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On 12 October 1997, at Monterey Airport, California, | 0:00:11 | 0:00:16 | |
the singer John Denver took off to test his new plane. | 0:00:16 | 0:00:19 | |
The son of a famous pilot, Denver had thousands of hours' | 0:00:23 | 0:00:26 | |
flying experience, and it was a simple flight on a cloudless day. | 0:00:26 | 0:00:30 | |
But over Monterey Bay, something went wrong | 0:00:33 | 0:00:36 | |
and John Denver's plane plummeted into the sea. | 0:00:36 | 0:00:39 | |
He was killed instantly, aged only 53. | 0:00:39 | 0:00:43 | |
# You fill up my senses | 0:00:44 | 0:00:48 | |
# Like a night in a forest | 0:00:48 | 0:00:53 | |
# Like the mountains In spring time... # | 0:00:53 | 0:00:57 | |
When he died, John Denver was no longer in the limelight, | 0:00:57 | 0:01:01 | |
but during the mid-1970s he was America's most successful solo singer. | 0:01:01 | 0:01:06 | |
He was huge. He was one of the biggest artists in America, | 0:01:06 | 0:01:10 | |
one of the biggest artists around the world. | 0:01:10 | 0:01:13 | |
What Frank Sinatra was to the '40s, Elvis Presley was to the '50s, | 0:01:13 | 0:01:18 | |
and the Beatles were to the '60s, John Denver was to the '70s. | 0:01:18 | 0:01:23 | |
It was a rocket ship. | 0:01:23 | 0:01:24 | |
And...it was big. It was really great. | 0:01:26 | 0:01:30 | |
He projected an image of an easy-going country boy, | 0:01:33 | 0:01:36 | |
at home with nature, skiing in the mountains. | 0:01:36 | 0:01:39 | |
But behind the image was a more complicated man - | 0:01:40 | 0:01:43 | |
an Air Force brat who became a peace campaigner. | 0:01:43 | 0:01:47 | |
He was sort of the grandfather of celebrities being activists. | 0:01:47 | 0:01:50 | |
The Stings and the Bonos - I think they were inspired by John back then. | 0:01:50 | 0:01:54 | |
An ambitious, driven man who struggle with depression | 0:01:56 | 0:01:59 | |
and the barbs of the music critics. | 0:01:59 | 0:02:02 | |
He was called the Mickey Mouse of rock. The Ronald Reagan of pop. | 0:02:02 | 0:02:07 | |
That angered him. That's what got under his skin. | 0:02:07 | 0:02:10 | |
70 years after his birth, who was the real John Denver? | 0:02:10 | 0:02:14 | |
And what's the appeal of his timeless songs? | 0:02:14 | 0:02:17 | |
# Come fill me again... # | 0:02:17 | 0:02:22 | |
SONG: 'Rocky Mountain High' | 0:02:33 | 0:02:38 | |
# He was born in the summer Of his 27th year... # | 0:02:40 | 0:02:46 | |
The Rocky Mountains of Colorado, | 0:02:46 | 0:02:48 | |
are forever associated with the music of John Denver, | 0:02:48 | 0:02:52 | |
and many of his most famous songs were inspired by the landscape there. | 0:02:52 | 0:02:56 | |
In the early 1970s, John Denver was a new type of pop star, | 0:02:57 | 0:03:02 | |
living in tune with nature, away from the city. | 0:03:02 | 0:03:06 | |
I find when I come to Los Angeles especially, | 0:03:06 | 0:03:08 | |
more so than most cities, that I physically don't feel good. | 0:03:08 | 0:03:12 | |
I don't have the energy that I have when I'm back up in the mountains. | 0:03:12 | 0:03:15 | |
My eyes hurt. Sometimes I feel a little nauseous from the smog. | 0:03:15 | 0:03:20 | |
And I just prefer being back a ways where it's a little bit quieter. | 0:03:20 | 0:03:25 | |
To me it's a little bit more peaceful. | 0:03:25 | 0:03:27 | |
I can see more of the stars at night. I feel more comfortable. | 0:03:27 | 0:03:31 | |
# Rocky Mountain high... # | 0:03:31 | 0:03:34 | |
He just liked to sit and be in nature. | 0:03:34 | 0:03:37 | |
It filled him up, and out of that, | 0:03:37 | 0:03:41 | |
beautiful things came forth in terms of his songwriting. | 0:03:41 | 0:03:45 | |
When he was in nature, it inspired his songs, | 0:03:45 | 0:03:48 | |
it gave him a sense of who he really was. | 0:03:48 | 0:03:52 | |
It brought him to be able to communicate, | 0:03:52 | 0:03:56 | |
because he lived in it. | 0:03:56 | 0:03:57 | |
# Colorado Rocky Mountain high... # | 0:03:59 | 0:04:04 | |
but the idyllic setting of the Rocky Mountains | 0:04:04 | 0:04:07 | |
was a long way from the place where he grew up. | 0:04:07 | 0:04:10 | |
BIG-BAND SWING MUSIC | 0:04:10 | 0:04:15 | |
John Denver was born in 1943 in Roswell, New Mexico, | 0:04:22 | 0:04:26 | |
at the Air Force base where his father was stationed. | 0:04:26 | 0:04:30 | |
And if this was far away from Denver, Colorado, so was his name. | 0:04:30 | 0:04:34 | |
My real name is Henry John Deutschendorf Junior. And... | 0:04:34 | 0:04:39 | |
That's a whole album cover! | 0:04:39 | 0:04:40 | |
My father was in the Air Force | 0:04:40 | 0:04:42 | |
and we moved around a great deal. | 0:04:42 | 0:04:45 | |
And it was one particular period in my life | 0:04:45 | 0:04:46 | |
when I was 13 years old and we moved from Tucson, Arizona to Montgomery, Alabama. | 0:04:46 | 0:04:52 | |
And I was there for one year and then we moved to Fort Worth, Texas. | 0:04:52 | 0:04:57 | |
It was always hard because you were going into a new school, new people. | 0:04:57 | 0:05:01 | |
John was a little bit more shy, and so it was harder for him. | 0:05:01 | 0:05:05 | |
And the music, especially his guitar, | 0:05:05 | 0:05:08 | |
became a way of making friends and being accepted. | 0:05:08 | 0:05:11 | |
And I said, "I like music, play guitar," blah blah blah. | 0:05:11 | 0:05:14 | |
And so they asked me to bring my guitar to class one day, which I did. | 0:05:14 | 0:05:17 | |
And all of a sudden... | 0:05:17 | 0:05:19 | |
All of a sudden people were saying hello to me in the halls. | 0:05:19 | 0:05:22 | |
All of a sudden people knew me | 0:05:22 | 0:05:24 | |
as more than just another one of the Air Force brats | 0:05:24 | 0:05:27 | |
that was coming through every year through Maxwell Air Force base. | 0:05:27 | 0:05:31 | |
John's father, Dutch Deutschendorf, | 0:05:31 | 0:05:33 | |
had been born to a poor Oklahoma farmer, | 0:05:33 | 0:05:36 | |
but joined the Air Force in the Second World War and soon became a top pilot. | 0:05:36 | 0:05:41 | |
He flew a number of planes. | 0:05:41 | 0:05:43 | |
He actually gave Lindberg a test ride, | 0:05:43 | 0:05:46 | |
and I think it was a B-25, he was flying those bombers, | 0:05:46 | 0:05:50 | |
and then he went on to fly the plane that carried all the electronics | 0:05:50 | 0:05:55 | |
when they dropped the first atomic bomb to test it. | 0:05:55 | 0:05:59 | |
Dutch Deutschendorf achieved national fame flying a new bomber, | 0:05:59 | 0:06:02 | |
the B-58 Hustler. | 0:06:02 | 0:06:05 | |
In 1961, he broke six world air speed records in one day. | 0:06:05 | 0:06:11 | |
My dad was a very tough guy. A hard guy. | 0:06:11 | 0:06:15 | |
And he was hard on us. Not abusive. | 0:06:15 | 0:06:19 | |
I think John was... Not more sensitive, | 0:06:19 | 0:06:22 | |
but a little shier and a little more withdrawn, | 0:06:22 | 0:06:26 | |
and so where Dad and I would fight, John and Dad would argue, | 0:06:26 | 0:06:31 | |
and John would get upset and go in his room, play his guitar. | 0:06:31 | 0:06:33 | |
For this sensitive son of a Cold War warrior, something had to give. | 0:06:36 | 0:06:41 | |
Aged 16, he took the family car and ran away from home, | 0:06:41 | 0:06:45 | |
heading out West to Los Angeles, | 0:06:45 | 0:06:47 | |
with a dream of becoming a folk singer. | 0:06:47 | 0:06:50 | |
But it didn't work out, | 0:06:50 | 0:06:51 | |
and his dad jumped into a friend's jet to retrieve his wayward son. | 0:06:51 | 0:06:57 | |
Dad flew out there, and they went to Disneyland and SeaWorld | 0:06:57 | 0:07:01 | |
and did all these things, and then came back and, to me, | 0:07:01 | 0:07:04 | |
their relationship was, like, golden. | 0:07:04 | 0:07:07 | |
But four years later, John tried again, dropping out of college | 0:07:07 | 0:07:11 | |
and hitting LA just as the folk boom was at its height. | 0:07:11 | 0:07:14 | |
So I left school and I came out here, and started singing every place | 0:07:14 | 0:07:17 | |
I could around Los Angeles, at the hootenannies that were going on, | 0:07:17 | 0:07:21 | |
and things at the Troubadour and stuff like that. And Randy Sparks, | 0:07:21 | 0:07:24 | |
who in those days had a group called the New Christy Minstrels, | 0:07:24 | 0:07:26 | |
gave me the chance to sing and to do it for a couple of weeks, | 0:07:26 | 0:07:30 | |
and gave me an opportunity to find out a little bit about | 0:07:30 | 0:07:34 | |
whether I could work on stage. | 0:07:34 | 0:07:36 | |
And he found out if I worked for him and the audiences liked me. | 0:07:36 | 0:07:39 | |
-Were you John...? -I was John Deutschendorf. -Deutschendorf. | 0:07:39 | 0:07:42 | |
And things kind of started going well for us, | 0:07:42 | 0:07:44 | |
at least they felt that we might go someplace. | 0:07:44 | 0:07:47 | |
And one day there was this big heavy meeting | 0:07:47 | 0:07:49 | |
and they sat down and said, "Listen, kid, Deutschendorf..." | 0:07:49 | 0:07:53 | |
-"Has got to go!" -"..has got to go!" | 0:07:53 | 0:07:55 | |
Randy says that they asked him to change his name and John said, | 0:07:55 | 0:07:59 | |
"No, I will not give up my father's name. | 0:07:59 | 0:08:01 | |
"I'm proud to be a Deutschendorf." And Randy said, | 0:08:01 | 0:08:04 | |
"It won't fit on the marquee. You have to change it." | 0:08:04 | 0:08:07 | |
They had a minor hit at the time called Denver, | 0:08:07 | 0:08:10 | |
written about this city, and the sheet music was on the wall behind the desk. | 0:08:10 | 0:08:14 | |
And they said, "You're John Denver." | 0:08:14 | 0:08:16 | |
Now with his new name, John Denver set out to make it as a folk singer. | 0:08:17 | 0:08:23 | |
The opening came when one of the big names on the folk circuit, | 0:08:23 | 0:08:26 | |
the Chad Mitchell Trio, lost their lead singer, | 0:08:26 | 0:08:29 | |
and hundreds of young folk artists tried out for the role. | 0:08:29 | 0:08:32 | |
He came to New York to audition, | 0:08:33 | 0:08:36 | |
and it was very clear right away that he was the best. | 0:08:36 | 0:08:43 | |
And it turns out I was very cruel, didn't call him for a week. | 0:08:45 | 0:08:50 | |
And he had a very nervous week. | 0:08:50 | 0:08:53 | |
But it was obvious that John was going to be terrific. | 0:08:53 | 0:08:57 | |
We just, you know, we were just knocked out by this guy. | 0:08:57 | 0:09:01 | |
John was a fine musician, an excellent musician, | 0:09:01 | 0:09:04 | |
a very fine 12-string guitar player. | 0:09:04 | 0:09:07 | |
There was an innocence, I think, in a way, | 0:09:07 | 0:09:12 | |
that was believable and true. | 0:09:12 | 0:09:18 | |
The Mitchell Trio's trademark was left-wing political satire. | 0:09:18 | 0:09:23 | |
Their targets were politicians, religious leaders | 0:09:23 | 0:09:26 | |
and any opponents of Civil Rights. | 0:09:26 | 0:09:29 | |
Top of the list was the secret racist group, the Ku Klux Klan. | 0:09:29 | 0:09:33 | |
# You'll never recognise us There's a smile upon our face | 0:09:33 | 0:09:38 | |
# We're changing all our dirty sheets And a-cleaning up the place | 0:09:38 | 0:09:41 | |
# Yep, since we got a lawyer and a public relations man | 0:09:41 | 0:09:45 | |
# We're your friendly, liberal Neighbourhood Ku Klux Klan | 0:09:45 | 0:09:48 | |
# Yes, we're your friendly, liberal Neighbourhood Ku Klux Klan | 0:09:48 | 0:09:53 | |
# Ever since we got that lawyer And that public relations man | 0:09:53 | 0:09:56 | |
# Of course, we did shoot One reporter | 0:09:56 | 0:09:58 | |
# But he was just obscene | 0:09:58 | 0:10:00 | |
# And you can't call us No filthy names | 0:10:00 | 0:10:02 | |
# What does Anglo-Saxon mean? # | 0:10:02 | 0:10:04 | |
For John, being in The Mitchell Trio was a political education. | 0:10:04 | 0:10:08 | |
He says, "I don't know anything about pol-IT-ics." | 0:10:08 | 0:10:12 | |
And we looked at him and said, "John - it's PO-li-tics." | 0:10:13 | 0:10:17 | |
He said, "That's what I said, I don't know anything about that." | 0:10:17 | 0:10:20 | |
Which was really true. | 0:10:20 | 0:10:22 | |
He was youthful, he was young, | 0:10:22 | 0:10:24 | |
and grew up from the viewpoint of the material that we were doing. | 0:10:24 | 0:10:29 | |
# Your friendly neighbourhood Klan who asks | 0:10:29 | 0:10:31 | |
# "What's wrong with a hood?" | 0:10:31 | 0:10:33 | |
# Your friendly, liberal Neighbourhood Ku Klux... | 0:10:33 | 0:10:35 | |
# Grab your Cadillac And head for the hills. # | 0:10:35 | 0:10:38 | |
APPLAUSE | 0:10:38 | 0:10:41 | |
The Mitchell Trio's main audience were university students, | 0:10:41 | 0:10:44 | |
and the group played campuses right across the Midwest. | 0:10:44 | 0:10:48 | |
In spring 1966, they were in St Peter, Minnesota. | 0:10:48 | 0:10:52 | |
In the audience was a young Annie Martell. | 0:10:52 | 0:10:55 | |
I was a sophomore in college, | 0:10:55 | 0:10:57 | |
and John was part of The Mitchell Trio. | 0:10:57 | 0:11:00 | |
And he came into town, | 0:11:00 | 0:11:02 | |
and about three weeks later I got a letter, | 0:11:02 | 0:11:05 | |
and he said that if he was ever in the area again | 0:11:05 | 0:11:09 | |
he would love to meet me and... | 0:11:09 | 0:11:12 | |
have a talk. | 0:11:12 | 0:11:14 | |
And a year later, he called me and he came over and picked me up, | 0:11:14 | 0:11:18 | |
and that's how this all started. | 0:11:18 | 0:11:21 | |
I was 20 and John was 23. | 0:11:21 | 0:11:26 | |
Very young, but I thought he was very glamorous, very worldly. | 0:11:26 | 0:11:30 | |
He was not at all, but I thought so. | 0:11:30 | 0:11:32 | |
The two were married in June 1967, but for John, | 0:11:34 | 0:11:37 | |
the hard life touring with The Mitchell Trio carried on. | 0:11:37 | 0:11:41 | |
He was starting to write songs, and recorded some of them | 0:11:41 | 0:11:44 | |
at his own expense, sending the album out as a Christmas present. | 0:11:44 | 0:11:48 | |
This is the Christmas album that John made for all his friends, | 0:11:48 | 0:11:54 | |
relatives, associates early in his tenure in The Mitchell Trio. | 0:11:54 | 0:12:00 | |
Track three on the album was called, Babe, I Hate To Go. | 0:12:00 | 0:12:04 | |
Milt Okun liked the tune, but not the title. | 0:12:04 | 0:12:07 | |
I said, "John, that's a terrible name for a very beautiful song." | 0:12:07 | 0:12:13 | |
He said, "What would you call it?" I said, "Leaving on a jet plane." | 0:12:13 | 0:12:18 | |
He said, "But that's the third line of the chorus. | 0:12:18 | 0:12:21 | |
"You never heard a song named after the third line of a chorus." | 0:12:21 | 0:12:26 | |
I said, "It's a good name, let's go with it." And he went with it. | 0:12:26 | 0:12:30 | |
SONG: 'Leaving On A Jet Plane' | 0:12:30 | 0:12:36 | |
# All my bags are packed I'm ready to go | 0:12:36 | 0:12:39 | |
# I'm standing here Outside your door... # | 0:12:39 | 0:12:42 | |
Milt Okun passed the song onto another of his acts, | 0:12:42 | 0:12:45 | |
Peter, Paul and Mary, and it became a smash hit, | 0:12:45 | 0:12:49 | |
going to the top of the American pop charts. | 0:12:49 | 0:12:52 | |
# The taxi's waiting He's blowing his horn | 0:12:52 | 0:12:55 | |
# Already I'm so lonesome... # | 0:12:55 | 0:12:58 | |
John became a friend of the group, and would sometimes join them on stage. | 0:12:58 | 0:13:03 | |
# So kiss me and smile for me | 0:13:03 | 0:13:06 | |
# Tell me that you'll wait for me | 0:13:06 | 0:13:11 | |
# Hold me like you'll never let me go | 0:13:11 | 0:13:17 | |
# I'm leaving on a jet plane | 0:13:17 | 0:13:21 | |
# I don't know when I'll be back again... # | 0:13:21 | 0:13:25 | |
With the Vietnam War at its height, | 0:13:25 | 0:13:28 | |
the song gained added poignancy and became a favourite among the troops. | 0:13:28 | 0:13:33 | |
For them, it was their goodbye song when they were going to war. | 0:13:33 | 0:13:38 | |
So it's very moving to see how a song travels in these kinds of ways. | 0:13:38 | 0:13:45 | |
And how a song like Leaving On A Jet Plane | 0:13:45 | 0:13:49 | |
has become really important to people. | 0:13:49 | 0:13:53 | |
The song had a resonance for John even closer to home | 0:13:53 | 0:13:56 | |
when his younger brother, Ron, went to Vietnam. | 0:13:56 | 0:14:00 | |
Well, I got drafted in 1968. | 0:14:00 | 0:14:04 | |
The weekend I shipped to Vietnam, | 0:14:04 | 0:14:06 | |
John was at the Washington Monument at a peace concert. | 0:14:06 | 0:14:11 | |
A protest concert. And... | 0:14:13 | 0:14:15 | |
That was just the way it went. | 0:14:16 | 0:14:18 | |
# Last night I had The strangest dream | 0:14:19 | 0:14:26 | |
# I never dreamed before | 0:14:26 | 0:14:32 | |
# I dreamed the world Had all agreed | 0:14:32 | 0:14:38 | |
# To put an end to war. # | 0:14:38 | 0:14:44 | |
Even with his success as a songwriter, | 0:14:44 | 0:14:47 | |
John and The Mitchell Trio were struggling. | 0:14:47 | 0:14:50 | |
Their clean-cut good looks were out of step with the new long-haired rock bands, | 0:14:50 | 0:14:54 | |
and in 1968 they called it a day. | 0:14:54 | 0:14:57 | |
John decided to pursue a solo career, | 0:14:58 | 0:15:01 | |
but his producer, Milt Okun, struggled to get record companies interested. | 0:15:01 | 0:15:06 | |
I struck out with John Hammond at Columbia, Wexler at Atlantic, | 0:15:06 | 0:15:12 | |
and half a dozen others. | 0:15:12 | 0:15:15 | |
And someone at RCA, Harry Jenkins, liked it. | 0:15:15 | 0:15:20 | |
And I brought John in the next day to sing for the executives. | 0:15:22 | 0:15:26 | |
And it was a home run. | 0:15:26 | 0:15:29 | |
John Denver signed to RCA in 1969. | 0:15:29 | 0:15:33 | |
His first albums were in the classic singer-songwriter vein. | 0:15:33 | 0:15:38 | |
The songs were intimate and personal, | 0:15:38 | 0:15:40 | |
full of images of the natural world. | 0:15:40 | 0:15:43 | |
# Oh, I am the eagle I live in high country | 0:15:45 | 0:15:50 | |
# In rocky cathedrals That reach to the sky | 0:15:50 | 0:15:56 | |
# I am the hawk and there's Blood on my feathers | 0:15:56 | 0:16:00 | |
# But time is still turning They soon will be dry. # | 0:16:00 | 0:16:06 | |
Songs like The Eagle And The Hawk remained a mainstay of John's act for years to come. | 0:16:06 | 0:16:11 | |
But those early records refused to sell. | 0:16:11 | 0:16:14 | |
Jerry Weintraub is now a top Hollywood producer. | 0:16:15 | 0:16:19 | |
Then, he was a streetwise New York music promoter, | 0:16:19 | 0:16:22 | |
and was brought in as John's new manager. | 0:16:22 | 0:16:25 | |
And we got along, and I said, "Yeah, let's try it." So we tried it. | 0:16:25 | 0:16:29 | |
And it was very successful for a long time. | 0:16:29 | 0:16:32 | |
He was... | 0:16:32 | 0:16:34 | |
He was a farm boy. | 0:16:34 | 0:16:36 | |
Really didn't understand the city or the ways of the city. | 0:16:36 | 0:16:41 | |
He was kind of naive at the time. | 0:16:41 | 0:16:45 | |
But he was nice. | 0:16:45 | 0:16:48 | |
John came to the meeting, you know, | 0:16:48 | 0:16:50 | |
with a guitar slung over his back and wearing sandals, | 0:16:50 | 0:16:54 | |
and I wasn't sure that this meeting would last more than five minutes. | 0:16:54 | 0:16:58 | |
But, you know, the synergy was there, and it became successful. | 0:16:58 | 0:17:04 | |
# And reach for the heavens And hope for the future | 0:17:04 | 0:17:08 | |
# And all that we can be Not what we are. # | 0:17:08 | 0:17:15 | |
You don't make anybody anything, | 0:17:15 | 0:17:18 | |
you expose people to the talent | 0:17:18 | 0:17:22 | |
and they either like it or they don't. You can't make anybody like... | 0:17:22 | 0:17:25 | |
You don't put a gun on their head and say, "Go buy this record." | 0:17:25 | 0:17:28 | |
They listen to it, and they decide to enjoy it or not enjoy it. | 0:17:28 | 0:17:33 | |
I enjoyed his music and his songs, | 0:17:34 | 0:17:37 | |
and I always felt he was going to be a star. | 0:17:37 | 0:17:40 | |
Jerry and John loved each other, | 0:17:40 | 0:17:43 | |
and I think Jerry epitomised a lot for John in terms of | 0:17:43 | 0:17:49 | |
show business, and Jerry saw something in John, | 0:17:49 | 0:17:53 | |
I think his wholesomeness and this kind of, "gee-whiz" quality. | 0:17:53 | 0:17:58 | |
We all got on a rocket ship together, | 0:17:58 | 0:18:01 | |
and it was big, it was really big. | 0:18:01 | 0:18:05 | |
The song that launched the rocket ship was | 0:18:06 | 0:18:09 | |
Take Me Home, Country Roads. | 0:18:09 | 0:18:12 | |
# Almost Heaven West Virginia... # | 0:18:12 | 0:18:16 | |
It was co-written by two of John's friends from the folk scene, | 0:18:16 | 0:18:20 | |
Bill Danoff and Taffy Nivert | 0:18:20 | 0:18:22 | |
# Life is old there Older than the trees | 0:18:24 | 0:18:30 | |
# Younger than the mountains Blowing like a breeze... # | 0:18:30 | 0:18:34 | |
We were working at the Cellar Door as John's opening act, | 0:18:34 | 0:18:38 | |
the week between Christmas and New Year's 1970 going into '71. | 0:18:38 | 0:18:42 | |
John liked our music. | 0:18:42 | 0:18:44 | |
He was going to come over one night he wanted to know what else we had. | 0:18:44 | 0:18:48 | |
I said, "Let's show him Country Roads." | 0:18:48 | 0:18:50 | |
Bill says, "It's not finished." | 0:18:50 | 0:18:52 | |
I said, "I know, but, you know, let's just show him what we got." | 0:18:52 | 0:18:56 | |
And he absolutely loved it. | 0:18:56 | 0:18:58 | |
And in the singing of it, John took the lead, | 0:18:58 | 0:19:03 | |
Bill and I fell in with a harmony | 0:19:03 | 0:19:05 | |
and it just sounded so good like that, | 0:19:05 | 0:19:08 | |
that we just decided to perform it like that the next night at the club. | 0:19:08 | 0:19:11 | |
# Dark and dusty Painted on the sky | 0:19:13 | 0:19:17 | |
# Misty taste of moonshine | 0:19:17 | 0:19:20 | |
# Teardrops in my eye Country roads take me home | 0:19:20 | 0:19:28 | |
# To the place I belong | 0:19:28 | 0:19:34 | |
# West Virginia Mountain momma | 0:19:34 | 0:19:40 | |
# Take me home Country roads. # | 0:19:40 | 0:19:45 | |
I remember riding in a car with him. We were going to a concert in Connecticut. | 0:19:45 | 0:19:50 | |
And he heard on the radio for the first time. We heard it on the radio. | 0:19:50 | 0:19:54 | |
And when I heard it on the radio, I turned to him and said, | 0:19:54 | 0:19:57 | |
"That's going to be a smash hit. That's great." | 0:19:57 | 0:20:00 | |
But I loved it. And the public loved it. And they sold. | 0:20:00 | 0:20:06 | |
Sold a lot of records. He sold an amazing amount of records. | 0:20:06 | 0:20:10 | |
He was an amazing artist. | 0:20:10 | 0:20:12 | |
Take Me Home, Country Roads was a huge hit in the summer of 1971, | 0:20:12 | 0:20:17 | |
peaking at number two in the charts | 0:20:17 | 0:20:19 | |
and selling more than three million copies. | 0:20:19 | 0:20:22 | |
# Mountain momma Take me home country roads... # | 0:20:22 | 0:20:31 | |
When we recorded Country Roads, | 0:20:31 | 0:20:35 | |
we needed a little "tsch-tsch" noise at one point, | 0:20:35 | 0:20:39 | |
and the only thing that made any sense in the studio was, | 0:20:39 | 0:20:43 | |
John had some change in his pocket, | 0:20:43 | 0:20:45 | |
and instead of a tambourine or something that was loud, | 0:20:45 | 0:20:49 | |
it was just a "tsch-tsch-tsch-tsch." | 0:20:49 | 0:20:52 | |
Money made music, baby. | 0:20:54 | 0:20:55 | |
# Down country roads Take me home | 0:20:57 | 0:21:02 | |
# Down country roads. # | 0:21:02 | 0:21:07 | |
APPLAUSE | 0:21:07 | 0:21:10 | |
# It's a long way From LA to Denver... # | 0:21:16 | 0:21:22 | |
After the success of Country Roads, | 0:21:22 | 0:21:24 | |
John moved permanently up to the Rocky Mountains | 0:21:24 | 0:21:27 | |
and built his dream home in the ski resort of Aspen, Colorado. | 0:21:27 | 0:21:31 | |
# A long way home to Starwood in Aspen... # | 0:21:31 | 0:21:38 | |
Now it's one of the wealthiest towns in America, | 0:21:38 | 0:21:41 | |
home to billionaires and movie stars, | 0:21:41 | 0:21:43 | |
but back then it was very different. | 0:21:43 | 0:21:46 | |
# Sweet Rocky Mountain paradise... # | 0:21:46 | 0:21:50 | |
All of the mountain towns, | 0:21:50 | 0:21:51 | |
it was a little bit more like the Wild West then. | 0:21:51 | 0:21:54 | |
But unexplored, certainly. | 0:21:54 | 0:21:56 | |
John fell in love with the outdoors, and it was reflected in his music. | 0:21:56 | 0:22:01 | |
And I think he was on the cusp of that becoming part of everyone's consciousness back in the '70s, | 0:22:01 | 0:22:06 | |
just looking around and seeing the beauty of nature. | 0:22:06 | 0:22:09 | |
And hearing it expressed in his music was a big plus for him. | 0:22:09 | 0:22:13 | |
# I forgot what it's like To be home... # | 0:22:13 | 0:22:19 | |
It was this old mining town becoming a ski area, becoming a famous ski area. | 0:22:19 | 0:22:25 | |
And you also had this little intellectual, cultural aspect. | 0:22:25 | 0:22:28 | |
All of it was in its formation. It was a wonderful time to be here. | 0:22:28 | 0:22:32 | |
And you'd have dinner with people | 0:22:34 | 0:22:36 | |
that were plumbers, electricians, fishing guides. | 0:22:36 | 0:22:41 | |
Everything was pretty easy, very laid-back and safe. Safe. | 0:22:41 | 0:22:46 | |
You could be yourself here. | 0:22:46 | 0:22:49 | |
# Oh, my sweet Rocky Mountain Paradise. # | 0:22:49 | 0:22:55 | |
Inspired by this relaxed, back-to-nature lifestyle, | 0:22:58 | 0:23:01 | |
John wrote a hymn to the Rocky Mountains and his life there. | 0:23:01 | 0:23:05 | |
The song went on to become an anthem for the state of Colorado. | 0:23:05 | 0:23:08 | |
# He was born in the summer Of his 27th year | 0:23:10 | 0:23:17 | |
# Coming home to a place He'd never been before... # | 0:23:17 | 0:23:22 | |
We went camping, backpacking with some friends to a place | 0:23:22 | 0:23:27 | |
not far from here called Williams Lake, | 0:23:27 | 0:23:30 | |
and it was the night of the Perseid meteor shower. | 0:23:30 | 0:23:33 | |
And we're all camping and we're laying out under the stars | 0:23:33 | 0:23:38 | |
and they start really going through the sky between midnight and three. | 0:23:38 | 0:23:43 | |
And everybody was clapping and yelling, | 0:23:44 | 0:23:47 | |
and it's really a magnificent, magnificent thing to see. | 0:23:47 | 0:23:52 | |
Out of that he wrote Rocky Mountain High. | 0:23:52 | 0:23:54 | |
"I've seen it raining fire in the sky." | 0:23:54 | 0:23:58 | |
# But the Colorado Rocky Mountain high | 0:23:58 | 0:24:04 | |
# I've seen it rainin' fire in the sky | 0:24:04 | 0:24:10 | |
# The shadow from the starlight is softer than a lullaby | 0:24:10 | 0:24:18 | |
# Rocky Mountain high. # | 0:24:18 | 0:24:24 | |
'So we were up all night watching the most glorious display that' | 0:24:24 | 0:24:27 | |
I've ever seen in these mountains, of meteorites, | 0:24:27 | 0:24:30 | |
and with that camping trip | 0:24:30 | 0:24:32 | |
and with the feeling of coming home here to Colorado, to a place | 0:24:32 | 0:24:36 | |
I'd never been before, I ended up writing Rocky Mountain High. | 0:24:36 | 0:24:39 | |
APPLAUSE | 0:24:46 | 0:24:50 | |
Country Roads and Rocky Mountain High were big hits, | 0:24:50 | 0:24:53 | |
but John's next move cemented his stardom. | 0:24:53 | 0:24:56 | |
Folk music on television to that date had been serious and earnest. | 0:24:56 | 0:25:00 | |
But John's outgoing personality made him a natural for the small screen. | 0:25:00 | 0:25:04 | |
I...I know what you're thinking. | 0:25:04 | 0:25:08 | |
You're thinking, "Sure, he can play guitar and sing. | 0:25:09 | 0:25:15 | |
"But...can he juggle?" | 0:25:15 | 0:25:19 | |
LAUGHTER | 0:25:19 | 0:25:21 | |
'Television is a very different medium | 0:25:28 | 0:25:32 | |
'from live entertainment, because... | 0:25:32 | 0:25:35 | |
'you watch television in your home and in 1970' | 0:25:35 | 0:25:39 | |
people had television sets in their bedroom | 0:25:39 | 0:25:43 | |
and they laid in bed and they watched television. | 0:25:43 | 0:25:46 | |
When you let somebody into your bedroom, | 0:25:46 | 0:25:49 | |
they'd better be a nice person or you don't want them in your bedroom. | 0:25:49 | 0:25:53 | |
This is TV, right? | 0:25:53 | 0:25:55 | |
I can do it again or do you want me to leave it like that? | 0:25:56 | 0:25:59 | |
That's a very different quality, from just being a performer, | 0:26:00 | 0:26:04 | |
he had that quality. | 0:26:04 | 0:26:06 | |
People wanted to be around him, | 0:26:06 | 0:26:08 | |
he made people feel good and comfortable. | 0:26:08 | 0:26:11 | |
# Jessie went away last summer | 0:26:11 | 0:26:14 | |
# Couple of months ago. # | 0:26:14 | 0:26:16 | |
In 1973, Jerry Weintraub launched John Denver's television career | 0:26:16 | 0:26:21 | |
not in America, but on the BBC where there was less stress on ratings. | 0:26:21 | 0:26:26 | |
The six-part series combined music, dance and comedy routines. | 0:26:26 | 0:26:30 | |
It was a runaway success with British viewers. | 0:26:30 | 0:26:33 | |
# I think I'd rather be a cowboy. # | 0:26:38 | 0:26:42 | |
'It was my first step in television, in entertainment television, | 0:26:42 | 0:26:46 | |
'I'd done a couple of documentaries prior to that, | 0:26:46 | 0:26:49 | |
'and what I wanted to do was to come someplace where there wasn't quite | 0:26:49 | 0:26:52 | |
so much pressure on the subject and to stretch out a little bit | 0:26:52 | 0:26:55 | |
and see if I could dance and what kind of comedy I could do. | 0:26:55 | 0:26:59 | |
# Magic moments. | 0:26:59 | 0:27:02 | |
'I was doing Top Of The Pops with Pan's People, six dancers, | 0:27:02 | 0:27:06 | |
'a wonderful choreographer, Flick Colby.' | 0:27:06 | 0:27:10 | |
I wish we'd had a camera on the rehearsal of the choreography | 0:27:10 | 0:27:14 | |
because that was insanely funny, because he was pretty much | 0:27:14 | 0:27:19 | |
flat-footed, but Flick was clever enough to give him little moves | 0:27:19 | 0:27:24 | |
that he could do and of course it was always hilarious. | 0:27:24 | 0:27:28 | |
Me Tarzan, you Jane. | 0:27:28 | 0:27:31 | |
It was a joy, we did a live show every week. | 0:27:31 | 0:27:37 | |
Live on stage with an audience. | 0:27:37 | 0:27:40 | |
But it was more like a variety show. | 0:27:40 | 0:27:43 | |
# And daggers fly Everybody loves to see the villain. # | 0:27:43 | 0:27:47 | |
And we were wearing costumes and doing silly songs. | 0:27:47 | 0:27:52 | |
Oh, it was so much fun. | 0:27:52 | 0:27:53 | |
-John Denver! -CROWD CHEERS | 0:27:55 | 0:27:58 | |
The series also gave John his catch phrase. | 0:27:58 | 0:28:01 | |
It's far out, you guys have been so great. | 0:28:01 | 0:28:03 | |
I thought that was far out, it made my whole day. | 0:28:03 | 0:28:07 | |
Far out! | 0:28:07 | 0:28:09 | |
The success of the BBC series was repeated in the USA | 0:28:09 | 0:28:12 | |
where John hosted TV specials and documentaries. | 0:28:12 | 0:28:16 | |
He was fast becoming one of the biggest stars in American music. | 0:28:16 | 0:28:20 | |
And his greatest hits album of 1973 sold over 10 million copies | 0:28:20 | 0:28:24 | |
in the first six months alone. | 0:28:24 | 0:28:26 | |
The Rocky Mountains were John's retreat, | 0:28:33 | 0:28:35 | |
a place where he could hide away. | 0:28:35 | 0:28:38 | |
Staying there in early 1974, he wrote his most famous song - | 0:28:38 | 0:28:42 | |
a love letter to his wife, Annie. | 0:28:42 | 0:28:45 | |
Although it was written after a row. | 0:28:45 | 0:28:47 | |
John and I were in our kitchen. | 0:28:49 | 0:28:51 | |
And we had had an argument. | 0:28:53 | 0:28:54 | |
And we'd had an argument and then we had sorted it out. | 0:28:55 | 0:29:01 | |
And he left to go skiing. | 0:29:01 | 0:29:04 | |
And I was putzing around and about a half hour later, | 0:29:04 | 0:29:07 | |
45 minutes later, he came back in the door. | 0:29:07 | 0:29:10 | |
And he had gone to Aspen Mountain and gotten on the chairlift | 0:29:10 | 0:29:14 | |
and he wrote the song in 10 minutes. | 0:29:14 | 0:29:16 | |
And he came back and he played it for me. | 0:29:16 | 0:29:19 | |
# You fill up my senses | 0:29:20 | 0:29:25 | |
# Like a night in a forest | 0:29:25 | 0:29:28 | |
# Like the mountains in springtime | 0:29:30 | 0:29:35 | |
# Like a walk in the rain | 0:29:35 | 0:29:40 | |
# Like a storm in the desert | 0:29:40 | 0:29:44 | |
# Like a sleepy blue ocean | 0:29:44 | 0:29:49 | |
# You fill up my senses | 0:29:49 | 0:29:54 | |
# Come fill me again. # | 0:29:54 | 0:29:59 | |
There was nobody on the mountain when I started out that day. | 0:29:59 | 0:30:01 | |
I skied down this very tough run, all out of breath, | 0:30:01 | 0:30:04 | |
I skied right onto the lift. | 0:30:04 | 0:30:06 | |
I was riding up again, sitting there, catching my breath, | 0:30:06 | 0:30:09 | |
looking down at where I'd just been a few months ago - | 0:30:09 | 0:30:12 | |
all this physical stuff going on. | 0:30:12 | 0:30:14 | |
When suddenly I was hypersensitive to how beautiful everything was. | 0:30:14 | 0:30:19 | |
The sky was a blue you only see from mountain tops. | 0:30:19 | 0:30:22 | |
Then I became aware of the other people skiing, | 0:30:22 | 0:30:25 | |
the colours of their clothes, the birds singing, | 0:30:25 | 0:30:28 | |
the sound of the lift, | 0:30:28 | 0:30:29 | |
the sibilant sound of the skiers going down the mountain. | 0:30:29 | 0:30:32 | |
All of these things filled up my senses | 0:30:32 | 0:30:34 | |
and, when I said this to myself, | 0:30:34 | 0:30:36 | |
unbidden images came one after the other - | 0:30:36 | 0:30:39 | |
the night in the forest, a walk in the rain, | 0:30:39 | 0:30:42 | |
the mountains in springtime. | 0:30:42 | 0:30:44 | |
All of the pictures merged and then what I was left with was Annie. | 0:30:44 | 0:30:49 | |
That song was the embodiment of the love that I felt at the time. | 0:30:49 | 0:30:53 | |
In the 10 minutes it took to reach the top of the mountain, | 0:30:53 | 0:30:56 | |
the song was there. | 0:30:56 | 0:30:57 | |
# Let me give my life to you. # | 0:31:02 | 0:31:06 | |
It's been wonderful for me, because I've heard it in elevators, | 0:31:06 | 0:31:10 | |
I've heard it in St Mark's Square with violinists. | 0:31:10 | 0:31:15 | |
My daughter had it played at her wedding. | 0:31:15 | 0:31:18 | |
Erm... | 0:31:18 | 0:31:20 | |
but people still carry that with them | 0:31:20 | 0:31:23 | |
and it's just a beautiful, beautiful gift. | 0:31:23 | 0:31:28 | |
The songs weren't contrived, he wasn't a Tin Pan Alley writer - | 0:31:28 | 0:31:32 | |
he didn't go into an office in the morning | 0:31:32 | 0:31:35 | |
or a studio and say, | 0:31:35 | 0:31:37 | |
"I'm going to sit and write some songs," whenever it hit him. | 0:31:37 | 0:31:42 | |
He, erm, he wrote a song. | 0:31:42 | 0:31:44 | |
# You fill up my senses | 0:31:47 | 0:31:52 | |
# Come fill me again. # | 0:31:52 | 0:31:59 | |
APPLAUSE | 0:32:03 | 0:32:07 | |
John Denver's rise to stardom coincided | 0:32:14 | 0:32:16 | |
with a bleak time in American life. | 0:32:16 | 0:32:18 | |
With the Watergate crisis and the end of the Vietnam War, | 0:32:19 | 0:32:23 | |
his simple songs of love and nature | 0:32:23 | 0:32:26 | |
struck a chord across war-weary America. | 0:32:26 | 0:32:29 | |
# Sunshine on my shoulders makes me happy. # | 0:32:29 | 0:32:38 | |
You know, this was the Vietnam era, | 0:32:38 | 0:32:42 | |
Nixon, hearings, there were problems with gasoline shortages. | 0:32:42 | 0:32:48 | |
It's in those crisis moments when you look to home and hearth | 0:32:48 | 0:32:54 | |
and meaning and taking care of the Earth and taking care of each other. | 0:32:54 | 0:32:59 | |
# Looks so lovely. # | 0:33:01 | 0:33:06 | |
Yes, it does. | 0:33:06 | 0:33:08 | |
So, this was post the hippie period | 0:33:08 | 0:33:11 | |
and it was more a middle America appeal, I think, | 0:33:11 | 0:33:19 | |
to people who did want that kind of kindness. | 0:33:19 | 0:33:24 | |
Not as a gesture of opposition. | 0:33:24 | 0:33:29 | |
But as a simple affirmation | 0:33:29 | 0:33:34 | |
of people's ability to care about one another. | 0:33:34 | 0:33:39 | |
# Just like today. # | 0:33:39 | 0:33:44 | |
But not everyone liked John Denver. | 0:33:44 | 0:33:46 | |
In the rock music press, he was widely loathed. | 0:33:46 | 0:33:50 | |
John took his shots from a generation of rock critics | 0:33:51 | 0:33:54 | |
in the early '70s. | 0:33:54 | 0:33:56 | |
Rock journalism was kind of in its nascent stages at the time | 0:33:56 | 0:34:00 | |
and you had people jockeying for position by pointing out | 0:34:00 | 0:34:02 | |
the coolest music or the newest music | 0:34:02 | 0:34:04 | |
or the most underground music. | 0:34:04 | 0:34:06 | |
And that wasn't John. | 0:34:06 | 0:34:07 | |
John wore granny glasses, he said "far out", | 0:34:07 | 0:34:10 | |
he was relentlessly cheerful. | 0:34:10 | 0:34:12 | |
So he wasn't going to get backing in that particular sector | 0:34:12 | 0:34:16 | |
and it's too bad, because they didn't pay attention to his music, | 0:34:16 | 0:34:19 | |
they paid attention to his image. | 0:34:19 | 0:34:21 | |
Well, they didn't say good things about him, you know. | 0:34:21 | 0:34:24 | |
They didn't give him the same adulation that they gave the Beatles | 0:34:24 | 0:34:29 | |
or that they gave... | 0:34:29 | 0:34:31 | |
And he sold as many records. He didn't get that from the critics. | 0:34:31 | 0:34:36 | |
He got the opposite. They'd say, "What is this about?" | 0:34:36 | 0:34:39 | |
John read that stuff and it really affected him. | 0:34:40 | 0:34:43 | |
'The last interview I conducted with John was in the early '90s | 0:34:43 | 0:34:47 | |
'and we got around to the topic of his detractors' | 0:34:47 | 0:34:51 | |
and he said something that really resonated with me. | 0:34:51 | 0:34:53 | |
He was called the Mickey Mouse Of Rock, | 0:34:53 | 0:34:56 | |
the Ronald Reagan Of Pop. | 0:34:56 | 0:34:58 | |
What he was angry about was what it meant regarding his fans - | 0:34:58 | 0:35:01 | |
the people that had seen a birth of a child to his music or | 0:35:01 | 0:35:04 | |
had gotten married to one of his songs - | 0:35:04 | 0:35:07 | |
that they were being disparaged. | 0:35:07 | 0:35:08 | |
That angered him. That's what got under his skin. | 0:35:08 | 0:35:11 | |
John would sing to 18,000 people | 0:35:11 | 0:35:15 | |
and the music critics would just talk about how pap his music was, | 0:35:15 | 0:35:21 | |
and the last tag line was | 0:35:21 | 0:35:23 | |
"But the 18,000 people seemed to enjoy it." | 0:35:23 | 0:35:26 | |
John Denver was a hugely popular live entertainer. | 0:35:28 | 0:35:32 | |
His concerts often had the reverence of a religious gathering, | 0:35:32 | 0:35:35 | |
rather than a regular pop concert. | 0:35:35 | 0:35:37 | |
# I had an uncle name of Matthew. # | 0:35:44 | 0:35:48 | |
He put together a stellar band, | 0:35:48 | 0:35:50 | |
many of whom had played for Elvis, like guitar legend James Burton. | 0:35:50 | 0:35:55 | |
His music was very disciplined. | 0:35:55 | 0:35:57 | |
And everything had to be just in the right spot, the right space. | 0:35:58 | 0:36:03 | |
And John relied a lot on his band, | 0:36:03 | 0:36:07 | |
but he was a very good musician and a great singer/songwriter. | 0:36:07 | 0:36:12 | |
And he could put the people in the palm of his hand. | 0:36:12 | 0:36:16 | |
It was just like a one-on-one, you know. | 0:36:16 | 0:36:19 | |
The people were right there with him. | 0:36:20 | 0:36:23 | |
I mean, even though we had 30,000 people, | 0:36:23 | 0:36:26 | |
it was like they were right there with us on stage. | 0:36:26 | 0:36:29 | |
# Blue, just a Kansas summer sky. # | 0:36:30 | 0:36:35 | |
Now, you hear that? That's not a Rocky Mountain High. | 0:36:49 | 0:36:53 | |
Here he is, ladies and gentlemen. My friend, Mr Frank Sinatra. | 0:36:54 | 0:36:59 | |
By 1976, less than five years after Country Roads, | 0:37:00 | 0:37:05 | |
this former folky had been transformed | 0:37:05 | 0:37:07 | |
into America's most popular performer. | 0:37:07 | 0:37:10 | |
Now the biggest stars wanted to be seen alongside him. | 0:37:10 | 0:37:14 | |
# I've got you under my skin. # | 0:37:14 | 0:37:18 | |
'I remember the first time they worked together, | 0:37:18 | 0:37:20 | |
'we did Harrah's in Lake Tahoe.' | 0:37:20 | 0:37:22 | |
And when we put the show on sale, | 0:37:22 | 0:37:27 | |
the phone lines in the western United States | 0:37:27 | 0:37:30 | |
went down from the reservations. | 0:37:30 | 0:37:33 | |
That's how big it was. | 0:37:33 | 0:37:34 | |
You know, Frank, I was just thinking about the time that song | 0:37:34 | 0:37:38 | |
was first heard, so was I. | 0:37:38 | 0:37:40 | |
LAUGHTER | 0:37:40 | 0:37:43 | |
Boy, you know how to make a guy feel mature, don't you? | 0:37:43 | 0:37:45 | |
Well, no, really, Frank, | 0:37:45 | 0:37:47 | |
do you have any idea how many romances got started to your music? | 0:37:47 | 0:37:50 | |
-No, I don't, but I never got any of the action either. -Folks... | 0:37:50 | 0:37:53 | |
Sometime during his tenure with the trio, | 0:37:55 | 0:37:58 | |
I remember him saying that it was one of his ambitions | 0:37:58 | 0:38:02 | |
in life to become as much of a household name as Frank Sinatra. | 0:38:02 | 0:38:05 | |
The pay off came years later | 0:38:06 | 0:38:09 | |
when I found myself in Los Angeles driving up Sunset Boulevard | 0:38:09 | 0:38:13 | |
and looking up and seeing a humongous poster of the two of them | 0:38:13 | 0:38:18 | |
with their arms crossed, standing back-to-back with each other. | 0:38:18 | 0:38:21 | |
And I thought to myself, "By golly, he made it!" | 0:38:21 | 0:38:25 | |
# But I get a kick | 0:38:25 | 0:38:28 | |
# You give me a boot | 0:38:28 | 0:38:31 | |
# I get a kick | 0:38:31 | 0:38:34 | |
# Out of you | 0:38:34 | 0:38:37 | |
# Out of you. # | 0:38:37 | 0:38:41 | |
APPLAUSE | 0:38:44 | 0:38:47 | |
John was now in the superstar league - | 0:38:51 | 0:38:53 | |
he had his own Learjet and got his dad to fly it for him. | 0:38:53 | 0:38:56 | |
I hope you folks recognise me, | 0:38:58 | 0:39:00 | |
but I'm not sure you'll recognise the gentleman on my right. | 0:39:00 | 0:39:03 | |
He's my father, John Deutschendorf. | 0:39:03 | 0:39:05 | |
He's been a pilot all his life, he taught me how to fly. | 0:39:05 | 0:39:09 | |
# I guess he'd rather be in Colorado. # | 0:39:09 | 0:39:13 | |
And back home in Aspen, John's own family started to grow | 0:39:13 | 0:39:17 | |
as he and Annie adopted two small children. | 0:39:17 | 0:39:20 | |
Zach was the first and he was this little brown, beautiful little boy. | 0:39:20 | 0:39:26 | |
And then Anna Kate was the second. | 0:39:26 | 0:39:27 | |
And John was just thrilled and over the moon | 0:39:27 | 0:39:30 | |
that this was happening too, cos we'd have a boy and a girl. | 0:39:30 | 0:39:34 | |
You know, when I was younger, I just thought that was, I guess, | 0:39:35 | 0:39:40 | |
it was normal. | 0:39:40 | 0:39:41 | |
Erm, you know, I thought it was always like that | 0:39:41 | 0:39:45 | |
until I was old enough to understand that it was different. | 0:39:45 | 0:39:52 | |
Erm, and that all these people were coming to see him. | 0:39:52 | 0:39:56 | |
And for Zach and kids everywhere, John was a fixture on '70s TV | 0:39:56 | 0:40:00 | |
through his frequent appearances with the Muppets. | 0:40:00 | 0:40:04 | |
It was... Early on, it was, you know when the Muppets were big, I guess. | 0:40:04 | 0:40:10 | |
It's different than it is now. | 0:40:10 | 0:40:13 | |
But it was always a lot of fun. | 0:40:13 | 0:40:16 | |
Where to, Mr? | 0:40:16 | 0:40:18 | |
Get in. | 0:40:23 | 0:40:24 | |
Oh. | 0:40:24 | 0:40:26 | |
Already a big star on TV, John Denver next went into the movies. | 0:40:26 | 0:40:30 | |
Produced by Jerry Weintraub, | 0:40:30 | 0:40:33 | |
Oh, God was a comedy which played on John's everyman appeal | 0:40:33 | 0:40:36 | |
by casting him as a supermarket manager | 0:40:36 | 0:40:39 | |
who is visited by the Almighty, | 0:40:39 | 0:40:41 | |
personified by 90-year-old comedian George Burns. | 0:40:41 | 0:40:46 | |
I was just thinking, maybe... | 0:40:46 | 0:40:48 | |
-What about a little rain? -A little rain? | 0:40:48 | 0:40:50 | |
Yeah, a small shower. | 0:40:50 | 0:40:52 | |
One small shower, you got it. | 0:40:52 | 0:40:55 | |
RAIN STARTS | 0:40:56 | 0:40:59 | |
Hey, hey, it's raining. | 0:40:59 | 0:41:03 | |
You made it rain! | 0:41:03 | 0:41:04 | |
'It was an exciting time and Oh, God was a big hit all around the world. | 0:41:04 | 0:41:11 | |
'I don't know how skilled he was as an actor,' | 0:41:11 | 0:41:15 | |
he was good because he did on screen exactly what he did on television. | 0:41:15 | 0:41:20 | |
He had a great smile and you accepted him in your house. | 0:41:20 | 0:41:23 | |
I wouldn't term him an ac... He was a singer, an artist. | 0:41:23 | 0:41:27 | |
It's just like Noah's Ark! | 0:41:27 | 0:41:29 | |
Same thing, without the smell. | 0:41:29 | 0:41:31 | |
# It's cold here in the city. # | 0:41:39 | 0:41:42 | |
Despite his huge success, | 0:41:42 | 0:41:44 | |
John Denver had always been prone to insecurity and self-doubt. | 0:41:44 | 0:41:48 | |
From the early '70s, | 0:41:49 | 0:41:51 | |
he'd been involved in new-age therapies including | 0:41:51 | 0:41:53 | |
the controversial self-awareness programme EST or est. | 0:41:53 | 0:41:58 | |
Est is Erhard Seminars Training, | 0:41:58 | 0:42:00 | |
it's one of the many self discovery actions or seminars or workshops... | 0:42:00 | 0:42:06 | |
Why did you want to discover more about yourself? Was it something you were uncomfortable with? | 0:42:06 | 0:42:10 | |
Oh, I think it's part of what Tom Wolfe called, | 0:42:10 | 0:42:13 | |
in the 1970s, The Me Decade. | 0:42:13 | 0:42:15 | |
We really want to know who we are. | 0:42:15 | 0:42:16 | |
There are things going on. | 0:42:16 | 0:42:17 | |
We learn more and more about ourselves all the time. | 0:42:17 | 0:42:20 | |
And to really find out what it is that makes us tick | 0:42:20 | 0:42:24 | |
and how we are and can be really individuals | 0:42:24 | 0:42:26 | |
and how our lives can make a difference. | 0:42:26 | 0:42:29 | |
He was extraordinarily serious about est. | 0:42:29 | 0:42:31 | |
That doesn't mean that I have to be, you know, | 0:42:31 | 0:42:33 | |
I thought it was stupid, but that's just me. | 0:42:33 | 0:42:35 | |
But I know a lot of people that came out of est, | 0:42:35 | 0:42:38 | |
they'd got a lot from it. | 0:42:38 | 0:42:39 | |
But he needed that. You know, people need things, | 0:42:39 | 0:42:43 | |
they turn to whatever it is that gets them through the day. | 0:42:43 | 0:42:47 | |
That helped him get through the day for a very long time. | 0:42:47 | 0:42:50 | |
John was complicated. | 0:42:50 | 0:42:51 | |
I think people have a certain vision of him - | 0:42:51 | 0:42:55 | |
the kind of "Gee golly, far out," those kind of things. | 0:42:55 | 0:43:00 | |
But he was basically a pretty quiet guy. | 0:43:00 | 0:43:02 | |
I think he was insecure. | 0:43:05 | 0:43:07 | |
But I think he had a difficult time with success. | 0:43:07 | 0:43:10 | |
I think that was very hard for him. | 0:43:11 | 0:43:15 | |
Because I don't think he knew how good he was. | 0:43:15 | 0:43:18 | |
Many, many artists don't realise how good they are, | 0:43:19 | 0:43:23 | |
that's when the darkness comes out. | 0:43:23 | 0:43:25 | |
I don't think he ever accepted the fact that he was as good as he was. | 0:43:25 | 0:43:32 | |
Because the critics always were a problem for him. | 0:43:32 | 0:43:35 | |
I think most of our fear comes from not thinking we're enough | 0:43:35 | 0:43:40 | |
and that ironically I think sometimes the more success you can have, | 0:43:40 | 0:43:45 | |
and particularly if it's been a rocket ship, a rocket ride, | 0:43:45 | 0:43:49 | |
that there's not all that time to develop perhaps other aspects of yourself. | 0:43:49 | 0:43:54 | |
That's just my take on it. | 0:43:55 | 0:43:57 | |
But for the time being, these doubts were put to one side as John | 0:44:00 | 0:44:04 | |
continued his reign as America's favourite singer. | 0:44:04 | 0:44:08 | |
He was one of the first celebrities to use his fame to raise awareness | 0:44:08 | 0:44:11 | |
of environmental issues and forged a firm friendship | 0:44:11 | 0:44:15 | |
with underwater explorer Jacques Cousteau. | 0:44:15 | 0:44:18 | |
-Welcome aboard Calypso. -It is great to be here. -Let me show you around. | 0:44:18 | 0:44:22 | |
At some point, I think it was during dinner or after dinner, | 0:44:22 | 0:44:26 | |
he asked my dad, he said, | 0:44:26 | 0:44:27 | |
"Captain, do you mind if I go to the bow of the ship | 0:44:27 | 0:44:33 | |
"for a while? I need to think." And my dad said, "Yes, of course." | 0:44:33 | 0:44:38 | |
So he went to the bow and that's when he wrote Aye Calypso. | 0:44:38 | 0:44:42 | |
# Aye, Calypso, the places you've been to | 0:44:42 | 0:44:46 | |
# Things that you show us The stories you tell | 0:44:46 | 0:44:50 | |
# Aye, Calypso, I sing to your spirit | 0:44:50 | 0:44:53 | |
# The men who have served you so long and so well. # | 0:44:53 | 0:44:57 | |
Typical of John and his generosity, ultimately he gave the revenue | 0:45:01 | 0:45:07 | |
of that particular song to the not-for-profit company of my father. | 0:45:07 | 0:45:13 | |
And I remember collecting big cheques. | 0:45:13 | 0:45:16 | |
Supporting Jacques Cousteau was only one strand | 0:45:18 | 0:45:20 | |
of John's political activism and this side of him, | 0:45:20 | 0:45:23 | |
last seen in the Mitchell Trio days, was reborn. | 0:45:23 | 0:45:26 | |
He campaigned against whaling... | 0:45:26 | 0:45:29 | |
# Have you heard the song the humpback hears 500 miles away | 0:45:29 | 0:45:36 | |
# Telling tales of ancient history of passages and home. # | 0:45:36 | 0:45:45 | |
..and worked with President Jimmy Carter | 0:45:45 | 0:45:47 | |
on a commission combating hunger in Africa. | 0:45:47 | 0:45:50 | |
He was the guy that was there before We Are The World, | 0:45:51 | 0:45:55 | |
the whole Hunger Project, he started that. | 0:45:55 | 0:45:58 | |
Working on the President's commission | 0:45:58 | 0:46:02 | |
on world and domestic hunger. | 0:46:02 | 0:46:05 | |
Everywhere he saw... And this was in the '70s, this is early | 0:46:05 | 0:46:08 | |
and he was ahead of his time. | 0:46:08 | 0:46:09 | |
The Stings and the Bonos | 0:46:09 | 0:46:11 | |
and the people who use their status well to help others, | 0:46:11 | 0:46:15 | |
I think they were inspired by John back then, he sort of set the tone. | 0:46:15 | 0:46:20 | |
To further these ideas, John Denver set up his own foundation, Windstar, | 0:46:20 | 0:46:25 | |
and bought a large tract of land near Aspen as its base. | 0:46:25 | 0:46:30 | |
This is late '70s, the land was purchased by the mid-'80s, | 0:46:30 | 0:46:34 | |
we had hundreds of people out there, | 0:46:34 | 0:46:37 | |
we had wind generation experiments, solar demonstrations, | 0:46:37 | 0:46:41 | |
we had an international symposium where 1,500 people would come, | 0:46:41 | 0:46:45 | |
so it was an exciting, exciting place | 0:46:45 | 0:46:48 | |
and probably ahead of its time. | 0:46:48 | 0:46:50 | |
# Usually in the morning | 0:46:50 | 0:46:53 | |
# I'm filled with sweet belonging. # | 0:46:53 | 0:46:57 | |
While he was famous as a campaigner, by the early 1980s, | 0:46:57 | 0:47:01 | |
John Denver's status as a pop star was fading. | 0:47:01 | 0:47:05 | |
Although his albums were still popular, | 0:47:05 | 0:47:07 | |
he hadn't had a hit single since Calypso in 1975. | 0:47:07 | 0:47:12 | |
His personal life was also in turmoil. | 0:47:15 | 0:47:18 | |
His father, to whom he'd grown closer through their love of flying, | 0:47:18 | 0:47:22 | |
died suddenly in March 1982. | 0:47:22 | 0:47:25 | |
And only three months later, on their 15th wedding anniversary, | 0:47:26 | 0:47:29 | |
Annie asked him for a divorce. | 0:47:29 | 0:47:31 | |
It's complicated. | 0:47:33 | 0:47:34 | |
I think anybody that's been married to an entertainer or in that | 0:47:34 | 0:47:38 | |
kind of industry where it's bigger than life... | 0:47:38 | 0:47:40 | |
I think the pressures are enormous and I didn't have the maturity, | 0:47:40 | 0:47:45 | |
and I don't think John did, either, | 0:47:45 | 0:47:47 | |
to be able to deal with each other the way perhaps we could now, today. | 0:47:47 | 0:47:52 | |
You know, there was hurt, there was anger, | 0:47:52 | 0:47:54 | |
there was disappointment and I know for me when I look back is that we | 0:47:54 | 0:48:00 | |
were young and we didn't know how to talk about these things. | 0:48:00 | 0:48:04 | |
Well, I think over the last four, five, six years, | 0:48:04 | 0:48:07 | |
we started drifting away from one another and part of it had to do with | 0:48:07 | 0:48:11 | |
the amount of time that we spent not together | 0:48:11 | 0:48:15 | |
and the things that we, I suppose, | 0:48:15 | 0:48:16 | |
got locked into and not being together | 0:48:16 | 0:48:18 | |
and then an inflexibility when we got back together | 0:48:18 | 0:48:21 | |
to sort of integrate the other's life into our own. | 0:48:21 | 0:48:24 | |
Within that, we sort of found that we have different interests, | 0:48:24 | 0:48:29 | |
we had different friends, we had very little in common. | 0:48:29 | 0:48:32 | |
-Do you see her? -Yes, I do. | 0:48:32 | 0:48:35 | |
# This is what it's like falling out of love | 0:48:35 | 0:48:40 | |
# This is the way you lose your very best friend | 0:48:41 | 0:48:45 | |
# This is how it feels when it's all over | 0:48:47 | 0:48:53 | |
# This is just the way a true love ends. # | 0:48:53 | 0:48:58 | |
Like so many people, they look at divorce like it's a failure. | 0:48:58 | 0:49:02 | |
It's one of those big failures, you know. | 0:49:02 | 0:49:05 | |
John was depressed about it. | 0:49:05 | 0:49:11 | |
He loved his kids, I think he loved Annie | 0:49:11 | 0:49:15 | |
and John had all of the things tugging at him | 0:49:15 | 0:49:18 | |
that he wasn't about to give up. | 0:49:18 | 0:49:20 | |
And Annie wanted a guy to be around and he wasn't. | 0:49:20 | 0:49:24 | |
# Then the nights grow cold and hard to live through. # | 0:49:25 | 0:49:30 | |
The down spells cycled throughout his life | 0:49:30 | 0:49:34 | |
from when he was very young. | 0:49:34 | 0:49:36 | |
And I think he went through this enormous down spell with relationships. | 0:49:36 | 0:49:42 | |
And maybe because suddenly they weren't playing his music, | 0:49:42 | 0:49:47 | |
every star has their flourishing | 0:49:47 | 0:49:49 | |
and then there's a time when you're not being played, | 0:49:49 | 0:49:51 | |
so those insecurities might have crept in. Who knows? | 0:49:51 | 0:49:55 | |
All I know is John went through a very difficult time. | 0:49:55 | 0:49:58 | |
# This is how it feels when it's all over. # | 0:50:01 | 0:50:07 | |
Well, I think as we get older and we lose people... | 0:50:07 | 0:50:10 | |
You know, his father died and then his first marriage failed. | 0:50:10 | 0:50:15 | |
And then he had other disappointments | 0:50:15 | 0:50:17 | |
and I think you become more serious. | 0:50:17 | 0:50:20 | |
Yeah, I think it was a hard period for him, | 0:50:25 | 0:50:28 | |
but like they say, "One door closes and another one opens." | 0:50:28 | 0:50:34 | |
And in Australia in 1986 there was a new stage in John's life | 0:50:34 | 0:50:38 | |
when he met singer and actress Cassandra Delaney. | 0:50:38 | 0:50:41 | |
I was in Sydney, cos that's where I was raised, | 0:50:41 | 0:50:45 | |
and I was actually a wedding singer the night that I met John. | 0:50:45 | 0:50:49 | |
I was at the Sebel Town House doing a show for this wedding | 0:50:49 | 0:50:54 | |
and we were sitting at the bar and it was packed and in walks this... | 0:50:54 | 0:51:01 | |
this guy with two guys beside him and I looked over and it was... | 0:51:01 | 0:51:07 | |
And he looked at me and it was kind of love at first sight. | 0:51:07 | 0:51:11 | |
And I turned to my guitar player and he was like, | 0:51:11 | 0:51:15 | |
"Do know who that is?" I'm, like, "No." | 0:51:15 | 0:51:18 | |
And he's like, "That's John Denver," and I went, "Oh, well... | 0:51:18 | 0:51:22 | |
"John Denver. Well, maybe I'll just go home!" | 0:51:22 | 0:51:26 | |
After a whirlwind courtship, John and Cassandra married | 0:51:27 | 0:51:31 | |
and she joined his life on the road and his campaigning. | 0:51:31 | 0:51:34 | |
When I met him in the late '80s, | 0:51:34 | 0:51:37 | |
he was really getting involved in the politics of the environment | 0:51:37 | 0:51:43 | |
and you know he was passionate about NASA and going to the moon. | 0:51:43 | 0:51:48 | |
You know, he was going into space. | 0:51:48 | 0:51:51 | |
For many years, John had been one of the foremost campaigners | 0:51:53 | 0:51:56 | |
for civilians to go into space. | 0:51:56 | 0:51:59 | |
He hoped to lead the way as a passenger | 0:51:59 | 0:52:00 | |
on the Challenger Space Shuttle. | 0:52:00 | 0:52:04 | |
Until President Reagan announced a year and a half ago, during his | 0:52:04 | 0:52:06 | |
presidential campaign, that he was going to send a teacher first, | 0:52:06 | 0:52:09 | |
I thought that I would be the first one to go and that was my flight. | 0:52:09 | 0:52:13 | |
He sent Christa McAuliffe. | 0:52:13 | 0:52:15 | |
I knew all of the astronauts on board, | 0:52:15 | 0:52:16 | |
I knew Christa. I support NASA 1,000%. | 0:52:16 | 0:52:20 | |
I think it's one of the best things going on | 0:52:20 | 0:52:23 | |
not only in the United States, but in the world. | 0:52:23 | 0:52:25 | |
Tragically, the Challenger exploded on take off | 0:52:25 | 0:52:28 | |
killing everyone on board. | 0:52:28 | 0:52:29 | |
Would you go if there were another Challenger mission? | 0:52:29 | 0:52:32 | |
I would go right now, I would go tomorrow if it were possible. | 0:52:32 | 0:52:35 | |
# They gave us their light | 0:52:35 | 0:52:38 | |
# They gave us their spirit and all they could be. # | 0:52:38 | 0:52:43 | |
Although he still featured in events like the Challenger Benefit, | 0:52:43 | 0:52:46 | |
by the mid-1980s John Denver's star had fallen. | 0:52:46 | 0:52:49 | |
When the charity record, We Are The World, was produced in 1985, | 0:52:50 | 0:52:54 | |
he wasn't even invited to take part. | 0:52:54 | 0:52:57 | |
He also broke up with his long-term manager Jerry Weintraub. | 0:52:58 | 0:53:02 | |
And, in 1986, Denver was dropped by RCA, | 0:53:02 | 0:53:06 | |
the company for whom he'd sold over 100 million records. | 0:53:06 | 0:53:11 | |
RCA was an incredibly stupid record company. | 0:53:11 | 0:53:14 | |
Unfortunately, every year they changed presidents | 0:53:14 | 0:53:18 | |
and changed A&R people and new people came in, younger people, | 0:53:18 | 0:53:25 | |
they didn't care about John Denver, | 0:53:25 | 0:53:27 | |
they probably didn't even know who he was, you know? | 0:53:27 | 0:53:31 | |
# Lady, are you happy? | 0:53:31 | 0:53:36 | |
# Do you feel the way I do? # | 0:53:38 | 0:53:43 | |
His personal life went through more troubles. | 0:53:45 | 0:53:48 | |
Although John and Cassandra had a baby daughter, Jesse Belle, | 0:53:48 | 0:53:51 | |
their marriage was short-lived and ended in divorce after four years. | 0:53:51 | 0:53:55 | |
In the 1990s, his appearances in the media were more often | 0:53:55 | 0:53:59 | |
for drunk-driving offences than for his music. | 0:53:59 | 0:54:02 | |
# My sweet lady. # | 0:54:04 | 0:54:07 | |
But John Denver had a loyal fanbase | 0:54:07 | 0:54:10 | |
and he still played sell-out shows around the world. | 0:54:10 | 0:54:13 | |
In 1995, he released a double live album | 0:54:13 | 0:54:17 | |
which surprised many by going gold. | 0:54:17 | 0:54:19 | |
For his friends, | 0:54:19 | 0:54:20 | |
John seemed to be in a happier place than he'd been for many years. | 0:54:20 | 0:54:25 | |
He was turning the corner on so many things. | 0:54:25 | 0:54:28 | |
He was still discovering what he's going to do in this next era. | 0:54:28 | 0:54:33 | |
But there was a deeper peace about him, a deeper understanding | 0:54:33 | 0:54:37 | |
about him, much greater wisdom about this celebrity which the | 0:54:37 | 0:54:44 | |
flourishing star maybe had passed, but the ability to make a difference | 0:54:44 | 0:54:48 | |
was possibly even stronger, because he had greater wisdom. | 0:54:48 | 0:54:52 | |
But tragically there was to be no comeback for John Denver. | 0:54:55 | 0:54:59 | |
Since learning to fly with his father, he'd become a keen pilot, | 0:54:59 | 0:55:03 | |
owning a number of high-performance stunt planes. | 0:55:03 | 0:55:07 | |
On October 12th, 1997, | 0:55:07 | 0:55:09 | |
he took delivery of an experimental kit plane, the Long-EZ. | 0:55:09 | 0:55:14 | |
Test flying it at a low level over Monterey Bay, | 0:55:14 | 0:55:17 | |
the plane crashed into the sea. | 0:55:17 | 0:55:20 | |
The accident report concluded that it had run out of fuel | 0:55:20 | 0:55:24 | |
and that John had been unable to switch to the reserve tank. | 0:55:24 | 0:55:28 | |
He was killed instantly. | 0:55:28 | 0:55:31 | |
We got to talking one day and I said, | 0:55:31 | 0:55:32 | |
"John, do you ever think about something, | 0:55:32 | 0:55:37 | |
"maybe tragedy in a plane or something?" He said, "Never." | 0:55:37 | 0:55:41 | |
He said, "If it's my time to go, | 0:55:41 | 0:55:45 | |
"I would want to go flying my plane." | 0:55:45 | 0:55:48 | |
I picked up the phone and Malcolm said that, | 0:55:49 | 0:55:55 | |
"Cassie, there's been an accident." | 0:55:55 | 0:55:59 | |
And I'm like... | 0:55:59 | 0:56:01 | |
I, I pretty much just fell to the floor. | 0:56:01 | 0:56:05 | |
And then I got on the phone and started talking to everybody | 0:56:05 | 0:56:08 | |
and telling them how it was a mistake, it wasn't John, | 0:56:08 | 0:56:11 | |
he wasn't there, you know, blah, blah, blah. | 0:56:11 | 0:56:13 | |
And trying to cover it to keep it from getting to Mom... | 0:56:13 | 0:56:18 | |
for a while. | 0:56:18 | 0:56:20 | |
# I've been lately thinking about my life's time | 0:56:21 | 0:56:27 | |
# All the things I've done and how it's been | 0:56:27 | 0:56:32 | |
# And I can't help believing in my own mind | 0:56:34 | 0:56:40 | |
# I know I'm gonna hate to see it end. # | 0:56:40 | 0:56:45 | |
I think he was a great artist. | 0:56:45 | 0:56:47 | |
I think he was a wonderful man, a wonderful fellow, when I knew him. | 0:56:47 | 0:56:53 | |
I loved him dearly, I miss him a lot. | 0:56:53 | 0:56:57 | |
# I've known my lady's pleasures. # | 0:57:00 | 0:57:03 | |
He represented America at its best and healthiest. | 0:57:03 | 0:57:06 | |
He's a wonderful artist and a wonderful writer | 0:57:06 | 0:57:09 | |
and I think his songs will be sung for hundreds of years. | 0:57:09 | 0:57:13 | |
They're that good. | 0:57:13 | 0:57:14 | |
# I have to say it now It's been a good life all in all. # | 0:57:14 | 0:57:19 | |
My brother was a great guy. | 0:57:19 | 0:57:20 | |
I mean, he could be wonderfully generous, like all people, | 0:57:20 | 0:57:24 | |
and he could be an asshole like all people. | 0:57:24 | 0:57:27 | |
And I have experiences of both, you know. | 0:57:27 | 0:57:31 | |
It didn't affect my love for him or that I like his music. | 0:57:32 | 0:57:36 | |
# Sit and pass the pipe around. # | 0:57:36 | 0:57:40 | |
He was a hard guy to picture dead, cos he'd been so alive. | 0:57:40 | 0:57:45 | |
As I said, nothing scared him. | 0:57:46 | 0:57:48 | |
# How sweet it is to love someone How great it is to care | 0:57:48 | 0:57:55 | |
# How long it's been since yesterday. # | 0:57:55 | 0:57:58 | |
I feel close to him, you know, when I'm in the mountains. | 0:57:58 | 0:58:01 | |
And, you know, when I'm looking at things that I know he looked at, | 0:58:01 | 0:58:05 | |
you know, that he saw, I feel pretty close to him. | 0:58:05 | 0:58:09 | |
# And talk of poems and prayers and promises | 0:58:09 | 0:58:13 | |
# And things that we believe in | 0:58:13 | 0:58:16 | |
# How sweet it is to love someone How right it is to care | 0:58:16 | 0:58:23 | |
# How long it's been from yesterday | 0:58:23 | 0:58:27 | |
# What about tomorrow? | 0:58:27 | 0:58:29 | |
# What about our dreams and all the memories we share? # | 0:58:30 | 0:58:35 | |
Subtitles by Red Bee Media Ltd | 0:58:38 | 0:58:42 |