- 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. - aleriemomes that 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 filter out rough th eye. [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, d i geon the bike, i'still inhat kindf wondful, semi-conscis st at ofleepndwake, an the ietness of

it, alws the mion my feeto br in lo flow my nd, intoy he t. omber, hnal mu c] so ts connecon happe it not onlmentaland otional ditation it's physicamediti on. [sber, hyml 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 ic

[equment pop [claical music] [drum at music okay, th's fivefeet, ven inches. [equipment clicking]now wer your chi just littl bit. w do wt you dowhen yoput yourands u - [wan] when gto chu h? - ye, just le you' in church. , it's gna be, it's gonna really port an and ll tell u, and u'll he to hav them exacy the rit place,so sometng like 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.thiss martinuther ki's dy beingut on a plane,and beg flown atlaa to be ri ed. ese are e folksoutsidthe lorraine motel where he w kil lehere 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 the actlfunera in atlanta. [rtling] [ccking] [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 happeni 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 light-ssiti ve d i undetand tha the ght comi down fromhe enlarr makes de nt at whaver thos contraions a

by the millis, on th surfe of theap er. d then know, tt wh you sck that jectin thatray of emistry,i've rd what t chemi l d ingrednts are,but wh it happens, i justan't belve it happeningand 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 was ot and k led, cause ofhe develment a less cial soc ty. heas kild for his ou ble.[prayerf hummi ] ♪ ay

, wod, i apogizeor th sign, ibehalf o e rest owhite amica. it 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 thlanguage and skinny, ttle whi guy th a crecut, thai am. ey thoht that would be le to bemongst mpeop le anphotogph the k ani was dog a story on robe shelton, the and drag of the kkk. thrally arted, a he madthe annoce ment thathere was "life"photogpher t re taki photogrhs, and at i s followg him ar 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 cwdtakinghotograp candi y, anthen thedid theceremonialross-burng d theyit [loudblast]he 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 be doing a along rough the ev t, [camera icking] omber drumusic] ta the rol of filmout ofhe camerand stk themn my soc and put a frh rollf film n, so if mething ppened t meat lea the film woul't get stolen. as ias doinghat, i'm loing downand inking tmyself wow,hat an azing thing to ee. l of sudden,his fice hand from b ind, grabbed shoder, vy, ve strenuous bodily coact, kindf gesture,and i said"oh bo his is gna be e d. "whas gonna pp en?" and i turned around, and ts big guy pulls his ho off and he sd, "hiburk, yoremembere? e went thighschool tet

he dunn,orth car ina. "it's en a lontime sie i've sn you, boy."howou c'm ? "i jt wondered howou were, p 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'fine, got myse "a nice little lady, we got se chil en "i got mysela milk rte d everytng's jusfi ne. nd i likbeing here wh my peopl 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,y brothe pray fo me ♪ when u bow do ♪ wn you bodo wn - [burk] my love for the black culture, was probab 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 ♪ godill takeare of you throughveryday ♪ thrgh eve day ♪long the ay ♪ and hwill takcare of you - and nothat i'ma relious 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. ♪ tt's wh he say say, ohord, andes you o ♪ ld, yesou d ♪ iried l d ♪ord you' been good ♪ou've be so go ♪ lor you've en g oo ♪ bn so g ood ♪ou've been so go you've been betr to me than i've been mys elf ♪ i got tell sobody e lse ♪ you've been so go od ♪ andou saved ♪ sav my soulyes you 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 - isc 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 ee greenvil, north roli nauptownyou can me ouand chec outsome bla history native americans, av es buffo soldie, we havrich ch histo that go b ack. ladies a gentlem, i wann intruce my son, dul, j 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 sa "what'sp, mom ?" 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 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 wou be ximum, gat, ok . wellthat's t battery. the rd shoulbe. , it's rht in the, i wamoving t ... alright, g go, go,o, go. - [group] hanting] i don't nt it to be just a psive thi.get yo hands uhi gh. ye, that'sight ju see se emot

ion, let's sesome energy. now,ou look this way, a ltle mo . [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] - [gup] sitback andatch the show. [clapping anstomping [drubeating]

[chanting] [drum beating] [clapping d stompi] [cnting] [drum being] lapping d stompi] - [burk] all right thank you so much, wow. [applaud ing] you guys are incredi ble. and contue cle in marc

u looki mean, u kn, you would find 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 ? e first thing u have know isho are y? wh defes yound ur values,s a person? w do youake thatand you rela it to subje ? if i'm tgive mysf, conveyi t hem, th impliesespe ct anonce 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 tool ionly somhing u can ho in your 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 magaz e". knew thai wantedo be a "life mazine" phograph .so, i d, became "life" photograer, when i was 23. d you goa be ready. yohave to rt of be alws in focuswhen you're doin stories

like t hi you got camera in ur h d, there's a zoom focus all the ti me. e "life" reporter stood heelf in the way sohat you'll jt ki of, went the oer w . and therore, derminedif she wld go tohe most picresque spot in e tr ai and shand i hasort ofmade sn langua, st il and th, so she did tt, and jillound up ere, anthen sheand youknow, shjust did hat. is was very noal thg for ji to do it'sy duty tbe subjeive, well as, jective. herwis i woulde a ma ine. and ay, justo a facsile,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 '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 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, th if itad beenlit om the f nt. mysty, mysry isn invitaon. homany hri rtier-brson photographs

do i s 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 on particarly if thoughthere re phographe prese would aays intruce mself asank carter. [chu les] th is a rtier-bresson photogra ph this is en a betr caier-bresn photog ph. and then, all of these little things back h ere, althese lile ones,reminds u of thehi 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 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 it.

[wd chimeslowing] - [womanas i was standinghere i had conversationwith mfath er said, "wl, daddyi am anding ohallowedroun ds"i'm snding f ront "of your great, great, great grandfather, cromwell bull ock. "i knothat he s a slav" d i sa, "we'rehere shoing th ecause ts represts my ros, from ich you me." and i pe that is wi be usedo show

e strongamily roots at we do ave, d therore, 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. [busoaring] [drubeat mus] i feel cpletely homen the stio. it where ian com and st my being, and

let things comto me. it'sy place reverence, andeace as well , kind oa spitual grnding place. [slful 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 d 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 brd new da every ce is a and nefa

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 that 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 loing at all of t postcar ds and i s tellinmy mothe i waa get a me ra i wannget a camerand tak pictes of things thai see,and e said, ou 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 camera. hy would you wanna tak pictures better than the se?" [bloon defti ng] ortly after that, i took money from my paper ro ute, d i boug a lile box cam er ani startetaking ptures with theittle bocame ra made a f pictures that re good ough to sellto t local nspaperand byhen, i ao had a four bfour spe grhic, andou k no ese camerawere bncing around itheir se the bast of theicycleand i uld ridey bicy e wn to th where we got o pap er and would rl the pers up d delir th em

i would open thepaper, a there wld be a photogph of mine, inhe pap even oasionallon the fronpage of e newspaper. and i wod be ding mbicy cl throng the per onhe frontorch es bere goingo high school tt 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 , going crrr, oof, crrr, tho of becae you hato wind e thing to te the ct e. you dn't hava lel, you had a crrr, thawas the d leica 3s. i cided buy acouplef niko . en i wenback to icas and then i had a who a ver, it s a leas m3, w op anyou coultake ctures ost,and thshutr was waquiet, she was whp, hoop, oop,anyou coulfocus, whoop, hp, h oo and take picres, and so, that was t leicas per iot then tre was t roll cord pe

od. beuse i bought, i ways ked medium fort came and ere was a time wn i hathe roll c ord, looking through the eye-level find .[angry crowd cnt ing] and a otlegger took swing a me anplow-oh! into e sidef the ca ra and thson-of-b itch plted his st into e side of my ller ord, anthe roll cord wouldn'tork anmo rei couldn take an moreictures th i beuse you n look at the rler co anyou coulfit inour knkl es into theide of mcame rawhere thisootleggehad do that toy came .good news, is th he missed me, and he hit the cam a. then, i was in vietnam and i was in a b oat. i was a 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 i got a couple omy leicas on the ba but, this nikon, dn't make it, it went pweesh, right to the briny water of the mekong ri ver and realized was st wa te at i hado take t backff, and 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

mucharger meras, eight byen cer as. whicyou cod barely pick up st of the ti me anto get the big eit by ten c ase, upn the roof racof t van, was no sml th ing. u know, even with my boots on, i probably weighed 130 pou nds. i've ner actuay droppe it but i fe like it dropd me somim es. ause it'bigger tn i , about st of thti me.but it's beethis nderful ing, and en of cose, thedigitathing cos al onand i n't knowow toork althat stuff at altugh, i'm learn g. t it canrive me ts.i've ner actuay hione with ham me but i thght about it but the quencerom the little box cameras d the spd graphi anthe bicye bask to t sophistation of today camer is just thmost incdible thing experience. m souckyo have en it alhapp en. [wind chimes blong]

ing ve stubborabout waing to follow my own instin s atoodsto, meant ati started walkin arou the cro wdand i uld see ese folk taking the clothes ff and one anotherthey mmunicat by baring fle . whh is a butiful thing to ee. i ju realizeit, for th washe most port t 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 go backp andphotogra morof t hi [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, and can conctrate on the ptu re and what'm tryin to ptogr ap amazg, the se of e arms, d the legs. ere wathis riewer at sawy show a icp, d there s some picturesike th 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 beekilled. anit's verintereing, cause yoalmost ner see these pele cry, u can e it in eir fa s,but theylmost never acally c buher husbd had just beekilled. ene music] the veer of cilizationis raz-t hin. even uer theest of circutances. and

thcapacityf humanbeings tbe cruelnd viole. there seemto be wayto eracate thacapacity ve growno not have any hopehat, thacan happ. [serenmusic] 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 . hothings he not chged. [sere mu si

dot you ju feel sosorry r this count ? y do we ve to ke gointhrougth is? [serenmu sic] th'60s we roh. peop were geing kill pele were tting lyncd.peopleere geing been u 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 theoliticia are lling haed.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] ♪ 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 iyour heart anwhat isin youheart has do withhat was the hearts othe pe ople u photogphed, d thenhe peoplcan co 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. 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 die right now, it's okay, om the pnt of vi feelinglike ie doneomet ng wortdoing, bause the peop are reay wo rt woh honoring. [reflecte 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 hato make re that he s gonna ke it, tho h. anhe got ks 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 real didn't en knowthat i w shot 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 ". - [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 wanted 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] gbe freshnd be w, 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 everying i do ow. - urk] to 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, th can lk at me,as a goorole model. - 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. ♪ yore watchg pbs. ♪♪

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woman: we need gender equality and we need this reflected in national priorities. narrator: it's been a century since the suffragettes, ter 70 years of struggle, finally wothe rit to vote. and yet, at current rates of change, we are still decades away fm globalender equality. in some countries, women are overcoming barriers to leadership. news anchor: women in egypt are exercising their political power. anchor 2: 18 women have won seats in the municipal polls. male news anchor: women can finally take to the roads. woman: they are all aiming to become prime ministers. this