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I have crossed the Atlantic, | 0:00:02 | 0:00:04 | |
to ride the railroads of North America | 0:00:04 | 0:00:07 | |
with my reliable Appletons' guide. | 0:00:07 | 0:00:09 | |
Published in the late 19th century, | 0:00:12 | 0:00:14 | |
my Appletons' General Guide to North America will direct me to all that's | 0:00:14 | 0:00:19 | |
novel, beautiful, memorable and striking in the United States. | 0:00:19 | 0:00:25 | |
THEY SHOUT | 0:00:25 | 0:00:28 | |
As I journey across this vast continent, | 0:00:28 | 0:00:30 | |
I'll discover how pioneers and cowboys conquered the West. | 0:00:30 | 0:00:34 | |
GUNFIRE | 0:00:34 | 0:00:35 | |
And how the railroads tied this nation together, | 0:00:35 | 0:00:39 | |
hoping to create the global superstate of today. | 0:00:39 | 0:00:42 | |
I'm nearing the end of a thousand mile railroad journey. | 0:01:08 | 0:01:12 | |
It began on the mighty Mississippi | 0:01:12 | 0:01:14 | |
and that is where I will also make my final stop. | 0:01:14 | 0:01:18 | |
Great rivers bring fertility and prosperity all along their banks. | 0:01:20 | 0:01:25 | |
So it was with the Nile, in Ancient Egypt, | 0:01:25 | 0:01:29 | |
and its shimmering city of Memphis. | 0:01:29 | 0:01:32 | |
So, with the Mississippi and its cotton fields. | 0:01:32 | 0:01:35 | |
In 1826, | 0:01:35 | 0:01:37 | |
a group of Tennessee entrepreneurs decided to name their river city | 0:01:37 | 0:01:42 | |
Memphis, too. | 0:01:42 | 0:01:44 | |
Appletons' tells me, | 0:01:44 | 0:01:45 | |
"It's the largest city on the river between St Louis and New Orleans." | 0:01:45 | 0:01:50 | |
Roughly translated, "Memphis" means "place of good abode". | 0:01:50 | 0:01:54 | |
Or, more roughly still, "graceland". | 0:01:54 | 0:01:57 | |
On this route I've been learning how waterways and railroads | 0:02:04 | 0:02:08 | |
shaped the 19th century Midwest. | 0:02:08 | 0:02:11 | |
Starting in Minneapolis, | 0:02:11 | 0:02:13 | |
I explored the upper Mississippi as far as the Wisconsin border, | 0:02:13 | 0:02:18 | |
then headed for Lake Michigan. | 0:02:18 | 0:02:20 | |
From industrial Milwaukee, I continued south into Chicago, | 0:02:20 | 0:02:23 | |
the nerve centre of the United States' rail network, | 0:02:23 | 0:02:27 | |
before striking out across the Illinois prairie. | 0:02:27 | 0:02:31 | |
Now I'm on the home straight, | 0:02:31 | 0:02:32 | |
bound for Memphis, Tennessee. | 0:02:32 | 0:02:35 | |
On this journey, I'll navigate the perilous Mississippi. | 0:02:40 | 0:02:44 | |
How safe was it to travel on the steamboats? | 0:02:44 | 0:02:47 | |
It was extremely hazardous. | 0:02:47 | 0:02:49 | |
There was great danger of sinking, | 0:02:49 | 0:02:52 | |
from boiler explosions, from fire. | 0:02:52 | 0:02:55 | |
Get my ducks in a row. | 0:02:55 | 0:02:57 | |
There they go. Don't let them get away! | 0:03:00 | 0:03:02 | |
Oh! I think this is the bizarrest thing | 0:03:02 | 0:03:04 | |
I have ever been involved in. | 0:03:04 | 0:03:06 | |
And get a dose of the Blues. | 0:03:06 | 0:03:08 | |
Ladies and gentlemen, now arriving in Memphis. | 0:03:30 | 0:03:33 | |
Memphis, Tennessee. Memphis - now arriving. | 0:03:33 | 0:03:35 | |
Thank you very much. Bye-bye. | 0:03:47 | 0:03:49 | |
Memphis was a transport hub even before the arrival of the railroads, | 0:04:07 | 0:04:11 | |
because of its strategic position on the Mississippi. | 0:04:11 | 0:04:14 | |
SHIP HORN BLARES | 0:04:16 | 0:04:18 | |
Then travellers would have caught their first glimpse of the city | 0:04:19 | 0:04:23 | |
from one of the hundreds of paddle steamers that plied the waters. | 0:04:23 | 0:04:26 | |
Appletons' remarks that, | 0:04:36 | 0:04:38 | |
"The prevailing character of the lower Mississippi is of solemn gloom. | 0:04:38 | 0:04:42 | |
"The dreary solitude, the trees with melancholy drapery of pendant moss, | 0:04:42 | 0:04:48 | |
"the vast volume of dark and turbid waters through the wilderness form | 0:04:48 | 0:04:52 | |
"the most dismal yet impressive landscape." | 0:04:52 | 0:04:56 | |
And indeed, Memphis has inherited a kind of shabby soulfulness, | 0:04:56 | 0:05:01 | |
which has been its making in modern times. | 0:05:01 | 0:05:05 | |
I've come here mainly to think about a man who looked back wistfully on | 0:05:05 | 0:05:09 | |
childhood days on the Mississippi. | 0:05:09 | 0:05:12 | |
19th century writer Samuel Clemens, better known as Mark Twain, | 0:05:16 | 0:05:21 | |
cemented Mississippi life in American culture. | 0:05:21 | 0:05:24 | |
Historian Dr Charles Crawford | 0:05:24 | 0:05:26 | |
can tell me how the river shaped his life and work. | 0:05:26 | 0:05:30 | |
-Hello, Charles. -I'm glad to meet you, Michael. | 0:05:30 | 0:05:32 | |
Tell me about Mark Twain. Who was he? | 0:05:32 | 0:05:35 | |
Mark Twain was, in the opinion of many people, | 0:05:35 | 0:05:40 | |
the greatest American author who ever lived. | 0:05:40 | 0:05:42 | |
Because his novel Huckleberry Finn, | 0:05:42 | 0:05:47 | |
about three boys on the river | 0:05:47 | 0:05:50 | |
is one of the great travel adventures | 0:05:50 | 0:05:54 | |
cos it is done with such simplicity. | 0:05:54 | 0:05:57 | |
It can be read by children. | 0:05:57 | 0:05:59 | |
But with more maturity, | 0:05:59 | 0:06:01 | |
you see he's commenting on the social aspects | 0:06:01 | 0:06:05 | |
and economic aspects of society at the time. | 0:06:05 | 0:06:09 | |
And he's doing it | 0:06:09 | 0:06:11 | |
through the view of two young boys and one slave. | 0:06:11 | 0:06:16 | |
The Mississippi first captured Twain's imagination | 0:06:19 | 0:06:22 | |
during his childhood in Hannibal, Missouri, some 400 miles upriver. | 0:06:22 | 0:06:27 | |
Then as a young man he experienced the thrills and spills of life | 0:06:27 | 0:06:32 | |
as a Mississippi riverboat pilot. | 0:06:32 | 0:06:34 | |
How safe was it to travel on the steamboats? | 0:06:36 | 0:06:39 | |
It was extremely hazardous. | 0:06:39 | 0:06:41 | |
There was great danger, sinking from boiler explosions, from fire, | 0:06:41 | 0:06:48 | |
of boats running aground to simply sinking. | 0:06:48 | 0:06:51 | |
Steamboats had a short life expectancy. | 0:06:51 | 0:06:55 | |
Tell me what was the worst disaster that befell a steamboat on the river? | 0:06:55 | 0:06:59 | |
The worst one occurred in 1865. | 0:06:59 | 0:07:02 | |
The captain of that boat was being paid per person, | 0:07:02 | 0:07:06 | |
so he admitted approximately perhaps 2,400 people to a boat | 0:07:06 | 0:07:11 | |
that should have been limited to 600. | 0:07:11 | 0:07:14 | |
During the night, several miles north of Memphis, it exploded | 0:07:14 | 0:07:18 | |
and the loss of life was between 1,500 and 2,000. | 0:07:18 | 0:07:24 | |
Mark Twain knew the risks all too well. | 0:07:24 | 0:07:27 | |
His brother also travelled on the Mississippi River, | 0:07:28 | 0:07:32 | |
and in 1858 | 0:07:32 | 0:07:35 | |
a steamboat explosion occurred near the city and his brother Henry | 0:07:35 | 0:07:39 | |
was seriously wounded, was brought to Memphis for treatment. | 0:07:39 | 0:07:45 | |
They were cared for by the people so much so that Mark Twain said after | 0:07:45 | 0:07:50 | |
his brother had died said, "God bless Memphis, | 0:07:50 | 0:07:54 | |
"there is no more noble city on the face of the earth." | 0:07:54 | 0:07:57 | |
Late 19th century United States citizens had to endure danger, | 0:08:05 | 0:08:09 | |
violence and disease. | 0:08:09 | 0:08:12 | |
The civil war claimed hundreds of thousands of lives and fast-growing | 0:08:12 | 0:08:16 | |
crowded cities were the perfect breeding ground for epidemics. | 0:08:16 | 0:08:21 | |
In 1878, | 0:08:21 | 0:08:22 | |
Memphis was gripped by a pestilence that threatened its very existence. | 0:08:22 | 0:08:27 | |
This lovely spacious place is according to Appletons', | 0:08:39 | 0:08:43 | |
"The principal of the six cemeteries and is known as Elmwood." | 0:08:43 | 0:08:48 | |
It's the final resting place for 14 Confederate generals | 0:08:48 | 0:08:52 | |
and for many dead from steamboat disasters, | 0:08:52 | 0:08:56 | |
but lots of people buried here were not the victims of great events, | 0:08:56 | 0:09:01 | |
but of something extraordinarily tiny. | 0:09:01 | 0:09:04 | |
Executive director at Elmwood Kim McCollum | 0:09:29 | 0:09:32 | |
works to raise awareness of the cemetery's history. | 0:09:32 | 0:09:35 | |
So, Kim, why are the years just before my guide book was published | 0:09:40 | 0:09:44 | |
so memorable for Memphis? | 0:09:44 | 0:09:45 | |
Well, the 1870s brought a lot of turmoil to the city of Memphis | 0:09:46 | 0:09:51 | |
in the form of a mosquito, the Aedes aegypti mosquito. | 0:09:51 | 0:09:55 | |
She caused a lot of damage in the form of yellow fever. | 0:09:55 | 0:09:59 | |
Did people know that the mosquito was to blame? | 0:09:59 | 0:10:01 | |
No, no-one knew the mosquito was to blame, in fact, | 0:10:01 | 0:10:04 | |
many believed that it was what Americans called a miasma, | 0:10:04 | 0:10:09 | |
that was sort of a fog that floated over cities, | 0:10:09 | 0:10:13 | |
that carried a foul air and infected people. | 0:10:13 | 0:10:17 | |
17th century slave ships first brought yellow fever to the east coast of America. | 0:10:17 | 0:10:23 | |
The disease spread, | 0:10:23 | 0:10:25 | |
aided by the advent of steamboats and railroads. | 0:10:25 | 0:10:28 | |
In the 1800s, it reached Memphis' crowded streets. | 0:10:28 | 0:10:32 | |
Why was Memphis particularly badly hit, do you think? | 0:10:32 | 0:10:36 | |
Memphis was a very unclean city during the yellow fever epidemics. | 0:10:36 | 0:10:41 | |
There were no sewer systems and the Gayoso Bayou was located downtown, | 0:10:41 | 0:10:46 | |
which was a large body of water that was stagnant and so the mosquito | 0:10:46 | 0:10:52 | |
had a wonderful breeding ground in Memphis. | 0:10:52 | 0:10:55 | |
The city was struck by a series of yellow fever outbreaks, | 0:10:57 | 0:11:01 | |
each worse than the last. | 0:11:01 | 0:11:04 | |
So when a case was reported in 1878, panic set in. | 0:11:04 | 0:11:08 | |
In the year 1878, | 0:11:10 | 0:11:11 | |
the population of the city of Memphis was approximately 50,000, | 0:11:11 | 0:11:15 | |
so about 25,000 people chose to leave the city of Memphis | 0:11:15 | 0:11:18 | |
and they headed up the Mississippi River towards St Louis. | 0:11:18 | 0:11:22 | |
Most of those were Caucasian people who had the means to leave the city, | 0:11:22 | 0:11:27 | |
those who remained in the city were largely African-American. | 0:11:27 | 0:11:30 | |
We liken it to a modern-day Hurricane Katrina in its devastation. | 0:11:30 | 0:11:35 | |
So what was the impact on the 25,000 who remained? | 0:11:36 | 0:11:40 | |
Out of the 25,000 who remained in Memphis, | 0:11:40 | 0:11:44 | |
about 5,000 of those died from the yellow fever. | 0:11:44 | 0:11:49 | |
In the month of September of 1878, | 0:11:49 | 0:11:52 | |
about 200 people were dying per day in the city of Memphis | 0:11:52 | 0:11:55 | |
and about 50 of those people were brought to Elmwood for burial | 0:11:55 | 0:11:58 | |
and they were buried in trench-style graves in this piece of land | 0:11:58 | 0:12:03 | |
that we're standing on now, which is called No Man's Land. | 0:12:03 | 0:12:07 | |
The epidemic upended the social order in Memphis. | 0:12:10 | 0:12:14 | |
White flight made way for African-Americans to serve for | 0:12:14 | 0:12:17 | |
the first time as police officers, | 0:12:17 | 0:12:20 | |
while businessman Robert Reed Church, | 0:12:20 | 0:12:23 | |
whose mother was a slave, made a fortune snapping up property, | 0:12:23 | 0:12:27 | |
becoming reputedly the South's first black millionaire. | 0:12:27 | 0:12:30 | |
Nowadays the people of Memphis remember those who stayed behind | 0:12:32 | 0:12:36 | |
to serve the victims. | 0:12:36 | 0:12:38 | |
One unlikely hero was a brothel owner | 0:12:38 | 0:12:42 | |
who apparently still haunts the cemetery today, | 0:12:42 | 0:12:45 | |
keeping her story alive. | 0:12:45 | 0:12:47 | |
Well, Annie Cook, I presume! | 0:12:47 | 0:12:50 | |
-Good afternoon. -I'm Michael. | 0:12:50 | 0:12:52 | |
Annie, what sort of business have you been running here in Memphis? | 0:12:52 | 0:12:55 | |
I've been very successful in Memphis. | 0:12:55 | 0:12:57 | |
I started out as a housemaid, but there's not a lot of money in that, | 0:12:57 | 0:13:01 | |
so I knew what the sailors in a rough river town like Memphis needed | 0:13:01 | 0:13:06 | |
was it something a little more exciting than a clean house. | 0:13:06 | 0:13:09 | |
How did 1878 begin? | 0:13:09 | 0:13:12 | |
Well, that terrible disease hit Memphis that was nicknamed "yellow fever" | 0:13:12 | 0:13:17 | |
because you turned as yellow as a banana. | 0:13:17 | 0:13:20 | |
It was burning you up from the inside out. | 0:13:20 | 0:13:24 | |
You bled from everywhere, your ears, your eyes, your nose, your mouth. | 0:13:24 | 0:13:29 | |
Luckily, I mean, mercifully, you died within three or four days. | 0:13:29 | 0:13:33 | |
What did that do to your business? | 0:13:33 | 0:13:35 | |
Well, I turned my palatial mansion into a hospital. | 0:13:35 | 0:13:40 | |
-How did you do that? -Well, we just pushed back the furniture, | 0:13:40 | 0:13:43 | |
rolled up the carpets | 0:13:43 | 0:13:44 | |
and filled every room with cots | 0:13:44 | 0:13:46 | |
and they were full with the sick and the dying. | 0:13:46 | 0:13:50 | |
Well, Annie, thank you very much for all of your services to Memphis. | 0:13:50 | 0:13:54 | |
-Sure, thank y'all. -Bye-bye. -Bye. | 0:13:54 | 0:13:57 | |
Appletons' recommends the Peabody Hotel, | 0:14:14 | 0:14:17 | |
which first opened its doors in 1869. | 0:14:17 | 0:14:20 | |
It moved to this site in 1925 | 0:14:27 | 0:14:30 | |
and soon after, a remarkable tradition was born. | 0:14:30 | 0:14:34 | |
Mr Duck Master, I assume? | 0:14:43 | 0:14:44 | |
Mr Portillo, great to have you with us. | 0:14:44 | 0:14:46 | |
Thank you, it's lovely to be here. What's going to happen? | 0:14:46 | 0:14:50 | |
Well, have you ever seen a duck march before? | 0:14:50 | 0:14:53 | |
-Duck march? No. -Well, that's all right. | 0:14:53 | 0:14:55 | |
Have you ridden on an elevator with ducks before? | 0:14:55 | 0:14:58 | |
-With ducks? No. -That's fine. | 0:14:58 | 0:15:00 | |
Have you ever seen a Royal Duck Palace? | 0:15:00 | 0:15:04 | |
-No. -That's all right. | 0:15:04 | 0:15:05 | |
The Peabody ducks, these guys right here, | 0:15:05 | 0:15:09 | |
they are a legend here in the city of Memphis and you, sir, | 0:15:09 | 0:15:12 | |
have been nominated to act as our honorary Duck Master. | 0:15:12 | 0:15:15 | |
Oh, that is a great honour, I'm humbled. | 0:15:15 | 0:15:19 | |
Ducks have been a feature here since 1933, | 0:15:19 | 0:15:23 | |
when an inebriated general manager | 0:15:23 | 0:15:26 | |
positioned some of them in the fountain of the hotel, | 0:15:26 | 0:15:29 | |
to the guests' delight. | 0:15:29 | 0:15:30 | |
Nowadays the daily duck march draws a crowd. | 0:15:30 | 0:15:34 | |
Here we go. All righty, ducks, | 0:15:34 | 0:15:36 | |
wait for it, wait for it. | 0:15:36 | 0:15:38 | |
Very good. I like what you're doing. | 0:15:38 | 0:15:40 | |
Excellent. Very good, very nice. | 0:15:40 | 0:15:42 | |
Very good, I think he's got it. | 0:15:42 | 0:15:45 | |
Duckies, hup, hup. | 0:15:45 | 0:15:48 | |
Very nice. Double back for you. | 0:15:48 | 0:15:52 | |
Very good waddle, duckies. | 0:15:52 | 0:15:55 | |
Look at you guys! Oh, excellent posing, ducks. | 0:15:55 | 0:15:58 | |
Very nice. Very good! | 0:15:58 | 0:16:01 | |
Great job! | 0:16:03 | 0:16:05 | |
The ducks are going to go running right past you | 0:16:10 | 0:16:12 | |
as soon as that door opens, just so you know, | 0:16:12 | 0:16:14 | |
if just stay still. There they go. | 0:16:14 | 0:16:17 | |
-Don't let them get away. -Oh, right! -We got work to do. | 0:16:17 | 0:16:20 | |
Beautiful day for a duck march. | 0:16:21 | 0:16:23 | |
I think this is the bizarrest thing I've ever been involved in! | 0:16:23 | 0:16:26 | |
You're doing great. Pardon me, ducks. | 0:16:26 | 0:16:28 | |
Pardon me. Thank you, good job. | 0:16:28 | 0:16:31 | |
-Hooray! -Great job, Duck Master! Thank you very much. | 0:16:31 | 0:16:34 | |
Wow! Duck Master, what an honour to serve with you. | 0:16:34 | 0:16:37 | |
It was a pleasure having you with us. Thank you so much. | 0:16:37 | 0:16:41 | |
Look at this palace that they're in as well. | 0:16:41 | 0:16:43 | |
Not bad for ducks, right? | 0:16:43 | 0:16:45 | |
Well, I'm staying here slightly less time than they are | 0:16:45 | 0:16:47 | |
and I think my room is not quite as big. | 0:16:47 | 0:16:50 | |
Well, there's five of them! | 0:16:50 | 0:16:52 | |
Before I turn in, | 0:17:00 | 0:17:02 | |
I'm taking a stroll down the famous Beale Street | 0:17:02 | 0:17:05 | |
to soak up a little Memphis nightlife. | 0:17:05 | 0:17:08 | |
Around the time of my guidebook, | 0:17:08 | 0:17:10 | |
this was where African-Americans gathered. | 0:17:10 | 0:17:13 | |
I suppose Beale Street is what it is today because about 150 years ago, | 0:17:15 | 0:17:19 | |
penniless black musicians came here | 0:17:19 | 0:17:22 | |
who would have faced immense prejudice, I dare say and now, | 0:17:22 | 0:17:26 | |
look at this. | 0:17:26 | 0:17:27 | |
All the neon signs, all the tourism, and it's all down to those guys. | 0:17:27 | 0:17:32 | |
How the wheel of fortune, how the wheel of fashion, turns. | 0:17:32 | 0:17:38 | |
A new day and I've been invited to play with a big toy... | 0:17:52 | 0:17:56 | |
Hi! May I come aboard? | 0:17:56 | 0:17:59 | |
-Yes, sir. -Thank you very much. | 0:17:59 | 0:18:02 | |
..to get a feel of Memphis' modern rail story. | 0:18:02 | 0:18:05 | |
Appletons' tells me that Memphis has an immense railroad | 0:18:24 | 0:18:28 | |
and steamboat traffic. Of course it was a hub, | 0:18:28 | 0:18:31 | |
having both the railroad and the Mississippi River, | 0:18:31 | 0:18:34 | |
but perhaps more surprising is that even today, | 0:18:34 | 0:18:37 | |
the big five railroads of North America all converge on Memphis. | 0:18:37 | 0:18:42 | |
Railfreight today is a 60 billion industry | 0:18:52 | 0:18:57 | |
and Memphis is America's third largest rail hub. | 0:18:57 | 0:19:00 | |
And the city represents a cultural crossroads too. | 0:19:02 | 0:19:05 | |
Since travelling black musicians first congregated on Beale Street, | 0:19:06 | 0:19:11 | |
Memphis has been a musical melting pot. | 0:19:11 | 0:19:14 | |
In the home of the blues, | 0:19:28 | 0:19:30 | |
I'm meeting Grammy-nominated musician Cedric Burnside. | 0:19:30 | 0:19:34 | |
Cedric, how did music begin in your life? | 0:19:44 | 0:19:48 | |
My big daddy was a big part of my musical history. | 0:19:48 | 0:19:52 | |
RL Burnside. I grew up with him. | 0:19:52 | 0:19:55 | |
Because he grew up playing in the juke joints I kind of grew up too. | 0:19:55 | 0:20:00 | |
That was the life we had, you know. | 0:20:00 | 0:20:02 | |
What are you saying with your music? | 0:20:02 | 0:20:03 | |
What is it you're communicating, do you think? | 0:20:03 | 0:20:07 | |
Slaves, you know, really started the blues, | 0:20:07 | 0:20:10 | |
they couldn't talk a whole lot, so they had to do code | 0:20:10 | 0:20:13 | |
and I kind of think blues is sort that way still today. | 0:20:13 | 0:20:16 | |
People go through things, you know, | 0:20:16 | 0:20:19 | |
they talk about it through their blues. | 0:20:19 | 0:20:21 | |
It's the roots. | 0:20:21 | 0:20:23 | |
After the civil war, | 0:20:23 | 0:20:25 | |
African-Americans made use of their new-found freedom and the growing | 0:20:25 | 0:20:28 | |
railroad network to travel, taking their music with them. | 0:20:28 | 0:20:32 | |
In 1912, | 0:20:32 | 0:20:34 | |
the first commercially successful blues song was published by WC Handy, | 0:20:34 | 0:20:38 | |
a Beale Street band leader, | 0:20:38 | 0:20:40 | |
inspired by a lone musician whom he heard playing at a Mississippi rail station. | 0:20:40 | 0:20:45 | |
During the Great Depression, | 0:20:45 | 0:20:47 | |
blues men migrated north on the Illinois Central | 0:20:47 | 0:20:50 | |
and the electrified Chicago blues was born. | 0:20:50 | 0:20:53 | |
Cedric, there are different sorts of blues. | 0:20:53 | 0:20:56 | |
How would I distinguish between, I don't know, between Delta blues... | 0:20:56 | 0:21:00 | |
Chicago blues, hill country blues? | 0:21:00 | 0:21:02 | |
-Tell me about that. -Well, Delta blues, it's all bars, you know. | 0:21:02 | 0:21:07 | |
I like to think of hill country blues as film music. | 0:21:07 | 0:21:11 | |
It don't have any bars. | 0:21:11 | 0:21:13 | |
It's just a straight beat that goes on through. | 0:21:13 | 0:21:15 | |
You can't put hill country blues in front of somebody and say, "Play this," | 0:21:15 | 0:21:19 | |
because you can't write it, really. | 0:21:19 | 0:21:21 | |
This is a hill country song I'm about to play you | 0:21:21 | 0:21:23 | |
that my big daddy used to play all the time. | 0:21:23 | 0:21:26 | |
And it don't really have too many changes, | 0:21:26 | 0:21:29 | |
it just has a lot of finger picking and just a strong, hypnotic beat. | 0:21:29 | 0:21:37 | |
This is called Skinny Woman. | 0:21:37 | 0:21:39 | |
# Well, I don't want skinny woman | 0:21:56 | 0:22:02 | |
# Well, I don't want skinny woman | 0:22:02 | 0:22:05 | |
# Meat don't shake | 0:22:05 | 0:22:07 | |
# Meat don't shake... # | 0:22:07 | 0:22:09 | |
-Thank you, Cedric. -You're very welcome, man. Thank y'all. | 0:22:31 | 0:22:35 | |
In the mid-20th century, | 0:22:50 | 0:22:52 | |
the blues helped to give birth to a new style of music here in Memphis. | 0:22:52 | 0:22:57 | |
And a local boy was its king. | 0:22:57 | 0:23:00 | |
I'm joining the 20 million people | 0:23:04 | 0:23:07 | |
who've made the rock and roll pilgrimage | 0:23:07 | 0:23:09 | |
to his home since it opened to the public in 1982. | 0:23:09 | 0:23:13 | |
My guide is Libby Perry. | 0:23:18 | 0:23:20 | |
-Hello, Libby, I'm Michael. -Hey, Michael, welcome to Graceland. | 0:23:22 | 0:23:25 | |
Thank you so much. It's really very exciting to be here. | 0:23:25 | 0:23:29 | |
In what sort of circumstances was Elvis born? | 0:23:29 | 0:23:32 | |
Elvis was born in Tupelo, Mississippi. | 0:23:32 | 0:23:34 | |
It's about an hour and a half south of Memphis. | 0:23:34 | 0:23:36 | |
He was born to a poor family, | 0:23:36 | 0:23:38 | |
they had a very small shack on the edge of a very poor historically | 0:23:38 | 0:23:43 | |
African-American neighbourhood. | 0:23:43 | 0:23:45 | |
Elvis moved to Memphis at the age of 13 and absorbed its musical influences. | 0:23:45 | 0:23:51 | |
-Where was he going to hear his music? -Beale Street. | 0:23:51 | 0:23:53 | |
Everyone goes to Beale Street in Memphis to hear all sorts of music. | 0:23:53 | 0:23:57 | |
It was the same for Elvis when he was growing up. | 0:23:57 | 0:23:59 | |
And he really made a lot of connections at Stax and Sun Studio | 0:23:59 | 0:24:03 | |
with so many up-and-coming Memphis musicians | 0:24:03 | 0:24:05 | |
that would really help put Memphis on the map in terms of blues | 0:24:05 | 0:24:08 | |
and gospel and eventually rock and roll. | 0:24:08 | 0:24:10 | |
And does Elvis himself pick up the blues? | 0:24:10 | 0:24:13 | |
Yes, absolutely. | 0:24:13 | 0:24:14 | |
Big influences of Elvis in terms of blues are Big Mama Thornton, | 0:24:14 | 0:24:19 | |
who actually came out with Hound Dog and that famous song of Elvis' | 0:24:19 | 0:24:23 | |
is a cover of hers. | 0:24:23 | 0:24:24 | |
Otis Blackwell was an amazing blues writer | 0:24:24 | 0:24:27 | |
that Elvis loved to work with. | 0:24:27 | 0:24:29 | |
He wrote, Don't Be Cruel and All Shook Up. | 0:24:29 | 0:24:31 | |
So, Graceland, I've never been here before, big moment, | 0:24:31 | 0:24:35 | |
but when does he acquire it? | 0:24:35 | 0:24:37 | |
Elvis bought Graceland when he was 22. | 0:24:37 | 0:24:40 | |
It's June 1957, | 0:24:40 | 0:24:42 | |
came with about 13 acres of land and he paid about 100,000 for it. | 0:24:42 | 0:24:46 | |
The poor boy from Mississippi had become | 0:24:49 | 0:24:51 | |
the first global rock and roll superstar, | 0:24:51 | 0:24:54 | |
thanks to his fusion of rhythm and blues, country and gospel. | 0:24:54 | 0:24:59 | |
He died aged just 42. | 0:25:00 | 0:25:03 | |
But it's as though he lives on at Graceland. | 0:25:03 | 0:25:06 | |
Well, it's a... | 0:25:10 | 0:25:12 | |
-a time capsule, isn't it? -That's right. | 0:25:12 | 0:25:14 | |
When Elvis passed away in 1977, | 0:25:16 | 0:25:18 | |
he was kind of in a very masculine, '70s phase, | 0:25:18 | 0:25:21 | |
so most of what you see here that's white or blue | 0:25:21 | 0:25:24 | |
was actually red and black, lots of leather and fur. | 0:25:24 | 0:25:28 | |
So we kind of like to hedge the balance between what it was like when he passed away | 0:25:28 | 0:25:32 | |
and what it was like the majority of the time that he lived here. | 0:25:32 | 0:25:35 | |
What was the difference that he made to music? | 0:25:35 | 0:25:37 | |
He is credited with a lot. | 0:25:37 | 0:25:39 | |
At Sun Studio, downtown, he and Sam Phillips, Johnny Cash, | 0:25:39 | 0:25:44 | |
Jerry Lee Lewis really blended together blues, gospel, country, R&B, | 0:25:44 | 0:25:48 | |
soul and created what we now know as the infancy of rock and roll. | 0:25:48 | 0:25:52 | |
And so many current pop culture and musical artists today kind of attribute | 0:25:52 | 0:25:56 | |
some of their success, some of their musical stylings to the King of Rock 'n' Roll. | 0:25:56 | 0:26:00 | |
Despite his renown as a rebellious youth whose music and sensuality | 0:26:06 | 0:26:11 | |
divided generations and families, Elvis was devoted to his parents. | 0:26:11 | 0:26:16 | |
They lived with him off and on at Graceland and are buried beside him. | 0:26:16 | 0:26:21 | |
I've been thinking, | 0:26:49 | 0:26:51 | |
which figures most help you to understand American history? | 0:26:51 | 0:26:54 | |
Thomas Jefferson, "All men are created equal". | 0:26:54 | 0:26:56 | |
Abraham Lincoln, the abolition of slavery, | 0:26:56 | 0:26:59 | |
and Elvis Presley. | 0:26:59 | 0:27:01 | |
That's not far-fetched because from the second half of the 20th century onwards, | 0:27:02 | 0:27:07 | |
America, through its entertainment, has global, cultural domination | 0:27:07 | 0:27:12 | |
and Elvis is absolutely at the heart of that, | 0:27:12 | 0:27:15 | |
and the interesting thing is | 0:27:15 | 0:27:17 | |
that he draws his inspiration largely from black Americans. | 0:27:17 | 0:27:21 | |
Guided by my Appletons', | 0:27:44 | 0:27:45 | |
my train journey from Minneapolis to Memphis has left two strong impressions, | 0:27:45 | 0:27:50 | |
that the Mississippi tells the story of America up to | 0:27:50 | 0:27:53 | |
the late 19th century. | 0:27:53 | 0:27:56 | |
Native Americans, fur traders, settlers, steamboats, | 0:27:56 | 0:28:02 | |
industry and the civil war. | 0:28:02 | 0:28:04 | |
And that Chicago carries on the history of the United States, | 0:28:04 | 0:28:09 | |
sitting at the centre of a vast iron web, | 0:28:09 | 0:28:13 | |
spinning out new rail lines in every direction. | 0:28:13 | 0:28:16 | |
Growing fat and tall on the profits, because by then | 0:28:16 | 0:28:21 | |
access to a railroad was more important than proximity to a river. | 0:28:21 | 0:28:26 | |
Even to this one, the father of the waters. | 0:28:26 | 0:28:30 |