- hey, i'm valerie june. coming up on reel south ... [soft vocal harmony] america's complicated hist ory is brought to life in photograp hs. one southern photographer captured seminal momen ts.- [burk] the are e contacsheets. th is mart lutheking'sbody bng put oa pl an anbeing fln to lanta toe buri . the are thfolks ouide the lorine mo l,where was killed. - aleriemomes that ford him to reckon with deep-sted prejudic es. - [burk] you start out, perhaps with the mind, and an id ea. you'rlucky, tt tranates to e he art. and th all thafilters out througthe ey [reflecte mu

si [valeriethis is, f11 d be t re. up nex on "reel sout h". - [annouer] majo funding for "reel south" was provided by etv endowm ent, the national endowment for the ar ts center for asian-american media, and by south ar ts. [lively music] ♪ [hisng sou nd] [somber, hymnal music] ♪

- [burk] i believe good pictures, they start out perhaps with the mind, and an id ea. [cera shutr clicking] and if youe lucky,hat trslates to the art. and then all of that filters out through the eye. [camera shutter clicki ng] [somber, hymnal mu sic] ♪ [tin whistng]

[somr, hymnamusic] ♪ when i fst wake ani stretcout, d i get the b e, i'm ill in tt kind o wonderl, semi-conscioust ate of sepndwake, an the ietness of it, allo the motn ofy feet tbr

ing lo flow toy mi, into mhe t. omber, hnal mu c] so ts connecon happe it not onlmentaland emional ditation it's physicamediti on. [sber, hyml mu c]

the's someing out doing portraits in whi the facis the ychologil landscape. the ce bareshe imint of te. the face and the eyes bare not only the charact er buthe joy a persos be in if it'not a brand nefrontier anit's cerinly isin theistory o art, 's probay a nefrontierwhich ch andvery artist e minu they tale brand nesubj ec [reflective mu c] ♪ [classical mus ic

[equipnt pops] [classal music] [drum be music] okay, th's fivefeet, ven inch. [equipment clicking] now lor your chinjust little bit. nodohat yodo, whenyou put ur hands up. [woman] en i go to c rch?- yeah, st likeyou're ichur ch , it's gna be, is nna beeally imrt ant, d i'll tl you, a you'llave toave them exacy the rit plac so somhing likth at. amazingrace - [bk] that'beautiful. lean baca little so iee your ce. ♪

how s et [burk] me your hd cle to youhe ad. ♪ theou nd ♪ tt savea wret like me ♪ i once - [burk] hand cl ose. ♪ was los t, [cera shutr clicking] ♪ b now i see amera shter clicng] - you arso beautif. lapp in [water running, splashing]

but thisarkroomhas a wi sink, sohat i camake gooprin ts [wat runni ] this wl be gd for no[wat runningsplash ing] [swih clicking] ye '68, story numb 18, ame numb four. and thesare thecontact eets.thiss martinuther ki's bo beingut on a pl e,and beg flown atlaa to be ri ed. the are thfolks outsidthe lorraine motel ere he wasil lehere h body, ithe casket. this iwhere,

t room thate was kied in. i wanna ke a newprint this piure, ofhe peoplcarryinghe poer of main lutheki ngin t actual funeral,n atla a. [rtling][clicking] [ptic mu c] in thearkroom,hen a picture mes to le,peop have deribed it as magic, so it wodn't bthe fit ti to usthe phrase buit is magic. anit's mag, not on becausit's happeni t it'sagic becse i haven't d the faintest idea why 's happeng, to b perftly hone with u. i an, i ve reaall the exanationsf why at stu that ey put on a piece of pa per isight-senti ve. d i undetand tha the ght comi down fromhe enlarr makes de ntat whater thosecontraptns a

re byhe million on thesurfacof theap er. and then know, tt wh you sti that object inhat trayf chemisy, i' read wh the che cal d ingrednts are,but wh it happens, i justan't belve it happening and it just pu magic t me. and th to go bk, and me thprint alover aga and was my nds, ld the l ht anshape thlight with my ng ers, and t the lit ur thrgh fingers prsing t foot it chand mang the earger go on, a on, and on, till it st puts re and more lig on the per, and mething ppens,nd th if you it right, en the pnt is beautifu it's magic. 's a gre, greatfeeling to experie nce. [water sashing] i'm real disappoted ameri.they'ra lot people at i ld

accouable for it. i ld churcs and religionccountab for i i ld the whingtonestablishmentaccounble for . and hold a the ititution and thbodies afault, that arerevalentin ouroc iety th offer jtificati for haed. w you ha to wonder is ieven posble r it to t bett ? can even ovcome racism? but you look at this beautifulman he, in thipicture, o was sh and killed, beuse ofhe develment a less cial soc ty. heas kild for hitrou bl [prayeul humming] ♪ ay

, wod, i apogizeor th sign, ibehalf o the restf white erica. it like wee gettin out ofere, without me. i dot thinkvisitati was the lan.[somr drumat mus ic] ♪

"le magazine" wanted me too tothe mounins of north carol a, since was a yog southern er

and stilspoke e langua ana skinnylittle wte guy with a cw cut, tt i amtheyhought that i wod beable tbe among my people anphotogra the kkk and was doina stor on robe shelton, thegrand dron of th kkk. thrally stted, andhe made e announ ment th there w a "life"photogpher t re taking photographs, and that i was following him arou nd and it was okay, don't hurt him, it's o kay, he's there, i've invited him to be he re so let him take his photographs, and so i did. and i ved arou the crotakinghotogrhs candidly, anthen thedid theceremonialross-burng d they l [loudblas the cross and ey went all azy withla mes, they h on theihoods, and theyid what ey do. and i wavery hap to ha gotten good shoot.

i decideto unloamy film, i've en doingll alonthrough e ent, [camerclicking] [somber dr music] ke the rls of fi out the cama, and ick them in sock,nd put a fresroll ofilm i if someing happed to least the film wouldn't g sto le as ias doinghat, i'm loing downand inking tmyself wow, what amazingthing s eeall a sudde thisfierce hd fromeh ind, grabd my shoulder,ery, very strenuous bodilcontact, kindf gesture,and i said"oh bo his is gna be the d. "whas gonnhapp en?" and i turned around, and ts big guy pulls his ho off d he sai "hi burk, u remeer me? e

went thighschool tet hein dunn,orth car ina. "it's en a lontime sie i've sn you, boy."how y c'm on "i jt wonded how y were, "up ther workingor althem damyank ee "and 'life magazine' that's a terrible th ing, "working for 'life magazin e' "but anyway, you doin' oka y?" and i said, "yeah", and i said, "well, how youoi n'?" and says, "i'm doin fi, i got self "a nice little lady,we g some childr "i got melf a mi routeand evything'sust fi . "and i le beinghere wh my peo e." one the this that iave arned ma times w that, you never know who people are. you know, you can decide you think you know there is to know about t hem, and so, there you go, you never kn ow. there's something about, believing whatever you believe full out, you know, you see that focus in a pair of ey es. and these eyes can be worn by a lot of different sensibilit

ies, and a lot of different fac es in different parts of the wo rld. when we have that capacity to be who we are, with some degree of intens ity, it's worth taking a really good look at, as a photographer for su re. ♪ pray for me ♪ pray for me ♪ pray for me, yes, l ord ♪ pray for me ♪ oh-oh h ♪ oh, mbrother,ray for me ♪ when u bow do ♪ wn you bodo wn - [burk] my love for the black culture, was probably born the first day i went to mart luther ng's, lile urch, intlanta,

or gia, annot becae what mtin ther kg had say bubecause the sic that hea rd ♪ nothi you ask wi be deni ♪ ♪ lore'll takcare of u ♪ i know, inow god ll ♪ godill takeare of you throughveryday ♪ thrgh every day ♪long the ay ♪ and hwill takcare of you - and t that i a regious pe on buwhen i gto blk churchervi ceand i ar the mic, and see e joy the people, it jt, it lits a re in

bei . ♪ tt's wh he say say, ohord, andes you o ♪ lord, y you d ♪ i ced l or ♪ ld you'veeen go ♪ou've be so go ♪ lor you've en g oo ♪een so g ood ♪ you've been so go od ♪ you've been better to me ♪ than i've been to mys elf ♪ i gotta tell somebody e lse ♪ you've been so go od ♪ andou saved ♪ sav my soulyes you di ♪h, yes you did ♪ w no, no,esus, i ed ♪ i neejust a litt more je s ♪ i need st a little me jesu ♪ ♪ ieed just ttle morjesu s ♪ need ju a ttle morjesu

s [disc joey] you e tuned in to woow, 1340 am, onour am dl, right her e thcity of eenville nortcaroli . al, ladi and gtlemen dot forgetdon't fo et weo have black htory gala setup right h ere,and insi woow,45 evanstr eet, greenvil, north roli na upto, you cacome t and chk outsome bla history native amerins, slaves buffo soldie, we havrich ch histo that go b ack. dies andentlemeni wannaintrode my son, dul, j he's gonna be taking over in the nearut ure. thsame wayy fathersed intervi me onhe rad asking me e same qstionsand hesed to aays sa you know, this is gonna be your job, one d ay. so, as you can see, this is gonna be your job one day. you wanna give a shout out to mom my say,what's u mom my she listening to you in the car. - urk] rai your ch a littlbit mo . turn your chin this way, a little bit mo re. right there, eyes brig

ht. [camera pops] that's it, hold on keep right the re. you are to be in ts pictur at everyan wantso be interms the bla community. i an, it's just, it's jt, and ou asn audibllight of the fure, sir [cama beep g] [camera po ps] [footsteps tappi ng] - they werba here. - [burk]es, si - and ran, andid the mp and land right her - rit he re- thatould bemaximu great, ay. wellthat's t battery. the rd shoulbe. , it's rht in the, i wamoving t ... all right, g go, go,o, go. [group[chantin - i don'want it be st a pasve thingget yo hands uhi gh. ye, that'sight just see se emotion,let's

e some e rgy.now, y look uphis way, aittle more. - [group[chant ing] - mo, more, re, mo . - roup] [cnt ing] - [burk] oh, ho, good, good, go, go, go, go, go. - [group leader] tod ay. - [group] [cnt ing]one, t, three,ut! teps echoing] - okay gs, jus do tt jump, ain.[fast dr beati ] - [burk]ere we o. roup chaing] - [gup] sitback andatch the show. [clapping anstomping [drubeating]

[chanting] [drum beating] [clapping anstomping [cnting] [drum being] [clappinand stomng] - [burk] all right thank you so much, wow. [applaud ing] you guys are incredi ble. ancontinue clearn march.

yolook, mean, yo kn, you would find the ory of t '60s ithis b . there's uff that nevebeen pri ed. hodo you bece a phographer w do y workas ahotographer?what'soing on in orderto make od photoap hs the firsthinyou haveto know who areou? whatefes you and yo values, aa pers ? w do youake thatand you relate it to aubje ct if i'm tgive mysf, toonveyi t hem, thatmplies rpe ct anonce i'vdone tha then can hava dial ue betwn myself and that subject, d thatan go manyifferent ays, dependinon the eloquencof the m ium that y have at yr disposal.a range of tools'cause tool is t a to until has craft. a tool ionly somhing u can ho in your and, untiyou can ay itike a vi in. tool is radivarius. until yoknow

tha yore worth ss. u have tuse whatev tool cos to min toolve theroblem, guess.[hammer pp ing] th is not e typil apoach that i us th art dectors when i w showing hem myew portf io. [chucklemaybe should he used t hamm on so of theihe ads, r what ty did tosome omy pictures. well, owing upn the soh before thege of tevision being avlable every he, thonly linto the osi dethat rlly madeuch diffence toe, waslife magin e". knew thai wantedo be a "life mazine" phograph .so, i d, became "life" photograer, when i was 23. anyou gottbe ready. you ve to so of be alws in focuswhen you're doin stories

like t his. you got camera in ur h d, there's a zoom focus all the ti me. e "life" reporter stood heelf inhe way sohat u'll just kindof, we the other w ay d therefe, detmined she wou go to tmost pturesquespot ithe tr l. and she d i hasort ofmade sn langua, st iland en, so sheid that, and ll woundp there, anthen sheand youknow, shjust d t hat. this was very noal thg for ji to do it's mduty to subjecte, asell as, obctive. otrwise, would ba machine.and ok, just da facsimile, the fit, that'not ar i think documentary photogra phy is the most subjective photography of all if it's done w ell [upbeat mu sic]

f11, to those who mean fa8, or f.14,but it the setng onour cames, toave it nled justig ht. and then be there, means, you know like cartever, the song says, you told it was, great to be a great photograph er. but it sure helps if something import ant is happening in front of your came ra. so, that's the "be there" pa rt. [upbeat mu sic] and i've just gotten my contract, and i was in new york, and cornell capa, who was one of my all-time heroes, and cornell said "congratulations on your 'life' contract "so but there's one thing you really need to remem ber, you're only as good as your legs in this busines s." and of course what he meant was, it's always work, you always gottaeep moving yogotta ta care ofours el d you goa be on e mo veand you tta be epared two rk. u cannotit down d succ d. [livy mu si

[somber, hymnal music]

e old maer paints, theyook all e stuff,and theyixed it , all ese diffent colors and horny, those bastards were so hor ny can you imagine an old master painting of any s ort, where they're trying to tell any kind of story at all about a war, or this, or t hat, or there's just somebody hanging o ut with a boob hanging out, or the body par ts erroneous barsh, all of these great painte rs and nipples galo re. not even trying to cover them all up, the great gowns, beautifully pain ted, people killing each ot her. camels in the background or street scen es church scenes, people dying, people having bab ies, nipples galo re. sinking a ban at somebody in the ve rna. my god, hell breaking out all ov er with breasts there to see, is nobody getting any sex, or are they getting just so mu

ch they can't keep it on the back bu rner for just a few minut es? it drives me cra zy. i delight in every minute i'm driven cr azy, by the gat olmaster pntin gstheyre a joyo see. e lessonto be le ned. ery corn of thospainting has a sson to learn . i look at these patings as if th were phographs. i ink of tm as a previoushotographer ing my mtor, a tellg me how sho ul be doingy photogphs to y.not onperson sring stupidlyt the ca ra. the primy light ming om the bk of theubje ct the ce goingore intoha dow, and yet,hat pull us me into t f ace, thanf it h been lit fr the front. mysty, myste is ainvitati. homany henri rtier-brson photographs do see contained in this painti

ng? and it was henri cartier-bresson who told m e to go steady, to quatro-central paintin gs. if he were to introduce hims elf, typically as henri cartier-bres son, because he was so, so famous people would know who he w as. and so he would, in a social situati onparticully if hehought tre we photoaphersrese nt would aays intruce hielf as hk cart .[chuckles] thiss a caier-bresson photogra phthis ieven a bter rtier-brson photra ph. and then, all of these little things back h ere, l these ttle ones, rends you the things henri pictured the person jumping in the wat er or something like th at. the longer you looat it, you see these three little wordsjust coming out of the darkn ess. how powerful is that subtl ety? it'sust an azing thing. and ifystery ian invit ion, en here have

. ind chim blowing [womanas i was standinghere i had a nversationwith mfath eri sa, "well,addy, i stanng on haowed gro ds."i'm snding in ront "of your great, great, great grandfather, cromwell bull ock. "i kw that hwas a sle." d i said"we'rehere shoing th "bause thirepresen my root from whh you came."and i pe that is wi be usedo show thstrong fily ots th we do have,d

therore, cldren that areere no and those thatet to be orn, willnow thatheycame fm strength urage, a perseve nce. [rlective sic] - [burk] what person on this earth doesn't have something to convey, that's importa nt?you knowno mattewhat. [busoaring] [drubeat mus] feel cpletely homen the stio. it'shere i c comeand re my be g, and let things comto

me. it'sy place reverence, andeace well askind of spirual grouing pl e. [souul drum be music] - [woman] when i get really dressed, like really dressed i don't feel like i'm dressed, until i put a hat on. so i can make e hat, that hat doesn't make me. and when i get up and get ready for church i don't care how i feel, when i put my hat onwell, 's time boogie,let's to church. [drum at mus ]

[muffled, background conversation] [rapid drum beat music] - [burk] move your head that way, about an eight of, right there, just a, we're talking about an eight of an i nch we're just, lower it-- [soulful drum beat music] and eryday ia brannew day.every fa is a brd new ce. and you just can take nothing

for gran ted. u know, u cannotome in this nefrontier th pre-cceptio about a pe on. you must not do th at. t each a every n face, a new fnt ier, d a new portunit to fl something, to sre sometng out thater son, ich islearly wth doi . th's the frontie that theoffe it's a gorgeous, gorgeous invitat ion, ju by theibeing themselv, that ty invi coemplatioand rceptionand conv it. anthat's adeep a fntier, you areapable oexplor g. [lely dr mus ]

i s, you know, knehigh a grasspper.and i was loing at all of t postcar ds and was tellg my motr, i nna get came ra i wannget camerand tak pictes of things tt i seand e said"you don't ne a camera, "a you neeto do is buy t postcar ds"they alady donet, look how beautil the postcards are. "you don't need a ca ra. hy would you wannaake pictures better than the se [ballooneflati ] ortly afr that, took money fromy paper ro ute, and i boht a ttle boxam er d i stard takingictureswith t little x came i made few pictures thatwere good enougho sellto the local newspaperand byhen, i also had a four bfour spe graphic, a you know, the cameras re bouing ound in eir ca the bast of theicycleand i uld ridey bicy e wn to th where we got o pap er and would rl e pars up d delir th em

and i wod openhe pape and the would b a photogph of mine, inhe pap even oasionally on thefront page othe news per.and i uld be riding mbicy clthrong the per onhe frontorch before gng to hi scho that rn ing. th was a kick. by the i was sling piures faiy regularly to t state nspap er , and inhose ys, i phographedwith my ica , going crrr, oof, crrr, tho of becae you hato wind e thing to te the ct uryou didn't have a vel, you had a rrr, so that was e old lea 3s.i decideto buy coup of nikons. then ient backo leicas and then i had ahoopa lever,t was aleicas m who op and you uld takepictur m ost, and the utter wawas quie she s whoop, hp, h oo and you uld focu whoo hoop, hoop, antakeictures, and so, thatas the lcas m3 p iod. but en thereas the roller cd peri . becausi boughti alwaysliked diumormat

ca ra d there s a ti when had the ller c d, looking through the eye-level find . [angry cro chant g] ana bootlegger to a swingt me anplow-oh! into th side othe camera d the son-of-a itchplantehis fi into thside of my roll c ord, d the roer cordwouldn work y mo re i coul't take y mo picturewith t, becae you calook the rolr co rd and u could t in your knkl es into t side ofy came where th bootlegr had ne that my camera. good news,s that he missed me, and he hit t cam era. then, i was in vietnam and i was in a b t. i was a little motor bo at and we were pied do by sniper f e. phewing,hew, bults we coming anwe jumpefrom themyself and a cole of otr peop we jped fromhe boat,o thbank of e mekongiv erand i got bodyalmost on the banki

got myamera se on thba nk i got a couple omy leicas on the ba nk but, this nikon,idn't make it, it went pweesh, right to the briny water of the mekong ri verand realized was salt wa r,that iad to ta the ck off, d i go when iot to a fe ple, i toothe backffand i rried jeweler'screwdri rs d i tookhe basepte offand i s able texpo sethe fol plainshutte which iright ere. and i as wouldave ured wat from a nt een, d rinsedt out, and i goactual [blowi] goit worki aga in t it allack gether, ied it out put e back o put filin i and u know, e sweet ing rked frothere, o out. nished t assignmt inietnam wh it. amera clking]you knowhat, aa funconal worng nik . try ing th with day's dital cameras.and en of cose got intoyou kn mucharger caras, ght by ten cer

as. whicyou cod barely ck up most of the meand to get the bigeight by ten c ase, upn the roofack of the van, waso small th ing.you know, even with my boots n, i probably weighed 130 pou nds.i'veever actlly dropd it bui feel le it's dropped sometim es. 'cause is biggerhan i am, aboumost of e ti me but it bn this wonderfuth ing,and th of cour, the digital ing comeal ong, and i dot know h to wk all at stu at altugh, i learn g.but it c drive mnu ts. ve neverctuallyhit onwith a h mer, but thought out it. buthe sequence from the little box cameras and the eed grapcs d the bicle basket to t sophistation of today camer is just thmost incdible thing experience. m souckyo have en it alhapp en. [wind chimes blong]

invery stuorn abou wantg to followy own stincts wootock, met th at started walkin arou the cro wd and i wod see the folkstaking the clothes ff anone anotherthey mmunicat by baring fle . whicis a beaiful ing to see.i ju realizeit, for th was the mosimport ant ing to ptograph,is justhe sp it and thkarma of theve ntas opped to thmusic thatas happe ng. but i ickly raout of fm, so ran dn with all my buddies, down the stage i just kept borrowing film from them to go backp and photogra more t his. [footstepsapping] d this ia guy th got ot, stanng next me. rubbehis litt budd neckl ac and thought at was gonna ke him

s e, d he sto up, ingers spp in and ke that,e was dead. i n't tolete the ght of blood very ll. so, it wereot for the facthat i wa loing throh a came, i obably wld have in ted,becausi just, don't dowell ithose siatio . th a cama in frt of my eye, it oers me se so of a ba ier, d i can ncentrat on t pictu and at i'm ting photograph. amazg, the se of e arms, d the legs. ere s this riewer at saw mshow at icp, and therwas somepictur like this and says, is just a w rongto makbeautifupictur in alace likth at. criticid the exhibiti for off ing chance tsee beau in thecontext of a rugee c p. [dramatimusi it givese solacend encoagement r the hun race to be ab to, t only fore to f dsomethg this butifulbut to s the k s who re makin toysut of tt

leand clbing tre anputting ts on, anbeing getherwe havto survive. beauty a poetry d cang for eh other, certain a way o of, e destition of tge dy. and talkbout eyes. [serene sic] so beaiful. her sband had just beekill. and it'sery interestin becae you alst neveree these pele cry, u cansee it itheir faces,but theylmost never acally c but r husbanhad st been lled. [serene music] the vene of civization is razor hin. even uer theest of circutances.and the pacityf humanbeings to be cru

and viont. ere ses to be w to edicate tt capaci. i' growno not ha any hopehat, thacan happ. [serenmusic] that'smportant lo at thatisn't that beaiful? i've sn death ppen. i dot like i [reflecte mu si e negros are out to ke over e government.the commists areehind it, the ws are bind it methodic demagog's raptollowi .how ings he not chged.[sere mu si

don'you justeel so sorry fothisount ry whdo we ha to keepgoing rough is? erene sic] th'60s were roh.peopleere gettg killed peop were geing lynchepeopleere getting beaten u at was a going on all aund us. ana lot ofs were photograing that anit wasard to s d hard to experience. to live freely, even as a responsible citizen was not okay, for a lot of people in ameri ca. those intolerant people, they were violent, and they were mean and they hurt peop le and they killed peop

le. [somber music] ♪ you begin to have an instinct for it.you knewhat when things re goingo happ you coulfeel i you coulsee it, u cod see itom ing. main lutheking wasil led. it's almost as if you knew it had to hap pen. there were a few of us that were allowed into the funeral home, where his body was, in a cas ket. jackie kennedy, who came in, that wonderful countenance of beauty, and spir it. and you saw ted kennedy come

in, and he had that whole feeling, t oo. and then you saw bobby kennedy come in. you knew because his involvement in civil rig hts. you knew because of the statements he was maki ng. you could look at his fa ce and you could look at ethel, the way she looked at him. you knew he was gonna die. and he d id. i was photographing his funeral two weeks la ter. [somr music] m worrieabout thct that, th the piticiansare seing hatred.i'm woied about thfact at campaigns are condu cted on the premise, that if can turn people against each oth er that will benefit me and my career, and my li fe as a public serv ant. now how can that be ri ght? [reflecte music] ♪ [st drum m

ic] ♪ i've been lucky enough to have museum shows for many ye ars. and over the years, something i've had to begun to rea lize is that a lot of museum openi ngs, a lot of gallery openi

ngs, can be more about marketing opportunit ies, as people want to come and netwo rk put dots together for their care . ohthat's pfectly wderf ul hover, if e point art is to nvey wha is iyour heart d what i in yr hearthas too with wt was inthe hearts of e pe opleyou photraph, and en the pple can come ansee that wor the peoe thatre actuay in the ork, who live in a community, and who have never, ever b een really appreciated by the population at la rge.these e peoplehat flippancak for living. ey work in kitch ens. they work on hog farms, you know, they're school teach ers, or they're homeless, or they're gang membe rs. it's fun to be a good photograp her, and you cahave a great life doing it,but 's way bter whenyou cahave therivi le of phographingimportanpeop

le. if i dieight nowit's oka om the pnt of vi feelinglike ie done set hiwortdoing, bause the peop are reay wo rt woh honoring. [reflecte music] - [woman] we've been together for four years. our relationship it was bad at fi rst, 'cause we were going through some thi ngs,becaushe had got shot1 ti me all i ard waspow, p, pow, p. when he shotdeofoles it was terri ble. blood everywhe re. bullets coming through the ho use. babies in th ere. i didn't kw what to do, ias scare

i had make su that he wagonna ma it, tho ug anhe got ks out he re so i'mhere to lk to hi and justell him,ust ank god that you're he . i mean, it an azing retionsh ip. he an amazg fathero hikids, anmy dau ter. we le each oer. there'just a sse ofjoy between the two of you. - [man] came, i t onhe frontorch. and literal shote 11 times. hild squling] i real didn't en knowthat i w shot 11im es. unl i hawoked upand they tolmy familme mber that thetook 11 bulls out of me. [camera ps] [sombedrum beamusic] ♪

- [burk] and i asked him, "i said, what is it "that you get from being in a g ang? "why would you be in a g ang? what is it that you get?" he say "lo ve- [mani felt le from growing in the reets. i wasn't really too happy with the things that i've done in my life, so, i had time to sit back and refl ect on my life, and sewherei waed to see myself at, in theext coup of year - [burk] he ows thateveryd is a brd, new d. take erything at yove been ught forget

erythinthat u think u are, havet withinou, but en evyday is brand ne day. it's new pie of mic to write. - an] somedy might beoing thrgh somet ng can change the way hothey looat l if so tt they w't everhave tgo through wh i hadent through. - [bur go be fsh and b new, d at theame time you' old, d you're ise. - [man] got a second cnce at le, anall i'm ying to now make a tter example in everying i do ow.- [bur to be we,ruly ise, is to preciate new nd of en gy every sile momen of yr li fe - [m] i can ke a bighange, d be the for my dsso, th can look at me,as a goorole model. - we'rin chargof theorld because it's up us tmake it bett er. you kn, it's n gonna the policia ns 's not gna be the busiss peo e. e artist must ma the wod bett . ife don't do it,hame on us.

[soulful music] ♪ - [announcer] major funding for "reel south" was provided by, etv endowme nt the national endowment for the ar ts center for asian american me dia, and by south a rts. ♪ yore watchg pbs. ♪♪

ññací÷í÷í÷í÷omomomomom

>> this year, it is particularly joyful for me to be able to welcome back to "bioneers" several women who have been incredibly important as friends inspirations, and role models to me. among them, none has been more influential and inspiring my life's journey than terry tempest williams. [cheers and applause] yeah. terry is a naturalist, author, educator artist, and activist. she's one of the greatest engaged nature writers in the lineage of