1 00:00:01,044 --> 00:00:03,264 [light music playing] 2 00:00:02,000 --> 00:00:07,000 Downloaded from YTS.BZ 3 00:00:08,000 --> 00:00:13,000 Official YIFY movies site: YTS.BZ 4 00:00:18,235 --> 00:00:23,980 [blues music playing] 5 00:00:34,077 --> 00:00:40,257 [♪] 6 00:00:55,838 --> 00:00:59,711 [woman] A party had developed. People were mingling, 7 00:00:59,798 --> 00:01:04,064 and you could sense that people were very different from one another. 8 00:01:04,151 --> 00:01:06,066 It was really beautiful. 9 00:01:10,853 --> 00:01:13,464 And it's hard for people to recreate that moment, 10 00:01:13,551 --> 00:01:16,380 the moment in time that this was. 11 00:01:16,467 --> 00:01:22,995 [♪] 12 00:01:27,174 --> 00:01:31,787 [Zandria Robinson] You felt the need to get this music out there, 13 00:01:31,874 --> 00:01:34,877 and you felt the need to create a space 14 00:01:34,964 --> 00:01:39,490 for younger generations to both see this music 15 00:01:39,577 --> 00:01:42,928 and have access to this music and imagine a new world. 16 00:01:43,015 --> 00:01:48,108 [♪] 17 00:02:05,516 --> 00:02:10,782 [♪] 18 00:02:10,869 --> 00:02:17,049 [audience applauding] 19 00:02:17,137 --> 00:02:21,271 [announcer] Memphis, despite the claims of New Orleans and St. Louis, 20 00:02:21,619 --> 00:02:23,752 is the home of the blues. 21 00:02:23,839 --> 00:02:28,322 [audience applauding] 22 00:02:28,887 --> 00:02:31,151 Beale Street is where the blues began. 23 00:02:31,238 --> 00:02:36,721 [♪] 24 00:02:36,895 --> 00:02:40,682 [James Alexander] My mother took me down to Handy Park on Beale Street. 25 00:02:40,769 --> 00:02:42,988 It had to be in the late '50s. 26 00:02:43,075 --> 00:02:45,339 I mean, I wasn't even in music or anything like that. 27 00:02:45,426 --> 00:02:50,300 But we went to see Bobby "Blue" Bland and BB King, 28 00:02:50,387 --> 00:02:53,608 and they were performing on a flatbed truck. 29 00:02:53,695 --> 00:02:57,133 You know, I didn't realize that back at the time, but that particular performance, 30 00:02:57,220 --> 00:02:59,831 my mother taking me down on Beale Street 31 00:02:59,918 --> 00:03:05,359 and seeing their performance would have a hell of a effect on me. 32 00:03:05,446 --> 00:03:12,583 [man] No one can tell you why Memphis is as magical as it really is. 33 00:03:12,670 --> 00:03:19,547 It's as magical as the Egyptian place from whence it took its name. 34 00:03:19,634 --> 00:03:25,379 [man 2] All the hell Memphis has done is taught people how to talk, dance, and play music. 35 00:03:25,466 --> 00:03:27,685 You know? And we still do that. 36 00:03:29,992 --> 00:03:33,430 [man 3] Memphis and this area has a rich musical heritage. 37 00:03:33,517 --> 00:03:36,346 They have a jewel here, and they don't really realize it, 38 00:03:36,433 --> 00:03:38,305 and they don't really cherish it, 39 00:03:38,392 --> 00:03:40,872 and they don't really study the history that much. 40 00:03:40,959 --> 00:03:43,919 This city and this area has been a hotbed for years, 41 00:03:44,006 --> 00:03:49,272 has one of the richest histories of any music city in the world. 42 00:03:50,230 --> 00:03:56,540 [Jamey Hatley] There is this kind of erasure that happens in Memphis again and again. 43 00:03:56,627 --> 00:03:58,803 Memphis is the city of good abode. 44 00:04:00,501 --> 00:04:01,763 For who? 45 00:04:01,850 --> 00:04:07,334 [♪] 46 00:04:07,421 --> 00:04:12,948 [man 4] Blues had been recorded in Memphis since the 1920s, but the city had never embraced it. 47 00:04:13,035 --> 00:04:19,520 The city was adamant about keeping the Black people in their place. 48 00:04:22,523 --> 00:04:29,965 [man 5] Growing up in the 1940s and '50s in Memphis, the racial divide was virtually absolute. 49 00:04:33,838 --> 00:04:38,408 There were very limited circumstances in which 50 00:04:38,495 --> 00:04:40,976 white people and Black people were together. 51 00:04:42,543 --> 00:04:45,807 Parents didn't really approve of that kind of music, 52 00:04:45,894 --> 00:04:50,507 so you'd go to bed at nine or ten o'clock at night and turn on the radio, 53 00:04:50,812 --> 00:04:55,469 and there would be Howlin' Wolf and Muddy Waters, people like that, 54 00:04:55,817 --> 00:05:00,778 who had made it into Chicago and had become electrified. 55 00:05:03,390 --> 00:05:10,310 [blues music playing] 56 00:05:15,140 --> 00:05:18,318 [Henry Nelson] Growing up, here's what the blues was. 57 00:05:18,405 --> 00:05:23,758 We had front yard concerts. It was a neighborhood thing. 58 00:05:23,845 --> 00:05:30,721 [♪] 59 00:05:36,466 --> 00:05:39,904 That's what you heard every Saturday, all day Saturday. 60 00:05:39,991 --> 00:05:45,649 Like, the blues, to me, it was entrenched into a kind of community. 61 00:05:51,307 --> 00:05:54,832 [Nelson] Now, my parents grew up, that's all they listened to, was the blues. 62 00:05:55,790 --> 00:05:59,489 ♪ You know that I'd rather be The devil ♪ 63 00:06:02,449 --> 00:06:06,714 ♪ I'd rather be the devil ♪ 64 00:06:06,801 --> 00:06:09,760 ♪ Than to be that woman man ♪ 65 00:06:09,847 --> 00:06:12,937 [Nelson] The blues was not necessarily to be shared. 66 00:06:13,024 --> 00:06:15,853 You know, it was something that you brought into your home. 67 00:06:15,940 --> 00:06:18,856 It was something that you went to the juke joint to listen to. 68 00:06:20,205 --> 00:06:24,122 [woman singing] 69 00:06:24,209 --> 00:06:25,733 It was a very private thing. 70 00:06:25,820 --> 00:06:29,432 It was something that, um, belonged 71 00:06:29,824 --> 00:06:32,392 to a culture, to Black people. 72 00:06:32,479 --> 00:06:37,701 ♪ The woman that I loved ♪ 73 00:06:39,747 --> 00:06:43,315 [Dom Flemons] While we tend to think of the blues as being born out of slavery, 74 00:06:43,403 --> 00:06:46,710 it's important to remember that the blues is born out of post-Reconstruction 75 00:06:46,797 --> 00:06:49,713 and strict segregation and sharecropping. 76 00:06:55,589 --> 00:06:58,548 I think the blues comes from impossible situations. 77 00:06:58,635 --> 00:07:00,463 ♪ He done got her back again ♪ 78 00:07:06,643 --> 00:07:10,560 ♪ You know I laid down Last night ♪ 79 00:07:12,867 --> 00:07:16,784 ♪ Oh, I laid down last night ♪ 80 00:07:16,871 --> 00:07:21,876 [man 6] By '65, Memphis was essentially pretty barren. 81 00:07:21,963 --> 00:07:24,008 There were no art galleries, 82 00:07:24,095 --> 00:07:29,666 just a small group of artists, poets, some musicians. 83 00:07:29,753 --> 00:07:34,715 Those people would be attracted to whatever it was here in Memphis. 84 00:07:38,675 --> 00:07:41,199 [man 7] John McIntire, the sculptor, 85 00:07:41,286 --> 00:07:46,117 put together a coffee house called The Bitter Lemon. 86 00:07:47,205 --> 00:07:50,992 [John McIntire] Originally, it started with a dream up in Michigan. 87 00:07:51,079 --> 00:07:55,475 I came to Memphis. I was teaching at the Art Academy. 88 00:07:57,781 --> 00:08:01,872 I found a building for 150 bucks out on Poplar. 89 00:08:01,959 --> 00:08:04,788 I had a little bit of money saved up. 90 00:08:04,875 --> 00:08:06,790 We had a little stage in a corner. 91 00:08:06,877 --> 00:08:09,924 It was about four, five inches off the floor. 92 00:08:10,011 --> 00:08:12,492 That's all the stage was. 93 00:08:12,579 --> 00:08:17,540 So that's how it got started. And we had one singer. [laughs] 94 00:08:20,935 --> 00:08:23,024 [student] Okay, this is reel number two 95 00:08:23,111 --> 00:08:25,461 in Memphis State Oral History project 96 00:08:25,548 --> 00:08:29,117 documenting jazz and blues in Memphis with Furry Lewis. 97 00:08:29,204 --> 00:08:30,945 Reel number two. 98 00:08:31,032 --> 00:08:35,515 [playing "Natural Born Eastman"] 99 00:08:35,602 --> 00:08:38,561 ♪ I woke up this mornin' With the sight of rain ♪ 100 00:08:38,648 --> 00:08:41,129 ♪ Around the curve was A passenger train ♪ 101 00:08:41,216 --> 00:08:43,610 ♪ Under the boiler Was old hobo John ♪ 102 00:08:43,697 --> 00:08:46,047 ♪ He was a good ol' hobo But he's dead and gone ♪ 103 00:08:46,134 --> 00:08:47,918 ♪ Dead and gone ♪ 104 00:08:50,051 --> 00:08:53,184 ♪ Good ol' hobo But he's dead and gone ♪ 105 00:08:56,753 --> 00:09:00,931 ♪ I'm on the road again ♪ 106 00:09:01,018 --> 00:09:03,673 ♪ I'm a natural born Eastman On the road again ♪ 107 00:09:05,719 --> 00:09:08,678 ♪ I'm gonna leave Memphis To spread the news ♪ 108 00:09:08,765 --> 00:09:11,072 ♪ The Memphis women Don't wear no shoes ♪ 109 00:09:11,159 --> 00:09:13,248 ♪ I got it written In the back of my shirt ♪ 110 00:09:13,335 --> 00:09:15,467 ♪ I'm a natural born Eastman I don't have to work ♪ 111 00:09:15,555 --> 00:09:17,774 ♪ I don't have to work ♪ 112 00:09:21,778 --> 00:09:26,000 ♪ I'm a natural born Eastman I don't have to work ♪ 113 00:09:26,087 --> 00:09:28,132 [Zeke Johnson] When I first heard Furry Lewis, 114 00:09:28,219 --> 00:09:31,309 that was just complete transformative situation. 115 00:09:31,396 --> 00:09:34,748 And I got him to show me his tuning right there at The Bitter Lemon. 116 00:09:34,835 --> 00:09:38,621 Once I heard it, I ran home and put my guitar in that tuning. 117 00:09:38,708 --> 00:09:41,842 I started making that sound, and I said, "Oh... 118 00:09:41,929 --> 00:09:43,539 there is a God." 119 00:09:43,626 --> 00:09:48,892 [♪] 120 00:09:53,331 --> 00:09:56,030 [Nancy Jeffries] We were going around the country on our way to San Francisco 121 00:09:56,117 --> 00:10:00,251 in our Volkswagen bus-- so clichéd now-- 122 00:10:00,338 --> 00:10:04,038 and stopping in different cities on the way and finding out where the clubs were, 123 00:10:04,125 --> 00:10:06,257 if there was a coffee house or something. 124 00:10:06,780 --> 00:10:08,564 Memphis was one of the stops. 125 00:10:08,651 --> 00:10:12,220 ♪ I'm like, baby ♪ 126 00:10:12,307 --> 00:10:16,833 ♪ Please don't go The way I love you... ♪ 127 00:10:16,920 --> 00:10:20,489 And we really liked it there. We stayed there for a little while. 128 00:10:20,576 --> 00:10:23,100 We were very interested in the blues, 129 00:10:23,187 --> 00:10:27,191 and we were friends with a bunch of people who were blues fanatics, 130 00:10:27,539 --> 00:10:30,586 and they would go to the South and collect 78 RPM records 131 00:10:30,673 --> 00:10:33,763 from the old neighborhoods trying to preserve this music 132 00:10:33,850 --> 00:10:39,029 that hadn't really gotten a fair shot at being preserved. 133 00:10:39,116 --> 00:10:43,338 [John Larkin] I don't think many Memphians actually called themselves hippies. 134 00:10:45,557 --> 00:10:48,691 Memphis was more of a bohemian culture. 135 00:10:52,390 --> 00:10:54,958 It had more of a beat philosophy to it 136 00:10:55,045 --> 00:10:57,091 than it did a hippie philosophy. 137 00:10:57,178 --> 00:10:59,354 Until we got LSD, of course. 138 00:10:59,441 --> 00:11:02,226 And then, you know, that changed the whole game. 139 00:11:02,313 --> 00:11:06,622 [funky music] 140 00:11:07,014 --> 00:11:09,625 [Marcia Hare] I had just got out of high school. 141 00:11:09,712 --> 00:11:12,672 Oh, it was a colorful time. [laughs] 142 00:11:12,759 --> 00:11:15,849 Well, maybe the LSD brought the colors out in everything. 143 00:11:15,936 --> 00:11:18,329 But we were definitely tripping, like, daily. 144 00:11:18,416 --> 00:11:20,636 We weren't just tripping once in a while. 145 00:11:20,723 --> 00:11:22,420 We were tripping all the time. 146 00:11:22,507 --> 00:11:24,901 [psychedelic music] 147 00:11:24,988 --> 00:11:28,296 [Jeffries] So it was a giant, mass experiment, 148 00:11:28,383 --> 00:11:31,081 and in the beginning of it, people really did do it 149 00:11:31,168 --> 00:11:34,041 to seek some knowledge, some connection. 150 00:11:34,519 --> 00:11:37,305 It was the opposite of dulling your senses. 151 00:11:37,697 --> 00:11:39,655 It was the opposite of that. 152 00:11:39,742 --> 00:11:41,701 It was waking up. 153 00:11:43,659 --> 00:11:46,923 We came to feel that the people who had developed this style 154 00:11:47,010 --> 00:11:49,447 from which rock and roll music really came, 155 00:11:49,534 --> 00:11:52,233 we felt that they were being forgotten. 156 00:11:52,624 --> 00:11:55,497 So for us, it was kind of like, "Well, here is this guy 157 00:11:55,584 --> 00:11:59,414 who has zero money and lives in a shotgun shack, 158 00:11:59,501 --> 00:12:04,201 but I see him as someone who's created a movement. 159 00:12:04,288 --> 00:12:07,814 I see him as someone who's given us a precious gift." 160 00:12:07,901 --> 00:12:12,775 ["Parchman Farm Blues" by Bukka White playing] 161 00:12:12,862 --> 00:12:18,825 ♪ Judge give me life This mornin', down on... ♪ 162 00:12:19,347 --> 00:12:24,134 [Bob Palmer] Blues music developed in rural areas of the South in the 19th century. 163 00:12:24,221 --> 00:12:26,354 Memphis, at the top of the Delta, 164 00:12:26,441 --> 00:12:28,835 became the headquarters for early bluesmen. 165 00:12:30,097 --> 00:12:33,230 Musicians found plentiful work on Beale Street, 166 00:12:33,317 --> 00:12:35,102 while labels like Brunswick and Vocalion 167 00:12:35,189 --> 00:12:38,888 recorded Furry Lewis and other blues artists. 168 00:12:38,975 --> 00:12:44,415 By the 1960s, the public found blues recordings difficult to obtain. 169 00:12:44,502 --> 00:12:48,550 Most of the players were presumed lost. 170 00:12:48,637 --> 00:12:50,595 [Joe Callicott] I ain't been lost. 171 00:12:50,682 --> 00:12:52,641 I've been right here. 172 00:12:52,728 --> 00:12:54,251 Ask anybody. 173 00:12:56,471 --> 00:13:02,738 [man] People like Furry Lewis, Bukka White, and Gus Cannon were living among us, 174 00:13:02,825 --> 00:13:07,351 but in many ways, they had been neglected and forgotten. 175 00:13:07,438 --> 00:13:11,399 [man 2] And there was this whole resurgence, then, in country blues. 176 00:13:11,486 --> 00:13:18,362 [♪] 177 00:13:19,059 --> 00:13:21,844 [Flemons] So from 1920 to, let's say, 1934, 178 00:13:21,931 --> 00:13:25,282 you have Vaudeville blues, which is popular music. 179 00:13:25,369 --> 00:13:29,286 Then around 1925, you start to see that blues start to evolve and change 180 00:13:29,373 --> 00:13:33,160 and become more of a single solo male guitar-oriented blues, 181 00:13:33,247 --> 00:13:35,336 and that's considered country blues. 182 00:13:35,423 --> 00:13:37,468 Innumerable people were coming south, 183 00:13:37,555 --> 00:13:41,777 looking for the people that they'd rediscovered on 78 records. 184 00:13:42,996 --> 00:13:46,086 [Nelson] And they were mostly white-- they were all white, as a matter of fact. 185 00:13:47,130 --> 00:13:48,784 They'd come down, go into the Delta, 186 00:13:48,871 --> 00:13:50,830 but mostly they stopped here. 187 00:13:58,663 --> 00:14:01,884 [muffled humming] 188 00:14:01,971 --> 00:14:04,278 "Even The Birds Were Blue." 189 00:14:06,062 --> 00:14:09,849 On the scene at about this time was a New Yorker named Bill Barth, 190 00:14:09,936 --> 00:14:12,852 one of the strange breed of northern musicologists 191 00:14:12,939 --> 00:14:15,637 like Sam Charters and the Lomaxes 192 00:14:15,724 --> 00:14:19,771 who spend their lives looking for the blues without ever quite finding it. 193 00:14:23,297 --> 00:14:26,256 [Jeffries] You know, Bill Barth was part of a group of people 194 00:14:26,343 --> 00:14:29,477 who were known for collecting 78 RPM records, 195 00:14:29,564 --> 00:14:32,175 and they would make field trips to the South. 196 00:14:34,656 --> 00:14:38,399 We spent a lot of time playing music and hanging out. 197 00:14:38,486 --> 00:14:40,314 You know, like, going to the people's houses. 198 00:14:40,401 --> 00:14:42,882 We'd go see Reverend Robert Wilkins or Furry Lewis, 199 00:14:42,969 --> 00:14:46,711 other people who lived in the Memphis area, spend time with them, 200 00:14:46,798 --> 00:14:49,453 Nathan Beauregard, and play music with them. 201 00:14:49,540 --> 00:14:53,066 I mean, in hindsight, it was probably really silly and kind of shocking to them 202 00:14:53,153 --> 00:14:55,982 to have these hippie characters coming and hanging out. 203 00:14:58,332 --> 00:15:01,074 For us, it was kind of like, well, we love this music, 204 00:15:01,161 --> 00:15:06,296 and we went there to find this music, to promote this music. 205 00:15:06,383 --> 00:15:08,864 We decided to have a blues festival, 206 00:15:08,951 --> 00:15:11,693 and we wanted to get all the old blues guys 207 00:15:11,780 --> 00:15:14,783 and give them a chance to make some money, 208 00:15:14,870 --> 00:15:18,961 and we wanted to call it the Memphis Country Blues Society. 209 00:15:20,658 --> 00:15:22,834 [Jeffries] The idea for the festival 210 00:15:22,922 --> 00:15:26,882 was to pay homage to the originators of this musical style 211 00:15:26,969 --> 00:15:32,540 that was, you know, influencing such a large movement in rock music at the time. 212 00:15:33,584 --> 00:15:35,891 [Jim Dickinson] Bill Barth rented the Shell. 213 00:15:35,978 --> 00:15:42,724 The only money involved was my session check from Cadillac Man, $65, 214 00:15:42,811 --> 00:15:46,858 and Barth had a lump of hash the size of a softball. 215 00:15:47,598 --> 00:15:50,601 And between that hash and my $65, 216 00:15:50,688 --> 00:15:52,995 we put on the first Memphis Country Blues Festival. 217 00:15:53,082 --> 00:15:56,216 [♪] 218 00:15:56,303 --> 00:15:58,522 [Jeffries] So, you know, the principles of the Blues Festival, 219 00:15:58,609 --> 00:16:00,698 the ones who signed the papers, 220 00:16:00,785 --> 00:16:05,790 were myself, Bill Barth, Randall Lyon, and Bob Palmer. 221 00:16:05,877 --> 00:16:08,097 That was a funny group of people. 222 00:16:08,184 --> 00:16:11,927 I mean, Bob Palmer was, you know, already a writer and a musician, 223 00:16:12,014 --> 00:16:14,364 and he came from Little Rock to be there. 224 00:16:14,451 --> 00:16:19,282 [♪] 225 00:16:19,369 --> 00:16:22,807 [Bob Palmer] The entire show was put together within a group of musicians, 226 00:16:22,894 --> 00:16:25,985 photographers, artists, writers, and friends, 227 00:16:26,072 --> 00:16:30,076 working together as a Memphis Country Blues Society. 228 00:16:30,163 --> 00:16:33,514 [Jeffries] And Randall Lyon was a crazy artist. 229 00:16:33,601 --> 00:16:40,477 [mystical music] 230 00:16:44,742 --> 00:16:49,791 [♪] 231 00:16:52,228 --> 00:16:55,710 But lots of people helped. It was a community thing. 232 00:16:57,581 --> 00:17:00,715 Well, I just figured that was the best thing that could happen to you, 233 00:17:00,802 --> 00:17:04,719 to be caught up with a group of people who have this heroic enthusiasm, 234 00:17:04,806 --> 00:17:08,940 you know, for what they're doing, I mean, it's, like, that's beautiful. 235 00:17:09,332 --> 00:17:13,467 We had what you would call "[indistinct] furorae." 236 00:17:13,554 --> 00:17:16,600 We were in poetic furor. 237 00:17:16,687 --> 00:17:19,429 [♪] 238 00:17:19,516 --> 00:17:23,216 [Jeffries] We were amateurs. We were definitely amateurs at work. 239 00:17:23,303 --> 00:17:25,000 You know, just skimming by, really, 240 00:17:25,087 --> 00:17:27,394 in terms of the legalities and everything else. 241 00:17:27,481 --> 00:17:34,227 [♪] 242 00:17:34,314 --> 00:17:41,408 [♪] 243 00:17:42,322 --> 00:17:44,889 [Bob Palmer] We sold ads in the program to local firms 244 00:17:44,976 --> 00:17:48,197 and used the money to print tickets and posters as well. 245 00:17:48,284 --> 00:17:53,246 And the newspapers and even a congressman spoke out in favor of the show. 246 00:17:58,468 --> 00:18:01,515 [man] This was kind of a new idea. 247 00:18:02,907 --> 00:18:05,649 You know, "Blues music? In a Shell?" 248 00:18:05,736 --> 00:18:09,479 It had only been for symphonic music before then. 249 00:18:10,654 --> 00:18:14,702 [Nelson] Before '66, there was no integration out here. 250 00:18:16,051 --> 00:18:20,708 There was not a sense of safety here for Black people. 251 00:18:20,795 --> 00:18:24,364 I mean, that place is not mine. 252 00:18:26,322 --> 00:18:30,761 So there's a generation who never felt invited to the park. 253 00:18:30,848 --> 00:18:34,156 [♪] 254 00:18:34,243 --> 00:18:37,681 [Robert Gordon] So they announced this first festival, 1966. 255 00:18:37,768 --> 00:18:40,380 And just before the festival, 256 00:18:40,467 --> 00:18:43,165 an Imperial Grand Wizard from the Ku Klux Klan 257 00:18:43,252 --> 00:18:45,907 held a rally at Overton Park. 258 00:18:48,562 --> 00:18:50,390 That was the world, 259 00:18:50,477 --> 00:18:53,175 this world of inequality 260 00:18:53,262 --> 00:18:58,311 and blind, rabid hatred of Blacks by whites. 261 00:18:58,398 --> 00:19:00,487 And in the same place, 262 00:19:00,574 --> 00:19:05,013 they drew about a thousand people to this blues festival. 263 00:19:05,100 --> 00:19:12,063 [overlapping chatter] 264 00:19:14,979 --> 00:19:17,808 [Bob Palmer] There were middle-aged and elderly couples, 265 00:19:17,895 --> 00:19:21,421 crew-cut executive types, college students, teenagers, 266 00:19:21,508 --> 00:19:24,467 and all the freaks in town. 267 00:19:24,554 --> 00:19:26,861 [man] We were all young. We were all confused. 268 00:19:26,948 --> 00:19:31,474 Vietnam was this big sack of shit hanging over all our heads, 269 00:19:31,561 --> 00:19:37,915 and nobody knew from one day to another if they or their friends were gonna be around. 270 00:19:38,002 --> 00:19:42,093 You just didn't know. So everything was okay to experiment with. 271 00:19:42,181 --> 00:19:44,052 You know, everybody was welcome. 272 00:19:44,270 --> 00:19:46,837 There was nobody excluded from anything. 273 00:19:46,924 --> 00:19:50,667 You'd see guys in uniform there. And they were fine. 274 00:19:50,754 --> 00:19:53,192 You know, they were fine with it. We were fine with them. 275 00:19:53,279 --> 00:19:56,630 [♪] 276 00:19:56,717 --> 00:19:59,023 [man] Almost everybody was there. 277 00:19:59,633 --> 00:20:03,376 Furry Lewis, Reverend Robert Wilkins, Bukka White. 278 00:20:03,463 --> 00:20:06,901 Piano Red was there, Fred McDowell was there. 279 00:20:06,988 --> 00:20:09,295 ♪ ...Furry go tell 'em Grand Central Station 280 00:20:09,773 --> 00:20:11,688 ♪ That's the only place You know ♪ 281 00:20:11,775 --> 00:20:17,825 ♪ Anybody ever ask you Which way Furry go ♪ 282 00:20:19,522 --> 00:20:22,133 ♪ Tell 'em Grand Central Station ♪ 283 00:20:22,221 --> 00:20:27,922 ♪ That's the only place You know ♪ 284 00:20:28,009 --> 00:20:32,100 ♪ Say, my Monday woman Live on Beale and Main ♪ 285 00:20:32,187 --> 00:20:35,799 ♪ And my Tuesday woman Bring me pocket change ♪ 286 00:20:35,886 --> 00:20:39,325 ♪ And my Wednesday woman Bring me daily news ♪ 287 00:20:39,412 --> 00:20:43,067 ♪ And my Thursday woman Buy my socks and shoes ♪ 288 00:20:43,154 --> 00:20:46,767 ♪ And then my Friday woman Puts it on the shelf ♪ 289 00:20:46,854 --> 00:20:48,377 ♪ The Saturday woman Give me the devil ♪ 290 00:20:48,464 --> 00:20:50,292 ♪ If she ever catch me here ♪ 291 00:20:50,379 --> 00:20:52,381 ♪ My Saturday woman ♪ 292 00:20:52,468 --> 00:20:56,037 ♪ Give me the devil If she ever catch me here ♪ 293 00:20:57,212 --> 00:21:00,824 ♪ Say, I got a Sunday woman Who cooks me somethin' to eat ♪ 294 00:21:00,911 --> 00:21:02,652 ♪ I got a woman, good God ♪ 295 00:21:02,739 --> 00:21:04,045 ♪ Her mouth every day In the week ♪ 296 00:21:04,132 --> 00:21:06,047 ♪ Oh, Lord, I got a woman ♪ 297 00:21:06,134 --> 00:21:12,227 [crowd applauding, cheering] 298 00:21:12,314 --> 00:21:18,189 And as a Black musician, we was going places that our peoples couldn't go 299 00:21:18,277 --> 00:21:20,366 because they wanted to hear us play. 300 00:21:20,453 --> 00:21:22,237 It was all-white facilities. 301 00:21:22,324 --> 00:21:24,848 Couldn't nobody come see us but them, you know? 302 00:21:25,545 --> 00:21:29,200 But the fact over the Shells there, since it was a wide-open thing, 303 00:21:29,288 --> 00:21:31,768 you know, wasn't an enclosed thing, it was open, 304 00:21:31,855 --> 00:21:35,381 so everybody got a chance to really come and enjoy the music. 305 00:21:35,468 --> 00:21:37,818 ["Keep It Clean" by Sid Selvidge playing] 306 00:21:37,905 --> 00:21:41,865 [indistinct] 307 00:21:41,952 --> 00:21:43,867 ♪ Give 'em a Coca-Cola ♪ 308 00:21:43,954 --> 00:21:46,348 ♪ Lemon soda Chocolate ice cream ♪ 309 00:21:46,435 --> 00:21:50,221 ♪ Take soap and water Lord, to keep it clean ♪ 310 00:21:51,527 --> 00:21:57,707 [loud cheers and applause] 311 00:21:57,794 --> 00:22:00,536 ♪ Give 'em a Coca-Cola ♪ 312 00:22:00,623 --> 00:22:04,148 ♪ Lemon soda Chocolate ice cream ♪ 313 00:22:04,235 --> 00:22:06,455 If you were on stage 314 00:22:06,542 --> 00:22:08,109 and you'd look out in the audience 315 00:22:08,196 --> 00:22:10,067 and you saw the unity 316 00:22:10,154 --> 00:22:13,419 and everyone caring for each other-- 317 00:22:13,506 --> 00:22:15,377 Even watching over the kids, 318 00:22:15,464 --> 00:22:18,641 whether it was your child or someone else's child, 319 00:22:18,728 --> 00:22:21,078 you made sure that kid was okay. 320 00:22:21,731 --> 00:22:24,778 It was a wonderful and a beautiful thing. 321 00:22:25,692 --> 00:22:27,563 [Marcia Hare] A lot of people, when they look at the '60s now, 322 00:22:27,650 --> 00:22:30,436 they see everybody stoned out of their minds at Woodstock, 323 00:22:30,523 --> 00:22:33,308 you know, playing in the mud and dancing to the music. 324 00:22:33,395 --> 00:22:37,312 So yeah, that was part of what went on, definitely. 325 00:22:38,052 --> 00:22:41,011 But people did it with a motivation. 326 00:22:41,098 --> 00:22:42,839 I think most people, 327 00:22:42,926 --> 00:22:45,712 maybe when it gets to be 500,000 people in a meadow, 328 00:22:45,799 --> 00:22:47,670 the motivation slips. 329 00:22:47,757 --> 00:22:50,630 [light conversation din] 330 00:22:50,717 --> 00:22:54,721 [♪] 331 00:23:16,482 --> 00:23:21,356 [♪] 332 00:23:23,880 --> 00:23:25,969 [applause] 333 00:23:26,056 --> 00:23:30,887 [♪] 334 00:23:35,370 --> 00:23:37,677 [audience applauding] 335 00:23:37,764 --> 00:23:40,549 [Rev. Robert Wilkins] Thinking about how good the Lord was to me. 336 00:23:43,117 --> 00:23:46,381 Spared me all these many years, 337 00:23:47,774 --> 00:23:50,603 and yet in pretty fair health and strength. 338 00:23:53,127 --> 00:23:55,521 And yet able to tickle these strings. 339 00:23:57,740 --> 00:23:59,829 Now, I want to thank the Lord for it. 340 00:24:02,702 --> 00:24:05,444 Now, I said, "Lord, I ain't got enough tongue to thank you." 341 00:24:07,533 --> 00:24:09,012 I said, "How am I gon' do it?" 342 00:24:10,579 --> 00:24:12,233 He said, "Wilkins, take the guitar 343 00:24:12,320 --> 00:24:14,888 and make the guitar say, 'Thank you, Jesus.'" 344 00:24:16,629 --> 00:24:17,934 Hold on a minute. 345 00:24:18,021 --> 00:24:20,415 Then I took the guitar with this... 346 00:24:23,462 --> 00:24:25,551 ♪ Thank you, Jesus Thank you, Jesus ♪ 347 00:24:25,638 --> 00:24:29,250 ♪ Thank you, Jesus, thank you Jesus, thank you, Jesus ♪ 348 00:24:29,337 --> 00:24:31,774 ♪ Thank you, Jesus Thank you, Jesus ♪ 349 00:24:31,861 --> 00:24:35,604 ♪ Thank you, Jesus, thank you Jesus, thank you, Jesus ♪ 350 00:24:35,691 --> 00:24:38,259 ♪ Thank you, Jesus Thank you, Jesus ♪ 351 00:24:38,346 --> 00:24:43,133 [♪] 352 00:24:52,795 --> 00:24:56,407 [♪] 353 00:25:15,557 --> 00:25:19,256 [Rev. Robert] I didn't do any playing music around Memphis until-- 354 00:25:19,343 --> 00:25:25,219 just regular until about 1928, I started recording records. 355 00:25:25,306 --> 00:25:27,351 [interviewer] Who did you record it for? 356 00:25:27,438 --> 00:25:29,440 [Rev. Robert] Oh, this was the Brun-- What was it, Brunswick? 357 00:25:31,399 --> 00:25:33,053 [interviewer] Were they recorded here in Memphis? 358 00:25:33,140 --> 00:25:34,924 [Rev. Robert] I recorded here in Memphis. 359 00:25:35,011 --> 00:25:38,014 Recorded in Auditorium twice and Peabody Hotel once. 360 00:25:41,017 --> 00:25:42,802 [interviewer] Is it your son that sometimes plays? 361 00:25:42,889 --> 00:25:44,107 [Rev. Robert] Yes, my son. 362 00:25:45,239 --> 00:25:47,589 [Rev. John Wilkins] When I was small, we'd go to church 363 00:25:47,676 --> 00:25:51,027 and I stand up and play with him, yeah, with my little old guitar and stuff. 364 00:25:51,114 --> 00:25:52,420 [laughs] 365 00:25:52,507 --> 00:25:54,944 It was my dad playing the blues. 366 00:25:55,031 --> 00:25:57,556 I was too young to 367 00:25:57,643 --> 00:26:00,863 travel to anything with him during that time, back in the '20s. 368 00:26:00,950 --> 00:26:03,170 Back in the '30s and '20s, I wasn't even born. 369 00:26:03,257 --> 00:26:05,955 So, you know, he was traveling then, you know. 370 00:26:06,042 --> 00:26:10,090 ["In the Army of the Lord" by Rev. Robert Wilkins] 371 00:26:10,177 --> 00:26:13,833 ♪ Got my war clothes on ♪ ♪ In the army of the Lord ♪ 372 00:26:14,703 --> 00:26:16,662 ♪ Got my war clothes on ♪ 373 00:26:16,749 --> 00:26:18,620 ♪ In the army of the Lord ♪ 374 00:26:18,707 --> 00:26:20,361 ♪ Got my war clothes on ♪ 375 00:26:20,448 --> 00:26:22,624 ♪ In the army Of the Lord ♪ 376 00:26:22,711 --> 00:26:24,670 ♪ Got my war clothes on ♪ 377 00:26:24,757 --> 00:26:26,759 ♪ In the army Of the Lord ♪ 378 00:26:26,846 --> 00:26:29,457 [Brian Guinle] When we went to the show, sat down 379 00:26:29,544 --> 00:26:32,852 and started hearing all these people I had never heard before, 380 00:26:32,939 --> 00:26:34,941 didn't even know who they were. 381 00:26:35,768 --> 00:26:38,205 I looked at my friend, I said, "All these guys are doing 382 00:26:38,292 --> 00:26:40,555 is just playing all this old New Orleans music." 383 00:26:40,642 --> 00:26:44,298 And this guy looked at me like I was absolutely crazy. 384 00:26:44,385 --> 00:26:46,517 And he says, "New Orleans? 385 00:26:46,605 --> 00:26:49,651 Where do you think this music came from?" 386 00:26:49,738 --> 00:26:52,262 He said, "Those are all handy tunes. 387 00:26:52,349 --> 00:26:55,091 Those are all blues. That music came from Memphis." 388 00:26:56,223 --> 00:26:58,399 [Mary Lindsay Dickinson] I realized that what was happening here 389 00:26:58,486 --> 00:27:00,314 was really important. 390 00:27:00,401 --> 00:27:05,580 These men were geniuses. They were American heroes. 391 00:27:05,667 --> 00:27:09,802 They should be-- As Jim would put it, in other, more advanced societies, 392 00:27:09,889 --> 00:27:12,631 they would've been worshiped as shamans. 393 00:27:15,329 --> 00:27:18,680 [man] These two fringes of society came together, 394 00:27:18,767 --> 00:27:23,946 and mainstream society took notice, basically because they had to. 395 00:27:24,033 --> 00:27:27,515 It was kind of like a big announcement: "We're here." 396 00:27:27,602 --> 00:27:30,126 [crowd cheering, applauding] 397 00:27:30,213 --> 00:27:32,041 [man] See you next year! 398 00:27:37,133 --> 00:27:42,051 [♪] 399 00:27:42,138 --> 00:27:47,622 ♪ Ain't got no Special ride ♪ 400 00:27:48,449 --> 00:27:53,019 [Jeffries] And we spent half the year in Memphis doing the blues festivals 401 00:27:53,236 --> 00:27:54,760 and half the year in New York. 402 00:27:58,372 --> 00:27:59,939 That's how I remember it. 403 00:28:00,113 --> 00:28:03,116 [street din] 404 00:28:05,684 --> 00:28:10,123 Bob, Bill and myself started The Insect Trust then. 405 00:28:10,210 --> 00:28:12,691 The worst named band in history. 406 00:28:13,953 --> 00:28:16,259 Gradually other people came in. 407 00:28:20,176 --> 00:28:23,353 [♪] 408 00:28:23,440 --> 00:28:26,095 ♪ Within the little honeycomb ♪ 409 00:28:26,182 --> 00:28:29,316 I always think of it as, like, an early on art rock band. 410 00:28:29,403 --> 00:28:32,406 You know, it's, like, jazz, blues, everything mixed in. 411 00:28:32,493 --> 00:28:35,409 ♪ There's a man Down the way ♪ 412 00:28:35,496 --> 00:28:37,063 We needed to work as a band, 413 00:28:37,150 --> 00:28:39,413 and New York was the place to do that. 414 00:28:39,500 --> 00:28:41,545 Did that for six months of the year, 415 00:28:41,632 --> 00:28:43,156 and then we'd go down to Memphis 416 00:28:43,243 --> 00:28:45,201 and put the festival on for six months. 417 00:28:45,375 --> 00:28:47,073 Bob Palmer worked for the magazines 418 00:28:47,160 --> 00:28:48,465 and for The New York Times eventually 419 00:28:48,552 --> 00:28:50,467 and all that as a writer. 420 00:28:50,554 --> 00:28:54,210 We were motivated to then use some connections 421 00:28:54,297 --> 00:28:57,648 that we got in New York to promote the festival. 422 00:29:00,913 --> 00:29:04,090 [Bob Palmer] The Memphis Blues Festival continued for five years. 423 00:29:06,570 --> 00:29:09,486 In 1969, we changed the name to 424 00:29:09,573 --> 00:29:11,880 the Memphis Country Blues Festival. 425 00:29:13,447 --> 00:29:16,319 [Jeffries] Well, the first two festivals were really homemade. 426 00:29:16,406 --> 00:29:19,453 Silly things were going on and people were being very creative. 427 00:29:19,540 --> 00:29:22,108 And to me, that was the sweetest time. 428 00:29:23,544 --> 00:29:25,938 John McIntire did the poster. 429 00:29:26,025 --> 00:29:28,375 Bill Barth kept coming adding people to it, 430 00:29:28,462 --> 00:29:31,073 and I'd have to scribble another name in somewhere. 431 00:29:31,770 --> 00:29:33,989 That's why it's so cluttered. 432 00:29:34,381 --> 00:29:37,906 Bill Barth grabbed it and I chased him down the street trying to get it back from him, 433 00:29:37,993 --> 00:29:40,169 but he said, "I gotta get it to the printers." 434 00:29:41,431 --> 00:29:45,609 I was married to Bob Palmer, and I wasn't a musician, 435 00:29:45,696 --> 00:29:49,222 and I wasn't really an organizer. 436 00:29:49,309 --> 00:29:52,268 I did the drawings for the program. 437 00:29:53,139 --> 00:29:55,968 They said, "Take tickets." I took tickets. 438 00:29:57,578 --> 00:30:02,278 [♪] 439 00:30:02,365 --> 00:30:04,324 [Bob Palmer] We had all these props. 440 00:30:04,411 --> 00:30:07,240 This huge cardboard cutout of this sitting Buddha. 441 00:30:07,327 --> 00:30:09,329 It was about 20 feet tall. 442 00:30:09,416 --> 00:30:11,810 So all these people like Furry and Nathan Beauregard 443 00:30:11,897 --> 00:30:14,334 were playing in front of this huge golden Buddha. 444 00:30:14,421 --> 00:30:20,383 And there were like stage pop trees and motorcycles. 445 00:30:20,470 --> 00:30:24,126 ["Great Long Ways From Home" by Mississippi Joe Callicott playing] 446 00:30:24,213 --> 00:30:29,131 ♪ Oh, boy, We're long ways from home ♪ 447 00:30:30,350 --> 00:30:35,094 ♪ What good is your food If your sink won't run ♪ 448 00:30:36,573 --> 00:30:42,623 ♪ What good is your food If your sink won't run ♪ 449 00:30:44,016 --> 00:30:45,931 ♪ What you need with a woman ♪ 450 00:30:46,018 --> 00:30:49,412 ♪ Call her, And she won't come ♪ 451 00:30:51,458 --> 00:30:56,680 [marker scraping] 452 00:30:56,767 --> 00:30:59,161 [Mike Vernon] Seymour Stein was looking out for projects, 453 00:30:59,248 --> 00:31:01,424 and he said to me, "I tell you what, 454 00:31:01,729 --> 00:31:05,646 there's a very interesting festival that's going to happen in Memphis during July 455 00:31:05,776 --> 00:31:08,344 featuring Bukka White and Furry Lewis." 456 00:31:08,431 --> 00:31:11,652 [chuckles] It was as if I was on the plane already. 457 00:31:12,392 --> 00:31:15,525 [Seymour Stein] Mike Vernon could produce anything. 458 00:31:15,612 --> 00:31:18,398 He could produce a classical orchestra. 459 00:31:18,746 --> 00:31:21,662 He did David Bowie's first album. 460 00:31:21,749 --> 00:31:25,318 But what he loved was the blues. 461 00:31:25,405 --> 00:31:27,886 When he met these blues musicians, 462 00:31:27,973 --> 00:31:30,714 I remember his eyes welled up. 463 00:31:31,977 --> 00:31:33,892 Mike was in heaven. 464 00:31:33,979 --> 00:31:36,895 [Vernon] I actually arrived the day before the festival 465 00:31:36,982 --> 00:31:40,159 and was almost immediately whisked off to Nesbit 466 00:31:40,246 --> 00:31:44,424 where I met Joe Callicott, his wife, and their milk cow. 467 00:31:44,511 --> 00:31:46,556 It was a wonderful experience. 468 00:31:49,081 --> 00:31:50,909 The festival was a bit of a rush. 469 00:31:52,693 --> 00:31:54,913 We really didn't know what was gonna happen next. 470 00:31:55,000 --> 00:31:57,567 [distant audience applause] 471 00:31:57,654 --> 00:31:59,874 [Jeffries] We were never completely professional. 472 00:31:59,961 --> 00:32:04,009 They became busier and a little more stressful. It was fun. 473 00:32:04,096 --> 00:32:07,534 It was fun to say, "Oh, Steve Allen's on the phone," whatever. 474 00:32:07,621 --> 00:32:11,320 You know, it was just fun, and we're in our little hippie apartment in Hoboken 475 00:32:11,712 --> 00:32:14,062 with the phone on the wall, you know, 476 00:32:14,236 --> 00:32:17,631 pretending like we're wheeler-dealers or whatever, which we were not. 477 00:32:17,892 --> 00:32:21,548 But that's how people start. That's what starts it. You just go as if. 478 00:32:21,635 --> 00:32:23,854 A lot of the money stuff was literally 479 00:32:23,942 --> 00:32:26,422 counting dollar bills in paper bags and giving them out. 480 00:32:26,509 --> 00:32:28,947 But I can tell you that it was done honestly 481 00:32:29,034 --> 00:32:32,211 and done from that perspective, and that's what happened. 482 00:32:33,429 --> 00:32:38,957 [♪] 483 00:32:39,044 --> 00:32:43,048 It was also sort of like a school, 484 00:32:43,135 --> 00:32:46,442 because in the process of enjoying each other, 485 00:32:46,529 --> 00:32:50,011 we learned about each other's cultures 486 00:32:50,098 --> 00:32:54,494 and how to take the music and blend it together 487 00:32:54,581 --> 00:32:58,889 to where you had an amazing sound. 488 00:32:58,977 --> 00:33:04,199 [♪] 489 00:33:04,939 --> 00:33:12,599 [Jimmy Crosthwait] I was the MC, and I played music with Bukka White. 490 00:33:12,686 --> 00:33:18,170 There was a camaraderie and a humanity that got shared 491 00:33:18,257 --> 00:33:22,130 that is above and beyond the ordinary. 492 00:33:22,217 --> 00:33:27,048 It was transcendental in a sense. 493 00:33:27,135 --> 00:33:29,964 [announcer] Next you're going to hear 494 00:33:30,051 --> 00:33:35,448 from Mr. Bukka White and my own self. 495 00:33:36,405 --> 00:33:40,670 [Bukka White] So our first selection would be "Hello Central, Give Me 49." 496 00:33:40,757 --> 00:33:44,979 [vibrant blues plays] 497 00:33:49,853 --> 00:33:53,118 ♪ Hello, Central Hello, Central ♪ 498 00:33:53,205 --> 00:33:57,122 ♪ Would you please now Give me 49 ♪ 499 00:33:59,385 --> 00:34:02,475 ♪ Hello, Central Hello, Central ♪ 500 00:34:02,562 --> 00:34:06,914 ♪ Would you please now Give me 49 ♪ 501 00:34:08,220 --> 00:34:11,701 ♪ I got a little woman She done left me ♪ 502 00:34:11,788 --> 00:34:16,228 ♪ [indistinct] ♪ 503 00:34:18,012 --> 00:34:20,536 ♪ My baby, she left me ♪ 504 00:34:21,276 --> 00:34:23,844 ♪ And left Our little son crying ♪ 505 00:34:24,758 --> 00:34:26,890 ♪ I didn't mind That woman going ♪ 506 00:34:26,977 --> 00:34:31,025 ♪ But I just hate to see her Leave five children crying ♪ 507 00:34:31,112 --> 00:34:34,550 ♪ I said If you find that woman ♪ 508 00:34:35,986 --> 00:34:38,511 ♪ Would you please, ma'am Tell her I called ♪ 509 00:34:38,598 --> 00:34:40,339 ♪ 309 ♪ 510 00:34:41,340 --> 00:34:44,038 [Bukka White] Yeah, well, I had to burn a guy a little. 511 00:34:44,125 --> 00:34:46,214 I didn't get the right decision on it. 512 00:34:46,301 --> 00:34:49,783 and so they gave me a little time down there. 513 00:34:49,870 --> 00:34:53,047 But, you know, a lot of times it's not what you do, 514 00:34:53,134 --> 00:34:56,311 it's the way you do it, and the way the justice you get-- 515 00:34:56,398 --> 00:34:59,401 you don't get justice all the time on things, and so... 516 00:34:59,488 --> 00:35:01,142 Don't care how good you are, sometimes you get-- 517 00:35:01,229 --> 00:35:03,101 you know, you get killed for doing right 518 00:35:03,188 --> 00:35:06,887 and sometimes people will let you go for doing wrong. 519 00:35:06,974 --> 00:35:12,197 [♪] 520 00:35:12,284 --> 00:35:16,853 [Jeffries] I was taking Bukka White from Memphis to Little Rock for a concert, 521 00:35:16,940 --> 00:35:19,595 and it was just me and him, because what did I care? 522 00:35:19,682 --> 00:35:21,641 I knew what I was doing, you know. 523 00:35:21,728 --> 00:35:25,035 But we were pulled over by the cops, because it wasn't seemly 524 00:35:25,123 --> 00:35:30,258 that I would be driving this elderly gentleman of color to this concert. 525 00:35:30,954 --> 00:35:33,218 So I kind of-- You know, I was pretty-- 526 00:35:34,610 --> 00:35:36,264 I was pretty bold in those days. 527 00:35:36,351 --> 00:35:38,875 I just told the guy, "Look, this is what I'm doing." 528 00:35:38,962 --> 00:35:41,661 Everybody was prejudiced. My parents were prejudiced. 529 00:35:41,748 --> 00:35:43,924 It wasn't just a southern thing. 530 00:35:45,230 --> 00:35:47,580 [Bukka] I mean, all kinds of marijuana and stuff like that. 531 00:35:47,667 --> 00:35:50,626 They could've busted us and sent us all to jail for six years, 532 00:35:50,713 --> 00:35:55,675 and they would come in and bust us because we were Black and white at a party 533 00:35:55,762 --> 00:35:59,026 playing music and just having a good time, and it was lots of fun. 534 00:35:59,113 --> 00:36:03,161 [♪] 535 00:36:05,728 --> 00:36:08,340 [Robinson] I think what happens is that we were like, 536 00:36:08,427 --> 00:36:11,734 "Let's be friends despite power dynamics. 537 00:36:12,953 --> 00:36:16,435 'Cause there's not slavery anymore, and so we can--" 538 00:36:16,522 --> 00:36:21,222 But no, that's-- it's a-- it's a really difficult thing. 539 00:36:22,092 --> 00:36:25,792 There is always a disconnect 540 00:36:25,879 --> 00:36:30,710 that complicates cross-racial friendships, collaborations, 541 00:36:30,797 --> 00:36:34,888 because that power dynamic is always sitting there in that room, 542 00:36:34,975 --> 00:36:37,934 in the deep context of the music, 543 00:36:38,021 --> 00:36:41,155 which is violence and pain and hurt. 544 00:36:41,242 --> 00:36:45,290 -[dark tone] -[projector whirring] 545 00:36:59,129 --> 00:37:02,220 [man] Furry Lewis, he lived in Memphis most of his life. 546 00:37:02,307 --> 00:37:05,832 He lost his leg working on the Illinois Central Railroad. 547 00:37:05,919 --> 00:37:08,617 So he got a job sweeping the streets. 548 00:37:08,704 --> 00:37:11,185 [rumbling] 549 00:37:13,927 --> 00:37:17,278 [Furry Lewis] Well, one thing, when you write the blues and what you be thinking about, 550 00:37:17,365 --> 00:37:19,628 you be blue and you ain't got nothing harder to think about. 551 00:37:19,715 --> 00:37:21,891 You just already blue just go and write it. 552 00:37:25,112 --> 00:37:29,334 [man] He did that for, you know, 20 years and then he retired. 553 00:37:31,379 --> 00:37:36,166 The city said you don't qualify for a retirement because you have a wooden leg, 554 00:37:36,254 --> 00:37:40,083 and actually, with a wooden leg, you are not supposed to have the job you have. 555 00:37:41,694 --> 00:37:44,958 So we don't know whether or not you can really get retirement. 556 00:37:45,437 --> 00:37:47,439 ♪ I got the walkin' blues ♪ 557 00:37:47,526 --> 00:37:51,181 ♪ I'm going get My walkin' shoes ♪ 558 00:37:52,792 --> 00:37:57,710 [reporter] In February 1968, in Memphis, Tennessee, 559 00:37:57,797 --> 00:38:01,888 some 1,300 sanitation workers began a strike. 560 00:38:01,975 --> 00:38:05,065 This wasn't an ordinary strike. 561 00:38:06,371 --> 00:38:09,417 ♪ Lord knows I don't know what to do ♪ 562 00:38:09,504 --> 00:38:13,508 [James Douglas] We felt like we would have to let the city know 563 00:38:13,595 --> 00:38:18,600 that because we were sanitation workers, we were human beings. 564 00:38:19,688 --> 00:38:23,605 The signs that we were carrying said that 'I am a man' 565 00:38:23,692 --> 00:38:28,654 and we was gonna demand to have the same dignity 566 00:38:28,741 --> 00:38:33,833 and the same courtesy any other citizen of Memphis has. 567 00:38:35,878 --> 00:38:38,054 [Martin Luther King Jr.] But let me say to you tonight 568 00:38:38,141 --> 00:38:41,884 that whenever you are engaged in work 569 00:38:42,450 --> 00:38:48,108 that serves humanity and is for the building of humanity, 570 00:38:48,195 --> 00:38:51,764 it has dignity and it has worth. 571 00:38:51,851 --> 00:38:54,288 [crowd cheering] 572 00:38:54,375 --> 00:38:58,945 [tense music] 573 00:39:01,991 --> 00:39:03,993 [reporter 1] Dr. Martin Luther King, 574 00:39:04,080 --> 00:39:06,735 the apostle of non-violence in the civil rights movement, 575 00:39:06,822 --> 00:39:09,434 has been shot to death in Memphis, Tennessee. 576 00:39:09,521 --> 00:39:11,653 Police have issued an all-points bulletin. 577 00:39:11,740 --> 00:39:14,961 [reporter 2] A curfew, which requires all citizens 578 00:39:15,048 --> 00:39:18,791 to be off the streets of the city of Memphis by 7:00 p.m. tonight 579 00:39:18,878 --> 00:39:23,273 and remain off the streets until 5:00 a.m. 580 00:39:27,887 --> 00:39:31,238 [Alexander] The Bar-Kays, we were in the studio 581 00:39:31,325 --> 00:39:34,110 the night that the assassination occurred. 582 00:39:34,197 --> 00:39:36,722 We had to spend the night at the studio 583 00:39:37,026 --> 00:39:40,943 because posted right outside of Stax Studio was, you know, the National Guard. 584 00:39:46,862 --> 00:39:48,734 [Hatley] That moment is still so fraught, 585 00:39:48,821 --> 00:39:51,824 and we're, like, living it over and over and over again. 586 00:39:51,911 --> 00:39:55,958 It is a hinge, and at any moment it could fall back 587 00:39:56,176 --> 00:40:01,137 onto something else that is painful and hurtful just like that moment. 588 00:40:01,224 --> 00:40:07,492 [Bob Palmer] It was the sore that totally separated, even more so, the community. 589 00:40:10,538 --> 00:40:13,149 ♪ Glory, glory ♪ 590 00:40:13,236 --> 00:40:15,674 ♪ Hallelujah ♪ 591 00:40:15,761 --> 00:40:19,852 ♪ When I lay My, my burden down ♪ 592 00:40:19,939 --> 00:40:22,071 ♪ Glory, glory ♪ 593 00:40:22,158 --> 00:40:24,204 [Flemons] First you had the Civil Rights movement, 594 00:40:24,291 --> 00:40:27,120 but afterward, the Black Power Movement came in, 595 00:40:27,207 --> 00:40:29,644 and there was a big generational shift. 596 00:40:29,731 --> 00:40:33,909 While ultimately the blues has been respected within the black community, 597 00:40:33,996 --> 00:40:36,259 it came off a little bit old hat 598 00:40:36,346 --> 00:40:38,784 and it was a little bit different in terms of the way that the protest 599 00:40:38,871 --> 00:40:43,658 was being articulated and disseminated within the music community. 600 00:40:43,745 --> 00:40:46,879 So I think that that led to a lot of younger African-American people 601 00:40:46,966 --> 00:40:48,837 drifting away from the blues. 602 00:40:52,406 --> 00:40:54,147 [Hatley] The blues was all around me. 603 00:40:54,234 --> 00:40:58,978 It was always, always in the background. 604 00:40:59,065 --> 00:41:02,721 ♪ You know that I'd rather be the devil ♪ 605 00:41:05,201 --> 00:41:08,770 Me hating the blues is kind of like a fish hating water. 606 00:41:08,857 --> 00:41:12,861 ♪ Than to be that brother man ♪ 607 00:41:15,124 --> 00:41:17,866 I felt a little embarrassed, 608 00:41:17,953 --> 00:41:22,784 a little twinge of something there that I didn't even understand. 609 00:41:22,871 --> 00:41:25,744 So, you know, I told myself that I hated it 610 00:41:25,831 --> 00:41:29,269 because I thought the blues was sad. 611 00:41:29,356 --> 00:41:31,706 It was poor. 612 00:41:32,315 --> 00:41:38,365 So these themes in the blues, they were not abstract to me, right? 613 00:41:38,452 --> 00:41:42,761 I was not separate from them, right? 614 00:41:42,848 --> 00:41:46,025 But I felt like I needed to be. 615 00:41:48,462 --> 00:41:53,989 I think seeing other people consume the blues also made me turn way. 616 00:41:55,295 --> 00:41:57,602 [Sid Selvidge] There were people like Furry Lewis on the ground 617 00:41:57,689 --> 00:42:01,431 that totally peeled the scales off a lot of white children's eyes. 618 00:42:03,042 --> 00:42:07,916 Ah, hell, I want... everybody out there 619 00:42:08,003 --> 00:42:11,224 I want pictures here because I just really wanna call you that. 620 00:42:11,311 --> 00:42:13,182 Let me call you sweetheart. 621 00:42:13,269 --> 00:42:19,319 [light blues] 622 00:42:19,406 --> 00:42:22,540 [Selvidge] He's one of the finest gentlemen I've ever met in my life. 623 00:42:24,367 --> 00:42:28,154 I would say Furry Lewis is the most important male figure in my life, 624 00:42:28,241 --> 00:42:30,591 other than my father and my grandfather. 625 00:42:30,678 --> 00:42:35,857 [playing "Let Me Call You Sweetheart"] 626 00:42:48,391 --> 00:42:52,918 ♪ Won't you let me Call you sweetheart ♪ 627 00:42:53,005 --> 00:42:54,963 ♪ I'm in love with you ♪ 628 00:42:57,226 --> 00:43:04,233 ♪ Let me hear you whisper That you love me too ♪ 629 00:43:05,060 --> 00:43:08,803 ♪ Keep your love light Gleaming ♪ 630 00:43:08,890 --> 00:43:12,024 ♪ In your eyes so blue ♪ 631 00:43:13,112 --> 00:43:16,898 ♪ Let Furry Call you sweetheart ♪ 632 00:43:16,985 --> 00:43:22,034 ♪ I'm in love with you ♪ 633 00:43:22,121 --> 00:43:24,732 [crowd cheering, applauding] 634 00:43:27,474 --> 00:43:32,392 ♪ Oh they hung Jeff Davis On the sour apple tree ♪ 635 00:43:32,479 --> 00:43:37,310 [♪] 636 00:43:37,963 --> 00:43:42,141 ♪ Oh they hung Jeff Davis On the sour apple tree ♪ 637 00:43:42,445 --> 00:43:45,274 ♪ As we go marching on ♪ 638 00:43:45,361 --> 00:43:48,582 Take your time with guitar, sing it long for me. 639 00:43:48,669 --> 00:43:50,671 Do a Glory, Glory, Hallelujah. 640 00:43:50,758 --> 00:43:55,894 [playing "Battle Hymn of the Republic"] 641 00:43:55,981 --> 00:44:01,943 [♪] 642 00:44:06,121 --> 00:44:09,995 [Lee] I think the reason that Furry tolerated me playing with him 643 00:44:10,082 --> 00:44:12,084 is that I didn't get in the way. 644 00:44:12,171 --> 00:44:15,000 My job was to make him sound good, you know? 645 00:44:15,087 --> 00:44:17,567 And which he already sounded good. He didn't need me. 646 00:44:17,655 --> 00:44:21,441 My thing was to boost his thing up, you know? 647 00:44:21,528 --> 00:44:25,837 'Cause wasn't any doubt, you know, who the master was, 648 00:44:25,924 --> 00:44:28,753 you know, because I was learning from him. 649 00:44:29,231 --> 00:44:32,670 [distant conversation] 650 00:44:38,414 --> 00:44:41,766 [Bob Palmer] Barth and I went down at one point trying to find Joe Callicott 651 00:44:41,853 --> 00:44:44,333 because Barth was such a big fan of his records. 652 00:44:44,420 --> 00:44:46,988 And we heard he was living down there in North Mississippi. 653 00:44:47,075 --> 00:44:50,035 We got put in jail overnight the first time we went looking. 654 00:44:50,122 --> 00:44:53,473 But the next weekend we found him. 655 00:44:54,126 --> 00:44:56,606 ["You Don't Know My Mind" by Mississippi Joe Callicott playing] 656 00:44:56,694 --> 00:45:00,523 ♪ Blow, gonna blow my mind ♪ 657 00:45:02,221 --> 00:45:05,050 ♪ And when ya see me Laughin' ♪ 658 00:45:05,137 --> 00:45:08,836 ♪ I'm laughin' To keep from cryin' ♪ 659 00:45:10,142 --> 00:45:14,450 ♪ I'm going to the racetrack See my pony run ♪ 660 00:45:14,537 --> 00:45:18,541 ♪ Win some money I'm gonna save you some, baby ♪ 661 00:45:19,325 --> 00:45:23,590 These two long-haired guys came to our house, you know, looking for this guy Joe Callicott, 662 00:45:23,677 --> 00:45:25,505 and we had never heard of Joe Callicott, you know. 663 00:45:25,592 --> 00:45:28,029 And I thought, "That sounds like a made-up name," you know? 664 00:45:28,116 --> 00:45:32,991 My mom was at the door and I saw 'em, I thought, "Man, it looks kind of funky." 665 00:45:33,078 --> 00:45:34,906 You know, kind of suspicious, you know? 666 00:45:34,993 --> 00:45:38,170 You know, we'd never seen anybody with long hair, really. 667 00:45:38,257 --> 00:45:42,478 So I stayed back there with a shotgun, you know? [laughs] 668 00:45:42,565 --> 00:45:46,221 [Joe Callicott] Well, I'm here. I don't hardly know what to do. 669 00:45:46,308 --> 00:45:47,875 [audience laughs] 670 00:45:48,093 --> 00:45:51,749 I'm up here amongst all these folks 671 00:45:53,098 --> 00:45:55,143 before the whole congregation. 672 00:45:55,230 --> 00:46:00,148 [♪] 673 00:46:00,888 --> 00:46:05,414 ♪ I've been around A very long time ♪ 674 00:46:06,502 --> 00:46:10,855 ♪ Well, I've been around A very long time ♪ 675 00:46:10,942 --> 00:46:13,379 [Brown] It changed my life. 676 00:46:13,466 --> 00:46:16,643 I'd heard him playing music over there and started paying attention, you know. 677 00:46:16,730 --> 00:46:21,430 He was like my best friend, you know, and mentor, 678 00:46:21,517 --> 00:46:25,739 you know, and teacher. And he was cool. 679 00:46:25,826 --> 00:46:28,960 You know, just the coolest cat you ever wanted to be. 680 00:46:29,743 --> 00:46:32,354 His last words he was telling me about, you know, 681 00:46:32,441 --> 00:46:34,617 drive for yourself and the other fella too, 682 00:46:34,704 --> 00:46:38,186 because I was getting my driver's license, you know. 683 00:46:38,273 --> 00:46:41,973 And that was the thing he told me, you know, watch out for the other people. 684 00:46:42,974 --> 00:46:46,760 But when he died he rolled over in the bed and said, 685 00:46:46,847 --> 00:46:50,633 "Kenny, be a good boy and drive for yourself and the other fella too." 686 00:46:50,720 --> 00:46:54,028 And that was were the last words his wife told me he said. 687 00:46:54,115 --> 00:46:58,380 ♪ I'm going to save you some ♪ 688 00:47:00,687 --> 00:47:05,561 ♪ Told me that You love me free ♪ 689 00:47:05,648 --> 00:47:10,915 ♪ And you told me That you love me ♪ 690 00:47:14,266 --> 00:47:16,834 [song fades] 691 00:47:16,921 --> 00:47:20,968 [Bob Palmer] Bill Barth was staying at McIntire's Beatnik Manor flophouse. 692 00:47:21,055 --> 00:47:24,058 He started canvassing for records with the money he'd earned 693 00:47:24,145 --> 00:47:27,932 modeling nude for classes at the Memphis College of Art. 694 00:47:30,195 --> 00:47:33,328 One time, he thought he heard an old record playing inside a house, 695 00:47:33,415 --> 00:47:36,070 so he knocked on the front door. 696 00:47:36,766 --> 00:47:42,120 Inside he saw a wizened little gnome of a man playing guitar and singing, 697 00:47:42,685 --> 00:47:44,339 Nathan Beauregard. 698 00:47:44,426 --> 00:47:47,212 Some said he was over 100. 699 00:47:47,299 --> 00:47:51,738 Turns out they found his draft card recently, and he was only in his 70s back then. 700 00:47:51,825 --> 00:47:56,047 ♪ I'd go to jail For a spoonful ♪ 701 00:47:56,221 --> 00:47:58,919 ♪ Go to jail For a spoonful ♪ 702 00:48:00,225 --> 00:48:04,533 ♪ Spoonful You go to jail by ♪ 703 00:48:05,447 --> 00:48:08,668 ♪ I'd fight my father for ♪ 704 00:48:09,147 --> 00:48:12,715 ♪ Oh, fight my father For a spoonful ♪ 705 00:48:13,194 --> 00:48:16,458 ♪ Fight my father for a Spoonful ♪ 706 00:48:16,545 --> 00:48:18,243 ♪ Fight my father ♪ 707 00:48:20,027 --> 00:48:26,033 ♪ [indistinct] ♪ 708 00:48:26,425 --> 00:48:30,298 ♪ [indistinct] ♪ 709 00:48:32,779 --> 00:48:36,087 ♪ Had no business gardnening ♪ 710 00:48:36,261 --> 00:48:39,612 ♪ Had you know you gonna Cheat it up ♪ 711 00:48:39,829 --> 00:48:43,616 ♪ Ain't but a litte bit... ♪ 712 00:48:43,703 --> 00:48:46,619 [interviewer] How did you happen to pick up the guitar? Did you hear somebody-- 713 00:48:46,706 --> 00:48:48,577 [Beauregard] I first started learning on the old banjo. 714 00:48:48,664 --> 00:48:50,231 You seen the little round thing? 715 00:48:50,318 --> 00:48:53,365 [interviewer] Banjo, yeah. I see. Uh-huh. 716 00:48:53,452 --> 00:48:56,890 But you don't recall when they first started going crazy about them blues, do you? 717 00:48:56,977 --> 00:49:02,243 [Beauregard] Yeah, that's what most people was after now, the blues. 718 00:49:02,330 --> 00:49:05,986 Everyone you meet now mostly just wants the blues. 719 00:49:06,073 --> 00:49:07,857 ♪ You just can't tell now ♪ 720 00:49:07,945 --> 00:49:10,512 ♪ What's on A sweet woman's mind ♪ 721 00:49:10,599 --> 00:49:13,428 [♪] 722 00:49:13,515 --> 00:49:16,170 ♪ Yeah, you can't tell ♪ 723 00:49:16,257 --> 00:49:20,696 ♪ What's on a woman's mind ♪ 724 00:49:22,524 --> 00:49:24,918 ♪ When you think She loving you ♪ 725 00:49:25,005 --> 00:49:28,748 ♪ Yet she's putting you down ♪ 726 00:49:28,835 --> 00:49:31,142 [Bob] The man had been born a slave. 727 00:49:31,229 --> 00:49:34,928 He's over 100 years old and he's still playing guitar at the scene. 728 00:49:35,015 --> 00:49:38,279 [Johnson] He was 98. No, he was 100-- 729 00:49:38,366 --> 00:49:41,630 and I think it was figured out he was 102 years old. 730 00:49:43,241 --> 00:49:45,417 [T. Dwayne Moore] We definitely know that he wasn't 100 years old 731 00:49:45,504 --> 00:49:47,375 at the time he was rediscovered. 732 00:49:47,462 --> 00:49:50,509 This was a real person. Just want you to know him. 733 00:49:51,205 --> 00:49:52,902 You know, he was a real human being. 734 00:49:52,990 --> 00:49:56,384 Who had experiences in Mississippi, in Ashland. 735 00:49:56,471 --> 00:49:59,300 Did a lot more than play music. 736 00:49:59,387 --> 00:50:03,652 He did go blind, but he wasn't blind at birth. We know that now. 737 00:50:04,349 --> 00:50:07,830 So the problem with Nathan Beauregard in saying that he's 100 years old, 738 00:50:07,917 --> 00:50:10,964 is that it's not true and it's a falsehood. 739 00:50:11,051 --> 00:50:15,055 And if you repeat this over and over, eventually those become stereotypes. 740 00:50:15,142 --> 00:50:19,494 He was there to entertain them, show them the blues, 741 00:50:19,581 --> 00:50:23,672 be a representative of this African-American culture and history, 742 00:50:23,759 --> 00:50:28,112 but only a representative of what they perceived it as and what they knew. 743 00:50:28,199 --> 00:50:30,549 ♪ We lay down On my bed ♪ 744 00:50:30,636 --> 00:50:34,727 [Robinson] It's difficult to create a real history 745 00:50:34,814 --> 00:50:37,034 when we've got these colorblind histories. 746 00:50:37,425 --> 00:50:40,515 Ones that both erase the structures of racism 747 00:50:40,602 --> 00:50:44,780 and then also erase the histories that got us to this point. 748 00:50:47,522 --> 00:50:51,570 To them, you don't really get the depths of it. 749 00:50:51,657 --> 00:50:55,095 You don't feel the depths of it because it hurts. 750 00:50:55,182 --> 00:50:57,271 Mr. Beauregard and John Wilkins, 751 00:50:57,358 --> 00:50:59,360 I mean, they were sharing their souls. 752 00:51:01,014 --> 00:51:03,321 [Johnson] Everybody just loved these old guys. 753 00:51:03,408 --> 00:51:07,542 And then it's kind of a southern attitude of these cute old Black men. 754 00:51:07,629 --> 00:51:09,675 You know, these cute old Black folks. 755 00:51:12,417 --> 00:51:15,855 Some of it, you know, quite frankly, some of it was paternalistic 756 00:51:15,942 --> 00:51:18,640 and we didn't even realize it at the time, but it was. 757 00:51:20,294 --> 00:51:23,080 [projector whirring] 758 00:51:26,039 --> 00:51:30,913 There's a subtlety to what we might think of as appropriation. 759 00:51:31,000 --> 00:51:33,177 It's really an erasure. 760 00:51:33,438 --> 00:51:39,226 It is an obliteration so that those people don't even exist in the landscape. 761 00:51:44,231 --> 00:51:46,842 It was a blues song, "That's No Way To Get Along." 762 00:51:46,929 --> 00:51:50,672 And after he start-- come on other side, religious side, 763 00:51:50,759 --> 00:51:55,677 my daddy kept the same music, but he wrote the song "Prodigal Son." 764 00:51:57,418 --> 00:52:02,119 ♪ Now the prodigal son Left home by himself ♪ 765 00:52:02,206 --> 00:52:04,991 ♪ Home by himself ♪ 766 00:52:05,078 --> 00:52:08,212 ♪ Ah, the prodigal son Left home by himself ♪ 767 00:52:08,299 --> 00:52:12,303 The Rolling Stones recorded that song on the blues style. 768 00:52:12,390 --> 00:52:14,305 -[record scratches] -[rewind audio] 769 00:52:14,392 --> 00:52:16,524 ["Prodigal Son" by The Rolling Stones playing] 770 00:52:16,611 --> 00:52:19,266 ♪ Poor boy took his father's Bread started down the road ♪ 771 00:52:19,353 --> 00:52:21,573 ♪ Started down the road ♪ 772 00:52:21,660 --> 00:52:24,793 ♪ Took all he had And started down the road ♪ 773 00:52:26,273 --> 00:52:29,624 ♪ Going out in this world, Where God only knows ♪ 774 00:52:30,625 --> 00:52:35,064 [Nate Beauregard singing] ♪ And the last word her mama Heard him say ♪ 775 00:52:35,152 --> 00:52:39,156 ♪ The last word Her mama heard him say ♪ 776 00:52:39,243 --> 00:52:42,463 We get a little rewards off his music the seven of us, 777 00:52:42,550 --> 00:52:44,683 but it ain't which way it should be. 778 00:52:44,770 --> 00:52:48,426 I don't think none of them got treated right 779 00:52:48,513 --> 00:52:53,039 because they didn't get the money they should have gotten, 780 00:52:53,344 --> 00:52:55,868 you know, and their music still-- 781 00:52:56,085 --> 00:52:57,870 my daddy's music still going. 782 00:52:58,000 --> 00:53:00,046 They taking advantage 783 00:53:00,133 --> 00:53:02,614 because people didn't know, you know. 784 00:53:02,701 --> 00:53:04,877 And people still taking advantage of it. 785 00:53:04,964 --> 00:53:06,618 You know, if you don't know, they still doing it. 786 00:53:06,705 --> 00:53:08,707 [projector whirring] 787 00:53:08,794 --> 00:53:11,100 ♪ And the poor boy Got all he had ♪ 788 00:53:11,188 --> 00:53:13,277 ♪ And he started on down The road ♪ 789 00:53:13,364 --> 00:53:15,235 ♪ Started on down the road ♪ 790 00:53:15,583 --> 00:53:18,978 ♪ He got all he had and he Started on down the road ♪ 791 00:53:20,458 --> 00:53:23,896 ♪ Got all he had and he started On down the road ♪ 792 00:53:26,507 --> 00:53:31,991 1969 marked the 150th birthday of the city of Memphis. 793 00:53:32,078 --> 00:53:36,038 Bill Barth, who had remained the Blue's Show's prime mover 794 00:53:36,125 --> 00:53:40,869 suggested that celebration include an expanded version of the Blue's Show. 795 00:53:40,956 --> 00:53:46,440 And the city, desperate for good publicity since the death of Martin Luther King, agreed. 796 00:53:46,527 --> 00:53:50,531 [dissonant tones] 797 00:53:50,618 --> 00:53:54,100 [Chris] And so we ended up over at Robert Wilkins house 798 00:53:54,187 --> 00:53:56,276 'cause we needed to talk to him about the show, 799 00:53:56,363 --> 00:54:00,411 "Prodigal Son" and the Rolling Stones, and this and that. 800 00:54:01,281 --> 00:54:05,111 I remember Barth being on Reverend Wilkins phone in the house 801 00:54:05,198 --> 00:54:08,941 sitting going, "Yes, I'm calling collect from Robert Wilkins house. 802 00:54:09,028 --> 00:54:14,425 Yes, I'll hold." And then he got somebody on the phone and started telling his tale. 803 00:54:15,556 --> 00:54:20,996 A few minutes later, I'm back out on the porch and Barth comes out and says, 804 00:54:21,083 --> 00:54:26,611 "Excuse me, Reverend Wilkins, but Mick Jagger wants to talk to you on the telephone." 805 00:54:26,915 --> 00:54:31,355 And Robert Wilkins doesn't get up, he doesn't get up out of his chair or anything. 806 00:54:31,442 --> 00:54:36,795 He kind of just leans over and says, "Tell the boy I'll talk to him in person." 807 00:54:36,882 --> 00:54:42,627 And so that put the thing in the works for the Rolling Stones 808 00:54:42,714 --> 00:54:46,761 to come and do a benefit for the old Blues guys 809 00:54:46,892 --> 00:54:50,765 for the Memphis Country Blues Society for our show. 810 00:54:50,852 --> 00:54:55,204 And they said, "If you guys can get the city together to get us plane tickets, 811 00:54:55,292 --> 00:54:57,772 we'll come and play for Union Scale," 812 00:54:57,859 --> 00:55:02,299 which was like 50 bucks a band, you know, or something like that. 813 00:55:02,386 --> 00:55:06,607 And so when we went back to the city of Memphis, back to Brandon Davis, 814 00:55:06,694 --> 00:55:10,568 he just freaks out. It was just too much for him. 815 00:55:10,655 --> 00:55:14,180 All he could see was trouble, trouble, trouble, trouble. 816 00:55:16,225 --> 00:55:18,750 ["Brighter Than Day"” by The Insect Trust playing] 817 00:55:18,837 --> 00:55:20,360 ♪ The fire before night ♪ 818 00:55:20,708 --> 00:55:25,191 ♪ But before the day Can wash it away ♪ 819 00:55:26,366 --> 00:55:32,807 ♪ Start over again ♪ 820 00:55:32,894 --> 00:55:39,292 [♪] 821 00:55:40,511 --> 00:55:45,298 There were two great white vans full of television equipment behind the show, 822 00:55:45,385 --> 00:55:49,868 and strange men wearing khaki shorts, blue knit golf shirts 823 00:55:49,955 --> 00:55:52,000 and little yellow canvas hats 824 00:55:52,087 --> 00:55:55,264 bossing around a forest of cameras and microphones 825 00:55:55,700 --> 00:55:58,572 muttering to each other in alien accents. 826 00:56:00,618 --> 00:56:06,711 ♪ I'm driving away It's brighter than day ♪ 827 00:56:06,798 --> 00:56:11,542 ♪ City behind, come burning My mind I'm driving away ♪ 828 00:56:11,629 --> 00:56:15,372 ♪ It's brighter than day Awake in the night ♪ 829 00:56:15,459 --> 00:56:19,376 Barth had been trying to talk to people on the city council, 830 00:56:19,463 --> 00:56:21,465 get some support from 'em, something, 831 00:56:21,552 --> 00:56:24,424 and we getting nowhere and getting nothing from 'em. 832 00:56:24,511 --> 00:56:27,601 And then they realized that the Goodyear Blimp 833 00:56:27,688 --> 00:56:30,952 was coming overhead and PBS was filming. 834 00:56:31,039 --> 00:56:37,350 And once the city was aware of that, they had a banner that they hung up backstage. 835 00:56:37,437 --> 00:56:42,964 I mean, the show had almost already started when somebody's up there doing that. 836 00:56:44,531 --> 00:56:48,230 I'm going to Brown tonight. Y'all like hearing me play Brown? 837 00:56:49,362 --> 00:56:53,671 [♪] 838 00:56:56,848 --> 00:56:59,416 ♪ And I'm going on brown ♪ 839 00:56:59,503 --> 00:57:02,375 ♪ I'm going to take that Right hand road ♪ 840 00:57:02,462 --> 00:57:05,683 And people came from Europe, from all over the country. 841 00:57:05,770 --> 00:57:09,295 Not in massive numbers, but in numbers, 842 00:57:10,252 --> 00:57:13,473 along with the people from the region of the south. 843 00:57:13,560 --> 00:57:15,344 ♪ Right hand ♪ 844 00:57:16,084 --> 00:57:18,173 [Peter Guralnick] So my brother Tommy and I headed south. 845 00:57:18,260 --> 00:57:19,697 We drove down in this Volkswagen. 846 00:57:20,045 --> 00:57:22,917 Driving down, I'd recognized all the local signs. 847 00:57:23,004 --> 00:57:25,833 I mean, I was going to Brownsville, I'm gonna take that right hand road. 848 00:57:25,920 --> 00:57:28,096 I mean, everything about it. I mean, you know, my-- 849 00:57:28,183 --> 00:57:32,449 Tommy and I just laughed at ourselves quoting blues lyrics back and forth. 850 00:57:34,494 --> 00:57:39,630 ♪ And that woman I love, She got great long curly hair ♪ 851 00:57:39,717 --> 00:57:43,982 That year, having a three day festival, it really expanded somewhat. 852 00:57:44,069 --> 00:57:46,680 I mean, before that we really hadn't been able to draw 853 00:57:46,767 --> 00:57:48,943 too much of the whole Memphis soul music thing. 854 00:57:49,030 --> 00:57:51,555 That was a whole different circuit. 855 00:57:54,296 --> 00:57:57,386 [Alexander] So even though we are considered a soul artist, 856 00:57:57,474 --> 00:58:02,000 when just all said and done, it all is really comes from blues 857 00:58:02,087 --> 00:58:05,438 and gospel anyway. 858 00:58:05,525 --> 00:58:10,399 When you hear all this music coming up, gets all in your bones and stuff like that. 859 00:58:10,487 --> 00:58:14,273 Thank you very much. This time, it's a great pleasure for me 860 00:58:14,360 --> 00:58:18,973 to introduce a fast coming rising group. 861 00:58:19,060 --> 00:58:24,718 Ladies and gentlemen, a great big hand for the upcoming Bar-Kays. 862 00:58:24,805 --> 00:58:27,460 [♪] 863 00:58:27,547 --> 00:58:29,941 ♪ You don't know like I know ♪ 864 00:58:30,028 --> 00:58:32,509 ♪ What that woman Has done for me ♪ 865 00:58:33,031 --> 00:58:35,120 ♪ 'Cause in the morning She's my water ♪ 866 00:58:35,207 --> 00:58:38,036 ♪ In the evening She's my cup of tea ♪ 867 00:58:38,123 --> 00:58:40,734 ♪ Yes, as long as I live ♪ 868 00:58:41,953 --> 00:58:47,175 ♪ [indistinct] ♪ 869 00:58:47,262 --> 00:58:49,830 ♪ Everything's Gotta be alright ♪ 870 00:58:50,483 --> 00:58:52,180 I mean, because at that time, you know, 871 00:58:52,267 --> 00:58:56,097 we didn't have a vocalist. So, you know, as you could see. 872 00:58:56,184 --> 00:58:58,535 [laughs] I was trying to do the vocals. 873 00:58:58,622 --> 00:59:03,496 So that was kind of special to say the least. 874 00:59:05,411 --> 00:59:08,066 ♪ Got to, got to, got to get ♪ 875 00:59:08,153 --> 00:59:11,243 ♪ All of that tender lovin' ♪ 876 00:59:11,330 --> 00:59:13,593 ♪ Get it ready Get it ready ♪ 877 00:59:13,680 --> 00:59:15,856 ♪ Ow, get it ready for me ♪ 878 00:59:15,943 --> 00:59:21,166 [♪] 879 00:59:21,253 --> 00:59:23,124 ♪ Somebody help me ♪ 880 00:59:23,211 --> 00:59:28,129 [♪] 881 00:59:28,216 --> 00:59:31,002 ♪ Nobody know I don't know ♪ 882 00:59:31,089 --> 00:59:35,267 ♪ Nobody knows Like I know ♪ 883 00:59:35,354 --> 00:59:37,661 ♪ You don't know You don't know ♪ 884 00:59:37,748 --> 00:59:39,140 ♪ You don't know ♪ 885 00:59:39,227 --> 00:59:41,490 [Jeffries] It was, like, 105 degrees, 886 00:59:41,578 --> 00:59:44,798 and they came out and cameras went up and everything got ready 887 00:59:44,885 --> 00:59:47,279 and they did their whole set. 888 00:59:47,366 --> 00:59:49,542 And it was, like, brutal during, 889 00:59:49,629 --> 00:59:53,154 'cause there was dancing and everything involved with their whole set. 890 00:59:54,242 --> 00:59:58,072 And at the end of it, the camera guy said, "Okay, let's do it again, we got our levels." 891 00:59:58,159 --> 01:00:01,119 [laughs] 892 01:00:02,250 --> 01:00:06,820 It was a rude awakening for us in the realities of what goes on. 893 01:00:06,907 --> 01:00:09,257 You better do the whole thing. 894 01:00:09,780 --> 01:00:12,217 [laughs] I'm going home, y'all. I'm going home. 895 01:00:15,133 --> 01:00:17,526 [Nelson] That was unusual for the blues festivals 896 01:00:17,614 --> 01:00:21,530 to have The Bar-Kays on stage because The Bar-Kays are cool. 897 01:00:21,618 --> 01:00:24,185 [chuckles] You know what I mean? They're new cool. 898 01:00:26,013 --> 01:00:28,015 In '69, I was running away from home. 899 01:00:29,016 --> 01:00:31,279 I grew up in West Memphis and at that time, 900 01:00:31,366 --> 01:00:33,281 parents would let you roam for miles. 901 01:00:33,368 --> 01:00:36,067 And I roamed to Memphis a lot. There was a 25 cent bus. 902 01:00:36,154 --> 01:00:38,809 But I remember Woodstock was happening that summer 903 01:00:39,679 --> 01:00:41,420 and I wanted to be there, you know. 904 01:00:41,507 --> 01:00:43,770 It was like the summer of love and I'm 15 years old. 905 01:00:43,857 --> 01:00:45,859 And so I left home, 906 01:00:45,946 --> 01:00:49,471 and I thought if I came to Overton Park, I could get a ride. 907 01:00:51,473 --> 01:00:54,476 I started hanging out with the hippies that were here. 908 01:00:56,783 --> 01:00:59,699 I literally felt for the first time I had found my tribe. 909 01:00:59,786 --> 01:01:03,747 [♪] 910 01:01:11,668 --> 01:01:13,974 [announcer] The only way we can sing blues like this 911 01:01:14,061 --> 01:01:17,586 is to actually feel them deep down inside the soul. 912 01:01:17,674 --> 01:01:21,112 Ladies and gentlemen, Bukka White. 913 01:01:21,199 --> 01:01:24,506 [crowd cheering] 914 01:01:24,593 --> 01:01:26,378 [♪] 915 01:01:26,465 --> 01:01:29,381 [Jeffries] I remember, you know, Marcia holding the umbrella 916 01:01:29,468 --> 01:01:31,644 with such a beautiful juxtaposition. 917 01:01:31,731 --> 01:01:35,387 You know, it was like well said in terms of whoever staged that. 918 01:01:37,041 --> 01:01:38,999 [Hare] I was a dancer. 919 01:01:39,086 --> 01:01:41,915 I probably wanted to dance with the umbrella 920 01:01:42,002 --> 01:01:45,484 and they probably made me sit down with the umbrella. 921 01:01:48,400 --> 01:01:51,011 [Gordon] In this photo, you see Marcia, 922 01:01:51,098 --> 01:01:53,797 "I don't need nobody protecting me." 923 01:01:53,884 --> 01:01:57,583 You know, "And I certainly don't need anybody protecting me from these Black people, 924 01:01:57,670 --> 01:01:59,628 because look, I'm helping them. 925 01:01:59,716 --> 01:02:01,935 They've helped me. I'm helping them." 926 01:02:02,022 --> 01:02:06,157 You know, and it was an inversion of what society understood. 927 01:02:06,244 --> 01:02:12,163 [♪] 928 01:02:13,730 --> 01:02:17,342 [Hatley] I mean, my parents grew up in Jim Crow, Mississippi. 929 01:02:17,429 --> 01:02:21,346 Like, they had actual, for real deal segregation. 930 01:02:21,955 --> 01:02:26,960 One of my great-uncles was actually killed by a white man 931 01:02:27,047 --> 01:02:32,749 because he confronted him about saying something to his daughter in a store. 932 01:02:32,836 --> 01:02:35,099 These things are very real to me. 933 01:02:35,186 --> 01:02:37,841 ♪ ...dollar bill ♪ 934 01:02:38,667 --> 01:02:42,323 ♪ Oh, this seargent Told my mother ♪ 935 01:02:42,671 --> 01:02:46,763 ♪ He went take two Hundred dollar bills ♪ 936 01:02:47,938 --> 01:02:54,292 [♪] 937 01:03:01,299 --> 01:03:04,041 [audience applause] 938 01:03:04,128 --> 01:03:06,173 Without a doubt. Thank you. 939 01:03:06,434 --> 01:03:08,262 [indistinct] 940 01:03:08,610 --> 01:03:11,091 ♪ Mama, yeah And I know ♪ 941 01:03:11,483 --> 01:03:14,660 ♪ Lordy, I know My time has come ♪ 942 01:03:17,010 --> 01:03:19,708 1969. Yes, indeed. 943 01:03:19,796 --> 01:03:22,755 [♪] 944 01:03:22,842 --> 01:03:27,978 ♪ Oh, I love you darling ♪ 945 01:03:28,065 --> 01:03:31,372 [crowd applauding] 946 01:03:34,985 --> 01:03:38,249 ♪ What time can I get A train going ♪ 947 01:03:38,336 --> 01:03:44,124 [♪] 948 01:03:57,877 --> 01:04:02,534 [♪] 949 01:04:09,976 --> 01:04:16,287 [♪] 950 01:04:29,039 --> 01:04:31,824 [muffled conversation] 951 01:04:32,825 --> 01:04:36,568 [announcer] Young man coming on now comes from Houston, Texas. 952 01:04:36,655 --> 01:04:39,571 [crowd cheering, applauding] 953 01:04:39,658 --> 01:04:41,616 His name is Johnny Winter. 954 01:04:41,703 --> 01:04:44,532 [cheering, applauding] 955 01:04:46,404 --> 01:04:48,797 [man] I have an announcement to make now. 956 01:04:48,885 --> 01:04:53,977 I'm gonna have Mrs. Mary Palmer, Bob Palmer's wife, speak to you for a minute. 957 01:04:54,064 --> 01:04:56,849 She's been taking tickets here for the last couple of days, 958 01:04:57,328 --> 01:05:00,026 spending her days and nights up there, the gate. 959 01:05:00,113 --> 01:05:02,246 And she has something she wants to say to you. 960 01:05:02,333 --> 01:05:05,814 [Mary Palmer] 800 people paid admission here. 961 01:05:05,902 --> 01:05:10,123 There are well over 3,000 people out there. 962 01:05:10,210 --> 01:05:12,560 This is a benefit, people. 963 01:05:12,647 --> 01:05:16,564 We try to make a little money for these people 964 01:05:16,651 --> 01:05:21,395 who have made such great music in your great city all of their lives. 965 01:05:21,482 --> 01:05:24,877 It's your city, it's your music, 966 01:05:24,964 --> 01:05:27,271 you should be proud of them both. 967 01:05:27,358 --> 01:05:34,278 And damn it, why can't you even pay for your own tickets, people? 968 01:05:34,974 --> 01:05:41,459 I'd like to pass a hat for these people who've never had any recognition all their lives. 969 01:05:41,546 --> 01:05:44,070 It's their music you're listening to. 970 01:05:44,157 --> 01:05:46,377 It's their music you are loving. 971 01:05:46,464 --> 01:05:51,599 Now, please, please, people, for them. 972 01:05:51,686 --> 01:05:53,645 [crowd applauding] 973 01:05:53,732 --> 01:05:58,302 My one and only public speech. [laughing] 974 01:06:00,608 --> 01:06:04,308 There were people climbing the walls to get in. 975 01:06:04,395 --> 01:06:08,703 And I think there were a huge bunch of people there 976 01:06:08,790 --> 01:06:12,664 that wanted to see Johnny Winter and didn't care about the blues people at all. 977 01:06:15,145 --> 01:06:22,195 [indistinct lyrics] 978 01:06:30,508 --> 01:06:35,904 [music fading] 979 01:06:35,992 --> 01:06:41,084 [Palmer] By now, there must be in the world a million guitar virtuosos, 980 01:06:41,171 --> 01:06:44,348 but there are very few real blues players. 981 01:06:45,218 --> 01:06:49,570 The reason for this is that the blues demand such dedication. 982 01:06:49,657 --> 01:06:52,660 This dedication lies beyond technique. 983 01:06:52,747 --> 01:06:57,143 It makes being a blues player something like being a priest. 984 01:06:57,230 --> 01:06:59,493 Virtuosity in playing blues licks 985 01:06:59,580 --> 01:07:02,192 is like virtuosity in celebrating the mass. 986 01:07:02,279 --> 01:07:04,324 It is empty, it means nothing. 987 01:07:05,108 --> 01:07:09,634 Johnny Winter can play rings around Furry Lewis, the comparison is ludicrous. 988 01:07:09,721 --> 01:07:12,071 ♪ I ain't gonna look But I take my time ♪ 989 01:07:12,158 --> 01:07:14,726 But when Furry Lewis at Winter's age sang 990 01:07:14,813 --> 01:07:17,903 "My mother's dead, my father's just wills to be," 991 01:07:17,990 --> 01:07:20,775 he was singing his life, and that is blues. 992 01:07:23,256 --> 01:07:25,867 ♪ I've sold my gin I've sold it straight ♪ 993 01:07:25,954 --> 01:07:28,218 ♪ The police run me To my woman's gate ♪ 994 01:07:28,305 --> 01:07:30,568 ♪ She come to the door She nod her head ♪ 995 01:07:30,655 --> 01:07:32,787 ♪ She said, "Furry, you welcome To my foldin' bed" ♪ 996 01:07:32,874 --> 01:07:35,094 Ha-ha! 997 01:07:35,181 --> 01:07:38,967 [crowd cheering, applauding] 998 01:07:43,929 --> 01:07:46,584 [ominous tones] 999 01:07:47,106 --> 01:07:50,240 [record static] 1000 01:07:50,805 --> 01:07:54,766 [orchestral instrument notes overlapping] 1001 01:07:59,075 --> 01:08:04,080 [♪] 1002 01:08:06,125 --> 01:08:11,217 [bird chirping] 1003 01:08:11,304 --> 01:08:15,395 In the early '60s, young Black and white musicians based in and around Memphis 1004 01:08:15,482 --> 01:08:20,400 embarked on an effort to revive interest in that city's blues tradition. 1005 01:08:21,140 --> 01:08:25,318 For their efforts, some of these white performers have been exposed to the criticism 1006 01:08:25,405 --> 01:08:29,757 that only Black people can sing the blues with any authenticity. 1007 01:08:29,844 --> 01:08:35,154 This is an arguable position, but it's one that I don't think stands up. 1008 01:08:35,241 --> 01:08:38,331 In 1969, it would be difficult to maintain, for me anyway, 1009 01:08:38,418 --> 01:08:43,249 that melancholia and the ability to express it musically 1010 01:08:43,336 --> 01:08:47,732 is the exclusive property of the Black man. 1011 01:08:47,819 --> 01:08:50,169 [feedback screeches] 1012 01:08:53,694 --> 01:08:55,479 It's ours. 1013 01:08:55,566 --> 01:08:59,526 It's ours. [laughs] You know? 1014 01:09:00,397 --> 01:09:04,705 We could just simply because it is ours. It's our legacy. 1015 01:09:04,792 --> 01:09:07,360 [birds chirping] 1016 01:09:08,100 --> 01:09:12,974 [light blues playing] 1017 01:09:17,153 --> 01:09:23,289 [♪] 1018 01:09:31,602 --> 01:09:36,259 [♪] 1019 01:09:38,217 --> 01:09:42,308 Things I've done here, most likely when I was supervising over here, 1020 01:09:42,395 --> 01:09:45,006 I kept the grass cut. [laughing] 1021 01:09:46,704 --> 01:09:48,662 [conversation din] 1022 01:09:56,496 --> 01:09:59,456 [laughs] Oh, I feel great. I feel great. Back in the play. 1023 01:09:59,543 --> 01:10:02,807 Plus I got my three daughters with me this time and everything. 1024 01:10:02,894 --> 01:10:07,507 It just feel great to come back and redo it again. Brings back old memories. 1025 01:10:07,594 --> 01:10:12,164 How my daddy sat there and talked to Furry Lewis and all those guys, you know. 1026 01:10:12,251 --> 01:10:15,776 And my God, I remember coming here years ago, years ago, 1027 01:10:15,863 --> 01:10:18,083 a young guy, a real young guy then. 1028 01:10:20,738 --> 01:10:25,960 [♪] 1029 01:10:28,441 --> 01:10:33,490 [Hatley] The blues is about having nothing and creating joy. 1030 01:10:33,577 --> 01:10:38,756 Putting the joy in the survival on record. 1031 01:10:38,843 --> 01:10:42,455 We need that right now. People need that. 1032 01:10:42,542 --> 01:10:47,330 ♪ The prodigal son left home By himself, home by himself ♪ 1033 01:10:47,417 --> 01:10:50,898 ♪ Ah, the prodigal son Left home by himself ♪ 1034 01:10:50,985 --> 01:10:55,642 ♪ The prodigal son Left home by himself ♪ 1035 01:10:56,513 --> 01:11:02,170 ♪ And that's the way For me to get along ♪ 1036 01:11:02,258 --> 01:11:06,523 [Hatley] All I could see when I was too young and too ignorant 1037 01:11:06,610 --> 01:11:12,529 was that the pain and the sadness was mine, and I didn't want it. 1038 01:11:12,616 --> 01:11:16,707 But I had to get that to get the joy of it, 1039 01:11:16,794 --> 01:11:21,494 to get the survival of it, and I'm not gonna let it go. 1040 01:11:22,669 --> 01:11:26,543 ♪ And he told his son, "Go and kill my fattest calf, kill my fattest calf" ♪ 1041 01:11:26,630 --> 01:11:29,763 ♪ He told his son "Kill my fattest calf" ♪ 1042 01:11:30,851 --> 01:11:33,724 ♪ When told his son "Go and kill my fattest calf" ♪ 1043 01:11:33,811 --> 01:11:38,250 ♪ And that'd be the way To get along ♪ 1044 01:11:38,337 --> 01:11:42,298 ♪ We gon' sit down and eat And we all be merry and glad ♪ 1045 01:11:42,385 --> 01:11:44,517 ♪ All be merry and glad ♪ 1046 01:11:44,604 --> 01:11:47,999 ♪ We all sit down and eat And we all be merry and glad ♪ 1047 01:11:48,434 --> 01:11:51,655 ♪ We all sit down and eat And we all be merry and glad ♪ 1048 01:11:52,830 --> 01:11:55,485 ♪ That'd be the way To get along ♪ 1049 01:11:56,834 --> 01:12:02,840 [♪] 1050 01:12:15,287 --> 01:12:18,682 [crowd cheering, applauding] 1051 01:12:18,769 --> 01:12:21,511 [Rev. John] All right. 1052 01:12:23,208 --> 01:12:25,950 Now this, we gonna do another one. 1053 01:12:26,037 --> 01:12:28,866 ["See That My Grave Is Kept Clean" by Furry Lewis playing] 1054 01:12:28,953 --> 01:12:32,086 [Furry] This song here now has been delegated 1055 01:12:32,173 --> 01:12:34,654 to see that my grave is kept clean. 1056 01:12:35,829 --> 01:12:40,138 ♪ Whoa, one kind favor I ask of you ♪ 1057 01:12:42,401 --> 01:12:46,274 ♪ One kind favor I ask of you ♪ 1058 01:12:47,363 --> 01:12:53,064 ♪ Just one kind favor I ask of you ♪ 1059 01:12:53,151 --> 01:12:59,331 ♪ Just see that my grave Kept clean ♪ 1060 01:12:59,418 --> 01:13:03,988 ♪ My heart stopped beatin' My hand got cold ♪ 1061 01:13:05,468 --> 01:13:09,428 ♪ Heart stopped beatin' My hand got cold ♪ 1062 01:13:10,255 --> 01:13:15,565 ♪ My heart stopped beatin' And my hand got cold ♪ 1063 01:13:15,652 --> 01:13:20,831 ♪ It wasn't long before I was in this shady grove ♪ 1064 01:13:21,919 --> 01:13:26,314 ♪ Whoa Two white horses in a line ♪ 1065 01:13:27,881 --> 01:13:32,364 ♪ Two white horses in a line ♪ 1066 01:13:32,451 --> 01:13:37,674 ♪ There is two white horses In a line ♪ 1067 01:13:37,761 --> 01:13:42,287 ♪ They gon' take me To my burying ground ♪ 1068 01:13:45,290 --> 01:13:50,164 ♪ Have you ever heard Your coffin sound ♪ 1069 01:13:51,339 --> 01:13:55,213 ♪ Ever heard Your coffin sound ♪ 1070 01:13:55,866 --> 01:13:59,609 ♪ Ever heard your ♪ 1071 01:14:00,479 --> 01:14:05,310 ♪ Oh, you know Furry's in the ground ♪ 1072 01:14:20,151 --> 01:14:25,678 ♪ Have you ever heard Your coffin sound ♪ 1073 01:14:25,765 --> 01:14:30,596 ♪ You can dig my grave With a silver spade ♪ 1074 01:14:31,945 --> 01:14:35,775 ♪ Dig my grave With a silver spade ♪ 1075 01:14:36,472 --> 01:14:41,041 ♪ Dig my grave with A silver spade ♪ 1076 01:14:41,128 --> 01:14:45,655 ♪ You can let me down With a golden chain ♪ 1077 01:14:48,135 --> 01:14:53,097 ♪ Whoa Every link in my Jesus name ♪ 1078 01:14:53,184 --> 01:14:57,971 ♪ Every link in my Jesus name ♪ 1079 01:14:58,058 --> 01:15:02,759 ♪ Every last In my Jesus name ♪ 1080 01:15:02,846 --> 01:15:07,720 ♪ Every link in my Jesus name ♪ 1081 01:15:09,548 --> 01:15:12,856 ♪ One kind favor I ask of you ♪ 1082 01:15:14,118 --> 01:15:18,078 ♪ One kind favor I ask of you ♪ 1083 01:15:18,165 --> 01:15:23,214 ♪ Just one kind favor I ask of you ♪ 1084 01:15:23,301 --> 01:15:28,306 ♪ Just see that my grave Kept clean ♪