1 00:00:01,720 --> 00:00:04,960 Speaker 1: Welcome to episode two hundred of the Bobby Cast. I 2 00:00:05,200 --> 00:00:10,119 Speaker 1: just talk to Ken Burns, who is crazy famous documentary maker, 3 00:00:10,520 --> 00:00:12,040 Speaker 1: and I was gonna bring Eddie in on this, but 4 00:00:12,160 --> 00:00:14,000 Speaker 1: Eddie wasn't able to get here in time. Wait, I'm 5 00:00:14,000 --> 00:00:15,840 Speaker 1: sorry you miss it because it's really good and I'm 6 00:00:15,840 --> 00:00:17,880 Speaker 1: a big fan of ken Burns. Like, that's so cool. 7 00:00:17,880 --> 00:00:19,279 Speaker 1: We were talking about it because we were on the 8 00:00:19,360 --> 00:00:21,439 Speaker 1: road this weekend. What else have you seen of his 9 00:00:21,560 --> 00:00:23,239 Speaker 1: I've seen the World War two one that he did. 10 00:00:23,400 --> 00:00:25,119 Speaker 1: How many hours is that one? Oh? They're all long. 11 00:00:25,320 --> 00:00:27,800 Speaker 1: I mean, gosh, I never saw I think I saw 12 00:00:27,800 --> 00:00:29,920 Speaker 1: it when it was airing on PBS, so it was 13 00:00:30,000 --> 00:00:32,120 Speaker 1: it felt like a month long. And I saw the 14 00:00:32,159 --> 00:00:34,280 Speaker 1: Civil War one and I saw the Baseball one. You 15 00:00:34,280 --> 00:00:37,239 Speaker 1: watch all them in their entirety. They're really cool, man, 16 00:00:37,320 --> 00:00:40,440 Speaker 1: I mean, there's no shortage of information on his documentaries. 17 00:00:40,520 --> 00:00:42,440 Speaker 1: I was reading a story about ken Burns, who is 18 00:00:42,479 --> 00:00:48,599 Speaker 1: coming up in just second where Apple named like like 19 00:00:48,640 --> 00:00:50,800 Speaker 1: an app after him or was it my the effect? 20 00:00:50,880 --> 00:00:53,840 Speaker 1: The ken Burns effect? Okay, so they and he was like, 21 00:00:53,840 --> 00:00:55,440 Speaker 1: I don't want to hop on with the product because 22 00:00:55,440 --> 00:00:58,520 Speaker 1: I don't know do endorsements. But then Steve Jobs said, Okay, 23 00:00:58,520 --> 00:01:00,040 Speaker 1: we'll make you a deal. Let's we'll have it the 24 00:01:00,080 --> 00:01:02,160 Speaker 1: ken Burns effect, but we'll donate all this equipment to 25 00:01:02,720 --> 00:01:05,520 Speaker 1: like a school or some project, right and Apple, and 26 00:01:05,560 --> 00:01:07,360 Speaker 1: he agreed to do it. Oh cool, So he didn't 27 00:01:07,360 --> 00:01:10,200 Speaker 1: take any money, but they but in. But the effect 28 00:01:10,280 --> 00:01:12,679 Speaker 1: is that he zooms in and out of pictures. I 29 00:01:12,680 --> 00:01:14,200 Speaker 1: didn't know that to Edie was telling me about it, 30 00:01:14,240 --> 00:01:16,560 Speaker 1: because Edie, how far are you into the documentary? UM? 31 00:01:16,360 --> 00:01:19,640 Speaker 1: On our five? Okay, so I just finished our sixteen 32 00:01:21,160 --> 00:01:23,000 Speaker 1: behind you and it gets so good. And I hate 33 00:01:23,000 --> 00:01:24,880 Speaker 1: to call it a sixty hour documentary because it's mostly 34 00:01:24,920 --> 00:01:27,920 Speaker 1: a series. It's like it's like a docuseries. It'd be 35 00:01:27,959 --> 00:01:30,039 Speaker 1: like watching Netflix and I make the thing here to 36 00:01:30,080 --> 00:01:31,959 Speaker 1: talk to Kim. I was like, hey, at first, I 37 00:01:32,000 --> 00:01:33,840 Speaker 1: was like six hours, but then I've been shows more 38 00:01:33,840 --> 00:01:36,720 Speaker 1: than that. Um. It starts if you're hearing this, it 39 00:01:36,760 --> 00:01:38,840 Speaker 1: comes we're putting this out on Sunday. It starts tonight, 40 00:01:38,880 --> 00:01:40,800 Speaker 1: So if you're hearing this, it's out, go to PBS 41 00:01:40,880 --> 00:01:43,880 Speaker 1: dot org and you can also watch it on the app, 42 00:01:43,959 --> 00:01:46,120 Speaker 1: or you can watch it on PBS. But it's called 43 00:01:46,160 --> 00:01:48,200 Speaker 1: country music and you like it. Oh, I love it 44 00:01:48,280 --> 00:01:50,320 Speaker 1: so far. I just I love every minute of it, 45 00:01:50,440 --> 00:01:53,400 Speaker 1: so so much good information. I mean, it's it's the 46 00:01:53,400 --> 00:01:56,240 Speaker 1: pictures are so cool to see, and yeah, it's great 47 00:01:56,320 --> 00:01:58,680 Speaker 1: and it gets better as it goes. I talked to 48 00:01:58,760 --> 00:02:01,480 Speaker 1: Ken coming up about cry. I cry in the final episode. Wow, 49 00:02:01,880 --> 00:02:03,760 Speaker 1: I've got something they showed and do you tell him this? 50 00:02:05,200 --> 00:02:07,240 Speaker 1: I do, He's so smart. Here we go. This is 51 00:02:07,320 --> 00:02:09,880 Speaker 1: kin Burns episode two. Eddie, I'm excited for you to 52 00:02:09,880 --> 00:02:13,200 Speaker 1: hear this. You haven't heard it yet. H Exactly, you 53 00:02:13,200 --> 00:02:15,560 Speaker 1: should not listen back to you finish it, Eddie. Everybody 54 00:02:15,560 --> 00:02:17,760 Speaker 1: else should listen and then hopefully it makes you go 55 00:02:17,840 --> 00:02:20,880 Speaker 1: watch it because it's so good. Here's the episode two hundred. 56 00:02:20,960 --> 00:02:24,120 Speaker 1: Kin Burns talking about his documentary Country Music here on 57 00:02:24,160 --> 00:02:27,640 Speaker 1: the Bobycast. Hey Ken, Hey, Hey, how are you good. 58 00:02:27,680 --> 00:02:29,720 Speaker 1: I'm great. How are you doing? Hey, I'm really good. 59 00:02:29,919 --> 00:02:32,280 Speaker 1: It's been Uh. I feel like we've been missing each other, 60 00:02:32,639 --> 00:02:34,560 Speaker 1: Like you would come around and do some press and 61 00:02:34,560 --> 00:02:36,160 Speaker 1: I will be gone and I will be here, and 62 00:02:37,160 --> 00:02:39,280 Speaker 1: so it's a it's a real pleasure to talk to you, 63 00:02:39,320 --> 00:02:42,080 Speaker 1: and it's my pleasure. I really wanted to finish the 64 00:02:42,080 --> 00:02:45,239 Speaker 1: whole thing. Before I talk to you too, and I did, 65 00:02:45,400 --> 00:02:47,000 Speaker 1: like I finished, I've been on the road, have been 66 00:02:47,000 --> 00:02:49,680 Speaker 1: touring the last few days. Maybe that's what the whole 67 00:02:49,720 --> 00:02:53,520 Speaker 1: thing was about. I just finished, like the hour I 68 00:02:53,560 --> 00:02:56,720 Speaker 1: finished the last one, and it was I'm gonna be honest. 69 00:02:56,760 --> 00:03:00,839 Speaker 1: I thought, that's such a daunting sixteen documentary. But then 70 00:03:00,880 --> 00:03:04,000 Speaker 1: I thought, I've binge the dumbest shows that are over 71 00:03:04,040 --> 00:03:06,200 Speaker 1: sixteen hours sometimes, So I just kind of looked as 72 00:03:06,639 --> 00:03:08,800 Speaker 1: and I loved it. I mean, it was it was 73 00:03:08,840 --> 00:03:13,000 Speaker 1: so good. I'm so happy. I'm so happy. Thank you. Well, 74 00:03:13,120 --> 00:03:15,120 Speaker 1: then let me just start because I made so many 75 00:03:15,160 --> 00:03:18,000 Speaker 1: notes because I love country music. I'm from Arkansas, and 76 00:03:18,040 --> 00:03:21,280 Speaker 1: so you know, I grew up with with nineties country 77 00:03:21,280 --> 00:03:23,840 Speaker 1: being my things. The last episodes really were like speaking 78 00:03:23,840 --> 00:03:26,600 Speaker 1: to my childhood a lot, and so I may kind 79 00:03:26,639 --> 00:03:28,720 Speaker 1: of balance around a little bit. If you're okay with that, 80 00:03:28,760 --> 00:03:31,920 Speaker 1: I'm totally okay with that. Kidding. Yeah, that's great. Well, 81 00:03:31,960 --> 00:03:34,640 Speaker 1: then let's start with because something that I didn't know 82 00:03:34,680 --> 00:03:36,440 Speaker 1: is where the term hillbilly came from as far as 83 00:03:36,520 --> 00:03:39,920 Speaker 1: hillbilly music, because being called to hillbilly myself for most 84 00:03:39,920 --> 00:03:42,760 Speaker 1: of my life, it had always been something that and 85 00:03:42,800 --> 00:03:45,400 Speaker 1: I think Dolly said it in the documentary that whenever 86 00:03:45,480 --> 00:03:48,040 Speaker 1: other Hillbillies called you that it wasn't an insult, but 87 00:03:48,080 --> 00:03:53,280 Speaker 1: when people who weren't called you that, it was an insult. Yeah, 88 00:03:53,320 --> 00:03:55,320 Speaker 1: but he'll building talk about that for a second. And 89 00:03:55,560 --> 00:03:58,200 Speaker 1: how the I think the original thing is originally kind 90 00:03:58,200 --> 00:04:01,280 Speaker 1: of like there's a one or in the nineties, if 91 00:04:01,280 --> 00:04:05,560 Speaker 1: there's a market for this old time kill country music, right, 92 00:04:05,640 --> 00:04:10,160 Speaker 1: which they and that point Southern Appalachian string band music, 93 00:04:10,280 --> 00:04:13,960 Speaker 1: you know. And at one point they were struggling for 94 00:04:14,000 --> 00:04:16,160 Speaker 1: a name that was a little bit less than a mouthful, 95 00:04:16,600 --> 00:04:19,680 Speaker 1: and one of the performers, that's just call us Hillbillies 96 00:04:19,720 --> 00:04:23,479 Speaker 1: because that's all we are. And it was self named. 97 00:04:23,560 --> 00:04:26,880 Speaker 1: But of course you're exactly right, not dissimilar to not 98 00:04:26,960 --> 00:04:31,839 Speaker 1: exactly like, but not dissimilar to the the N word. Uh. 99 00:04:31,920 --> 00:04:37,560 Speaker 1: It cannot really be used by outsiders because them's fighting words, 100 00:04:37,600 --> 00:04:41,320 Speaker 1: but it's it's used in some ways as a badge 101 00:04:41,320 --> 00:04:44,679 Speaker 1: of respect, you know, because the story of country music 102 00:04:44,880 --> 00:04:48,599 Speaker 1: is the story of the downtrodden. It's the story of 103 00:04:48,640 --> 00:04:51,640 Speaker 1: the people who work hard for a living and understand 104 00:04:51,680 --> 00:04:55,200 Speaker 1: that the playing field isn't always level. This is black 105 00:04:55,240 --> 00:04:59,080 Speaker 1: and white. It's the people who built America. Then they're 106 00:04:59,320 --> 00:05:03,680 Speaker 1: the combination and of their common music. You know, the 107 00:05:03,720 --> 00:05:07,160 Speaker 1: banjo comes from Africa and the settle from the British 108 00:05:07,200 --> 00:05:12,560 Speaker 1: Isles in Europe. Their common music is country music. Their 109 00:05:12,600 --> 00:05:15,720 Speaker 1: common music is rhythm and blues, the blues, jazz, all 110 00:05:15,760 --> 00:05:20,760 Speaker 1: of these different utterly American forms. Country Um So Are 111 00:05:20,880 --> 00:05:24,680 Speaker 1: Our series is an attempt to sort of help tell 112 00:05:24,720 --> 00:05:27,440 Speaker 1: the stories of the people who often feel like their 113 00:05:27,480 --> 00:05:29,880 Speaker 1: stories aren't being told. And that's at the heart of 114 00:05:29,920 --> 00:05:32,800 Speaker 1: country music and in a way, at the heart of 115 00:05:32,920 --> 00:05:37,560 Speaker 1: essentially derogatory name hillbilly is that that is also a 116 00:05:37,560 --> 00:05:40,000 Speaker 1: badge of honor for those who wear it. You know, 117 00:05:40,200 --> 00:05:45,080 Speaker 1: he's absolutely right. Yeah, it's interesting that the music was 118 00:05:45,120 --> 00:05:47,479 Speaker 1: called hillbilly music for such a long time, meaning it 119 00:05:47,600 --> 00:05:51,760 Speaker 1: was just the genre of music before it flipped and 120 00:05:51,760 --> 00:05:54,880 Speaker 1: it was country and western. It was the genre was 121 00:05:55,000 --> 00:05:57,839 Speaker 1: literally hillbilly. I had no idea. And you know something 122 00:05:57,880 --> 00:06:00,680 Speaker 1: that I found fascinating was it goes from hillbilly to 123 00:06:00,839 --> 00:06:03,320 Speaker 1: country and western right around the time race music goes 124 00:06:03,360 --> 00:06:05,720 Speaker 1: to rhythm and blues. Right. It was like a chart switch, right, 125 00:06:06,000 --> 00:06:08,440 Speaker 1: that's right. It's a little bit earlier for rhythm and blues. 126 00:06:08,480 --> 00:06:11,159 Speaker 1: But but but essentially at the same time. And what 127 00:06:11,240 --> 00:06:13,960 Speaker 1: you've got is the the assumption, and I don't know 128 00:06:14,000 --> 00:06:17,279 Speaker 1: why it happens, is the presumption that only black people 129 00:06:17,640 --> 00:06:20,280 Speaker 1: listen to rhythm and blues and only white people listen 130 00:06:20,320 --> 00:06:23,080 Speaker 1: to country music. Never was the case, And there's lots 131 00:06:23,120 --> 00:06:27,760 Speaker 1: of cross uh pollenization, cross fertilization between it. You know, 132 00:06:27,800 --> 00:06:30,440 Speaker 1: country music is not an island nation where you need 133 00:06:30,480 --> 00:06:34,760 Speaker 1: a passport or a visa to get in. It's a 134 00:06:34,880 --> 00:06:38,640 Speaker 1: budding jazz, it's a budding blues, it's abudding rhythm and blues. 135 00:06:38,680 --> 00:06:42,279 Speaker 1: It's a budding country, I mean folk, and and it 136 00:06:42,440 --> 00:06:45,240 Speaker 1: is one of the parents with R and B of rock, 137 00:06:45,440 --> 00:06:48,239 Speaker 1: and of course it's still a budding pop and even 138 00:06:48,320 --> 00:06:52,200 Speaker 1: wrap and and and classical. So you've got it's it's 139 00:06:52,279 --> 00:06:55,160 Speaker 1: always connected to all the other forums in the borders 140 00:06:55,160 --> 00:06:59,880 Speaker 1: are porous and it's seeking to be lots of different 141 00:07:00,279 --> 00:07:03,080 Speaker 1: So after it starts off with the Carter family and 142 00:07:03,440 --> 00:07:07,360 Speaker 1: Jimmy Rodgers, who themselves are different from one another and 143 00:07:07,400 --> 00:07:11,840 Speaker 1: within themselves an amalgam of different influences, it goes after 144 00:07:11,880 --> 00:07:16,280 Speaker 1: cowboy music. It has Western swing, it has bluegrass, It 145 00:07:16,400 --> 00:07:19,160 Speaker 1: has a Nashville sound, it has the Baker's Field sound 146 00:07:19,200 --> 00:07:22,240 Speaker 1: and reaction to the Nashville sound, and has country politan, 147 00:07:22,680 --> 00:07:26,320 Speaker 1: It has the Outlaws, it has you know, every single thing. 148 00:07:26,400 --> 00:07:29,760 Speaker 1: So not only was it never one thing, but it's 149 00:07:29,920 --> 00:07:33,640 Speaker 1: constantly added new things to its story to make it 150 00:07:34,080 --> 00:07:38,520 Speaker 1: omnivorous and and a big, mighty flowing river with lots 151 00:07:38,560 --> 00:07:42,160 Speaker 1: of tributaries. You know, as the music is classified, first 152 00:07:42,160 --> 00:07:44,920 Speaker 1: it's hillbilly, then it's country and Western, and then the 153 00:07:45,000 --> 00:07:47,600 Speaker 1: CMA comes in, And if I'm right, they asked to 154 00:07:47,600 --> 00:07:49,920 Speaker 1: take the western off of country and Western and just 155 00:07:50,000 --> 00:07:53,320 Speaker 1: make it country music. What was behind that? But I 156 00:07:53,360 --> 00:07:56,640 Speaker 1: think it was an attempt to simplify and to say 157 00:07:56,640 --> 00:08:01,000 Speaker 1: that in many ways, the Western swing craze that was 158 00:08:01,120 --> 00:08:04,400 Speaker 1: itself a reaction to the big band swing which was 159 00:08:04,440 --> 00:08:07,760 Speaker 1: born in Harlem with Duke Ellington and Louis Armstrong and 160 00:08:08,200 --> 00:08:12,640 Speaker 1: Chick Web and Fletcher Henderson and others, and the cowboy 161 00:08:12,720 --> 00:08:17,280 Speaker 1: craze were long gone. And so while there's Western tendencies, 162 00:08:17,320 --> 00:08:21,600 Speaker 1: the Bakersfield sound is more related to kind of the 163 00:08:21,640 --> 00:08:25,640 Speaker 1: hard driving honky talk of the earlier era of Hank 164 00:08:26,240 --> 00:08:30,280 Speaker 1: Williams and others. Um, it was time to just sort 165 00:08:30,280 --> 00:08:33,480 Speaker 1: of simplify to end that confusion. Is very funny because 166 00:08:33,480 --> 00:08:36,560 Speaker 1: I've had lots of friends and people who alter the 167 00:08:36,559 --> 00:08:39,360 Speaker 1: eight and half years of production. They would say, you know, 168 00:08:39,480 --> 00:08:41,600 Speaker 1: how how's it going on that country and Western thing? 169 00:08:41,679 --> 00:08:44,040 Speaker 1: And I'd say country and they go yeah, And then 170 00:08:44,080 --> 00:08:47,520 Speaker 1: the next sentence they'd say your country and Western And 171 00:08:47,679 --> 00:08:51,160 Speaker 1: it's okay because it is so many different genres. It helps, 172 00:08:51,600 --> 00:08:56,960 Speaker 1: you know, convenience and commerce wants to categorize everything. You know, 173 00:08:57,000 --> 00:08:59,120 Speaker 1: we live in a huge world with a tsunami of 174 00:08:59,160 --> 00:09:03,240 Speaker 1: information breaking like a tidal wave over our heads, and 175 00:09:03,360 --> 00:09:06,640 Speaker 1: you know, to organize stuff, to categorize stuff seems good. 176 00:09:06,640 --> 00:09:09,160 Speaker 1: But what happens when you do that is more often 177 00:09:09,200 --> 00:09:12,440 Speaker 1: than not, you're left with a kind of superficial definition 178 00:09:12,480 --> 00:09:16,040 Speaker 1: of its total Country music, you know, not not as 179 00:09:16,080 --> 00:09:19,240 Speaker 1: important as these other important musical forms. No country music 180 00:09:19,280 --> 00:09:21,840 Speaker 1: is just about good old boys and pickup trucks and 181 00:09:21,840 --> 00:09:24,319 Speaker 1: hound dogs and six packs of beer. And and there 182 00:09:24,320 --> 00:09:26,240 Speaker 1: are a lot of songs that are like that, and 183 00:09:26,280 --> 00:09:30,200 Speaker 1: it's an honorable part of the country music tradition. But 184 00:09:30,360 --> 00:09:34,920 Speaker 1: most of what country music is is addressing really universal 185 00:09:35,120 --> 00:09:39,480 Speaker 1: human emotions and it's doing it elegantly. I mean, Harlan 186 00:09:39,520 --> 00:09:41,800 Speaker 1: Howards had three chords in the truth. He was saying, 187 00:09:42,160 --> 00:09:45,120 Speaker 1: you know, it isn't as sophisticated as classical. It isn't 188 00:09:45,120 --> 00:09:48,280 Speaker 1: as complicated as classical. In some forms of jazz. You 189 00:09:48,280 --> 00:09:52,120 Speaker 1: can hear the lyrics, but that truth part, it's right, 190 00:09:52,360 --> 00:09:55,120 Speaker 1: it's kind of right straight to the heart. You know, 191 00:09:55,640 --> 00:09:59,760 Speaker 1: um things like categories, like two further words that we 192 00:09:59,800 --> 00:10:02,440 Speaker 1: have hard time dealing with love and loss. That's what 193 00:10:02,600 --> 00:10:05,040 Speaker 1: this is about. You know, you hear that lonesome whipper 194 00:10:05,080 --> 00:10:08,360 Speaker 1: will he sounds too blue to fly. The midnight Train 195 00:10:08,520 --> 00:10:11,239 Speaker 1: is wine and low. I'm so lonesome, I can cry. 196 00:10:11,280 --> 00:10:14,120 Speaker 1: I mean, there's nobody on the planet that doesn't hasn't 197 00:10:14,120 --> 00:10:17,280 Speaker 1: at least experienced for one second, exactly what Hank Williams 198 00:10:17,320 --> 00:10:20,959 Speaker 1: was talking about. The silence of a falling star lights 199 00:10:21,040 --> 00:10:24,560 Speaker 1: up a purple squaw sky and as I wonder where 200 00:10:24,600 --> 00:10:27,920 Speaker 1: you are, I'm so lonesome I could cry. Now you 201 00:10:27,920 --> 00:10:30,240 Speaker 1: don't need any translation for that. You know, you talk 202 00:10:30,320 --> 00:10:33,120 Speaker 1: about Hank Williams, and he was a big part of 203 00:10:33,240 --> 00:10:36,640 Speaker 1: the series. And I'm gonna ask you to somewhat quantify 204 00:10:37,000 --> 00:10:39,720 Speaker 1: when it comes to who do you think has been 205 00:10:39,960 --> 00:10:43,480 Speaker 1: country music's biggest star? Now, I know you compare in generations, 206 00:10:43,480 --> 00:10:45,760 Speaker 1: and just like in baseball, it's hard to compare, you know, 207 00:10:45,880 --> 00:10:49,000 Speaker 1: Barry Bonds to Mickey man All because well, I mean, 208 00:10:49,040 --> 00:10:50,800 Speaker 1: if you if you were going to say biggest star, 209 00:10:50,960 --> 00:10:52,840 Speaker 1: you would say at least in the period that we 210 00:10:52,960 --> 00:10:55,600 Speaker 1: do coming up to the end of the millennium. You know, 211 00:10:55,679 --> 00:10:58,719 Speaker 1: we've got we sort of stopped in nineties six with 212 00:10:58,760 --> 00:11:02,000 Speaker 1: the height of garth popularity and Bill Monroe's death, and 213 00:11:02,040 --> 00:11:05,080 Speaker 1: then in our last chapter ago and kind of put 214 00:11:05,080 --> 00:11:08,640 Speaker 1: a periodic period on things by following the last years, 215 00:11:08,679 --> 00:11:13,440 Speaker 1: the productively surprisingly productive last years of Johnny Cash. So 216 00:11:13,960 --> 00:11:16,440 Speaker 1: you would have to say, in terms of album sales 217 00:11:16,520 --> 00:11:19,160 Speaker 1: and things like that, Garth Brooks, but he'd be the 218 00:11:19,160 --> 00:11:21,960 Speaker 1: first to say that he stands on the shoulders of giants, 219 00:11:22,200 --> 00:11:25,640 Speaker 1: and those giants would be Kenny Rogers, and I mean Kenny, 220 00:11:25,640 --> 00:11:31,240 Speaker 1: I'm sorry, Jimmy Rodgers and Hank Williams, Johnny Cash, Louretta, Lynn, 221 00:11:31,720 --> 00:11:35,559 Speaker 1: Dolly Parton, Willie Nelson, you know, Chris Christoffers and people 222 00:11:35,559 --> 00:11:41,400 Speaker 1: who have just had a stunning, stunning career as singer songwriters. 223 00:11:41,720 --> 00:11:44,680 Speaker 1: I really thought Marty Stewart was a real star of 224 00:11:44,720 --> 00:11:48,439 Speaker 1: the entire series. He is, and and and you're your 225 00:11:48,480 --> 00:11:51,880 Speaker 1: various to catch that um and the reason is very simple. 226 00:11:52,200 --> 00:11:55,679 Speaker 1: He loves this Nobody loves this music better than Marty, 227 00:11:55,760 --> 00:11:58,319 Speaker 1: and nobody in a way knows it better than Marty. 228 00:11:58,400 --> 00:12:01,760 Speaker 1: You know, he's He's comes up as a little boy 229 00:12:01,880 --> 00:12:06,600 Speaker 1: as a prodigy with Earl Scruggs, and he plays with 230 00:12:07,040 --> 00:12:09,640 Speaker 1: Johnny Cash. He's basically, as he says, the only two 231 00:12:09,679 --> 00:12:12,400 Speaker 1: employers I had. And he's been on his own, but 232 00:12:12,480 --> 00:12:16,080 Speaker 1: he's always been keenly aware of the history of it. 233 00:12:16,200 --> 00:12:20,880 Speaker 1: So he's saved everything. He's got that telegram announcing the 234 00:12:20,960 --> 00:12:23,920 Speaker 1: death of Jimmy Rodgers, that way too young an age 235 00:12:23,960 --> 00:12:27,840 Speaker 1: in a hotel room in New York City from tuberculosis. 236 00:12:27,880 --> 00:12:31,760 Speaker 1: He's got um this jacket and that piece of sheet music, 237 00:12:31,800 --> 00:12:37,680 Speaker 1: and that photograph, and that that uniform, that costume, and 238 00:12:37,679 --> 00:12:39,760 Speaker 1: and he loves the music. And he's also one of 239 00:12:39,800 --> 00:12:44,520 Speaker 1: the greatest mandolin players ever. Uh. He's right up there 240 00:12:44,559 --> 00:12:48,679 Speaker 1: with Bill Monroe for his picking ability. And he loves 241 00:12:48,679 --> 00:12:52,440 Speaker 1: the music. And you know, as often happens as as 242 00:12:52,480 --> 00:12:55,280 Speaker 1: a as an art from grows it's always trying to 243 00:12:55,280 --> 00:12:57,679 Speaker 1: expand and go in new places. And as it does that, 244 00:12:57,800 --> 00:13:00,320 Speaker 1: there people say, wait, wait, wait, you're getting too far 245 00:13:00,400 --> 00:13:03,000 Speaker 1: from our tradition. And then there are people saying, if 246 00:13:03,000 --> 00:13:05,360 Speaker 1: you stay in your tradition too long, you get stuck 247 00:13:05,400 --> 00:13:09,520 Speaker 1: and you get formulaic. So that tension is wonderful artistic tension. 248 00:13:09,800 --> 00:13:13,760 Speaker 1: But sometimes you find people who are absolutely certain that 249 00:13:13,840 --> 00:13:17,280 Speaker 1: the Nashville Sound is terrible. Well, the Nashville Sound also 250 00:13:17,360 --> 00:13:20,640 Speaker 1: produced Crazy You Know, which is the number one jukebox 251 00:13:20,640 --> 00:13:23,640 Speaker 1: tune of all time. The country Politans produced he Stopped 252 00:13:23,679 --> 00:13:26,840 Speaker 1: Loving Her Today, which many people believe is the greatest 253 00:13:26,880 --> 00:13:29,640 Speaker 1: country song of all time by George Jones or sung 254 00:13:29,640 --> 00:13:32,920 Speaker 1: by George Jones. And yet they're going to hold on 255 00:13:33,280 --> 00:13:36,880 Speaker 1: to some tradition, which is super important too. Marty's able 256 00:13:36,920 --> 00:13:39,680 Speaker 1: to straddle both, and he does it with good humor 257 00:13:39,760 --> 00:13:43,920 Speaker 1: and generosity, so that the tendency for us to start 258 00:13:44,000 --> 00:13:47,320 Speaker 1: turf wars in any art form certainly true in jazz, 259 00:13:47,320 --> 00:13:49,880 Speaker 1: certainly true, and rhythm and blues certainly true. In country, 260 00:13:50,240 --> 00:13:53,200 Speaker 1: he just they melt away in the face of his 261 00:13:53,840 --> 00:13:57,760 Speaker 1: generosity and his love for all the manifestations of country music, 262 00:13:57,800 --> 00:14:01,000 Speaker 1: and that makes him the great ambaid Earth, the great 263 00:14:01,160 --> 00:14:04,720 Speaker 1: sort of historian of of the genre. You know, when 264 00:14:04,760 --> 00:14:06,640 Speaker 1: we started off, we presumed, as we do in so 265 00:14:06,679 --> 00:14:09,160 Speaker 1: many other films, we're gonna have lots of historians and 266 00:14:09,200 --> 00:14:11,600 Speaker 1: lots of critics and things like that. We have a 267 00:14:11,640 --> 00:14:15,559 Speaker 1: hundred and one interviews. There's one historian, and that's Bill Malone, 268 00:14:15,600 --> 00:14:18,280 Speaker 1: who you think has got to be playing in an instrument, 269 00:14:18,360 --> 00:14:20,720 Speaker 1: has got going to break into song at any moment. 270 00:14:21,080 --> 00:14:23,600 Speaker 1: And everybody else are are from the country, not just 271 00:14:23,720 --> 00:14:27,080 Speaker 1: Marty but Roseanne Cash, not just Roseanne and Marty, but 272 00:14:27,160 --> 00:14:30,560 Speaker 1: catch se Cora and Rhiannon Giddons and and Merle Haggard, 273 00:14:30,600 --> 00:14:32,880 Speaker 1: who we were so fortunate enough to get to film 274 00:14:32,920 --> 00:14:36,040 Speaker 1: before he passed away, you know, first insisting before he 275 00:14:36,120 --> 00:14:39,360 Speaker 1: tells his story that he wants us to understand how 276 00:14:39,400 --> 00:14:42,400 Speaker 1: important Jimmy Rodgers are, or how important the Maddox brothers 277 00:14:42,400 --> 00:14:45,000 Speaker 1: and Rose are. And the same with Willie, Willie saying, yeah, 278 00:14:45,040 --> 00:14:47,440 Speaker 1: I'll talk to you, but you need to actually care 279 00:14:47,680 --> 00:14:51,120 Speaker 1: deeply about Ernest Tubb, and you need to follow this, 280 00:14:51,200 --> 00:14:54,520 Speaker 1: and you need to follow that gene autry, whatever it 281 00:14:54,600 --> 00:14:57,680 Speaker 1: might be. And so what you have is a lot 282 00:14:57,680 --> 00:15:00,880 Speaker 1: of young people like Catching and Rhianna, and a lot 283 00:15:00,920 --> 00:15:04,760 Speaker 1: of older titans like Willie's still alive, but also Merle 284 00:15:05,560 --> 00:15:08,600 Speaker 1: who understand the history. And then you've got Rosanne and 285 00:15:08,680 --> 00:15:12,960 Speaker 1: Marty who lived it all. You know, she's the daughter 286 00:15:13,120 --> 00:15:16,640 Speaker 1: of of of arguably the greatest of them all, the 287 00:15:16,720 --> 00:15:19,720 Speaker 1: person who stands out more than anyone else. Johnny Cash, 288 00:15:20,040 --> 00:15:22,200 Speaker 1: you know, you bring up Willie. I'm such a big 289 00:15:22,240 --> 00:15:24,560 Speaker 1: Willie Nelson fan. When I was doing you know, pop 290 00:15:24,640 --> 00:15:26,200 Speaker 1: and hip hop at Willie Nelson on my show, I 291 00:15:26,240 --> 00:15:28,320 Speaker 1: was always bringing country artist into even that show before 292 00:15:28,360 --> 00:15:30,320 Speaker 1: I came over, and you know, kind of set in 293 00:15:30,320 --> 00:15:33,520 Speaker 1: in the country spot full time. And you know, Willie 294 00:15:34,000 --> 00:15:36,640 Speaker 1: early Willie, because I don't know Willie other than being old, 295 00:15:37,000 --> 00:15:38,520 Speaker 1: you know, I was. I was born in the eighties, 296 00:15:38,520 --> 00:15:40,800 Speaker 1: So I don't know this turtleneck Willie. I don't know 297 00:15:40,920 --> 00:15:44,840 Speaker 1: that Willie that came to That guy to me is 298 00:15:44,960 --> 00:15:48,640 Speaker 1: so foreign and I'm watching and in his his beginnings 299 00:15:48,680 --> 00:15:51,240 Speaker 1: are are so interesting because he moved to Nashville basically 300 00:15:51,280 --> 00:15:53,400 Speaker 1: as a songwriter and just he didn't make it here. 301 00:15:53,720 --> 00:15:56,200 Speaker 1: He was trying. He made it as a songwriter. I mean, 302 00:15:56,240 --> 00:15:59,480 Speaker 1: he was broke and he's sometimes sold. Um, you know, 303 00:15:59,560 --> 00:16:02,200 Speaker 1: mistake can le his the rights to his songs for 304 00:16:02,200 --> 00:16:04,400 Speaker 1: a couple hundred bucks, and they go on and sell 305 00:16:04,440 --> 00:16:08,320 Speaker 1: thirty million copies. And finally Farren Young said, stop, you know, 306 00:16:08,400 --> 00:16:10,480 Speaker 1: I'll lend you the money you need, but do not 307 00:16:10,640 --> 00:16:13,760 Speaker 1: sell this. And then, of course, when Willie starts receiving 308 00:16:13,800 --> 00:16:16,240 Speaker 1: these great checks, he he goes down to Tootsie's or 309 00:16:16,360 --> 00:16:19,560 Speaker 1: finds out where Farren isn't playing some a big wet 310 00:16:19,560 --> 00:16:21,840 Speaker 1: one on the on the on the lips, and and 311 00:16:22,000 --> 00:16:24,320 Speaker 1: Farren Young said, that's the best I've ever been killed 312 00:16:24,560 --> 00:16:27,080 Speaker 1: kissed in my life. But no, he comes from a 313 00:16:27,120 --> 00:16:30,200 Speaker 1: tradition in which his phrasing is more jazz than it 314 00:16:30,360 --> 00:16:36,720 Speaker 1: is what we'd call country, and it's, uh, it's pretty 315 00:16:36,760 --> 00:16:39,080 Speaker 1: interesting that he struggles for a long time. He can 316 00:16:39,080 --> 00:16:42,360 Speaker 1: write Crazy and it's a big hit for Passy Kline. 317 00:16:42,440 --> 00:16:45,040 Speaker 1: In fact, it's the number one jukebox single of all time. 318 00:16:45,440 --> 00:16:47,560 Speaker 1: But he's going to struggle, and at one point, drunk 319 00:16:47,560 --> 00:16:48,960 Speaker 1: it took his He goes out in the middle of 320 00:16:49,000 --> 00:16:51,280 Speaker 1: Broadway and lies down expecting to be run over by 321 00:16:51,280 --> 00:16:55,000 Speaker 1: a car. Wakes up nobody's run over him, and uh, 322 00:16:55,080 --> 00:16:57,320 Speaker 1: you know, eventually packs his bag and heads back to 323 00:16:57,360 --> 00:17:00,160 Speaker 1: Austin where he can be himself and who we are. 324 00:17:00,320 --> 00:17:02,960 Speaker 1: You know who he is and who we know he is, 325 00:17:03,040 --> 00:17:05,919 Speaker 1: and and that's it's a great thing. But some you know, 326 00:17:06,000 --> 00:17:08,680 Speaker 1: and he says to Whalon, don't go. It's gonna rob 327 00:17:08,760 --> 00:17:11,080 Speaker 1: your soul. He got, Whalon goes and he said, I'm 328 00:17:11,080 --> 00:17:13,440 Speaker 1: going to do this on my own terms. And that's 329 00:17:13,440 --> 00:17:18,399 Speaker 1: where the whole Outlaw movement happens. And he does change 330 00:17:18,800 --> 00:17:21,600 Speaker 1: the way things are done in Nashville. From where you 331 00:17:21,600 --> 00:17:25,520 Speaker 1: can record, what kind of control you have to naming 332 00:17:25,560 --> 00:17:29,560 Speaker 1: of the musicians, musicians in your in your album, I mean, 333 00:17:29,800 --> 00:17:34,919 Speaker 1: it's just a phenomenal story of unbelievable individuals, most of 334 00:17:34,960 --> 00:17:39,520 Speaker 1: whom came out of stultifying poverty. And because they had 335 00:17:39,560 --> 00:17:43,360 Speaker 1: these traumas and these privations of their youth, they were 336 00:17:43,400 --> 00:17:50,199 Speaker 1: able to rise through them and dream and make music 337 00:17:50,240 --> 00:17:52,320 Speaker 1: that helps the rest of us dream, even if the 338 00:17:52,320 --> 00:17:54,960 Speaker 1: rest of us can't necessarily get to the heights that 339 00:17:55,040 --> 00:17:58,960 Speaker 1: they've gotten to, because they're still expressing these essential human 340 00:17:59,040 --> 00:18:01,760 Speaker 1: things about the jewel, your birth, the sadness at death, 341 00:18:01,800 --> 00:18:06,040 Speaker 1: of broken heart, anger, jealousy. You know, look what my 342 00:18:06,119 --> 00:18:08,000 Speaker 1: old lady did to me. Look what I did to 343 00:18:08,040 --> 00:18:10,160 Speaker 1: my old lady getting right with God. These are all 344 00:18:10,200 --> 00:18:13,479 Speaker 1: the lists of things that went to Marcela's The Jazz 345 00:18:13,520 --> 00:18:17,400 Speaker 1: Grade says, country music addresses so perfectly. It's all about 346 00:18:17,480 --> 00:18:26,600 Speaker 1: human stories. This documentary is so good A can At times, 347 00:18:26,880 --> 00:18:29,680 Speaker 1: as I'm just watching it, because I am just such 348 00:18:29,680 --> 00:18:31,920 Speaker 1: a country music like lifetime fan, I start to pull 349 00:18:31,960 --> 00:18:33,520 Speaker 1: on my phone before I knew we were going to talk, 350 00:18:33,720 --> 00:18:35,800 Speaker 1: and I would just jot down things talk about on 351 00:18:35,840 --> 00:18:38,000 Speaker 1: my radio show or to my friends. And I have 352 00:18:38,040 --> 00:18:39,159 Speaker 1: some of these notes, and I would just like to 353 00:18:39,160 --> 00:18:40,920 Speaker 1: bring him up to you and and kind of hear 354 00:18:41,320 --> 00:18:43,200 Speaker 1: you know your thoughts on this. And I'll start with 355 00:18:43,280 --> 00:18:45,800 Speaker 1: Johnny Cash. When I walked the line was about staying 356 00:18:45,840 --> 00:18:48,199 Speaker 1: straight to his wife. Yeah, and and to me, I 357 00:18:48,200 --> 00:18:50,160 Speaker 1: thought that was so interesting, And I'll talk about why 358 00:18:50,200 --> 00:18:52,320 Speaker 1: on the other side. But I'm talking about that for 359 00:18:52,359 --> 00:18:54,280 Speaker 1: a second. I walked the line was about I'm literally 360 00:18:54,280 --> 00:18:57,520 Speaker 1: gonna walk the line because I'm on the road. So 361 00:18:57,560 --> 00:18:59,879 Speaker 1: we think about Johnny's personal life. We think about his 362 00:19:00,080 --> 00:19:03,639 Speaker 1: love affair with June Carter and then her insisting that 363 00:19:03,720 --> 00:19:08,119 Speaker 1: he gets straight from his pill and alcohol addictions. Before 364 00:19:08,160 --> 00:19:11,520 Speaker 1: she'll marry him, and then he does, and she marries 365 00:19:11,600 --> 00:19:14,600 Speaker 1: him and they live happily ever after. But we forget 366 00:19:14,600 --> 00:19:18,800 Speaker 1: that Johnny Cash had a first wife. We've discovered, you know, 367 00:19:19,080 --> 00:19:22,840 Speaker 1: rare and never before seen home movies. Um, he had daughters, 368 00:19:22,880 --> 00:19:27,200 Speaker 1: including Rosanne and this first wife, Vivian. They were so 369 00:19:27,280 --> 00:19:29,800 Speaker 1: in love, as you can see from this footage. And then, 370 00:19:29,840 --> 00:19:33,640 Speaker 1: of course, the life of the road has its many temptations, um, 371 00:19:33,840 --> 00:19:36,120 Speaker 1: not just women, but of course how do you stay 372 00:19:36,200 --> 00:19:38,840 Speaker 1: up to drive from here to there and put on 373 00:19:38,920 --> 00:19:42,760 Speaker 1: three concerts and then drive from there to hear um? 374 00:19:42,800 --> 00:19:45,200 Speaker 1: And the answer is alcohol, and the answer his pills, 375 00:19:45,400 --> 00:19:47,840 Speaker 1: and and that becomes a great demon, but at the 376 00:19:47,920 --> 00:19:52,440 Speaker 1: same time is an unfaithfulness. So while he was singing, 377 00:19:52,480 --> 00:19:56,320 Speaker 1: I walked the line for Vivian. Eventually he wasn't and 378 00:19:56,480 --> 00:20:02,520 Speaker 1: particularly with h June Carter, the middle daughter of Maybelle Carter, 379 00:20:02,800 --> 00:20:05,520 Speaker 1: you know, And we talked about June and Ring of Fire, 380 00:20:05,640 --> 00:20:09,639 Speaker 1: which June's sister wrote the June's background vocals on, and 381 00:20:09,840 --> 00:20:12,359 Speaker 1: Johnny Cash's current wife hated that song because June was 382 00:20:12,400 --> 00:20:15,600 Speaker 1: on it. Yeah, that's exactly right, and and it didn't 383 00:20:15,600 --> 00:20:19,040 Speaker 1: really do anywell. Go anywhere until Johnny sang it. And 384 00:20:19,119 --> 00:20:21,320 Speaker 1: a lot of it has to do with how perfect 385 00:20:21,760 --> 00:20:24,119 Speaker 1: the lyrics are. Not just to the story you and 386 00:20:24,119 --> 00:20:28,040 Speaker 1: I are discussing, but I think to his extraordinary voice 387 00:20:28,119 --> 00:20:33,199 Speaker 1: and unforgettable voice, and and the and the sincerity that 388 00:20:33,320 --> 00:20:37,280 Speaker 1: inhabits the story, the anguish that inhabits the story. I mean, 389 00:20:37,320 --> 00:20:41,200 Speaker 1: that's sort of like George Jones or or Patsy Klein. 390 00:20:41,359 --> 00:20:44,440 Speaker 1: You sort of feel when they're singing a song, as 391 00:20:44,560 --> 00:20:48,200 Speaker 1: Tricia Yearwood says in our film about Patsy Kline, is crazy, 392 00:20:48,240 --> 00:20:50,640 Speaker 1: like she's in the room with you, and that you've 393 00:20:50,680 --> 00:20:54,560 Speaker 1: married the perfect song with the perfect voice, and something 394 00:20:54,640 --> 00:20:59,280 Speaker 1: magical happens. And I think our history here filled with 395 00:20:59,400 --> 00:21:03,479 Speaker 1: dozens and dozens of biographies and you meet even more people. 396 00:21:04,000 --> 00:21:07,359 Speaker 1: UM is really about the magic of those stories because 397 00:21:07,440 --> 00:21:10,800 Speaker 1: they combine the magic of music. UM in the beginning 398 00:21:10,840 --> 00:21:13,560 Speaker 1: In the opening of the film, Merl Haggard says, it's 399 00:21:13,600 --> 00:21:18,720 Speaker 1: about things we believe in and can't see, like dreams 400 00:21:18,880 --> 00:21:22,639 Speaker 1: and songs and souls. And I can't think of the 401 00:21:22,680 --> 00:21:26,679 Speaker 1: better response, you know. Winton Marcellist later on in the 402 00:21:26,720 --> 00:21:30,080 Speaker 1: film says that music is the art of the invisible 403 00:21:30,480 --> 00:21:32,200 Speaker 1: and you think about it. It's the only art form 404 00:21:32,240 --> 00:21:35,439 Speaker 1: that you can't be but it works so quickly. And 405 00:21:35,480 --> 00:21:37,760 Speaker 1: when you do have that perfect song, when you do 406 00:21:37,840 --> 00:21:41,200 Speaker 1: have that perfect lyric man, it's you know, as Charlie 407 00:21:41,240 --> 00:21:43,399 Speaker 1: Pride says in the instro, I believe there's a country 408 00:21:43,400 --> 00:21:46,240 Speaker 1: song for every mood you're in. It might make you cry, 409 00:21:46,320 --> 00:21:48,840 Speaker 1: but it will make you feel better for crying. So 410 00:21:49,040 --> 00:21:52,600 Speaker 1: I just think that's that's what the whole thing is about, 411 00:21:52,680 --> 00:21:55,600 Speaker 1: the things that we believe in and can't see, like 412 00:21:55,720 --> 00:21:58,800 Speaker 1: dreams and souls. You know, I cried today as I 413 00:21:58,840 --> 00:22:01,400 Speaker 1: was watching the very last EPO so when Vince gil 414 00:22:01,920 --> 00:22:05,080 Speaker 1: is singing at George jones funeral, can't get through it 415 00:22:05,560 --> 00:22:08,920 Speaker 1: and he can't get through it, and I I had 416 00:22:08,920 --> 00:22:11,840 Speaker 1: tears running down my face, is sitting on my couch, 417 00:22:11,920 --> 00:22:14,920 Speaker 1: you know, on a Sunday watching a documentaries I'm trying 418 00:22:14,920 --> 00:22:17,720 Speaker 1: to learn. I mean, it's a really touching moment. It 419 00:22:17,880 --> 00:22:20,520 Speaker 1: is a perfect country moment. And I think there's at 420 00:22:20,600 --> 00:22:23,119 Speaker 1: least one or two in every episode, and certainly an 421 00:22:23,119 --> 00:22:26,479 Speaker 1: episode eight, there's probably five or six of those moments 422 00:22:26,480 --> 00:22:30,159 Speaker 1: where you just have to succumb to the human drama. 423 00:22:30,200 --> 00:22:32,600 Speaker 1: Here is Vince who has written this beautiful song, but 424 00:22:32,600 --> 00:22:34,879 Speaker 1: it's taken him a long time to write it. Is 425 00:22:34,960 --> 00:22:38,320 Speaker 1: first inspired by the death of his friend Keith Whitley 426 00:22:38,440 --> 00:22:41,440 Speaker 1: to alcoholism at a way too young age. I mean, 427 00:22:41,600 --> 00:22:46,360 Speaker 1: everybody dies young if it's alcohol related. And and then 428 00:22:46,400 --> 00:22:48,600 Speaker 1: when his own brother dies, he picks up the film, 429 00:22:49,000 --> 00:22:52,520 Speaker 1: picks up the tune again and starts um writing it again, 430 00:22:52,640 --> 00:22:55,320 Speaker 1: and and it becomes this great standard Go rest high 431 00:22:55,320 --> 00:22:58,359 Speaker 1: on that mountain. And then of course Vince one of 432 00:22:58,359 --> 00:23:01,040 Speaker 1: the great human beings of old time in this business, 433 00:23:01,280 --> 00:23:04,440 Speaker 1: in a business filled with great human beings, he might 434 00:23:04,520 --> 00:23:09,000 Speaker 1: stand out as as one of the best of that crop. Um. 435 00:23:09,160 --> 00:23:13,040 Speaker 1: He's beloved by everybody. George Jones calls him sweet Peak. 436 00:23:13,400 --> 00:23:17,399 Speaker 1: And when George dies at his memorial service at the 437 00:23:17,440 --> 00:23:20,879 Speaker 1: opery Um can't get through it. He's overcome with the 438 00:23:20,880 --> 00:23:24,480 Speaker 1: emotion and padity level us is there trying to help him. 439 00:23:24,520 --> 00:23:28,400 Speaker 1: Everybody in the audience is weeping. And it's a telling, 440 00:23:28,480 --> 00:23:31,879 Speaker 1: telling moment because I think this is the proof that 441 00:23:32,000 --> 00:23:37,679 Speaker 1: it exposes essential human emotions that we all feel. And 442 00:23:37,760 --> 00:23:40,600 Speaker 1: a good country song, as Charlie Pride says, you know, 443 00:23:40,960 --> 00:23:43,160 Speaker 1: might make you cry, but you'll feel better for crying. 444 00:23:43,160 --> 00:23:45,080 Speaker 1: In fact, a woman came up to me who had 445 00:23:45,080 --> 00:23:46,800 Speaker 1: seen the whole thing. I guess she'd gotten a press 446 00:23:46,840 --> 00:23:49,639 Speaker 1: screen or something. She said, I had four good cries 447 00:23:49,680 --> 00:23:52,840 Speaker 1: in episode eight. I was totally cleansed. And it's cheaper 448 00:23:52,880 --> 00:23:57,200 Speaker 1: than therapy. In fact, it's free. I just thought, Okay, 449 00:23:57,320 --> 00:23:59,560 Speaker 1: you know, maybe we all need a good cry, and I, 450 00:23:59,600 --> 00:24:01,120 Speaker 1: you know, so one else says in the film, we're 451 00:24:01,119 --> 00:24:03,960 Speaker 1: all in this together. And I realized that I've spent 452 00:24:04,000 --> 00:24:08,120 Speaker 1: my professional life operating in this space between the two 453 00:24:08,200 --> 00:24:14,320 Speaker 1: letter lower case plural pronoun us uh and it's capitalized 454 00:24:15,200 --> 00:24:18,960 Speaker 1: version the US. And then all of my films exist there, 455 00:24:18,960 --> 00:24:23,760 Speaker 1: and none exists more intimately than I think the country 456 00:24:23,840 --> 00:24:27,040 Speaker 1: music story does. Not the Civil War and not Vietnam, 457 00:24:27,240 --> 00:24:30,560 Speaker 1: not World War two, not the National Parks, not the Roosevelt's, 458 00:24:30,600 --> 00:24:33,960 Speaker 1: not the smaller biographies and films on Prohibition and the 459 00:24:34,040 --> 00:24:36,560 Speaker 1: dust Bowl and things like that. But it's this one 460 00:24:36,680 --> 00:24:40,720 Speaker 1: because it's going after exactly that element of human emotion. 461 00:24:40,840 --> 00:24:43,960 Speaker 1: None of us get out of here alive, and so 462 00:24:44,280 --> 00:24:46,960 Speaker 1: we need this music. We need these songs to say 463 00:24:47,040 --> 00:24:49,800 Speaker 1: it's okay, you can get through this. Uh. It's going 464 00:24:49,840 --> 00:24:51,960 Speaker 1: to be all right. It's it's going to be all right. 465 00:24:52,400 --> 00:24:54,359 Speaker 1: And thank God we have all this stuff, you know, 466 00:24:54,960 --> 00:24:59,280 Speaker 1: the fact that that none of this music, any of it, 467 00:24:59,359 --> 00:25:02,320 Speaker 1: is ever thing. It's always a mixture. Jimmy Rodgers a 468 00:25:02,400 --> 00:25:06,320 Speaker 1: mixture of the blues that he hears from the black 469 00:25:06,400 --> 00:25:09,920 Speaker 1: railroad cruise that he's a water boy for in southern Mississippi. 470 00:25:10,160 --> 00:25:12,920 Speaker 1: But he's added to the blues, he's added a yodel. 471 00:25:13,240 --> 00:25:16,680 Speaker 1: He knows killed billy so called hillbilly music, he knows gospel, 472 00:25:17,080 --> 00:25:19,760 Speaker 1: and over on the other side of the divide, he's 473 00:25:19,840 --> 00:25:23,320 Speaker 1: definitely Saturday night, the Sunday morning, or the Carter family, 474 00:25:23,720 --> 00:25:26,439 Speaker 1: and they know, you know, they're they're talking about the 475 00:25:26,520 --> 00:25:30,000 Speaker 1: church and mother and home and family. And yet in 476 00:25:30,040 --> 00:25:33,480 Speaker 1: addition to their Appalachian string band tradition, they've got a 477 00:25:33,560 --> 00:25:37,000 Speaker 1: black song catcher, Leslie Riddle, who travels with a people 478 00:25:37,080 --> 00:25:40,800 Speaker 1: Carter catching songs. And there's a great old African American 479 00:25:40,880 --> 00:25:44,040 Speaker 1: gospel stomp called when the World's on Fire, which the 480 00:25:44,160 --> 00:25:48,639 Speaker 1: Carter family loves that that melody, and they turn it 481 00:25:48,680 --> 00:25:52,000 Speaker 1: into they keep the melody, lose the lyrics, and they 482 00:25:52,000 --> 00:25:54,680 Speaker 1: turn it into their big hit little Darlin pala Mine 483 00:25:55,119 --> 00:25:57,800 Speaker 1: when he got through Here's that keeps the melody and writes, 484 00:25:58,119 --> 00:26:01,360 Speaker 1: this land is your land. So everything is an alloy. 485 00:26:01,400 --> 00:26:06,760 Speaker 1: And remember an alloy is is a combination of elements 486 00:26:07,160 --> 00:26:10,960 Speaker 1: that is stronger by virtue of it, the fact that 487 00:26:11,000 --> 00:26:14,000 Speaker 1: it's a combination. And so, you know, we're so deeply 488 00:26:14,119 --> 00:26:17,440 Speaker 1: divided today, and right there in country music, right there 489 00:26:17,440 --> 00:26:20,320 Speaker 1: in the in the great art of country music, is 490 00:26:20,400 --> 00:26:24,960 Speaker 1: the reminder that there's no them, there's only us in 491 00:26:25,080 --> 00:26:29,160 Speaker 1: that US and US equation where because we're all nine 492 00:26:29,200 --> 00:26:33,600 Speaker 1: point nine the same and the differences don't imagine much. 493 00:26:33,680 --> 00:26:35,960 Speaker 1: And it's a two way street. You know, not only 494 00:26:36,040 --> 00:26:38,480 Speaker 1: did A. P. Carter have an African American mentor that, 495 00:26:38,600 --> 00:26:41,480 Speaker 1: so did Bill Monroe, and so did um Hank Williams. 496 00:26:41,520 --> 00:26:44,600 Speaker 1: He said that Rufus t Tot Payne taught it had 497 00:26:44,640 --> 00:26:47,640 Speaker 1: gave him all the musical education he needed. And Johnny Cash, 498 00:26:47,720 --> 00:26:51,480 Speaker 1: of course had Gus Cannon. But but when Ray Charles 499 00:26:51,640 --> 00:26:54,120 Speaker 1: was given creative control of an album for the very 500 00:26:54,160 --> 00:26:56,840 Speaker 1: first time in his career, he shocked his own people 501 00:26:57,280 --> 00:27:00,399 Speaker 1: by coming out with modern sounds in country and Western 502 00:27:00,480 --> 00:27:03,640 Speaker 1: music and the number one hit, the joyous number one 503 00:27:03,720 --> 00:27:07,160 Speaker 1: hit of the Summer of nine two was I Can't 504 00:27:07,200 --> 00:27:10,040 Speaker 1: Stop Loving You. Don Gibson song, that country song and 505 00:27:10,040 --> 00:27:12,879 Speaker 1: you go listen to that. It's definitely a soul singer, 506 00:27:13,320 --> 00:27:16,120 Speaker 1: definitely an R and B singer, but he's singing country 507 00:27:16,400 --> 00:27:19,159 Speaker 1: and he's got Hey, Hank Williams, Hey good looking in 508 00:27:19,200 --> 00:27:22,800 Speaker 1: there too. It's it's a wonderful, wonderful album, and it 509 00:27:22,920 --> 00:27:25,359 Speaker 1: just shows you that it's a it's a two way street. 510 00:27:25,400 --> 00:27:29,280 Speaker 1: And now we're talking about Little nas X and you know, 511 00:27:29,800 --> 00:27:33,440 Speaker 1: there's there's it's so wide open and it's so welcoming 512 00:27:33,520 --> 00:27:37,879 Speaker 1: and it's so colorful that it just invites participation. And 513 00:27:37,920 --> 00:27:40,679 Speaker 1: I hope that people who look at it begin to 514 00:27:40,720 --> 00:27:45,880 Speaker 1: realize that it's only politicians that turn it us against them. 515 00:27:45,920 --> 00:27:48,560 Speaker 1: There is no them, there's only us. You know, we 516 00:27:48,600 --> 00:27:50,760 Speaker 1: only have a few minutes left. A few things that 517 00:27:50,960 --> 00:27:53,040 Speaker 1: I really wanted to bring up was I didn't know 518 00:27:53,080 --> 00:27:56,879 Speaker 1: that Randy Travis story where like the club manager that 519 00:27:57,040 --> 00:27:58,920 Speaker 1: was like vouched for him, was like, let's I'm gonna 520 00:27:58,960 --> 00:28:02,600 Speaker 1: kep him out of trouble and handon Nashville with them. Yeah, um, 521 00:28:02,800 --> 00:28:07,040 Speaker 1: lib Hatcher, It's I think you bring up something that 522 00:28:07,080 --> 00:28:08,720 Speaker 1: I don't think I've talked about at all on the 523 00:28:08,800 --> 00:28:12,600 Speaker 1: road promoting this thing. And that's the kindness between people. 524 00:28:12,880 --> 00:28:15,120 Speaker 1: You know, mel Tillis had a stutter, but he didn't 525 00:28:15,160 --> 00:28:18,000 Speaker 1: stutter when he sang, So his teachers took him around 526 00:28:18,040 --> 00:28:20,480 Speaker 1: to the other grades and let him sing and give 527 00:28:20,520 --> 00:28:25,680 Speaker 1: him confidence. Uh. You know, Brenda Lee was a child prodigy, 528 00:28:25,720 --> 00:28:28,000 Speaker 1: and her teacher's let her put her head down on 529 00:28:28,040 --> 00:28:31,679 Speaker 1: the desk and sleep when she needed to. Um, there's 530 00:28:31,800 --> 00:28:34,760 Speaker 1: there's always somebody who's willing to do that favor, to 531 00:28:34,800 --> 00:28:37,200 Speaker 1: buy that song, to lend you that money, to give 532 00:28:37,240 --> 00:28:38,960 Speaker 1: you that break, to let you sit on and on 533 00:28:39,000 --> 00:28:42,200 Speaker 1: the session, to do something to lend you a song. 534 00:28:42,800 --> 00:28:45,560 Speaker 1: That you begin to realize this is a family story, 535 00:28:45,640 --> 00:28:50,400 Speaker 1: a big, big American family story of which we're all involved. 536 00:28:50,440 --> 00:28:53,800 Speaker 1: When you think about, uh, the friendship of Charlie Pride 537 00:28:53,840 --> 00:28:56,720 Speaker 1: and Fair and Young, there was no reason why Farren Young, 538 00:28:56,800 --> 00:29:02,480 Speaker 1: who was considered um, pretty tough and HAPs racists, who 539 00:29:02,680 --> 00:29:06,800 Speaker 1: has this lifelong friendship with Charlie Pride and helps Charlie 540 00:29:06,800 --> 00:29:10,440 Speaker 1: Pride negotiate even in the sixties, that decade dedicated to 541 00:29:10,600 --> 00:29:13,600 Speaker 1: change what must have been a difficult passage for an 542 00:29:13,600 --> 00:29:16,480 Speaker 1: African American trying to bring a break into country music 543 00:29:16,520 --> 00:29:19,360 Speaker 1: despite his superb voice. You know, he ends up with 544 00:29:19,400 --> 00:29:22,800 Speaker 1: twenty nine number one signals. He singles, he's the first 545 00:29:22,840 --> 00:29:25,640 Speaker 1: person of any color to win the c m A 546 00:29:25,800 --> 00:29:29,040 Speaker 1: Artist of the Year award two years in running. And 547 00:29:29,040 --> 00:29:31,320 Speaker 1: and he goes into the Hall of Fame with farre 548 00:29:31,360 --> 00:29:34,320 Speaker 1: and Young. To me, this is the story one, This 549 00:29:34,400 --> 00:29:36,680 Speaker 1: is the story of our better angels. As Abraham like 550 00:29:36,760 --> 00:29:39,280 Speaker 1: going to say, that ought to be what we focus 551 00:29:39,320 --> 00:29:42,440 Speaker 1: on today and not the divisions and how much we 552 00:29:42,480 --> 00:29:45,120 Speaker 1: can label the other, you know, whether it's red, stay blue, 553 00:29:45,120 --> 00:29:48,680 Speaker 1: stay young, old rich, poor, north Stouth, whatever kind of 554 00:29:48,720 --> 00:29:51,640 Speaker 1: divisions we're doing, we just don't. We don't need that. 555 00:29:52,160 --> 00:29:55,120 Speaker 1: We're the same, Our aspirations are the same. And Hank 556 00:29:55,160 --> 00:29:59,400 Speaker 1: Williams or or Johnny Cash's song I still miss someone 557 00:29:59,480 --> 00:30:02,680 Speaker 1: gets us. You know. At my door, the leaves are falling, 558 00:30:02,920 --> 00:30:07,120 Speaker 1: A cold, wild wind will come, sweethearts walk by together, 559 00:30:07,720 --> 00:30:10,280 Speaker 1: but I still miss someone. I go out on a 560 00:30:10,360 --> 00:30:13,200 Speaker 1: party to look for a little fun, but I find 561 00:30:13,200 --> 00:30:16,280 Speaker 1: a darkened corner because I still miss someone, you know. 562 00:30:16,320 --> 00:30:19,840 Speaker 1: I mean, it's just this is so elemental and yet 563 00:30:19,880 --> 00:30:23,400 Speaker 1: it's basic, straight to your heart. Doesn't matter where you're from, 564 00:30:23,480 --> 00:30:25,880 Speaker 1: doesn't matter what you believe, and doesn't matter who you 565 00:30:25,960 --> 00:30:29,080 Speaker 1: voted for. It doesn't matter. We are connected by this 566 00:30:29,360 --> 00:30:32,120 Speaker 1: art form. And in fact, at one point when Marcella 567 00:30:32,160 --> 00:30:35,240 Speaker 1: says in the film, we all have an ethnic carriage heritage, 568 00:30:35,320 --> 00:30:38,320 Speaker 1: but we have a human heritage that's much more important. 569 00:30:38,760 --> 00:30:42,400 Speaker 1: And art tells the tale of us coming together, and 570 00:30:42,440 --> 00:30:48,520 Speaker 1: in this case without um, without any exception the artist 571 00:30:48,560 --> 00:30:51,960 Speaker 1: country music. I've got a few final questions, and we'll 572 00:30:51,960 --> 00:30:54,840 Speaker 1: do these kind of in a speed round, because I 573 00:30:54,880 --> 00:30:56,680 Speaker 1: just I could do two hours with you, can I'll 574 00:30:56,680 --> 00:30:59,719 Speaker 1: be honest with you? So okay, Porter Wagner and Dolly's 575 00:30:59,720 --> 00:31:03,760 Speaker 1: really relationship did not sound wonderful, like how can how 576 00:31:03,800 --> 00:31:07,200 Speaker 1: can you kind of clarify that? And and well, I 577 00:31:07,200 --> 00:31:09,240 Speaker 1: think it. I think it was wonderful, and I think 578 00:31:09,280 --> 00:31:12,040 Speaker 1: she'd say it was wonderful. But at the same time, 579 00:31:12,080 --> 00:31:14,880 Speaker 1: as his star was fading, hers was rising, he tried 580 00:31:14,880 --> 00:31:17,320 Speaker 1: to hang on to her. And you know, when you 581 00:31:17,400 --> 00:31:19,680 Speaker 1: find out why, she wrote, I will always love you. 582 00:31:19,920 --> 00:31:22,720 Speaker 1: It's a declaration of independence, and it's a really, really 583 00:31:22,720 --> 00:31:25,080 Speaker 1: beautiful moment in the history of country music. And though 584 00:31:25,480 --> 00:31:29,400 Speaker 1: Um Whitney Houston's version is considered the big breakout one. 585 00:31:29,480 --> 00:31:32,200 Speaker 1: I don't think you'll ever hear Dolly's the same again. 586 00:31:32,280 --> 00:31:36,240 Speaker 1: She's spectacular to me, not taking anything away from Whitney Houston. 587 00:31:36,520 --> 00:31:40,560 Speaker 1: Hers just shoots right to the top, and it's it's 588 00:31:40,600 --> 00:31:42,960 Speaker 1: you know, it tells you that even in these conflicts, 589 00:31:43,320 --> 00:31:48,480 Speaker 1: love can reconcile everything. Is there a cooler country star 590 00:31:48,560 --> 00:31:52,600 Speaker 1: ever than Dwight Yoakum. No, Dwaite is pretty great. We 591 00:31:52,720 --> 00:31:55,480 Speaker 1: I interviewed him in the Capitol Record studios where Buck 592 00:31:55,520 --> 00:31:58,880 Speaker 1: Owens and Maddox Brothers and Rose I think, and and 593 00:31:58,960 --> 00:32:03,880 Speaker 1: certainly uh Merle Haggard recorded and Dwight did too. And 594 00:32:04,120 --> 00:32:07,920 Speaker 1: he was so knowledgeable, and he was so direct, and 595 00:32:07,920 --> 00:32:10,080 Speaker 1: and yet he breaks down and cries trying to get 596 00:32:10,080 --> 00:32:13,560 Speaker 1: through a Merle Haggard song. He he just would would 597 00:32:13,800 --> 00:32:17,360 Speaker 1: start singing when he could sell, he could express something better. 598 00:32:17,640 --> 00:32:20,360 Speaker 1: I think people are gonna their appreciation of Dwight Yoakum 599 00:32:20,480 --> 00:32:23,480 Speaker 1: is just gonna soar. He's an amazing human being. I 600 00:32:23,520 --> 00:32:26,160 Speaker 1: got two more. Who do you say is the most 601 00:32:26,160 --> 00:32:29,440 Speaker 1: reluctant country star? Really wasn't in it to be a star, 602 00:32:29,920 --> 00:32:32,720 Speaker 1: and but you just almost they were undeniable and became 603 00:32:32,760 --> 00:32:35,640 Speaker 1: a star anyway. Well, you know, it's all the way through. 604 00:32:35,680 --> 00:32:38,360 Speaker 1: I mean, you could even look at Garth, right, who's 605 00:32:38,400 --> 00:32:41,440 Speaker 1: got these mega shows and you know, soaring through the 606 00:32:41,520 --> 00:32:45,200 Speaker 1: air on wires like Peter Pan. But if you think 607 00:32:45,240 --> 00:32:48,840 Speaker 1: about it, he's just his kid from Oklahoma, and he 608 00:32:48,840 --> 00:32:51,360 Speaker 1: hears music on the radio and he says, I want 609 00:32:51,400 --> 00:32:55,240 Speaker 1: to do that. He fixes his his his sights on Nashville. 610 00:32:55,320 --> 00:32:58,080 Speaker 1: He goes there. He's turned down by every record label 611 00:32:58,320 --> 00:33:01,480 Speaker 1: and ends up you know, basic Lee with no options. 612 00:33:01,480 --> 00:33:04,600 Speaker 1: And he's at the Bluebird Cafe and he's playing and 613 00:33:04,640 --> 00:33:07,440 Speaker 1: one of the record executives who turned him down that 614 00:33:07,480 --> 00:33:11,240 Speaker 1: week says, the reaction of the crowd here is pretty good. 615 00:33:11,560 --> 00:33:14,720 Speaker 1: Maybe I'll give this kid a chance. And as he's 616 00:33:14,760 --> 00:33:19,120 Speaker 1: starting out um, his producer Alan Reynolds reminds him that 617 00:33:19,160 --> 00:33:22,880 Speaker 1: he can't be anybody else, he can't imitate anybody else. 618 00:33:22,920 --> 00:33:25,440 Speaker 1: There's only one Garth Brooks. You need to be that. 619 00:33:25,600 --> 00:33:28,680 Speaker 1: And Garth is thinking, okay, you know who. The tendency 620 00:33:28,760 --> 00:33:31,240 Speaker 1: is to want to fit into whatever the current commercial 621 00:33:31,280 --> 00:33:34,600 Speaker 1: success is. But you're right, if I'd rather go down 622 00:33:34,640 --> 00:33:37,760 Speaker 1: being myself than being trying to be somebody else, And 623 00:33:37,920 --> 00:33:42,080 Speaker 1: of course he has been resolutely himself, being able to 624 00:33:42,120 --> 00:33:46,479 Speaker 1: write those rollicking good time songs, but also really terrier 625 00:33:46,560 --> 00:33:50,240 Speaker 1: guts apart with the beautiful ballad, a beautiful love song, 626 00:33:50,720 --> 00:33:54,000 Speaker 1: hurt song, whatever it is. I'm not sure he's reluctant. 627 00:33:54,040 --> 00:33:56,120 Speaker 1: I think he had his eyes on the prize. But 628 00:33:56,200 --> 00:34:00,400 Speaker 1: it's so interesting how humble. Almost all the but I've 629 00:34:00,440 --> 00:34:03,280 Speaker 1: met are in country music. Our last episode is called 630 00:34:03,280 --> 00:34:06,280 Speaker 1: don't get above your raisin, that old Southern phrase, don't 631 00:34:06,320 --> 00:34:08,759 Speaker 1: get too big for your bridges, don't forget where you've 632 00:34:08,800 --> 00:34:11,200 Speaker 1: come from. And I don't think anybody I've met in 633 00:34:11,200 --> 00:34:13,959 Speaker 1: country music has forgotten where they come from and their 634 00:34:14,120 --> 00:34:17,720 Speaker 1: obligation to the fans. Unlike any other genre of music, 635 00:34:17,760 --> 00:34:19,600 Speaker 1: you don't go up to Make Jagger and say, hey, 636 00:34:19,680 --> 00:34:22,200 Speaker 1: great second set, Nick. You don't get a chance to 637 00:34:22,239 --> 00:34:24,480 Speaker 1: see Mick Jagger. But you do get a chance to 638 00:34:24,520 --> 00:34:26,879 Speaker 1: see Garth Brooks because he goes to a fan fair 639 00:34:26,960 --> 00:34:29,320 Speaker 1: he wasn't even invited to and stays there and signs 640 00:34:29,360 --> 00:34:31,960 Speaker 1: for twenty hours. One of the best scenes in the film. 641 00:34:32,520 --> 00:34:35,359 Speaker 1: One final question this is it has there always been 642 00:34:35,400 --> 00:34:40,640 Speaker 1: a battle for what is quote unquote real country of course, 643 00:34:40,840 --> 00:34:43,120 Speaker 1: and and that's a good healthy thing. You know. It's 644 00:34:43,160 --> 00:34:47,040 Speaker 1: like what's America's true soul about? You know, and people say, oh, 645 00:34:47,040 --> 00:34:49,400 Speaker 1: it's this, and no, it's that. Is there should always 646 00:34:49,440 --> 00:34:51,560 Speaker 1: be a battle. That's creativity. If it if it gets 647 00:34:51,560 --> 00:34:53,560 Speaker 1: stuck and we know what it is, then you know, 648 00:34:53,640 --> 00:34:55,960 Speaker 1: the record skipping and then you know it's just stuck 649 00:34:55,960 --> 00:34:58,799 Speaker 1: in one place, and there'll always be an argument over 650 00:34:58,840 --> 00:35:01,440 Speaker 1: the definition. What we wanted to say in this film 651 00:35:01,560 --> 00:35:05,439 Speaker 1: is it already starts out being many one things had 652 00:35:05,480 --> 00:35:07,920 Speaker 1: no given moment. Can you say, well, this is just 653 00:35:08,040 --> 00:35:10,760 Speaker 1: country and that is not country? Sure? Did it straight 654 00:35:10,800 --> 00:35:13,840 Speaker 1: over the line and become more pop? Yeah? It did that? 655 00:35:14,239 --> 00:35:17,279 Speaker 1: Did it? You know? Was it at one time more country? 656 00:35:17,640 --> 00:35:20,319 Speaker 1: I mean more yeah, more folks, excuse me, Yeah, it's 657 00:35:20,360 --> 00:35:24,320 Speaker 1: it's done that. But it doesn't really matter because it's struggling, 658 00:35:24,400 --> 00:35:27,200 Speaker 1: like all art forms, to push the boundaries and to 659 00:35:27,280 --> 00:35:29,359 Speaker 1: expand the art form. And at the end of the day, 660 00:35:29,480 --> 00:35:32,640 Speaker 1: as as Vince Gill said, all I've ever wanted out 661 00:35:32,680 --> 00:35:37,160 Speaker 1: of music is to be moved, and that's what it's about. Tolstoy, 662 00:35:37,239 --> 00:35:40,880 Speaker 1: the great Russian writer said, art is the transfer of 663 00:35:40,920 --> 00:35:44,200 Speaker 1: emotion from one person to another, and I don't know 664 00:35:44,280 --> 00:35:47,839 Speaker 1: an art throne that does it better and quicker than 665 00:35:47,880 --> 00:35:50,560 Speaker 1: country music. Well, let me tell you, my friend, I 666 00:35:50,719 --> 00:35:54,040 Speaker 1: thoroughly enjoyed it and I love your work. It's it's 667 00:35:54,040 --> 00:35:55,919 Speaker 1: a real honor to be able to talk to you. Um. 668 00:35:55,960 --> 00:35:58,960 Speaker 1: As we mentioned earlier, the eight part sixteen series, and 669 00:35:59,000 --> 00:36:00,520 Speaker 1: I'll be honest with I wish you was like twenty 670 00:36:00,520 --> 00:36:03,040 Speaker 1: five hours. I wanted to Yeah, I was like, there's 671 00:36:03,040 --> 00:36:04,520 Speaker 1: no way I'm gonna take in sixteen hours. By the 672 00:36:04,600 --> 00:36:06,040 Speaker 1: end of it, I was like, I need another episode, 673 00:36:06,200 --> 00:36:08,399 Speaker 1: Like I need more of this. So the eight part 674 00:36:08,480 --> 00:36:11,239 Speaker 1: sixteen hour series, directed and produced by Ken Burns. Um 675 00:36:11,360 --> 00:36:14,160 Speaker 1: we're recording this actually starts tonight, so when you hear this, 676 00:36:14,719 --> 00:36:17,239 Speaker 1: it'll be rolling. You can uh stream it on the 677 00:36:17,280 --> 00:36:20,680 Speaker 1: PBS or PPS dot org or the app or episodes 678 00:36:20,760 --> 00:36:25,680 Speaker 1: one through four on Sundays eighteen and five three. And 679 00:36:25,840 --> 00:36:27,880 Speaker 1: I just, uh, a lot of people are gonna hear this, 680 00:36:28,040 --> 00:36:30,319 Speaker 1: and I'm super excited to get you because for me, 681 00:36:30,440 --> 00:36:33,359 Speaker 1: this was a soul filler. I loved it, I needed it, 682 00:36:33,719 --> 00:36:37,040 Speaker 1: and I appreciate it. Again. Well, Bobby, I'm happy that 683 00:36:37,280 --> 00:36:41,160 Speaker 1: I got you I think you offer us the most 684 00:36:41,640 --> 00:36:44,840 Speaker 1: legitimizing microphone I could think of, and and that's a 685 00:36:44,880 --> 00:36:47,160 Speaker 1: big thing. And I think when you say to your 686 00:36:47,400 --> 00:36:50,640 Speaker 1: legions of fans and listeners that this is something worthwhile, 687 00:36:51,120 --> 00:36:54,760 Speaker 1: and then our hearts rejoice. We humbly thank you for 688 00:36:54,760 --> 00:36:59,439 Speaker 1: for helping um moost our our introduction of country music. 689 00:36:59,440 --> 00:37:02,680 Speaker 1: And you're right. You can stream it from PBS dot org. 690 00:37:02,840 --> 00:37:05,480 Speaker 1: You can get the first four episodes right now, and 691 00:37:05,600 --> 00:37:08,120 Speaker 1: next Sunday you can get all eight episodes at once. 692 00:37:08,160 --> 00:37:12,359 Speaker 1: There's a companion book out, We've got unbelievable CD set 693 00:37:12,480 --> 00:37:17,320 Speaker 1: from Sony, and Spotify has got an incredible, credible playlist 694 00:37:17,440 --> 00:37:19,680 Speaker 1: right now. So you know, there's lots of ways to 695 00:37:19,719 --> 00:37:21,680 Speaker 1: get it. But I'd start with the stories that are 696 00:37:21,680 --> 00:37:24,440 Speaker 1: in the film, because, like I said, it isn't just dollies. 697 00:37:24,480 --> 00:37:27,359 Speaker 1: I will always love you, But once you learn how 698 00:37:27,400 --> 00:37:29,719 Speaker 1: she wrote it, it's going to change your relationship to 699 00:37:29,760 --> 00:37:32,279 Speaker 1: that song. Whether you've never heard it before, which might 700 00:37:32,320 --> 00:37:35,120 Speaker 1: be two or three people in the universe, or you've 701 00:37:35,120 --> 00:37:37,680 Speaker 1: heard it ten thousand times, it's still going to make 702 00:37:37,680 --> 00:37:40,399 Speaker 1: it a different experience. When you come to town, Ken, 703 00:37:40,400 --> 00:37:42,000 Speaker 1: I'd love to take you to dinner. Love to to 704 00:37:42,520 --> 00:37:45,000 Speaker 1: chop it up sometime and and learn a whole lot more. 705 00:37:45,040 --> 00:37:48,400 Speaker 1: So thank you for I love that, But I'm buying. Alright, alright, 706 00:37:48,400 --> 00:37:50,080 Speaker 1: fair enough, all right, Ken is going to see you, 707 00:37:50,080 --> 00:37:51,120 Speaker 1: can't talk to you, are going to talk to you, 708 00:37:51,160 --> 00:37:52,600 Speaker 1: Talk to you soon, My pleasure,