YouSaid · the spoken record

Ken Burns

lines on the record: 95
first: 2019-10-18
most recent: 2019-10-18
sittings or episodes: 1
sources: podcast

Every line below is reproduced as it was said and linked to the record it came from. Nothing here is summarised or generated. Directory · Search · Corrections

“So he starts at he records Phil and John Carson. There's been somebody else who's been recorded, a guy named Eck Robertson from Texas, and it sold, and Fiddle and John Carson sells. And then Eck Robertson says, you know, I think if you come down to Virginia, this place in Virginia, I can show you where this music comes from. And he's from southwestern Virginia, a town called Galax, or someone is from there. And so Ralph Pierce sets up in Bristol, Tennessee, Virginia. Its main street is divided. One size of Tennessee, one size Virginia. He sets up on the Tennessee side, and he comes in and he records lots of groups, and they're not enough. And then the local paper advertises it, and then Carter family shows up, and they sing. They just been doing it for fun at churches and funerals and gatherings. And they're from Virginia. And then Jimmy Rogers shows up accidentally in town, and he...”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“And there is. And he records this guy in Atlanta named John Carson, who's a factory worker, not been up in the hills for decades. But he changes his name to fiddlin' John Carson. That's right. He uses the Rube and the identity of a hillbilly. And for many years, for decades, it's called hillbilly music as a kind of... Both derogatory but as a badge of honor, just as the N-word can't be used by the people who use it in a pejorative sense, but can be used by the people who wear it and say,”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“And he's trying to supply them with the music from the old country. He's also doing what's called race records, what we would call the blues, right? And having some success. And then someone says, duh, maybe there might be a market for old time hill country music, meaning white Anglo-Saxon Protestants, Dutch-Irish stuff.”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“We're going to get into that at the end. Business model has completely changed on so many other things that it would be hard to say, well, country music has really lost its way because women can't get on or this isn't broadcast or some computer is programming. 1,200 chance. This is, it's always been commerce. It was at the very beginning of why we even know we're coming.”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“I think it's still there. The Opre still comes on Saturday night. It still puts on two dozen, three dozen shows a night from Gingham dresses to electric bands with drum kits, all that melange that is country music and fills a gigantic auditorium every single year and then every single Saturday night and then broadcast all across the country. And the business model has changed a little bit”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“They have WSM in Nashville with a big transmitter. It stands for We Shield Millions. It's an insurance company. And they put on a barn dance like WLS does, like Charlotte does, like Dallas does, like Shreveport does, like all these other places. And their barn dance name changes accidentally one night to the Grand Ole Opry. And it's the longest running radio program in the history. It's also centrally located, so they don't pay you much on the Opre, but it means that second you're done on Saturday night, you get in the car and you travel until the next Saturday night in that area and you get as many gigs as you can, and then you're back at the opera. You have to show up back there to be a member of the Opera, but what you do in between... Is your business, and you do as many gigs as you can”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“It's where it's at, and it's always been where it's at. And it's such a wonderful accident. There's a life insurance company. The National Life and Accident Insurance Company, which starts a radio station like every other company's Sears has WLS in Chicago, world's largest store.”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“Who's just unbelievably great is that then it became even sort of worse many purists would say with a country politan sound, well, arguably the great country song that most people say is the best country is he stopped loving her today by George Jones is an example of that. But then you have the Bakersfield sound, which is Buck Owens following the tradition of the Maddox Brothers and Rose and Merle Haggard, and then later Dwight Yokom saying, no, no, no, we're going to be unabashed. We're going to keep the Twang. We're still about not identity politics, but we're about the experiences of people that were dispossessed. And we know there is a common theme. If you're called Okies, is that any different, Merle Haggard says, than the way they treated the black?”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“Music went in a different direction. Like we have the Nashville sound. So the Nashville sound is a response to rock and roll. Rock and roll, all of a sudden nobody's buying country anymore. So they're trying to get some crossover success. So instead of fiddles, they got violins. Instead of nasal harmonies, they've got the Anita Kursingers or the Jordan Arras backing them up. And there's great music. I mean, the tendency is go, oh, you've sold out, you're trying to be this. It's, you know, Patsy Klein's crazy. Written by Willie Nelson, who”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“And there's been a few times when people have tried to sort of bring in a political dynamic to it, and you realize the way the question's been asked, I said, you've just, in some ways, implied that some redneck doesn't understand what Hank Williams, a redneck Meant when he said, I'm so lonesome, I could cry, and I utterly reject your idea that you would presume a lack of humanness in the person that you feel might be a political opposite to you at this, just at this moment. And it got a huge amount of applause, meaning we need to be reminded that it is possible to transcend what is fairly superficial binary response to things.”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“And so there's no polemic here. There's no dialectic, but what it's dealing with are the things that the polemics and the dialectics are supposed to deal with and never do because They immediately default to a kind of binary. It's either yes or no. Whereas life and art which both imitates it and leads it is understanding and tolerating, as Winton said in the jazz film, that sometimes a thing in the opposite of a thing can be true at the same time. The art can negotiate the undertow. The art can accept complication. It can accept something that is different from the thing that it's saying. And that, to me, is where our salvation lies. Even as we think about politics and how things are in such disarray, it's that thing. I've been out touring the country all over the place. Sure.”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“Jolene is, of course, everyone is drawn to Iowa. Always love you. You just think about simplicity of it. You and I think we can write a country song because the chorus of that song is, I will always love you. I will always love you. I will always love you. But just like Hank Williams.”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“Here with Ken Burns, who really needs an introduction, he's a filmmaker who's made amazing documentaries for public television for almost 40 years. His most recent documentary series is called Country Music. We're talking about the impact of women on it. You mentioned, you just went through a line of amazing women singers, Reba McIntyre, Patsy Klein, Kathy Matea, Dolly Parton obviously at the top of the game, I think, and still at the top of the game astonishing. My favorite song of hers remains Jolene.”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“Patsy Klein. And then you have Loretta Lynn. Loretta Lynn is singing Don't Come Home a drinking with loving on your mind and the pill well before. Anyone else in rock are focused taking that up and might come back with a black eye if they did. Bring it up, but she's willing to say she's not the same year Don't Come Home Drinking, same year as the National Organization for Women comes. The word women's liberation enters into the lexicon, but she's not going to identify this, but she's just speaking above that to the people who understand what that means. And then I haven't brought up Dolly or Reba or Kathy or Mary Chapin Carpenter or all these strong women that have been.”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“Is to see the African American influence throughout the history of country music, and more important, the continuing influence after Mother Maybell and Sarah Carter of women throughout. So there's Maddox Brothers and Rose fronted by the little sister Rose Maddox, the most effervescent singer and the most colorful hillbilly band ever. You've got Kitty Wells singing, God didn't make Honky-Tonkie. I'm glad you wrote Kitty Wells in Wanda Jackson, who does 20 years before Tina Turner does, we're going to do something soft and easy and they're going to do hard. She says, I'd like to sing you this beautiful love song ball. And then she breaks into hard-headed woman. And then you've got...”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“He chooses to record modern sounds in country and Western music that's released in early 62. And the number one song of the summer of 62 is, I can't stop loving you. You go back and listen to that. It's a country song. This is a soul singer. This is an R&B singer at the highest level that we've ever heard that singing. Who is as good as him? Are Etha Franklin, Marvin Gay, Sam Cook at that level? And he's recorded an album of country songs. And there's Hank Williams songs and there's this and there's that. And there's Don Gibson's, I can't stop loving you. And that crossed over and it was the chart. So here we presume that African Americans listen to their stations and white people listen to their stations. And never the Twain shall meet. Completely false. Our whole identity of Americans is this mixture and this cross-pollination. So what's so surprising and in some ways satisfying and liberating.”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“I think when he says it, I notice even as I've watched it a thousand times, there's a little bit of a hitch in my giddy up because I want to go, oh, don't go there. It's immediately ameliorated by the presence of Charlie Pryor, who comes in. I believe there's a country something by every move you're in. And some make you cry, but you'll feel better. What Chris means is that white people have taken black music and made it their own. And here's the opposite side of that, because we always will like to gravitate in this identity politics, which runs both ways, and go into appropriation. So when Ray Charles is given creative control of an album for the first time in his unbelievable career,”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“Emmy Lu Harris Right, right, absolutely. One of the things, I want to talk a little bit about women and African Americans. Let's first talk about that, those contributions. One of the things you take on is this, you call it white men's soul music, or is that right, correct, in the...”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“Much that song meant. You can tell Amy Lou Harris or Kathy Matea, my mom died of the same thing, or I lost my lover too in the same way you did. And that song you wrote, you know, from Boulder to Birmingham, the way you sang that, it just was allowed me to express my grief. That's the great secret of country music, and I haven't once mentioned identity politics. Right.”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“Pain, Frank about a loss, and Jimmy Rogers was about that. So people, particularly the lungers, and you have to realize he's at that time tuberculosis is the number one killer in America. They're saying, spitter up, you know, Jimmy, spit her up, like tell the truth. Give him hell, Harry. I mean, these are great traditions of someone who feels that they've come from the same place as everybody else, their art and their gift, they've been able to transcend perhaps the financial circumstances of that poverty, but they have never forgotten where they've gone to. And unlike any other musical form, country music stars are like that today. Our last chapter is called Don't Get Above Your Raisin, that old Southern saying, you know, don't get too big for your britches, don't forget where you came from, because unlike rock, you can't go to Mick Jagger and say, hey man, great second set. You can't go to Leonard Bernstein and said, you nailed that first movement, Maestro. You don't have a chance. But you can tell Garth how”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“Equally as interested in, which is the us, along with we and our, that has a kind of intimacy that we can talk about. And I think the stories in country music kind of reverberate between the US and us. And so what Jimmy Rogers represents and what brings to the table is this huge dynamic of a mix of white and black in the American South that's suffused with the blues and with a folk tradition. The Carter family is doing it too. They're collecting African-American songs and reworking them, but they feel a little bit more about Sunday morning. They're about family, about church, about mother, about home, and he's about the road. He's about the bar. He's about drinking. He's about disease. He's got tuberculosis. He's going to die super young. But he's willing to talk about it. And it's wonderful when someone goes out in our world, even today and is frank about an addiction or frank about it.”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“So, Jimmy Rogers is coming from southern Mississippi. He's been a water boy on the all-black cruise of the Southern Mississippi Railroad that are laying track. So he is suffused with the blues. All the other great early people, the Mount Rushmore of country music like A.P. Carter, like Hank Williams, like Johnny Cash, like Bill Monroe, they all have African American mentors, tutors who take their chuffs from here to way up here that justify their position in Mount Rushmore. Jimmy Rogers is just suffused with the blues and all of the folk traditions that he's going to have. And he comes up and becomes the first grade superstar of the music. And every other title is a blue yodel number this or yodel this or blue this. where the makeup of us comes from and not just the us capitalized version but the two letter plural pronoun that i'm”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“Well, because it's a wonderful gospel stomp called When the World's On Fire. The Carter family love the melody, ditch the lyrics, and have one of their biggest hits, Little Darling pal of mind, same melody. Woody Guthrie comes through, loves the melody, ditches the lyrics, and writes, this land is your land, all with the same melody. When the world's on fire, little darling palate mine, this land is your land. So you begin to see the utter American thing, the synthesis. Everything's always a connection. Everything's always an alloy, stronger because of its constituent parts. And that's why, especially today when we're so polarized, anybody who suggests that what's really American is to pull out this one thing, you've automatically a priori weakened the alloy. Absolutely. And so what we're doing with my whole work is that latest horrorian Arthur Schlesinger, Jr. said that we suffered today.”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“Family was too. Well, first of all, this is a story that surprisingly is a story of strong women all the way through. And this is not true of jazz, which is a fraternity, it's not true of rock, which is a fraternity. This is the story. The original American lead guitarist is Mother Maybell Carter, the original sort of keening voice that coming out of Roseanne Cash would say, out of the bedrock formations that have been around as old as the Earth is Sarah Carter. AP is a song collector that requires an African American pal to travel around and try to pick up these melodies that come both from a white Protestant tradition, both secular as well as religious. So I'll give you a really good example. And this is a wonderful kind of mind-blowing thing, is that there's a 19th century hymn that gets taken by an African-American church, which Leslie Riddle, the song catcher, with a B. Carter, a knows very well.”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“So there is, in fact, I can go to Winton. He said, We all have an ethnic heritage, but we have a human heritage that's much more important. And it happens to me no less than it happens to you. So what country music is engaging are these age-old themes like the joy of birth, the sorrow at death, a broken heart, anger, jealousy, rage. Look what I did to my old lady, look what my old lady did to me. How do I get right with God? And so a huge part of these universal human questions is a search for redemption, a question about what is the meaning of life. Now that goes off and your eyes glaze over, but when you're dealing with it at a pop level, at a country music, at a blues, at an R&B level, it's just fundamental, where are you? And a good deal of this is born in the church. And the Carter family represents a huge tradition.”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“That was astonishing. Who was in this orchestra? That Let's talk about the different parts of that Thomas Benhardt, the church part first. Obviously, so much of it is from that genre. Talk a little bit about that.”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“Course, my entire health. I love that show. I'm Connie Britton. Betsy Johnson sings at Acapella for us. And that was so great. That was astonishing. We asked pokes to bring their instruments. And sometimes that meant their voice. And so every once in a while, Dolly just breaks off and says, this is the song that we heard from granddaddy who sang it to mommy who's sang it to me. And then you understand as she says these are heirlooms passed down where somebody says, well, let me just pick up. This is how Marty Stewart says on the mandolin. This is how what Bill Monroe did. It sounds like somebody's trying to imitate Charlie Parker, a dizzy Gillespie's bebop chops, you know, fast and furious. And then it's somebody just breaking into song. And we love that extra dimension when you take on a subject which is, in this case, music, as I did a couple decades ago on jazz, when people brought their instruments or brought their voice and they scat it or they, you know, at one point Wenton in jazz just breaks down and does the entire county orchestra. We bring Winton because he also says, like Murray.”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“Well, you know, every group of music gets a certain royalty, a certain, you know, I think I'm the only person who watched Nashville, of course. I love that show from Connie Britton. But one of the things that I thought was very interesting at the beginning, one of the songs, one of my favorite songs was I'll Fly Away, which I think is, I'd forgotten about it. You still listen to it all the time, but now I'm listening to it. Nancy Johnson sings it.”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“Because To Bob Dylan. There's another moment. Think about it. When, oh no, they're completely tied. And of course, it's only their friendship that permits Johnny Cash to ask, and more important for Bob Dylan to say yes to coming on his nationally broadcast show. You just never saw Bob Dylan on national television. There he is singing Girl from the North Country with Johnny Cash. And as Roseanne said, I'm the coolest 13-year-old in the planet when she went to school the next day. Brenda Lee says at one point, you know, I just did the songs that I loved and they told me I was rockabilly. Then they told me I was rock, then they told me I was folk, then they told me I was pop. Then I would tell me it was this. And it begins to tell you that we waste so much time. It's just like little NOS X. We're having a huge problem with Billboard for a while not letting that be on the country thing. And you go,”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“100%. The link there was amazing because you really do see it. Because I think that's what the film does well is linking people with other people. And of course, Johnny Kash, you could easily link to Bob Dylan. There's another moment.”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“That's the whole song A lot of Bob Dylan's songs. Bob Dylan, it's very funny. We sort of end the film with Roseanne having to sing that at his memorial service at the Grand Opri, but way back in episode four or five, he and Bob Dylan, Johnny Cash and Bob Dylan, are fooling around the piano. And Roseanne says, Bob Dylan knows I still miss someone better than my dad.”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“At my door, the leaves are falling, a cold wild wind will come, sweethearts walk by together, but I still miss someone. I go out on a party. To look for a little fun, but I find a darkened corner'cause I still miss someone. Oh, I'll never get over her blue eyes. I see them everywhere. I miss the arms that held me when all the love was there. I wonder if she's sorry for leaving what we'd begun, there's someone for me somewhere, but I still miss someone. That's a great thing.”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“So he says this, and what he's acknowledging is just a fundamental truth. This does not have the sophistication and complication of classical music or some forms of jazz, but that back half. The predicate, the truth, it means that it is mainlining with very elemental but deeply Personal music and lyrics, universal human experiences When Hank Williams said, I'm so lonesome, I could cry, there is no one on the planet that doesn't know what he means for Johnny Cash says.”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“And so what you have is this music we find very easy to categorize, very easy to say it's only this thing and superficial. It belongs to a certain group of people that are now perhaps flyover people and their stories don't deserve to be told, which is absurd in the United States. But it is, in fact, as the songwriter”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“He says it's very colorful, and here I invite you in. And I think the whole series, and not consciously, it sort of evolved that way. Is bracketed by that kind of on sitting on top of things, how colorful it is, which speaks to the stories. And then it's also there's something mysterious about it. In the very beginning, Merle Haggard says in the opening of the film just a couple seconds after Kathy's story, he says it's about things we believe in but can't see. Like dreams and songs and souls. And then at the very end of the film near the end, Vince Gill says, all I've ever wanted from music is to be moved.”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“So, the painting is People of my age remember their history textbooks with Thomas Hart Benton and Grant Wood photographs. That's how we understood American history visually, these kind of muscular, hyper-colorful things. And that's what this is. It's got a gospel choir. It's got people with lap dulcimers. It's got slaves. It's got a train. It's got a steamboat. It's got the banjo coming from Africa. You've got cowboys and guitars and fiddles. And it's all there. It's just this incredible melange, mural type thing. And she says it's very colorful. And it mirrors something that at the very end of the film Marty Stewart, who's sort of our zealig throughout the film. He seems to have been everywhere in the history of country music or absorbed that history.”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“It's a beautiful painting. So, here's the inside dope, which is in the late 80s. Julie Dunphy, who is one of the three producers, myself, Dayton Duncan, who was also the writer, and Julie Dunphy, and I produced the country music. But she and I in the late 80s made a film on Thomas Hart Benton, and the final climactic sane is him saying to Rita, his wife, I think I've finished this thing and I'm going to go out and sign it. And he doesn't come back. And she finds him dead on the floor having not signed the sources of country music. And so that's the end of a film we made decades ago is now the opening of a film we just made.”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“Is if you need some passport to get there. But country music is connected to the blues. It's connected to jazz. It's connected to RB. It is with R&B, the parents of rock and roll, so it's connected to rock and to folk and to pop and to rap and to even classical music. And so it's all mixed in. There are no borders. The people move back and forth all the time. And it just becomes important to just throw away these things and just say it never was one thing at its founding. Each of its two great superstars, Jimmy Rogers, was himself a mixture, and so were the Carter family. And the Carter family and Jimmy Rogers don't sound anything alive. Absolutely not. And then from then on, it omnivorously goes and gobbles up all this other forms of Western cowboy music, Western swing, the Bakersfield sound. I like that you.”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“And that may extend to all of country music. I mean, we tend to for commerce, for convenience. For whatever it is, to categorize everything into its own little silo. And then we make it a separate island nation. Right, the identity.”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“And yet she understood some dynamic. This is who she thought was a beautiful woman. And she's modeled it. It turns out to be this, you know, it intersects with camp and kind of kitch and high art and delights us all, regardless. You can't not, when she opens her mouth and sings, you can't not like Dolly Park.”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“How much I love telecom. You know, she said something to us in the interview. I was privileged to interview her in that case. And she said, you know, when I was growing up, I modeled my look on the town trollop. It was a wonderful, I don't think it was admission. She's always been brutally honest in a very generous way. But the idea that you can have this person from East Tennessee coming out of unbelievable poverty, her father paid the doctor that came into the holler to deliver with a sack of cornmeal. This is Dolly Parton. This is not somebody way back when before the Depression in Durham, this is Dolly Parton.”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“I think her version, Dolly's version, just goes up to the top. And she's got one of the greatest voices, one of the greatest singers, songwriters, great businesswoman, everything, the whole package. And she's never sung a wrong note. Several people in music have told me as we were working on this project.”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“Well, we always have the antenna out for good stories, and I can't think of a better story. I'm actually a little bit surprised that we didn't do this before. Country music is just a wonderful Russian novel of nearly a century of action, really dramatic action with dozens of characters, primary, secondary, tertiary, bit parts strutting and fretting their hour on the stage, an incredible music, and sort of buttressing that music are the individual stories. When you find out, for example, why Dolly Parton wrote, I will always love you, her version, which has been in the shadow of Whitney Houston's crossover version, which is wonderful now, take nothing away from her.”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“It's a wonderful documentary. It's just, I just. I just love country music, so it was a thrill to watch. I watched all your documentaries, obviously, but this one was really special to me because my family's from West Virginia, a lot of bluegrass, and I just have always had an affinity for country music me and George Bush Sr. So talk a little bit about sort of why you decided to do this and how you make a decision like this.”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT
“Hi, I'm Kara Swisher, editor at large of Recode. You may know me as someone who wants to be the subject of a documentary, but only if they play sad violin music while an actor reads my text messages, but in my spare time I'm a technology journalist and you're listening to Recode Decode, a podcast about tech, politics, and media, where part of the Vox Media Podcast Network today in the red chair, it's my great privilege to have Ken Burns, a filmmaker who's been making incredible documentaries for public television for almost 40 years. His most recent documentary is a series called Country Music. People don't know this, but I'm an enormous country music fan. He also founded an online video website last year called Unim, which offers visitors a different way to explore the themes that have merged from his films and across American history. Ken, welcome Jerico Deco. We have so much to talk about. Thank you. So let's talk a little bit about this current thing, country music first, and then we'll go into some other stuff.”
2019-10-18 · Decoder with Nilay Patel · Recode Decode: Ken Burns · IDENTIFIED FROM THE TRANSCRIPT