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Announcer: This program 
was made possible

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by contributions to 
your PBS station

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from viewers like you. 
Thank you.

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Somebody gave me 
a cassette tape

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of Stevie Wonder 
when I was a kid,

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probably about 12.

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A light switch clicked on,

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and I knew that I wanted

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to say things the way he 
was saying them.

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♪♪

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Amna Nawaz: Hi, everyone.

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This is "Beyond the Canvas."

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From the "PBS Newshour," 
I'm Amna Nawaz.

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You've just heard 
from Grammy-winning musician

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P.J. Morton, 
who plays the keyboard

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for the hit band 
Maroon 5.

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Please remember his phrase, 
"a message with the music"

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because it's a theme 
that flows through the work

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of all the African-American 
musicians in this episode.

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As voices of Black Lives Matter 
rise up around the country,

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we couldn't think of a better 
time to spotlight these artists.

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Tonight, you'll hear from 
the multitalented Common,

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musical ensemble 
Ranky Tanky, along with

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singers Rhiannon Giddens 
and Gary Clark Jr.

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The people you're about to meet 
were first featured

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on the "PBS Newshour" 
before the pandemic,

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but tonight you'll meet them 
on a new canvas

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and maybe see them and their 
work through a different lens,

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right here 
on "Beyond the Canvas."

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Now, back to this brief, 
but spectacular look

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at musician P.J. Morton.

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I was born 
in New Orleans, Louisiana.

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My father's a preacher, 
so I grew up a preacher's kid.

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There was a battle 
between me

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not necessarily 
wanting to be

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a gospel singer 
or be a preacher.

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Black Christian churches is,

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I still think, you know, one 
of the most amazing experiences.

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It was my first introduction 
into performing,

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in a way, because you have 
an audience that's there,

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the congregation, and I was 
watching my dad stand up there

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and command the audience; 
I'm not a preacher,

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but I like to think that I 
carry a message with the music.

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Stevie Wonder, to me,

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even before I met him 
or anything,

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indirectly taught me 
how to write songs.

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Getting to work with him, 
hearing that song,

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and then that song being 
nominated for a Grammy,

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it still is today, 
to me, the--the top thing.

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The song I wanted Stevie to be 
on was a song called "Only One."

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♪ Oh, you're the only one ♪ 
that I need ♪

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♪ The one that I need, ♪ 
one that I need ♪

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♪ Stevie Wonder, play on ♪

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[Harmonica solo playing]

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That year I was nominated 
for "Only One,"

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my dad was nominated 
for Gospel Song of the Year.

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I think it was the first 
father-and-son nomination since,

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like, Bob Dylan and Jakob, 
like, 15 years before that.

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It was cool for us 
'cause we got to spend

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father-and-son time 
at the Grammys.

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My mom was taking 
5 million pictures.

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I try to write selfishly.

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I try to have as little mental 
processing as possible if I can

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'cause you start thinking about 
the fans, and the fans change,

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or you start thinking about 
some person you're writing for

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and your relationship changes.

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I think the only thing 
you can truly do is

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come from an honest place 
and just expect

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that people are gonna be able 
to connect to the honesty.

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"Gumbo" is my favorite album 
that I've done,

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and it's the first album 
that I was able

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to make at home 
in New Orleans.

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And New Orleans is, you know, 
"laissez le bon temps rouler,"

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which is "let the good times 
roll," it's "The Big Easy,"

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so nobody was on my back 
as if I was in L.A., like,

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"Hey, man, you got 
to meet this, you got to"--

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no, it's just like, "Oh, man, 
that sounds good, P.," you know.

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It's just whatever feels good 
in New Orleans.

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I owe a lot to 
the city, too, for

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giving me 
that spirit of freedom.

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My name is P.J. Morton, 
and this is my brief

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but spectacular take 
on making music for me.

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Our next guest is one 
of the biggest names in hip hop,

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known for the rhythm 
and the rhymes he's created

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over nearly 3 decades 
in music.

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I sat down with Common in 
our studio to discuss his music,

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where he finds inspiration, 
and why he finally decided

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to tell his own story.

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Common: ♪ This is street ra-dio 
for unsung hero ♪

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♪ Ridin' in the Regal, ♪ 
tryin' to stay legal ♪

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Nawaz: Lonnie Rashid Lynn, 
better known as Common,

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first emerged on the rap scene 
in the nineties.

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In 2000, his first 
major-label album,

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"Like Water for Chocolate," 
brought big success,

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and his 2005 album "Be" 
was a commercial hit,

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leading to one 
of several Grammy Awards.

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As his fame has grown, 
Common has used

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his growing platform to become 
more politically vocal.

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Through it all, 
Common continues to make music.

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His 2019 album "Let Love" 
accompanied a memoir.

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Thank you for having me.

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I want to ask you 
about your memoir now.

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It's called "Let Love 
Have the Last Word."

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What was it about this 
stage of your career,

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this stage of your life 
that made you want

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to sit down 
and write this book?

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Well, I think there's 
a lot of what we see

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going on in the world 
like the, um,

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divisiveness, the anxiety,

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a lot of the--including 
the attacks and things.

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I really wanted to put--

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instill something 
that was hopeful,

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instill something that 
could be solution-oriented,

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and something that has been 
an antidote for me,

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a resource for me 
to overcome,

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you know, tough times 
in my life.

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I wanted to share that 
with other people.

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It's also a very intensely 
personal book.

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One of the things that you 
share for the first time,

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speaking publicly about it, 
was that as a child,

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you suffered 
a very serious trauma.

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Yeah.

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You were molested when

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you were 9 years old.

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Yes.

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What did it take for you 
to get to a place

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where you felt like you 
could talk about that?

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You know, I felt that

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if--if I decide 
to talk about it,

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it would be healing 
for me, but also

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healing for others

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because other people 
experience

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sexual abuse, 
molestation, um,

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just physical abuse, 
and I knew, as a black man,

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me talking about it 
would give a gateway

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and an opening 
for other men,

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black people, brown people, 
what--you know,

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just to be able to talk about it 
because--and I bring us,

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you know, black people 
into the equation

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because for us, it's--

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in our culture, 
it's not really discussed.

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Like, when those things 
happen, it's not talked

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about as much 
on "How do we solve this?

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How do we, like, 
stop the cycle?"

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So I really knew 
that if I told my story

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and told it in a way 
that's really just raw

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and truthful, and still 
acknowledge that I'm in

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the process and--it would 
allow other human beings

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to come out 
and talk about it.

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You have never 
been afraid

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of tackling 
the tough stuff...

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Heh!

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in your career, whether

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it's about your own personal 
journeys--you mentioned

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your criminal justice 
reform work,

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you tweet a lot...

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Yeah.

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about immigration detention, 
you were tweeting

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about the ICE raids 
recently and injustices

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that you see 
going on around you.

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Where does that 
come from?

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Do you have a--like, a 
sense of responsibility

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to pay attention 
and be engaged?

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You know, I grew up on 
the south side of Chicago,

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a community 
which I really love,

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and that community is like 
many other communities,

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communities that suffer 
from, um,

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being marginalized,

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being treated 
less than,

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having lack of opportunities 
and resources,

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so when I see somebody 
being pushed down,

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I just relate to it. 
I have to speak up.

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It's my duty 
as a human being,

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as an artist, um, 
and not only speaking out;

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to me, my speaking 
has to become action,

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and that's what I'm in-- 
more involved in.

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You did say something 
in your book I wanted

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to read to you, though, 
about sort of the roots

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of where your music comes 
from, which is freestyling.

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Yeah.

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You were talking about

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rapping, you say, 
"I've been rapping

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"for more than 
25 years now.

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"I would rap if I 
lived on the streets,

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"I would rap 
if I were a preacher

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or a prisoner or 
a politician."

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You say it's your release, 
that sometimes,

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even if you can't do it 
in the studio,

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you just hop in the car.

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Yeah.

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And you go and you do.

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You really just do that?

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Yeah.

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You just get out in 
the car and freestyle?

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Yeah, I mean, I love--that's 
actually how I write my songs,

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is, like, I get in the car 
and I just, like,

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put on a beat and I say 
my raps out loud,

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just start freestyling 
whatever lines I like.

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I do believe it's 
a divine expression,

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meaning I'm only creating 
when I'm at my--

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when I'm in a, like, 
a pure place and I'm feeling

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like this--I'm not 
thinking too hard.

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So is this 
a pure place right here?

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OK, if you give me 
a word, it's...

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Oh, OK. How 'bout-- 
how 'bout "facts"?

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Can you riff off "facts"?

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OK.

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Sometimes 
she might even ask

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if I can come here 
and rap off facts

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I'mma tell you this, 
even sitting in a booth,

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any time I talk about facts, 
I spit truth.

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That's what it is. I spring-- 
I spring truth to power.

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I came to do this 
at the "PBS NewsHour."

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Ha!

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That's ours.

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You know how it is. 
I'm telling the facts.

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I've been telling 
the facts for years,

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and when it comes to this, 
yo, I say no lie.

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That's why some politicians, 
I, like, see in they eye,

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they don't be telling 
the facts, yo, facts,

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that's false, 
and what'll happen

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when it come to trying to be 
the boss? Some get lost.

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The lost tapes try to escape, 
but I'm telling you now, yo,

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it's more than 
one take, it's truth,

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and I'm giving you that 
when it comes down.

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This is how the facts 
just sound.

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I think we have 
our new theme song...

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Heh!

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here at the "NewsHour."

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Just like Common, 
the musical group

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Ranky Tanky has 
a mission.

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The South Carolina band 
is known for the revival

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and celebration 
of Gullah music and culture,

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which originated 
among descendants

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of enslaved people 
from West Africa.

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"PBS NewsHour's" 
chief arts, culture,

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and society correspondent 
Jeffrey Brown went to see how

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the group has given new life 
to this old art form.

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[Slow jazz playing] 
Woman: Y'all clap.

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Brown: Ranky Tanky.

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It loosely means 
"get funky,"

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and you can see and feel why 
it's the right name

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for a band celebrating and 
reinventing a music of joy...

244
00:10:13,245 --> 00:10:17,049
Woman: 
♪ Down in the darkness, yeah ♪

245
00:10:17,149 --> 00:10:20,052
Band: ♪ Stand by me ♪

246
00:10:20,152 --> 00:10:22,555
Brown: and pain...

247
00:10:22,655 --> 00:10:25,558
Woman: 
♪ In these hard times ♪

248
00:10:25,658 --> 00:10:28,060
♪ Filled with shadows ♪

249
00:10:28,160 --> 00:10:32,231
♪ When a dark cloud ♪ 
calls my name... ♪

250
00:10:32,331 --> 00:10:35,468
Brown: rhythms brought by 
the enslaved from West Africa,

251
00:10:35,567 --> 00:10:37,970
spirituals of 
the Christian church,

252
00:10:38,070 --> 00:10:40,506
themes that resonate today.

253
00:10:40,606 --> 00:10:42,742
♪ Come by here, ♪ 
my Lord ♪

254
00:10:42,841 --> 00:10:44,744
Both: ♪ Come by here... ♪ 
Brown: It includes songs

255
00:10:44,843 --> 00:10:47,279
many know, though 
you've likely never heard

256
00:10:47,379 --> 00:10:49,649
"Kumbaya" 
quite like this.

257
00:10:49,748 --> 00:10:51,651
♪ Somebody's praying, Lord ♪

258
00:10:51,750 --> 00:10:54,153
Ha ha! 
Both: ♪ Come by here... ♪

259
00:10:54,253 --> 00:10:56,489
Brown: An impromptu 
performance for us

260
00:10:56,588 --> 00:10:58,691
by vocalist Quiana Parler

261
00:10:58,791 --> 00:11:01,427
and trumpet player 
Charlton Singleton...

262
00:11:01,527 --> 00:11:04,797
...and the Grammy goes 
to "Good Time," Ranky Tanky.

263
00:11:04,897 --> 00:11:06,799
Brown: fresh off 
winning a Grammy

264
00:11:06,899 --> 00:11:10,302
for the album "Good Time," 
a first for Gullah music.

265
00:11:10,402 --> 00:11:12,571
Singleton: It meant a lot 
to me with this community

266
00:11:12,671 --> 00:11:15,641
just because of the magnitude 
of the whole Gullah thing.

267
00:11:15,741 --> 00:11:17,643
You felt you were 
representing something?

268
00:11:17,743 --> 00:11:20,146
Yes. It's an honor 
to be here to stand

269
00:11:20,245 --> 00:11:22,648
on the shoulders 
of our Gullah ancestry...

270
00:11:22,748 --> 00:11:24,150
Singleton, voice-over: 
That's representative

271
00:11:24,249 --> 00:11:25,618
of how I was raised

272
00:11:25,718 --> 00:11:27,119
to be a musician

273
00:11:27,219 --> 00:11:29,288
from listening and watching

274
00:11:29,388 --> 00:11:32,291
and imitating all 
of my aunts

275
00:11:32,391 --> 00:11:34,293
and uncles 
and grandparents.

276
00:11:34,393 --> 00:11:36,796
Thank you so much. 
Singleton: And, uh, you know,

277
00:11:36,895 --> 00:11:39,198
have it all kind of 
culminate with a Grammy.

278
00:11:39,298 --> 00:11:41,200
Wow! Yes! Heh!

279
00:11:41,300 --> 00:11:44,537
Growing up in church, we 
emulated the elders as well.

280
00:11:44,636 --> 00:11:47,039
It was like 
a homecoming for me.

281
00:11:47,139 --> 00:11:50,543
Brown: The ensemble is based 
in Charleston and specializes

282
00:11:50,642 --> 00:11:53,946
in jazz-influenced arrangements 
of traditional Gullah...

283
00:11:54,046 --> 00:11:55,815
Ranky Tanky: ♪ Oh, my, 
you look so... ♪

284
00:11:55,914 --> 00:11:58,150
Brown: sometimes called 
Gulla Geechee...

285
00:11:58,250 --> 00:12:00,653
[Man chants, claps] 
Brown: which originated

286
00:12:00,819 --> 00:12:04,056
among descendants 
of enslaved Africans in Georgia,

287
00:12:04,156 --> 00:12:06,559
Florida, and South Carolina.

288
00:12:06,658 --> 00:12:08,561
[Trumpet playing jazz]

289
00:12:08,660 --> 00:12:10,730
The 4 male members 
of Ranky Tanky

290
00:12:10,829 --> 00:12:13,065
have played music together 
since meeting

291
00:12:13,165 --> 00:12:16,402
at the College of Charleston 
in the 1990s,

292
00:12:16,502 --> 00:12:20,406
but they'd all gone off 
to do their own things until,

293
00:12:20,506 --> 00:12:24,744
two decades on, guitarist 
and vocalist Clay Ross proposed

294
00:12:24,843 --> 00:12:28,781
reuniting around Gullah. 
Parler: ♪ Show your purpose ♪

295
00:12:28,881 --> 00:12:32,418
Brown: They brought in 
Quiana Parler in 2017.

296
00:12:32,518 --> 00:12:34,420
Man, voice-over: 
I am a disciple of this music.

297
00:12:34,520 --> 00:12:37,423
This music moves me, you know, 
this music has called to me,

298
00:12:37,523 --> 00:12:40,826
it's inspired me, 
and it's been a part of my life

299
00:12:40,926 --> 00:12:42,828
for over two decades.

300
00:12:42,928 --> 00:12:45,498
Parler: ♪ All for you... ♪ 
Ross: There's no one out there

301
00:12:45,597 --> 00:12:49,702
doing a contemporary expression 
of our South Carolina

302
00:12:49,802 --> 00:12:52,004
roots music and specifically 
Gullah music.

303
00:12:52,104 --> 00:12:55,841
Man: It's an English-based 
Creole language, Gullah is.

304
00:12:55,941 --> 00:12:59,011
Brown: There is a strong sense 
of mission with this band,

305
00:12:59,111 --> 00:13:02,081
as we saw when percussionist 
Quentin Baxter,

306
00:13:02,181 --> 00:13:05,084
bassist Kevin Hamilton, 
and Clay Ross

307
00:13:05,184 --> 00:13:07,553
offered a lesson 
in history and music...

308
00:13:07,653 --> 00:13:10,256
Ross: ♪ Ooh, way down yonder ♪ 
Brown: to students at

309
00:13:10,355 --> 00:13:12,825
the Charleston Seventh-Day 
Adventist School.

310
00:13:12,925 --> 00:13:16,495
It wasn't a hard sell, as these 
fifth- to eighth-graders

311
00:13:16,595 --> 00:13:19,498
quickly took to the clapping, 
singing, and dancing.

312
00:13:19,598 --> 00:13:21,500
[All clamor]

313
00:13:21,600 --> 00:13:24,003
Baxter: The thing 
about it is the music

314
00:13:24,102 --> 00:13:27,006
and the message 
of the culture itself

315
00:13:27,105 --> 00:13:30,075
deserves as big 
of a stage as it can get.

316
00:13:30,175 --> 00:13:32,578
♪ Oh, my, ♪ 
you look so... ♪

317
00:13:32,678 --> 00:13:34,613
Hamilton, voice-over: I like 
to think of it as hopefully

318
00:13:34,713 --> 00:13:36,916
being part of the evolution 
of the culture, so there is

319
00:13:37,015 --> 00:13:38,984
a preservation there, but also, 
I think, there's also the,

320
00:13:39,084 --> 00:13:42,588
you know, sharing it with the 
world and also in adding to it.

321
00:13:42,688 --> 00:13:46,959
Parler: ♪ Let me be 
like a Simmon tree... ♪

322
00:13:47,059 --> 00:13:50,129
Brown: Ranky Tanky band members 
want to play it forward

323
00:13:50,229 --> 00:13:52,631
for current and future 
generations.

324
00:13:52,731 --> 00:13:54,133
♪ Let me be... ♪

325
00:13:54,233 --> 00:13:56,302
Brown: The pandemic lockdown 
put a halt

326
00:13:56,401 --> 00:13:58,637
to the band's 
post-Grammy high.

327
00:13:58,737 --> 00:14:01,040
Charlton Singleton 
gave me an update.

328
00:14:01,139 --> 00:14:03,542
Singleton: You definitely 
miss, you know, just being

329
00:14:03,642 --> 00:14:06,045
around your brothers and 
your sister, you know,

330
00:14:06,144 --> 00:14:09,381
in Ranky Tanky 
and what was, you know,

331
00:14:09,481 --> 00:14:13,152
going to be this grand 
celebration for us.

332
00:14:13,252 --> 00:14:17,156
Brown: The band did play at 
an empty Charleston music hall,

333
00:14:17,256 --> 00:14:19,158
a virtual performance.

334
00:14:19,258 --> 00:14:23,829
♪ When a dark light ♪ 
creeps up on me ♪

335
00:14:23,929 --> 00:14:26,332
Brown: Its members have 
kept healthy and busy

336
00:14:26,431 --> 00:14:29,501
with individual projects 
and, Singleton says,

337
00:14:29,601 --> 00:14:32,004
the pain of pandemic 
and continuing racial

338
00:14:32,104 --> 00:14:36,108
and social divisions bring 
a new urgency to their music.

339
00:14:36,208 --> 00:14:40,613
Does the music you're doing 
address our time even more now?

340
00:14:40,712 --> 00:14:44,817
Singleton: I believe that 
it does. It always has.

341
00:14:44,917 --> 00:14:47,253
[Playing mellow jazz]

342
00:14:51,156 --> 00:14:53,559
Singleton, voice-over: 
It always goes back to love

343
00:14:53,659 --> 00:14:55,561
and faith in 
the Gullah community,

344
00:14:55,661 --> 00:15:00,065
so we feel that 
definitely our music is,

345
00:15:00,165 --> 00:15:04,136
um, really primed for what's 
happening right now.

346
00:15:04,236 --> 00:15:06,138
[Playing lively jazz]

347
00:15:06,238 --> 00:15:10,476
Brown: Ranky Tanky is hoping 
to return to large venues...

348
00:15:10,575 --> 00:15:12,811
Singleton: It was in 
this very room that we recorded

349
00:15:12,911 --> 00:15:15,814
our Grammy Award-winning album. 
[Crowd cheers]

350
00:15:15,914 --> 00:15:18,851
Brown: while still playing 
for local friends and family,

351
00:15:18,951 --> 00:15:22,554
as we'd seen on our visit... 
Ross: ♪ Good time, a good time ♪

352
00:15:22,654 --> 00:15:25,391
Ranky Tanky: 
♪ We gonna have a time ♪

353
00:15:25,490 --> 00:15:27,893
Brown: 
embracing the good time

354
00:15:27,993 --> 00:15:29,895
and joyful sounds 
of Gullah.

355
00:15:29,995 --> 00:15:31,997
Ranky Tanky: 
♪ Shake it, yeah ♪

356
00:15:32,097 --> 00:15:34,500
♪ Shake it, go... ♪

357
00:15:34,599 --> 00:15:36,502
Next, another musician

358
00:15:36,601 --> 00:15:38,871
with a strong connection 
to her musical roots.

359
00:15:38,971 --> 00:15:41,473
Vocalist Rhiannon Giddens 
sees herself

360
00:15:41,573 --> 00:15:43,642
as part of the tradition 
that includes

361
00:15:43,742 --> 00:15:46,011
some of the great ladies 
of music:

362
00:15:46,111 --> 00:15:47,980
Odetta, Patsy Cline,

363
00:15:48,080 --> 00:15:49,982
Dolly Parton, 
and Nina Simone.

364
00:15:50,082 --> 00:15:51,984
Giddens shared 
with Jeffrey Brown how

365
00:15:52,084 --> 00:15:54,320
she uses 
historical inspiration

366
00:15:54,419 --> 00:15:57,222
to inform her own sound.

367
00:15:57,322 --> 00:16:02,322
Giddens: ♪ Waterboy ♪

368
00:16:05,030 --> 00:16:07,933
Brown: It's a powerful song, 
"Waterboy,"

369
00:16:08,033 --> 00:16:11,136
made famous by 
the folk singer Odetta,

370
00:16:11,236 --> 00:16:13,806
now becoming a signature 
for a powerful

371
00:16:13,905 --> 00:16:17,309
new voice of today, belonging 
to Rhiannon Giddens.

372
00:16:17,409 --> 00:16:22,214
Giddens: 
♪ ...tell your Pa on you ♪

373
00:16:22,314 --> 00:16:25,718
♪ It's all become ♪ 
so complicated... ♪

374
00:16:25,817 --> 00:16:28,721
Brown: Her debut celebrates 
women who influenced her,

375
00:16:28,820 --> 00:16:31,991
some famous like Dolly Parton 
and Patsy Cline...

376
00:16:32,090 --> 00:16:33,759
Giddens: 
♪ ...you stay ♪

377
00:16:33,859 --> 00:16:36,895
[Different song playing] 
Giddens: ♪ Pawn my watch... ♪

378
00:16:36,995 --> 00:16:39,398
Brown: others, 
like Sister Rosetta Tharpe

379
00:16:39,498 --> 00:16:41,567
and Libby Cotten, 
much less so.

380
00:16:41,666 --> 00:16:45,471
Giddens: ♪ ...everything 
that was in my name ♪

381
00:16:45,570 --> 00:16:50,570
♪ Oh, Lordy me, ♪ 
didn't I shake sugaree? ♪

382
00:16:50,709 --> 00:16:54,646
♪ Everything I got ♪ 
is done and pawned... ♪

383
00:16:54,746 --> 00:16:56,648
Giddens, voice-over: I've been 
really thinking about the woman

384
00:16:56,748 --> 00:16:58,984
in Americana music and the woman 
in American history and just

385
00:16:59,084 --> 00:17:01,553
kind of thinking about all 
these really strong women

386
00:17:01,653 --> 00:17:04,056
who, you know, 
broke down doors

387
00:17:04,156 --> 00:17:07,559
and, you know, had to kind of 
overcome lots of hardship

388
00:17:07,659 --> 00:17:09,561
to, like, even have 
a music career

389
00:17:09,661 --> 00:17:12,297
and just how much I 
benefit from that.

390
00:17:12,397 --> 00:17:15,801
♪ ...they asked of me ♪ 
what could I say? ♪

391
00:17:15,901 --> 00:17:17,803
To me, 
all of those songs--

392
00:17:17,903 --> 00:17:21,440
blues, you know, 
jazz, uh, country--

393
00:17:21,540 --> 00:17:24,777
you know, all of them actually 
do belong side by side

394
00:17:24,876 --> 00:17:27,279
'cause they're all coming out 
of this common well of--

395
00:17:27,379 --> 00:17:30,449
of sort of the proto-American 
music, like, this root stuff,

396
00:17:30,549 --> 00:17:32,951
you know, and so it was 
just kind of irresistible

397
00:17:33,051 --> 00:17:35,888
to be able to--to do 
them all together.

398
00:17:35,987 --> 00:17:37,556
Brown: 
Giddens studied opera

399
00:17:37,656 --> 00:17:40,259
at the Oberlin Conservatory 
in Ohio.

400
00:17:40,358 --> 00:17:43,262
It was there she came back 
to earlier loves:

401
00:17:43,361 --> 00:17:46,265
folk music, first 
through contra dance,

402
00:17:46,364 --> 00:17:49,568
similar to line-dancing, 
and then string band music

403
00:17:49,668 --> 00:17:51,070
from Appalachia.

404
00:17:51,169 --> 00:17:53,072
♪ When the waters flow ♪ 
and the grasses grow... ♪

405
00:17:53,171 --> 00:17:55,574
Brown: That led to 
an exploration of the often

406
00:17:55,674 --> 00:17:58,577
overlooked role of 
African-Americans in the genre.

407
00:17:58,677 --> 00:18:01,146
Her group, 
The Carolina Chocolate Drops,

408
00:18:01,246 --> 00:18:05,384
won a 2010 Grammy 
for Best New Folk Album.

409
00:18:05,484 --> 00:18:08,520
♪ I am a country girl... ♪

410
00:18:08,620 --> 00:18:11,056
Giddens, voice-over: String band 
music is a cross-cultural thing.

411
00:18:11,156 --> 00:18:13,559
It's not a white thing. 
It's not a black thing, either.

412
00:18:13,658 --> 00:18:16,562
I'm a mixed-race person, 
you know, and I

413
00:18:16,661 --> 00:18:18,730
was raised with both 
culturally, and I

414
00:18:18,830 --> 00:18:21,233
was raised sort of, 
you know, with this Southern

415
00:18:21,333 --> 00:18:24,236
sort of mélange 
of cultures, and so,

416
00:18:24,336 --> 00:18:26,738
to me, getting 
that information out there

417
00:18:26,838 --> 00:18:29,908
is way, way important 
because it's like, "Look, guys,

418
00:18:30,008 --> 00:18:33,145
like, this is why 
American music is so strong."

419
00:18:33,245 --> 00:18:35,414
♪ If you don't ♪ 
come right here ♪

420
00:18:35,514 --> 00:18:37,416
♪ If you don't come ♪ 
right here... ♪

421
00:18:37,516 --> 00:18:38,917
Brown: Then, 
one of those moments

422
00:18:39,017 --> 00:18:41,420
that can change a career...

423
00:18:41,520 --> 00:18:43,422
Giddens: 
♪ ...tear your... ♪

424
00:18:43,522 --> 00:18:46,091
Brown: a concert 
in New York in 2013,

425
00:18:46,191 --> 00:18:49,895
put together by legendary music 
producer T-Bone Burnett

426
00:18:49,995 --> 00:18:53,398
to celebrate the film about 
the early folk music scene,

427
00:18:53,498 --> 00:18:55,200
"Inside Llewyn Davis."

428
00:18:55,300 --> 00:18:58,203
[Singing in Gaelic]

429
00:18:58,303 --> 00:19:00,706
Brown: Many stars performed,

430
00:19:00,805 --> 00:19:03,208
Joan Baez, Jack White, 
Patti Smith,

431
00:19:03,308 --> 00:19:05,210
and Elvis Costello 
among them...

432
00:19:05,310 --> 00:19:07,546
[Giddens singing in Gaelic]

433
00:19:07,646 --> 00:19:10,549
Brown: but, by all accounts, 
Giddens stole the show,

434
00:19:10,649 --> 00:19:14,353
including with a rousing song 
sung in Gaelic.

435
00:19:14,452 --> 00:19:17,189
[Giddens singing rapidly 
in Gaelic]

436
00:19:22,928 --> 00:19:24,830
It was like, 
"Now, don't screw it up,

437
00:19:24,930 --> 00:19:26,331
don't screw up, 
don't screw up."

438
00:19:26,431 --> 00:19:28,867
[Singing rapidly in Gaelic]

439
00:19:28,967 --> 00:19:31,203
Giddens: You know, 
and the rest of it

440
00:19:31,303 --> 00:19:33,205
just kind of came 
as a total surprise.

441
00:19:33,305 --> 00:19:36,208
[Song ends, 
cheering and applause]

442
00:19:36,308 --> 00:19:38,544
Brown: Soon after, 
T-Bone Burnett offered

443
00:19:38,643 --> 00:19:41,713
to produce Giddens' 
first solo album.

444
00:19:41,813 --> 00:19:45,384
Giddens: I'd be a fool 
to not use all the tools

445
00:19:45,483 --> 00:19:47,886
at my disposal, you know, 
because really,

446
00:19:47,986 --> 00:19:50,055
the important thing to me is 
the music and the mission,

447
00:19:50,155 --> 00:19:53,225
so if me being a soloist is 
going to be the best way

448
00:19:53,325 --> 00:19:55,727
to get it out to 
more people, I'll do it.

449
00:19:55,827 --> 00:19:58,230
If me, like, putting on makeup 
and a nice gown

450
00:19:58,330 --> 00:20:00,732
is gonna help the, 
you know, the mission

451
00:20:00,832 --> 00:20:04,403
and to get the whole project 
taken forward, I'll do it.

452
00:20:04,502 --> 00:20:05,904
[Vocalizing]

453
00:20:06,004 --> 00:20:07,406
Brown: But you're 
being, in a sense,

454
00:20:07,505 --> 00:20:10,008
for the larger public, 
discovered at 38.

455
00:20:10,108 --> 00:20:12,344
Yeah, and I--I am 
so grateful for that.

456
00:20:12,444 --> 00:20:14,846
I was an idiot at 28, 
you know what I mean?

457
00:20:14,946 --> 00:20:16,848
Like, not to say 
that I'm, you know,

458
00:20:16,948 --> 00:20:19,117
I'm about half-idiot 
now, so, you know, you

459
00:20:19,217 --> 00:20:20,619
just learn so much 
as you get older, I've

460
00:20:20,719 --> 00:20:22,287
got kids, like, I just 
know what's important

461
00:20:22,387 --> 00:20:24,156
in this life.

462
00:20:24,256 --> 00:20:26,158
It's a good spot to 
be in at the moment.

463
00:20:26,258 --> 00:20:28,160
♪ She told me that she ♪ 
wouldn't mind ♪

464
00:20:28,260 --> 00:20:33,131
♪ And then commenced ♪ 
to roam ♪

465
00:20:34,399 --> 00:20:37,302
Finally, 
another musician embracing

466
00:20:37,402 --> 00:20:39,471
a full palette of sounds is

467
00:20:39,571 --> 00:20:42,641
Grammy Award-winning artist 
Gary Clark Jr.

468
00:20:42,741 --> 00:20:46,144
Best known for his fusion 
of blues, rock, and soul,

469
00:20:46,244 --> 00:20:48,380
Clark reflects on the past

470
00:20:48,480 --> 00:20:50,882
and shares his hopes 
for the future.

471
00:20:50,982 --> 00:20:52,384
Jeffrey Brown is back.

472
00:20:52,484 --> 00:20:54,653
["This Land" playing]

473
00:20:54,753 --> 00:20:56,655
Clark: ♪ Paranoid 
and pissed off... ♪

474
00:20:56,755 --> 00:20:59,992
Brown: In the title song 
of his latest album "This Land,"

475
00:21:00,091 --> 00:21:02,995
Gary Clark Jr. sounds 
an angry cry...

476
00:21:03,094 --> 00:21:06,098
Clark: ♪ Right in 
the middle of Trump country ♪

477
00:21:06,197 --> 00:21:09,268
Brown: about the racism and 
hatred he sees in America today,

478
00:21:09,367 --> 00:21:12,904
and a confrontation he himself 
had with a white neighbor

479
00:21:13,004 --> 00:21:15,474
after he bought a new ranch 
outside his hometown

480
00:21:15,573 --> 00:21:17,576
of Austin, Texas.

481
00:21:17,676 --> 00:21:20,746
Clark: ♪ Go back where 
you come from ♪

482
00:21:20,845 --> 00:21:23,181
♪ We don't want, ♪ 
we don't want your kind ♪

483
00:21:23,281 --> 00:21:26,385
♪ This is where I ♪ 
come from ♪

484
00:21:26,484 --> 00:21:29,087
♪ This land is mine ♪

485
00:21:29,087 --> 00:21:31,790
♪ This land is mine ♪

486
00:21:31,890 --> 00:21:34,793
Clark: Basically, 
"This Land" is me saying,

487
00:21:34,893 --> 00:21:38,230
"Yeah, there's all this around, 
but forget everybody.

488
00:21:38,330 --> 00:21:41,233
"Nobody can bring you 
down in your head.

489
00:21:41,333 --> 00:21:44,236
"Nobody can make you 
feel less than.

490
00:21:44,336 --> 00:21:47,472
"Nobody can make you 
feel not equal to.

491
00:21:47,572 --> 00:21:50,175
"Be strong, be proud,

492
00:21:50,275 --> 00:21:53,845
be humble, but don't 
let 'em break you."

493
00:21:53,945 --> 00:21:56,682
Brown: Clark is a proud product 
of Austin's famed

494
00:21:56,781 --> 00:22:00,185
Sixth Street music scene-- 
one club after another,

495
00:22:00,285 --> 00:22:02,754
a wide variety 
of live music.

496
00:22:02,854 --> 00:22:05,090
He got his first guitar at 12

497
00:22:05,190 --> 00:22:07,926
and was quickly grabbed by 
the sound of the blues,

498
00:22:08,026 --> 00:22:11,496
where, still in middle school, 
he found an immediate home.

499
00:22:11,596 --> 00:22:14,499
I had this raw thing, 
and there was guitar players

500
00:22:14,599 --> 00:22:16,735
out front, and there was 
lead guitar playing,

501
00:22:16,835 --> 00:22:19,404
there was improvisation, 
and when I saw these people

502
00:22:19,504 --> 00:22:22,174
playing blues and when I 
went down to that blues club,

503
00:22:22,273 --> 00:22:24,843
and it was filled up with smoke 
and it was old guys who were

504
00:22:24,943 --> 00:22:27,679
cool with their leather jackets 
and their Stratocasters,

505
00:22:27,779 --> 00:22:30,349
you know, and their amps, 
I was like, "Man,

506
00:22:30,448 --> 00:22:33,018
I want to be a part of this," 
and they welcomed us.

507
00:22:33,118 --> 00:22:36,688
Think of being 14 years old, 
to have your elders

508
00:22:36,788 --> 00:22:39,558
welcome you and be 
excited, you know.

509
00:22:39,657 --> 00:22:42,561
Brown: The welcoming 
into the blues community

510
00:22:42,660 --> 00:22:46,565
would culminate 
some years later in 2010

511
00:22:46,664 --> 00:22:49,401
when Clark was invited 
by Eric Clapton

512
00:22:49,501 --> 00:22:52,304
to perform at his legendary 
Crossroads Festival.

513
00:22:52,404 --> 00:22:55,407
["Bright Lights" playing]

514
00:22:55,507 --> 00:22:59,010
♪ You gonna know ♪ 
my name, yeah ♪

515
00:22:59,110 --> 00:23:00,512
It meant something to me.

516
00:23:00,612 --> 00:23:03,248
I felt like I was 
a part of something.

517
00:23:05,750 --> 00:23:07,652
Brown: 
A brilliant guitarist,

518
00:23:07,752 --> 00:23:10,655
he would play at 
the White House in 2012,

519
00:23:10,755 --> 00:23:13,024
win a Grammy 
two years later,

520
00:23:13,124 --> 00:23:16,528
but Clark never saw himself 
as limited to the blues

521
00:23:16,628 --> 00:23:18,864
and had begun to feel 
constrained by what the world

522
00:23:18,963 --> 00:23:21,032
expected or wanted 
from him.

523
00:23:21,132 --> 00:23:24,069
His newest album--his third 
studio recording--

524
00:23:24,169 --> 00:23:26,405
is his most varied 
statement yet,

525
00:23:26,504 --> 00:23:30,108
a broad palette of sounds, 
including reggae...

526
00:23:30,208 --> 00:23:34,513
♪ You're not looking ♪ 
for a lover ♪

527
00:23:34,612 --> 00:23:36,848
a Prince-like falsetto...

528
00:23:36,948 --> 00:23:41,720
♪ You don't understand ♪ 
how you hurt me ♪

529
00:23:42,854 --> 00:23:44,189
Whoo!

530
00:23:44,289 --> 00:23:47,192
Brown: straight-ahead 
Chuck Berry rock 'n' roll riffs.

531
00:23:47,292 --> 00:23:49,394
[Playing fast rock]

532
00:23:51,830 --> 00:23:53,732
[Playing slower rock]

533
00:23:53,832 --> 00:23:55,901
Brown: And also now 
in his music,

534
00:23:56,000 --> 00:23:58,403
the hopes and fears 
of being a parent.

535
00:23:58,503 --> 00:24:01,540
Clark and his wife Nicole 
have two young children.

536
00:24:01,639 --> 00:24:06,044
He says that and the world 
they're growing up in

537
00:24:06,144 --> 00:24:10,382
make him want his music to reach 
deeper and have greater impact.

538
00:24:10,482 --> 00:24:14,553
Clark: It's because of 
this tension and social climate,

539
00:24:14,652 --> 00:24:17,556
you know, 
race relations and fear

540
00:24:17,655 --> 00:24:20,525
and the unknown.

541
00:24:20,625 --> 00:24:22,527
How do I maneuver 
through that

542
00:24:22,627 --> 00:24:25,030
and teach my kids how 
to be strong,

543
00:24:25,129 --> 00:24:27,032
teach my kids how 
to be loving

544
00:24:27,131 --> 00:24:29,568
in a world 
that can be so cruel?

545
00:24:29,667 --> 00:24:32,070
♪ Come together ♪

546
00:24:32,170 --> 00:24:34,072
Come on! Come on!

547
00:24:34,172 --> 00:24:37,075
♪ Right now ♪ 
[Song ends]

548
00:24:37,175 --> 00:24:39,077
Yeah, we love you. 
Appreciate you.

549
00:24:39,177 --> 00:24:42,080
Nawaz: Each artist you heard 
from in this program has

550
00:24:42,180 --> 00:24:45,250
a unique sound and story, 
but what brings them together

551
00:24:45,350 --> 00:24:47,619
is their belief 
in the power of music

552
00:24:47,719 --> 00:24:51,022
to honor their past 
and inspire the future.

553
00:24:51,122 --> 00:24:53,525
Join the conversation 
on our website:

554
00:24:57,128 --> 00:25:00,866
and find more canvas art stories 
on the "PBS Newshour."

555
00:25:00,965 --> 00:25:02,934
I'm Amna Nawaz. 
For all of us

556
00:25:03,034 --> 00:25:05,437
at the "PBS NewsHour," 
thanks for joining me

557
00:25:05,537 --> 00:25:08,573
here on "Beyond the Canvas." 
We'll see you soon.

558
00:25:10,742 --> 00:25:12,143
Next time 
on "Beyond the Canvas,"

559
00:25:12,143 --> 00:25:13,545
our profile 
of Oscar-nominated

560
00:25:13,645 --> 00:25:15,981
Mexican actress 
Yalitza Aparicio...

561
00:25:16,080 --> 00:25:18,483
Translator: I enjoy fighting 
for my indigenous community

562
00:25:18,583 --> 00:25:20,719
because I feel proud 
of who I am.

563
00:25:20,818 --> 00:25:23,555
Nawaz: along with some 
of the best cultural creators

564
00:25:23,655 --> 00:25:25,524
in that country. 
Stay tuned for

565
00:25:25,623 --> 00:25:28,660
a special episode 
featuring the arts of Mexico.

566
00:25:31,128 --> 00:25:32,130
Common: 
♪ Hands to the heavens, ♪

567
00:25:32,230 --> 00:25:33,231
♪ No man, no weapon ♪

568
00:25:33,231 --> 00:25:34,232
♪ Formed against yes ♪

569
00:25:34,232 --> 00:25:35,967
♪ Glory is destined ♪

570
00:25:36,067 --> 00:25:38,370
♪ Every day, women ♪ 
and men become legends ♪

571
00:25:38,469 --> 00:25:41,973
♪ Sins that go against our skin ♪ 
become blessings ♪

572
00:25:42,073 --> 00:25:43,875
♪ The movement is ♪ 
the rhythm to us ♪

573
00:25:43,975 --> 00:25:46,278
♪ Freedom is like ♪ 
religion to us ♪

574
00:25:46,377 --> 00:25:49,681
♪ Justice is ♪ 
juxtapositionin' us ♪

575
00:25:49,781 --> 00:25:52,284
♪ Justice for all just ♪ 
ain't specific enough ♪

576
00:25:52,383 --> 00:25:55,186
♪ One son died, his spirit ♪ 
is revisitin' us ♪

577
00:25:55,286 --> 00:25:57,622
♪ Truant livin' livin' in us, ♪ 
resistance is us... ♪

578
00:26:00,892 --> 00:26:02,093
Announcer: This program 
was made possible by

579
00:26:02,093 --> 00:26:05,296
contributions to your PBS 
station from viewers like you.

580
00:26:05,296 --> 00:26:06,130
Thank you.