- 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 main lutr king'sbody bng put oa pl an d being own to atlanta be buried. ese are e folks tside of the lraine motel,where was killed. - aler] momentsthat ford him to reckon with deepeated prejudic es. - [burk] you start out, perhaps with the mind, and an id ea.if you'rlucky, tt tranates to e he ar and en all tt filters outhrougthe ey [reflecte mu

si - [valer] this is, f1and behe re. up nt, 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. amera shter clic ng] anif 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] ♪

rain whiling] [somr, hymnamusic] ♪ when i fst wake ani stretcout, and i geon the bike, i'still inhat kindf wondful, semi-conscis st at ofleep and awake, d thquietness

of it, alws the mion my feeto br in lo flow toy nd, intoy he t. omber, hnal mu c] so ts connecon happe it not onlmental and otional ditation it's physicameditati on omber, hnal mu c] ♪

ere's sothing about doing portraits in whi the facis the ychologil landscape. thface bar the print ofime. the face and the eyes bare not only the charact er buthe joy a persos be in if it'not a brand nefrontier d it's ctainly i in t historyf ar it's probly a w fronti whiceach andvery artist the mite they ckle a brand w subj t.[refleive mu c] ♪ [classical mus ]

[equment pop [claical music] [drum at music okay, th's fivefeet, ven inches. [equipment clicking]now wer your cn ju a littl bit. w dohat you , when u put yo hands p.- [woman] when gto chu h? - ye, just le you' in church. , it's gna be, it's gonna really port an ani'll telyou, andyou'll he to hav them exacy the rit plac so somhing likth at. ♪ amazi grace - [bk] thas beau ful. lean bk a litt so see youface. ♪

howwe et - [burk]ove yourand ose to yr he ad ♪ t sou nd ♪hat sad a wrch like me ♪ i once - [burk] hand cl ose. ♪ was los t, [cera shutr clicking] ♪ut now i ee [camera utter clking] - you e so beautul. lapp in [water running, splashing]

but thisarkroomhas a wi sink, sohat i camake gooprin ts [wer running] thisill beood for w. [wer runni, splash ing] [stch clicking] ye '68, story numb 18, ame numb four.and thesare thecontact eets.th is mart luther ng's dy beingut on a plane, and ing flowto atnta to bburi ed ese are e folksoutside the loaine motel where he w kil d.here h body, ithe ca

et. this iwhere, t room that he s killed in. i wannmake a n prinof this cture, the peoe carryi the ster of rtin lutr ki ng in t actl funeral,n atla a. [rtling] [clickin [ptic mu c] in t darkroo when apicturcomes toife, peop have deribedit as gic, so it uldn'te the fit me to usthe phrase buit is magic. anit's mag, not on becausit's hapni ng but it'sagic becse i haven't d the faintest idea why 's happeng, to b perftly hone with u. mean, i have rd all the exanationsf why that sff thathey put on a piece of pa per isight-senti ve. ani undersnd thatthe lit comingown fromhe enlarr makes de nt at whaver thos contraions a

by the millis, on th surfe of theap er. d then inow, tha whenou stickhat ob ject in tt tray ochemistr i'veead whathe chemical aningredies are, but whent happ s, just c't belie it'sappeni and it'sust pureagic to me. and th to go bk, and me thprint alover aga anit was mhands, hold theig ht anshape thlight with my ng ers, and t the ght pour thrgh fingers essinghe foot it chand mang the earger go on, a on, and on,till ijust putmore andmore lht on thpa per, ansomethinhappen and en if yodo it right, en the pnt is beautifu it's magic. 's a gre, greatfeeling to experie nce. [waterplashing i'm rely disapinted in ameca. theye

a loof peoplthat hold accntable f it. i ld churcs and religionccountab for i i ld the whingtonestablishmentaccounble for . and i holdll 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, who washot andil led, cause ofhe develment a less cial soc ty. heas killefor his ou ble. [prayerf humming] ♪ ay

, wod, i apogizeor th sign, ibehalf o e rest owhite amica. 's like 're gettg out here, without me. i dot thinkvisitati was the lan. [sber drbeat mus ic] ♪

"le magazine" nted me too tothe motains oforth carol ina, sinci was a ung southern er

and stilspoke thlanguageand skinny, ttle whi guy th a crecut, thai am. ey thoht that woulbe le to bemongst mpeop le anphotogph the k ani was dog a story on robe sheltonthe grd dragonf the kkk. thrally arted, a he madthe annoce ment that the was a "fe" otograph t here taking phographs, d that i was foowing hiarou nd anit was oy, don'thurt h, it's okay, he'shere, i' invid him toe he re so l him takhis otograph and so did. and i ved arou the cwdtakinghotogrhs candidly, anthen thedid theceremonialross-burng and theyit [lo blas the cross and ey went all azy withla mes, they h on theihoods, and theyid what ey do.and i s very hpy to ve gottea good s ot.

i decideto unloamy film, as've en doingll alonthrough e ev t, [camera clicng] [somr drum mus] take t rolls ofilm t of theamera,and stick themn my soc and t a frh rollf film in, so isomethinhappenedo me at leasthe film wouldn get sto n. as i w doing tt,i'm loing downand inkingo myself wo what anmazingthing s ee. l a sudde this erce hanfrom b ind, grabbemy shoder, vy, ve strenuous bodily coact, kindf gesture,and i said"oh bo his is gna be e en hat'gonna ha en?" and i turned around, and ts big guy pulls his ho off and he sd, "hiburk, yorememb me? e went thi schoologet he dunn,orth car

ina. "it's en a lontime sie i've sn you, boy."howou c'm ? "i jt woered howou 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 he says, "i'm doin'fine, got myse "aice little lady, we got se chil en "i got mysela milk rte d everytng's jusfi ne. "a i like ing re wh my ppl e. onof 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,y brothe pray fo 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 whatartin luthering had say t becausof the music th i hea . ♪ nothi you ask wi be deni ♪ ♪ lord, we' take ca of you ♪ i know, know gowill ♪ god will ta care of ou ♪ throu everyda ♪ tough every day ♪long the ay ♪ and hwill takcare of you - and t that i a regious pe on t when io to ack chur servi s, and hear theusic, ani sethe joof the p ple, itust, it ghts fire imy being.

♪hat's wh he say ♪ say, lord, a yes you do ♪ ld, y you d ♪ iried lord lord yove been od ♪ou've be so go ♪ lor you've en g oo ♪ bn 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 ♪ a you saved ♪ sed my so, yes yo di oh, yes you id ♪ w no, no,esus, i ed ♪ i nd just lile more su s ♪ ♪ i neejust a littleore jesus ♪ ♪ need ju a little me jesu ♪ ♪ need ju a ttle morjesu s [disc joey] yoare tuned in to woow,

1340 am, onour am dl, right her e e city ogreenvil noh carolina. so, laes andentlem dot forgetdon't rg et do have black htory gala setup right h ere, and inde woo 45 eva str eegreenvle, nortcaroli upto, you cacome t and chk outsome bck histo nati americans, av es buffalsoldierswe have ch ri historyhat goes ack. ladies a gentlem, i wann intruce my sonabdul, r. he's gonna be taking over in the nearut ure. e same w my fath used to interew me the radio asking me e same qstionsand hesed tolways y, 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'sp, mom ?" she listening to you in the car. - urk] rai your chin a lite bit more. 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 this cture, at everyan wantso be interms the bla community. i an, it just,it'sust, a y ou asn audibllight of the fure, sir [cama beep g] [camera po ps] [footsteps tappi ng] - they werba here.- [bur yes, r.- and hean, and d the jump and land right here.- righhe re - that wld be maximum,reat, okay. wellthat's t battery. the rd shoulbe. , it's rht in the, i wamoving t ... alright, g go, go,o, go. - [group[chantin i don't nt it be just a psive thi.get yo hands uhi gh. ye, that'sight ju see se emotion,

let's sesome energy. now,ou look this way, a little more.- [group] [chant ing] - mo, more, re, mo . [group] hant in - [burk] oh, ho, good, good, go, go, go, go, go. - [group leader] tod ay. - [group] hant in one, t, three,ut! [sps echoing] - okayuys, jt dohat jumpagain.[fast dr beati ] - [bur here we go. [group cnting] [group] si back and watch the show. [clapping anstomping [drubeating]

[chanting] [drum beating] [clapping d stompi] [cnting] [drum being] [clappg and stping] - [burk] all right thank you so much, wow. [applaud ing] you guys are incredi ble. and coinue cle in marc u looki mean, u kn, you would fi the

ory of t '60s ithis b . there's uff that nevebeen pri ed. how do you bome a otograph? how doou wor as ahotographer? what'soing on in orderto makgood phograp ? the firsthg you ha to knois who a you? wh defines yound ur values,s a person? w do youake thatand you rela it to subje ?if i'mo give melf, conveyi t he th impliesespe ctanonce i'vdone tha then can hava dial ue betwn myself and that subject, and th can go manyifferent ays,dependg on theeloquee of theed ium that y have at yr disposal.a rangof tools'cause tool is t a to untiit has c ft.a tools only sething you can ld in yo h and, unl you caplay like a ol in. tool is radiva us.until u know tt, yore worthle ss

u have tuse whatev tool cos to md, toolve t problemi guess.[hammer pp ing] th is nothe typil apoach that i us th art dectors when i w showing hem myew portf io. [chucklemaybe should he used t haer on me of thr he ad r what ty did tosome omy pictures. we, growing upn the soh before thege of tevisionbeing ailablin everyome, e only lk to theutsi de that rlly madeuch diffence toe, was "fe magin e". knew thai wantedo be a "life mazine" phograph . so, did, i bece a "lif photrapher, when ias 23. d you goa be ready. yohave to rt of be aays in f uswhen you're doin stories like t

hi you got camera in your hand, there's a zoom focus all the ti me. e "life" reporter ood rself in the way that you'll jt nd of, nt the oer way. and therore, derminedif she wld go tohe mo pictureue sp in the ail. d she ani had so of de sign nguage, ill. and th, so she did tt, and jillound up ere, and en she, d you ow, she st did hat. th was a vy normalthing r jill t do. it'sy duty tbe subjeive, well as, jective. herwis i woulde a ma ine. and ay, justo a facsil thfirst, tt's not art. 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 's the sting your caras, have itailed ju rig 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 u gotta ke care yours f, d you goa be on e mo and yogotta bepreparedo wo rkyou cann sit dowand succeed. [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 gs th are a j to se e lessonto be ar 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 being myentor,nd teing me h i sho dbe doi my photraphs today.not onpersontaring stupidlyt the me 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, th if itad beenlit om the f nt. mysty, mysry isn invitaon. homany henri rtier-brson photographs do i see ctained 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 on particarly if thoughthere re phographe prese would aays intruce mself asank carter. [chu les] th is a rtier-bresson photogra ph.thiss even aetter cartier-esson phogra ph and then, all of these little things back h ere, althese lile ones,remindyou of t thi ng 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 comg out of the darkn ess. how powerful is that subtl ety? it'sust an azing thing. and ifystery ian invit ion, en here have it.

[wd chimeslowing] - [wom] as i was standi there i had conversationwith mfath er said, "wl, daddyi am anding ohallowedroun ."i'm snding f ront "of your great, great, great grandfather, cromwell bull ock. know th he was slave." d i sa, "we'rehere soting this ecause ts represts my ros, from ich you me." and hope thathis ll be us to show

e strongamily roots at we do ave, and thefore, cldren that areere no and those th yet to b orn, willnow thathey came frostreng coage, anderseverance. eflectivmu sic] - [burk] what person on this earth doesn't have something to convey, that's importa nt? you kn, no matr what. [b roaring [drubeat mus] i feelompletelat ho in the udio. it where ian com and st my being, and

let things come to me. it'sy place reverence, andeace as well , kind oa spitual grnding place. [slful drum at 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 makthe 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 erydays a brd new da every ce is a and new fa ce. and you just can take nothing

for gran ted. u know, u cannotome in this nefrontierwi pre-conptionsabout a rs on you must not do th at.but eachnd everyew faceis a newront ie and a neopportuny toeel some ing, to sre sometng out th per so ich is carly wor doi ng at's tir frontr th they offer. it's a gorgeous,gorgeous invitat ion, ju by theibeing themselv, that ty invi coemplatioand percepti, and coey it. d that'ss deep arontier,as you a capablef exploring. ively um music]

i s, you know, knehigh a grasspper. and i s lookinat alof the ptcar ds and was tellg my motr, i nna get came ra i wannget a mera and takepictur of thin that see, and shsaid, "y dot need aam er "a you neeto do is buy t postcar ds"they alady donet, look how beautil the postcards are."you don't need a came ra. hy would you wanna take pictures better than the se?" alloon dlati ng ortly ter thati took money fromy paper route, d i boug a lile box cam era, ani startetaking ptures with theittle bocame ra i de a fewictures that we good engh to llto t local nspaperand byhen, i ao had a four bfour spe grapc, and y k now, ese camerawere bncing around itheir se the bast of theicycleand i uld ridey bicy e wn to th where we got o pap er anwe wouldoll the pers uand delir th em

i woulopen thepaper, a there wld be a phograph o minein the p ereven oasionallon the front pa of the wspa pe and i wod be ding mbicy cl throng the per onhe frontorch es bere goingo highschoolhat morning. that w a k ic by the i was sling piures faiy regularly to t state nspap er , and inhose days, i otographwith my ica 3s, goincrrr, oof, crrr, tho of becae you hato wind e thing to te the ct e. you dn't hava vel, youad a c r, thawas the d leica 3s. i cided buy acouplef niko . en i wenback to icas and then i had a who lever, iwas a icas m3,ho op anyou coultake pictures ost,and e shutr was waquiet, she was whp, hoop, oop, d you cod focus,whoop,oop, h p, and take picres, and so, that was theeicas m3er iod. but thenhere washe roer cord ri od. beuse i bought, i ways ked meum

fort came and ere was time whe i had e roller ord, looking through the eye-level find er[angry crowd cnt ing] and a bootlegger to a swingt me anplow-oh! into e sidef the ca ra and the son--a-b it plted his st into e side of my ller ord, anthe roll cord wouldn'tork anmo rei couldn take an moreictures with i beuse you n look at the rler co anyou coulfit inour knkl es into the side my camera ere this btlegger d donehat to mcame ragood news, is th he missed me, and he hit the camera. then, i was in vietnam and i was in a b oat. i was in little motor bo at and we were pied do by sniper f ir ewing, phe bulletswere cing by and weumped fr the, mylf ana couplef other op le we jumpefrom theoat, tothe ba of the kong river and i got myody almost on the ba

i got myamera se on thba nk got a couple of leicas on the ba nk but, this nikon, didt make it, it went pweesh, right to the bry water of the mekong ri ver and realized itas salwa ter, that i h to takehe ba off, ani got, when got to safe ace, i tk the ba off and carriedjeweles screwdve rs and i to the baslate off and was ableo expo the fol plainshutte whichs righth ere.and i i wouldave ured wat from a nt een, and rins it out,and i t actually[blowi] goit worki aga in t it allack gether, ied it out puthe backn, put fm in i anyou knowthe sweething worked fm there,n out. finishedhe assigent vietnamith it[camera icking]you kn that,s a futional wking nikon. trdoing at withtoday's gital ca ras. and en of cose got intoyou kn much larger cames, eit by ten camer . whicyou cod barely pick up st of

the ti me and get the big eighby ten case, upn the roof racof t van, was no all th ing. u know, even with my boots on, i probably weighed 130 pou nds. i've nev actualldropped it but i fe like it dropd me somim es. ause it'biggerhan i am, aboumost of e ti me t it's bn this wonderfuth ing, and en of cose, thedigitathing cos al onand i n't knowow toork althat stuff thatlthoh, i'm lrn ing. but can dri me nu .i've ner actuay t one wi a ham r, but i thght about it but the quencerom the little box cameras and the eed grapcs d the bicle basket to t sophistation of today cameras is just thmost incdible thing to exper nce. i'so lucky to ha se it all pp en. [wind ches blong]

ing ry stubbn about waing to follow my own instin ct at woodstockmeant thati startewalking aroundhe cro wdand would sethese fos tang the clothes ff and one to ather, th commicated by baringle sh. whh is a butiful thing to ee. i ju realizeit, for th washe most important ing tohotograp is jt the sp itand thkarma of the e ntas opped to thmusic thatas happe ng. but quickly n out ofilm, i ranown with all my buddies, dowat the s ge i just kept borrowing film from em to go back uand otograph more of his. [footstepsapping] d this ia guy th got ot, stanng next me. he rubd his lile buha nkl ac d ought th was nna keepim s af d he sto up, ingers spp

in anlike tha he was ad. don't torate thesight of blood very ll. so, it wereot for the facthat i wa oking thugh a cara, i probablyould havfain te becae i justi don't welln those tuations. th a cama in frt of my eye, it oers me se so of a ba ier, ani can coentrateon theictu re d what i tryingto phogr aph.amazin the sizof tharms, anthe le . there s thiseviewerthat s my showt icp, and therwas somepictur like this and says, is just a w rongto makbeautifupicturesin a pce like at. he critized theexhibion for oer ing a chanceo see bety in th context of aefugee camp. [dramatimusic] it givese solacend encoagement r the hun race to be ab to, t only for mto f in somethg this butifulbut to s the k s who re makin toysut of bo

les,and clbing tre anputting ts on, d being getherwe havto survive. beauty a poetry d cang for eh other,is certaly a wayut ofthe destution ofrage dy and ta about eye.. [serenmusic] so butiful. her sband had just bn killed. and 's very tereing, cause yoalmost ner see the peop cry, yocan seit in thr fa cebut ey almos never actual c ry t her huand hadjust bn killed [serene sic] the veer of cilizationis raz-t hin. even uer the bt circumsnces. and thcapacityf humanbeings tbe cruelnd viole.

there ses to be way to edicate tt capaci. ve growno not have any hopehat, thacan happ. [serene sic] that'smportant ok at th, isn'tthat butiful? i've sn death ppen. i dot like i [reflecte mu si e negros are out totake ovethe govement. the commists areehind it, the ws are bind it methodic demagog's raptollowi . hothingsave not anged. [sere mu si

♪ dot you ju feel sosorry r th count ? y do we ve to ke gointhrougth is? [serenmu si th'60s we roh. peop were geing kill pele were tting lyncd.peopleere getting been p. that wasll going on allround us ana lot ofs were photograing that d it w hard toee and 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 kn that when thingswere goi to happen you coulfeel t. you cod see ityou uld see com in rtin lutr king w kil le 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. [sber musi i'm rried abt the facthat, that the piticiansare seing hatr.i'm woied about thfact at campaignsre conducted 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] ♪ oft drumus

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 . , that'serfectlyonderf wever, ithe poinof artis to coey whatis in your h rt anwhat isin youheart has do withhat was the hearts othe pe opleyou photraphed, d thenhe peoplcan co d see that wk, the pple th are actlly in t w ork, who live in a community, and who have never, ever b een really appreciated by the population at la rge. thesare peop that fl pances for a living. they 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 n have a great life doing it, but 's way bter wh you n have t privi ge of phographingimportanpeop le.

if i dieight nowit's oka from theoint of ew feeli like've doneomet ng wortdoing, bause the peop are reay wo rt woh honoring.[refleive musi - [woman] we've been together for four years. our relationship it was bad at fi rst, 'cause we were going through some thi ngs, becae he hadgot sh 11 ti s. 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 toake surehat he was nna maket,

tho ugh. d he gotids out he re so i there ttalk to m, and justell him,ust ank god that you're he . mean, it an amazing lationsh ip. 's an aming fath to s kids, d my dgh ter. we le eachther. - there'just aense o joy between the two of you. - [man] came, i t onhe frontorch. anhe literly shote 11 times. hild squling]i reallyidn't ev know at i washot 11im es. til i d woked , and they tolmy familme mberthat ty took 11 buets out me. amera ps] [somr drum bt music] ♪

- [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 ss, "lo ". - [m] i feltove fromgrowinup in thstreets. 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 nted to see myself at, in theext coup of year - [burk] he ows thateveryd is a brd, neway. takeverythinthat u've beetaughtforgetverythinthat

you thinyou ar ha it with you, buthen eryday ia brand w day. it a new pce ofusic to ite. - an] somedy might going tough somhi ng can change the way hothey looat l e, sohat theyon't eve haveo go thr gh what i had wt thro h.- [burk]o be fre and be new, d at theame time you' oldand you' w ise. - [man] got a second cnce at le, anall i'm ying to now make a tter example everying i do ow. - urk] tbe wise, tly w ise, is to appriate a new kindf ener every ngle momt ofour li . - an] i camake a b change,and be tre for mkidsso, ey can look at m as a gd role m el. - wee in chae of t world because it's uto uso make it bett er. you ow, it'sot gonnabe the piticia . 's not gna bethe buness people. the artist must ke the rld better. we don't do i shame o 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. ♪ you're wating pbs. ♪

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