1 00:00:00,160 --> 00:00:03,440 Speaker 1: This episode contains content that may be disturbing to some listeners. 2 00:00:03,840 --> 00:00:05,760 Speaker 1: Please check the show notes for more information. 3 00:00:07,000 --> 00:00:23,360 Speaker 2: Disgraceland is a production of Double Elvis. This is the 4 00:00:23,440 --> 00:00:26,840 Speaker 2: story of a murder ballad, a song about a girl 5 00:00:26,880 --> 00:00:30,200 Speaker 2: from Knoxville, a girl led down to the river by 6 00:00:30,200 --> 00:00:32,960 Speaker 2: a man who claimed to love her, a man who 7 00:00:33,000 --> 00:00:38,280 Speaker 2: could not possess her, so he bludgeoned her. It's also 8 00:00:38,760 --> 00:00:43,040 Speaker 2: the story of Dolly Parton, a songwriter raised on songs 9 00:00:43,280 --> 00:00:47,519 Speaker 2: like the one about the Knoxville girl, murder ballads, songs 10 00:00:47,640 --> 00:00:51,880 Speaker 2: of jealousy, heartbreak. These are the songs that Dolly Parton 11 00:00:52,320 --> 00:00:57,440 Speaker 2: was raised on. A country star whose music was darker, stranger, 12 00:00:57,920 --> 00:01:01,440 Speaker 2: and more dangerous than her pop culture image would leave 13 00:01:01,520 --> 00:01:06,479 Speaker 2: us to believe. Dolly Parton was coveted by powerful men, 14 00:01:06,520 --> 00:01:11,160 Speaker 2: and she was threatened by violent men. But Dolly Parton 15 00:01:11,360 --> 00:01:15,679 Speaker 2: refused to become the possession of any man, and she 16 00:01:15,760 --> 00:01:20,280 Speaker 2: did so all while making truly great music, some of 17 00:01:20,319 --> 00:01:23,520 Speaker 2: the greatest country music to ever cross over onto the 18 00:01:23,560 --> 00:01:26,760 Speaker 2: pop charts. It was unlike that clip that I played 19 00:01:26,760 --> 00:01:29,240 Speaker 2: for you at the top of the show. That wasn't 20 00:01:29,280 --> 00:01:32,960 Speaker 2: great music, That was a preset loop for my melotron 21 00:01:33,319 --> 00:01:39,080 Speaker 2: called Dollywoodland MK Two. I played you that loop because 22 00:01:39,480 --> 00:01:42,600 Speaker 2: I can't afford the rights to down under by men 23 00:01:42,640 --> 00:01:46,200 Speaker 2: at work? And why would I play you that specific 24 00:01:46,319 --> 00:01:51,560 Speaker 2: slice of vegemite sandwhich cheese? Could I afford it? Because 25 00:01:51,600 --> 00:01:56,120 Speaker 2: that was the number one song in America on January fifteenth, 26 00:01:56,240 --> 00:01:59,720 Speaker 2: nineteen eighty three, And that was the day that Dolly 27 00:01:59,760 --> 00:02:02,720 Speaker 2: park And received the second in the string of death 28 00:02:02,760 --> 00:02:05,840 Speaker 2: threats that forced her to cancel shows and hire a 29 00:02:05,880 --> 00:02:10,320 Speaker 2: private detective. It nearly derailed what was to become an 30 00:02:10,440 --> 00:02:11,840 Speaker 2: unprecedented career. 31 00:02:13,160 --> 00:02:15,280 Speaker 1: On this episode, death. 32 00:02:15,040 --> 00:02:21,160 Speaker 2: Threats, murder, ballots, powerful and violent men, Knoxville girl named 33 00:02:21,280 --> 00:02:25,240 Speaker 2: Dolly Parton. I'm Jake Brennan in. 34 00:02:25,400 --> 00:02:34,200 Speaker 1: This this Disgraceland. 35 00:02:45,520 --> 00:02:48,960 Speaker 2: What did I know about Dolly Parton as a little 36 00:02:48,960 --> 00:02:50,400 Speaker 2: hardcorecade growing up. 37 00:02:50,280 --> 00:02:54,000 Speaker 1: In the nineteen eighties in the nineteen nineties. Well, here 38 00:02:54,000 --> 00:02:54,680 Speaker 1: are a few things. 39 00:02:55,360 --> 00:02:58,840 Speaker 2: One, I knew she's saying that duet with Kenny Rogers 40 00:02:59,080 --> 00:03:01,800 Speaker 2: Islands in the Street. You could not escape that song. 41 00:03:01,919 --> 00:03:05,440 Speaker 2: It was everywhere and it was also very cheesy. Two, 42 00:03:05,480 --> 00:03:07,440 Speaker 2: I knew that Dolly Parton was in that movie Nine 43 00:03:07,440 --> 00:03:12,720 Speaker 2: to five Secretaries retaliating against their sexist boss, all that stuff, 44 00:03:13,240 --> 00:03:15,079 Speaker 2: and before what I could tell, that movie was set 45 00:03:15,120 --> 00:03:19,359 Speaker 2: in an office with adults making copies and answering telephones, 46 00:03:19,400 --> 00:03:23,040 Speaker 2: and to me at that age was pretty boring and 47 00:03:23,120 --> 00:03:27,880 Speaker 2: also pretty cheesy. Three I knew that Dolly Parton well, 48 00:03:29,040 --> 00:03:31,919 Speaker 2: she was kind of a goofball. She may have been 49 00:03:31,960 --> 00:03:35,080 Speaker 2: a good will ambassador for country music, but I had 50 00:03:35,080 --> 00:03:38,440 Speaker 2: no idea about any of that. She just looked manufactured, 51 00:03:38,480 --> 00:03:42,840 Speaker 2: put together, big star, big hair, gravity defying figure, you 52 00:03:42,880 --> 00:03:46,800 Speaker 2: know what I'm talking about, The aw shucks, southern drawl. 53 00:03:47,040 --> 00:03:50,240 Speaker 2: She was a caricature, and she always seemed. 54 00:03:50,040 --> 00:03:51,720 Speaker 1: Happy, like too happy. 55 00:03:52,600 --> 00:03:55,440 Speaker 2: To me at that age, Dolly Parton did not seem 56 00:03:55,520 --> 00:03:59,560 Speaker 2: authentic at all, which that time of my life was 57 00:03:59,600 --> 00:04:01,400 Speaker 2: something that I was very concerned about. That's what I 58 00:04:01,400 --> 00:04:03,120 Speaker 2: wanted from my music, That's what I wanted from the 59 00:04:03,160 --> 00:04:04,920 Speaker 2: movies that I watched, That's what I wanted from my icons. 60 00:04:04,960 --> 00:04:07,080 Speaker 2: I didn't know the cultural perspective that I have now. 61 00:04:07,680 --> 00:04:10,720 Speaker 2: What I'm trying to say is I wasn't sophisticated enough 62 00:04:10,760 --> 00:04:14,360 Speaker 2: to appreciate Dolly Parton then as a young fourteen year 63 00:04:14,400 --> 00:04:17,240 Speaker 2: old or whatever. I wanted authenticity, I wanted danger. I 64 00:04:17,279 --> 00:04:21,000 Speaker 2: wanted punk rock, I wanted loud guitars, so I ignored 65 00:04:21,040 --> 00:04:21,679 Speaker 2: Dolly Parton. 66 00:04:21,760 --> 00:04:22,200 Speaker 1: I had no. 67 00:04:22,279 --> 00:04:28,400 Speaker 2: Idea that she was an accomplished songwriter, prolific even now. 68 00:04:28,400 --> 00:04:30,160 Speaker 2: I don't know what the count was back then, But 69 00:04:30,480 --> 00:04:33,640 Speaker 2: recently Dolly has estimated that the total number of songs 70 00:04:33,960 --> 00:04:37,839 Speaker 2: that she's written is in the range of three thousand songs. 71 00:04:38,279 --> 00:04:40,320 Speaker 1: That's incredible, and one of. 72 00:04:40,240 --> 00:04:44,039 Speaker 2: Those songs just so happens to be I Will Always 73 00:04:44,160 --> 00:04:46,960 Speaker 2: Love You, which when Houston turned into one of the 74 00:04:46,960 --> 00:04:50,599 Speaker 2: biggest hits of all time, quite literally, when she covered 75 00:04:50,600 --> 00:04:53,480 Speaker 2: that Dolly Parton song for the soundtrack to the nineteen 76 00:04:53,600 --> 00:04:57,200 Speaker 2: ninety three film The Bodyguard, and just like Island's in 77 00:04:57,240 --> 00:05:01,240 Speaker 2: the Stream, this song was everywhere. This song was the 78 00:05:01,279 --> 00:05:05,080 Speaker 2: first single to ever stay at the number one spot 79 00:05:05,160 --> 00:05:08,720 Speaker 2: for fourteen straight weeks. Now, I had no idea at 80 00:05:08,720 --> 00:05:10,600 Speaker 2: the time that Dolly Parton wrote that song. I had 81 00:05:10,600 --> 00:05:13,000 Speaker 2: no idea that she wrote it way back in nineteen 82 00:05:13,080 --> 00:05:16,080 Speaker 2: seventy three when she was just twenty seven years old, 83 00:05:16,400 --> 00:05:19,839 Speaker 2: or that she wrote it on the same day that 84 00:05:19,920 --> 00:05:23,960 Speaker 2: she wrote her other greatest song, Joe Lean and Yeah, 85 00:05:24,400 --> 00:05:28,000 Speaker 2: I too have heard This supposed fact has been debunked, 86 00:05:28,040 --> 00:05:32,320 Speaker 2: but Dolly Parton herself told friend of mine Bobby Boenes 87 00:05:32,360 --> 00:05:35,000 Speaker 2: back in twenty nineteen that yes, she did write both 88 00:05:35,040 --> 00:05:37,800 Speaker 2: of those songs at the same time. That was a 89 00:05:37,800 --> 00:05:40,840 Speaker 2: good writing day, she said, are you kidding me? 90 00:05:40,960 --> 00:05:42,000 Speaker 1: A good writing day. 91 00:05:42,120 --> 00:05:47,279 Speaker 2: That's like if Paul McCartney wrote Yesterday and eleanor Rigby 92 00:05:47,480 --> 00:05:50,719 Speaker 2: on the same day. That day, the day that Dolly 93 00:05:50,800 --> 00:05:56,000 Speaker 2: Parton wrote I Will Always Love You and Joe Lene, Well, 94 00:05:56,120 --> 00:05:58,320 Speaker 2: it's got to be in the running for the greatest 95 00:05:58,400 --> 00:06:04,160 Speaker 2: day in the history of songwriting. It was nineteen seventy 96 00:06:04,200 --> 00:06:07,440 Speaker 2: four when Dolly Parton's original version of I Will Always 97 00:06:07,480 --> 00:06:10,000 Speaker 2: Love You first hit number one on the Country chart. 98 00:06:10,720 --> 00:06:13,919 Speaker 2: The song made her a lot of new fans, Fans 99 00:06:14,000 --> 00:06:18,200 Speaker 2: like Elvis Presley. The King himself decided that he wanted 100 00:06:18,240 --> 00:06:22,719 Speaker 2: to cover that song. His manager, the notorious Colonel Tom Parker, 101 00:06:23,240 --> 00:06:27,360 Speaker 2: gave Dolly Parton the good news, and Dolly was beside herself. 102 00:06:27,760 --> 00:06:30,400 Speaker 2: She was just a kid when Elvis thrust himself onto 103 00:06:30,400 --> 00:06:34,240 Speaker 2: the scene, and like millions of other Americans, she idolized 104 00:06:34,279 --> 00:06:39,120 Speaker 2: Elvis Presley. But there was a caveat, as Colonel Parker explained, 105 00:06:39,520 --> 00:06:42,599 Speaker 2: for Elvis to cover the tune, Dolly Parton would have 106 00:06:42,680 --> 00:06:47,240 Speaker 2: to sign over all publishing rights, which may not have 107 00:06:47,240 --> 00:06:50,919 Speaker 2: been the norm, but it was the colonel's norm, and 108 00:06:50,960 --> 00:06:54,240 Speaker 2: which would mean that Elvis and the Colonel, not Dolly Parton, 109 00:06:54,600 --> 00:06:57,120 Speaker 2: would make money off of future royalties of. 110 00:06:57,080 --> 00:06:58,960 Speaker 1: The song that she wrote. 111 00:06:59,240 --> 00:07:02,800 Speaker 2: Now again, Dolly Parton was just twenty seven years old 112 00:07:02,800 --> 00:07:07,160 Speaker 2: at the time, and Elvis Presley was thirty nine. Colonel 113 00:07:07,160 --> 00:07:09,359 Speaker 2: Parker was a three hundred year old vampire with a 114 00:07:09,400 --> 00:07:12,080 Speaker 2: nose for fresh blood. Right, not exactly, but you get 115 00:07:12,120 --> 00:07:17,240 Speaker 2: my point. The guy was manipulative, and although Dolly Parton 116 00:07:17,480 --> 00:07:22,120 Speaker 2: was the youngest participant in this particular scenario, Dolly nonetheless 117 00:07:22,200 --> 00:07:25,200 Speaker 2: had the wisdom to know that no one, not even 118 00:07:25,240 --> 00:07:29,960 Speaker 2: Elvis Presley, should possess her music. So with a heavy heart, 119 00:07:30,360 --> 00:07:32,760 Speaker 2: she told the Colonel Tom Parker that. 120 00:07:32,640 --> 00:07:33,240 Speaker 3: She was out. 121 00:07:33,720 --> 00:07:37,400 Speaker 2: Elvis could not have her song. She turned down the 122 00:07:37,480 --> 00:07:43,400 Speaker 2: king that difficult decision, though, if paid dividends. Two decades later, 123 00:07:43,840 --> 00:07:46,960 Speaker 2: Whitney Houston sings I Will Always Love You, and Dolly 124 00:07:47,000 --> 00:07:51,400 Speaker 2: Parton makes ten million dollars in royalties. That figure ten 125 00:07:51,440 --> 00:07:54,320 Speaker 2: million dollars, that's just what she made in the nineteen 126 00:07:54,400 --> 00:07:58,000 Speaker 2: nineties alone. From that song her refusal to give in 127 00:07:58,000 --> 00:08:01,480 Speaker 2: to Elvis Presley and Colonel Tom Parker. It continues to 128 00:08:01,480 --> 00:08:04,360 Speaker 2: put millions of dollars into Dolly Parton's bank account to 129 00:08:04,440 --> 00:08:08,560 Speaker 2: this day. But I Will Always Love You wasn't just 130 00:08:08,600 --> 00:08:11,679 Speaker 2: a money maker for Dolly Parton, nor was it simply 131 00:08:11,800 --> 00:08:14,320 Speaker 2: one of the most bittersweet breakup ballads of all time. 132 00:08:15,240 --> 00:08:18,440 Speaker 2: It was a song Dolly Parton wrote to save herself 133 00:08:18,720 --> 00:08:21,880 Speaker 2: from becoming the possession of a powerful man. And to 134 00:08:21,960 --> 00:08:25,120 Speaker 2: understand all that, first, you have to understand what I 135 00:08:25,200 --> 00:08:28,760 Speaker 2: didn't understand about Dolly Parton when I was younger. You 136 00:08:28,880 --> 00:08:33,439 Speaker 2: must understand that authenticity and danger were there all along. 137 00:08:34,080 --> 00:08:39,560 Speaker 2: Authenticity and danger are where Dolly Parton comes from. It 138 00:08:39,600 --> 00:08:43,280 Speaker 2: was nineteen sixty four when Dolly Parton arrived in Nashville, Tennessee. 139 00:08:43,920 --> 00:08:47,520 Speaker 2: She was eighteen years old. Back home in Severe County 140 00:08:47,679 --> 00:08:51,960 Speaker 2: and in nearby Knoxville, she was already making waves. She 141 00:08:52,000 --> 00:08:54,840 Speaker 2: wrote songs with her uncle Bill, and she performed on 142 00:08:54,960 --> 00:08:59,080 Speaker 2: radio and TV shows. But Nashville was known Knoxville, and 143 00:08:59,120 --> 00:09:02,320 Speaker 2: it certainly wasn't of your account. She was turned down 144 00:09:02,360 --> 00:09:05,880 Speaker 2: by just about every record label in town. Every label 145 00:09:06,280 --> 00:09:10,520 Speaker 2: except for one Monument Records, which had some recent success 146 00:09:10,600 --> 00:09:13,839 Speaker 2: with Roy Orbison and Willie Nelson, signed Dolly. 147 00:09:13,559 --> 00:09:15,480 Speaker 1: Parton to a record tom, but the. 148 00:09:15,520 --> 00:09:20,079 Speaker 2: Label's owner, Fred Foster, seemed to fundamentally miscalculate Dolly Parton 149 00:09:20,120 --> 00:09:24,280 Speaker 2: from the jump, as many others, myself included, will continue 150 00:09:24,280 --> 00:09:28,560 Speaker 2: to do. For years, Fred Foster had her perform material 151 00:09:28,600 --> 00:09:32,319 Speaker 2: written by other songwriters, marketing her not as a country 152 00:09:32,320 --> 00:09:36,080 Speaker 2: singer but as a young pop angenoux. It would be 153 00:09:36,120 --> 00:09:38,920 Speaker 2: three years until Dolly would finally get the chance to 154 00:09:39,000 --> 00:09:42,080 Speaker 2: prove herself as a country singer on her nineteen sixty 155 00:09:42,120 --> 00:09:47,559 Speaker 2: seven debut album Hello I'm Dolly Now. This all strikes 156 00:09:47,640 --> 00:09:51,199 Speaker 2: me as very strange because Fred Foster had also signed 157 00:09:51,280 --> 00:09:55,560 Speaker 2: Dolly to a publishing deal. Publishing is a business instrument 158 00:09:55,679 --> 00:10:00,720 Speaker 2: designed to make songwriters money, and Dolly Parton clearly wrote songs. 159 00:10:00,720 --> 00:10:04,199 Speaker 2: She clearly wrote very dark songs that were in conversation 160 00:10:04,400 --> 00:10:07,040 Speaker 2: with the dark Appalachian folk songs that she'd heard as 161 00:10:07,080 --> 00:10:10,400 Speaker 2: a child. It was almost like there was a refusal 162 00:10:10,440 --> 00:10:12,760 Speaker 2: on the record executive's part to confront the darkness that 163 00:10:12,880 --> 00:10:16,800 Speaker 2: was at Dolly's core, likely because it did not compute 164 00:10:16,840 --> 00:10:21,280 Speaker 2: that this happy, energetic, well adjusted, driven young woman was 165 00:10:21,440 --> 00:10:25,960 Speaker 2: capable of such darkness. But Dolly Parton was raised on 166 00:10:26,000 --> 00:10:30,480 Speaker 2: this darkness. She was raised on dark songs, songs from 167 00:10:30,559 --> 00:10:34,040 Speaker 2: England and Wales brought over to America to where Dolly 168 00:10:34,080 --> 00:10:39,680 Speaker 2: spent her childhood in eastern Tennessee. These songs were intimate 169 00:10:39,760 --> 00:10:44,439 Speaker 2: with the more evil aspects of human nature, and perhaps paradoxically, 170 00:10:44,720 --> 00:10:48,760 Speaker 2: these songs made the hard times easier to endure, hard 171 00:10:48,800 --> 00:10:51,760 Speaker 2: times which befell a family of fourteen living in a 172 00:10:51,800 --> 00:10:56,120 Speaker 2: two room cabin with no electricity or running water. And 173 00:10:56,160 --> 00:10:59,040 Speaker 2: Dolly has spoken about something that she calls the sorrow 174 00:10:59,120 --> 00:11:02,839 Speaker 2: chord being in her blood, a chord upon which these 175 00:11:02,840 --> 00:11:06,800 Speaker 2: songs of jealousy, heartbreak, pain and death are built. 176 00:11:08,040 --> 00:11:09,360 Speaker 1: These are more than songs. 177 00:11:10,120 --> 00:11:13,480 Speaker 2: These are murder ballads, ballads in which a woman is 178 00:11:13,640 --> 00:11:16,960 Speaker 2: lured by a man, lured into the woods, lured down 179 00:11:17,000 --> 00:11:20,600 Speaker 2: by the water, lured upon false pretenses, only to be 180 00:11:20,720 --> 00:11:25,040 Speaker 2: brutally killed in cold blood. And why does the man 181 00:11:25,120 --> 00:11:30,800 Speaker 2: do this? Why does this always happen in these songs? Well, 182 00:11:31,640 --> 00:11:36,320 Speaker 2: sometimes the killer is looking to escape responsibility, say marriage 183 00:11:36,640 --> 00:11:40,400 Speaker 2: or fatherhood, so he kills his would be wife or 184 00:11:40,440 --> 00:11:43,840 Speaker 2: his would be mother of his child. Other times, as 185 00:11:43,880 --> 00:11:46,960 Speaker 2: the astute professor of murder ballads Nick Cave once put it, 186 00:11:47,400 --> 00:11:50,240 Speaker 2: the killing is a desire born out of nothing else 187 00:11:50,320 --> 00:11:56,640 Speaker 2: but quote murderous male attention and nefarious transferred erotic desire unquote. 188 00:11:58,040 --> 00:12:00,160 Speaker 2: That's a fancy way of saying that the only way 189 00:12:00,160 --> 00:12:02,880 Speaker 2: that this man feels he can truly possess the woman 190 00:12:03,280 --> 00:12:06,560 Speaker 2: is to take her life. These were the songs of 191 00:12:06,600 --> 00:12:11,400 Speaker 2: Dolly Parton's childhood. There was Pretty Polly Barbara Allen down 192 00:12:11,440 --> 00:12:14,199 Speaker 2: in the willow garden, and there was that one song, 193 00:12:14,640 --> 00:12:17,000 Speaker 2: a song Dolly first heard when she was sitting on 194 00:12:17,040 --> 00:12:19,400 Speaker 2: the front steps of her modest family home there at 195 00:12:19,400 --> 00:12:22,480 Speaker 2: the foot of the Great Smoky Mountains. Everyone within one 196 00:12:22,520 --> 00:12:25,760 Speaker 2: hundred mile radius of Knoxville had heard that song, the 197 00:12:25,880 --> 00:12:35,000 Speaker 2: song about the Knoxville Girl. Willie Miller was wearing his 198 00:12:35,080 --> 00:12:39,520 Speaker 2: Sunday best on a Saturday night. Nice shirt, nice slacks, 199 00:12:39,840 --> 00:12:41,559 Speaker 2: his one decent pair of shoes. 200 00:12:42,679 --> 00:12:44,680 Speaker 1: He knew he looked good, and so he. 201 00:12:44,559 --> 00:12:49,719 Speaker 2: Walked like it, backstraight, head held high, one foot confidently 202 00:12:49,760 --> 00:12:50,880 Speaker 2: striding after the other. 203 00:12:51,840 --> 00:12:53,440 Speaker 1: A warm breeze blew in. 204 00:12:53,320 --> 00:12:56,440 Speaker 2: From the east, and with it Willie could hear the 205 00:12:56,480 --> 00:12:59,400 Speaker 2: call of the boboids from out in the fields. Three 206 00:12:59,480 --> 00:13:05,160 Speaker 2: short and quick succession, lonesome yet hopeful, just like Willie. 207 00:13:05,160 --> 00:13:10,600 Speaker 2: Here these days, however, the scales favored hope, because tonight 208 00:13:11,200 --> 00:13:13,040 Speaker 2: Willy was on his way to the house of one 209 00:13:13,120 --> 00:13:18,120 Speaker 2: Louisa May Brown, the prettiest girl in all of Knoxville, or. 210 00:13:18,040 --> 00:13:21,800 Speaker 1: So Willy liked to think. Each week Willie. 211 00:13:21,480 --> 00:13:24,280 Speaker 2: Would walk over to her place, and each week they 212 00:13:24,280 --> 00:13:26,760 Speaker 2: would talk, and sometimes they would. 213 00:13:26,520 --> 00:13:28,000 Speaker 1: Sit in awkward silence. 214 00:13:29,000 --> 00:13:32,920 Speaker 2: But tonight, upon Willy's arrival, Louisa May announced that she 215 00:13:32,960 --> 00:13:35,800 Speaker 2: would like to go on a walk. So Willy took 216 00:13:35,800 --> 00:13:38,240 Speaker 2: the prettiest girl in all of Knoxville by the hand, 217 00:13:38,520 --> 00:13:41,199 Speaker 2: and they walked through town and into the tall grass 218 00:13:41,280 --> 00:13:44,280 Speaker 2: down by the Tennessee River. The sound of the bob 219 00:13:44,360 --> 00:13:47,079 Speaker 2: whites have been overtaken now by the sound of rushing water, 220 00:13:47,640 --> 00:13:50,319 Speaker 2: by the belching of frogs, or maybe it was toads 221 00:13:50,360 --> 00:13:53,440 Speaker 2: along the riverbed. Willie didn't know which it was a 222 00:13:53,480 --> 00:13:55,880 Speaker 2: frog or a toe, and they were all the same 223 00:13:55,920 --> 00:14:00,720 Speaker 2: to him, slimy, amphibious blobs with bulging little eyes. But 224 00:14:00,800 --> 00:14:03,199 Speaker 2: Willy wasn't thinking about frogs or toads at the moment. 225 00:14:03,679 --> 00:14:07,400 Speaker 2: He was thinking about Louisa May. He stared into her eyes, 226 00:14:08,080 --> 00:14:12,760 Speaker 2: deep blue. He stared so hard he thought he'd get lost. 227 00:14:13,640 --> 00:14:16,880 Speaker 2: He wanted her, and the desire was unlike anything he'd 228 00:14:16,880 --> 00:14:20,760 Speaker 2: ever felt before. It was more than must and much 229 00:14:20,800 --> 00:14:25,040 Speaker 2: more than love. Love was a puppy dog's game. This 230 00:14:25,320 --> 00:14:28,480 Speaker 2: was a feeling rumbling there in his gut, eating at 231 00:14:28,560 --> 00:14:29,040 Speaker 2: him from. 232 00:14:28,880 --> 00:14:32,560 Speaker 1: The inside out. He couldn't handle it much longer. He 233 00:14:32,720 --> 00:14:34,840 Speaker 1: needed her, so he took her. 234 00:14:35,960 --> 00:14:38,800 Speaker 2: It all happened so fast that Louisa May could hardly 235 00:14:38,840 --> 00:14:42,920 Speaker 2: process it. First, Willie was bending down to the ground. 236 00:14:43,440 --> 00:14:46,160 Speaker 2: Next he was standing up straight with a large stick 237 00:14:46,200 --> 00:14:49,640 Speaker 2: gripped tightly in his hand. And then he swung the 238 00:14:49,680 --> 00:14:53,280 Speaker 2: stick like that stiff Knoxville breeze and hit Louisa May 239 00:14:53,360 --> 00:14:56,360 Speaker 2: in the side of the head, dropping the prettiest girl 240 00:14:56,360 --> 00:14:59,520 Speaker 2: in town down to her knees, where she begged Willie 241 00:14:59,520 --> 00:15:32,680 Speaker 2: Miller to spare her life. Porter Wagoner wasn't the most 242 00:15:32,720 --> 00:15:36,000 Speaker 2: powerful man in Nashville, but if we're talking about country 243 00:15:36,080 --> 00:15:39,680 Speaker 2: music on TV in the late nineteen sixties, in that case, 244 00:15:39,880 --> 00:15:45,200 Speaker 2: he was practically untouchable. The lanky frame and the blonde pompadoor, 245 00:15:45,520 --> 00:15:49,960 Speaker 2: the eye catching nudy suits. Porter Wagoner was country music's 246 00:15:50,080 --> 00:15:55,120 Speaker 2: on screen gatekeeper. His syndicated TV program, which ran on 247 00:15:55,200 --> 00:15:58,200 Speaker 2: close to one hundred stations in the United States and Canada, 248 00:15:58,840 --> 00:16:02,520 Speaker 2: could make a single, it could sell a record, and 249 00:16:02,640 --> 00:16:06,119 Speaker 2: it did so with Porter's taste making stamp of approval. 250 00:16:07,080 --> 00:16:08,160 Speaker 1: But one thing was clear. 251 00:16:08,920 --> 00:16:11,840 Speaker 2: That was porter Wagoner's name up there on the title card. 252 00:16:12,600 --> 00:16:16,800 Speaker 2: Porter Wagoner was the main attraction, not his band, not 253 00:16:16,920 --> 00:16:19,600 Speaker 2: the guests who appeared each week, and not the so 254 00:16:19,720 --> 00:16:23,480 Speaker 2: called girl singer who shared the spotlight as his duet 255 00:16:23,560 --> 00:16:25,800 Speaker 2: partner in a Beauty in the Beast kind of way. 256 00:16:26,720 --> 00:16:30,560 Speaker 2: Norma Jean was that girl singer, but Norma Jean wanted 257 00:16:30,600 --> 00:16:33,080 Speaker 2: to take her secret affair with porter Wagoner to the 258 00:16:33,120 --> 00:16:37,320 Speaker 2: next level, and porter Wagoner did not, So Norma Jean 259 00:16:37,920 --> 00:16:40,960 Speaker 2: was out. You could call it a lucky break for 260 00:16:41,040 --> 00:16:44,160 Speaker 2: Dolly Parton to step into Norma jean shoes in nineteen 261 00:16:44,240 --> 00:16:48,880 Speaker 2: sixty seven, the same year Monument released her debut album. 262 00:16:48,480 --> 00:16:49,960 Speaker 1: If So You'd Be Half Right. 263 00:16:50,520 --> 00:16:53,040 Speaker 2: Dolly Parton wasn't the type to wait around for luck to. 264 00:16:53,040 --> 00:16:55,240 Speaker 1: Give her a boost. She did the boosting. 265 00:16:55,680 --> 00:16:59,040 Speaker 2: She'd been sending Porter demos for months, and like Fred 266 00:16:59,080 --> 00:17:03,640 Speaker 2: Foster at Monument before him. Porter was impressed not only 267 00:17:03,640 --> 00:17:07,280 Speaker 2: with Dolly's voice, but with her original songs. Dolly was 268 00:17:07,359 --> 00:17:09,399 Speaker 2: hired to appear on the show and on tour, and 269 00:17:09,440 --> 00:17:13,480 Speaker 2: in return, she was compensated sixty thousand dollars a year, 270 00:17:14,160 --> 00:17:17,840 Speaker 2: sixty grand in nineteen sixty seven. That's equivalent to well 271 00:17:17,880 --> 00:17:21,000 Speaker 2: over half a million dollars today. It was the kind 272 00:17:21,040 --> 00:17:22,840 Speaker 2: of money that no one and Dolly's family had ever 273 00:17:22,880 --> 00:17:26,160 Speaker 2: seen before, and perhaps the only thing more shocking than 274 00:17:26,160 --> 00:17:29,680 Speaker 2: her salary was the backlash she got from Porter's audience. 275 00:17:30,480 --> 00:17:31,680 Speaker 1: They wanted Norma Jean. 276 00:17:32,080 --> 00:17:34,159 Speaker 2: They wanted Norma Jean the way the kids at the 277 00:17:34,160 --> 00:17:36,400 Speaker 2: Cavern Club wanted Pete Best. 278 00:17:36,359 --> 00:17:38,120 Speaker 1: When he first got the sack from the Beatles. 279 00:17:39,160 --> 00:17:41,879 Speaker 2: But just like it didn't take long for the beatlemaniacs 280 00:17:41,920 --> 00:17:44,440 Speaker 2: to warm up to ring a Star, it didn't take 281 00:17:44,520 --> 00:17:47,720 Speaker 2: long for anyone watching Porters show to realize that Dolly 282 00:17:47,760 --> 00:17:51,720 Speaker 2: Parton was the real deal, realer even than Norma Jean. Ever, 283 00:17:51,920 --> 00:17:57,200 Speaker 2: was darker too. Her own song, sung with Porter, plucked 284 00:17:57,280 --> 00:18:02,760 Speaker 2: the sorrow chord that was part of her DNA songs 285 00:18:02,840 --> 00:18:06,200 Speaker 2: like Genie's Afraid of the Dark, written after the daughter 286 00:18:06,240 --> 00:18:08,560 Speaker 2: of Dolly's cousin was killed. 287 00:18:08,240 --> 00:18:09,119 Speaker 1: In a hit and run. 288 00:18:10,240 --> 00:18:14,640 Speaker 2: Genie, the only child, up late at night, her heart pounding. 289 00:18:15,240 --> 00:18:18,679 Speaker 2: Something is lurking there in the shadows, and she runs 290 00:18:18,720 --> 00:18:21,840 Speaker 2: to her parents room and crawls into their bed. She 291 00:18:21,880 --> 00:18:27,040 Speaker 2: feels safe at last, and her heart slows then sleep. 292 00:18:28,080 --> 00:18:30,679 Speaker 2: At daybreak, the three of them take flowers to the 293 00:18:30,720 --> 00:18:34,639 Speaker 2: family graveyard. Jeannie's gaze falls to the headstones and to 294 00:18:34,760 --> 00:18:38,520 Speaker 2: the grass growing over the daily departed. She imagines what 295 00:18:38,560 --> 00:18:42,600 Speaker 2: it's like to be buried underground, six feet down, stuck 296 00:18:42,680 --> 00:18:46,600 Speaker 2: in perpetual night, nothing but pitch black and fear. She 297 00:18:46,640 --> 00:18:50,600 Speaker 2: can never do that, not even in death. She tells 298 00:18:50,600 --> 00:18:54,200 Speaker 2: her parents this because somewhere deep inside, Jeanie knows that 299 00:18:54,359 --> 00:18:57,400 Speaker 2: death will come for her soon. She doesn't know how 300 00:18:57,400 --> 00:19:00,040 Speaker 2: she knows this, but she knows it'll happen while she 301 00:19:00,040 --> 00:19:03,199 Speaker 2: she is still far too young. It'll leave her parents 302 00:19:03,280 --> 00:19:08,400 Speaker 2: shattered and directionless. And when Genie's premonition does come true, 303 00:19:08,560 --> 00:19:12,600 Speaker 2: when death's black cloak snuffs out the sun, Genie's fear 304 00:19:12,640 --> 00:19:15,000 Speaker 2: of the dark weighs heavy on the minds of those 305 00:19:15,040 --> 00:19:18,600 Speaker 2: who loved her. So on top of Genie's grave, they 306 00:19:18,640 --> 00:19:22,040 Speaker 2: placed an eternal flame, and it burns hot and bright, 307 00:19:23,119 --> 00:19:26,280 Speaker 2: so bright. It said that even on the darkest night, 308 00:19:26,840 --> 00:19:33,440 Speaker 2: there's always light. Even on the darkest night, there's always 309 00:19:33,600 --> 00:19:37,320 Speaker 2: a light. That line from Dolly Parton's song Genie's Afraid 310 00:19:37,320 --> 00:19:42,240 Speaker 2: of the Dark was relevant now more than ever. It 311 00:19:42,359 --> 00:19:45,879 Speaker 2: was nineteen seventy three, and the light was moving Dolly forward. 312 00:19:46,320 --> 00:19:49,119 Speaker 2: The light was the muse. The light was the songs 313 00:19:49,160 --> 00:19:50,879 Speaker 2: that came to her so often when she had to 314 00:19:50,880 --> 00:19:54,440 Speaker 2: write them down on napkins, envelopes, matchbooks, whatever she could 315 00:19:54,440 --> 00:19:57,840 Speaker 2: get her hands on. She wrote one of her signature songs, 316 00:19:57,960 --> 00:20:01,000 Speaker 2: Code of Many Colors, in ten minutes flat while riding 317 00:20:01,080 --> 00:20:04,320 Speaker 2: the torbus. She wrote Joline after a fan with that 318 00:20:04,440 --> 00:20:06,880 Speaker 2: name asked her for an autograph, and as she ran 319 00:20:06,960 --> 00:20:09,800 Speaker 2: to find something to write with, Dolly kept repeating the 320 00:20:09,880 --> 00:20:12,320 Speaker 2: name over and over and over in her head so 321 00:20:12,359 --> 00:20:18,239 Speaker 2: that she wouldn't forget it, Jolene, Jolene, Jolene, Jolene, and 322 00:20:18,320 --> 00:20:23,680 Speaker 2: in doing so unexpectedly wrote that iconic refrain. But though 323 00:20:23,680 --> 00:20:26,680 Speaker 2: her light was burning bright, the proverbial dark. 324 00:20:26,560 --> 00:20:28,000 Speaker 1: Knights were growing darker. 325 00:20:28,840 --> 00:20:33,520 Speaker 2: Yes, Dolly and Porter were wildly successful together. Success, however, 326 00:20:33,920 --> 00:20:36,280 Speaker 2: was not enough for Dolly. She didn't want to be 327 00:20:36,359 --> 00:20:40,720 Speaker 2: the girl singer forever, nor did she want Porter romantically 328 00:20:40,840 --> 00:20:44,040 Speaker 2: like Norma Jean had before her. She had a husband 329 00:20:44,080 --> 00:20:47,119 Speaker 2: at home, Carl Dean, a man she married when she 330 00:20:47,240 --> 00:20:50,080 Speaker 2: was twenty one and Carl was twenty three, a man 331 00:20:50,119 --> 00:20:53,160 Speaker 2: who gladly stepped aside and let Dolly in her career 332 00:20:53,240 --> 00:20:57,760 Speaker 2: take precedence over everything else. Carl den set a high bar. 333 00:20:58,600 --> 00:21:01,480 Speaker 2: Dolly expected Porter to meet her at that high bar. 334 00:21:02,119 --> 00:21:04,800 Speaker 2: What Dolly wanted from Porter was to be involved in 335 00:21:04,840 --> 00:21:07,800 Speaker 2: the creative direction of both the television show and the tour. 336 00:21:08,400 --> 00:21:11,359 Speaker 2: What Dolly wanted was the seat at the table. But 337 00:21:11,440 --> 00:21:14,719 Speaker 2: Dolly refused to let Porter possess her, and it drove 338 00:21:15,080 --> 00:21:19,680 Speaker 2: Porter crazy. It drove from to violence. He tore framed 339 00:21:19,720 --> 00:21:22,560 Speaker 2: photos from the wall, He kicked over tables and chairs. 340 00:21:22,800 --> 00:21:25,320 Speaker 2: He reminded her, with all the subtlety of a fire 341 00:21:25,440 --> 00:21:29,439 Speaker 2: and brimstone pentecostal preacher, that she belonged to him, not 342 00:21:29,640 --> 00:21:34,159 Speaker 2: the other way around. But Dolly Parton belonged to no one, 343 00:21:34,480 --> 00:21:36,440 Speaker 2: not even to the man waiting for her at home, 344 00:21:36,880 --> 00:21:39,159 Speaker 2: which brings us back to I will always love you, 345 00:21:39,320 --> 00:21:43,560 Speaker 2: which Dolly rode at this exact moment of crisis. It 346 00:21:43,640 --> 00:21:46,159 Speaker 2: was always more than just another Dolly Parton's song. It 347 00:21:46,280 --> 00:21:48,760 Speaker 2: was a breakup song, yes, but just not the kind 348 00:21:48,760 --> 00:21:52,119 Speaker 2: of breakup song you're thinking of. It was Dolly breaking 349 00:21:52,240 --> 00:21:56,560 Speaker 2: up with her mentor a musical partner, Order Wagoner, because 350 00:21:56,600 --> 00:21:59,280 Speaker 2: Dolly had ambitions that went far beyond the roost that 351 00:21:59,359 --> 00:22:05,320 Speaker 2: Porter ruled, and far beyond Capital Sea Country. These ambitions 352 00:22:05,320 --> 00:22:08,960 Speaker 2: were nearly thwarted as she became coveted by increasingly controlling 353 00:22:09,000 --> 00:22:11,959 Speaker 2: and deluded men. And I'm not talking about Porter Wagoner 354 00:22:12,040 --> 00:22:15,399 Speaker 2: or Colonel Tom Parker. I'm talking about the murderous and 355 00:22:15,520 --> 00:22:19,200 Speaker 2: nefarious desire which our murder ballad loving guy Nick Cave 356 00:22:19,320 --> 00:22:23,359 Speaker 2: once spoke of, the very same one which overtook Willie 357 00:22:23,359 --> 00:22:31,680 Speaker 2: Miller when he killed that Knoxville girl. Louisa May felt 358 00:22:31,680 --> 00:22:33,760 Speaker 2: a trickle of blood run down the side of her 359 00:22:33,800 --> 00:22:35,520 Speaker 2: face as her knees sank. 360 00:22:35,240 --> 00:22:35,879 Speaker 1: Into the mud. 361 00:22:36,640 --> 00:22:39,119 Speaker 2: The earth was soft and pungent here next to the 362 00:22:39,160 --> 00:22:44,080 Speaker 2: Tennessee River. Her body was shaking. She tilted her head skyward. 363 00:22:44,560 --> 00:22:46,720 Speaker 2: She wanted to look directly into the eyes of the 364 00:22:46,760 --> 00:22:49,440 Speaker 2: man who just struck her. She wanted to know why, 365 00:22:50,480 --> 00:22:52,879 Speaker 2: why did he pick up that stick. Why did he 366 00:22:53,000 --> 00:22:56,480 Speaker 2: bludgeon her with it? She blinked and tried to focus. 367 00:22:57,160 --> 00:23:00,920 Speaker 2: Please Willie, she sobbed, her tears tasted seemed bitter and 368 00:23:01,000 --> 00:23:02,439 Speaker 2: salty on her trembling lips. 369 00:23:02,480 --> 00:23:04,520 Speaker 1: Please Willie, Please don't hit me again. 370 00:23:05,720 --> 00:23:09,720 Speaker 2: Willie Miller seemed taller to her, now more imposing. He 371 00:23:09,880 --> 00:23:12,960 Speaker 2: was a shadow, a blackened silhouette upon which the sun 372 00:23:13,000 --> 00:23:16,359 Speaker 2: refused to cast even a sliver of light. Louis A 373 00:23:16,400 --> 00:23:20,400 Speaker 2: May began to plead again, Willie, I beg you, when 374 00:23:20,880 --> 00:23:23,760 Speaker 2: at that moment, Willie brought the stick down on Louisa 375 00:23:23,800 --> 00:23:26,840 Speaker 2: May's head once more, and the stick cracked, this time 376 00:23:27,200 --> 00:23:30,840 Speaker 2: breaking in two, and the blood gushed, a thick stream 377 00:23:30,880 --> 00:23:33,920 Speaker 2: of it, rushing like the Tennessee River. Louis A May's 378 00:23:33,920 --> 00:23:35,560 Speaker 2: body went face down into the mud. 379 00:23:36,119 --> 00:23:36,439 Speaker 1: Dead. 380 00:23:37,800 --> 00:23:41,200 Speaker 2: Willie watched the blood ooze from the girl's body. It 381 00:23:41,320 --> 00:23:44,880 Speaker 2: painted the earth a deep, thick, crimson red. He grabbed 382 00:23:44,880 --> 00:23:47,399 Speaker 2: Louisi May by her hair. He dragged her to the 383 00:23:47,480 --> 00:23:49,960 Speaker 2: edge of the river, pushing her body into the water, 384 00:23:50,880 --> 00:23:54,200 Speaker 2: and it was a small splash, and then her body began. 385 00:23:54,040 --> 00:23:55,320 Speaker 1: To slowly drift away. 386 00:23:56,320 --> 00:23:59,600 Speaker 2: It was a while until she receded from view, and 387 00:23:59,640 --> 00:24:02,320 Speaker 2: it would be a while longer still before Willie Miller 388 00:24:02,359 --> 00:24:06,440 Speaker 2: began to truly understand what he had just done. 389 00:24:10,720 --> 00:24:12,399 Speaker 1: We'll be right back after this. 390 00:24:12,600 --> 00:24:14,240 Speaker 3: We're we're, we're. 391 00:24:18,840 --> 00:24:20,280 Speaker 2: Saturday night on the Jamboree. 392 00:24:20,320 --> 00:24:21,879 Speaker 1: I'm gonna kill Dolly Parton. 393 00:24:23,440 --> 00:24:25,840 Speaker 2: This is what a caller who identified himself only as 394 00:24:25,920 --> 00:24:28,600 Speaker 2: the Man in Black told Buddy Ray, the DJ at 395 00:24:28,680 --> 00:24:32,480 Speaker 2: WWVA in Wheeling, West Virginia. It was on or around 396 00:24:32,560 --> 00:24:36,280 Speaker 2: March twenty fifth, nineteen seventy six. The call came in 397 00:24:36,400 --> 00:24:40,159 Speaker 2: late during Buddy's overnight shift, just days before Dolly Parton's 398 00:24:40,240 --> 00:24:44,919 Speaker 2: two sold out shows at wwva's jamboree Wheelings version of 399 00:24:44,920 --> 00:24:48,120 Speaker 2: the Grand Old Lobbry. No sooner had the caller hung 400 00:24:48,200 --> 00:24:51,240 Speaker 2: up than the station's phone rang a second time. Buddy 401 00:24:51,240 --> 00:24:54,160 Speaker 2: picked up the receiver, the man in black spoke once 402 00:24:54,200 --> 00:24:56,480 Speaker 2: more to show you that I'm not kidding. It'll be 403 00:24:56,520 --> 00:25:02,200 Speaker 2: at the second show. From the left side. Wheeling PDE 404 00:25:02,520 --> 00:25:04,880 Speaker 2: was out in full force on the evening of Saturday, 405 00:25:04,960 --> 00:25:09,000 Speaker 2: March twenty seventh, nineteen seventy six, the date of Dolly's 406 00:25:09,040 --> 00:25:13,679 Speaker 2: jamboree performance. Uniformed and playing close, cops surveyed the scene 407 00:25:13,800 --> 00:25:16,639 Speaker 2: in and around the theater, where thousands awaited the nineteen 408 00:25:16,720 --> 00:25:20,040 Speaker 2: seventy five Country Music Association's Female Vocalists of the. 409 00:25:20,040 --> 00:25:22,800 Speaker 1: Year, But there would be no show that night. 410 00:25:23,440 --> 00:25:26,480 Speaker 2: Dolly's management didn't want to risk that the self professed 411 00:25:26,560 --> 00:25:30,240 Speaker 2: Men in Black would publicly murder her as promised, and 412 00:25:30,320 --> 00:25:32,520 Speaker 2: it was more than just the two jamboree shows that 413 00:25:32,560 --> 00:25:36,520 Speaker 2: were canceled. Sixty five additional shows were canceled throughout the 414 00:25:36,520 --> 00:25:40,879 Speaker 2: summer of nineteen seventy six. Dolly lost hundreds of thousands 415 00:25:40,920 --> 00:25:43,359 Speaker 2: of dollars. She was even forced to lay off the 416 00:25:43,480 --> 00:25:47,520 Speaker 2: musicians in her band. Here's the thing, though, I don't 417 00:25:47,520 --> 00:25:49,920 Speaker 2: think that Dolly shut down her summer that year because 418 00:25:49,920 --> 00:25:53,600 Speaker 2: of a death threat. Dolly did not scare easily. Her 419 00:25:53,600 --> 00:25:56,720 Speaker 2: skin was made thick by the kerosene, corn meal, and 420 00:25:56,840 --> 00:25:59,960 Speaker 2: quilting needles used to patch up major injuries she sustained 421 00:26:00,080 --> 00:26:03,080 Speaker 2: as a child. By this point, she was carrying a 422 00:26:03,080 --> 00:26:05,560 Speaker 2: thirty eight caliber pistol in her purse at all times, 423 00:26:06,160 --> 00:26:08,359 Speaker 2: and just a few days later, when police arrested the 424 00:26:08,359 --> 00:26:11,320 Speaker 2: Man in Black aka thirty year old Robert Elliott of 425 00:26:11,359 --> 00:26:14,879 Speaker 2: Wheeling and charged him with making threatening phone calls, Dolly 426 00:26:14,920 --> 00:26:17,680 Speaker 2: told a local paper quote, I wasn't all that shook. 427 00:26:17,520 --> 00:26:17,920 Speaker 1: Up about it. 428 00:26:19,880 --> 00:26:21,200 Speaker 2: I wasn't all that shook. 429 00:26:21,000 --> 00:26:21,600 Speaker 1: Up about it. 430 00:26:21,640 --> 00:26:24,159 Speaker 2: Is not the statement of a woman petrified by a 431 00:26:24,200 --> 00:26:28,840 Speaker 2: phone call to a radio station, right, Okay, So this 432 00:26:28,880 --> 00:26:32,040 Speaker 2: is what I think happened. I think that Dolly was 433 00:26:32,080 --> 00:26:35,040 Speaker 2: preparing to implement a hard reset in her career so 434 00:26:35,080 --> 00:26:38,399 Speaker 2: that she could cross over from country to pop. But 435 00:26:38,480 --> 00:26:42,119 Speaker 2: a hard reset requires a disruption, and I think that 436 00:26:42,200 --> 00:26:45,160 Speaker 2: the incident in Wheeling gave her something to blame said 437 00:26:45,240 --> 00:26:49,960 Speaker 2: disruption on. Because this is the moment when Dolly sought 438 00:26:49,960 --> 00:26:55,440 Speaker 2: out new representation, not in Nashville, but in LA. This 439 00:26:55,520 --> 00:26:57,919 Speaker 2: is the moment that she hired a new group of musicians, 440 00:26:58,200 --> 00:27:00,800 Speaker 2: the Gypsy Band, who were more Wes Coast rock and 441 00:27:00,880 --> 00:27:04,600 Speaker 2: roll than country. This is the moment when she started 442 00:27:04,600 --> 00:27:08,480 Speaker 2: partying at Studio fifty four with John Belushi, Jack Nicholson, 443 00:27:08,560 --> 00:27:12,520 Speaker 2: Calvin Klein, Mick Jagger, and Andy Warhol. This is when 444 00:27:12,560 --> 00:27:15,000 Speaker 2: she appeared in Playboy magazine, though. 445 00:27:14,920 --> 00:27:17,280 Speaker 1: No, she didn't pose nudey perverts, so quit thinking that. 446 00:27:17,640 --> 00:27:20,960 Speaker 2: And this is when one year later, in nineteen seventy seven, 447 00:27:21,160 --> 00:27:24,800 Speaker 2: she released the country pop crossover album Here You Come, again. 448 00:27:25,359 --> 00:27:27,720 Speaker 2: Its title track hit number one on the Country chart 449 00:27:28,000 --> 00:27:31,159 Speaker 2: and number three on the Billboard Hot one hundred and 450 00:27:31,200 --> 00:27:34,159 Speaker 2: Although she did it, as to paraphrase Elia Times as 451 00:27:34,320 --> 00:27:38,200 Speaker 2: Robert Hilburn, the most important ambassador for country music since 452 00:27:38,280 --> 00:27:42,359 Speaker 2: Johnny Cash, Dolly Parton's ambition and solo's success continued to 453 00:27:42,400 --> 00:27:45,800 Speaker 2: piss off the old guard back in Tennessee. Her one 454 00:27:45,840 --> 00:27:49,119 Speaker 2: time duet partner and mentor, Porter Wagoner, degraded her in 455 00:27:49,119 --> 00:27:52,600 Speaker 2: the press. He shamed her for her Playboy photo shoot, 456 00:27:53,040 --> 00:27:55,879 Speaker 2: He used a racist analogy to condemn her combination of 457 00:27:55,920 --> 00:27:58,679 Speaker 2: country and pop music, and then he sued her for 458 00:27:58,760 --> 00:28:01,600 Speaker 2: breach of contract. He wanted a portion of the money 459 00:28:01,640 --> 00:28:03,760 Speaker 2: she'd made since she left him all those years ago, 460 00:28:04,119 --> 00:28:07,120 Speaker 2: over three million dollars in total, and when the case 461 00:28:07,160 --> 00:28:08,760 Speaker 2: settled out of court right before it was set to 462 00:28:08,800 --> 00:28:11,080 Speaker 2: go to trial, Dolly was on the hook for not 463 00:28:11,240 --> 00:28:13,680 Speaker 2: three but still she was on the hook for one 464 00:28:13,800 --> 00:28:17,640 Speaker 2: million dollars, which she then began to pay off using 465 00:28:17,720 --> 00:28:20,199 Speaker 2: money she earned for her part in a project that 466 00:28:20,280 --> 00:28:23,159 Speaker 2: you could say was the greatest fuck you since Marvin 467 00:28:23,160 --> 00:28:26,320 Speaker 2: Gay released his divorce album Here My Dear to pay 468 00:28:26,359 --> 00:28:31,560 Speaker 2: his alimony debts nine to five Nine to Five was 469 00:28:31,600 --> 00:28:36,840 Speaker 2: a smash hit released in nineteen eighty. The movie starred 470 00:28:36,880 --> 00:28:41,000 Speaker 2: Dolly Parton and Jane Fonda and Lily Tomlin as disgruntled 471 00:28:41,080 --> 00:28:44,800 Speaker 2: office workers who get revenge on their chauvinistic boss played 472 00:28:44,840 --> 00:28:47,960 Speaker 2: by Dabney Coleman, who, if you squint hard enough, kind 473 00:28:47,960 --> 00:28:51,320 Speaker 2: of sort of reminds one of Porter Wagoner, and you 474 00:28:51,360 --> 00:28:53,880 Speaker 2: can easily make the connection between Dolly and Dabney Coleman's 475 00:28:53,880 --> 00:28:57,400 Speaker 2: secretary on screen and Dolly as Porter Wagoner's girl singer 476 00:28:57,440 --> 00:29:02,400 Speaker 2: in real life. The revenge was sweet both on and 477 00:29:02,600 --> 00:29:06,080 Speaker 2: off screen for Dolly Parton. Nine to five was the 478 00:29:06,120 --> 00:29:09,040 Speaker 2: second highest grossing movie of the year, right behind The 479 00:29:09,040 --> 00:29:11,440 Speaker 2: Empire Strikes Back even Better. 480 00:29:11,920 --> 00:29:13,720 Speaker 1: Its theme song, written and. 481 00:29:13,680 --> 00:29:17,760 Speaker 2: Performed by Dolly Parton, became Dolly Parton's first number one 482 00:29:17,840 --> 00:29:24,600 Speaker 2: hit on the pop chart. Take that, porter Wagoner. But 483 00:29:24,760 --> 00:29:29,680 Speaker 2: despite crossing over. Despite all of her successes, Dolly Parton 484 00:29:29,720 --> 00:29:33,840 Speaker 2: continued to fight off the so called nefarious transferred erotic 485 00:29:33,880 --> 00:29:38,080 Speaker 2: desire of men. She was forced to endure boob jokes 486 00:29:38,120 --> 00:29:41,320 Speaker 2: from George Hamilton at the Golden Globes, and she waited 487 00:29:41,400 --> 00:29:43,960 Speaker 2: until a commercial break while taping an episode of the 488 00:29:44,040 --> 00:29:47,080 Speaker 2: merv Griffin Show to tell the host to go fuck 489 00:29:47,160 --> 00:29:47,840 Speaker 2: off with all of. 490 00:29:47,840 --> 00:29:49,200 Speaker 1: His childish innuendoes. 491 00:29:50,040 --> 00:29:52,240 Speaker 2: And the stress of it all, the number one movie, 492 00:29:52,240 --> 00:29:55,719 Speaker 2: the number one song, the gigs, the interviews, the tight schedules, 493 00:29:55,880 --> 00:29:58,280 Speaker 2: more albums to make, and more movies to star in. 494 00:29:59,040 --> 00:30:02,120 Speaker 2: It led to a grad jewel physical breakdown of her 495 00:30:02,160 --> 00:30:07,160 Speaker 2: thirty six year old body. Bleeding internally, she nearly collapsed 496 00:30:07,160 --> 00:30:09,959 Speaker 2: on the stage at the Indiana State Fair, and she 497 00:30:10,040 --> 00:30:12,560 Speaker 2: was flown to New York City to Saint Luke's Hospital, 498 00:30:12,960 --> 00:30:17,720 Speaker 2: where she underwent emergency surgery. What exactly was done in 499 00:30:17,720 --> 00:30:20,440 Speaker 2: that operating room has been speculated on at length, and 500 00:30:20,480 --> 00:30:23,520 Speaker 2: I don't need to further speculate here. But what matters 501 00:30:23,600 --> 00:30:26,000 Speaker 2: is that when Dolly returned to her home in Nashville, 502 00:30:26,040 --> 00:30:29,320 Speaker 2: where her husband Carl at her side, she was, perhaps 503 00:30:29,400 --> 00:30:33,080 Speaker 2: for the first time in her life, creatively paralyzed. All 504 00:30:33,120 --> 00:30:36,160 Speaker 2: she could think about were the inevitable lawsuits, this time 505 00:30:36,400 --> 00:30:39,040 Speaker 2: not from Porter Wagoner, but from venues and from the 506 00:30:39,040 --> 00:30:41,440 Speaker 2: promoters of the shows that she'd been forced to cancel. 507 00:30:42,600 --> 00:30:45,280 Speaker 2: Unlike the last time she canceled the slate of performances, 508 00:30:45,760 --> 00:30:49,680 Speaker 2: this wasnt part of a master plan. This was where 509 00:30:49,680 --> 00:30:55,760 Speaker 2: the plan unraveled and fell apart for good. Dolly Parton 510 00:30:55,840 --> 00:31:00,200 Speaker 2: became depressed and withdrawn. She found herself opening a small 511 00:31:00,240 --> 00:31:03,920 Speaker 2: case that was stashed in her bedroom. Inside the case 512 00:31:04,080 --> 00:31:06,160 Speaker 2: was a gun that she kept for security and peace 513 00:31:06,160 --> 00:31:09,160 Speaker 2: of mind, perhaps put there in the wake of that 514 00:31:09,280 --> 00:31:12,640 Speaker 2: man in black business. And she picked up the gun. 515 00:31:13,240 --> 00:31:16,080 Speaker 2: She turned it over in her hand. She thought about 516 00:31:16,120 --> 00:31:21,240 Speaker 2: pressing it against her temple and pulling the trigger. This 517 00:31:21,320 --> 00:31:23,920 Speaker 2: part of Dolly's story reminds me of a song called 518 00:31:24,000 --> 00:31:27,040 Speaker 2: the Bridge. Dolly wrote it for her second album Just 519 00:31:27,080 --> 00:31:30,200 Speaker 2: Because I'm a Woman, back in nineteen sixty eight. In 520 00:31:30,280 --> 00:31:32,280 Speaker 2: the song, a woman goes to a bridge where she 521 00:31:32,360 --> 00:31:35,080 Speaker 2: kissed her lover for the first time, only now she 522 00:31:35,160 --> 00:31:37,560 Speaker 2: is pregnant with this man's child and the man has 523 00:31:37,560 --> 00:31:41,240 Speaker 2: since abandoned her. And as the song progresses, the woman 524 00:31:41,720 --> 00:31:44,440 Speaker 2: racked with heartache and pain and shame, and she's closer 525 00:31:44,480 --> 00:31:46,760 Speaker 2: to the edge of the bridge, and the song ends 526 00:31:46,800 --> 00:31:49,760 Speaker 2: with the line here is where it started, and here 527 00:31:49,840 --> 00:31:53,920 Speaker 2: is where I'll end it, and then that's it. The 528 00:31:54,000 --> 00:31:56,239 Speaker 2: song is over, and we don't know for sure if 529 00:31:56,240 --> 00:32:00,080 Speaker 2: the woman jumped or not, although it's definitely implied and 530 00:32:00,080 --> 00:32:02,080 Speaker 2: I wonder if Dolly Parton thought of her own song 531 00:32:02,160 --> 00:32:03,800 Speaker 2: as she was sitting on her bed with a loaded 532 00:32:03,880 --> 00:32:07,400 Speaker 2: pistol in her hand. She, like the narrator of the Bridge, 533 00:32:07,640 --> 00:32:10,560 Speaker 2: was facing another moment, a crisis, a moment in which 534 00:32:10,760 --> 00:32:15,480 Speaker 2: one sudden, hopeless impulse was a difference between life and death. 535 00:32:20,400 --> 00:32:22,000 Speaker 1: Willie Miller didn't notice. 536 00:32:21,800 --> 00:32:24,440 Speaker 2: All the blood on his shirt when he arrived back 537 00:32:24,480 --> 00:32:26,560 Speaker 2: at the small house he shared with his family. His 538 00:32:26,640 --> 00:32:29,920 Speaker 2: mother was the first to say something, and Willie looked down, 539 00:32:30,120 --> 00:32:34,120 Speaker 2: slightly dazed, only now seeing the deep red stain. It 540 00:32:34,240 --> 00:32:37,280 Speaker 2: was still wet to the touch. He shook his head 541 00:32:37,280 --> 00:32:39,680 Speaker 2: and told his mother to calm down. It was simply 542 00:32:39,680 --> 00:32:43,360 Speaker 2: a nosebleed, he reassured her. He went to his bedroom 543 00:32:43,360 --> 00:32:45,840 Speaker 2: and shut the door behind him. He climbed into the 544 00:32:45,840 --> 00:32:50,000 Speaker 2: bed and pulled the sheets of tight. Sleep came fast, 545 00:32:50,360 --> 00:32:53,480 Speaker 2: so did the dreams, and Willie tossed and turned as 546 00:32:53,480 --> 00:32:55,680 Speaker 2: the flames built up all around him. 547 00:32:55,880 --> 00:32:57,400 Speaker 1: They were lapping at the window and. 548 00:32:57,440 --> 00:32:59,920 Speaker 2: Sprinting up the curtains, and they burned all around it 549 00:33:00,400 --> 00:33:03,280 Speaker 2: and licked at his bare feet. He awoke in a 550 00:33:03,320 --> 00:33:07,520 Speaker 2: cold sweat, sitting up straight, swatting at the imaginary fire 551 00:33:07,560 --> 00:33:10,760 Speaker 2: that had just fueled his nightmare. And there was a 552 00:33:10,800 --> 00:33:14,280 Speaker 2: knock at his door. He opened it, expecting to see 553 00:33:14,280 --> 00:33:17,600 Speaker 2: his mother. Instead, he was greeted by an officer from 554 00:33:17,600 --> 00:33:21,720 Speaker 2: the Knoxville Police Department. He placed Willy under arrest and 555 00:33:21,840 --> 00:33:25,880 Speaker 2: charged him with the murder of Louisa may Brown. The 556 00:33:25,960 --> 00:33:28,920 Speaker 2: trial was swift, as swift as the justice that came 557 00:33:29,000 --> 00:33:33,320 Speaker 2: crashing down with the judge's gavel. Some said Willy deserved 558 00:33:33,320 --> 00:33:36,200 Speaker 2: to die instead, he was sentenced to live out the 559 00:33:36,200 --> 00:33:40,160 Speaker 2: rest of his days behind bars. The Tennessee State Prison 560 00:33:40,280 --> 00:33:44,080 Speaker 2: was bleak, brutal, and overcrowded, and Willie kept to himself. 561 00:33:44,600 --> 00:33:47,280 Speaker 2: He didn't talk to the other inmates and didn't make 562 00:33:47,280 --> 00:33:50,560 Speaker 2: eye contact. But if you walked by his cell at night, 563 00:33:51,080 --> 00:33:53,400 Speaker 2: once the lights in the wing were shut off, the 564 00:33:53,520 --> 00:33:57,480 Speaker 2: roaches and rats came scurrying from their holes, you could 565 00:33:57,520 --> 00:34:02,880 Speaker 2: hear Willie Miller. First, there was the violent awakening that 566 00:34:03,000 --> 00:34:06,640 Speaker 2: was Willy regaining consciousness with a shriek, resting himself from 567 00:34:06,640 --> 00:34:09,280 Speaker 2: the nightmare of hell fire that awaited him every evening. 568 00:34:10,280 --> 00:34:14,080 Speaker 2: Sweating and panting, he could gradually calm down, and then 569 00:34:14,120 --> 00:34:17,359 Speaker 2: he would speak. The sound of his voice was low, 570 00:34:18,040 --> 00:34:20,279 Speaker 2: hidden deep under his own breath so as not to 571 00:34:20,360 --> 00:34:25,360 Speaker 2: draw attention. It was always the same thing. He repeated 572 00:34:25,400 --> 00:34:28,600 Speaker 2: it over and over again, like a mantra or a prayer, 573 00:34:29,280 --> 00:34:31,840 Speaker 2: or maybe just a compulsion that he could not or 574 00:34:31,880 --> 00:34:37,279 Speaker 2: would not explain. Farewell, Knoxville Girl, he would say, farewell 575 00:34:37,320 --> 00:35:00,759 Speaker 2: to the girl I loved so well. Classic version of 576 00:35:00,800 --> 00:35:04,080 Speaker 2: Knoxville Girl was recorded by the Louvin Brothers Charlie and 577 00:35:04,120 --> 00:35:07,880 Speaker 2: Ira for their nineteen fifty nine album Tragic Songs of Life. 578 00:35:08,640 --> 00:35:13,480 Speaker 2: Their close harmonies are tight, mournful and dare I say beautiful, 579 00:35:14,080 --> 00:35:17,120 Speaker 2: And therein lies the chilling nature of the song. It's 580 00:35:17,160 --> 00:35:20,280 Speaker 2: delivered so matter of factly, like the narrator is telling 581 00:35:20,320 --> 00:35:22,560 Speaker 2: you how they made a sandwich for lunch that day 582 00:35:22,640 --> 00:35:26,600 Speaker 2: or something. But what is being described as a brutal murder, 583 00:35:27,160 --> 00:35:31,880 Speaker 2: a murder committed without warning, a murder committed in cold blood. 584 00:35:33,600 --> 00:35:36,399 Speaker 2: Five years before the Louvern Brothers recorded their immortal take 585 00:35:36,480 --> 00:35:41,040 Speaker 2: on Knoxville Girl, in nineteen fifty four, four teenagers in Brooklyn, 586 00:35:41,120 --> 00:35:44,560 Speaker 2: known in the press as the Brooklyn thrill Killers, drowned 587 00:35:44,600 --> 00:35:48,160 Speaker 2: one victim and beat another to death. The King's County 588 00:35:48,239 --> 00:35:51,480 Speaker 2: da said of the Murderer's quartet. They apparently had no 589 00:35:51,560 --> 00:35:55,680 Speaker 2: reason except the thrill that they got thirty years before that, 590 00:35:56,000 --> 00:35:59,920 Speaker 2: in nineteen twenty four, Nathan Leopold and Richard Loewe kidnapped 591 00:36:00,120 --> 00:36:02,640 Speaker 2: fourteen year old boy in Chicago, hit him in the 592 00:36:02,680 --> 00:36:05,879 Speaker 2: head repeatedly with the handle of a chisel, gagged him, 593 00:36:05,920 --> 00:36:09,160 Speaker 2: and watched as the life drained from his body. Their 594 00:36:09,239 --> 00:36:12,440 Speaker 2: motive the simple desire to commit what they called the 595 00:36:12,520 --> 00:36:16,600 Speaker 2: perfect crime and thus demonstrate their superiority over the. 596 00:36:16,480 --> 00:36:17,600 Speaker 1: Rest of the human race. 597 00:36:18,840 --> 00:36:21,239 Speaker 2: In these crimes, as in the later day crimes of 598 00:36:21,320 --> 00:36:24,960 Speaker 2: serial killers like Ted Bundy, Jeffrey Dahmer, and Richard Ramirez, 599 00:36:25,480 --> 00:36:28,720 Speaker 2: there is an inexplicable compulsion at the root to carry 600 00:36:28,760 --> 00:36:29,319 Speaker 2: out the act. 601 00:36:30,080 --> 00:36:32,799 Speaker 1: There is also the need to exert power, the. 602 00:36:32,880 --> 00:36:37,680 Speaker 2: Need to control, and the need to possess. Colonel Tom 603 00:36:37,719 --> 00:36:41,719 Speaker 2: Parker wanted to possess Dolly Parton's song Porter Wagoner wanted 604 00:36:41,760 --> 00:36:45,720 Speaker 2: to possess Dolly Parton as his girl singer. Robert Elliott 605 00:36:45,800 --> 00:36:49,360 Speaker 2: of Wheeling aka the Man in Black, wanted to possess 606 00:36:49,400 --> 00:36:51,960 Speaker 2: Dolly Parton with to once again quote our guide in 607 00:36:52,040 --> 00:36:57,240 Speaker 2: Nick Cave, murderous male attention and nefarious transferred erotic desire, 608 00:36:58,080 --> 00:37:03,000 Speaker 2: but Dolly Parton would not be possessed. Dolly Parton was 609 00:37:03,080 --> 00:37:06,480 Speaker 2: not a tragic female figure from an anonymous murder ballot. 610 00:37:07,360 --> 00:37:09,400 Speaker 2: She was far too much of a badass not to 611 00:37:09,440 --> 00:37:11,640 Speaker 2: mention she wasn't gonna be in somebody else's. 612 00:37:11,280 --> 00:37:12,520 Speaker 1: Song Get out of Here with That. 613 00:37:15,680 --> 00:37:19,480 Speaker 2: And by nineteen eighty three, Dolly Parton had rebounded from 614 00:37:19,480 --> 00:37:22,879 Speaker 2: her emotional rock bottom of the year prior. The gun 615 00:37:22,960 --> 00:37:24,880 Speaker 2: she kept in her house had gone back into its 616 00:37:24,920 --> 00:37:28,040 Speaker 2: bedroom case, and she was once again proving herself to 617 00:37:28,080 --> 00:37:32,480 Speaker 2: be an unstoppable crossover force. Her duet with Kenny Rodgers 618 00:37:32,680 --> 00:37:36,560 Speaker 2: Islands in the Stream, topped the pop country in contemporary 619 00:37:36,640 --> 00:37:40,719 Speaker 2: charts that fall. This was nineteen eighty three, the year 620 00:37:40,800 --> 00:37:44,360 Speaker 2: of Michael Jackson's beat It Lamo Richie's All Night Long, 621 00:37:44,680 --> 00:37:48,200 Speaker 2: Every Breath You Take by the Police. But nineteen eighty 622 00:37:48,200 --> 00:37:51,239 Speaker 2: three was also only a few years removed from the 623 00:37:51,280 --> 00:37:54,560 Speaker 2: assassination of John Lennon outside the Dakota in New York. 624 00:37:55,400 --> 00:37:58,640 Speaker 2: Beatle John's murder was no doubt on Dolly Parton's mind 625 00:37:58,760 --> 00:38:01,480 Speaker 2: when she read the news Today, Oh Boy News about 626 00:38:01,480 --> 00:38:05,799 Speaker 2: a recent poll of psychologists to determine which celebrities were 627 00:38:05,840 --> 00:38:10,360 Speaker 2: most likely to be assassinated, and why were psychologists being 628 00:38:10,400 --> 00:38:12,960 Speaker 2: asked about hypothetical celebrity assassinations. 629 00:38:13,280 --> 00:38:14,040 Speaker 1: It didn't matter. 630 00:38:14,520 --> 00:38:17,320 Speaker 2: All that mattered to Dolly Parton was that her name 631 00:38:17,760 --> 00:38:19,320 Speaker 2: was at the top of their list. 632 00:38:20,160 --> 00:38:20,839 Speaker 1: Imagine that. 633 00:38:21,320 --> 00:38:25,400 Speaker 2: Imagine your Dolly Parton. You've had unprecedented success as a 634 00:38:25,400 --> 00:38:28,480 Speaker 2: country artist, crossing over into the mainstream, but the journey 635 00:38:28,760 --> 00:38:31,400 Speaker 2: has not been easy. There have been death threats, and 636 00:38:31,440 --> 00:38:35,080 Speaker 2: you suffered internal bleeding and major surgeries, a period of 637 00:38:35,120 --> 00:38:38,960 Speaker 2: extreme depression, thoughts of suicide, and then, just as you 638 00:38:39,000 --> 00:38:41,680 Speaker 2: get it all back together, you read about how you 639 00:38:41,880 --> 00:38:44,759 Speaker 2: are the most likely target of the next crazed assassin 640 00:38:44,840 --> 00:38:47,520 Speaker 2: on the mean streets of America, something that is printed 641 00:38:47,640 --> 00:38:51,280 Speaker 2: in the mainstream press so that the next crazed assassin 642 00:38:51,360 --> 00:38:54,080 Speaker 2: can read it and go from what if to not if? 643 00:38:54,200 --> 00:38:54,680 Speaker 1: But when? 644 00:38:56,600 --> 00:39:01,040 Speaker 2: On January fifteenth, nineteen eighty three, a death threat was Owensboro, 645 00:39:01,200 --> 00:39:04,600 Speaker 2: Kentucky police, shortly before Dolly's two sold out shows there 646 00:39:04,640 --> 00:39:08,920 Speaker 2: at the Executive In Showroom Lounge. The shows were quickly canceled, 647 00:39:09,160 --> 00:39:13,600 Speaker 2: as were additional dates in Texas and Louisiana. Two months later, 648 00:39:13,760 --> 00:39:16,760 Speaker 2: in March, a bomb threat cleared out the Old Dominion 649 00:39:16,800 --> 00:39:19,840 Speaker 2: Theater in London, where Dolly Parton was taping a special 650 00:39:19,880 --> 00:39:24,400 Speaker 2: for HBO, and as recently as twenty twenty two, a 651 00:39:24,440 --> 00:39:29,120 Speaker 2: Pennsylvania man threatened to detonate bombs he'd allegedly planted in Pittsburgh, Greensburg, 652 00:39:29,239 --> 00:39:31,880 Speaker 2: and Mount Pleasant unless he was allowed to speak to 653 00:39:31,960 --> 00:39:37,759 Speaker 2: Dolly Parton. The threats are constant, the danger is constant. 654 00:39:38,960 --> 00:39:41,600 Speaker 2: It's passed down from generation to generation. 655 00:39:42,320 --> 00:39:43,320 Speaker 1: Like a murder ballad. 656 00:39:43,840 --> 00:39:47,160 Speaker 2: The sorrow cord echoes in the darkness and the bids 657 00:39:47,200 --> 00:39:51,280 Speaker 2: farewell to the girl they loved so well. But Dolly 658 00:39:51,760 --> 00:39:54,480 Speaker 2: was no Knoxville girl. She was not one to be 659 00:39:54,560 --> 00:39:56,640 Speaker 2: led down through the tall grass to the riverbed. 660 00:39:57,520 --> 00:39:59,080 Speaker 1: Instead, she was. 661 00:39:59,080 --> 00:40:03,279 Speaker 2: The one who rang the sorrow chord. Dolly Parton bid 662 00:40:03,360 --> 00:40:08,680 Speaker 2: her own farewell to disgrace. I'm Jake Brennan. 663 00:40:09,520 --> 00:40:39,200 Speaker 3: This this Disgracelam. 664 00:40:25,080 --> 00:40:28,080 Speaker 2: Disgraceland was created by Yours Truly. It is produced in 665 00:40:28,160 --> 00:40:32,759 Speaker 2: partnership with Double Elvis, the Exactly Right Network in iHeart Podcasts. 666 00:40:33,360 --> 00:40:35,640 Speaker 2: Credits for this episode can be found on the show 667 00:40:35,680 --> 00:40:39,440 Speaker 2: notes page at disgracelampod dot com. If you're listening as 668 00:40:39,440 --> 00:40:42,799 Speaker 2: a Disgraceland All Access member. Thank you for supporting the show. 669 00:40:42,840 --> 00:40:45,600 Speaker 2: We really appreciate it, and if not, you can become 670 00:40:45,600 --> 00:40:49,000 Speaker 2: a member right now by going to disgracelampod dot com 671 00:40:49,000 --> 00:40:53,359 Speaker 2: slash Membership members can listen to every episode of Disgraceland 672 00:40:53,480 --> 00:40:56,160 Speaker 2: ad free, rate and review the show, and follow us 673 00:40:56,160 --> 00:41:00,640 Speaker 2: on Instagram, TikTok, Twitter and Facebook at disgracelamppod, on YouTube 674 00:41:00,680 --> 00:41:05,000 Speaker 2: at YouTube dot com slash at disgrace Lampod rock a 675 00:41:05,120 --> 00:41:05,480 Speaker 2: roll up. 676 00:41:09,560 --> 00:41:11,120 Speaker 1: He's a bad bad man.