAUDIBLE) nonviolence in my everyday life and throughout my protests to make sure that, for example, we are not attacking people that are

perpetrating Eagle (ph) because we understand that those people will always [13:10:00] be there.

As a movement, we have to attack the source of that evil and be united against that source and not wage war or fights on each other but wage war

against the source of that evil. In this instance, that happens to be gun violence.

AMANPOUR: Gun violence and presumably you have to take on the NRA as well and convince them. And I ask you because in the dozens of successes you've

had, in bills and other such things over the last year, the NRA counter touts their own successes, like several states of enacted, again, stand

your ground laws and other such, you know, gun safety measures have been defeated, they're very proud about that.

I see you wearing a gun safety voter t-shirt. What are your political intentions for the upcoming 2020 elections, for instance, on this issue?

HOGG: To make sure that presidential candidates from either side of the political aisle don't see gun violence as a third rail, they see it as the

only rail that they have to address in the first place because the top polling issue with young voters across the country is gun violence, it is

school shooting, it is every day shootings, right.

And what we've been working to do is make sure that we're able to increase youth voter turnout. For example, in Florida, compared 2014, we were able

to nearly double used voter turnout in our state. And there's a reason -- the reason why we don't focus on voting for one party or another or one

individual or another is because we realize that no matter who is in power, if they are elected by the youth, they will have to care about the youth no

matter of their political party.

And even though the NRA says that they've had these small victories, they - - we're an organization that is drastically underfunded compared to the National Rifle Association because we're purely grassroots, right. We

don't fund political campaigns. We fund things to make sure students are getting politically involved and students are able to go out and go and

vote and they have that ability to do that on their campus.

The person that they gave the most money to in American history, Donald Trump, recently banned bomb stocks and the NRA was incredibly silent about

that issue. The NRA has done a horrible job on their part and Congress to pass their own agenda, they haven't gotten concealed carry arrest

(INAUDIBLE) passed and they haven't been able to do an amazing job.

In fact, I oftentimes question to myself if I truly believed in what the NRA believes in, which I don't, but if I did, why would I be an NRA member

because they are truly terrible at their job and they've done a horrible job over the past year.

AMANPOUR: David, I've heard it said that you might yourself consider running for office in 2025 if the conditions demanded it. What would cause

you to run for national office?

HOGG: I think just to make sure that young people understand, first of all, that it is possible to go out and be young person in Congress. And on

top of that, I think if I truly felt that the politicians that we had voted into office weren't taking this as you seriously enough, I along with

thousands of other students that are going to run for political office in the coming years because of all the stuff that they've been facing will run

for political office.

Because I'm not doing this for myself, I'm doing this for -- we're doing this for our generation. Because we realize that if we don't run for

office, if we don't turn out to vote in record numbers, we can be the last generation on this planet.

AMANPOUR: It's really dramatic to hear you say that and it's equally dramatic the effect that you have had and the way you have changed the

playing field and you've changed the dynamic and you've changed the conversation.

You look exhausted. I know that you're very committed and determined. But just personally, tell me how you're feeling and what you remember from that

day.

HOGG: I feel hopeful. I feel hopeful because one thing that always continues to inspire me on a daily basis is something that Manuel Oliver

always says. Manuel lost his son in the shooting at my high school, his name was Joaquin Oliver. And one thing that Manuel always says is that,

"Joaquin is not a victim. Joaquin is an activist."

And one thing that I always look towards is, for example, Robert F. Kennedy's Ripple of Hope Speech where he talks about the ripple of hope

that the young people are able to create around the world and how that one person can make a difference. And I think for the victims at our school

and the people that can't speak anymore, we are the ripple of hope because even though they may no longer be here their ripples throughout our

timeline and our lives continue to last and will continue to amplify those ripples until they turn into waves, until those ripples turn into tsunamis

that change the shoreline that is American politics and actually create a representational politics that cares about whether or not a kid makes it

home from school no matter the ZIP code.

AMANPOUR: David Hogg, thank you so much and we wish you and your fellow activists' good luck.

HOGG: Absolutely. Thank you.

AMANPOUR: And you heard David mention Manuel Oliver and his son, Joaquin. Manuel, and his wife, Patricia, have indeed become an incredible force for

change. They came to America from Venezuela when [13:15:00] their son was three years old and he became a citizen just a year before he was killed.

Manuel and Patricia have made it their life's work to build on the Parkland legacy and to eradicate this scourge by its roots. And they're joining me

now from New York.

Manuel and Patricia, welcome to the program.

PATRICIA OLIVER, MOTHER OF PARKLAND SHOOTING VICTIM: Thank you. Thank you for having us.

MANUEL OLIVER, FATHER OF PARKLAND SHOOTING VICTIM: Thank you for having us here.

AMANPOUR: I just wonder what went through both of your minds as parents when you heard, you know, one of the main activists invoke yourselves and

your son as inspiration for the struggle.

MANUEL OLIVER: We empower each other in terms of movements not David and myself or David and Patricia, but for lives and what we do as Chain the

Ref. We just try to make the other one understands that there is hope and that together we can fix things.

This is an amazing friend. And as long as it the future of this nation in the hands of kids like him, I think we have a great future ahead.

AMANPOUR: It's really extraordinary when you hear, when I hear, your generation putting so much hope into your children's generation to power a

better future.

Patricia, I wonder if you can -- what would you like us, today, to know about what Joaquin? I mean, clearly, as David said and you've said, you

don't want us to think of him as a victim, but what should we know about the boy himself.

PATRICIA OLIVER: Joaquin was a very strong kid. Joaquin -- that's why we said, "Joaquin, rest in power," because that was him, he's power, he's

strength, he's determined. He's very determined.

So, he will be doing whatever is in his hands in order to keep these changes going on because he left it in posters, you can read it on Twitter,

you can read it on essays that he did in -- on school, he came -- he posted it Instagram, so many social media that he used meanwhile he was here. So,

we are just empowering him through his legacy that he left, and that's the kind of kid that you can see.

Your -- his face that you see in that picture that is all over the world, you can see that kind of kid he was. He was an amazing, lovely and sweet

kid.

AMANPOUR: And we are seeing pictures of him with you as well, both of you. And I just wonder, you know, we said the David and the activist, the March

For Your Lives kids, have gone dark for the day and for the next few days. They just want to reflect by themselves. Does it help you today to talk

about your son? I mean, is it something that you want to do?

MANUEL OLIVER: Well, today, the media -- and this is a perfect example of what's happening today, the media wants to hear us, they want to know what

we need to say and we don't want to waste that opportunity to send the right message. Not about how we feel but more about what we're doing and

what we're planning to do.

We are planning to solve this problem, not for Joaquin because it's too late for that. We're planning to solve this problem for David, for Emma

and I'm for every single person that is, today, a possible victim of gun violence.

So, today, February 14th, we are hear in front of a camera that is actually sending this message all around the word, it's time for America to be

judged. The other nations are going to point to us and they're going to say, "Shame on you. You have not been able to solve that easy problem to

solve. And the only reason is that some of your leaders are receiving money from a very powerful gun lobby and an organization called the NRA."

And we say, "No more to that."

That's why we are here today talking to you. We are sad, very sad today, but we also have the attention of the media. We cannot waste one more

minute. It's hard to understand for anyone that lives in England or in any other nation that we could leave this is to do right now being shot by

someone that legally purchase an assault weapon, well, that is actually what happens in here. 40,000 people will lose their lives every single

year until we do something.

AMANPOUR: Manuel, you are an artist and you have labeled your activism "Artivism." Tell me what you are doing, and we do have pictures and we

have all sorts of images, what are doing? How are you using your art to make this point?

MANUEL OLIVER: Well, I've been an artist my whole life. I'm just being the same father. I have a new mission today. I need to keep on doing what

I know, what my knowledge is, my skills and put them together to do what I need to do now as a father, which is protect my son, protect any other kid

that is in the same risk that Joaquin is.

What we're doing today in New York, for example, is we're doing at big activation on 29th Street and 6th Avenue, a very proud corner in [13:20:00]

the City of Manhattan. And we're going to have this art displayed for a month, it shows a very dramatic way of looking at Valentine's Day after

what happened a year ago.

We do use art to send messages because by using art you can impact people, which is a faster way of convincing people. And anyone that has that skill

that -- to communicate to someone, to send the message should go ahead and use it because all kids are in risk here, all people are in the same risk,

but just get involved and be part of the solution. We use art, other people will use other things.

AMANPOUR: Patricia I just want to ask you about some of the some of the letters that are being written and they are being created by a web page

that you both created, all sorts of letters to Congress and comments written in Joaquin's handwriting that you have established a sort of

format.

But also, it's become this massacre part of American culture now and it's talked about on "Late Night," it's talked about even in -- you know, in

standup routines and, you know, some even make offensive jokes about it and you responded to one by Louis C.K., the both of you, with a video that

ended with a recording of your son. And I just want to play that.

(BEGIN VIDEO CLIP)

JOAQUIN OLIVER: Why didn't the skeleton cross the road?

MANUEL OLIVER: I have no idea.

JOAQUIN OLIVER: Because it didn't have the guts.

(END VIDEO CLIP)

AMANPOUR: Patricia, tell me about that? I mean, it must be heartbreaking to see your son there. But tell me about what that piece of video

signifies.

PATRICIA OLIVER: Well, actually, that was a hard video to make. And I say, well, I trust this project as any other that we have been doing

before. And, you know, seeing Joaquin so happy with that smile but at the same time, imagine, that he's using his own image to create an awareness,

to create a change, to create respect because that was made by that person that he was disrespect what is feel of the absence of a kid.

You cannot make a joke out of anything, you know, out of nowhere. That is not allowed any more. You have to respect and we have to put things in

place, that's what is happening also. We are trying to put things in the right place now.

AMANPOUR: Very, very important what you say, using the right words, putting things in their place. I just wonder though whether you reflect on

the fact that you came over from Venezuela years ago, he was three years old, Joaquin, you see what's happening in Venezuela today and yet -- I

mean, you face this terrible carnage and tragedy here in the United States. I just don't know what you even think about the juxtaposition of your two

countries.

MANUEL OLIVER: Let me put it this way, those are sort are two different tragedies. What's going on in Venezuela I could have a whole interview

with you about my country and how hard it's been for all Venezuelans to stay there and try to still live in that place.

However, we have a problem here. We are American citizens and we lost our son here, in America. So, this is our cause right now. And as much as I

get involved in Venezuela and as much as I want my country to be free and leave a real democracy, what is happening here it's not less important.

I mean, we are killing each in here, we are arming this nation because some answers to the problem is to have more guns on more people so that way, we

can protect ourselves. That is what really matters here. Lives are -- while we started talking again, probably three, four or five people already

lost their lives, just while we're having this interview here.

AMANPOUR: Well, look, it's probably true what you say but it's also true that you're making a difference and the kids are making a difference and

this is a special moment. So, we really, really thank you as well as sending you, our continued condolences. Patricia and Manuel Oliver, us

thank you for being with us today.

PATRICIA OLIVER: Thank you for having us.

MANUEL OLIVER: Thank you very much.

AMANPOUR: So, it is a tragic reality that since the Parkland massacre, gunfire continues to kill American children in large numbers. In fact,

around 1,200 children are being killed like this in the past year alone. Again, it was mobilized youngsters across the country who conducted that

research and found those facts, more than 200 [13:25:00] student reporters working with a nonprofit news organization. "The Trace," they found that

more than 80 infants and toddlers were killed.

Dave Cullen has been following the parklands story for the past year and he's written a book, "Parkland Birth of a Movement," and he's joining me

from New York.

Dave Cullen, welcome to the program

DAVE CULLEN, AUTHOR, "PARKLAND: BIRTH OF A MOVEMENT": Hi. Thank you very much for having me.

AMANPOUR: I just want you to reflect on what you've heard from the Oliver family having lost Joaquin and also before that, from David Hogg, they're

all in this together.

CULLEN: They are. I mean, I -- luckily, there's a box of Cleanex here because that actually choked me seeing Joaq there. And just -- those are

there of my heroes there, three really amazing people that I got to meet last year. I started -- expect to get choked up.

But I think I was just reflecting too toward the end of like that's why this movement has had such power because consider how different each of

those three people that you just had on are and that's why this movement is so powerful, it's not a single person. They bring such amazing things to

this larger project.

And David, I always think of him as the fighter but he's really calmed down, hasn't he? Because, you know, the angry David we all got to know

last year, and he gradually -- he calmed down through the year and I talked to him months out about like, "What's going on? You seem calmer." But

David is the fighter but he's also kind of the debater.

I sit -- I don't know about you, but I sit there thinking like, "Oh, my God. This kid knows so much more about this than I do."

AMANPOUR: It's incredible.

CULLEN: (INAUDIBLE) I kept thinking like, "Oh, my God. He's putting me to shame." Like I could not have said a quarter of the things he did. He's

got this amazing mind with all this. And then, Manny -- here, the kids call him Tio Manny, he had me called Tia Manny, it's Uncle Manny, he was

like an uncle to them. He's so creative.

And kind of -- I mean, he goes there with this -- first time I saw him do one of those murals where he, you know, pounds 17 holes in this mural with

like gunshots and then spatters, you know, red paint like blood, it's hard to watch but it's very, very powerful. He knows what he's doing. He's not

-- he's really, really good at this. And he's a provocateur but he's kind of brilliant and he takes it further than the kids do.

And Patricia is kind of the soul of this. I mean, she's just -- every time I've seen her -- I mean, first thing I do she hugs me and she's going

through this and she wants to make sure if I'm OK and if other people are OK. And I feel guilty like Patricia or -- I mean, she's the sweetest

person. But I mean, that reminds me some of (INAUDIBLE) of a lot of the kids in the group.

So, it's bringing these really different kinds of personalities and talents and it's all of them. This was two dozen kids and then, you know, Tio

Manny working with them that's why they really broke through, amongst a lot of other things.

AMANPOUR: Well --

CULLEN: Plus, they stood up and did something.

AMANPOUR: Well, that's --

CULLEN: But it was so much more than that.

AMANPOUR: Yes. Well, they break through, stand up and do something. I mean, look, we remember Sandy Hook and when little kids were massacred and

there was an outrage and there was, you know, complete and utter heartbreak. And yet, even that didn't move the dial the way this did.

What -- in terms of activism.

Well, you've written about all of this. You started writing after Columbine 20 years ago, plus. What is it -- why is this sort of -- what's

so different about this one that has made it something you can't look away from and these kids of move the dial?

CULLEN: Well, it was a perfect storm of things and part of it is the timing. But the single biggest thing is the messenger. And what we

thought, everyone thought after Sandy Hook, that this time it will really change because, you know, six-year-old kids that's unthinkable. What we

didn't realize at the time was it is not the degree of horror, it can get more and more horrible and that that isn't enough, it's the messenger is

crucial.

And we thought when Barack Obama took this on and, sort of a brilliant politician of our age, he made it the centerpiece of his State of the Union

address and everything seemed aligned. No. A politician can't be the leader on this.

For a couple reasons. One, I don't think we really look to our politicians as our true leaders anymore. But also, we're so divisive in America now

between the red and blue camps. So, if a politician takes us on, it immediately puts half the country against him, and we're locked in this

battle, in this stalemate. So, a lot of different reasons. And also, the parents of these kids were involved. It had to be the kids themselves.

AMANPOUR: Yes.

CULLEN: They had to be the most -- and when we see that -- one more point on that. When we see these kids, when we see Emma and David and all these

kids, we don't just see people who escaped with their lives.

We see the faces of future targets, kids like our sons and daughters, siblings, our own kids who are going to die and are dying if we don't do

something. That has a power that transcends everything else in a way that we underestimate.

AMANPOUR: Yes. And you mentioned Emma and the kids and their speaking and their activism and their public face. We'll just put a little snippet out

here just to remind everybody of a very famous, obviously, Emma Gonzales when she called the adults out on this issue.

(BEGIN VIDEO CLIP)

EMMA GONZALEZ, CO-FOUNDER, MARCH FOR OUR LIVES: Politicians who sit in their gilded House and Senate seats funded by the NRA, telling us nothing

could have ever been done to prevent this, we call B.S. We say that tough -- they say that tougher gun laws do not decrease gun violence, we call

B.S.

(END VIDEO CLIP)

AMANPOUR: I mean went on and she really put everybody on the spot. What do you -- do you think this movement will sustain itself?

CULLEN: I really do. You know, having spent the better part of the year with these kids, they got -- from the beginning, they get so much. They

understand organizing.

And I talked to Jackie Corin who's kind of one of the unsung heroes of the group about 10 days after this happened. And I asked, you know, how long

do you think this will take?

And the media was really focused on, "You know, they've got five weeks to their March. Can they really do this in five weeks?"

And I thought that seemed kind of ridiculously short. But I was still thinking in, you know, silly kind of terms. And she said, "Well, the Civil

Rights Movement took, you know, many many years, decades, and generations. This will probably take a generation."

And I was like, wow, of course. And looking back, you know, later, people like John Della Volpe at Harvard, you know, were saying things like that.

I'm like, yes, can you figure that? The kids figured that out in about a week.

AMANPOUR: Yes.

CULLEN: And really, their first big target was the midterms. But as the first battle, they knew this would be the first of many and they saw so

clearly what was ahead of the -- yes.

And so because they've seen this all along and they know what they're doing. And right now, they're working an infrastructure on the really kind

of boring, unglamorous part of the semester is the big thing to take what they did last fall into work with college campuses across the country to

have a permanent march for a lot of chapters or whatever on college campuses across America.

So this will be a self-sustaining thing. And how to turn this from like a one-time volunteer organization into a permanent organization that has a

life -- that lives on. And my money is on those kids.

AMANPOUR: Yes. And as David told us, you know, dozens and dozens of bills and measures have been passed, you know, to address this. You obviously

started writing. You're, I think one of the first, if not the first reporter, into Columbine when that massacre happened.

And maybe one can define that as the first school shooting of the television age maybe that was captured on television so exhaustively as it

was. Just tell me what you've experienced and what's changed between Columbine and today.

And you said you'd never write another book on this, you know, after Columbine. It really seriously affected you.

CULLEN: It did. I mean Columbine changed everything. And I -- look, I call it the school shooter era now which Columbine wasn't the first and

Parkland obviously already isn't the last.

But Columbine, I think history will see them as the beginning and the beginning of the end.

And, you know, I'll tell you one quick story. The first day at Columbine was exactly what you would expect, pandemonium, chaos, kids hugging each

other and clenching and sobbing.

The next morning as what did a number on me because threw me for a loop. There was none of that.

I was with more than a thousand kids, not a tear. They had these blank looks on their faces, shell shocked. In PTSD terms, it's the numb face,

almost never hits that kind of numbers. They were completely taken by surprise. They didn't expect anything like this.

I didn't see a single blank stare at Parkland. And I didn't see, obviously, all the kids. So they may have been there but it was -- these

kids were expecting it and so many of them told me they were expecting it.

AMANPOUR: Wow.

CULLEN: And, you know. the closest actually -- David's sister, Lauren Hogg, is amazing. And she was the closest I saw to that. Early on, I met

her in the kitchen after talking to David a month out. She looked pretty, pretty bad.

And I saw her every three to four weeks for much of the next year. And each time, you could see the improvement on her face.

And I talked to her several months into this because I didn't want to speak too soon. And I asked her, you know, what am I -- what I'm seeing, is that

how you're feeling? And she said, "Yes, I'm definitely getting better."

Then I talked to their mom, Rebecca, who's kind of amazing at hysterical. But really realistically she said, "Yes. But she's also still having

nightmares."

AMANPOUR: Right.

CULLEN: So it's up and down but -- and that was --

AMANPOUR: It's up and down. And David says -- sorry, I don't mean to interrupt but David said, David Hogg, that he's going to spend this

anniversary with Lauren who lost four of her friends, you know.

And you describe these emotions and how it affects everybody. And for the storytellers too, I mean you had two episodes of I guess what they call

secondary PTSD.

[13:35:00] Describe that. Describe the impact on the storytellers, the reporters like yourselves.

CULLEN: Yes, I didn't know that existed until, well, into the first year, I went to a conference and heard Dr. Ochberg who was kind of brilliant and

started an organization at Columbia, the Journal -- Center for Journalism and Trauma at the Dart Center.

And I was like, oh, wow, he's describing me. And I had depression pretty bad that year and I got treatment, got over it. I thought it was fine.

And, of course, I didn't, you know, stick to any rules that my shrink's telling me to do.

And I thought I was fine, you know. I went on.

And seven years later, it took me down much worse. I had a really bad relapse. And then I agreed to a lot of rules that -- and so I was -- one

of those, I was never allowed to go back.

I would go study. I went to Virginia Tech. After the fact, in Las Vegas with academic groups where we met with survivors. Months after the fact,

it -- but never right into the scene of a crime.

But this time, I wanted to go back because I didn't go back to cover trauma or a killer or, you know, what it was like to document the horror. I went

back because right away, these kids were blowing my mind. I was like they may really do something.

And I did -- I thought I might get in trouble for doing that. I was so wrong.

They healed me. I was talking to Alfonso, a really wonderful member of the group over Thanksgiving. We had a really long talk about some of his ups

and downs. And I said you guys have healed me.

I didn't realize how much secondary PTSD was still in me because at the start of this year, I was doing -- I thought I was fine. I was doing

pretty good as long as I watched and followed the rules.

But I didn't realize the lingering sadness and sort of cloud over my life until I saw the after picture by Thanksgiving of the year with these kids.

I'm like, yes, you healed the part of me that I didn't know was still sick. And I feel like that's part of what -- I hope this isn't -- I feel like

that's what they're doing to America.

AMANPOUR: Right.

CULLEN: I really do. I think they're giving us hope and I -- they're extraordinary. And I don't know how to thank them enough for what they're

doing for all of us.

AMANPOUR: Yes. And I think that's what's so important. Before, you were, you know, crushed by the violence of what you reported and now you're able

to see the hope and the way these kids are taking matters into their own hands. It's really remarkable.

Dave Cullen, thank you so much for joining us. Thank you very much.

AMANPOUR: And we continue to watch David Hogg and his fellow students push the gun control debate forward and demand changes to U.S. gun laws.

But now, we turn to a globe-trotting superstar musician. Lenny Kravitz has been rocking out for three decades, releasing hit albums and starring in

mega movies like The Hunger Games.

Now, he's putting out his 11th studio album which is called "Raised Vibration". He sat down with our Hari Sreenivasan and spoke about how he

slept his way through this latest album and how growing up with his Russian Jewish father and his African-American mother shaped who he has become.

(BEGIN VIDEO TAPE)

HARI SREENIVASAN, CONTRIBUTOR: Raised Vibration, new album, tell me a little bit about it.

LENNY KRAVITZ, MUSICIAN AND ACTOR: Very inspired.

SREENIVASAN: By what?

KRAVITZ: Very inspired by life. Before I started the album, I had to think who am I at this point.

You go through so many different versions of yourself over the years. It's been 30 years now.

And you can be a little confused as to what do I want to say, where do I want to go, what am I feeling. So the first thing you have to do is stop.

So I went to the Bahamas where I live and I got really quiet.

And after several weeks because you're in this environment, nature, quiet, so few people, you begin to come down and decompress and then the dreams

begin. And all of these songs on the album were given to me through dreams. So they were direct downloads and that happens to me --

SREENIVASAN: From your own consciousness?

KRAVITZ: -- a lot. Yes. But I've never dreamt an entire album. I may dream two or three songs on an album and the rest come just out of the air

but these were actually in dreams clicking up between the hours of 3:00 and 5:00 a.m.

SREENIVASAN: So do you hear in your brain complete pieces of music?

KRAVITZ: Absolutely.

SREENIVASAN: So you're just trying to what, get it out and saying, OK, write this down?

KRAVITZ: Well, you hear -- you're asleep. You're in your dream. You hear it.

And then you have to make yourself wake up because you're in bed, it's comfortable and you're hearing it. And you think maybe I'll remember it in

the morning.

[13:40:00] But when you do that -- at least for me, when I've done that, they are normally gone. So You have to get up. I keep a recording device

next to the bed.

I keep a guitar in the room. And I begin to transcribe what it is that I'm hearing in my head onto the recording and then I go into the studio. And I

have that framework to work from.

SREENIVASAN: Right. So does music come first? Do the lyrics come?

KRAVITZ: It depends. Sometimes I hear the whole thing. For instance, on a song like "Here To Love". That was a direct download. The words and the

music all came. A lot of the time --

SREENIVASAN: So you got up out of bed, pressed record, and that just happened?

KRAVITZ: Yes. Yes. And it's beautiful because you're not in -- your conscious self is not involved. And that's when it's the most beautiful.

Where did this come from? I didn't do this. I was given this. And that's when it's really beautiful. It's really pure.

SREENIVASAN: When you work with other musicians, do you find a similar process that people are somehow getting it from somewhere beyond

themselves?

KRAVITZ: When I produced Mick Jagger and we were writing together and I was watching him come up with the lyrics and it was the same way that I do

it when it's not in a dream when I'm not being given the lyric, the total lyric. But you start with this sort of scatting of words that aren't

words, sounds.

And I watched him do it and I was like that's how I do it. You just kind of start to get this dream. And when you listen back to it, even though

you haven't said one real word, you listen back and you hear the lyrics.

And I watched him do it. It was the same thing we wrote this song together. And it's very interesting. I'm sure a lot of people do it that

way.

SREENIVASAN: For non-musicians, that -- this seems like a totally foreign idea and process but it's really fascinating to hear that somehow your

brains are able to process and it's totally different.

KRAVITZ: It is. You just -- either you hear it or you create it from this mumble jumble thing which then turns into real thoughts and feelings from

your subconscious.

It's really interesting. It's like your subconscious speaking.

SREENIVASAN: Without words getting in the way?

KRAVITZ: Notice how people, when they talk about speaking in tongues in churches, like you're speaking this language that doesn't exist but God can

understand it. So it's interesting. Your subconscious is speaking this language and then you understand it.

SREENIVASAN: You also play a lot of the instruments when you're doing it in your own recording studio.

KRAVITZ: Yes, it depends on the track. Sometimes I play all of the instruments. Sometimes --

SREENIVASAN: So was that all in your head and you're trying to sit there and go back with, OK, this is what the drums are going to be?

KRAVITZ: Well, yes, I hear it all. So I'm able to run from one instrument to the next. So I'll start on the drums and the guitar and the bass, and

maybe more guitar, whatever keyboard I might use. And I might do percussion or an orchestrate.

SREENIVASAN: There's a track about It's Enough that has, for me anyway, a kind of a Marvin Gay, Curtis Mayfield sort of vibe to it.

KRAVITZ: Absolutely comes from that school.

SREENIVASAN: And what were you thinking? What was the story behind it? Was this a direct download?

KRAVITZ: Again, it was a download. But that song for me is a very easy song to write because it's a mirror to what's happening in this world.

SREENIVASAN: It's much more political.

KRAVITZ: Absolutely.

SREENIVASAN: Most political on this album.

KRAVITZ: Absolutely. It's hard not to reflect what's going on. We're living in really trying times, very interesting times.

And it just boggles my mind that human beings are going in this direction that we are completely destroying ourselves and so much is based on greed

and power and business and control. But we're at a cross road and we're either going to take the road to destruction and then maybe we'll learn or

we're going to take the road to turning this around and putting all of our energy into trying to fix these problems.

SREENIVASAN: Another track on there, you have a lyric, hug me like Johnny Cash. What does that mean?

KRAVITZ: What happened, we're going back 21 years now. My mother was fighting breast cancer. And she lost the battle.

But when I got the news, I just came home from a tour of Japan. I went straight to the hospital. She was [13:45:00] already at the stage where

they had her on morphine and she was in and out of consciousness.

And after being there all the day, we all decided, people in the family, let's all go to wherever we're staying. We'll get some food, take a shower

and come back and spend the night there. And at that time, I was living with Rick Rubin, the producer. He gave me a section of his house to live

in for several years.

And in the time it took me to get me from the hospital to Rick's house, my mother passed. And so when I got to the house, I got the phone call. And

Johnny Cash and June Carter were living in that same house at the same time as well because Johnny was there making an album. That acoustic record

that he made, the legendary record.

And when I got the news, I was at the bottom of the stairs getting ready to go upstairs to my room. And I had no idea she was going to pass that

quickly. And I was shocked and obviously dealing with the finality of that.

And Johnny and June were coming down the stairs. Johnny said, "Hey. How are you doing?"

He just saw me walk in. And I said my mother just died. I was just standing there against the wall, couldn't really move.

The two of them came down the stairs, surrounded me and they both grabbed me and held me really tightly and were saying things that were really

beautiful. They were comforting me.

It was a really beautiful moment because we knew each other but we weren't close friends. We were sharing the same home. We passed each other in the

hallways. We didn't know each other like that.

And they took that moment to just be really beautiful people. So the song is not about that. But what it's about is a break up that I had just gone

through. I was singing to this person and I was saying hold me like Johnny Cash when I lost my mother, whisper in my ear like June Carter.

And though I fight these tears that I hide, just hold me tight for the rest of my life. So obviously, the last time that I was comforted in such a

deep way was the day my mother died when Johnny Cash held me and I was singing to this person saying I need your comfort so hold me like Johnny

Cash.

It was a very interesting way to get to that message.

(BEGIN VIDEO CLIP)

KRAVITZ: Just hold me like Johnny Cash when I lost my mother. Whisper in my ear just like June Carter

(END VIDEO CLIP)

SREENIVASAN: When did you know this was your calling? When did you start getting the downloads? I mean are these different points when did you know

music was going to be the thing that you wanted to do?

KRAVITZ: When I was about five, I was listening to the Jackson 5 on those wonderful Motown singles. I had Stop The Love You Save, and ABC, and all

of these great 45s that my mom and my grandmother bought me.

And I was obsessed with the group. Not only the music but their whole look and their way of performing. And Then my father took me to Madison Square

Garden when I was in first grade. I would have been six u suppose.

SREENIVASAN: That's your first concert?

KRAVITZ: My first concert, Jackson 5 at Madison Square Garden --

SREENIVASAN: Wow.

KRAVITZ: -- with the Commodores opening. I saw this show and my life changed. The next day, everything was different. I knew that's what I

wanted to do.

SREENIVASAN: Your dad was around a lot of famous musicians,

KRAVITZ: Yes. My father worked at NBC News. My parents met at 30 Rock. My mother was a secretary for an executive there and she was moonlighting.

In the evening, she was doing theater and eventually she did theater full- time and then moved on to television.

My father was a producer, an assignment editor. He worked with people like Peter Arnett back in the day and Liz Trotta and all these journalists and

he also was very interested in jazz music. So we were always around jazz musicians and going to see everybody.

I remember my fifth grade, going back a year, we went to see Duke Ellington at the Rainbow Room. And we showed up for sound check and Duke sat me on

his lap and had me sit there while he played the piano.

Being around people like Miles Davis and Sarah Vaughan and Myla Hampton, all these great people, Lincoln Center, going to concerts, going to the

operas and ballets and Shakespeare in the park and the public theaters, seeing James Brown. New York [13:50:00] at that time was just so vibrant

with the live music.

SREENIVASAN: Your mother's black, your father is Jewish. She goes onto play one of the first interracial couples. Did you realize what a big deal

that was because you see this -- ?

KRAVITZ: Well, to me (CROSSTALK) because my father was white. So it was very interesting that Norman Lear chose her. In fact, I just saw Norman

Lear recently. I haven't seen him since I was a teenager.

And I walked up to him and I was just thanking him because him choosing my mother, this role changed our lives. I would not be sitting here with you,

I don't think if that hadn't happened.

I learned so much and my life changed so much. I, musically, ended up doing a lot of things out there musically.

But back to that question. It's interesting that he chose this woman. He had no idea that my mother was married to a white man.

And so he had her come out to Los Angeles to audition. He decided that he wanted her to play the role. He said, "Listen, I just want to talk with

you before I hire you.

I just really want to make sure you're comfortable because you're going to have to be with this man, you're going to have to play his wife, and you're

going to have to kiss him and hug him. Are you OK with this?"

And my mom went into her purse, pulled out her wallet, had a picture of my dad. She showed it to him. He said, "OK, you got the part".

(BEGIN VIDEO CLIP)

UNIDENTIFIED FEMALE: You know who made those things up, don't you? Rich people. To keep poor people happy about being poor. I got plenty of

nothing and nothing's plenty for me.

(END VIDEO CLIP)

SREENIVASAN: Music critics have always had a tough time figuring out and they've put you unto these boxes. They've tried to put you.

The music is not black enough, it's not white enough, it's not rock enough. Partly because of where you came from but also that your music goes all

sorts of places.

KRAVITZ: Which is what it's all about to me. I love music. There's no color to music. I love music and I incorporate all styles.

But in the selling of music, people want to be able to have a place to put it. Where are we going to market you? You're black. You're supposed to

fit into the R&B category or at that time, hip-hop, early hip-hop.

SREENIVASAN: Here he is with a guitar.

KRAVITZ: And I didn't. I came in with this guitar-oriented music that leaned more on the Rock & Roll side, which of course, Rock & Roll is black

music but somehow wasn't considered that at that time.

But my record label that I signed with, Virgin Records, was very honest with me and they said they believed in the music. They weren't sure

exactly how they were going to market it.

Thus they sent me to Europe first where they thought there was less of these putting folks in a box and --

SREENIVASAN: That's where you became more successful.

KRAVITZ: That's where I started. I went to Paris. I went to London. I went to Amsterdam. And I went to Hamburg. And that's where it started.

They accepted me as I was. And then I came back to America later toward the end of the Let Love Rule album. I did a whole tour and Tom Petty took

me on tour. Bob Dylan took me on tour. David Bowie took me on tour and then I started doing my own gigs.

SREENIVASAN: There's also a throw line of spirituality in your music. And I don't think most people recognize that.

I'm wondering when did that start, how did that start for you? When did you -- how would you consider yourself? You have a Christian and a Jewish

person in your household. How did your parents --

KRAVITZ: I grew up going to church. I grew up going to temple. I was not forced to go any certain direction. My grandmother was a devout Christian.

And I had all of that and I had my own experiences with the teachings of Christ. It was all beautiful. It was all -- it's all still part of me.

And the same thing with color. I mean my mother at a very young age sat me down and said, "Listen, I'm black. This is our history. The Bahamas,

African-American. Your father is a Russian Jew. You're no more one than the other. You have both sides. Be proud of both sides. Embrace both

sides."

But she said society is only going to see you as black. That meant that people were not going to see the diversity. They weren't going to accept

all of this beauty within you. Your skin's brown. That's what you are.

(END VIDEO TAPE)

AMANPOUR: And that's it for now. Remember, you can always listen to our podcast, see us online at amanpour.com and you can follow me on Instagram

and Twitter.

Thanks for watching and goodbye from London.

END