1 00:00:00,010 --> 00:00:01,010 >> WE ALL LOVE A GOOD STORY, AND 2 00:00:01,010 --> 00:00:05,060 THE MOTH BRINGS OUT THE BEST 3 00:00:05,060 --> 00:00:06,088 FOR StorySLAM. 4 00:00:06,088 --> 00:00:08,020 THE NIGHT RIDERS ROAMED IN 5 00:00:08,020 --> 00:00:11,064 WESTERN KENTUCKY. 6 00:00:11,064 --> 00:00:13,092 ROCK AND STRONG VOCALS ARE A HI 7 00:00:13,092 --> 00:00:14,011 FOR CORALEE AND THE TOWNIES. 8 00:00:14,011 --> 00:00:16,052 IT WOULD BE A CRIME NOT TO ENJO 9 00:00:16,052 --> 00:00:19,032 A NIGHT AT GANGSTERS AND 10 00:00:19,032 --> 00:00:22,080 KENTUCKY'S MOONBOW COMES INTO 11 00:00:22,080 --> 00:00:24,080 FOCUS AT CUMBERLAND FALLS. 12 00:00:24,080 --> 00:00:27,068 NIGHTTIME IS THE RIGHT TIME FOR 13 00:00:27,068 --> 00:00:30,012 THIS "KENTUCKY LIFE." 14 00:00:46,011 --> 00:00:49,012 HELLO, I'M DAVIE SHUFFETT ALONG 15 00:00:49,012 --> 00:00:51,010 WITH MY PAL TOBY. 16 00:00:51,010 --> 00:00:53,040 WELCOME TO "KENTUCKY LIFE." 17 00:00:53,040 --> 00:00:55,008 WE HAVE BEEN CALLING THIS WEEK' 18 00:00:55,008 --> 00:00:56,060 SHOW KENTUCKY NIGHT LIFE. 19 00:00:56,060 --> 00:00:58,004 TONIGHT ALL OUR STORIES TAKE US 20 00:00:58,004 --> 00:00:59,010 TO THE DARK SIDE -- OR AT LEAST 21 00:00:59,010 --> 00:01:02,000 THE AFTER-DARK SIDE -- AS WE 22 00:01:02,000 --> 00:01:03,084 FEATURE SOME OF KENTUCKY'S 23 00:01:03,084 --> 00:01:05,048 NIGHTTIME EVENTS AND ACTIVITIES 24 00:01:05,048 --> 00:01:07,036 UP FIRST, A STORY ABOUT STORIES 25 00:01:07,036 --> 00:01:09,032 THE ONES THAT ARE TOLD AT A 26 00:01:09,032 --> 00:01:13,000 POPULAR MONTHLY EVENT AT 27 00:01:13,000 --> 00:01:14,028 HEADLINERS MUSIC HALL IN 28 00:01:14,028 --> 00:01:14,011 LOUISVILLE. 29 00:01:14,011 --> 00:01:17,036 IN FRONT OF A SELL-OUT CROWD, 30 00:01:17,036 --> 00:01:18,010 PEOPLE STEP UP TO THE MICROPHON 31 00:01:18,010 --> 00:01:20,080 AND TELL TRUE STORIES FROM THEI 32 00:01:20,080 --> 00:01:21,020 LIVES. 33 00:01:21,020 --> 00:01:23,084 IT'S AN UNPREDICTABLE MIX OF 34 00:01:23,084 --> 00:01:26,068 COMEDY, CONFESSION AND ADVENTUR 35 00:01:26,068 --> 00:01:33,016 AND IT'S CALLED THE MOTH. 36 00:01:33,016 --> 00:01:35,040 >> THE MOTH IS AN ORGANIZATION 37 00:01:35,040 --> 00:01:38,016 THAT SPONSORS STORY-TELLING 38 00:01:38,016 --> 00:01:40,036 EVENINGS IN VARIOUS PLACES 39 00:01:40,036 --> 00:01:41,080 AROUND THE COUNTRY. 40 00:01:41,080 --> 00:01:45,012 THERE ARE TWO BRANCHES OF THE 41 00:01:45,012 --> 00:01:45,088 MOTH. 42 00:01:45,088 --> 00:01:49,016 THE MAIN STAGE SERIES OF A 43 00:01:49,016 --> 00:01:52,011 CURATOR OF SERIES WHERE THE MOT 44 00:01:52,011 --> 00:01:54,040 APPROACHES WELL KNOWN STORY 45 00:01:54,040 --> 00:01:59,004 WRITERS, ACTORS TO TELL STORIES 46 00:01:59,004 --> 00:02:02,016 THE OTHER IS IN LOUISVILLE, AN 47 00:02:02,016 --> 00:02:04,010 OPEN-MIC STORY-TELLING EVENT, 48 00:02:04,010 --> 00:02:06,076 WHERE ANYONE CAN SIGN UP TO TEL 49 00:02:06,076 --> 00:02:08,040 A STORY. 50 00:02:08,040 --> 00:02:10,064 YOU PUT YOUR NAME IN THE HAT, W 51 00:02:10,064 --> 00:02:12,012 DRAW OUT TEN NAMES IN THE COURS 52 00:02:12,012 --> 00:02:12,010 OF THE EVENING. 53 00:02:12,010 --> 00:02:17,011 WE NEVER KNOW WHAT WE'LL GET. 54 00:02:17,011 --> 00:02:18,068 [ LAUGHTER ] 55 00:02:18,068 --> 00:02:19,010 EACH STORY IS SCORED BY A TEAM 56 00:02:19,010 --> 00:02:21,010 OF JUDGES CHOSEN FROM THE 57 00:02:21,010 --> 00:02:22,064 AUDIENCE. 58 00:02:22,064 --> 00:02:24,028 THEY'RE REGULAR AUDIENCE MEMBER 59 00:02:24,028 --> 00:02:25,010 WHO LOVE STORIES AND GIVE EACH 60 00:02:25,010 --> 00:02:27,012 STORY A SCORE. 61 00:02:27,012 --> 00:02:28,076 AT THE END OF THE NIGHT, WE 62 00:02:28,076 --> 00:02:29,010 DECLARE OUR WINNER. 63 00:02:29,010 --> 00:02:32,084 >> WHILE THESE OTHER KIDS WERE 64 00:02:32,084 --> 00:02:38,076 MEMORIZING DORKY FACTS, I WAS 65 00:02:38,076 --> 00:02:43,010 PLAYING WITH MY KAMAGACHI. 66 00:02:43,010 --> 00:02:45,036 I WAS SHAMING NOT ONLY MY 67 00:02:45,036 --> 00:02:47,052 PARENTS BUT ALL INDIAN PARENTS 68 00:02:47,052 --> 00:02:52,044 EVERYWHERE BECAUSE I WAS A BENC 69 00:02:52,044 --> 00:02:53,052 WARMER! 70 00:02:53,052 --> 00:02:54,052 HONESTLY, THOUGH, I WASN'T A 71 00:02:54,052 --> 00:02:57,028 BENCH WARMER WHEN IT CAME TO 72 00:02:57,028 --> 00:02:58,072 SPORTS, WHICH WAS MY SECOND WAY 73 00:02:58,072 --> 00:03:00,028 OF TACKLING THIS PROBLEM, HOW D 74 00:03:00,028 --> 00:03:02,016 I PULL OFF BEING AN AMERICAN -- 75 00:03:02,016 --> 00:03:03,010 AND THE ANSWER WAS SIMPLE, BE A 76 00:03:03,010 --> 00:03:04,060 ATHLETE. 77 00:03:04,060 --> 00:03:05,096 AND THAT WAS EASY FOR ME. 78 00:03:05,096 --> 00:03:07,008 I WAS SHORT. 79 00:03:07,008 --> 00:03:08,011 OBVIOUSLY, NOT MUCH HAS CHANGED 80 00:03:08,011 --> 00:03:10,011 I WAS SHORT, FAST, AND UNLIKE 81 00:03:10,011 --> 00:03:13,076 MOST KIDS, I ACTUALLY GAVE A 82 00:03:13,076 --> 00:03:15,044 CRAP ABOUT PLAYING AND PUT FORT 83 00:03:15,044 --> 00:03:17,076 A GENUINE EFFORT, WHICH GETS YO 84 00:03:17,076 --> 00:03:20,011 REALLY FAR IN CHILDREN'S 85 00:03:20,011 --> 00:03:21,076 ATHLETICS. 86 00:03:21,076 --> 00:03:23,088 THE APPEAL, I THINK IT'S HEARIN 87 00:03:23,088 --> 00:03:25,060 DIFFERENT PEOPLES' EXPERIENCES. 88 00:03:25,060 --> 00:03:27,040 YOU CAN THINK YOU KNOW WHAT 89 00:03:27,040 --> 00:03:28,011 YOU'RE GOING TO HEAR WITH A 90 00:03:28,011 --> 00:03:29,064 THEME. 91 00:03:29,064 --> 00:03:31,088 YOU CAN THINK YOU KNOW WHAT 92 00:03:31,088 --> 00:03:32,011 THAT'S GOING TO BE. 93 00:03:32,011 --> 00:03:34,011 THEN SOMEONE WILL COME UP AND 94 00:03:34,011 --> 00:03:36,068 TELL A STORY YOU'RE NOT 95 00:03:36,068 --> 00:03:38,008 EXPECTING AND IT'S NOT YOU'VE 96 00:03:38,008 --> 00:03:40,040 NOT HEARD IN YOUR WHOLE LIFE. 97 00:03:40,040 --> 00:03:43,011 IT'S OFTEN TOUCHING, OFTEN FEWY 98 00:03:43,011 --> 00:03:44,011 SOMETIMES BIZARRE. 99 00:03:44,011 --> 00:03:45,011 >> THE BEST WAY TO EXPERIENCE 100 00:03:45,011 --> 00:03:50,012 THE MOTH IS COME HERE IN PERSON 101 00:03:50,012 --> 00:03:51,048 HEADLINERS IN LOUISVILLE, WHERE 102 00:03:51,048 --> 00:03:52,068 WE HAVE BEEN DOING THIS SINCE 103 00:03:52,068 --> 00:03:54,004 SEPTEMBER OF 2011. 104 00:03:54,004 --> 00:03:55,080 EVERY MONTH WE'RE HERE THE LAST 105 00:03:55,080 --> 00:03:57,004 TUESDAY OF THE MONTH. 106 00:03:57,004 --> 00:03:58,072 >> I MEAN, IT'S AN HONOR TO 107 00:03:58,072 --> 00:03:59,088 HAVE -- WHEN LOUISVILLE WAS 108 00:03:59,088 --> 00:04:01,004 GIVEN THE OPPORTUNITY AT THE 109 00:04:01,004 --> 00:04:02,028 TIME, I BELIEVE IT WAS JUST 110 00:04:02,028 --> 00:04:04,048 L.A., DETROIT, CHICAGO AND, OF 111 00:04:04,048 --> 00:04:07,012 COURSE, NEW YORK, AND, YOU KNOW 112 00:04:07,012 --> 00:04:09,004 SUCH A SMALL MARKET CAN HAVE TH 113 00:04:09,004 --> 00:04:10,060 HONOR OF HAVING A MOTH. 114 00:04:10,060 --> 00:04:12,012 I'VE KNOWN FROM RADIO THIS IS 115 00:04:12,012 --> 00:04:14,092 THE FASTEST-GROWING PUBLIC RADI 116 00:04:14,092 --> 00:04:16,056 PROGRAM OUT THERE AND THAT WE 117 00:04:16,056 --> 00:04:20,036 ARE PART OF THE LOCAL STORY 118 00:04:20,036 --> 00:04:23,024 TELLERS GET TO HAVE THE NATIONA 119 00:04:23,024 --> 00:04:23,088 STAGE. 120 00:04:23,088 --> 00:04:25,084 WHAT DOES OWNER WOULDN'T WANT 121 00:04:25,084 --> 00:04:26,040 THAT? 122 00:04:26,040 --> 00:04:27,088 >> BUT I HAD THIS BURNING 123 00:04:27,088 --> 00:04:28,084 QUESTION I WANTED TO ASK. 124 00:04:28,084 --> 00:04:30,024 I WENT OVER AND ASKED MY 125 00:04:30,024 --> 00:04:31,076 TEACHER, MISS SHORT. 126 00:04:31,076 --> 00:04:34,036 I SAID, MISS SHORT, CAN I ASK A 127 00:04:34,036 --> 00:04:34,096 QUESTION? 128 00:04:34,096 --> 00:04:36,036 SHE SAID, NO, YOU'RE NOT A 129 00:04:36,036 --> 00:04:37,000 REPORTER. 130 00:04:37,000 --> 00:04:38,092 I SAID CAN I ASK A REPORTER TO 131 00:04:38,092 --> 00:04:40,032 ASK A QUESTION FOR ME? 132 00:04:40,032 --> 00:04:42,092 SHE SAID YEAH, SO I WENT TO AND 133 00:04:42,092 --> 00:04:45,080 PARKER, HE HAD FUNKY GLASSES AN 134 00:04:45,080 --> 00:04:46,084 REAL LONG HAIR. 135 00:04:46,084 --> 00:04:48,011 I SAID, ANDY, ASK THEM IF THEY 136 00:04:48,011 --> 00:04:50,068 AGREED ON ANYTHING BECAUSE THIS 137 00:04:50,068 --> 00:04:52,028 CONVERSATION IS GOING NOWHERE. 138 00:04:52,028 --> 00:04:54,028 AND BLESS ANDY'S HEART, HE ASKE 139 00:04:54,028 --> 00:04:55,064 THEM JUST LIKE THAT. 140 00:04:55,064 --> 00:04:57,028 HE SAID, DO Y'ALL AGREE ON 141 00:04:57,028 --> 00:04:58,044 ANYTHING BECAUSE THIS 142 00:04:58,044 --> 00:04:59,064 CONVERSATION IS GOING NOWHERE. 143 00:04:59,064 --> 00:05:01,076 I LOOKED OVER AT MISS SHORT, 144 00:05:01,076 --> 00:05:03,020 SURE SHE WAS GOING TO GIVE ME 145 00:05:03,020 --> 00:05:05,004 THE LOOK OF I WAS THE MOST 146 00:05:05,004 --> 00:05:06,076 BRILLIANT KID IN SCHOOL, INSTEA 147 00:05:06,076 --> 00:05:10,016 SHE LOOKED AT ME LIKE I WAS THE 148 00:05:10,016 --> 00:05:14,016 CRAZIEST KID IN SCHOOL. 149 00:05:14,016 --> 00:05:16,076 AND JIMMY CARTER SAID, WE'RE NO 150 00:05:16,076 --> 00:05:17,011 SUPPOSED TO! 151 00:05:17,011 --> 00:05:20,064 >> MOTH STORIES ARE DONE WELL. 152 00:05:20,064 --> 00:05:22,016 TWOFOLD, ONE, IT'S A PERSONAL 153 00:05:22,016 --> 00:05:22,076 STORY. 154 00:05:22,076 --> 00:05:26,080 SO A GREAT MOTH STORY PUTS THE 155 00:05:26,080 --> 00:05:29,028 STORY TELLER INSIDE THE ACTION. 156 00:05:29,028 --> 00:05:31,040 THEY'RE THE ONE WHO EXPERIENCES 157 00:05:31,040 --> 00:05:32,011 THE ACTION AND PLOT OF THE 158 00:05:32,011 --> 00:05:34,084 STORY, BUT ALSO THEY'RE 159 00:05:34,084 --> 00:05:36,016 TRANSFORMED SOMEHOW BY WHAT 160 00:05:36,016 --> 00:05:38,084 HAPPENED TO THEM AND, ALSO, THA 161 00:05:38,084 --> 00:05:43,000 THEY'RE TRUE. 162 00:05:43,000 --> 00:05:46,048 >> IT'S AN EVENING OF ANALOG 163 00:05:46,048 --> 00:05:47,000 ENTERTAINMENT. 164 00:05:47,000 --> 00:05:48,020 IT'S VERY LOW TECH. 165 00:05:48,020 --> 00:05:49,072 THERE IS NOTHING FANCY ABOUT IT 166 00:05:49,072 --> 00:05:52,052 IT'S STORIES ON A STAGE. 167 00:05:52,052 --> 00:05:54,020 >> THESE AREN'T MONOLOGS, 168 00:05:54,020 --> 00:05:55,011 STANDUP COMEDY, THEATER PIECES, 169 00:05:55,011 --> 00:05:56,096 ANYTHING LIKE THAT. 170 00:05:56,096 --> 00:05:58,052 AT THE SAME TIME, ON THE RADIO, 171 00:05:58,052 --> 00:06:00,024 IT ISN'T A PRODUCED PIECE THAT 172 00:06:00,024 --> 00:06:02,040 IS OUT THERE THAT SOMEONE IS 173 00:06:02,040 --> 00:06:03,011 RIDICULOUSLY EDITING AND PUTTIN 174 00:06:03,011 --> 00:06:05,048 TOGETHER AND ADDING A LOT OF 175 00:06:05,048 --> 00:06:06,044 VOICES TO. 176 00:06:06,044 --> 00:06:08,072 SO IT'S A FORM OF STORY TELLING 177 00:06:08,072 --> 00:06:10,024 WHERE IT'S DIRECT ONE PERSON 178 00:06:10,024 --> 00:06:11,088 TELLING A STORY TO A GROUP OF 179 00:06:11,088 --> 00:06:13,036 PEOPLE, BUT IN THIS CASE YOU'RE 180 00:06:13,036 --> 00:06:14,076 TELLING IT AS IF YOU'RE TELLING 181 00:06:14,076 --> 00:06:15,064 IT TO ONE PERSON. 182 00:06:15,064 --> 00:06:17,072 >> BUT THEN HE TOLD ME THAT THIS 183 00:06:17,072 --> 00:06:21,020 BOY WAS 15, AND WHEN SHE CAME 184 00:06:21,020 --> 00:06:23,004 OUT OF THE GROCERY STORE AND HI 185 00:06:23,004 --> 00:06:24,080 FRIENDS SNATCHED THE PURSE AFTE 186 00:06:24,080 --> 00:06:26,056 THIS YOUNG LADY BESIDE OF HIM 187 00:06:26,056 --> 00:06:28,032 AND SHE TURNED AROUND ON HER 188 00:06:28,032 --> 00:06:30,032 CELL PHONE AND SAID YOU DIDN'T 189 00:06:30,032 --> 00:06:32,010 HAVE TO DO THAT! 190 00:06:32,010 --> 00:06:34,064 AND HE SHOT HER IN THE CHEST AN 191 00:06:34,064 --> 00:06:37,010 KILLED HER INSTANTLY. 192 00:06:37,010 --> 00:06:40,068 I HAD TO THINK, WHAT WAS WRONG 193 00:06:40,068 --> 00:06:41,092 WITH HIM? 194 00:06:41,092 --> 00:06:43,028 BECAUSE I HAD TO JUSTIFY AND 195 00:06:43,028 --> 00:06:44,010 UNDERSTAND HOW SOMEONE COULD DO 196 00:06:44,010 --> 00:06:45,060 THAT. 197 00:06:45,060 --> 00:06:50,036 AND I THOUGHT, POSSIBLY HIS 198 00:06:50,036 --> 00:06:51,088 MOMMA SMOKED CRACK, PROBABLY HI 199 00:06:51,088 --> 00:06:53,044 DADDY IS IN PRISON AND HE NEVER 200 00:06:53,044 --> 00:06:54,044 MET HIM. 201 00:06:54,044 --> 00:06:57,048 AND I STARTED TO WEEP IN MY SOU 202 00:06:57,048 --> 00:06:58,068 FOR HIM. 203 00:06:58,068 --> 00:07:01,060 SO I CHOSE THE SIDE OF MERCY 204 00:07:01,060 --> 00:07:03,088 INSTEAD OF VENGEFULNESS. 205 00:07:03,088 --> 00:07:07,024 THANK YOU. 206 00:07:07,024 --> 00:07:07,010 [ APPLAUSE ] 207 00:07:07,010 --> 00:07:09,024 >> IT BECOMES A TRADITION FOR 208 00:07:09,024 --> 00:07:09,096 PEOPLE. 209 00:07:09,096 --> 00:07:11,024 I SEE REGULARS HERE. 210 00:07:11,024 --> 00:07:12,010 I SEE PEOPLE THAT COME BACK 211 00:07:12,010 --> 00:07:14,032 MONTH AFTER MONTH. 212 00:07:14,032 --> 00:07:15,010 WE HAVE REGULAR STORY TELLERS. 213 00:07:15,010 --> 00:07:18,028 AT THE BEGINNING OF THE SHOW, W 214 00:07:18,028 --> 00:07:19,064 ASK HOW MANY PEOPLE HAVE NEVER 215 00:07:19,064 --> 00:07:20,064 BEEN TO THE MOTH BEFORE. 216 00:07:20,064 --> 00:07:22,052 WE GET A GOOD NUMBER OF HANDS 217 00:07:22,052 --> 00:07:24,024 EVERY TIME BUT ALSO A LOT OF 218 00:07:24,024 --> 00:07:26,072 FAMILIAR FACES. 219 00:07:26,072 --> 00:07:28,040 >> IT'S A NICE MIX YOU GET OF 220 00:07:28,040 --> 00:07:29,011 PEOPLE WHO WANT TO TAKE PART, 221 00:07:29,011 --> 00:07:32,056 WANT TO BE A LITTLE MORE 222 00:07:32,056 --> 00:07:33,000 RAUCOUS. 223 00:07:33,000 --> 00:07:34,011 WE DON'T USUALLY GET THAT WITH 224 00:07:34,011 --> 00:07:36,040 PUBLIC RADIO CROWDS AND IT'S 225 00:07:36,040 --> 00:07:37,000 NICE TO GET THAT. 226 00:07:37,000 --> 00:07:38,092 >> ONE OF THE THING I LIKE ABOUT 227 00:07:38,092 --> 00:07:42,072 THE MOTH STORY PLANS IS WE HAVE 228 00:07:42,072 --> 00:07:46,036 A VERY DIFFERENT GROUP. 229 00:07:46,036 --> 00:07:49,004 WE HAVE YOUNG, OLD, ALL 230 00:07:49,004 --> 00:07:50,096 DIFFERENT ETHNICITIES AND SOCIA 231 00:07:50,096 --> 00:07:52,010 AND CULTURAL BACKGROUNDS BECAUS 232 00:07:52,010 --> 00:07:55,000 THIS IS SOMETHING EVERYBODY CAN 233 00:07:55,000 --> 00:07:55,010 APPRECIATE AND SHARE. 234 00:07:55,010 --> 00:07:57,012 >> I TALKED TO A LOT OF PEOPLE 235 00:07:57,012 --> 00:07:59,028 AFTER SHOWS AND THEY TEND TO, I 236 00:07:59,028 --> 00:08:01,004 THINK, NOT ANTICIPATE HOW MUCH 237 00:08:01,004 --> 00:08:03,076 FUN OR HOW LIVELY IT CAN GET. 238 00:08:03,076 --> 00:08:05,010 IT'S A VERY UNIQUE EXPERIENCE 239 00:08:05,010 --> 00:08:08,012 AND IT'S UNLIKE ANYTHING ELSE 240 00:08:08,012 --> 00:08:09,088 HAPPENING IN LOUISVILLE OR EVEN 241 00:08:09,088 --> 00:08:11,008 IN MOST CITIES. 242 00:08:11,008 --> 00:08:13,064 >> I THINK, WHEN A CITY GETS THE 243 00:08:13,064 --> 00:08:15,028 MOTH, IT'S A REALLY GOOD 244 00:08:15,028 --> 00:08:17,092 INDICATION THAT THAT CITY HAS A 245 00:08:17,092 --> 00:08:19,010 INCREDIBLE CULTURAL THEME. 246 00:08:19,010 --> 00:08:22,004 FIRST, A CITY DECIDES IF 247 00:08:22,004 --> 00:08:24,076 LOUISVILLE CAN HAVE IT, IT'S A 248 00:08:24,076 --> 00:08:26,020 HUGE INDICATION OF WHERE THIS 249 00:08:26,020 --> 00:08:26,010 CITY IS. 250 00:08:26,010 --> 00:08:28,076 IT'S WHY WE MOVED HERE FROM 251 00:08:28,076 --> 00:08:29,024 NEW YORK. 252 00:08:29,024 --> 00:08:30,011 IT HAS THE EASE AND COMFORT OF 253 00:08:30,011 --> 00:08:32,064 THE SOUTH BUT THE CULTURE OF 254 00:08:32,064 --> 00:08:36,072 NEW YORK CITY. 255 00:08:36,072 --> 00:08:37,010 >> OUR "KENTUCKY LIFE" 256 00:08:37,010 --> 00:08:38,088 Facebook PAGE IS WHERE WE 257 00:08:38,088 --> 00:08:40,000 SHARE STORIES WITH YOU ABOUT 258 00:08:40,000 --> 00:08:41,060 WHERE WE HAVE BEEN, WHERE WE'RE 259 00:08:41,060 --> 00:08:42,011 GOING AND WHAT'S COMING UP ON 260 00:08:42,011 --> 00:08:43,080 THE SHOW. 261 00:08:43,080 --> 00:08:48,068 AND ON OUR WEB SITE AT 262 00:08:48,068 --> 00:08:49,092 ket.org/kentuckylife, YOU WILL 263 00:08:49,092 --> 00:08:51,011 FIND MORE STORIES ABOUT EVENTS 264 00:08:51,011 --> 00:08:53,010 THAT START UP ONLY AFTER THE SU 265 00:08:53,010 --> 00:08:55,076 GOES DOWN. 266 00:09:07,060 --> 00:09:09,068 ON KENTUCKY 672 IN CALDWELL 267 00:09:09,068 --> 00:09:11,032 COUNTY STANDS A MUSEUM. 268 00:09:11,032 --> 00:09:16,008 THE FORMER HOME OF DR. SAVED DA 269 00:09:16,008 --> 00:09:19,092 AMOS, BORN IN COBB COUNTY, 270 00:09:19,092 --> 00:09:22,010 KENTUCKY, OCTOBER 19th, 1857, 271 00:09:22,010 --> 00:09:28,011 DR. AMOS BECAME THE LEADER OF 272 00:09:28,011 --> 00:09:32,028 THE NIGHT NIGHT RIDER MOVEMENT. 273 00:09:32,028 --> 00:09:34,036 HE PROVIDED LEADERSHIP FOR TO 274 00:09:34,036 --> 00:09:36,084 BACK TO FARMERS IN KENTUCKY AND 275 00:09:36,084 --> 00:09:37,024 TENNESSEE. 276 00:09:37,024 --> 00:09:38,072 THIS MARKER TELLS THE STORY OF 277 00:09:38,072 --> 00:09:40,010 AN IMPOVERISHED PEOPLE TO RIGHT 278 00:09:40,010 --> 00:09:42,008 A TERRIBLE WRONG. 279 00:09:42,008 --> 00:09:43,084 DR. AMOS LED AN ORGANIZED 280 00:09:43,084 --> 00:09:45,010 SOCIETY OF DARK TOBACCO FARMERS 281 00:09:45,010 --> 00:09:47,064 IN A VIOLENT RESALT AGAINST THE 282 00:09:47,064 --> 00:09:50,028 LOW PRICES OF TOBACCO IMPOSED B 283 00:09:50,028 --> 00:09:51,011 THE DUKE TRUST. 284 00:09:51,011 --> 00:09:53,010 THE NIGHT RIDER MOVEMENT HELPED 285 00:09:53,010 --> 00:09:56,052 BREAK UP THE TO BACK TO 286 00:09:56,052 --> 00:09:57,048 MONOPOLY. 287 00:09:57,048 --> 00:10:00,028 IN 1911, THE DUKE TRUST WAS 288 00:10:00,028 --> 00:10:01,036 DISSOLVED BY A RULING OF THE 289 00:10:01,036 --> 00:10:02,010 U.S. SUPREME COURT. 290 00:10:02,010 --> 00:10:05,040 DR. DAVID AMOS DIED IN 1915 AND 291 00:10:05,040 --> 00:10:10,011 IS BURIED IN THE MILLWOOD 292 00:10:10,011 --> 00:10:12,000 CEMETERY. 293 00:10:12,000 --> 00:10:14,020 IF YOU'RE A FAN OF THE MUSIC 294 00:10:14,020 --> 00:10:15,084 SCENE IN THE CENTRAL KENTUCKY 295 00:10:15,084 --> 00:10:17,024 AREA, YOU WILL RECOGNIZE SOME 296 00:10:17,024 --> 00:10:20,024 FAMILIAR FACES IN CORALEE AND 297 00:10:20,024 --> 00:10:20,080 THE TOWNIES. 298 00:10:20,080 --> 00:10:22,024 MOST OF THE BAND MEMBERS HAVE 299 00:10:22,024 --> 00:10:23,060 BEEN PLAYING FOR YEARS WITH A 300 00:10:23,060 --> 00:10:25,008 VARIETY OF OTHER LOCAL BANDS. 301 00:10:25,008 --> 00:10:28,048 ALL THAT EXPERIENCE PLUS SOME 302 00:10:28,048 --> 00:10:32,048 STRONG SONGWRITING AND LEAD 303 00:10:32,048 --> 00:10:33,010 VOCALS FROM CORALEE HERSELF 304 00:10:33,010 --> 00:10:36,060 MAKES THE DISTINCTIVE STYLE AND 305 00:10:36,060 --> 00:10:41,000 SOUND THEY CALL HONKY TONK SOUL 306 00:10:45,012 --> 00:10:48,016 >> WE'RE CALLED CORALEE AND THE 307 00:10:48,016 --> 00:10:49,068 TOWNIES BECAUSE THAT'S KIND OF 308 00:10:49,068 --> 00:10:51,080 WHAT THE GUYS IN THE BAND ARE. 309 00:10:51,080 --> 00:10:54,008 THEY ARE KIND OF THE 310 00:10:54,008 --> 00:10:55,048 QUINTESSENTIAL MUSICIAN TOWNIES 311 00:10:55,048 --> 00:10:59,092 AND WE KIND OF, AS A JOKE, AS W 312 00:10:59,092 --> 00:11:01,056 WERE GETTING TOGETHER FOR ONE 313 00:11:01,056 --> 00:11:04,092 SHOW, SAID LET'S CALL IT CORALE 314 00:11:04,092 --> 00:11:05,084 AND THE TOWNIES. 315 00:11:05,084 --> 00:11:07,048 >> ONE OF THE GUYS MET CORALEE 316 00:11:07,048 --> 00:11:09,052 AND INVITED HER TO SING WITH US 317 00:11:09,052 --> 00:11:10,056 ONE NIGHT. 318 00:11:10,056 --> 00:11:12,008 I HEARD HER AND SAWS THE 319 00:11:12,008 --> 00:11:13,028 REACTION FROM THE PEOPLE IN THE 320 00:11:13,028 --> 00:11:15,052 AUDIENCE AND KNEW I WANTED TO 321 00:11:15,052 --> 00:11:17,040 PLAY WITH HER AND FOUND OUT WHA 322 00:11:17,040 --> 00:11:19,056 TYPE OF MUSIC SHE WAS GOING FOR 323 00:11:19,056 --> 00:11:21,096 AND WHAT TYPE OF PLAYERS SHE 324 00:11:21,096 --> 00:11:22,048 WANTED. 325 00:11:22,048 --> 00:11:23,010 I HAD BEEN IN THE SCENE FOR A 326 00:11:23,010 --> 00:11:25,056 WHILE AND KNEW A LOT OF THE GUY 327 00:11:25,056 --> 00:11:27,072 AND HELPED HER GET IN CONTACT 328 00:11:27,072 --> 00:11:29,024 WITH THEM AND WE STARTED IT UP. 329 00:11:29,024 --> 00:11:31,016 >> FOR ME, THE LYRICS AND THE 330 00:11:31,016 --> 00:11:33,024 MELODY ARE VERY MUCH MARRIED. 331 00:11:33,024 --> 00:11:35,012 I THINK YOU CAN SAY SOMETHING 332 00:11:35,012 --> 00:11:36,011 VERY SIMPLY AND SAY SOMETHING 333 00:11:36,011 --> 00:11:39,011 VERY SIMPLE, BUT THE CADENCE OF 334 00:11:39,011 --> 00:11:42,076 THE MELODY THAT YOU PUT IT TO 335 00:11:42,076 --> 00:11:46,040 CAN KIND OF TRANSFORM WHAT 336 00:11:46,040 --> 00:11:47,008 YOU'RE SAYING. 337 00:11:47,008 --> 00:11:51,000 SO I WRITE THE MELDY MELODY AND 338 00:11:51,000 --> 00:11:52,060 LYRICS HAND IN HAND. 339 00:11:52,060 --> 00:11:54,096 WE'LL BRING IT TO THE GUYS AND 340 00:11:54,096 --> 00:11:56,032 SOMETIMES WE'LL HAVE AN IDEA OF 341 00:11:56,032 --> 00:11:58,096 THE TYPE OF ENERGY I WANT IT TO 342 00:11:58,096 --> 00:12:00,010 HAVE, AND I TRY TO CONVEY THAT 343 00:12:00,010 --> 00:12:03,056 TO THEM AS BEST AS I CAN, BUT 344 00:12:03,056 --> 00:12:05,016 THEY PICK UP ON WHAT I'M FEELIN 345 00:12:05,016 --> 00:12:06,080 QUICKLY AND THEY ALL WRITE THEI 346 00:12:06,080 --> 00:12:07,048 OWN PARTS. 347 00:12:07,048 --> 00:12:08,010 THEN THE FUN PART IS WHEN WE 348 00:12:08,010 --> 00:12:10,060 TAKE IT TO THE STUDIO OR THE 349 00:12:10,060 --> 00:12:12,036 STAGE AND THAT'S WHEN WE FIND 350 00:12:12,036 --> 00:12:13,010 OUT WHAT'S GOING TO HAPPEN. 351 00:12:13,010 --> 00:12:15,028 >> THE TYPE OF CROWD THAT SEES 352 00:12:15,028 --> 00:12:18,080 THE TOWNIES IS WIDE-RANGING. 353 00:12:18,080 --> 00:12:20,044 SHE SEEMS TO APPEAL TO YOUNG AN 354 00:12:20,044 --> 00:12:22,052 OLD VERY WELL, WHICH IS GREAT, 355 00:12:22,052 --> 00:12:24,036 BECAUSE YOU CAN GET MORE PEOPLE 356 00:12:24,036 --> 00:12:25,048 TO COME SEE YOU. 357 00:12:25,048 --> 00:12:27,084 >> WHAT I'M ABLE TO PUT FORTH IN 358 00:12:27,084 --> 00:12:30,008 MY SONG WRITING IS WHO I AM ON 359 00:12:30,008 --> 00:12:33,068 THE INSIDE AND HAVING THE BAND 360 00:12:33,068 --> 00:12:36,028 TO REALIZE, LIKE, A WHOLE 361 00:12:36,028 --> 00:12:36,011 SOUNDSCAPE. 362 00:12:36,011 --> 00:12:40,032 I FEEL LIKE I'M ABLE TO REALIZE 363 00:12:40,032 --> 00:12:43,020 MYSELF THROUGH THE MUSIC, AND 364 00:12:43,020 --> 00:12:45,044 IT'S THE CREATIVE BATTLE AND AN 365 00:12:45,044 --> 00:12:47,016 EMOTIONAL OUTLET I REALLY 366 00:12:47,016 --> 00:12:48,068 COULDN'T LIVE WITHOUT. 367 00:12:48,068 --> 00:12:50,004 >> I KIND OF CAME UP WITH THE 368 00:12:50,004 --> 00:12:51,010 TERM FOR THE SOUND OF THE BAND. 369 00:12:51,010 --> 00:12:53,056 IT'S SO HONKY TONK. 370 00:12:53,056 --> 00:12:55,010 SHE HAS THIS COUNTRY FLAVOR BUT 371 00:12:55,010 --> 00:13:02,056 SHE'S REALLY SOULFUL. 372 00:13:02,056 --> 00:13:05,072 >> IT'S UNIQUE EVERY SHOW. 373 00:13:05,072 --> 00:13:08,064 IT CREATES AN AESTHETIC FOR US. 374 00:13:08,064 --> 00:13:10,052 I SPEND ABOUT FIVE HOURS ON EAC 375 00:13:10,052 --> 00:13:10,010 ONE. 376 00:13:10,010 --> 00:13:12,010 NO ONE WOULD EVER GUESS I GET 377 00:13:12,010 --> 00:13:13,056 INTO IT. 378 00:13:13,056 --> 00:13:14,044 I LOVE IT. 379 00:13:14,044 --> 00:13:16,060 >> THE TOWNIES CONSIST OF DAVID 380 00:13:16,060 --> 00:13:19,036 WHITE ON THE DRUMS, SMITH 381 00:13:19,036 --> 00:13:22,016 DONELSON ON RHYTHM GUITAR, FRED 382 00:13:22,016 --> 00:13:25,024 ON LEAD AND STEEL GUITAR, AND I 383 00:13:25,024 --> 00:13:27,072 PLAY THE UPRIGHT BASE MOSTLY, 384 00:13:27,072 --> 00:13:29,024 SOMETIMES ELECTRIC. 385 00:13:29,024 --> 00:13:32,028 CORALEE SINGS AND PLAYS GUITAR. 386 00:13:32,028 --> 00:13:33,040 >> I DON'T THINK WE NECESSARILY 387 00:13:33,040 --> 00:13:35,008 TRY TO PUT ON A SHOW OR PROJECT 388 00:13:35,008 --> 00:13:35,011 AN IMAGE. 389 00:13:35,011 --> 00:13:38,004 WE JUST KIND OF ALL TRY TO 390 00:13:38,004 --> 00:13:40,036 PRESENT OURSELVES AT OUR BEST A 391 00:13:40,036 --> 00:13:42,084 WE ARE AND, FORTUNATELY, WE ALL 392 00:13:42,084 --> 00:13:44,056 WORK REALLY WELL TOGETHER. 393 00:13:44,056 --> 00:13:47,068 SO I THINK THAT WHAT I HOPE IS 394 00:13:47,068 --> 00:13:49,048 PEOPLE THINK THEY GOT A LITTLE 395 00:13:49,048 --> 00:13:51,032 BIT OF A PIECE OF US WHEN THEY 396 00:13:51,032 --> 00:17:25,096 WALK AWAY. 397 00:17:30,028 --> 00:17:31,080 >> LATER THIS SEASON, WE'LL HEAR 398 00:17:31,080 --> 00:17:34,080 SOME OF THE SIGHTS AND SOUNDS 399 00:17:34,080 --> 00:17:37,052 COMING OUT OF PADUCAH'S MUSIC 400 00:17:37,052 --> 00:17:38,012 SCENE. 401 00:17:38,012 --> 00:17:39,076 NEWPORT'S INFAMOUS PAST IS 402 00:17:39,076 --> 00:17:41,048 FAMOUS OF STORIES ABOUT 403 00:17:41,048 --> 00:17:42,010 GANGSTERS DUKING IT OUT WITH 404 00:17:42,010 --> 00:17:44,072 EACH OTHER FOR A BIGGER SLICE O 405 00:17:44,072 --> 00:17:46,040 THE GAMBLING PIE. 406 00:17:46,040 --> 00:17:47,010 THESE DAYS THE HOTTEST RIVALRY 407 00:17:47,010 --> 00:17:49,068 IN THE CITIES TAKES PLACE ON TH 408 00:17:49,068 --> 00:17:51,056 COOL KEYS OF A PIANO. 409 00:17:51,056 --> 00:17:55,004 FOR HIGH ENERGY FUN, GANGSTERS 410 00:17:55,004 --> 00:17:57,044 DUELING PIANO BAR MAKES YOU AN 411 00:17:57,044 --> 00:17:58,011 OFFER YOU CAN'T REFUSE. 412 00:18:03,048 --> 00:18:08,040 >> THIS IS A GANGSTERS DUELING 413 00:18:08,040 --> 00:18:09,064 PIANO BAR AND RESTAURANT. 414 00:18:09,064 --> 00:18:12,012 WE ARE A DUELING PIANO BARS, 415 00:18:12,012 --> 00:18:14,040 WHICH MEANS THE PLAYERS PLAY 416 00:18:14,040 --> 00:18:16,092 BACK AND FORTH TO EACH OTHER, 417 00:18:16,092 --> 00:18:18,010 ALL REQUESTED SONGS. 418 00:18:18,010 --> 00:18:21,056 WE DO NIGHTLY DRINK AND DINNER 419 00:18:21,056 --> 00:18:22,008 SPECIALS. 420 00:18:22,008 --> 00:18:23,072 GANGSTERS IS KNOWN FOR PRIVATE 421 00:18:23,072 --> 00:18:24,056 AND LARGE PARTIES. 422 00:18:24,056 --> 00:18:25,010 WE DO EVERYTHING FROM 423 00:18:25,010 --> 00:18:27,084 BACHELORETTE TO BIRTHDAY 424 00:18:27,084 --> 00:18:30,032 PARTIES, ANNIVERSARY DINNERS. 425 00:18:38,064 --> 00:18:43,004 YOU CAN COME INDIVIDUALLY. 426 00:18:43,004 --> 00:18:44,032 RESERVATIONS ACCEPTED. 427 00:18:44,032 --> 00:18:49,080 WE DO TWO PEOPLE UP TO FORTY. 428 00:18:49,080 --> 00:18:51,060 IT IS ONE OF THE LARGEST BARS I 429 00:18:51,060 --> 00:18:52,028 THE AREA. 430 00:18:52,028 --> 00:18:53,010 THE BAR WRAPS AROUND THE ENTIRE 431 00:18:53,010 --> 00:18:55,010 AREA, AND THE PIANO PLAYERS STA 432 00:18:55,010 --> 00:18:57,072 IN THE CENTER, SO THERE IS NOT 433 00:18:57,072 --> 00:19:00,000 BAD SPOT IN THE ENTIRE HOURS. 434 00:19:00,000 --> 00:19:02,000 OUR ENTERTAINERS ARE BY REQUEST 435 00:19:02,000 --> 00:19:03,084 ONLY, SO WHATEVER OUR GUESTS 436 00:19:03,084 --> 00:19:05,064 WANT TO HEAR, THEY SIMPLY WRITE 437 00:19:05,064 --> 00:19:07,044 IT ON A PIECE OF PAPER AND SEND 438 00:19:07,044 --> 00:19:10,008 IT TO THE PIANO PLAYERS AND THE 439 00:19:10,008 --> 00:19:12,048 PLAY THE MUSIC OF THE GUEST. 440 00:19:12,048 --> 00:19:14,096 SO IT VARIES EVERY SINGLE NIGHT 441 00:19:14,096 --> 00:19:17,012 ONE NIGHT IT COULD BE COUNTRY, 442 00:19:17,012 --> 00:19:18,010 ANOTHER ALL DANCE MUSIC. 443 00:19:18,010 --> 00:19:20,096 IT'S COMPLETELY UP TO OUR GUEST 444 00:19:20,096 --> 00:19:22,024 WHAT THEY WOULD LIKE TO HEAR. 445 00:19:22,024 --> 00:19:24,036 OUR PIANO PLAYERS ARE FLOWN IN 446 00:19:24,036 --> 00:19:27,068 FROM ALL OVER THE WORLD, YOU MA 447 00:19:27,068 --> 00:19:30,020 BE IN VEGAS ONE DAY AND HEAR 448 00:19:30,020 --> 00:19:39,028 THEM AND THE NIEWPT THE NIERPT 449 00:19:39,028 --> 00:19:41,010 THEY HAVE YET TO BE STUMPED. 450 00:19:41,010 --> 00:19:43,080 >> FROM NEWPORT, HEADING SOUTH 451 00:19:43,080 --> 00:19:47,044 TO WHITLEY AND MCCREERY COUNTIE 452 00:19:47,044 --> 00:19:49,032 AND THE NATURAL WONDER THAT HAS 453 00:19:49,032 --> 00:19:50,092 DRAWN PEOPLE FOR HUNDREDS OF 454 00:19:50,092 --> 00:19:51,040 YEARS. 455 00:19:51,040 --> 00:19:52,072 VISITORS FROM AROUND THE WORLD 456 00:19:52,072 --> 00:19:54,092 COME TO SEE CUMBERLAND FALLS, 457 00:19:54,092 --> 00:19:59,088 AND MANY TAKE HOME PLENTY PHOTO 458 00:19:59,088 --> 00:20:01,088 OF THE FALLS AND OF THE 459 00:20:01,088 --> 00:20:02,096 CUMBERLAND FALLS STATE PARK. 460 00:20:02,096 --> 00:20:05,088 IT'S THE FAMOUS MOONBOW AND THE 461 00:20:05,088 --> 00:20:09,060 CHALLENGE OF CAPTURING IT ON 462 00:20:09,060 --> 00:20:12,020 FILM THAT BRINGS PEOPLE BACK TO 463 00:20:12,020 --> 00:20:14,008 THE FALLS AGAIN AND AGAIN. 464 00:20:14,008 --> 00:20:16,016 CUMBERLAND FALLS, THE NIAGARA O 465 00:20:16,016 --> 00:20:27,040 THE SOUTH. 466 00:20:27,040 --> 00:20:29,028 AS SPECTACULAR AS IT IS IN THE 467 00:20:29,028 --> 00:20:30,084 DAYTIME, THE FALLS PUTS ON 468 00:20:30,084 --> 00:20:32,032 ANOTHER SHOW ON CLEAR NIGHTS 469 00:20:32,032 --> 00:20:38,076 DURING FULL MOONS. 470 00:20:38,076 --> 00:20:41,011 IT'S CALLED THE MOONBOW, OR 471 00:20:41,011 --> 00:20:43,036 LUNAR RAINBOW. 472 00:20:43,036 --> 00:20:44,016 >> AND WHAT HAPPENS IS THE MIST 473 00:20:44,016 --> 00:20:48,036 THAT COMES OFF THE FALL COMES 474 00:20:48,036 --> 00:20:51,024 UP, AND THE LIGHT FROM THE MOON 475 00:20:51,024 --> 00:20:53,048 FILTERS THROUGH AND CREATES THE 476 00:20:53,048 --> 00:20:54,000 MOONBOW. 477 00:20:54,000 --> 00:20:56,052 YOU CAN'T SEE COLOR IN IT 478 00:20:56,052 --> 00:20:58,048 USUALLY UNTIL YOU DEVELOP YOUR 479 00:20:58,048 --> 00:20:59,092 PHOTOGRAPHS, BUT THEN IT HAS AL 480 00:20:59,092 --> 00:21:01,000 THE COLORS IN IT. 481 00:21:01,000 --> 00:21:03,020 THE COLORS OF A RAINBOW. 482 00:21:03,020 --> 00:21:07,056 THE MOONBOW HAPPENS EVERY MONTH 483 00:21:07,056 --> 00:21:09,004 USUALLY FOR FIVE DAYS, IF THE 484 00:21:09,004 --> 00:21:11,072 SKIES ARE OPEN. 485 00:21:11,072 --> 00:21:12,088 >> CUMBERLAND FALLS IS THE ONLY 486 00:21:12,088 --> 00:21:14,096 PLACE IN THE WESTERN HEMISPHERE 487 00:21:14,096 --> 00:21:17,000 WHERE YOU CAN SEE A MOONBOW ON 488 00:21:17,000 --> 00:21:19,044 REGULAR BASIS. 489 00:21:19,044 --> 00:21:21,056 >> OUR FALLS ARE NOT 490 00:21:21,056 --> 00:21:22,048 ARTIFICIALLY LIT. 491 00:21:22,048 --> 00:21:24,028 WE DON'T HAVE LIGHTS ON THEM IN 492 00:21:24,028 --> 00:21:25,092 THE EVENING TO LIGHT THEM UP 493 00:21:25,092 --> 00:21:28,010 LIKE THEY DO AT NIAGARA FALLS 494 00:21:28,010 --> 00:21:32,056 AND YOSEMITE FALLS. 495 00:21:32,056 --> 00:21:33,011 VICTORIA FALLS LOST THEIR 496 00:21:33,011 --> 00:21:35,010 MOONBOW WHEN THEY HAD AN 497 00:21:35,010 --> 00:21:36,052 EARTHQUAKE. 498 00:21:36,052 --> 00:21:38,032 THE ROCKS NO LONGER SUPPORT THE 499 00:21:38,032 --> 00:21:40,004 FALLS IN THE SAME WAY SO THAT, 500 00:21:40,004 --> 00:21:43,056 WHEN THE LIGHT IS FILTERED 501 00:21:43,056 --> 00:21:45,008 THROUGH THE MIST, IT DOESN'T 502 00:21:45,008 --> 00:21:48,028 LIGHT IT UP AS A MOONBOW ANY 503 00:21:48,028 --> 00:21:48,088 LONGER. 504 00:21:48,088 --> 00:21:50,052 MOST PEOPLE DO NOT GIVE 505 00:21:50,052 --> 00:21:51,010 THEMSELVES ENOUGH TIME HERE. 506 00:21:51,010 --> 00:21:53,096 THEY THINK THAT, BY LOOKING AT 507 00:21:53,096 --> 00:21:56,016 THE SCHEDULE THAT WE POST, WHIC 508 00:21:56,016 --> 00:21:59,072 IS A WINDOW OF OPPORTUNITY, THA 509 00:21:59,072 --> 00:22:01,048 THEY CAN COME IN THOSE FEW SHOR 510 00:22:01,048 --> 00:22:02,096 HOURS AND GET IT. 511 00:22:02,096 --> 00:22:04,012 THEY NEED TO COME. 512 00:22:04,012 --> 00:22:05,060 THEY NEED TO SPEND THEIR WEEKEN 513 00:22:05,060 --> 00:22:08,072 HERE OR THEIR WEEK, BECAUSE IT 514 00:22:08,072 --> 00:22:11,010 HAPPENED TWO DAYS BEFORE A FULL 515 00:22:11,010 --> 00:22:13,060 MOON DURING, AND TWO DAYS AFTER 516 00:22:13,060 --> 00:22:16,024 THE FULL MOON, THERE IS THE 517 00:22:16,024 --> 00:22:18,000 LIKELIHOOD OF A MOONBOW. 518 00:22:18,000 --> 00:22:19,072 IF THEY WOULD COME AND STAY IN 519 00:22:19,072 --> 00:22:21,092 THE LODGE AND THE SURROUNDINGS, 520 00:22:21,092 --> 00:22:23,048 DO OUR TRAILS, ENJOY EVERYTHING 521 00:22:23,048 --> 00:22:24,096 THAT WE HAVE HERE, THEY WOULD 522 00:22:24,096 --> 00:22:29,020 HAVE A MUCH BETTER TRIP PLUS A 523 00:22:29,020 --> 00:22:32,084 MORE OF A CHANCE TO GET THE 524 00:22:32,084 --> 00:22:33,040 MOONBOW. 525 00:22:33,040 --> 00:22:35,080 >> THIS PHENOMENON DRAWS EXPERT 526 00:22:35,080 --> 00:22:37,076 PHOTOGRAPHERS FROM ALL OVER THE 527 00:22:37,076 --> 00:22:38,036 WORLD. 528 00:22:38,036 --> 00:22:45,056 CHARLIE BAGLIN IS A TALENTED 529 00:22:45,056 --> 00:22:50,004 KENTUCKY PHOTOGRAPHER WHOSE 530 00:22:50,004 --> 00:22:51,044 COLLECTIONS INCLUDE THE FALLS. 531 00:22:51,044 --> 00:22:53,088 IT'S THE MOONBOW THAT BRINGS 532 00:22:53,088 --> 00:22:56,000 CHARLIE BACK TIME AFTER TIME. 533 00:22:56,000 --> 00:22:57,068 >> I HAVE BEEN DOING IT FOR A 534 00:22:57,068 --> 00:22:59,044 FEW YEARS TO COME DOWN AND SEE 535 00:22:59,044 --> 00:23:00,011 THE MOONBOW. 536 00:23:00,011 --> 00:23:02,010 IT'S A PIECE OF MAGIC THAT YOU 537 00:23:02,010 --> 00:23:04,028 DON'T GET THE PRIVILEGE TO DO 538 00:23:04,028 --> 00:23:05,011 VERY OFTEN IN LIFE, AND TO COME 539 00:23:05,011 --> 00:23:07,080 DOWN AND SEE IT AND BE ABLE TO 540 00:23:07,080 --> 00:23:09,010 TAKE IT HOME ON CAMERA, THAT'S 541 00:23:09,010 --> 00:23:12,048 PIECE OF WORK. 542 00:23:12,048 --> 00:23:14,028 YOUR BEST FRIEND, WHEN YOU'RE 543 00:23:14,028 --> 00:23:17,076 PHOTOGRAPHING THE MOONBOW, IS A 544 00:23:17,076 --> 00:23:21,004 TRIPOD BECAUSE THE EXPOSURE TO 545 00:23:21,004 --> 00:23:25,008 GET THE IMAGE PROPERLY COULDN'T 546 00:23:25,008 --> 00:23:27,028 BE TWO, THREE, FOUR MINUTES, 547 00:23:27,028 --> 00:23:28,088 DEPENDING ON THE CAMERA, BUT 548 00:23:28,088 --> 00:23:31,052 THERE IS NO WAY TO HANDHOLD A 549 00:23:31,052 --> 00:23:35,012 SHOT FOR THAT LONG. 550 00:23:35,012 --> 00:23:36,011 SO YOUR TRIPOD IS REALLY YOUR 551 00:23:36,011 --> 00:23:37,092 BEST FRIEND. 552 00:23:37,092 --> 00:23:39,092 IT CAN REALLY BRING THAT 553 00:23:39,092 --> 00:23:42,012 EXPOSURE STEADILY. 554 00:23:42,012 --> 00:23:44,010 WHEN YOU'RE TAKING A PHOTOGRAPH 555 00:23:44,010 --> 00:23:46,011 AT NIGHT, INSTANTLY YOU THINK, 556 00:23:46,011 --> 00:23:49,048 OH, IT'S DARK, I BETTER TURN ON 557 00:23:49,048 --> 00:23:50,044 THE FLASH. 558 00:23:50,044 --> 00:23:52,012 THAT'S NOT THE WAY IT IS WHEN 559 00:23:52,012 --> 00:23:54,032 YOU'RE PHOTOGRAPHING THE MOONBO 560 00:23:54,032 --> 00:23:56,004 BECAUSE WHAT YOU'RE DOING IS 561 00:23:56,004 --> 00:23:59,008 TAKING A PHOTOGRAPH OF LIGHT. 562 00:23:59,008 --> 00:24:01,092 IF THAT'S A CANDLELIGHT, IF 563 00:24:01,092 --> 00:24:03,032 THAT'S A REFLECTION, YOU'RE 564 00:24:03,032 --> 00:24:05,096 TAKING A PHOTOGRAPH OF RAYS OF 565 00:24:05,096 --> 00:24:07,080 LIGHT AS THEY COME THROUGH THE 566 00:24:07,080 --> 00:24:09,016 BRANCHES EARLY IN THE MORNING. 567 00:24:09,016 --> 00:24:11,044 ANY ARTIFICIAL LIGHT SOURCE IS 568 00:24:11,044 --> 00:24:12,011 JUST GOING TO WASH IT OUT. 569 00:24:12,011 --> 00:24:15,016 THE SAME THING WITH A FLASH ON 570 00:24:15,016 --> 00:24:16,032 YOUR CAMERA. 571 00:24:16,032 --> 00:24:17,068 IT'S GOING TO LEAVE YOU WITH A 572 00:24:17,068 --> 00:24:19,011 PICTURE OF WHAT LOOKS LIKE FOG, 573 00:24:19,011 --> 00:24:21,092 AND THAT'S THE MIST COMING OUT 574 00:24:21,092 --> 00:24:24,048 OF THE PLUNGE BASIN OF THE 575 00:24:24,048 --> 00:24:24,011 FALLS. 576 00:24:24,011 --> 00:24:26,032 >> STEVE SHAFFER MAKES HIS 577 00:24:26,032 --> 00:24:28,072 LIVING AS A PROFESSIONAL 578 00:24:28,072 --> 00:24:29,024 PHOTOGRAPHER. 579 00:24:29,024 --> 00:24:31,011 HIS CAREER TOOK HIM FROM 580 00:24:31,011 --> 00:24:34,044 NEWSPAPER PHOTOJOURNALIST TO KE 581 00:24:34,044 --> 00:24:37,080 AS THE STAFF PHOTOGRAPHER. 582 00:24:37,080 --> 00:24:39,010 >> WHAT I USE AT THE MOONBOW IS 583 00:24:39,010 --> 00:24:45,000 USUALLY A DIGITAL SLR, ALWAYS O 584 00:24:45,000 --> 00:24:52,052 A TRIPOD, USUALLY REALLY SLOW 585 00:24:52,052 --> 00:24:53,028 SHUTTER SPEEDS. 586 00:24:53,028 --> 00:24:57,011 MY SETTINGS USUALLY STAY PRETTY 587 00:24:57,011 --> 00:24:58,080 CONSISTENT. 588 00:24:58,080 --> 00:25:00,048 WITH THE CAMERAS I HAVE, THEY'R 589 00:25:00,048 --> 00:25:02,004 USUALLY PRETTY SENSITIVE, AND I 590 00:25:02,004 --> 00:25:05,040 KEEP THE ISO OR THE FILM SPEED 591 00:25:05,040 --> 00:25:11,036 USUALLY AT 400 ASA OR 640 ASA. 592 00:25:11,036 --> 00:25:15,060 USUALLY, I CAN GET A 30-SECOND 593 00:25:15,060 --> 00:25:22,016 EXPOSURE AT F4, F4-5, 5-6. 594 00:25:22,016 --> 00:25:24,012 IT WILL CHANGE FROM TRIP TO 595 00:25:24,012 --> 00:25:25,080 TRIP, DEPENDING ON HOW BRIGHT 596 00:25:25,080 --> 00:25:26,010 THE MOON IS. 597 00:25:26,010 --> 00:25:29,012 BUT IN THAT BALLPARK IS USUALLY 598 00:25:29,012 --> 00:25:31,084 WHERE I STICK, AND I'VE GOTTEN 599 00:25:31,084 --> 00:25:33,036 PRETTY GOOD RESULTS SO FAR. 600 00:25:33,036 --> 00:25:37,000 THIS IS MY -- THIS YEAR, THIS I 601 00:25:37,000 --> 00:25:39,000 MY FOURTH OR FIFTH TRIP DOWN 602 00:25:39,000 --> 00:25:41,004 HERE TO SEE THE MOONBOW. 603 00:25:41,004 --> 00:25:42,010 IT'S ALWAYS A PRETTY COOL TRIP. 604 00:25:42,010 --> 00:25:45,036 I MEAN, THERE IS ALWAYS LOTS OF 605 00:25:45,036 --> 00:25:46,052 NICE PEOPLE. 606 00:25:46,052 --> 00:25:48,024 THERE IS ALWAYS PEOPLE WHO HAVE 607 00:25:48,024 --> 00:25:49,072 NEVER SEEN IT BEFORE, WHICH IS 608 00:25:49,072 --> 00:25:51,024 REALLY COOL TO TALK TO THOSE 609 00:25:51,024 --> 00:25:51,011 PEOPLE. 610 00:25:51,011 --> 00:25:52,010 >> I HAVE BEEN GOING TO THE 611 00:25:52,010 --> 00:25:55,048 FALLS AS FAR BACK AS I CAN 612 00:25:55,048 --> 00:25:57,064 REMEMBER, NEVER TIRING OF THE 613 00:25:57,064 --> 00:25:58,056 SCENERY HERE. 614 00:25:58,056 --> 00:25:59,011 FOR ME AND COUNTLESS OTHERS, 615 00:25:59,011 --> 00:26:02,084 IT'S A PLACE WHERE LIFELONG 616 00:26:02,084 --> 00:26:04,068 MEMORIES ARE MADE, EITHER BY DA 617 00:26:04,068 --> 00:26:09,016 OR NIGHT. 618 00:26:09,016 --> 00:26:11,044 A TRIP TO SEE THE MOONBOW AT 619 00:26:11,044 --> 00:26:13,052 CUMBERLAND FALLS IS A FUN, 620 00:26:13,052 --> 00:26:15,012 FAMILY ADVENTURE, AND KENTUCKY 621 00:26:15,012 --> 00:26:17,052 STATE PARKS, ARBORETUMS AND 622 00:26:17,052 --> 00:26:19,060 NATURE PRESERVES HAVE WAYS WE 623 00:26:19,060 --> 00:26:21,064 CAN ENJOY NATURE AT NIGHT ALL 624 00:26:21,064 --> 00:26:22,084 THROUGH THE YEARS. 625 00:26:22,084 --> 00:26:25,036 THERE ARE HIKES TO SEE NOCTURNA 626 00:26:25,036 --> 00:26:27,016 BIRDS AND ANIMALS, STAR GAZING 627 00:26:27,016 --> 00:26:31,092 AND EVEN MOONLIGHT CANOE TRIPS. 628 00:26:31,092 --> 00:26:33,000 NIGHTTIME IS DEFINITELY THE 629 00:26:33,000 --> 00:26:34,076 RIGHT TIME TO ENJOY KENTUCKY'S 630 00:26:34,076 --> 00:26:35,010 NATURAL WONDERS. 631 00:26:35,010 --> 00:26:37,092 WE HOPE YOU'VE ENJOYED TONIGHT' 632 00:26:37,092 --> 00:26:42,036 SHOW AND WE'LL SEE YOU NEXT TIM 633 00:26:39,056 --> 00:26:43,056 RIGHT HERE ON "KENTUCKY LIFE."