1 00:00:04,533 --> 00:00:15,166 >> PRODUCTION SUPPORT FOR "THE 2 00:00:05,333 --> 00:00:49,433 WEEKLY SPECIAL" IS PROVIDED BY: 3 00:00:49,433 --> 00:00:50,533 >> THE SEASON HAS CHANGED, BUT 4 00:00:50,533 --> 00:00:52,233 HOW ARE YOU CHANGING THE SEASON? 5 00:00:52,233 --> 00:00:54,066 MEET HOOSIERS ACROSS THE STATE 6 00:00:54,066 --> 00:00:57,433 THAT EMBRACE THE POWER OF TIME. 7 00:00:57,433 --> 00:00:58,433 >>> MEET A COLUMBUS SCULPTURE 8 00:00:58,433 --> 00:00:59,900 THAT CAPTURES THE CHANGING 9 00:00:59,900 --> 00:01:03,333 SEASONS IN CERAMIC MASTER 10 00:01:03,333 --> 00:01:03,666 PIECES. 11 00:01:03,666 --> 00:01:05,933 >>> BE INSPIRED BY ARNELL DARDEN 12 00:01:05,933 --> 00:01:09,500 AS HE CHASES THE SUN IN HIS POEM 13 00:01:09,500 --> 00:01:13,400 "TODAY" AND WE'LL EXPLORE BEAN 14 00:01:13,400 --> 00:01:14,666 MONROE'S LEGEND. 15 00:01:14,666 --> 00:01:17,333 AND WE'LL WELCOME JASON WILBUR 16 00:01:17,333 --> 00:01:20,066 TO THE STUDIO. 17 00:01:20,066 --> 00:01:21,700 EMBRACE THE CHANGING SEASON 18 00:01:21,700 --> 00:01:26,200 ACROSS INDIANA ON TONIGHT'S 19 00:01:24,333 --> 00:01:26,866 "WEEKLY SPECIAL." 20 00:01:26,866 --> 00:01:36,233 ♪♪ 21 00:01:36,233 --> 00:01:37,733 >>> WELCOME TO "THE WEEKLY 22 00:01:37,733 --> 00:01:38,100 SPECIAL." 23 00:01:38,100 --> 00:01:38,766 I'M DARRYL NEHER. 24 00:01:38,766 --> 00:01:40,966 AT THIS TIME OF YEAR, HOOSIERS 25 00:01:40,966 --> 00:01:42,400 ARE OFTEN REMINDED OF THE 26 00:01:42,400 --> 00:01:43,133 PASSAGE OF TIME. 27 00:01:43,133 --> 00:01:44,366 THE LEAVES CHANGE AND FALL TO 28 00:01:44,366 --> 00:01:46,233 THE GROUND AND THE NEW YEAR 29 00:01:46,233 --> 00:01:47,733 SEEMS AROUND THE CORNER. 30 00:01:47,733 --> 00:01:50,066 BUT COLUMBUS ARTIST ROBERT 31 00:01:50,066 --> 00:01:51,566 PULLEY, THE PASSAGE OF TIME 32 00:01:51,566 --> 00:01:52,500 CIRCLING THROUGHOUT EACH YEAR 33 00:01:52,500 --> 00:01:54,333 HAS BEEN THE INSPIRATION OF HIS 34 00:01:54,333 --> 00:01:55,433 ART. 35 00:01:55,433 --> 00:01:57,033 ♪♪ 36 00:01:57,033 --> 00:01:59,333 >> I GREW UP IN WABASH, INDIANA. 37 00:01:59,333 --> 00:02:01,200 THERE'S A PLACE I WOULD HIKE OUT 38 00:02:01,200 --> 00:02:03,266 TO, ABOUT 5 MILES FROM MY HOME, 39 00:02:03,266 --> 00:02:07,933 TO A PLACE WHERE THE WATER WAS 40 00:02:07,933 --> 00:02:09,633 ERODING AND GOING INTO THESE 41 00:02:09,633 --> 00:02:10,833 BASINS THAT WERE PERFECTLY 42 00:02:10,833 --> 00:02:11,133 ROUND. 43 00:02:11,133 --> 00:02:12,800 THIS IDEA THAT THE STONE EXTENDS 44 00:02:12,800 --> 00:02:16,666 DOWN INTO THE EARTH, AND THE 45 00:02:16,666 --> 00:02:18,966 WATER IS FALLING OVER, IT'S JUST 46 00:02:18,966 --> 00:02:24,100 A MAGICAL COMBINATION. 47 00:02:24,100 --> 00:02:26,200 ♪♪ 48 00:02:26,200 --> 00:02:27,933 CLAY IS SO OPEN ENDED. 49 00:02:27,933 --> 00:02:29,366 IT DOESN'T REALLY HAVE A FORM OF 50 00:02:29,366 --> 00:02:31,733 ITS OWN, BUT IT WILL TAKE ANY 51 00:02:31,733 --> 00:02:33,033 FORM YOU PUT IT IN. 52 00:02:33,033 --> 00:02:34,966 I STARTED WORKING ON THE LARGE 53 00:02:34,966 --> 00:02:39,033 SCALE, AT FIRST EVERYTHING WAS 54 00:02:39,033 --> 00:02:39,433 IMPROVISED. 55 00:02:39,433 --> 00:02:41,233 I LIKE THE PHYSICALITY OF IT. 56 00:02:41,233 --> 00:02:42,933 THEY ALMOST HAVE A PROJECTION OF 57 00:02:42,933 --> 00:02:43,266 ENERGY. 58 00:02:43,266 --> 00:02:45,266 WHEN YOU COME UP TO THEM, YOU 59 00:02:45,266 --> 00:02:46,033 FEEL THEM. 60 00:02:46,033 --> 00:02:49,333 YOU FEEL THEM, LIKE, IN YOUR 61 00:02:49,333 --> 00:02:49,633 GUTS. 62 00:02:49,633 --> 00:02:51,600 IT IMPACTS ME. 63 00:02:51,600 --> 00:02:54,166 SO IT'S THAT KIND OF ENERGY THAT 64 00:02:54,166 --> 00:02:55,366 I'M AFTER. 65 00:02:55,366 --> 00:02:57,400 AS FAR AS THE KIND OF THINGS 66 00:02:57,400 --> 00:03:04,233 THAT I'M EXPLORING,, IT IS PLAN A 67 00:03:04,233 --> 00:03:05,533 LINE OF ATTACK. 68 00:03:05,533 --> 00:03:11,200 IT'S JUST FOLLOWING THE FLOW. 69 00:03:11,200 --> 00:03:13,200 I CAME TO WORK ON FIVE OR SIX 70 00:03:13,200 --> 00:03:14,733 PIECES AT A TIME IN THE STUDIO 71 00:03:14,733 --> 00:03:16,600 AND I WILL SET OUT AND START 72 00:03:16,600 --> 00:03:17,000 EVERYTHING. 73 00:03:17,000 --> 00:03:19,633 ONCE IT'S STARTED, THEN ON A 74 00:03:19,633 --> 00:03:21,833 DAILY BASIS, I TRY TO GET OUT 75 00:03:21,833 --> 00:03:23,400 THERE AND PUT ANOTHER COIL ON. 76 00:03:23,400 --> 00:03:24,866 AND THEN I PINCH IT UP. 77 00:03:24,866 --> 00:03:27,700 WHICH WAY IS IT MOVING, THREE OR 78 00:03:27,700 --> 00:03:29,933 FOUR INCHES FROM THE WAY IT WAS 79 00:03:29,933 --> 00:03:30,266 BEFORE. 80 00:03:30,266 --> 00:03:32,633 AND THEN WHEN I GET DON'T 81 00:03:32,633 --> 00:03:34,466 THINKING, I SIT BACK AND LOOK AT 82 00:03:34,466 --> 00:03:35,900 IT AND GIVE AN ANGLE. 83 00:03:35,900 --> 00:03:37,600 I'M LOOKING FOR WHERE THIS LINE 84 00:03:37,600 --> 00:03:39,366 IS GOING. 85 00:03:39,366 --> 00:03:41,700 IS THIS SURFACE GOING TO BE A 86 00:03:41,700 --> 00:03:42,866 SOFT, OPEN SURFACE? 87 00:03:42,866 --> 00:03:47,500 OR DOES IT WANT TO BE AN ACTIVE 88 00:03:47,500 --> 00:03:47,833 SURFACE? 89 00:03:47,833 --> 00:03:50,533 AND WHEN IT'S ALMOST GONE, I 90 00:03:50,533 --> 00:03:52,800 HAVE TOOLS I MADE OUT OF SHARPEN 91 00:03:52,800 --> 00:03:54,466 RODS AND I PICK, PICK, PICK, 92 00:03:54,466 --> 00:03:54,766 PICK. 93 00:03:54,766 --> 00:03:56,766 SO ALL OF THESE MARKS ARE 94 00:03:56,766 --> 00:03:57,600 INDIVIDUAL PICK MARKS. 95 00:03:57,600 --> 00:04:00,500 IT ENDS UP BEING THE BIGGEST 96 00:04:00,500 --> 00:04:01,900 TIME CONSUMER, MAYBE THREE OR 97 00:04:01,900 --> 00:04:06,800 FOUR HOURS PICKING PICKS ON ONE 98 00:04:06,800 --> 00:04:07,100 PIECE. 99 00:04:07,100 --> 00:04:08,866 THE GLAZE IS DONE IN A SPRAYER. 100 00:04:08,866 --> 00:04:09,866 I WORK REAL FAST. 101 00:04:09,866 --> 00:04:12,066 I SIT BACK THERE AND JUST KIND 102 00:04:12,066 --> 00:04:18,033 OF INTUITIVELY SPRAY THE GLAZE 103 00:04:18,033 --> 00:04:20,400 AROUND AND ACCENTING AND 104 00:04:20,400 --> 00:04:28,766 HARMONIZING THE FORM I MADE. 105 00:04:23,366 --> 00:04:29,333 IT'S ALWAYS THE FORM. 106 00:04:29,333 --> 00:04:31,166 ♪♪ 107 00:04:31,166 --> 00:04:35,866 >> INNATURE MAKES SUCH WONDERFUL 108 00:04:35,866 --> 00:04:37,033 THINGS, THE STONE. 109 00:04:37,033 --> 00:04:40,033 THE FORMS OF STONES ARE NOT 110 00:04:40,033 --> 00:04:40,400 ACCIDENTS. 111 00:04:40,400 --> 00:04:42,933 THEY ARE THE RESULT OF PHYSICS 112 00:04:42,933 --> 00:04:45,466 AT WORK IN THE LAYERING OF THE 113 00:04:45,466 --> 00:04:50,333 STONE, THE WAY THEY DRY, THE WAY 114 00:04:50,333 --> 00:04:54,366 THEY FIND WEAK SPOTS, FRACTURES 115 00:04:54,366 --> 00:04:58,133 THINGS OUT, AND FIELD STONES ARE 116 00:04:58,133 --> 00:04:58,833 TUMBLED FROM CANADA. 117 00:04:58,833 --> 00:05:02,333 WHAT I'M DOING IN MY ART TO SOME 118 00:05:02,333 --> 00:05:03,500 DEGREE, I'M TRYING TO EXPRESS 119 00:05:03,500 --> 00:05:05,800 THIS COMING AND GOING, YOU KNOW, 120 00:05:05,800 --> 00:05:08,000 THIS FRACTURING OFF, THE 121 00:05:08,000 --> 00:05:09,266 STRENGTH OF LIFE, THE STRENGTH 122 00:05:09,266 --> 00:05:11,566 OF LIFE, YOU KNOW, TRYING TO 123 00:05:11,566 --> 00:05:16,066 FIND A MACE FOR PLACE FOR YOURSELF IN THE 124 00:05:16,066 --> 00:05:17,166 WORLD. 125 00:05:17,166 --> 00:05:19,133 ORGANIC ANIMALS OR PLANTS. 126 00:05:19,133 --> 00:05:21,766 SOME OF THE FORMS I FIND 127 00:05:21,766 --> 00:05:22,500 CROPPING UP ARE REFERENCES TO 128 00:05:22,500 --> 00:05:23,433 THE HUMAN FIGURE. 129 00:05:23,433 --> 00:05:25,100 IF YOU LOOK AROUND, YOU SEE 130 00:05:25,100 --> 00:05:27,300 HIPS, SHOULDERS, BUT THERE'S 131 00:05:27,300 --> 00:05:28,800 REALLY NOT ANY OF THOSE THINGS. 132 00:05:28,800 --> 00:05:30,566 THEY ARE JUST FORMS THAT LOOK 133 00:05:30,566 --> 00:05:33,700 ORGANIC AND REMIND YOU OF THE 134 00:05:33,700 --> 00:05:34,800 BODY OR THESE TOOLS. 135 00:05:34,800 --> 00:05:38,333 SO A LOT OF THE FORMS IS NOT ME 136 00:05:38,333 --> 00:05:39,033 RECREATING FORMS. 137 00:05:39,033 --> 00:05:40,733 IT'S ME RECOGNIZING SOMETHING IN 138 00:05:40,733 --> 00:05:42,433 THE FORMS. 139 00:05:42,433 --> 00:05:46,800 SO THAT SENSE OF LIFE, I THINK, 140 00:05:46,800 --> 00:05:49,200 IS INTERESTING TO ME, AS WELL AS 141 00:05:49,200 --> 00:05:51,500 THE SENSE OF DECAY AND EACH OF 142 00:05:51,500 --> 00:05:53,733 THEM IS KIND OF -- IT'S AS MUCH 143 00:05:53,733 --> 00:05:57,266 INFORMATION ABOUT THE WORLD AND 144 00:05:57,266 --> 00:05:59,133 ONE PIECE THAT I CAN FIT INTO. 145 00:05:59,133 --> 00:06:01,733 THAT'S WHAT I LOOK FOR IN ART 146 00:06:01,733 --> 00:06:02,066 MYSELF. 147 00:06:02,066 --> 00:06:02,933 OF COURSE, SOMETHING THAT'S 148 00:06:02,933 --> 00:06:04,966 BRINGING ME A NEW MESSAGE THAT 149 00:06:04,966 --> 00:06:06,700 IS INSPIRING ME IN SOME WAY, 150 00:06:06,700 --> 00:06:10,000 THAT CHALLENGES ME OR JUST MAKES 151 00:06:10,000 --> 00:06:10,733 ME FEEL GOOD. 152 00:06:10,733 --> 00:06:12,833 SO MY HOPE IS THAT THERE ARE 153 00:06:12,833 --> 00:06:16,766 PEOPLE WHO FIND THE WORK, AND IT 154 00:06:16,766 --> 00:06:18,100 DOES THAT SORT OF THING FOR 155 00:06:18,100 --> 00:06:23,000 THEM. 156 00:06:23,000 --> 00:06:24,866 >> TO SEE MORE EXAMPLES OF 157 00:06:24,866 --> 00:06:25,966 ROBERT'S INCREDIBLE WORK OR TO 158 00:06:25,966 --> 00:06:27,266 PURCHASE A PIECE FOR YOURSELF, 159 00:06:27,266 --> 00:06:29,533 VISIT HIS WEBSITE, 160 00:06:29,533 --> 00:06:32,066 ROBERTPULLEY.COM. 161 00:06:32,066 --> 00:06:33,333 ARTISTS ARE OFTEN INSPIRED BY 162 00:06:33,333 --> 00:06:36,600 THE PASSAGE OF TIME, BUT SPOKEN 163 00:06:36,600 --> 00:06:39,466 WORD ARTIST, ARNELL DARDEN IS 164 00:06:39,466 --> 00:06:41,333 FOCUSED ON LIVING THE HERE AND 165 00:06:41,333 --> 00:06:47,500 NOW. 166 00:06:47,500 --> 00:06:50,133 >> TODAY. 167 00:06:50,133 --> 00:06:52,300 TODAY WE'LL FOLLOW THE SUN UNTIL 168 00:06:52,300 --> 00:06:55,200 IT BELLY FLOPS BEHIND THE 169 00:06:55,200 --> 00:06:56,666 HORIZON AND THEN MEET IT ON THE 170 00:06:56,666 --> 00:06:57,200 OTHER SIDE. 171 00:06:57,200 --> 00:06:59,933 WE DON'T HAVE TO KNOW WHERE IT'S 172 00:06:59,933 --> 00:07:00,433 GOING. 173 00:07:00,433 --> 00:07:01,733 WE DON'T EVEN CARE. 174 00:07:01,733 --> 00:07:04,166 WE JUST KNOW WE HAVE TO BE 175 00:07:04,166 --> 00:07:04,666 THERE. 176 00:07:04,666 --> 00:07:06,833 THEY TELL US THE SUN IS HOT. 177 00:07:06,833 --> 00:07:08,300 YOU WILL BURN! 178 00:07:08,300 --> 00:07:12,100 WE SAY, YOU GET WHAT YOU EARN. 179 00:07:12,100 --> 00:07:13,200 AND SO WE CHASE. 180 00:07:13,200 --> 00:07:16,166 WE DON'T CARE ABOUT THE SHARED, 181 00:07:16,166 --> 00:07:17,566 BETTER THAN LOOKS ON THE FACES 182 00:07:17,566 --> 00:07:19,700 OF NATIONS WE TREK THROUGH, 183 00:07:19,700 --> 00:07:20,500 BECAUSE WE ARE RUNNING. 184 00:07:20,500 --> 00:07:23,000 WE KNOW THAT WHEN WE CATCH THEM, 185 00:07:23,000 --> 00:07:24,866 IT WILL ALL BE WORTH IT. 186 00:07:24,866 --> 00:07:26,366 WE KNOW THEIR DISDAIN FOR US, 187 00:07:26,366 --> 00:07:27,533 FOR SOMETHING DIFFERENT, FOR 188 00:07:27,533 --> 00:07:28,566 PEACE, IS THE ONLY THING THEY 189 00:07:28,566 --> 00:07:30,700 AGREE ON, BUT WE HAVE NOTICED 190 00:07:30,700 --> 00:07:31,066 SOMETHING. 191 00:07:31,066 --> 00:07:33,033 WE HAVE SEEN THAT HE IS THE ONLY 192 00:07:33,033 --> 00:07:35,000 ONE THEY ALL LOOK UP TO. 193 00:07:35,000 --> 00:07:37,666 SO MAYBE IF WE CAPTURE AND 194 00:07:37,666 --> 00:07:39,633 DEVOUR HIM, THEY WILL SYMPTOM 195 00:07:39,633 --> 00:07:40,600 LOOKING -- STOP LOOKING DOWN 196 00:07:40,600 --> 00:07:41,766 THEIR NOSES AT US. 197 00:07:41,766 --> 00:07:44,000 MAYBE IF WE CAGE HIM UP AND 198 00:07:44,000 --> 00:07:45,466 CHARGE HONESTY AND THE TRUTH TO 199 00:07:45,466 --> 00:07:47,266 SEE HIM, THEY WILL TELL US HOW 200 00:07:47,266 --> 00:07:48,766 JEALOUS THEY REALLY ARE AT THOSE 201 00:07:48,766 --> 00:07:50,066 BETTER THAN LOOKS RIGHT OFF OF 202 00:07:50,066 --> 00:07:52,700 THEIR FACES. 203 00:07:52,700 --> 00:07:55,166 MAYBE WE'LL CATCH THEM TODAY. 204 00:07:55,166 --> 00:07:59,133 BUT MAYBE NOT. 205 00:07:59,133 --> 00:08:01,466 EITHER WAY, WE ARE ARTISTS. 206 00:08:01,466 --> 00:08:03,733 AND SOME OF US WILL CAPTURE HIM 207 00:08:03,733 --> 00:08:06,966 WITH BRUSHES AND PALATES. 208 00:08:06,966 --> 00:08:09,700 SOME OF THEM WITH PENCILS AND 209 00:08:09,700 --> 00:08:11,233 MARKERS AS PERMANENT WITH 210 00:08:11,233 --> 00:08:11,566 GRAVITY. 211 00:08:11,566 --> 00:08:14,066 SOME OF THEM WITH WORDS THAT HE 212 00:08:14,066 --> 00:08:16,633 DOESN'T ARE UNDERSTAND, THAT 213 00:08:16,633 --> 00:08:18,800 MAKE HIM SHINE WITH GREEN ENVY. 214 00:08:18,800 --> 00:08:25,500 SOME OF US WITH MOVEMENTS THAT 215 00:08:25,500 --> 00:08:26,266 MIMIC PEGASUS. 216 00:08:26,266 --> 00:08:29,466 SOME OF US WITH OUR VERY OPEN 217 00:08:29,466 --> 00:08:30,733 BODIES SCULPTING NINE MONTH 218 00:08:30,733 --> 00:08:33,333 MASTER PIECES, AND TRYING TO 219 00:08:33,333 --> 00:08:34,066 CHISEL THEIR BEAUTY AWAY. 220 00:08:34,066 --> 00:08:35,733 WE ARE ARTISTS. 221 00:08:35,733 --> 00:08:38,100 AND WE'LL CHASE THE SUN UNTIL IT 222 00:08:38,100 --> 00:08:41,766 SQUEEZES BEHIND THE TREES LIKE 223 00:08:41,766 --> 00:08:43,500 POVERTY INTO THE AMERICAN DREAM. 224 00:08:43,500 --> 00:08:46,766 WE WILL CHASE THEM UNTIL HE 225 00:08:46,766 --> 00:08:49,400 FINALLY SURRENDERS HIS LIGHT. 226 00:08:49,400 --> 00:08:52,866 WE WILL WRESTLE HIM DOWN AND 227 00:08:52,866 --> 00:08:55,633 MAKE HIM ARE TELL US HIS 228 00:08:55,633 --> 00:08:56,700 DEEPEST, BRIGHTEST SECRET. 229 00:08:56,700 --> 00:08:58,433 AND MAYBE THEN, MAYBE THEN THE 230 00:08:58,433 --> 00:09:00,133 WORLD WILL REALIZE THAT THE LIFE 231 00:09:00,133 --> 00:09:03,400 THEY ONCE NEEDED TO LIVE MIGHT 232 00:09:03,400 --> 00:09:06,900 JUST LIVE IN US. 233 00:09:06,900 --> 00:09:10,433 KEEP CHASING. 234 00:09:10,433 --> 00:09:11,700 >> IF YOU WOULD LIKE TO HEAR 235 00:09:11,700 --> 00:09:14,066 MORE EXTRAORDINARY SPOKEN WORD 236 00:09:14,066 --> 00:09:15,933 ARTISTS IN THE AREA, 237 00:09:15,933 --> 00:09:19,333 BLOOMINGTON'S PLAYERS PUB HOSTS 238 00:09:19,333 --> 00:09:21,866 A MONTHLY SPOKEN WORD SHOW. 239 00:09:21,866 --> 00:09:26,866 GO TO PLAYERSPUB.COM. 240 00:09:26,866 --> 00:09:27,933 >>> TONIGHT WE CONCLUDE OUR 241 00:09:27,933 --> 00:09:29,200 SERIES WITH THE FATHER OF 242 00:09:29,200 --> 00:09:41,000 BLUEGRASS HIMSELF, BILL MONROE. 243 00:09:31,766 --> 00:09:41,700 ♪♪ 244 00:09:41,700 --> 00:09:50,700 ♪♪ 245 00:09:50,700 --> 00:09:52,100 >> BY THE 1950s, THE PEOPLE IN 246 00:09:52,100 --> 00:09:54,533 THE SMALL TOWN OF BEAN BLOSSOM, 247 00:09:54,533 --> 00:09:55,900 INDIANA, HAD GROWN THEIR PASSION 248 00:09:55,900 --> 00:09:58,766 FOR LIVE COUNTRY MUSIC INTO THE 249 00:09:58,766 --> 00:10:00,966 RENOWNED BROWN COUNTY JAMBOREE. 250 00:10:00,966 --> 00:10:03,033 BUT AFTER A LITTLE MORE THAN A 251 00:10:03,033 --> 00:10:05,733 DECADE, THE VENUE NEEDED A NEW 252 00:10:05,733 --> 00:10:08,800 OWNER TO REINVIGORATE ITS SHOWS 253 00:10:08,800 --> 00:10:10,133 AND GROW ITS LEGACY. 254 00:10:10,133 --> 00:10:11,333 FORTUNATELY THE FATHER OF 255 00:10:11,333 --> 00:10:13,666 BLUEGRASS HIMSELF, BILL MONROE, 256 00:10:13,666 --> 00:10:15,666 HAD FALLEN IN LOVE WITH THE 257 00:10:15,666 --> 00:10:17,100 JAMBOREE, AFTER HE PERFORMED 258 00:10:17,100 --> 00:10:20,966 THERE IN THE EARLY 1950s. 259 00:10:20,966 --> 00:10:22,433 HE BEGAN PLAYING THERE REGULARLY 260 00:10:22,433 --> 00:10:24,900 AND SOON TAKEN OVER MANAGEMENT 261 00:10:24,900 --> 00:10:25,466 OF THE VENUE. 262 00:10:25,466 --> 00:10:26,700 EVEN THOUGH HE WAS BORN AND 263 00:10:26,700 --> 00:10:28,466 RAISED IN KENTUCKY, HIS HOOSIER 264 00:10:28,466 --> 00:10:29,966 ROOTS RAN DEEP. 265 00:10:29,966 --> 00:10:32,700 IN 1929, AT THE AGE OF 18, BILL 266 00:10:32,700 --> 00:10:34,133 MOVED TO INDIANA WITH HIS 267 00:10:34,133 --> 00:10:36,733 BROTHERS CHARLIE AND BIRCH. 268 00:10:36,733 --> 00:10:39,200 BILL JOINED CHARLIE WORKING AT 269 00:10:39,200 --> 00:10:41,200 THE SINCLAIR OIL REFINERRING IN 270 00:10:41,200 --> 00:10:45,333 WHITING, UNLOADING OIL BEARERS 271 00:10:45,333 --> 00:10:46,966 FROM FREIGHT TRAINS AND DOING 272 00:10:46,966 --> 00:10:48,233 GENERAL JANITORIAL WORK. 273 00:10:48,233 --> 00:10:51,200 LIKE OTHER SOUTHERNERS THAT CAME 274 00:10:51,200 --> 00:10:52,500 NORTH LOOKING FOR WORK DURING 275 00:10:52,500 --> 00:10:53,266 THE DEPRESSION. 276 00:10:53,266 --> 00:10:55,600 BILL MONROE AND HIS BROTHERS 277 00:10:55,600 --> 00:10:57,566 BROUGHT THEIR CULTURAL AND 278 00:10:57,566 --> 00:10:59,166 MUSICAL TRADITIONS WITH THEM. 279 00:10:59,166 --> 00:11:01,166 AS THEY HAD BACK IN KENTUCKY, 280 00:11:01,166 --> 00:11:03,633 THEY BEGAN PLAYING AT THE LOCAL 281 00:11:03,633 --> 00:11:05,033 GATHERINGS, LIKE THE SQUARE 282 00:11:05,033 --> 00:11:06,566 DANCES HELD IN AN OLD STORE 283 00:11:06,566 --> 00:11:07,966 FRONT IN HAMMOND, INDIANA. 284 00:11:07,966 --> 00:11:09,500 ALONG WITH THEIR FRIEND LARRY 285 00:11:09,500 --> 00:11:11,766 MOORE, THEY FORMED THE GROUP 286 00:11:11,766 --> 00:11:13,300 KNOWN AS THE MONROE BROTHERS. 287 00:11:13,300 --> 00:11:15,833 A COUNTRY MUSIC SPRING GROUP 288 00:11:15,833 --> 00:11:17,966 FEATURING BILL ON THE MANDOLIN. 289 00:11:17,966 --> 00:11:19,566 THE MONROE BROTHERS WERE 290 00:11:19,566 --> 00:11:20,833 DISCOVERED BY A COUNTRY MUSIC 291 00:11:20,833 --> 00:11:23,100 PROGRAM DIRECTOR WHO HIRED THEM 292 00:11:23,100 --> 00:11:24,600 AS A SQUARE DANCE TEAM AND THE 293 00:11:24,600 --> 00:11:26,900 BOYS SET OFF, PERFORMING AT A 294 00:11:26,900 --> 00:11:28,600 TRAVELING VARIETY SHOW SPONSORED 295 00:11:28,600 --> 00:11:29,966 BY THE RADIO STATION. 296 00:11:29,966 --> 00:11:31,866 SOON THE MONROE BROTHERS COULD 297 00:11:31,866 --> 00:11:35,166 BE HEARD ON RADIO STATIONS 298 00:11:35,166 --> 00:11:37,366 ACROSS NORTHERN INDIANA, 299 00:11:37,366 --> 00:11:39,633 PERFORMING THEIR OWN 15 MINUTE 300 00:11:39,633 --> 00:11:41,100 CEREAL PROGRAM ON A GARY 301 00:11:41,100 --> 00:11:41,433 STATION. 302 00:11:41,433 --> 00:11:42,466 THIS DREW THE ATTENTION OF THE 303 00:11:42,466 --> 00:11:44,333 GRAND PALACE THEATER IN CHICAGO, 304 00:11:44,333 --> 00:11:47,266 WHICH BOOKED THE MONROE BROTHERS 305 00:11:47,266 --> 00:11:47,933 TO PERFORM. 306 00:11:47,933 --> 00:11:49,433 THE NEXT BIG BREAK TOOK THEM 307 00:11:49,433 --> 00:11:53,866 EVEN FURTHER AWAY FROM THE 308 00:11:53,866 --> 00:11:56,233 HOOSIER STATE. 309 00:11:56,233 --> 00:11:57,533 DURING THE TIME BILL WAS AWAY 310 00:11:57,533 --> 00:12:00,366 FROM INDIANA, HIS CAREER 311 00:12:00,366 --> 00:12:04,433 SKYROCKETS. 312 00:12:04,433 --> 00:12:08,633 BY 1936, RCA VICTOR SIGNED THEM 313 00:12:08,633 --> 00:12:10,866 FOR "WHAT WOULD YOU GIVE FOR 314 00:12:10,866 --> 00:12:12,966 EXCHANGE FOR YOUR SOUL." 315 00:12:12,966 --> 00:12:15,200 BILL QUICKLY FORMED OTHER 316 00:12:15,200 --> 00:12:18,033 GROUPS, INCLUDING THE LEGENDARY 317 00:12:18,033 --> 00:12:19,533 BLUEGRASS BOYS. 318 00:12:19,533 --> 00:12:21,333 IN 1939, HE SUCCESSFULLY 319 00:12:21,333 --> 00:12:22,700 AUDITIONS FOR THE GRAND OLE 320 00:12:22,700 --> 00:12:24,000 OPRY, THE VENUE THAT WOULD HELP 321 00:12:24,000 --> 00:12:26,733 TO MAKE HIM A STAR! 322 00:12:26,733 --> 00:12:30,466 TO ACCOMPANY HIS UNIQUE MANDOLIN 323 00:12:30,466 --> 00:12:32,933 MELODIES AND HIGH TENOR VOICE, 324 00:12:32,933 --> 00:12:37,400 HE ADDED EARL SCRUGGS ON THE 325 00:12:37,400 --> 00:12:38,000 BANJO AND LESTER FLAT. 326 00:12:38,000 --> 00:12:39,866 WITH THE CLASSIC LINEUP, THE 327 00:12:39,866 --> 00:12:41,333 BLUEGRASS BOYS WERE BORN. 328 00:12:41,333 --> 00:12:43,600 OVER THE NEXT TWO YEARS THE BAND 329 00:12:43,600 --> 00:12:45,066 RECORDED SEVERAL SUCCESSFUL 330 00:12:45,066 --> 00:12:47,600 SONGS FOR COLUMBIA RECORDS, 331 00:12:47,600 --> 00:12:49,133 INCLUDING "BLUE MOON OF 332 00:12:49,133 --> 00:12:50,533 KENTUCKY" WHICH BECAME A HIT 333 00:12:50,533 --> 00:12:52,500 AGAIN IN 1954, WHEN A YOUNG 334 00:12:52,500 --> 00:12:54,466 UNKNOWN SINGER CALLED ELVIS 335 00:12:54,466 --> 00:12:55,966 PRESLEY, COVERED THE SONG FOR 336 00:12:55,966 --> 00:13:01,233 THE B SIDE OF HIS VERY FIRST 337 00:13:01,233 --> 00:13:01,566 SINGLE. 338 00:13:01,566 --> 00:13:03,133 SCRUGGS LEFT THE BAND IN THE 339 00:13:03,133 --> 00:13:06,300 LATE 1940s BUT BILL MONROE'S 340 00:13:06,300 --> 00:13:07,400 SUCCESS CONTINUES. 341 00:13:07,400 --> 00:13:08,200 "THE NEW YORK TIMES" REFERRED TO 342 00:13:08,200 --> 00:13:09,833 HIM AS THE UNIVERSALLY 343 00:13:09,833 --> 00:13:11,000 RECOGNIZED FATHER OF BLUEGRASS 344 00:13:11,000 --> 00:13:13,500 AND REPORTED THAT HE HELPED LAY 345 00:13:13,500 --> 00:13:16,000 THE FOUNDATION OF COUNTRY MUSIC. 346 00:13:16,000 --> 00:13:17,766 BY THE TIME MONROE RETURNED TO 347 00:13:17,766 --> 00:13:20,166 THE HOOSIER STATE IN THE EARLY 348 00:13:20,166 --> 00:13:22,600 1950s, THE BROWN COUNTY 349 00:13:22,600 --> 00:13:24,766 JAMBOREE HAD BECOME HUGELY 350 00:13:24,766 --> 00:13:25,100 POPULAR. 351 00:13:25,100 --> 00:13:28,800 BILL MONROE BEGAN PLAYING AT THE 352 00:13:28,800 --> 00:13:39,000 BROWN COUNTY JAM JAM JAM JAMBOREE. 353 00:13:39,000 --> 00:13:41,000 HE KEPT THE REGULAR SUNDAY 354 00:13:41,000 --> 00:13:43,000 JAMBOREE SHOW THAT HAD BEEN 355 00:13:43,000 --> 00:13:44,566 RUNNING MAY THROUGH NOVEMBER FOR 356 00:13:44,566 --> 00:13:46,100 OVER A DECADE BUT HE NEEDED A 357 00:13:46,100 --> 00:13:48,566 NEW ANGLE TO MAINTAIN ITS 358 00:13:48,566 --> 00:13:48,966 POPULARITY. 359 00:13:48,966 --> 00:13:50,966 AS ROCK AND ROLL TOOK OVER THE 360 00:13:50,966 --> 00:13:52,233 AIRWAVES IN THE FIRST HALF OF 361 00:13:52,233 --> 00:13:54,400 THE 1950s, LESS PEOPLE CAME TO 362 00:13:54,400 --> 00:13:56,066 BEAN BLOSSOM SEEKING COUNTRY 363 00:13:56,066 --> 00:13:57,866 MUSIC, HOWEVER, WITH THE REVIVAL 364 00:13:57,866 --> 00:14:00,933 OF THE FOLK MOVEMENT IN THE LATE 365 00:14:00,933 --> 00:14:03,433 1950s AND EARLY '60s BILL 366 00:14:03,433 --> 00:14:05,300 MONROE AND HIS UNIQUE STYLE OF 367 00:14:05,300 --> 00:14:06,866 BLUEGRASS ATTRACTED NATIONAL 368 00:14:06,866 --> 00:14:08,633 ATTENTION ONCE MORE. 369 00:14:08,633 --> 00:14:10,400 THIS REINVIGORATED INTEREST IN 370 00:14:10,400 --> 00:14:11,700 BEAN BLOSSOM AS WELL AND THE 371 00:14:11,700 --> 00:14:13,433 TIME FELT RIGHT FOR MONROE'S 372 00:14:13,433 --> 00:14:15,366 NEXT MOVE, A LARGE ANNUAL 373 00:14:15,366 --> 00:14:16,933 BLUEGRASS FESTIVAL. 374 00:14:16,933 --> 00:14:22,200 ON JUNE 24th AND 25th, 1967, 375 00:14:22,200 --> 00:14:23,633 BILL MONROE HELD HIS FIRST 376 00:14:23,633 --> 00:14:26,566 FESTIVAL WHICH HE CALLED THE BIG 377 00:14:26,566 --> 00:14:27,333 BLUEGRASS CELEBRATION. 378 00:14:27,333 --> 00:14:29,333 THE NEXT YEAR IT HAD TO BE 379 00:14:29,333 --> 00:14:31,300 EXTENDED TO THREE DAYS TO 380 00:14:31,300 --> 00:14:33,200 ACCOMMODATE THE LARGE CROWD OF 381 00:14:33,200 --> 00:14:34,700 10,000 MUSIC LOVERS. 382 00:14:34,700 --> 00:14:36,366 IN 1969, THE EVENT WAS BILLED AS 383 00:14:36,366 --> 00:14:39,400 BILL MONROE'S BLUEGRASS FESTIVAL 384 00:14:39,400 --> 00:14:41,300 AND THE GROUNDS WERE REFERRED TO 385 00:14:41,300 --> 00:14:43,166 AS THE BROWN COUNTY JAMBOREE 386 00:14:43,166 --> 00:14:43,466 PARK. 387 00:14:43,466 --> 00:14:46,766 BY THE 1970s, THE FESTIVAL HAD 388 00:14:46,766 --> 00:14:48,100 EVOLVED INTO AN INTERNATIONAL 389 00:14:48,100 --> 00:14:50,266 EVENT WITH MUSICIANS AND 390 00:14:50,266 --> 00:14:51,866 ATTENDEES COMING COMING TO BEAN BLOSSOM 391 00:14:51,866 --> 00:14:53,166 FROM ACROSS THE WORLD EVEN AS 392 00:14:53,166 --> 00:14:54,500 FAR AWAY AS NEW ZEALAND AND 393 00:14:54,500 --> 00:14:56,200 JAPAN. 394 00:14:56,200 --> 00:14:59,400 BILL MONROE REMAINED ACTIVITY IN 395 00:14:59,400 --> 00:15:00,866 FESTIVAL ACTIVITIES UNTIL HIS 396 00:15:00,866 --> 00:15:03,966 DEATH IN 1996, BUT HIS LEGACY 397 00:15:03,966 --> 00:15:05,233 CONTINUES AT BEAN BLOSSOM TODAY. 398 00:15:05,233 --> 00:15:07,533 JUST LAST YEAR, THE PARK, NOW 399 00:15:07,533 --> 00:15:10,466 KNOWN AS BILL MONROE'S MEMORIAL 400 00:15:10,466 --> 00:15:12,200 PARK AND CAMPGROUND HELD THE 401 00:15:12,200 --> 00:15:18,566 50th ANNUAL BILL MONROE BEAN 402 00:15:18,566 --> 00:15:19,633 BLOSSOM FESTIVAL. 403 00:15:19,633 --> 00:15:21,833 HERE THEY PAUSE IN FRONT OF NEW 404 00:15:21,833 --> 00:15:23,066 STATE HISTORICAL PARKER AND 405 00:15:23,066 --> 00:15:24,433 REMEMBER THE HANDFUL OF BEAN 406 00:15:24,433 --> 00:15:26,833 BLOSSOM RESIDENTS WHO STARTED IT 407 00:15:26,833 --> 00:15:29,766 ALL, WITH ONE LONE MICROPHONE 408 00:15:29,766 --> 00:15:31,633 AND AMPLIFIER IN THE PARKING LOT 409 00:15:31,633 --> 00:15:33,700 OF AN OLD FILLING STATION AND A 410 00:15:33,700 --> 00:15:35,900 DEEP LOVE FOR COUNTRY MUSIC. 411 00:15:35,900 --> 00:15:38,800 ♪♪ 412 00:15:38,800 --> 00:15:39,866 >> EVENTS ARE HAPPENING YEAR 413 00:15:39,866 --> 00:15:41,600 ROUND AT THE BILL MONROE MUSIC 414 00:15:41,600 --> 00:15:42,233 PARK. 415 00:15:42,233 --> 00:15:45,866 LEARN MORE AT 416 00:15:45,866 --> 00:15:46,600 BILLMONROEMUSICPARK.COM AND IF 417 00:15:46,600 --> 00:15:48,566 YOU WOULD LIKE TO LEARN MORE 418 00:15:48,566 --> 00:15:50,666 ABOUT MORE INCREDIBLE INDIANA 419 00:15:50,666 --> 00:15:51,866 HISTORY CHECK OUT THE INDIANA 420 00:15:51,866 --> 00:15:52,566 HISTORICAL BUREAU. 421 00:15:52,566 --> 00:15:56,000 THEY HAVE BEEN MARKING INDIANA 422 00:15:56,000 --> 00:15:57,300 HISTORY SINCE 1915. 423 00:15:57,300 --> 00:16:01,766 LEARN MORE AT IN.GOV/HISTORY. 424 00:16:01,766 --> 00:16:02,800 >>> OUR NEXT GUEST UNDERSTANDS 425 00:16:02,800 --> 00:16:04,633 THE PASSION OF AMERICANA. 426 00:16:04,633 --> 00:16:08,200 MEET JASON WILBUR. 427 00:16:08,200 --> 00:16:19,100 ♪♪ 428 00:16:19,100 --> 00:16:21,566 >> I REMEMBER I TOOK A GUITAR 429 00:16:21,566 --> 00:16:22,833 CLASS IN SIXTH GRADE. 430 00:16:22,833 --> 00:16:23,833 I THOUGHT IT WAS SOMETHING THAT 431 00:16:23,833 --> 00:16:27,100 I WOULD DO FOR A LITTLE WHILE 432 00:16:27,100 --> 00:16:29,300 AND THE YEARS WENT BY AND I'M 433 00:16:29,300 --> 00:16:30,266 STILL DOING. 434 00:16:30,266 --> 00:16:34,633 I HAVE BEEN PLAYING IN JOHN 435 00:16:34,633 --> 00:16:36,333 PRINE BAND FOR ALMOST 22 YEARS. 436 00:16:36,333 --> 00:16:38,866 I STARTED PLAYING IN FEBRUARY OF 437 00:16:38,866 --> 00:16:39,133 '96. 438 00:16:39,133 --> 00:16:41,600 IT WAS THE SECOND HALF OF A TOUR 439 00:16:41,600 --> 00:16:43,833 FOR "LOST DOGS AND MIXED 440 00:16:43,833 --> 00:16:44,233 BLESSINGS." 441 00:16:44,233 --> 00:16:45,400 BECAUSE I WAS WRITING SONGS AND 442 00:16:45,400 --> 00:16:48,066 I WANTED TO HAVE AN OUTLET FOR 443 00:16:48,066 --> 00:16:49,900 THOSE AND I FEEL THE NEED TO LET 444 00:16:49,900 --> 00:16:51,533 THOSE OUT AND DOCUMENT THEM AND 445 00:16:51,533 --> 00:16:52,900 WORK ON THEM. 446 00:16:52,900 --> 00:16:53,466 THAT'S WHAT I ENJOY. 447 00:16:53,466 --> 00:16:55,333 IF YOU WRITE A BUNCH OF SONGS, 448 00:16:55,333 --> 00:16:56,733 YOU MIGHT FIND A PERSON TO SING 449 00:16:56,733 --> 00:16:58,433 ONE OR TWO OF THEM OCCASIONALLY, 450 00:16:58,433 --> 00:16:59,966 BUT IF YOU WANT A LOT OF YOUR 451 00:16:59,966 --> 00:17:02,600 SONGS TO GET OUT THERE, YOU HAVE 452 00:17:02,600 --> 00:17:03,733 TO SING THEM YOURSELF. 453 00:17:03,733 --> 00:17:04,700 AT LEAST I DID. 454 00:17:04,700 --> 00:17:06,533 THAT'S WHAT I CHOSE TO DO. 455 00:17:06,533 --> 00:17:08,366 THE IMPORTANT PROCESS IS A LOT 456 00:17:08,366 --> 00:17:09,366 OF FUN. 457 00:17:09,366 --> 00:17:10,466 IT'S VERY COLLABORATIVE AND IT'S 458 00:17:10,466 --> 00:17:12,300 KIND OF A PROCESS OF DISCOVERY. 459 00:17:12,300 --> 00:17:14,200 AND YOU TAKE A SONG AND YOU 460 00:17:14,200 --> 00:17:15,766 MAYBE HAVE AN IDEA OF HOW IT'S 461 00:17:15,766 --> 00:17:16,333 GOING TO GO. 462 00:17:16,333 --> 00:17:17,900 I LIKE TO EXPLORE THINGS AS WE 463 00:17:17,900 --> 00:17:19,333 ARE RECORDING AND JUST SEE WHAT 464 00:17:19,333 --> 00:17:20,400 WORKS AND WHAT DOESN'T WORK. 465 00:17:20,400 --> 00:17:22,033 AND IT'S JUST REALLY FUN TO SEE 466 00:17:22,033 --> 00:17:24,100 WHERE THINGS LEAD AND BUILDING 467 00:17:24,100 --> 00:17:24,766 ON THINGS. 468 00:17:24,766 --> 00:17:26,833 A LOT OF TIMES THE THINGS YOU 469 00:17:26,833 --> 00:17:28,566 THINK ARE GOING TO BE REALLY 470 00:17:28,566 --> 00:17:30,000 GOOD JUST END UP BEING OKAY AND 471 00:17:30,000 --> 00:17:32,833 THE THINGS YOU JUST THOUGHT WERE 472 00:17:32,833 --> 00:17:34,033 OKAY END UP BEING GREAT. 473 00:17:34,033 --> 00:17:34,466 IT'S FUN. 474 00:17:34,466 --> 00:17:35,566 IT'S AN ADVENTURE. 475 00:17:35,566 --> 00:17:37,400 IF YOU WANT TO BE A MUSICIAN, DO 476 00:17:37,400 --> 00:17:40,133 IT BECAUSE YOU REALLY LOVE IT 477 00:17:40,133 --> 00:17:42,033 AND CAN'T STAND NOT TO DO IT. 478 00:17:42,033 --> 00:17:43,566 OTHERWISE, BAD TIMES ARE 479 00:17:43,566 --> 00:17:44,900 PROBABLY GOING TO BE BAD ENOUGH 480 00:17:44,900 --> 00:17:46,800 THAT YOU WILL STOP. 481 00:17:46,800 --> 00:17:47,900 IT F THAT MAKES SENSE. 482 00:17:47,900 --> 00:17:49,866 IF YOU REALLY LOVE IT, THEN IT'S 483 00:17:49,866 --> 00:17:52,400 EASIER TO TAKE THE BAD TIMES. 484 00:17:52,400 --> 00:17:53,766 SINGING, FOR ME, DIDN'T REALLY 485 00:17:53,766 --> 00:17:54,766 COME NATURALLY. 486 00:17:54,766 --> 00:17:56,766 I WORKED A LOT ON PRACTICING AND 487 00:17:56,766 --> 00:17:58,266 TAKING LESSONS AND THINGS LIKE 488 00:17:58,266 --> 00:17:58,566 THAT. 489 00:17:58,566 --> 00:18:00,433 IT'S HARD TO WRITE GOOD SONGS. 490 00:18:00,433 --> 00:18:02,400 YOU'VE GOT TO WRITE A LOT OF BAD 491 00:18:02,400 --> 00:18:03,700 ONES, IT SEEMS LIKE TO GET TO 492 00:18:03,700 --> 00:18:06,333 THE GOOD ONES BUT I THINK THE 493 00:18:06,333 --> 00:18:07,400 HARDEST THING IS HANGING IN 494 00:18:07,400 --> 00:18:08,266 THERE AND DOING IT. 495 00:18:08,266 --> 00:18:10,333 A LOT OF TIMES THINGS DONE TURN 496 00:18:10,333 --> 00:18:12,033 OUT THE WAY YOU EXPECT OR PEOPLE 497 00:18:12,033 --> 00:18:13,066 DON'T LIKE SOMETHING THAT YOU 498 00:18:13,066 --> 00:18:15,566 THINK IS REALLY GOOD, AND IF YOU 499 00:18:15,566 --> 00:18:16,833 GET UPSET EVERY TIME, YOU ARE 500 00:18:16,833 --> 00:18:18,500 GOING TO BE UPSET ALL THE TIME. 501 00:18:18,500 --> 00:18:22,033 THE PART THAT REQUIRES MORE 502 00:18:22,033 --> 00:18:23,100 PERSEVERANCE IS BEING WILLING TO 503 00:18:23,100 --> 00:18:24,666 GO OUT THERE AND PUT IN THE 504 00:18:24,666 --> 00:18:27,133 WORLD AND DO PERFORMANCES AND 505 00:18:27,133 --> 00:18:28,066 MAKE RECORDINGS. 506 00:18:28,066 --> 00:18:30,000 THAT'S WHEN YOU OPEN YOURSELF UP 507 00:18:30,000 --> 00:18:31,433 FOR REJECTION, POTENTIAL 508 00:18:31,433 --> 00:18:32,400 REJECTION, I WOULD SAY. 509 00:18:32,400 --> 00:18:33,666 THAT'S A PAINFUL PART OF IT. 510 00:18:33,666 --> 00:18:35,400 THE FACT THAT IT BRINGS ME SO 511 00:18:35,400 --> 00:18:37,633 MUCH PLEASURE AND JOY, JUST TO 512 00:18:37,633 --> 00:18:39,166 DO, IT EVEN IF NO ONE IS 513 00:18:39,166 --> 00:18:41,133 LISTENING IS WHAT KIND OF KEEPS 514 00:18:41,133 --> 00:18:46,033 ME DO PENTAGON IT, IING IT, I THINK. 515 00:18:46,033 --> 00:18:47,666 PLAYING MUSIC IS AN 516 00:18:47,666 --> 00:18:48,133 ACCOMPLISHMENT. 517 00:18:48,133 --> 00:18:49,966 I HAVE BEEN FORTUNATE TO DO THAT 518 00:18:49,966 --> 00:18:50,800 FOR A LONG TIME. 519 00:18:50,800 --> 00:18:52,000 I MAKE MUSIC. 520 00:18:52,000 --> 00:18:53,900 IT'S WHAT MAKES ME FEEL REALLY 521 00:18:53,900 --> 00:18:55,233 ALIVE AND IT'S WHAT I THINK 522 00:18:55,233 --> 00:18:57,233 ABOUT WHEN I GET UP IN THE 523 00:18:57,233 --> 00:18:57,566 MORNING. 524 00:18:57,566 --> 00:18:59,333 IF I'M ENJOYING IT AND HAVING A 525 00:18:59,333 --> 00:19:01,033 GOOD TIME AND MAKING MUSIC THAT 526 00:19:01,033 --> 00:19:02,600 IS REALLY GOOD AND PEOPLE ARE 527 00:19:02,600 --> 00:19:03,866 ENJOYING, IT I FEEL THAT THAT'S 528 00:19:03,866 --> 00:19:05,700 A SIGN THAT THAT'S WHAT I'M 529 00:19:05,700 --> 00:19:07,066 SUPPOSED TO BE DOING OR AT LEAST 530 00:19:07,066 --> 00:19:08,333 THAT'S WHAT I FEEL LIKE DOING. 531 00:19:08,333 --> 00:19:09,700 I WILL KEEP DOING IT UNTIL 532 00:19:09,700 --> 00:19:15,600 SOMEBODY STOPS ME, I GUESS. 533 00:19:12,333 --> 00:19:16,133 >> AND NOW WELCOME JASON WILBUR. 534 00:19:16,133 --> 00:19:41,333 ♪♪ 535 00:19:41,333 --> 00:19:43,033 ♪♪ THE STORM IS POUNDING ♪♪ 536 00:19:43,033 --> 00:19:45,533 ♪♪ I'M SURROUNDED IN MY MIND ♪♪ 537 00:19:45,533 --> 00:19:55,000 ♪♪ THAT YOU NEVER DOUBTED ♪♪ 538 00:19:55,000 --> 00:19:58,933 ♪♪ I HEARD YOU SHOUT IT FROM ON 539 00:19:58,933 --> 00:19:59,300 HIGH ♪♪ 540 00:19:59,300 --> 00:20:10,666 ♪♪ THE RAIN IS FALLING NOW ♪♪ 541 00:20:10,666 --> 00:20:15,333 ♪♪ AND IT'S CALLING ♪♪ 542 00:20:15,333 --> 00:20:18,600 ♪♪ YOU STATE YOUR SORROW ♪♪ 543 00:20:18,600 --> 00:20:19,600 ♪♪ FORGET TOMORROW ♪♪ 544 00:20:19,600 --> 00:20:23,166 ♪♪ OH, COME ON DOWN AND LOVE ME 545 00:20:23,166 --> 00:20:23,500 NOW ♪♪ 546 00:20:23,500 --> 00:20:38,433 ♪♪ UP THROUGH THE CEILING ♪♪ 547 00:20:38,433 --> 00:20:46,300 ♪♪ ALL I AM FEELING IS ALONE ♪♪ 548 00:20:46,300 --> 00:20:49,800 ♪♪ THE SILENCE IS REVEALING ALL 549 00:20:49,800 --> 00:20:54,666 THE SECRETS WE HAVE SOWN ♪♪ 550 00:20:54,666 --> 00:21:12,000 ♪♪ I'M CURRENTLY STROLLING ♪♪ 551 00:21:12,000 --> 00:21:15,900 ♪♪ STATE YOUR SORROW ♪♪ 552 00:21:15,900 --> 00:21:16,600 ♪♪ FORGET TOMORROW ♪♪ 553 00:21:16,600 --> 00:21:18,733 ♪♪ OH, COME ON DOWN AND LOVE ME 554 00:21:18,733 --> 00:21:19,066 NOW ♪♪ 555 00:21:19,066 --> 00:21:39,766 ♪♪ 556 00:21:39,766 --> 00:22:02,100 ♪♪ 557 00:22:02,100 --> 00:22:05,233 ♪♪ SMOKE IS RISING ♪♪ 558 00:22:05,233 --> 00:22:11,433 ♪♪ AND I AM FINDING A LITTLE 559 00:22:11,433 --> 00:22:15,333 HOLE ♪♪ 560 00:22:15,333 --> 00:22:19,633 ♪♪ I AM UNEASY IN OUR HOME ♪♪ 561 00:22:19,633 --> 00:22:33,233 ♪♪ RAIN IS ON THE WAY ♪♪ 562 00:22:33,233 --> 00:22:40,233 ♪♪ STATE YOUR SORROW ♪♪ 563 00:22:40,233 --> 00:22:40,900 ♪♪ FORGET TOMORROW ♪♪ 564 00:22:40,900 --> 00:22:43,200 ♪♪ COME ON DOWN AND LOVE ME NOW ♪♪ 565 00:22:43,200 --> 00:22:49,300 ♪♪ STATE YOUR SORROW ♪♪ 566 00:22:49,300 --> 00:22:50,300 ♪♪ FORGET TOMORROW ♪♪ 567 00:22:50,300 --> 00:22:54,133 ♪♪ OH, COME ON DOWN AND LOVE ME 568 00:22:54,133 --> 00:22:54,466 NOW ♪♪ 569 00:22:54,466 --> 00:23:02,900 ♪♪ OH, COME ON DOWN AND LOVE ME 570 00:23:02,900 --> 00:23:03,266 NOW ♪♪ 571 00:23:03,266 --> 00:23:34,866 ♪♪ 572 00:23:34,866 --> 00:23:53,300 ♪♪ 573 00:23:53,300 --> 00:23:54,933 >> TO LEARN MORE ABOUT JASON'S 574 00:23:54,933 --> 00:23:56,966 LATEST ALBUM, REACTION TIME OR 575 00:23:56,966 --> 00:23:58,900 TO FIND UPCOMING PERFORMANCES, 576 00:23:58,900 --> 00:24:02,233 VISIT HIS WEBSITE, 577 00:24:02,233 --> 00:24:02,733 JASONWILBUR.COM. 578 00:24:02,733 --> 00:24:03,733 THAT'S ALL WE HAVE FOR TONIGHT. 579 00:24:03,733 --> 00:24:05,333 WE HOPE YOU FIND BEAUTIFUL WAYS 580 00:24:05,333 --> 00:24:07,000 TO EMBRACE YOUR TIME IN CHANGING 581 00:24:07,000 --> 00:24:07,333 SEASONS. 582 00:24:07,333 --> 00:24:12,133 ONCE AGAIN, BEFORE WE GO, JASON 583 00:24:09,933 --> 00:24:12,933 WILBUR. 584 00:24:12,933 --> 00:24:20,333 ♪♪ 585 00:24:20,333 --> 00:24:23,433 ♪♪ ALMOST TIME ♪♪ 586 00:24:23,433 --> 00:24:26,200 ♪♪ I'VE BEEN WAITING UNTIL 587 00:24:26,200 --> 00:24:27,033 MONDAY, TUESDAY AT LEAST ♪♪ 588 00:24:27,033 --> 00:24:30,533 ♪♪ FOR SOME FUN ♪♪ 589 00:24:30,533 --> 00:24:32,866 ♪♪ I THINK I SEE A LITTLE LIGHT 590 00:24:32,866 --> 00:24:35,666 AT THE END OF THE WEEK ♪♪ 591 00:24:35,666 --> 00:24:39,300 ♪♪ WHATEVER HAPPENED TO THE 592 00:24:39,300 --> 00:24:40,700 ENDLESS SUMMER WITH ALL THE TIME 593 00:24:40,700 --> 00:24:41,866 IN THE WORLD ♪♪ 594 00:24:41,866 --> 00:24:48,400 ♪♪ WE CAN START UNWINDING ♪♪ 595 00:24:48,400 --> 00:24:50,133 ♪♪ SATURDAY MORNING WE'RE FREE ♪♪ 596 00:24:50,133 --> 00:24:54,333 ♪♪ SUNDAY WE'LL BE SORRY TO SEE 597 00:24:54,333 --> 00:24:54,733 YOU GO ♪♪ 598 00:24:54,733 --> 00:24:56,433 ♪♪ SHE'LL HAVE TO WAIT A WHOLE 599 00:24:56,433 --> 00:24:56,833 WEEK ♪♪ 600 00:24:56,833 --> 00:24:59,866 ♪♪ IT'S BEEN ALL RIGHT ♪♪ 601 00:24:59,866 --> 00:25:04,100 ♪♪ OH, BUT I LOVE ANOTHER 602 00:25:04,100 --> 00:25:04,633 SATURDAY NIGHT ♪♪ 603 00:25:04,633 --> 00:25:16,700 ♪♪ WE WERE YOUNG ♪♪ 604 00:25:16,700 --> 00:25:20,266 ♪♪ WE WERE STATED ON THE MEANING 605 00:25:20,266 --> 00:25:22,100 OF LIFE AND LOVE ♪♪ 606 00:25:22,100 --> 00:25:24,633 ♪♪ THE MOUNTAINS AND THE WAVES ON 607 00:25:24,633 --> 00:25:26,033 THE ROLLING SEA ♪♪ 608 00:25:26,033 --> 00:25:30,433 ♪♪ WHATEVER HAPPENED TO THE 609 00:25:30,433 --> 00:25:31,733 ENDLESS SUMMER AND ALL THE TIME 610 00:25:31,733 --> 00:25:32,766 IN THE WORLD ♪♪ 611 00:25:32,766 --> 00:25:38,133 ♪♪ TRYING TO FINISH SO YOU CAN 612 00:25:38,133 --> 00:25:39,066 START UNWINDING ♪♪ 613 00:25:39,066 --> 00:25:41,266 ♪♪ SATURDAY MORNING WE ARE FREE ♪♪ 614 00:25:41,266 --> 00:25:45,000 ♪♪ SUNDAY WE'LL BE SORRY TO SEE 615 00:25:45,000 --> 00:25:45,433 YOU GO ♪♪ 616 00:25:45,433 --> 00:25:47,100 ♪♪ SHE'LL HAVE TO WAIT A WHOLE 617 00:25:47,100 --> 00:25:47,466 WEEK ♪♪ 618 00:25:47,466 --> 00:25:50,900 ♪♪ IT'S BEEN ALL RIGHT ♪♪ 619 00:25:50,900 --> 00:26:00,266 ♪♪ OH, BUT I WOULD LOVE ANOTHER 620 00:26:00,266 --> 00:26:01,500 SATURDAY NIGHT ♪♪ 621 00:26:01,500 --> 00:26:03,400 ♪♪ FAR AWAY IN A DREAM OUT 622 00:26:03,400 --> 00:26:04,133 THERE ♪♪ 623 00:26:04,133 --> 00:26:09,333 >> PRODUCTION SUPPORT FOR "THE 624 00:26:05,166 --> 00:26:36,700 WEEKLY SPECIAL" IS PROVIDED BY: