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# Ain't no sunshine when she's gone | 0:00:02 | 0:00:04 | |
# It's not warm when she's away | 0:00:06 | 0:00:09 | |
# Ain't no sunshine when she's gone | 0:00:12 | 0:00:16 | |
# She always gone too long Anytime she goes away | 0:00:16 | 0:00:22 | |
# Wonder this time where she's gone | 0:00:25 | 0:00:29 | |
# Wonder if she's gonna stay | 0:00:31 | 0:00:35 | |
# Ain't no sunshine when she's gone | 0:00:38 | 0:00:41 | |
# This house just ain't no home anytime she goes away | 0:00:41 | 0:00:47 | |
# I know, I know, I know, I know, I know | 0:00:51 | 0:00:54 | |
# I know, I know, I know, I know, I know, I know | 0:00:54 | 0:00:57 | |
# I know, I know, I know | 0:00:57 | 0:00:59 | |
# I know, I know, I know, I know, I know, I know | 0:00:59 | 0:01:02 | |
# I know, I know, I know | 0:01:02 | 0:01:05 | |
# I know, I know, I know, I know, I know, I know | 0:01:05 | 0:01:08 | |
# I know, I know, I know, I know, I know | 0:01:08 | 0:01:11 | |
# Hey, I oughta leave the young thing alone | 0:01:11 | 0:01:14 | |
# But ain't no sunshine when she's gone | 0:01:14 | 0:01:17 | |
# Anytime she goes away | 0:01:20 | 0:01:23 | |
# Anytime she goes awa-aay. # | 0:01:27 | 0:01:37 | |
APPLAUSE | 0:01:37 | 0:01:39 | |
TV PLAYS | 0:01:39 | 0:01:45 | |
Can I take us right back to when you first started? | 0:01:57 | 0:02:01 | |
-How did your recording career come about? -I saved up some of my own money and recorded myself. | 0:02:01 | 0:02:06 | |
I had never written any songs, | 0:02:06 | 0:02:08 | |
I didn't really know how to play anything and I had never sung before. Not really, | 0:02:08 | 0:02:13 | |
you know, in the shower or some place. But I just... | 0:02:13 | 0:02:16 | |
decided it would be awfully nice to get into the music business | 0:02:16 | 0:02:19 | |
and then I just walked around and knocked on everybody's door. | 0:02:19 | 0:02:22 | |
A lot of times, I would go in, and somebody would say to me, | 0:02:22 | 0:02:26 | |
"You're too old to be just beginning." | 0:02:26 | 0:02:30 | |
You know, I was like, 32 years old at the time. | 0:02:30 | 0:02:33 | |
Most of the major record companies called me up. | 0:02:33 | 0:02:36 | |
But they had a different idea of how... | 0:02:36 | 0:02:38 | |
they didn't want me to do anything quiet. | 0:02:38 | 0:02:40 | |
They had this rhythm and blues syndrome in their mind | 0:02:40 | 0:02:43 | |
with the horns and the three chicks and the gold lame suit, you know. | 0:02:43 | 0:02:48 | |
I wasn't really into that, I had a job, | 0:02:48 | 0:02:51 | |
so I thought, "If they won't let me do it like I want to do it, | 0:02:51 | 0:02:55 | |
"I've got this good job, making these toilets - I don't need you cats." | 0:02:55 | 0:02:59 | |
-"Making these toilets"! What kind of toilet were you making? -For aircraft. | 0:02:59 | 0:03:03 | |
-Ah! -Yeah, 747 aircraft. | 0:03:03 | 0:03:05 | |
I installed cameras in those toilets... | 0:03:05 | 0:03:09 | |
unbeknownst to anybody but me. | 0:03:09 | 0:03:12 | |
So if you've ever been to the bathroom on a 747, I know you very well! | 0:03:12 | 0:03:17 | |
LAUGHTER AND APPLAUSE | 0:03:17 | 0:03:20 | |
So...here's all the stuff that I don't know how to work. | 0:03:24 | 0:03:29 | |
HE CHUCKLES | 0:03:29 | 0:03:31 | |
I mean, I guess the stuff works, I know how to turn it on, you know. | 0:03:31 | 0:03:37 | |
I can make lights come on and stuff. Let's see... | 0:03:37 | 0:03:39 | |
Yeah, I can turn that on... | 0:03:39 | 0:03:42 | |
And, er...let's see... | 0:03:43 | 0:03:46 | |
Turn this fan on here to cool that down. | 0:03:46 | 0:03:49 | |
This thing's been sitting here corroding for about ten years. | 0:03:49 | 0:03:55 | |
I think I got a speaker thing here... | 0:03:55 | 0:03:59 | |
Fooling around, let's see. | 0:03:59 | 0:04:01 | |
I was just playing with all these gadgets. | 0:04:01 | 0:04:03 | |
DEMOS PLAYING: DRUMS/MUSIC | 0:04:03 | 0:04:07 | |
I have to be careful that I don't just wallow in my own comfort. | 0:04:07 | 0:04:12 | |
Probably now, I'm trying to find some kind of motivation or, you know... | 0:04:12 | 0:04:16 | |
I'm not lazy. I don't even understand. | 0:04:16 | 0:04:19 | |
I'm trying to give myself a chance to get driven. | 0:04:19 | 0:04:23 | |
Where just the sheer activity of doing something | 0:04:23 | 0:04:27 | |
just jacks you up, makes you excited. | 0:04:27 | 0:04:29 | |
I lived a good portion of my life before I started to play music. | 0:04:31 | 0:04:36 | |
I had been working at Weber Aircraft and I got laid off. | 0:04:36 | 0:04:39 | |
Then Ain't No Sunshine started appearing on the radio and stuff. | 0:04:39 | 0:04:44 | |
It's funny, because I got two requests in the same day - | 0:04:44 | 0:04:47 | |
I got a letter from my job saying that I was called back to work | 0:04:47 | 0:04:51 | |
AND I got request to do the Johnny Carson Show. | 0:04:51 | 0:04:56 | |
APPLAUSE | 0:04:56 | 0:05:00 | |
I like that song, that was big for you, wasn't it? | 0:05:05 | 0:05:08 | |
Yeah, that kind of, uh, got me off the ham and eggs thing | 0:05:08 | 0:05:11 | |
and kind of tightened me up a little bit. | 0:05:11 | 0:05:15 | |
We mentioned this before, that you were a craftsman | 0:05:15 | 0:05:18 | |
and you made toilets, right? | 0:05:18 | 0:05:21 | |
-Oh, yeah, it was a good job, I had a lot of fun doing it. -LAUGHTER | 0:05:21 | 0:05:25 | |
-Where does the fun come in, Bill? -LAUGHTER | 0:05:25 | 0:05:29 | |
'People in my own family were probably surprised when I was on the radio. | 0:05:29 | 0:05:32 | |
'People had been in the Navy with, | 0:05:32 | 0:05:34 | |
'people I had worked in a factory with, people that knew me | 0:05:34 | 0:05:38 | |
'were probably going, "Wait a minute, is that that same guy?"' | 0:05:38 | 0:05:42 | |
'If I would have gone to work the next day,' | 0:05:42 | 0:05:45 | |
and told somebody where I was last night, | 0:05:45 | 0:05:50 | |
I would have got laughed out of the place. | 0:05:50 | 0:05:53 | |
All of a sudden, I'm travelling on the road | 0:05:53 | 0:05:55 | |
and more people are interested in you than before. | 0:05:55 | 0:05:58 | |
It was just like a whole other world. | 0:05:58 | 0:06:01 | |
# You just call on me brother | 0:06:01 | 0:06:03 | |
# When you need a hand | 0:06:03 | 0:06:06 | |
# We all need somebody to lean on... # | 0:06:06 | 0:06:12 | |
-Ladies and gentlemen, Mr Bill Withers! -APPLAUSE | 0:06:12 | 0:06:16 | |
# ..That you'll understand | 0:06:16 | 0:06:19 | |
# We all need somebody to lean on | 0:06:19 | 0:06:24 | |
# Lean on me... # | 0:06:24 | 0:06:26 | |
Mr Bill Withers. | 0:06:26 | 0:06:27 | |
# ..when you're not strong | 0:06:27 | 0:06:31 | |
# And I'll be your friend | 0:06:31 | 0:06:34 | |
# I'll help you carry on | 0:06:34 | 0:06:39 | |
# For it won't be long | 0:06:39 | 0:06:44 | |
# Till I'm gonna need | 0:06:44 | 0:06:47 | |
# Somebody to lean on... # | 0:06:47 | 0:06:52 | |
New words started to enter my life | 0:07:11 | 0:07:14 | |
that had never been there before, like "handsome". | 0:07:14 | 0:07:18 | |
Boy, you sure do get better-looking when you get a hit record. | 0:07:18 | 0:07:21 | |
# I want to spread the news | 0:07:21 | 0:07:23 | |
# That if it feels this good getting used | 0:07:23 | 0:07:26 | |
# Oh you just keep on using me | 0:07:26 | 0:07:30 | |
# Hey, hey, until you use me up | 0:07:31 | 0:07:34 | |
# Hey, hey, until you use me up | 0:07:38 | 0:07:41 | |
# Hey, hey | 0:07:45 | 0:07:47 | |
# Talking about you using me but it all depends on what you do | 0:07:47 | 0:07:53 | |
# It ain't too bad the way you're using me | 0:07:53 | 0:07:56 | |
# Cos I sure am using you to do that thing you do | 0:07:56 | 0:08:01 | |
# Hey, hey, to do that thing you do... # | 0:08:04 | 0:08:08 | |
'I had never been in the entertainment business before. | 0:08:08 | 0:08:10 | |
'The first live singing I did was in front of 5,000 people. | 0:08:10 | 0:08:13 | |
'Suddenly, somebody says, "Go to work."' | 0:08:13 | 0:08:16 | |
Can I get a big round of applause for the one and only Bill Withers! | 0:08:16 | 0:08:20 | |
CHEERING AND APPLAUSE | 0:08:20 | 0:08:24 | |
# Well, I'm five years old | 0:08:24 | 0:08:26 | |
# Sure am cold | 0:08:26 | 0:08:28 | |
# Mama's out cooking steak | 0:08:28 | 0:08:32 | |
# Cooking steak for someone else... # | 0:08:32 | 0:08:35 | |
What you see as the prognosis of your career, Bill? | 0:08:35 | 0:08:38 | |
You know, you'll become a big star, you're becoming a superstar. | 0:08:38 | 0:08:42 | |
-Do think you can remain just as you are? -First, I have to become | 0:08:42 | 0:08:47 | |
-somebody that understands what "prognosis" means! -INTERVIEWER LAUGHS | 0:08:47 | 0:08:51 | |
Well, how do you interpret how things are going to go for you? | 0:08:51 | 0:08:55 | |
Oh, yeah! I'm kinda just lettin' 'em go, you know. | 0:08:55 | 0:08:58 | |
Lettin' 'em go, and whatever is given to me, | 0:08:58 | 0:09:00 | |
if I can do it, you know... | 0:09:00 | 0:09:02 | |
'Two or three years into this, I was in a major mess.' | 0:09:02 | 0:09:05 | |
The record company actually collapsed from under me. | 0:09:05 | 0:09:09 | |
Well, IRS came in and took the tapes and sold them. | 0:09:10 | 0:09:13 | |
Then, when I went to this major, big, mega label, | 0:09:13 | 0:09:16 | |
you walk in, you play something, somebody goes, "Where are the horns? | 0:09:16 | 0:09:20 | |
"You got to put some horns on it. How long is the intro?" | 0:09:20 | 0:09:24 | |
First hit record I had was Ain't No Sunshine. No intro, nothing. | 0:09:24 | 0:09:28 | |
If nobody throws all them rules at you, | 0:09:28 | 0:09:31 | |
you might make a song with no introduction. | 0:09:31 | 0:09:34 | |
Instead of singing about romantic love all the time, | 0:09:34 | 0:09:37 | |
you make a love song about your grandmother. | 0:09:37 | 0:09:40 | |
Or you make a friendship song, a la Lean On Me, | 0:09:40 | 0:09:43 | |
searching through your feelings and your vulnerabilities | 0:09:43 | 0:09:47 | |
and your strengths and your weaknesses. | 0:09:47 | 0:09:49 | |
You're already loaded up enough with the burden of just trying | 0:09:49 | 0:09:52 | |
to find those feelings. | 0:09:52 | 0:09:55 | |
So then, here comes a whole bunch of guys, | 0:09:55 | 0:09:57 | |
trying to tell you what to do with all their goofy suggestions... | 0:09:57 | 0:10:02 | |
They had the R&B black guys, | 0:10:02 | 0:10:04 | |
and then they got what I like to call "Blacksperts", | 0:10:04 | 0:10:08 | |
that's the white guys who are supposed to be "experts"... | 0:10:08 | 0:10:11 | |
you know, who have some kind of tap into your black psyche. | 0:10:11 | 0:10:14 | |
I had an A&R man once - his big suggestion to me | 0:10:14 | 0:10:19 | |
was that I cover Elvis Presley's In The Ghetto. | 0:10:19 | 0:10:22 | |
I was livid, | 0:10:24 | 0:10:25 | |
and as I started to try to respond to that, | 0:10:25 | 0:10:29 | |
that simple kind of emotional, vulnerable kind of thing, | 0:10:29 | 0:10:34 | |
kind of got splattered around. | 0:10:34 | 0:10:38 | |
APPLAUSE | 0:10:38 | 0:10:41 | |
I became VERY interested - | 0:10:41 | 0:10:43 | |
can I still stay in this business and be effective | 0:10:43 | 0:10:46 | |
'and make a living and not have to play this fame game? | 0:10:46 | 0:10:50 | |
'I wasn't any good at it. The fame game was kicking my ass.' | 0:10:50 | 0:10:55 | |
# I see the crystal raindrops fall | 0:10:57 | 0:11:00 | |
# And see the beauty of it all | 0:11:00 | 0:11:02 | |
# Is when the sun comes shining through | 0:11:02 | 0:11:05 | |
# To make those rainbows in my mind | 0:11:07 | 0:11:10 | |
# When I think of you some time | 0:11:10 | 0:11:12 | |
# And I want to spend some time with you | 0:11:12 | 0:11:15 | |
# Just the two of us | 0:11:15 | 0:11:18 | |
# We can make it if we try | 0:11:18 | 0:11:20 | |
-# Just the two of us -Just the two of us | 0:11:20 | 0:11:24 | |
# Just the two of us | 0:11:24 | 0:11:28 | |
# Building castles in the sky | 0:11:28 | 0:11:30 | |
# Just the two of us You and I... # | 0:11:30 | 0:11:33 | |
I would like to see us move past | 0:11:38 | 0:11:40 | |
where you need the validation of the mainstream so much... | 0:11:40 | 0:11:45 | |
until we got away from | 0:11:45 | 0:11:48 | |
liking ourselves. | 0:11:48 | 0:11:50 | |
The challenge, though, is still, once you get in that mainstream, | 0:11:50 | 0:11:53 | |
to not become mainstream. | 0:11:53 | 0:11:55 | |
That is to say, to remain your authentic self, | 0:11:55 | 0:11:59 | |
to still make the community that produced you, proud of you. | 0:11:59 | 0:12:03 | |
To not, in the cultural vernacular, become a sell-out. | 0:12:03 | 0:12:08 | |
"Sell-out". I'm not crazy about that word...because... | 0:12:08 | 0:12:12 | |
..we're all entrepreneurs. | 0:12:14 | 0:12:17 | |
To me... | 0:12:17 | 0:12:18 | |
..I don't care whether you own a furniture store or whatever, | 0:12:20 | 0:12:24 | |
the best sign you can put up is, "Sold out". | 0:12:24 | 0:12:28 | |
-So let's... C-C-Can we make that... -THEY LAUGH | 0:12:29 | 0:12:33 | |
Can we make that subservient? | 0:12:33 | 0:12:37 | |
THEY TALK OVER EACH OTHER | 0:12:37 | 0:12:40 | |
It is a profound point. One, it's a Shakespearian point. | 0:12:42 | 0:12:47 | |
"To thine own self be true. | 0:12:47 | 0:12:49 | |
"If night follows the day, thou can be false to no-one." | 0:12:49 | 0:12:52 | |
You have been true to yourself. | 0:12:52 | 0:12:56 | |
You don't sound like Paul Simon on the guitar, you're Bill Withers | 0:12:56 | 0:13:00 | |
because you come out of your roots. | 0:13:00 | 0:13:02 | |
When you sing Grandma's Hands, talking about Matty, | 0:13:02 | 0:13:05 | |
and talking about grandma taking care of local, unwed mothers | 0:13:05 | 0:13:08 | |
in Virginia, West Virginia, that's real. | 0:13:08 | 0:13:11 | |
That's being yourself. | 0:13:11 | 0:13:13 | |
At the same time, in being yourself, you're able to cross over | 0:13:13 | 0:13:17 | |
into a white mainstream, and they had to accept you on your own terms. | 0:13:17 | 0:13:24 | |
You see, looking at this thing is... | 0:13:28 | 0:13:33 | |
..not new. | 0:13:35 | 0:13:36 | |
Oh, boy, these pages are really... | 0:13:38 | 0:13:41 | |
Well, I guess this was brothers and sisters I had that never lived. | 0:13:43 | 0:13:47 | |
I was the last of 13 kids that my mother had. | 0:13:47 | 0:13:50 | |
I guess I wasn't born yet, so I'm not in here anywhere. | 0:13:50 | 0:13:56 | |
Grackus Monroe Galloway was my mother's father. | 0:13:56 | 0:14:00 | |
He was born a slave. | 0:14:00 | 0:14:02 | |
He was probably nine years old when they freed the slaves. | 0:14:02 | 0:14:05 | |
He worked in the coal mines but he would never work for the coal company. | 0:14:07 | 0:14:11 | |
He hauled coal... Here's Grandma. | 0:14:11 | 0:14:13 | |
Now, I took this picture when I was a kid, | 0:14:15 | 0:14:19 | |
so you can see what year it was by the car. | 0:14:19 | 0:14:21 | |
'Most of us at some point in our lives' | 0:14:24 | 0:14:27 | |
have somebody that means more to us than anyone else that's ever meant before or will ever mean again. | 0:14:27 | 0:14:34 | |
Sometimes it's a long-legged lady, if you're a man, | 0:14:34 | 0:14:38 | |
or some tall, very smooth man if you're a woman. | 0:14:38 | 0:14:42 | |
But in my case I learned how to really love somebody | 0:14:42 | 0:14:46 | |
from just a nice old lady. | 0:14:46 | 0:14:47 | |
My favourite thing that I've written | 0:14:47 | 0:14:50 | |
has to be about this favourite old lady of mine. | 0:14:50 | 0:14:53 | |
# Mm-mm, mm-mm | 0:14:54 | 0:14:55 | |
# Mm-mm | 0:14:57 | 0:14:59 | |
# Mm-mm... # | 0:15:00 | 0:15:02 | |
-I'm from Slab Fork, West Virginia. You know where that is, right? -No! | 0:15:02 | 0:15:08 | |
-Is that any place near Bluefield? -Yeah, it's near Bluefield. | 0:15:08 | 0:15:11 | |
-About 30 or 40 miles, I guess, from Bluefield. -Slab Fork, West Virginia? -Yeah. | 0:15:11 | 0:15:17 | |
# Mm-mm, mm-mm | 0:15:17 | 0:15:18 | |
# Mm-mm | 0:15:19 | 0:15:21 | |
# Grandma's hands clapped in church on Sunday morning | 0:15:21 | 0:15:27 | |
# Grandma's hands played a tambourine so well | 0:15:27 | 0:15:33 | |
# Grandma's hands used to issue out a warning | 0:15:33 | 0:15:39 | |
# She's say "Billy, don't you run so fast | 0:15:39 | 0:15:43 | |
# "Might fall on a piece of glass | 0:15:43 | 0:15:46 | |
# "Might be snakes there in that grass" | 0:15:46 | 0:15:50 | |
# Grandma's hands | 0:15:50 | 0:15:53 | |
# Ah, them Grandma's hands | 0:15:55 | 0:15:58 | |
# Mm-mm, | 0:15:58 | 0:15:59 | |
# Mm-mm... # | 0:16:01 | 0:16:03 | |
Hey, CV. | 0:16:03 | 0:16:05 | |
-This is the mayor here, this is Mayor, CV. -How you doing? | 0:16:05 | 0:16:08 | |
CV's running the things. I'm good, man. | 0:16:08 | 0:16:11 | |
CV was talking to my daughter and he was telling her, you know, | 0:16:11 | 0:16:14 | |
"Let me tell you about your great-grandmother." | 0:16:14 | 0:16:18 | |
-And so CV remembers her. -Grandmother Galloway. | 0:16:18 | 0:16:21 | |
She was a very elegant woman. | 0:16:21 | 0:16:23 | |
She sat on this porch | 0:16:23 | 0:16:25 | |
and she would sing spirituals right on that porch and clap her hands. | 0:16:25 | 0:16:29 | |
-Remember they called it gettin' happy. -Right, right, right! | 0:16:29 | 0:16:33 | |
There's a saying, "the sleepy smiling South | 0:16:34 | 0:16:38 | |
-"with blood on its mouth." -Right, right. -Well, we weren't in THAT South. | 0:16:38 | 0:16:41 | |
This was South, in a way. | 0:16:41 | 0:16:44 | |
Like, when we grew up, you didn't have to sit on the back of the bus. | 0:16:44 | 0:16:47 | |
-Right, right. -But we had separate schools. | 0:16:47 | 0:16:51 | |
You had to go to the back door if you wanted a milkshake or something from one of the restaurants uptown. | 0:16:51 | 0:16:56 | |
-Right. -But the kids, left to our own devices, we played, now... | 0:16:56 | 0:17:00 | |
-We sat here... That was the dividing line. -Right. | 0:17:00 | 0:17:03 | |
We were the only two black families on this side of the railroad track. | 0:17:03 | 0:17:06 | |
Well, we just integrated the whole thing by ourselves. | 0:17:06 | 0:17:09 | |
I think all of the black families basically, like it or not, | 0:17:09 | 0:17:13 | |
most of us had white people in our families. | 0:17:13 | 0:17:15 | |
You know, after you did a day's work in the coal mines, | 0:17:15 | 0:17:19 | |
-everybody was black anyway! -Yeah, yeah, well, that's true. | 0:17:19 | 0:17:23 | |
-That's true. -Wasn't nothing BUT black people here! | 0:17:23 | 0:17:26 | |
'I haven't been to Slab Fork since about 1959. | 0:17:26 | 0:17:31 | |
'Nobody's back there. There's nothing there much except graves, | 0:17:31 | 0:17:35 | |
'and old coal mines.' | 0:17:35 | 0:17:37 | |
And I'm really not too hung up on going and laying flowers on dead people. | 0:17:37 | 0:17:41 | |
L-Let me b-be very candid about it. This was a white graveyard. | 0:17:45 | 0:17:50 | |
This is a black graveyard. | 0:17:50 | 0:17:53 | |
-Hey, Bill Withers. -Yeah? -What was your brother's name? | 0:17:53 | 0:17:57 | |
-His name was Earl Martin. -Here he is right here. | 0:17:57 | 0:18:01 | |
-OK. -Earl W Martin. -Yeah, that's my brother. | 0:18:01 | 0:18:05 | |
Well, they give him a nice stone. Where do you see those number... | 0:18:05 | 0:18:09 | |
Oh, 1942... | 0:18:09 | 0:18:11 | |
-Do you vaguely remember any location about where your father would be? -No. | 0:18:11 | 0:18:17 | |
And I don't know whether he would be buried close to Earl or not. | 0:18:17 | 0:18:20 | |
Yeah, well, Papa, well, yeah. Hello, bud. I'll catch you somethin' later. | 0:18:22 | 0:18:28 | |
My father taught me, you know... He put the work thing in my head. | 0:18:28 | 0:18:33 | |
My mother put the moral thing in my head. | 0:18:33 | 0:18:37 | |
My father used to have a little barber shop here | 0:18:37 | 0:18:40 | |
and he wasn't a good barber but he told great stories. | 0:18:40 | 0:18:44 | |
# Just can't keep from crying | 0:18:44 | 0:18:47 | |
# Six years, Lucy | 0:18:49 | 0:18:52 | |
# Lord, have mercy That's a long time | 0:18:52 | 0:18:57 | |
# That's a long time... # | 0:18:58 | 0:19:02 | |
All these houses were owned by the coal company | 0:19:02 | 0:19:05 | |
and they all looked the same. | 0:19:05 | 0:19:07 | |
-Absolutely. -They've probably done stuff to 'em now. | 0:19:07 | 0:19:10 | |
-The company owned everything. -Which was one family. | 0:19:10 | 0:19:13 | |
The coal company got your money, they paid you, | 0:19:13 | 0:19:16 | |
then you had to shop... | 0:19:16 | 0:19:17 | |
You shopped in their store. Now, this was the old store. | 0:19:17 | 0:19:21 | |
-Yeah, company store. -You could buy everything at this store. | 0:19:21 | 0:19:25 | |
Now, this is an exceptional coal camp from the standpoint that | 0:19:25 | 0:19:29 | |
it still have enough life to have some people living here. | 0:19:29 | 0:19:32 | |
They had a lot of churches. They had a Baptist church, then they had a Methodist church somewhere. | 0:19:32 | 0:19:37 | |
And then they had your Holy and Sanctified Church. | 0:19:37 | 0:19:40 | |
CONGREGATION: # Remember me... # | 0:19:40 | 0:19:47 | |
I liked my grandmother's church. It was spontaneous singing. | 0:19:47 | 0:19:51 | |
There was no programmed singing. | 0:19:51 | 0:19:53 | |
Somebody got up and started to sing a song, everybody sung. | 0:19:53 | 0:19:57 | |
It was my favourite kind of singing. | 0:19:57 | 0:20:01 | |
# Remember me | 0:20:01 | 0:20:09 | |
# Oh, Lord | 0:20:09 | 0:20:13 | |
# Remember me... # | 0:20:13 | 0:20:21 | |
-Well, we have walked these railroad ties, huh, CV? -Yeah. | 0:20:21 | 0:20:24 | |
Now, if you want to test how skilful you are, walk this. | 0:20:24 | 0:20:29 | |
Remember that used to be the thing, who could walk the rail? | 0:20:29 | 0:20:32 | |
-If you can walk the rail... -The furthest. | 0:20:32 | 0:20:35 | |
-See, that's how to test how skilful you are. -Look at you. -Yeah. | 0:20:35 | 0:20:38 | |
-I still can walk it. -You doing tricks and stuff. -Yeah. | 0:20:38 | 0:20:42 | |
You see, that's how skilful. | 0:20:42 | 0:20:44 | |
-If you break out a handstand, I'm leaving tonight. -CV LAUGHS | 0:20:44 | 0:20:47 | |
I'm telling you, this was like, life, busy, busy. | 0:20:47 | 0:20:51 | |
Summertime come, we'd go around, | 0:20:51 | 0:20:54 | |
-dam up the creek, get buck naked. -And go swimming. | 0:20:54 | 0:20:57 | |
Go swimming, and so the girls would time you out, | 0:20:57 | 0:21:00 | |
-say, "Well, it's about swimming time," then the girls would come down there. -Yeah. | 0:21:00 | 0:21:05 | |
And stand on the side | 0:21:05 | 0:21:07 | |
so you couldn't get out of the water until they left. | 0:21:07 | 0:21:10 | |
-Right! -So it was just a whole culture of stuff like that. | 0:21:10 | 0:21:13 | |
It's an amazing thing, when you look back, | 0:21:13 | 0:21:16 | |
and you realise that...the world changed completely around you. | 0:21:16 | 0:21:22 | |
-It's gone, brother. This has gone. -You're seeing what used to be. | 0:21:22 | 0:21:26 | |
-So we are truly the last of a... -Yeah, we getting there. -..of a breed. | 0:21:26 | 0:21:29 | |
Yeah, we getting there. | 0:21:29 | 0:21:31 | |
-Hey, Bill. -Yeah? -Sing it one time for me. | 0:21:31 | 0:21:33 | |
# Ain't no sunshine when she's gone. # | 0:21:33 | 0:21:36 | |
You already hit it. I can't hit it like you no more. | 0:21:36 | 0:21:39 | |
Let me ask you, do you do any... Do you go on any tours at all now? | 0:21:39 | 0:21:43 | |
-The first thing you said to me was, "You look like an old man." -Right! | 0:21:43 | 0:21:47 | |
So, now, how could you tell me in one breath that | 0:21:47 | 0:21:50 | |
I look like an old man and then in the second breath tell me, | 0:21:50 | 0:21:53 | |
-"You ought to be out on the road, playing rock'n'roll"? -No. | 0:21:53 | 0:21:56 | |
I have never understood how you entertainers could be on the road | 0:21:56 | 0:22:01 | |
and do every-other-night or one-night stands. | 0:22:01 | 0:22:05 | |
I don't understand it either, that's how come I ain't doing it! | 0:22:05 | 0:22:09 | |
'I've had people ask me that question a lot. | 0:22:14 | 0:22:17 | |
'You know, "How could you just stop?" | 0:22:17 | 0:22:19 | |
'Well, to me, it wasn't stopping anything. | 0:22:19 | 0:22:22 | |
'It was doing something else.' | 0:22:22 | 0:22:24 | |
I mean, I like music, but I'm not going to place my whole worth on it. | 0:22:24 | 0:22:29 | |
You know how unhappy you would be | 0:22:29 | 0:22:31 | |
if you thought that the way you are is not OK? | 0:22:31 | 0:22:34 | |
I started out my life like that. I don't want to end it up like that. | 0:22:34 | 0:22:38 | |
OK, we're on our way to get... a birthday cake. | 0:22:42 | 0:22:47 | |
I'm getting just a "7-0". | 0:22:47 | 0:22:49 | |
I don't want him to have to struggle to blow out 70 candles. | 0:22:49 | 0:22:53 | |
We are putting this here. | 0:22:57 | 0:23:00 | |
-This doesn't seem very formal, but... -Doug. -Yeah? -You cool? | 0:23:00 | 0:23:06 | |
Yeah. | 0:23:06 | 0:23:07 | |
But we still have to celebrate. | 0:23:08 | 0:23:12 | |
We would love you to make a gigantic wish and blow out your candles. | 0:23:12 | 0:23:15 | |
You don't have to divulge the wish but we'd love you to make a wish. | 0:23:15 | 0:23:20 | |
THEY CLAP AND WHOOP | 0:23:20 | 0:23:24 | |
'I'm a senior citizen.' | 0:23:24 | 0:23:26 | |
That's OK with me. | 0:23:27 | 0:23:29 | |
'I'm OK with my grey hair and my... you know, my narrowing shoulders.' | 0:23:29 | 0:23:35 | |
To the Country Inn. | 0:23:35 | 0:23:36 | |
'The most important thing is to be OK, you know. | 0:23:36 | 0:23:40 | |
'I just want to feel good. | 0:23:40 | 0:23:43 | |
'I know what it feels like not to feel all right. | 0:23:43 | 0:23:46 | |
'You know, guilt and regret, aches and pains. | 0:23:46 | 0:23:50 | |
'I'd really like to learn to accept everything before I die.' | 0:23:50 | 0:23:55 | |
-Hey, Bill. -Hey, man, how you doing? Look out! Jimmy! -What's going on? | 0:23:55 | 0:24:01 | |
How you doing? Boy, you still look like a teenager. How you doing? | 0:24:01 | 0:24:05 | |
-Good seeing you, Bill. -You too, man, you too. -It must be your son. -Yep. | 0:24:05 | 0:24:10 | |
Looks just like you! | 0:24:10 | 0:24:12 | |
How are you doing, man? How's everything? How's everything going? | 0:24:12 | 0:24:16 | |
I'm his daughter, but last time I remember you, you held me on your lap. | 0:24:16 | 0:24:20 | |
-We went over to your mom's house. -Yeah. How you doing, sugar? | 0:24:20 | 0:24:24 | |
Well, you could still sit on there. You know, not too long, though. | 0:24:24 | 0:24:28 | |
# When I wake up in the morning, love... # | 0:24:28 | 0:24:32 | |
-Great to see you, how you doing? -I'm so glad to see you, girl. | 0:24:34 | 0:24:38 | |
# And something without warning, love... # | 0:24:38 | 0:24:40 | |
Yeah, girl, come here. How you doing? | 0:24:40 | 0:24:43 | |
I'm fine. This is Delores. | 0:24:43 | 0:24:46 | |
# Then I look at you | 0:24:46 | 0:24:49 | |
# And the world's all right with me... # | 0:24:49 | 0:24:54 | |
-You're looking good, man. -Thank you. You're looking great! | 0:24:56 | 0:25:00 | |
-I actually turned 70 today. -Oh, wow. | 0:25:00 | 0:25:03 | |
'Some people are just born cool. They'd been cool all their lives, you know. | 0:25:03 | 0:25:08 | |
'Well, I hadn't been cool all my life. | 0:25:08 | 0:25:11 | |
'I was an asthmatic stutterer as a kid. | 0:25:11 | 0:25:13 | |
'One popular thing is, "Spit it out! Spit it out!" | 0:25:13 | 0:25:17 | |
'And then they have all these folky kind of cures, | 0:25:17 | 0:25:19 | |
'like hitting you in the face with a dishrag or something, you know what I mean. | 0:25:19 | 0:25:23 | |
'Really stupid stuff. You know.' | 0:25:23 | 0:25:26 | |
I grew up with, "You can't do nothing." | 0:25:26 | 0:25:29 | |
One teacher said to me once that I was handicapped. | 0:25:29 | 0:25:33 | |
And I didn't like that word. | 0:25:33 | 0:25:36 | |
So any dreams that I had, I kept them to myself. | 0:25:36 | 0:25:39 | |
Once you're labelled sort of a less-than person, it gave me | 0:25:39 | 0:25:44 | |
this crisis of confidence. | 0:25:44 | 0:25:48 | |
I just wanted to leave. And then go and start over with some new people. | 0:25:48 | 0:25:53 | |
The Navy, at that age, you know, 17, seemed like somewhere to go. | 0:25:57 | 0:26:02 | |
# If you don't look into your mind | 0:26:02 | 0:26:07 | |
# And find out what you're running from | 0:26:07 | 0:26:10 | |
# Tomorrow might be just another day to run... # | 0:26:10 | 0:26:17 | |
These are my old Navy buddies. I've known these guys since I was... | 0:26:18 | 0:26:23 | |
21. | 0:26:23 | 0:26:25 | |
We all met in Guam. | 0:26:25 | 0:26:27 | |
There was not much for us to do socially, | 0:26:27 | 0:26:30 | |
so it was frustrating, because you got all these young guys, you know, | 0:26:30 | 0:26:33 | |
who had all this testosterone. | 0:26:33 | 0:26:36 | |
'And there was nowhere for them to go.' | 0:26:36 | 0:26:39 | |
Good old Bill. | 0:26:39 | 0:26:41 | |
This is the man. | 0:26:41 | 0:26:42 | |
'You know what they told me about Guam?' | 0:26:42 | 0:26:45 | |
The guy says, "Oh, you're going to Guam. | 0:26:45 | 0:26:47 | |
"There's a woman behind every tree. | 0:26:47 | 0:26:50 | |
"There's only two trees." LAUGHTER | 0:26:50 | 0:26:53 | |
It was hard on a brother in Guam. It was funny times. | 0:26:55 | 0:26:59 | |
-That was a whole lot of life real fast. You know? -Yeah. | 0:26:59 | 0:27:02 | |
On the way over I was thinking... | 0:27:02 | 0:27:04 | |
When I first seen you, | 0:27:04 | 0:27:05 | |
didn't you bring a guitar to Guam? | 0:27:05 | 0:27:09 | |
-No. No. I never owned a guitar until 1970 or something. -Is that right? | 0:27:09 | 0:27:15 | |
Yeah, I don't know an F Sharp from Ninth Street. | 0:27:15 | 0:27:19 | |
And when you got there you found that little old bar. | 0:27:19 | 0:27:22 | |
You were singing Johnny Mathis, more so. | 0:27:22 | 0:27:26 | |
-Or whatever the piano player could play. -Is that right? | 0:27:26 | 0:27:29 | |
Couple of drinks, man, everybody, you know... You start singing. | 0:27:29 | 0:27:33 | |
Shoot. Yeah. | 0:27:33 | 0:27:36 | |
But I still hadn't given it any thought as to making a living out of it. | 0:27:36 | 0:27:40 | |
# When you appeared in my imagination... # | 0:27:40 | 0:27:48 | |
He's always been just Bill Withers to me. | 0:27:49 | 0:27:52 | |
I'm sure that's what you feel too. | 0:27:52 | 0:27:54 | |
I don't think he would want it any different. | 0:27:54 | 0:27:56 | |
'My real life was when I was just a working guy. | 0:27:56 | 0:28:00 | |
'Just in the Navy, just a mechanic, you know what I mean. | 0:28:00 | 0:28:05 | |
'But the true measure of any group of people is, | 0:28:05 | 0:28:08 | |
'how are the ones that are just people?' | 0:28:08 | 0:28:11 | |
# You were here in my memory | 0:28:11 | 0:28:14 | |
# And I love you now that you're here. # | 0:28:15 | 0:28:22 | |
-I was an aircraft mechanic, in the Navy nine years. -Is that right? | 0:28:25 | 0:28:30 | |
I can do masonry and all these things. Now... | 0:28:30 | 0:28:33 | |
Were you writing songs while doing that? | 0:28:34 | 0:28:37 | |
I've written songs working at McDonnell Douglas. | 0:28:37 | 0:28:42 | |
Use Me, you know, working on the airplane, and things. | 0:28:42 | 0:28:45 | |
THEY LAUGH | 0:28:45 | 0:28:47 | |
-Grandma's Hands, Weber Aircraft in Burbank. -Is that right? | 0:28:47 | 0:28:52 | |
You understand what I'm saying? | 0:28:52 | 0:28:54 | |
You're working on the thing and singing it over and over | 0:28:54 | 0:28:58 | |
to yourself so you don't forget it before you get home. | 0:28:58 | 0:29:01 | |
Wow. | 0:29:01 | 0:29:02 | |
You know what's funny? | 0:29:02 | 0:29:04 | |
People say, "He wrote that song about that woman." | 0:29:04 | 0:29:07 | |
I didn't know none of them damn women when I was writing them songs. | 0:29:07 | 0:29:10 | |
I couldn't get no women, | 0:29:10 | 0:29:12 | |
I was making 3 an hour working in the damn thing! | 0:29:12 | 0:29:16 | |
'Uno, dos, tres, cuatro.' | 0:29:16 | 0:29:18 | |
I was 23 years old, I was a graduate student, UCLA, working on my MBA. | 0:29:22 | 0:29:28 | |
And my sister and I decided we wanted... Actually, it was me. | 0:29:29 | 0:29:33 | |
I wanted to go see Gil Scott-Heron. | 0:29:33 | 0:29:36 | |
There's a vacant table. She said, "Let's go sit there." "It says reserved." | 0:29:38 | 0:29:42 | |
Lo and behold, it was Bill sitting there, which I didn't know. | 0:29:42 | 0:29:47 | |
She recognised him. That's how I met him. | 0:29:47 | 0:29:50 | |
I wasn't starstruck at all. He was this regular, normal person. | 0:29:55 | 0:29:59 | |
He was interesting and was interested in me. | 0:29:59 | 0:30:03 | |
# When I'm kissing my love | 0:30:04 | 0:30:07 | |
# Thump-a-thumping in my head | 0:30:07 | 0:30:11 | |
# Now, when I'm kissing my love | 0:30:14 | 0:30:17 | |
# I close my eyes and see | 0:30:17 | 0:30:19 | |
# A pretty city with a million flowers in it. # | 0:30:19 | 0:30:24 | |
A lot of men can't express what they're feeling, and he can. | 0:30:24 | 0:30:28 | |
He can, you know, he's sensitive but tough. | 0:30:28 | 0:30:31 | |
# Put your foot on the rock and put your foot, don't stop | 0:30:31 | 0:30:34 | |
# Put your foot on the rock | 0:30:34 | 0:30:36 | |
# Put your foot on the rock I know you just can't stop | 0:30:36 | 0:30:39 | |
# Put your foot on the rock | 0:30:39 | 0:30:41 | |
# When I'm kissing my love | 0:30:41 | 0:30:44 | |
# Feel the blood pumping in my veins | 0:30:44 | 0:30:47 | |
# Now, when I'm kissing my love | 0:30:51 | 0:30:54 | |
# She's such a tender sender | 0:30:54 | 0:30:56 | |
# With her sweet young frame | 0:30:56 | 0:31:00 | |
# Ah, ha, ha | 0:31:00 | 0:31:04 | |
# She's so good at what she does | 0:31:04 | 0:31:06 | |
# All she wants to do is kiss and hug | 0:31:06 | 0:31:08 | |
# She's got me in love and I can feel my heart | 0:31:08 | 0:31:13 | |
# Just pumping and skipping | 0:31:13 | 0:31:14 | |
# When I'm kissing my love. # | 0:31:14 | 0:31:18 | |
As soon as I figured out who I was, I married an MBA. Know what I mean? | 0:31:18 | 0:31:23 | |
The one thing about Marcia, she's an optimist in the face of everything. | 0:31:23 | 0:31:31 | |
We live a life that is comfortable and simple, | 0:31:31 | 0:31:35 | |
and I think Bill never really wanted these riches and material things. | 0:31:35 | 0:31:40 | |
When the kids came along, he was home a lot. | 0:31:40 | 0:31:43 | |
He didn't do a lot of touring. | 0:31:43 | 0:31:45 | |
There were times when I'm sure he missed being in the business, | 0:31:45 | 0:31:48 | |
making music, but I think that it was more important for him | 0:31:48 | 0:31:52 | |
to have a life and a family. | 0:31:52 | 0:31:55 | |
He'd never had a family before. | 0:31:55 | 0:31:57 | |
He had his mother, but his dad died when he was 13, | 0:31:57 | 0:32:00 | |
and it was really important for him to be a father to the kids. | 0:32:00 | 0:32:04 | |
# I get a warm summer feeling | 0:32:17 | 0:32:23 | |
# Walking through the snow | 0:32:23 | 0:32:27 | |
# Even chilly darkness | 0:32:27 | 0:32:32 | |
# Has the brightest glow | 0:32:32 | 0:32:36 | |
# And I just love you so. # | 0:32:36 | 0:32:44 | |
From very early on, my father played a lot of music at home. | 0:32:44 | 0:32:48 | |
Music was never something that was pushed, it was just there. | 0:32:48 | 0:32:51 | |
We had two pianos at home, on opposite sides of the house. | 0:32:51 | 0:32:54 | |
It certainly was something that blended the family together, | 0:32:54 | 0:32:58 | |
it was something we all shared. | 0:32:58 | 0:33:01 | |
-You're the navigator. -OK. -You're getting the tour. | 0:33:01 | 0:33:06 | |
-'This was Todd's big day, accepted into this law school.' -Exciting! | 0:33:06 | 0:33:11 | |
'It's exciting for him and for us. | 0:33:11 | 0:33:15 | |
'I really learned about this whole family thing from Marcia. | 0:33:15 | 0:33:19 | |
'I think the older you get,' | 0:33:19 | 0:33:21 | |
the more your concerns shift from you to other people. | 0:33:21 | 0:33:26 | |
So, Todd, do I have to start calling you mister in a couple years? | 0:33:26 | 0:33:32 | |
Growing up listening to my dad's songs was just | 0:33:32 | 0:33:36 | |
the most peaceful space I remember being able to have as a child. | 0:33:36 | 0:33:40 | |
He kind of speaks in little poems. | 0:33:40 | 0:33:43 | |
You know, the sky is blue, and I'm happy to see you. | 0:33:43 | 0:33:46 | |
You know, he'd just pull it out of anywhere. | 0:33:46 | 0:33:49 | |
Quit crying and start trying. | 0:33:49 | 0:33:52 | |
A lot of times he says, "Write this down. Get a pencil." | 0:33:52 | 0:33:56 | |
I'm sure my mother has hundreds of little pieces of paper | 0:33:56 | 0:34:00 | |
all over the house, not even full songs, but two lines. | 0:34:00 | 0:34:03 | |
Just a thought. | 0:34:03 | 0:34:07 | |
Sometimes he'll call me just to say, | 0:34:07 | 0:34:09 | |
"I was thinking this and want you to make a note of it." | 0:34:09 | 0:34:12 | |
Then some of these things make it into Songville. | 0:34:12 | 0:34:15 | |
Growing up, I always wanted to be just like my dad, really. | 0:34:18 | 0:34:21 | |
When I started writing songs, it just took a lot of courage to say | 0:34:21 | 0:34:26 | |
that's really, secretly, what I want to do. | 0:34:26 | 0:34:29 | |
# Paint a portrait of tomorrow | 0:34:29 | 0:34:34 | |
# With no colours from today. # | 0:34:34 | 0:34:39 | |
I always wanted to write, but I always thought, | 0:34:39 | 0:34:42 | |
"How could I ever come close to doing the things he did?" | 0:34:42 | 0:34:45 | |
Just because I know I'm a different person. | 0:34:45 | 0:34:48 | |
I knew I wasn't going to sit down the first time I picked up a guitar | 0:34:48 | 0:34:52 | |
and write Ain't No Sunshine, but I know what he thinks is good. | 0:34:52 | 0:34:57 | |
I didn't want to share anything with him. | 0:34:57 | 0:34:59 | |
I ended up playing something for him when I wasn't ready, | 0:34:59 | 0:35:02 | |
and he was just, "No, this is not happening." | 0:35:02 | 0:35:04 | |
It was hard for me because I needed him to just be my dad and say, | 0:35:04 | 0:35:09 | |
"I'm proud of you working on something, | 0:35:09 | 0:35:12 | |
"I'm excited about your journey." | 0:35:12 | 0:35:14 | |
It was none of that. | 0:35:14 | 0:35:16 | |
One thing I always tell my kids, it's OK to hit out for wonderful, | 0:35:21 | 0:35:26 | |
but on your way to wonderful, you have to pass through all right. | 0:35:26 | 0:35:30 | |
When you get to all right, take a good look around | 0:35:30 | 0:35:34 | |
and get used to it, cos that may be as far as you go. | 0:35:34 | 0:35:37 | |
Most people don't know or don't care who you are. | 0:35:37 | 0:35:42 | |
I think I'm kind of like pennies. | 0:35:42 | 0:35:45 | |
You have them in your pocket but don't remember they're there. | 0:35:45 | 0:35:48 | |
Nobody knows who I am. | 0:35:50 | 0:35:51 | |
Sometimes if I tell somebody who I am, they'll say, "No, you ain't!" | 0:35:51 | 0:35:56 | |
Or people don't know, never did and don't care. | 0:35:56 | 0:35:59 | |
I don't work the circuit where you keep reminding people of you, | 0:36:00 | 0:36:04 | |
you know? | 0:36:04 | 0:36:05 | |
This is my first tribute kind-of-thing. | 0:36:05 | 0:36:10 | |
We're here tonight for Bill Withers and his amazing catalogue of music. | 0:36:11 | 0:36:16 | |
An amazing vocalist, songwriter, musician, | 0:36:16 | 0:36:20 | |
and someone I've loved and appreciated for many years. | 0:36:20 | 0:36:24 | |
So congratulations, Bill, and for you for coming out to support him. | 0:36:24 | 0:36:29 | |
Brooklyn's own Corey Glover! | 0:36:31 | 0:36:33 | |
# A man we passed just tried to stare me down | 0:36:33 | 0:36:41 | |
# And when I looked at you, you looked at the ground | 0:36:43 | 0:36:49 | |
# Now, I don't know who he is, but I think that you do. # | 0:36:52 | 0:36:58 | |
Y'all know this one. | 0:36:58 | 0:37:01 | |
# Dag gummit, who is he and what is he to you? # | 0:37:01 | 0:37:07 | |
# Memories take you back to the good times | 0:37:22 | 0:37:28 | |
# When it's over | 0:37:28 | 0:37:30 | |
# And the sad times disappear. # | 0:37:30 | 0:37:34 | |
It would be kind of rough to just go out there and say, | 0:37:36 | 0:37:39 | |
"I want to see how many people I can make notice me." | 0:37:39 | 0:37:42 | |
There was a time when that was it. | 0:37:42 | 0:37:46 | |
I wanted everybody to look at me, to want to know me. | 0:37:46 | 0:37:49 | |
There was a time for that. | 0:37:51 | 0:37:53 | |
This is not that time. | 0:37:55 | 0:37:57 | |
What if I had to get up from here right now, | 0:37:57 | 0:38:00 | |
and about nine o'clock tonight, start trying to kick up a ruckus? | 0:38:00 | 0:38:05 | |
I'm not feeling that way. | 0:38:07 | 0:38:09 | |
No matter how many people say, "You should feel that way." I can't. | 0:38:09 | 0:38:15 | |
If I was completely honest with myself, | 0:38:15 | 0:38:18 | |
I'm probably a little manic-depressive. | 0:38:18 | 0:38:20 | |
That's why I might write some songs that might reach somebody else's emotions, cos I have some. | 0:38:20 | 0:38:27 | |
I have my own. | 0:38:27 | 0:38:29 | |
Wouldn't it be fun to all of a sudden jump up | 0:38:29 | 0:38:32 | |
and start shaking it around? | 0:38:32 | 0:38:35 | |
That'd be something. | 0:38:35 | 0:38:37 | |
If I just had some showing-off steroids, man, | 0:38:37 | 0:38:40 | |
you would get tired of me, you know what I mean? | 0:38:40 | 0:38:46 | |
I want to. I want to. | 0:38:46 | 0:38:49 | |
I watch other people show off, and I say, | 0:38:49 | 0:38:52 | |
"Man, I used to want to show off." | 0:38:52 | 0:38:54 | |
If I could just get moved to. | 0:38:54 | 0:38:58 | |
I need a little injection in my showing-off gland. | 0:38:59 | 0:39:02 | |
# Memories are that way... # | 0:39:05 | 0:39:08 | |
Is he going to sing again? What's he doing? | 0:39:08 | 0:39:11 | |
I'd love to see Bill sing another record. | 0:39:11 | 0:39:14 | |
There's millions of people that would love to hear | 0:39:14 | 0:39:17 | |
Bill Withers again. | 0:39:17 | 0:39:19 | |
If he wants to do it, fine. | 0:39:20 | 0:39:22 | |
If he don't want to, I respect that too, | 0:39:22 | 0:39:24 | |
because what he's been through, with the record business | 0:39:24 | 0:39:27 | |
and his life, to come through it, I may not want to sing again neither. | 0:39:27 | 0:39:32 | |
In some ways I think it's really cool he hasn't made a record since 1985. | 0:39:32 | 0:39:37 | |
If he feels like he's got nothing to say, or he wants to | 0:39:37 | 0:39:40 | |
focus on his family, you've got to define your priorities for yourself. | 0:39:40 | 0:39:45 | |
For me, it shows the artist that he is. | 0:39:45 | 0:39:49 | |
Not only about money, it's about the beauty of the song. | 0:39:49 | 0:39:52 | |
For him not to write a song or album for 23 years, from me to him, | 0:39:52 | 0:39:58 | |
I say, respect. | 0:39:58 | 0:40:01 | |
It would be great to do some stuff with Bill again. | 0:40:01 | 0:40:04 | |
It would be, you know, I've always thought about that. | 0:40:04 | 0:40:08 | |
We haven't played together for 30 years. | 0:40:08 | 0:40:10 | |
In my career, that was probably the best times that I had. | 0:40:10 | 0:40:14 | |
No telling what might happen. | 0:40:14 | 0:40:16 | |
Bill might pop up in the next studio doing something. | 0:40:16 | 0:40:20 | |
He's always doing something, don't think Bill's not recording. | 0:40:20 | 0:40:24 | |
He's doing something, writing. It's in his blood. | 0:40:24 | 0:40:27 | |
Just like it's in mine to play this guitar. It's in his blood to write. | 0:40:27 | 0:40:32 | |
Something might pop up. I stay optimistic. | 0:40:32 | 0:40:35 | |
Until then, I'll keep on grooving. | 0:40:35 | 0:40:38 | |
The hardest thing to be in songwriting is to be simple | 0:40:38 | 0:40:42 | |
yet profound. | 0:40:42 | 0:40:44 | |
It's difficult, it's a very difficult artform. | 0:40:44 | 0:40:48 | |
Some people have it intrinsically, some have to work very hard, | 0:40:48 | 0:40:53 | |
but Bill seemed to understand intrinsically, instinctively, | 0:40:53 | 0:40:58 | |
how to do that. | 0:40:58 | 0:41:00 | |
Bill Withers could work a lot and make a whole lot of money | 0:41:00 | 0:41:03 | |
if he wanted to do that, but I don't think he's comfortable doing that. | 0:41:03 | 0:41:07 | |
People call me all the time, "Can I get Bill?" | 0:41:07 | 0:41:09 | |
I say, "Don't call me, cos I don't think he's going to do it." | 0:41:09 | 0:41:13 | |
DREAMY SYNTH MUSIC PLAYS | 0:41:13 | 0:41:16 | |
SYNTH INSTRUMENTAL OBSCURES SINGING | 0:41:16 | 0:41:20 | |
We are so remiss in over-valuing entertainers, | 0:41:31 | 0:41:37 | |
of which I am one, no problem. | 0:41:37 | 0:41:41 | |
And athletes, and undervaluing the people among us | 0:41:41 | 0:41:47 | |
who have less obvious gifts. | 0:41:47 | 0:41:49 | |
Let me ask you this question about your own legacy, | 0:41:49 | 0:41:52 | |
both personally, as a human being, and as a great artist, | 0:41:52 | 0:41:58 | |
what would you want your legacy to be? | 0:41:58 | 0:42:01 | |
I'm in New York because I have the pleasure of being honoured | 0:42:16 | 0:42:19 | |
by the Our Time Theatre Group, for kids who stutter. | 0:42:19 | 0:42:23 | |
It's a great thing, very close to my heart. | 0:42:23 | 0:42:25 | |
Having navigated through my youth and well into my adulthood | 0:42:25 | 0:42:32 | |
dealing with that issue, | 0:42:32 | 0:42:35 | |
it's fun to, you know, | 0:42:35 | 0:42:37 | |
see this thing grow. | 0:42:37 | 0:42:39 | |
APPLAUSE | 0:42:39 | 0:42:41 | |
I grew up in a place called Slab Fork, West Virginia, | 0:42:50 | 0:42:54 | |
I'm sure you've been there on many vacations... | 0:42:54 | 0:42:56 | |
LAUGHTER | 0:42:56 | 0:42:58 | |
Swam in our creek. | 0:42:58 | 0:43:00 | |
No disrespect to Slab Fork, it's a coal-mining camp. | 0:43:00 | 0:43:05 | |
And stuttering is rough for kids, but stuttering in Slab Fork, West Virginia - | 0:43:05 | 0:43:10 | |
let's just say you don't go to Slab Fork on the scholarship. | 0:43:10 | 0:43:13 | |
When you're a kid you want to be cool, and you want to be cool with the cool people. | 0:43:14 | 0:43:20 | |
And that doesn't always happen, so if you can learn to value the people who value you. | 0:43:21 | 0:43:27 | |
And I was very moved when I saw these kids | 0:43:27 | 0:43:30 | |
talking about how much they meant to each other. | 0:43:30 | 0:43:33 | |
I am honoured to be honoured, and let's hope | 0:43:33 | 0:43:36 | |
that each kid finds his own personal comfort zone, | 0:43:36 | 0:43:43 | |
where he can grow, and nurture whatever gifts that he might have | 0:43:43 | 0:43:47 | |
because if you take away the people who stutter | 0:43:47 | 0:43:51 | |
from the world, you're left with a whole bunch of chatty... | 0:43:51 | 0:43:56 | |
LAUGHTER | 0:43:56 | 0:43:57 | |
Fill in your own word. | 0:44:03 | 0:44:06 | |
The kids are so excited, I've been playing your music, | 0:44:09 | 0:44:12 | |
-and they cannot wait to meet you and talk with you. -Yeah... | 0:44:12 | 0:44:16 | |
-You are a role model for me, and for them. -Oh, thank you, bud. Let's go see 'em. | 0:44:16 | 0:44:21 | |
-Right here. -All right... -Come on in. | 0:44:21 | 0:44:23 | |
-OK... -Ladies and gentlemen, may I introduce Mr Bill Withers! | 0:44:23 | 0:44:28 | |
Our Time kids, feel free to come up and introduce yourself. | 0:44:33 | 0:44:37 | |
Yeah. | 0:44:37 | 0:44:39 | |
Hi, my name is Victoria. | 0:44:39 | 0:44:40 | |
Hi, sweetie. | 0:44:40 | 0:44:43 | |
-Tanya. -Hi, sweetie. -Nice to meet you. | 0:44:43 | 0:44:46 | |
How you feeling, bud? My man. | 0:44:47 | 0:44:50 | |
What's your name? | 0:44:50 | 0:44:51 | |
-Er...Joe. -All right, Joe. | 0:44:51 | 0:44:55 | |
You know, what I noticed when we were meeting is, | 0:44:55 | 0:44:59 | |
it's almost like fingerprints. | 0:44:59 | 0:45:01 | |
We each have our own style of stutterings, which makes us unique. | 0:45:01 | 0:45:06 | |
I really identified with people who stop at their name. | 0:45:06 | 0:45:10 | |
Last night this friend of mine, who's a fairly well-known painter, | 0:45:10 | 0:45:14 | |
had this thing, so there were a lot of athletes | 0:45:14 | 0:45:18 | |
and people that I had seen in my life, | 0:45:18 | 0:45:20 | |
so I wanted to say hello to everybody and introduce myself. | 0:45:20 | 0:45:24 | |
And I went over to this one guy, and man, I got stuck. | 0:45:24 | 0:45:29 | |
And it brought back memories, because there was a woman with him | 0:45:29 | 0:45:33 | |
and she started to laugh. | 0:45:33 | 0:45:36 | |
It was fear. Fear of the perception of the listener. | 0:45:36 | 0:45:41 | |
This fear that makes us | 0:45:42 | 0:45:43 | |
apprehensive right at the point of trying to speak, | 0:45:43 | 0:45:47 | |
that stops us. | 0:45:47 | 0:45:49 | |
Well, one of the ways to deal with the fear is to approach people | 0:45:49 | 0:45:53 | |
with a prepared forgiveness. | 0:45:53 | 0:45:56 | |
We have to be more civil than most people that we will encounter. | 0:45:56 | 0:46:01 | |
Having had people not understand me a lot | 0:46:01 | 0:46:05 | |
maybe helped me wait a little beat to where I can extend | 0:46:05 | 0:46:08 | |
something that hasn't been given to me. | 0:46:08 | 0:46:11 | |
And I think that makes you a much bigger person. | 0:46:11 | 0:46:14 | |
We are thrilled to have you here, | 0:46:14 | 0:46:16 | |
and everything that you said just means so much to me personally, | 0:46:16 | 0:46:19 | |
and we'd love to sing for you today. | 0:46:19 | 0:46:22 | |
I would have been insulted if you would have not done. | 0:46:22 | 0:46:25 | |
LAUGHTER | 0:46:25 | 0:46:27 | |
# Sometimes I feel like everyone's always ignoring me | 0:46:27 | 0:46:33 | |
# Sometimes I feel like everyone's always ridiculing me | 0:46:36 | 0:46:43 | |
# All I want in this whole world | 0:46:45 | 0:46:49 | |
# Is to be myself, and nobody else | 0:46:49 | 0:46:54 | |
# All I want in this whole world | 0:46:54 | 0:46:58 | |
# Is love, is love | 0:46:58 | 0:47:02 | |
# Is love | 0:47:02 | 0:47:04 | |
# All I want | 0:47:04 | 0:47:07 | |
# In this world | 0:47:07 | 0:47:09 | |
# Is love | 0:47:09 | 0:47:12 | |
# All I want | 0:47:12 | 0:47:16 | |
# In this world | 0:47:16 | 0:47:18 | |
# Is love | 0:47:18 | 0:47:21 | |
# All I want | 0:47:21 | 0:47:24 | |
# In this world | 0:47:24 | 0:47:27 | |
# Is love. # | 0:47:27 | 0:47:30 | |
I understood what you meant, you know. | 0:47:39 | 0:47:42 | |
There's an old Southern saying that says, you know, | 0:47:42 | 0:47:45 | |
it don't sound right if it ain't said right. | 0:47:45 | 0:47:49 | |
You know. So you guys are saying, your feeling's right, so just keep doing that. | 0:47:49 | 0:47:55 | |
And er... it's really a big favour to me, | 0:47:55 | 0:48:00 | |
for you guys to remind me of some things that maybe I had forgotten. | 0:48:00 | 0:48:04 | |
And maybe to show me some things that I didn't know. | 0:48:05 | 0:48:08 | |
So you guys are...are cool. | 0:48:10 | 0:48:12 | |
APPLAUSE AND WHOOPING | 0:48:12 | 0:48:15 | |
And next time I see you I probably won't be this nice. | 0:48:30 | 0:48:33 | |
LAUGHTER | 0:48:33 | 0:48:35 | |
We have to make allowances for each other! | 0:48:35 | 0:48:39 | |
Thoreau I think said the mass of men lead lives of quiet desperation. | 0:48:53 | 0:48:59 | |
I would like to know how it feels for my desperation to get louder. | 0:48:59 | 0:49:03 | |
Yes, Raul Midon, please. | 0:49:10 | 0:49:14 | |
-'Hello.' -Hello, Raul. -'Yes.' | 0:49:14 | 0:49:16 | |
-It's Bill Withers. How you doing, bud? -'Oh, good.' | 0:49:16 | 0:49:20 | |
I was hoping that at some point or another, you know, | 0:49:20 | 0:49:24 | |
that you would maybe have just a little time | 0:49:24 | 0:49:27 | |
so we could just mess around, you know? | 0:49:27 | 0:49:29 | |
Just you and me, you know, we could plonk around, | 0:49:29 | 0:49:33 | |
-I'll even break out my old Linn drum machine... -Raul LAUGHS | 0:49:33 | 0:49:37 | |
-..make some noise, you know what I mean? -'I don't know what to say. | 0:49:37 | 0:49:41 | |
'I'm just so happy that you're interested | 0:49:41 | 0:49:43 | |
'and, man, I'd love to put our heads together.' | 0:49:43 | 0:49:46 | |
-I'd like to try something out on you, Raul. -'OK.' | 0:49:46 | 0:49:50 | |
Because I've always wanted to write something in Spanish. | 0:49:50 | 0:49:55 | |
I had a friend, a Cuban friend. And we worked together | 0:49:55 | 0:49:59 | |
and we laughed all the time, and it was just great. | 0:49:59 | 0:50:03 | |
-And I really miss him, you know? -'Yeah.' | 0:50:03 | 0:50:07 | |
What I was thinking, to start off, "Mi amigo Cubano, hola, como esta? | 0:50:07 | 0:50:13 | |
"Que paso, mi hermano", and I don't know whether you would say "tu" | 0:50:15 | 0:50:19 | |
or "usted" there, but one or the other. I'll just say "tu y yo no mas hablar." | 0:50:19 | 0:50:24 | |
'Yeah, "tu", definitely, because you're good friends.' | 0:50:24 | 0:50:27 | |
Now your background is what, Raul? | 0:50:27 | 0:50:30 | |
'My background is my mother was African-American | 0:50:30 | 0:50:34 | |
'and my father is Argentinian. | 0:50:34 | 0:50:37 | |
'When I lived in Miami, I got very deeply involved in Cuban music, | 0:50:37 | 0:50:42 | |
'the music of guaguanco. In guaguanco, everything goes together | 0:50:42 | 0:50:46 | |
'so there's the clave, right?' Raul TAPS A RHYTHM | 0:50:46 | 0:50:49 | |
-OK. -'And then it goes boom boom boom boom, boom boom boom boom, | 0:50:49 | 0:50:54 | |
'boom boom boom boom, you know? | 0:50:54 | 0:50:56 | |
'As you're doing all that, you sing, and you keep all that going. | 0:50:56 | 0:51:00 | |
'# Ae, ae, ae la chambelona | 0:51:00 | 0:51:04 | |
'# Ae, ae, ae la chambelona | 0:51:04 | 0:51:08 | |
RAUL SINGS AT PACE IN SPANISH | 0:51:08 | 0:51:13 | |
-You know what I'm saying?' -Yeah, Raul. Yeah, man, | 0:51:13 | 0:51:17 | |
We're going to use all that stuff you know, Raul. | 0:51:17 | 0:51:21 | |
That's about all the preview I would like to do on that. | 0:51:21 | 0:51:26 | |
Let's just walk in with a blank sheet of paper | 0:51:26 | 0:51:28 | |
and see what we can mark on it. | 0:51:28 | 0:51:30 | |
-'Sounds good to me.' -Yeah. | 0:51:30 | 0:51:33 | |
# Sometimes a song is funky | 0:51:33 | 0:51:36 | |
# Cos you feel that way | 0:51:36 | 0:51:39 | |
# A song might be easy and melancholy on another day | 0:51:39 | 0:51:45 | |
# Sometimes a song gets mean and evil | 0:51:45 | 0:51:48 | |
# Cos it ain't going right | 0:51:48 | 0:51:52 | |
# Sometimes a song just might get nervous | 0:51:52 | 0:51:54 | |
# Cos you might be uptight. # | 0:51:54 | 0:51:56 | |
I don't even know what chords he has for it, you know, | 0:51:56 | 0:51:59 | |
so it's all going to be kind of a question of openness. | 0:51:59 | 0:52:04 | |
I'm going to bring what I have to the table and hopefully, you know, | 0:52:04 | 0:52:08 | |
come up with something. I mean, I just felt very honoured. | 0:52:08 | 0:52:12 | |
Dad? | 0:52:12 | 0:52:14 | |
# Sometimes a song is tender, sometimes a song is sad. # | 0:52:14 | 0:52:17 | |
Raul! Hey, bud. | 0:52:17 | 0:52:19 | |
# Maybe that evening that you wrote the song | 0:52:19 | 0:52:21 | |
# That's all the feeling you had. # | 0:52:21 | 0:52:23 | |
How you doing, Raul? Let's walk to the studio. | 0:52:23 | 0:52:25 | |
# Sometimes a song just feels real good | 0:52:25 | 0:52:27 | |
# And lays right there in the groove. # | 0:52:27 | 0:52:30 | |
-Feels like a studio. -Yeah? | 0:52:30 | 0:52:35 | |
I'm going to be largely dependent on you because I have no skills, Raul. | 0:52:35 | 0:52:41 | |
-See, you're the virtuoso. -I'm... -No, I'm serious. | 0:52:41 | 0:52:44 | |
I've got this stuff in here, I can't play any of this stuff. | 0:52:44 | 0:52:48 | |
I learned, do you know what, | 0:52:48 | 0:52:50 | |
instead of putting myself in a situation where my blindness | 0:52:50 | 0:52:54 | |
makes me inferior, I'm going to create a situation where | 0:52:54 | 0:52:58 | |
I can put my strengths out there. | 0:52:58 | 0:53:01 | |
I think that when you're disabled in any way or when you have some... | 0:53:01 | 0:53:06 | |
I think you have to figure out how you learn. | 0:53:06 | 0:53:08 | |
-But you know what, Raul, you use the word disabled. -Right. | 0:53:08 | 0:53:12 | |
You are enabled in other areas that the average person doesn't have. | 0:53:12 | 0:53:19 | |
I was a stutterer until I was 28. | 0:53:19 | 0:53:22 | |
I used to avoid the phone and, you know, | 0:53:22 | 0:53:24 | |
just anywhere where you had to talk. | 0:53:24 | 0:53:28 | |
And people would get up in your face and say "Spit it out, spit it out!" | 0:53:28 | 0:53:33 | |
As if you had a choice in the matter, you know what I mean? | 0:53:33 | 0:53:37 | |
As if you got in that line and said, | 0:53:37 | 0:53:39 | |
"Well, I think I'm going to get in", you know, when you're getting ready | 0:53:39 | 0:53:43 | |
to be born, you know, like, "I think I'll get in the stuttering line." | 0:53:43 | 0:53:47 | |
And the thing is, what do you do after you find out you're here? | 0:53:47 | 0:53:52 | |
So then, you know, there was a phrase that I kept batting around, | 0:53:52 | 0:53:57 | |
"In my mind's eye, I can see the world from here." | 0:53:57 | 0:54:01 | |
-Right. Wow. -How's that? | 0:54:01 | 0:54:03 | |
-I love it. -You want to play with that later. -Yes. | 0:54:03 | 0:54:07 | |
-Why don't you write it down so you don't forget it. -I'm writing it down. | 0:54:07 | 0:54:11 | |
I love it, and it could be something about being clear. | 0:54:11 | 0:54:15 | |
-Yeah, OK, write down "clear". "I can see the world from here." -Yeah. | 0:54:15 | 0:54:19 | |
-Because it's... -"And sometimes I..." | 0:54:19 | 0:54:22 | |
Because clarity, in the mind's eye, is absolute. | 0:54:22 | 0:54:26 | |
-It can be absolute. -OK. OK, now let's begin another line. | 0:54:26 | 0:54:30 | |
-"I can hear the dream, my dream, so clear." -Yeah. | 0:54:30 | 0:54:37 | |
"Just an idea, just an idea." | 0:54:37 | 0:54:39 | |
-OK. -That's good, Raul. That's good. | 0:54:41 | 0:54:43 | |
"In my mind's eye, I can see the world from here. | 0:54:43 | 0:54:46 | |
"And sometimes I can hear my dreams so clear." | 0:54:46 | 0:54:50 | |
Get down, Raul, come on, brother. | 0:54:52 | 0:54:54 | |
Throw something in the pot. There you go. | 0:54:54 | 0:54:56 | |
Because people always ask me about dreams. | 0:54:56 | 0:54:59 | |
"How do you dream if you can see?" Well, I hear in my dreams, don't you? | 0:54:59 | 0:55:02 | |
-Yeah. -You know what I mean? | 0:55:02 | 0:55:04 | |
It's not about seeing, it's about being in your dream. | 0:55:04 | 0:55:07 | |
I don't know what would motivate someone at the point | 0:55:20 | 0:55:23 | |
in their life that he's in, with the break that he's taken. | 0:55:23 | 0:55:26 | |
But I do know that he has no problem throwing down | 0:55:26 | 0:55:29 | |
when he feels like throwing down. | 0:55:29 | 0:55:32 | |
When he wants to do something, I mean, he's just obsessed, | 0:55:32 | 0:55:36 | |
he's all in, up at two o'clock in the morning, not eating, | 0:55:36 | 0:55:38 | |
not sleeping, and that's exhausting. | 0:55:38 | 0:55:41 | |
# Mi amigo Cubano. # | 0:55:44 | 0:55:47 | |
No, I'm looking for the count-in. | 0:55:47 | 0:55:49 | |
# Hola, como esta? | 0:55:49 | 0:55:54 | |
# Mi amigo Cubano | 0:55:54 | 0:55:58 | |
# Que paso, mi hermano? # | 0:56:06 | 0:56:09 | |
-Yeah. -Something like that. | 0:56:09 | 0:56:12 | |
# Mi amigo Cubano... # | 0:56:16 | 0:56:19 | |
There you go, Raul, that's what I'm talking about. | 0:56:28 | 0:56:31 | |
That was pretty cool, actually. | 0:56:31 | 0:56:33 | |
You know, you know, it all gets back to that thing. | 0:56:33 | 0:56:37 | |
If you start sweet then you got somewhere to go. | 0:56:37 | 0:56:40 | |
Let me go to 41 here and see what's happening, Raul. | 0:56:40 | 0:56:42 | |
Bear with me here, one more time, OK? | 0:56:44 | 0:56:46 | |
Listen to this and then I'll make my next edit, OK? | 0:56:46 | 0:56:50 | |
-# Hola, como esta? # -I think Bill is always thinking of songs. | 0:56:52 | 0:56:56 | |
He has songs that he's created over the last 10, | 0:56:56 | 0:57:00 | |
15 years that are on tape. | 0:57:00 | 0:57:05 | |
He put a lot into building that studio. | 0:57:05 | 0:57:08 | |
I think in his imagination, he felt, I'm going to do some music. | 0:57:08 | 0:57:12 | |
Whether or not he was actually going to put it out there, | 0:57:12 | 0:57:15 | |
that's another story. | 0:57:15 | 0:57:17 | |
Background - # Amigo cubano! | 0:57:17 | 0:57:20 | |
# Ba-do be-da-boo-dee... # | 0:57:20 | 0:57:21 | |
Selfishly, it would be fantastic, fantastic, | 0:57:21 | 0:57:25 | |
if he would get a record together | 0:57:25 | 0:57:28 | |
and it'd be new music and all that kind of stuff. | 0:57:28 | 0:57:32 | |
It'd be fun, but realistically, I'm not sure that he wants that. | 0:57:32 | 0:57:36 | |
He just hasn't wanted to get back into the music business. | 0:57:36 | 0:57:42 | |
# Que paso, mi hermano. # | 0:57:42 | 0:57:44 | |
RAUL IMITATES A TRUMPET | 0:57:44 | 0:57:49 | |
I'm going to go to the Carnival here. | 0:57:49 | 0:57:51 | |
# Mi amigo Cubano. # | 0:57:53 | 0:57:56 | |
There it is, there. | 0:57:56 | 0:57:59 | |
Yeah, there it is, there it is. | 0:57:59 | 0:58:02 | |
# Mi amigo Cubano | 0:58:03 | 0:58:06 | |
It's got that hump with it. | 0:58:11 | 0:58:13 | |
# Que paso, mi hermano? # | 0:58:13 | 0:58:17 | |
'I might just go in this frenzy, you know, | 0:58:17 | 0:58:20 | |
'just become obsessed with it every day. | 0:58:20 | 0:58:24 | |
'All you hear is just noise and me. You know what I mean? | 0:58:24 | 0:58:28 | |
'I would like that.' | 0:58:28 | 0:58:30 | |
BILL SINGS SCAT | 0:58:37 | 0:58:44 | |
Let's figure it out. # Waay-oh... # | 0:58:44 | 0:58:46 | |
# There's just so much about you | 0:58:48 | 0:58:51 | |
# That I li-I-ike | 0:58:53 | 0:58:58 | |
# And it's been so good to kno-o-ow | 0:59:01 | 0:59:06 | |
# How you've always been there for me | 0:59:08 | 0:59:15 | |
# When I needed a friend | 0:59:17 | 0:59:21 | |
# And oh, by the way | 0:59:24 | 0:59:27 | |
# Any time, any time | 0:59:33 | 0:59:37 | |
# Any time of the night or day | 0:59:39 | 0:59:42 | |
# I will be ju-u-ust | 0:59:46 | 0:59:52 | |
# A telephone call away. # | 0:59:52 | 0:59:54 | |
Come on, Kori, sing that bridge. | 0:59:59 | 1:00:01 | |
# Say if you need me | 1:00:01 | 1:00:06 | |
# I'll always be | 1:00:06 | 1:00:10 | |
# Just a telephone call | 1:00:10 | 1:00:16 | |
# A-wa-a-ay. # | 1:00:16 | 1:00:20 | |
-Go ahead, sing it. -# And oh, by the way | 1:00:20 | 1:00:26 | |
# I just want to say | 1:00:26 | 1:00:30 | |
# Any time, any ti-ime | 1:00:30 | 1:00:34 | |
# Any time of the night or day | 1:00:34 | 1:00:39 | |
# I will be ju-u-u-ust | 1:00:39 | 1:00:43 | |
# A telephone call away. # | 1:00:46 | 1:00:50 | |
-Yeah. -Yeah. -Haha, let's get out of here. | 1:00:53 | 1:00:56 | |
That sounded really nice. | 1:00:56 | 1:00:57 | |
-But Kori, girl, we can work that tune. -We can. -We can do that song. | 1:00:57 | 1:01:02 | |
Yeah. | 1:01:03 | 1:01:04 | |
'As far as music goes, I think my dad is a pretty honest critic, | 1:01:04 | 1:01:09 | |
'and I really had to toughen up | 1:01:09 | 1:01:10 | |
'and realise that there was a difference between someone | 1:01:10 | 1:01:13 | |
'criticising you in a way that's saying you're untalented | 1:01:13 | 1:01:16 | |
'and someone being a coach, you know, | 1:01:16 | 1:01:18 | |
'someone saying, "Yeah, that wasn't a strike."' | 1:01:18 | 1:01:21 | |
-You ain't no joke, sugar. -No. | 1:01:21 | 1:01:25 | |
That was so great to sing in that room. | 1:01:25 | 1:01:28 | |
Yeah. You getting a little grease on you, | 1:01:28 | 1:01:30 | |
that's what I'm talking about, you understand? | 1:01:30 | 1:01:33 | |
You know, getting a little grease on you, that is, you know, | 1:01:33 | 1:01:36 | |
you bringing the stuff, Kori. | 1:01:36 | 1:01:39 | |
Let's hit this sucker here. | 1:01:43 | 1:01:46 | |
Yeah. | 1:01:48 | 1:01:50 | |
I knew there are ways that my father is gifted, | 1:01:50 | 1:01:54 | |
and that I'm different than that, | 1:01:54 | 1:01:56 | |
and that I'm going to have to find my own process | 1:01:56 | 1:01:59 | |
and sort of my own way, | 1:01:59 | 1:02:00 | |
and for me I just knew that I wanted to get better. | 1:02:00 | 1:02:03 | |
-You just be comfortable and we'll make all this work. -OK. -Yeah. | 1:02:03 | 1:02:08 | |
-Er... -I'm going to lift this just slightly. | 1:02:08 | 1:02:11 | |
Do what you want to with it. You want it closer, further away? | 1:02:11 | 1:02:13 | |
No, that's good. | 1:02:13 | 1:02:15 | |
This is a... This is called Blue Blues. | 1:02:15 | 1:02:18 | |
# I've moved on | 1:02:31 | 1:02:34 | |
# From you | 1:02:35 | 1:02:36 | |
# So I say | 1:02:38 | 1:02:39 | |
# So it seemed | 1:02:41 | 1:02:43 | |
# You are gone | 1:02:44 | 1:02:47 | |
# Far away | 1:02:47 | 1:02:49 | |
# I let you go | 1:02:49 | 1:02:52 | |
# I set you free | 1:02:52 | 1:02:54 | |
# Still I swim in a sea | 1:02:56 | 1:03:04 | |
# Of you | 1:03:05 | 1:03:07 | |
# My blue... # | 1:03:08 | 1:03:19 | |
'My biggest fear, worst nightmare, was that | 1:03:22 | 1:03:26 | |
'I would be a disappointment to him, that I would show him what I had | 1:03:26 | 1:03:29 | |
'and he would be disappointed, | 1:03:29 | 1:03:31 | |
'because I knew he always was really eager' | 1:03:31 | 1:03:33 | |
to work with me, and I was always just like, | 1:03:33 | 1:03:35 | |
"Why? You're Bill Withers. Why would you ever want to do that?" | 1:03:35 | 1:03:38 | |
Like, why would you ever want to do that? | 1:03:38 | 1:03:40 | |
And I just could never see how he and I could sit in a room as equals and do anything together. | 1:03:40 | 1:03:45 | |
# I give up | 1:03:45 | 1:03:46 | |
# I give in | 1:03:47 | 1:03:49 | |
# I can't hide away | 1:03:51 | 1:03:53 | |
# This love I'm in | 1:03:53 | 1:03:56 | |
# Will never have me | 1:03:56 | 1:04:00 | |
# Will only leave me | 1:04:02 | 1:04:06 | |
# Deep in the sea of my blue, blue blues. # | 1:04:06 | 1:04:13 | |
-HE SOBS -Oh, that's great. -Oh, I'm sorry. | 1:04:33 | 1:04:36 | |
SHE LAUGHS | 1:04:36 | 1:04:38 | |
I'm just, erm... You know, I'm just glad to see you. | 1:04:40 | 1:04:47 | |
HE SNIFFS | 1:04:49 | 1:04:51 | |
Er... | 1:04:51 | 1:04:52 | |
HE SOBS | 1:04:55 | 1:04:57 | |
-You know what I mean. -Yeah. | 1:04:57 | 1:04:59 | |
Let's hear that. Let's hear that. | 1:04:59 | 1:05:04 | |
RECORDING PLAYS | 1:05:05 | 1:05:08 | |
We're all accidents at birth, you know? | 1:05:10 | 1:05:13 | |
We don't get to choose, you know, what we look like, | 1:05:13 | 1:05:16 | |
we don't get to choose how gifted we're going to be, | 1:05:16 | 1:05:20 | |
how tall, how strong, | 1:05:20 | 1:05:22 | |
we don't get to choose anything about what we're going to be. | 1:05:22 | 1:05:25 | |
One day, somebody says, "You ARE." | 1:05:27 | 1:05:29 | |
At some point or another, we have a choice... | 1:05:29 | 1:05:34 | |
..if we're sane enough by that point, | 1:05:36 | 1:05:39 | |
as to how much we're going to apply ourselves, | 1:05:39 | 1:05:42 | |
and a lot of that is influenced by the people who nurture us. | 1:05:42 | 1:05:48 | |
'I already did what I did.' | 1:05:59 | 1:06:01 | |
You know, I'm not that little boy or that young guy any more | 1:06:01 | 1:06:06 | |
that hasn't had any validation. | 1:06:06 | 1:06:08 | |
CHEERING | 1:07:25 | 1:07:28 | |
# Grandma's hand | 1:07:42 | 1:07:45 | |
# Clapped in church on Sunday morning | 1:07:45 | 1:07:49 | |
# Grandma's hand | 1:07:49 | 1:07:51 | |
# Played a tambourine so well | 1:07:51 | 1:07:53 | |
# Grandma's hand | 1:07:53 | 1:07:56 | |
# Issued out a warning | 1:07:56 | 1:07:59 | |
# Billy, don't you run so fast | 1:07:59 | 1:08:02 | |
# Might fall on a piece of glass | 1:08:02 | 1:08:05 | |
# Might be snakes there in that grass | 1:08:05 | 1:08:07 | |
# Grandma's hand | 1:08:07 | 1:08:09 | |
# And you know that Grandma's hands | 1:08:46 | 1:08:48 | |
# Soothed a local unwed mother | 1:08:48 | 1:08:52 | |
# Grandma's hand | 1:08:52 | 1:08:54 | |
# It aches some times and swells | 1:08:54 | 1:08:58 | |
# Grandma's hands | 1:08:58 | 1:09:00 | |
# Lift her face and tell her | 1:09:00 | 1:09:02 | |
# Baby, Grandma, understand | 1:09:03 | 1:09:05 | |
# That your really love that man | 1:09:05 | 1:09:08 | |
# Even though he ain't no good | 1:09:08 | 1:09:09 | |
# Grandma's hand... # | 1:09:11 | 1:09:13 | |
Come on, play it, man. | 1:09:14 | 1:09:15 | |
# A man we passed | 1:10:18 | 1:10:21 | |
# Just tried to stare me down | 1:10:21 | 1:10:24 | |
# And when I looked at you | 1:10:27 | 1:10:30 | |
# You looked at the ground... # | 1:10:31 | 1:10:34 | |
Subtitles by Red Bee Media Ltd | 1:10:36 | 1:10:39 |