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Praise | Mike Rowe | January 16, 2020

Praise

January 16, 2020

54:14

Matt Crouch hosts Mike Rowe

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Praise | Mike Rowe | January 16, 2020

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EVERYBODY ROLLING?
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[SUSPENSEFUL MUSIC]
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[SUSPENSEFUL MUSIC]
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- MIKE ROWE: ONCE UPON A TIME, A G RATED FELLA
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NAMED MATT PICKED UP THE REMOTE CONTROL AND
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STARTED TO CRUISE AROUND THE DIAL TO SEE WHAT HE
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MIGHT STUMBLE ACROSS.
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LO AND BEHOLD, HE FOUND A MAN ABOUT THE SAME AGE AS
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HE SQUATTING IN A SEWER COVERED WITH FILTH AND
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UNSPEAKABLE CREATURES.
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MATT WAS APPALLED.
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WHAT KIND OF TELEVISION ARE THEY MAKING THESE
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DAYS, HE SAID TO HIMSELF AS HE REACHED AGAIN FOR
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THE REMOTE TO CHANGE THE CHANNEL BUT SUDDENLY
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FOUND HIMSELF UNABLE TO DO THAT VERY THING.
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WHY?
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BECAUSE AS HE LOOKED AT THE MAN AND AS HE
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LISTENED TO THE MAN, HE ASKED HIMSELF IN A MOMENT
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OF BLINDING HUMILITY, IS THERE NOT SOMETHING
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FAMILIAR ABOUT THE COUNTENANCE OF THIS MAN
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IN THE SEWER?
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AND IN THAT MOMENT MATT SAW SOMETHING OF HIMSELF
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IN A FELLOW TRAVELER AND REACHED OUT.
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AND THROUGH AN UNLIKELY SERIES OF CONNECTIONS,
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MATT AND THAT FELLOW TRAVELER FOUND THEMSELVES
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DISCUSSING TOPICS THAT RANGED SO INSANELY FROM
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RIGHT TO LEFT, UP TO DOWN.
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NO HUMAN MIND COULD SCARCE CONTEMPLATE THE
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COMPLEXITY WHICH IS JUST A LONG WAY OF SAYING,
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WHEN YOU SEE A GUY IN POOP, DON'T RUSH
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TO JUDGMENT.
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- AND THAT'S THE WAY I HEARD IT.
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- THAT'S THE WAY MATT HEARD IT.
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- IT'S MIKE ROWE.
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IT'S PRAISE RIGHT NOW.
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[MUSIC]
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- TONIGHT ON PRAISE FROM SANTA MONICA, YOU'VE
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SEEN HIM ON SOMEBODY'S GOTTA DO IT RIGHT HERE ON
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TBN, AUTHOR OF THE WAY I HEARD IT, MIKE ROWE!
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[MUSIC]
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AND NOW, MATT CROUCH!
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[MUSIC]
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- MAKE UP.
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WE'RE STILL DOING MAKE UP?
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- YEAH.
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WE'RE STILL DOING IT.
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SO WHEN SOMEBODY WRITES A BOOK AND IT GOES TO
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NUMBER 4 ON THE NEW YORK TIMES BEST SELLER LIST
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LIKE, ABOUT LIKE THAT [SNAPPING] YOU SCRAMBLE
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TO GET THEM ON CAMERA.
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THAT'S WHAT WE'RE DOING HERE.
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WE HAVE SCRAMBLED TO MAKE THIS INTERVIEW HAPPEN.
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- YOU HAVE MOVED WITH ALACRITY, WITH PURPOSE,
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EXTREME PURPOSE I MIGHT SAY.
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YOU NEVER FAIL TO AMAZE ME THE SPEED WITH WHICH
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THIS HUMBLE OPERATION CAN TURN, PIVOT AND OTHERWISE
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POSTURE THEREBY ATTRACTING B LIST
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CELEBRITIES, THE LIKES OF ME.
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[LAUGHTER]
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- WHEN DID YOU KNOW THAT YOU COULD WRITE IN THIS
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UNIQUE STYLE THAT YOU -- FIRST OF ALL, HAVE YOU
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COINED A PHRASE FOR YOUR STYLE OF WRITING?
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- YES.
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SERENDIPITOUS HAPPENSTANCE SHOT THROUGH
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WITH ACCIDENTAL GOOD FORTUNE.
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- OKAY.
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AND WHEN YOU STARTED COMPILING THIS BOOK, YOU
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PROBABLY DIDN'T EXPECT FOR IT TO [SNAPPING]
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JUST SNAP TO THE TOP OF THE NEW YORK TIME
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BEST-SELLING LIST.
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- HONESTLY I DIDN'T EXPECT THAT TO HAPPEN
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UNTIL THIS EPISODE OF PRAISE HIT THE AIR, AND
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THEN I COMPLETELY EXPECTED A BOLD
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NEW CHAPTER.
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- ARE YOU READY TO GO TO NUMBER 1?
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- I DON'T -- I'M NOT REALLY A NUMBER ONE GUY.
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IF YOU SAW DIRTY JOBS, I BASICALLY HAD MY WHOLE
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CAREER BASED ON NUMBER 2.
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[LAUGHTER]
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SO I'D BE VERY HAPPY WITH A LITTLE NUMBER 2.
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SO THERE I WAS HOSTING EVENING MAGAZINE LIKE A
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GOOD SCOUT DOING THE BEST I COULD WHEN MY MOTHER
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CALLED ME, AND I ANSWERED THE PHONE IN THE CUBICLE
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THERE IN MY LITTLE HOLE AT CBS, AND SHE SAID
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MICHAEL, YOU KNOW YOUR GRANDFATHER IS 90 YEARS OLD.
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HE'S NOT GOING TO LIVE FOREVER.
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WOULDN'T IT BE TERRIFIC IF HE TURNED ON THE TV
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JUST ONCE BEFORE HE DIED AND SAW YOU DOING
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SOMETHING THAT LOOKED LIKE WORK.
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[LAUGHTER]
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CAN YOU IMAGINE?
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A MOTHER TALKING THAT WAY TO A SON?
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BUT OF COURSE SHE WAS RIGHT.
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MY GRANDFATHER AS YOU KNOW COULD BUILD A HOUSE
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WITHOUT A BLUEPRINT, ONLY WENT TO THE 7TH GRADE BUT
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WAS JUST A BRILLIANT TRADESMAN.
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AND I DECIDED I COULD HOST MY LITTLE SHOW
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REALLY FROM ANYWHERE I WANTED.
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IT DIDN'T ALWAYS HAVE TO BE RESTAURANTS OR
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ART GALLERIES.
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IT COULD BE CONSTRUCTION SITES OR FACTORY FLOORS
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OR IT COULD BE A SEWER.
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SO DIRTY JOBS HAPPENED BECAUSE MY MOTHER TOLD ME
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TO DO SOMETHING ON TV THAT LOOKED LIKE WORK TO
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PLEASE MY GRANDFATHER WHICH I DID BY HOSTING A
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SHOW IN THE SEWERS OF SAN FRANCISCO WHICH
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SUBSEQUENTLY BOTH GOT ME FIRED AND INSPIRED THE
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PROGRAM THE AFOREMENTIONED DIRTY JOBS.
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- SO LET ME ASK YOU THIS.
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- UH-HUH.
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- YOU HAVE ONE OF THE MOST INTERESTING STYLES
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OF WRITING I HAVE EVER READ, AND YOU KNOW YOU
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KNOW THAT, RIGHT?
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- THANK YOU.
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I'M NOT GOING TO PUT WORDS IN YOUR MOUTH, BUT
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I'M NOT GOING TO ARGUE EITHER.
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- OKAY. SO --
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- YES, I AM SUPER INTERESTING.
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[LAUGHTER]
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- SO I WANT TO SET THE STAGE.
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IN CASE SOMEBODY HASN'T BEEN ABLE TO EXPERIENCE
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EVERYTHING THAT MIKE ROWE IS, IF SOMEBODY GOT PAST
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THE DIRT AND INTO YOUR WRITING STYLE, THE WAY I
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HEARD IT, WE'VE PREPARED ABOUT A MINUTE PIECE THAT
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I THINK IS INTERESTING.
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IT WILL PARTLY KIND OF EXPLAIN WHY WE'RE BOTH
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SITTING AT A SCHOOL DESK IN A
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HIGH SCHOOL AUDITORIUM.
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WATCH THIS.
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- READY?
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AND ACTION.
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[UPBEAT MUSIC]
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SHE DELIVERED A PERFORMANCE WORTHY OF
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AN OSCAR.
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THE LIGHTS OF TINSEL TOWN WOULD BE TWINKLING BUT
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SHE WOULD NOT BE DISTRACTED.
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AL DIDN'T CARE ABOUT BEING RECOGNIZED.
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HE JUST WANTED TO WORK.
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AL ARRIVED AT THE AUDITION.
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THEN SOMEBODY SAID, ACTION!
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AND THAT WAS THAT.
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HE WAS AN ENGINEER WHO POSSESSED AN ABILITY TO
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REPAIR PRETTY MUCH ANYTHING.
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WELL, THAT MECHANICAL HANDSHAKE CHANGED THE WAY
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NASA APPROACHED SPACE MISSIONS.
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IT WAS ANOTHER HANDSHAKE THAT SAVED THE HUBBLE.
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ANYWAY, THAT'S THE WAY I HEARD IT.
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[MUSIC]
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- WE'RE AT SANTA MONICA HIGH SCHOOL.
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MY GUEST, MIKE ROWE.
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I'VE BEEN LOOKING FORWARD TO THIS BECAUSE LET ME
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TELL YOU SOMETHING, I'VE KNOWN ABOUT THE FORMATION
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OF WHAT'S HAPPENING WITH THIS BOOK FOR A WHILE.
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- UH-HUH.
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- I AM A BIG FAN OF YOURS, AND YOU KNOW THAT.
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I AM TOTALLY INTERESTED IN THE WAY THAT YOU
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TELL STORIES.
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THIS BOOK CAME OUT OF A SERIES OF BASICALLY
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POD CASTS I SUPPOSE IS REALLY KIND OF WHERE IT STARTED,
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AND MIKE, WE KNOW YOU FROM DIRTY JOBS.
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WE RECOGNIZE YOUR VOICE FOR THE -- WHAT'S THE
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CRAB SHOW?
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- THAT WOULD BE THE DEADLIEST CATCH.
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- THE DEADLIEST CATCH.
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- SEASON 16 RIGHT NOW.
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KIND OF A BIG DEAL.
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- SO GIVE ME A LITTLE PIECE OF THAT SO THAT
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EVERYONE RECOGNIZES IT.
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- JANUARY.
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THE BERING SEA.
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THE FOG ROLLS IN.
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THE MEN GO OUT.
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THE ICE GETS THICK.
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THE CRAB RUNS FOR THEIR LIVES.
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THE CAGES DROP UPON THEM.
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UP COME THE CRAB.
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IN GO THE MEN.
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MONEY CHANGES HANDS, AND THEY ALL LIVE HAPPILY
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EVER AFTER.
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- HAVE YOU EVER BEEN ON ONE OF THE BOATS?
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- I HAVE.
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I WORKED ON A BOAT CALLED THE BOUNTIFUL.
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- OKAY.
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SO YOU WERE ON IT DOING AN EPISODE OF DIRTY JOBS?
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- NO.
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BACK IN THE DAY I WAS TRYING TO CONVINCE THE
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DISCOVERY CHANNEL THAT DIRTY JOBS IS SOMETHING
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THEY SHOULD PURCHASE.
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I FAILED.
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I FAILED INITIALLY, BUT IN THE COURSE OF THAT
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CONVERSATION, THEY SUGGESTED THAT I MIGHT
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ENJOY MYSELF WORKING UP ON THE BERING SEA AS A
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GREEN HORN ON A CRAB BOAT.
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- UH-HUH.
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- BEING AN IDIOT, I SAID, WHY NOT?
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LET'S TRY THAT.
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AND YEAH, I SAW SOME THINGS UP THERE THAT
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WELL, IT'S IN THE BOOK.
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IT STUCK WITH ME.
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- YEAH.
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SO WHEN WERE YOU AWARE THAT YOU COULD REVERSE
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ENGINEER A STORY?
00:08:57.200 --> 00:09:00.080
- SO I'VE SAID THIS TO YOU BEFORE AND I REALLY
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BELIEVE IT, THERE ARE NO NEW IDEAS.
00:09:02.140 --> 00:09:04.240
A GENTLEMAN KNOWS HOW TO STEAL THEM PROPERLY AND
00:09:04.260 --> 00:09:09.260
ACKNOWLEDGE FAIRLY, AND THEN HOPEFULLY PUT HIS
00:09:09.280 --> 00:09:12.280
SPIN ON THEM.
00:09:13.000 --> 00:09:14.180
THE IDEA THAT MOTIVATED THIS BOOK AND MY PODCAST
00:09:14.200 --> 00:09:16.180
CAME FROM THE LATE GREAT PAUL HARVEY.
00:09:16.200 --> 00:09:20.030
AND I KNOW SOME OF YOUR VIEWERS MUST KNOW
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PAUL HARVEY.
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HE WAS TERRIFIC.
00:09:25.230 --> 00:09:27.220
THAT GUY, I MEAN NOT ONLY COULD HE TELL A STORY IN
00:09:27.240 --> 00:09:29.230
A WAY THAT WOULD MAKE YOU LEAN IN, HE TURNED THE
00:09:29.250 --> 00:09:33.030
STORIES THEMSELVES INSIDE OUT.
00:09:33.050 --> 00:09:35.050
SO BIOGRAPHIES BECAME MYSTERIES AND HISTORICAL
00:09:35.070 --> 00:09:39.040
TALES BECAME WHO-DONE-ITS, AND YOU HAD TO LISTEN
00:09:39.060 --> 00:09:41.060
TO THE END, AND I WRITE ABOUT THIS IN THE INTRO,
00:09:41.080 --> 00:09:46.210
BUT I THINK IT WAS 1988, 87 OR 88, I WAS SITTING
00:09:46.230 --> 00:09:50.190
IN MY CAR IN THE LONG TERM PARKING LOT AT BWI,
00:09:50.210 --> 00:09:53.270
BALTIMORE WASHINGTON AIRPORT LATE FOR
00:09:53.290 --> 00:09:57.130
A FLIGHT.
00:09:57.150 --> 00:09:58.270
PRE 911, SO I GOT MAYBE 30 MINUTES BEFORE THIS
00:09:58.290 --> 00:10:00.230
THING TAKES OFF, BUT I KNOW I CAN MAKE IT IF I
00:10:00.250 --> 00:10:02.270
RUN, BUT I CAN'T GET OUT OF THE CAR.
00:10:02.290 --> 00:10:04.270
I'M LITERALLY STUCK TO THE SEAT BECAUSE I GOTTA
00:10:04.290 --> 00:10:07.070
WAIT FOR PAUL HARVEY TO GET TO THE END.
00:10:07.090 --> 00:10:09.120
- OH, MY GOODNESS.
00:10:09.140 --> 00:10:10.090
- I GOTTA WAIT.
00:10:10.110 --> 00:10:11.160
I CAN'T GET OUT OF THE CAR UNTIL I HEAR THE
00:10:11.180 --> 00:10:12.250
MAGIC WORDS WHICH WERE, AND NOW YOU KNOW THE REST
00:10:12.270 --> 00:10:16.270
OF THE STORY.
00:10:16.290 --> 00:10:19.030
SO EVER SINCE THEN, I'VE WANTED TO WRITE STORIES
00:10:19.050 --> 00:10:23.120
THAT MAKE PEOPLE LATE.
00:10:23.140 --> 00:10:25.090
I MISSED MY FLIGHT THAT DAY, YOU KNOW.
00:10:25.110 --> 00:10:27.290
AND ONE THING LEADS TO THE NEXT AND YEARS GO BY,
00:10:28.010 --> 00:10:32.040
AND NOW I SPEND A LOT OF TIMES ON PLANES AND I
00:10:32.060 --> 00:10:34.130
FIND THAT WRITING COMPRESSES TIME.
00:10:34.150 --> 00:10:37.270
I CAN'T TELL YOU HOW MANY TIMES I STARTED WRITING A
00:10:37.290 --> 00:10:40.090
STORY ON THE TARMAC OF SFO AND LOOKED UP ONLY TO
00:10:40.110 --> 00:10:45.070
SEE WE WERE ON THE TARMAC OF JFK, RIGHT.
00:10:45.090 --> 00:10:48.250
SO I WROTE AND WRITE PRIMARILY TO
00:10:48.270 --> 00:10:51.180
AMUSE MYSELF.
00:10:51.200 --> 00:10:53.110
THE PODCAST TOOK OFF.
00:10:53.130 --> 00:10:55.100
MY PRODUCER, CHUCK, SUDDENLY WAS LIKE HEY
00:10:55.120 --> 00:10:59.210
MAN, YOU GOT 120 MILLION DOWNLOADS.
00:10:59.230 --> 00:11:01.290
WE SHOULD KEEP DOING THIS.
00:11:02.010 --> 00:11:03.140
SO I KEEP WRITING, AND THEN A PUBLISHER IS LIKE
00:11:03.160 --> 00:11:06.000
WE SHOULD PUT SOME OF THESE IN A BOOK, SO WE
00:11:06.020 --> 00:11:08.060
PUT THEM IN A BOOK, BUT THEN MY MOTHER MAKES
00:11:08.080 --> 00:11:11.070
ANOTHER ONE OF HER CLASSIC PHONE CALLS AND
00:11:11.090 --> 00:11:13.150
SAYS, SO YOU'VE ASSEMBLED STORIES YOU'VE ALREADY
00:11:13.170 --> 00:11:15.170
WRITTEN FOR YOUR PODCAST AND PUT THEM IN A BOOK?
00:11:15.190 --> 00:11:18.020
AND I SAID YEAH.
00:11:18.040 --> 00:11:19.090
AND SHE SAID, OH MICHAEL, WHAT A TERRIFICALLY LAZY
00:11:19.110 --> 00:11:21.110
WAY TO WRITE A BOOK.
00:11:21.130 --> 00:11:23.080
[LAUGHTER]
00:11:23.100 --> 00:11:24.200
I'M LIKE MOM, WHAT DO YOU WANT ME TO DO?
00:11:24.220 --> 00:11:26.190
SHE SAID, WHY DON'T YOU INTERRUPT YOUR STORIES,
00:11:26.210 --> 00:11:29.290
YOUR BIOGRAPHIES OF FAMOUS PEOPLE YOU'VE NEVER MET
00:11:30.010 --> 00:11:32.090
WITH A REASON THAT EXPLAINS WHY YOU THINK
00:11:32.110 --> 00:11:36.260
YOU WROTE ABOUT THEM.
00:11:36.280 --> 00:11:38.100
TALK ABOUT YOURSELF.
00:11:38.120 --> 00:11:39.240
TALK ABOUT YOUR OWN PAST.
00:11:39.260 --> 00:11:41.050
SO THE BOOK AND THE FORMAT THAT YOU'VE
00:11:41.070 --> 00:11:44.170
ALLUDED TO VERY KINDLY AS UNIQUE AND INTERESTING IS
00:11:44.190 --> 00:11:48.170
CERTAINLY UNIQUE BECAUSE IT GOES BIOGRAPHY, AUTO
00:11:48.190 --> 00:11:50.240
BIOGRAPHY, BIOGRAPHY, AUTO BIOGRAPHY.
00:11:50.260 --> 00:11:53.140
FOR EVERY FAMOUS PERSON THAT I'VE NEVER MET THAT
00:11:53.160 --> 00:11:56.130
I WRITE A MYSTERY ABOUT, I TRIED TO EXPLAIN WHY I
00:11:56.150 --> 00:11:59.180
THINK I MIGHT HAVE CHOSEN THAT PERSON, AND I
00:11:59.200 --> 00:12:02.130
ATTEMPT TO MAKE IT RHYME WITH SOMETHING THAT
00:12:02.150 --> 00:12:04.220
HAPPENED IN MY PAST, MAYBE UP IN THE BERING
00:12:04.240 --> 00:12:08.120
SEA, MAYBE IN A SEWER ON DIRTY JOBS, MAYBE JUST
00:12:08.140 --> 00:12:11.050
GROWING UP WITH 2 OF THE MOST TERRIFIC PARENTS
00:12:11.070 --> 00:12:13.080
ANYBODY COULD EVER HOPE TO HAVE.
00:12:13.100 --> 00:12:14.200
- YOU'RE AMAZING.
00:12:14.220 --> 00:12:16.000
WE HAVE WATCHED HIM TAKE ON THE TOUGH SHIFTS HOSTING
00:12:16.020 --> 00:12:18.140
THE SHOW DIRTY JOBS.
00:12:18.160 --> 00:12:20.060
NOW HE'S SHARING WHAT HE HAS LEARNED FROM HIS
00:12:20.080 --> 00:12:21.280
VERSATILE CAREER IN A PODCAST AND A NEW BOOK.
00:12:22.000 --> 00:12:24.240
IT'S CALLED THE WAY I HEARD IT.
00:12:24.260 --> 00:12:26.230
[MUSIC]
00:12:26.250 --> 00:12:31.070
- EACH MYSTERY IN THE BOOK IS FOLLOWED BY A
00:12:31.090 --> 00:12:34.140
TRUE STORY FROM MY OWN MISSPENT YOUTH
00:12:34.160 --> 00:12:36.150
AND CAREER.
00:12:36.170 --> 00:12:38.060
IT'S BASICALLY A MEMOIR THAT GOT INTERRUPTED WITH
00:12:38.080 --> 00:12:40.270
TRUISH STORIES OF FAMOUS PEOPLE THAT I'VE
00:12:40.290 --> 00:12:42.280
NEVER REALLY MET BUT HAVE ALWAYS BEEN INTRIGUED BY.
00:12:43.000 --> 00:12:45.140
- IT HIT THE NEW YORK TIMES BEST SELLER'S LIST.
00:12:45.160 --> 00:12:47.200
- IT WAS A BIG DEAL.
00:12:47.220 --> 00:12:48.290
[MUSIC]
00:12:49.010 --> 00:12:57.070
- THIS BOOK IF YOU JUST TUNED IN, MIKE AND I ARE
00:12:57.090 --> 00:13:01.020
HERE IN A HIGH SCHOOL AUDITORIUM RIGHT HERE IN
00:13:01.040 --> 00:13:03.290
SOUTHERN CALIFORNIA.
00:13:04.010 --> 00:13:05.220
YOU SAT DOWN ON YOUR OWN AND YOU KIND OF TOOK YOUR
00:13:05.240 --> 00:13:10.260
PODCAST TO A VIDEO FORMAT.
00:13:10.280 --> 00:13:14.010
I SAW SOME OF THAT, AND TOGETHER WE KIND OF
00:13:14.030 --> 00:13:18.050
WORKED SOME VISUALS INTO-- - CAN I TAKE IT FROM HERE
00:13:18.070 --> 00:13:21.260
FOR A SECOND?
00:13:21.280 --> 00:13:22.270
- YOU MAY.
00:13:22.290 --> 00:13:24.000
- BECAUSE YOU'RE NOT GOING TO GIVE
00:13:24.020 --> 00:13:24.180
YOURSELF CREDIT.
00:13:24.200 --> 00:13:25.250
HERE'S WHAT HAPPENED.
00:13:25.270 --> 00:13:27.070
I SAT RIGHT HERE.
00:13:27.090 --> 00:13:28.170
- EASY.
00:13:28.190 --> 00:13:29.250
- AND RATHER THAN JUST RECORD THEM IN PODCAST
00:13:29.270 --> 00:13:31.110
FORMAT, I PUT THEM ON VIDEO.
00:13:31.130 --> 00:13:33.010
I SENT SOME OF THOSE TO MATT BECAUSE I KNEW HE
00:13:33.030 --> 00:13:35.130
WAS A FAN.
00:13:35.150 --> 00:13:36.290
MATT SAYS, DO YOU MIND IF I TINKER WITH THIS?
00:13:37.010 --> 00:13:40.100
WHEN MATT ASKS IF IT'S OKAY IF HE TINKERS WITH
00:13:40.120 --> 00:13:43.110
SOMETHING, BE VERY CAREFUL.
00:13:43.130 --> 00:13:45.270
YOU HAVE NO IDEA WHAT'S GOING TO COME BACK OVER
00:13:45.290 --> 00:13:48.010
THE NET.
00:13:48.030 --> 00:13:49.110
WHAT MATT DID WAS INVEST AND BRING THE STORIES TO
00:13:49.130 --> 00:13:52.200
LIFE WITH A LEVEL OF VISUAL ACUITY THAT I DARE
00:13:52.220 --> 00:13:57.090
SAY WOULD BE VERY CONSISTENT WITH SOMETHING
00:13:57.110 --> 00:14:00.170
ONE MIGHT FIND ON THE SILVER SCREEN.
00:14:00.190 --> 00:14:02.280
I DON'T KNOW HOW MUCH YOU SPENT, BUT IT WAS A
00:14:03.000 --> 00:14:05.060
BUNCH, AND WHAT YOU DID TRANSFORMED THOSE
00:14:05.080 --> 00:14:07.280
STORIES, AND THEN HE JUST SENDS THEM TO ME.
00:14:08.000 --> 00:14:10.210
HE JUST SENDS ME A LINK.
00:14:10.230 --> 00:14:12.050
SEE WHAT YOU THINK.
00:14:12.070 --> 00:14:14.020
I'M EXPECTING SOME ANIMATION, MAYBE A PUPPET
00:14:14.040 --> 00:14:16.090
OR SOMETHING.
00:14:16.110 --> 00:14:17.170
I DON'T KNOW.
00:14:17.190 --> 00:14:19.020
[LAUGHTER] AND IT'S THIS.
00:14:19.040 --> 00:14:20.270
I MEAN, IT IS LITERALLY IT'S LIKE THE
00:14:20.290 --> 00:14:23.070
WINDS OF WAR.
00:14:23.090 --> 00:14:24.100
THAT SCENE YOU PLAYED BEFORE.
00:14:24.120 --> 00:14:25.190
IT'S LIKE GONE THE WIND, MAN.
00:14:25.210 --> 00:14:27.130
YOU REALLY BROUGHT THESE THINGS TO LIFE.
00:14:27.150 --> 00:14:29.230
- MIKE, YOU ARE INSPIRATIONAL BEYOND, AND
00:14:29.250 --> 00:14:33.240
THE WAY THAT YOU CONSTRUCT A STORY, I WANT
00:14:33.260 --> 00:14:37.100
TO START WITH, CAN YOU BE THERE BY 9?
00:14:37.120 --> 00:14:39.170
AND I DON'T WANT TO GIVE A BIG SET UP FOR THIS
00:14:39.190 --> 00:14:43.060
EXCEPT TO SAY MIKE ROWE IS A STORY TELLER.
00:14:43.080 --> 00:14:47.040
HE SENT ME SOME RAW FOOTAGE OF HIM WALKING
00:14:47.060 --> 00:14:51.250
OUT ON THIS EXACT STAGE SITTING
00:14:51.270 --> 00:14:54.210
BEHIND A SIMILAR DESK, AND THE WAY THAT I GET
00:14:54.230 --> 00:14:59.200
INSPIRED BY THE WAY YOU TELL YOUR STORY IS NOW
00:14:59.220 --> 00:15:04.050
LOOKS LIKE THIS.
00:15:04.070 --> 00:15:06.090
[MUSIC]
00:15:06.110 --> 00:15:09.200
- AL SAT ON THE BACK OF A HORSE THAT WASN'T HIS.
00:15:09.220 --> 00:15:12.080
DREW A PISTOL THAT WASN'T LOADED, AND SHOT AN
00:15:12.100 --> 00:15:14.070
APACHE THAT WASN'T AN INDIAN.
00:15:14.090 --> 00:15:16.130
THIS STUNT MAN SCREAMED AND FELL UNCONVINCINGLY
00:15:16.150 --> 00:15:18.210
TO THE GROUND, AND THE DIRECTOR YELLED, CUT!
00:15:18.230 --> 00:15:21.060
AL GLANCED NERVOUSLY AT HIS WATCH.
00:15:21.080 --> 00:15:24.010
6:30 P.M.
00:15:24.030 --> 00:15:25.230
NOT GOOD.
00:15:25.250 --> 00:15:27.090
HIS AUDITION WAS IN BURBANK AT 9 AM THE NEXT
00:15:27.110 --> 00:15:30.170
MORNING, AND SAINT GEORGE, UTAH WAS 7 HOURS FROM
00:15:30.190 --> 00:15:33.170
BURBANK BY CAR, AND AL DIDN'T HAVE A CAR.
00:15:33.190 --> 00:15:36.180
HE TURNED HIS HORSE AWAY FROM THE SET, A BULLET
00:15:36.200 --> 00:15:40.200
FOR A BAD MAN, AND RODE HARD TOWARD THE NEAREST
00:15:40.220 --> 00:15:43.200
HIGHWAY, AND TWO HOURS LATER AN 18-WHEELER
00:15:43.220 --> 00:15:45.280
FINALLY PULLED OVER.
00:15:46.000 --> 00:15:47.090
WHERE YA HEADED, COWBOY?
00:15:47.110 --> 00:15:49.010
LOS ANGELES.
00:15:49.030 --> 00:15:50.180
THE DRIVER SAID HE LOOKED FAMILIAR.
00:15:50.200 --> 00:15:52.260
AL ASKED HIM IF HE LIKED THE MOVIES.
00:15:52.280 --> 00:15:55.100
SURE, SAID THE TRUCK DRIVER.
00:15:55.120 --> 00:15:56.230
WHO DOESN'T LIKE THE MOVIES.
00:15:56.250 --> 00:15:58.100
WELL, SAID AL, DID YOU SEE DIVE BOMBER WITH
00:15:58.120 --> 00:16:01.010
ERROL FLYNN?
00:16:01.030 --> 00:16:02.100
I DON'T THINK SO.
00:16:02.120 --> 00:16:04.000
WELL, I WAS IN THAT ONE.
00:16:04.020 --> 00:16:05.150
OH YEAH?
00:16:05.170 --> 00:16:06.100
WHAT ELSE YOU BEEN IN?
00:16:06.120 --> 00:16:07.100
WELL, I WAS IN UP PERISCOPE WITH
00:16:07.120 --> 00:16:09.120
JAMES GARNER.
00:16:09.140 --> 00:16:10.200
DIDN'T SEE IT.
00:16:10.220 --> 00:16:12.030
TIME OUT FOR -- WITH RUDY VALLE.
00:16:12.050 --> 00:16:14.050
NOPE.
00:16:14.070 --> 00:16:15.190
WHAT ABOUT ROGUE COP WITH ROD TAYLOR?
00:16:15.210 --> 00:16:17.280
SORRY.
00:16:18.000 --> 00:16:19.010
AL DIDN'T CARE ABOUT BEING RECOGNIZED.
00:16:19.030 --> 00:16:21.080
HE JUST WANTED TO WORK.
00:16:21.100 --> 00:16:22.280
AL ARRIVED AT THE AUDITION WITH 2 MINUTES
00:16:23.000 --> 00:16:26.200
TO SPARE.
00:16:26.220 --> 00:16:32.000
AL GLANCED AGAIN AT THE LINES HE'D ALREADY
00:16:32.020 --> 00:16:34.240
MEMORIZED AND WALKED INTO A ROOM WHERE A SKINNY KID
00:16:34.260 --> 00:16:37.150
WITH A FUNNY HAT WAS WAITING IN FRONT
00:16:37.170 --> 00:16:39.200
OF A CAMERA.
00:16:39.220 --> 00:16:41.090
AL AND THE SKINNY KID SHOOK HANDS AND CHATTED
00:16:41.110 --> 00:16:43.160
BRIEFLY ABOUT THE SCENE.
00:16:43.180 --> 00:16:45.110
THEN SOMEBODY SAID, ACTION!
00:16:45.130 --> 00:16:48.260
JONAS GRUMBY, THE CHARACTER WHOSE NAME WAS
00:16:48.280 --> 00:16:53.060
CHANGED AFTER THE PILOT EPISODE TO THE ONE YOU
00:16:53.080 --> 00:16:56.230
KNOW TODAY.
00:16:56.250 --> 00:16:59.040
SUCH WAS THE FAITHFUL TRIP OF ALAN HALE, A MAN
00:16:59.060 --> 00:17:03.030
WHOSE 12 HOUR ODYSSEY FROM SAINT GEORGE, UTAH
00:17:03.050 --> 00:17:06.090
TO LOS ANGELES, CALIFORNIA EARNED HIM A
00:17:06.110 --> 00:17:09.090
3 HOUR TOUR TO A DESERTED ISLAND THAT WASN'T
00:17:09.110 --> 00:17:12.010
REALLY DESERTED.
00:17:12.030 --> 00:17:14.040
AN ISLAND WHERE HE WAS KNOWN AS THE SKIPPER EVEN
00:17:14.060 --> 00:17:18.060
THOUGH HIS REAL BOSS WAS A SKINNY KID WITH A FUNNY
00:17:18.080 --> 00:17:21.090
HAT CALLED GILLIGAN.
00:17:21.110 --> 00:17:24.060
ANYWAY, THAT'S THE WAY I HEARD IT.
00:17:24.080 --> 00:17:27.140
[MUSIC]
00:17:27.160 --> 00:17:35.080
- YOU ARE A UNIQUE GUY KNOWN TO US BECAUSE YOU
00:17:35.100 --> 00:17:39.160
DARED TO BE A JOURNEYMAN PERSON ON TV AND NOT AN
00:17:39.180 --> 00:17:43.150
EXPERT, SO THE IDEA -YOU KNOW, IF YOU WERE SITTING
00:17:43.170 --> 00:17:51.050
WITH A PREACHER, THEY WOULD SAY THINGS LIKE,
00:17:51.070 --> 00:17:58.110
YOU KNOW, YOU HUMBLED YOURSELF SO THAT GOD
00:17:58.130 --> 00:18:01.040
COULD EXALT YOU, THOSE TYPES OF PHRASES WOULD
00:18:01.060 --> 00:18:04.040
COME OUT ABOUT WHO AND WHAT YOU ARE.
00:18:04.060 --> 00:18:06.240
AS WE SIT HERE, YOU HAVE A NEW YORK TIME BEST
00:18:06.260 --> 00:18:11.070
SELLER, RUNAWAY BOOK HIT, AND IS THIS YOUR
00:18:11.090 --> 00:18:15.000
FIRST BOOK?
00:18:15.020 --> 00:18:16.260
- IT'S THE FIRST ONE I DID ON PURPOSE.
00:18:16.280 --> 00:18:19.070
I WROTE SOMETHING KIND OF AS A PROMOTIONAL EXERCISE
00:18:19.090 --> 00:18:22.140
A FEW YEARS AGO CALLED PROFOUNDLY DISCONNECTED
00:18:22.160 --> 00:18:24.160
WHICH IS REALLY A RUMINATION ON THE
00:18:24.180 --> 00:18:27.230
FOUNDATION THAT EVOLVED OUT OF DIRTY JOBS AND I
00:18:27.250 --> 00:18:30.220
CARE DEEPLY ABOUT THE SKILLS GAP AND THE COST
00:18:30.240 --> 00:18:34.280
OF COLLEGE AND THINGS LIKE THAT, SO IT WAS A
00:18:35.000 --> 00:18:36.200
MORE SERIOUS BOOK.
00:18:36.220 --> 00:18:38.260
BUT NO, THIS IS THE FIRST TIME -IT'S AN ACCIDENTAL
00:18:38.280 --> 00:18:43.150
MEMBER TO BE HONEST WITH YOU.
00:18:43.170 --> 00:18:46.060
AND AGAIN, THANKS FOR ALL THE KIND WORDS, BUT I
00:18:46.080 --> 00:18:49.140
WROTE A STORY ABOUT ALAN HALE BECAUSE HERE'S A GUY
00:18:49.160 --> 00:18:55.020
WHO HAD DONE HUNDREDS OF FILMS BUT WAS RECOGNIZED
00:18:55.040 --> 00:18:59.000
BY NO ONE WHO LIVED IN HIS FATHER'S SHADOW WHO
00:18:59.020 --> 00:19:02.140
WAS A JOURNEYMAN ACTOR, AND THEN ONE DAY HE MAKES
00:19:02.160 --> 00:19:06.260
THIS EXTRAORDINARY TRIP, AND HE WINDS UP WITH A
00:19:06.280 --> 00:19:09.270
SHOW ON TV THAT HAS HIM MORE RECOGNIZED THAN ALL
00:19:09.290 --> 00:19:14.120
THE STARS HE'D EVER WORKED WITH, SO THAT
00:19:14.140 --> 00:19:17.120
HAPPENS LATE IN LIFE AND IT HAPPENS BY ACCIDENT,
00:19:17.140 --> 00:19:20.130
AND THAT'S WHAT MAKES IT INTERESTING.
00:19:20.150 --> 00:19:22.020
- OKAY.
00:19:22.040 --> 00:19:23.170
BUT NOT EVERYONE CAN EXPERIENCE HEARING A
00:19:23.190 --> 00:19:29.120
STORY ABOUT ALAN HAIL AND HIS JOURNEY AND
00:19:29.140 --> 00:19:31.250
REALLY DECONSTRUCT IT IN A WAY THAT YOU HAVE
00:19:31.270 --> 00:19:39.010
TO LISTEN TO THE END.
00:19:39.030 --> 00:19:40.130
THAT IS A VERY UNIQUE SKILL, AND WE'RE GOING TO
00:19:40.150 --> 00:19:43.040
TALK MORE ABOUT THAT.
00:19:43.060 --> 00:19:45.210
YOU JUST MENTIONED YOUR SKILLS GAP.
00:19:45.230 --> 00:19:48.210
MIKE, I DON'T EVER WANT TO NOT SIT WITH YOU AND
00:19:48.230 --> 00:19:53.280
LET YOU SAY SOMETHING ABOUT THE FACT THAT WORK
00:19:54.000 --> 00:20:00.020
HAS BEEN REDEFINED IN A GENERATION, LET'S SAY MY
00:20:00.040 --> 00:20:05.180
KID'S GENERATION.
00:20:05.200 --> 00:20:07.180
WORK WAS REALLY REDEFINED IN A WAY THAT IF YOU
00:20:07.200 --> 00:20:11.210
DIDN'T HAVE A COLLEGE DEGREE, YOU WEREN'T
00:20:11.230 --> 00:20:13.240
REALLY PREPARED FOR ANYTHING, AND I WANT YOU
00:20:13.260 --> 00:20:15.050
TO ADDRESS THAT.
00:20:15.070 --> 00:20:16.230
IT'S INTERESTING AS WE SIT HERE YOU CAN SEE
00:20:16.250 --> 00:20:21.190
TRADE SCHOOLS AGAIN EMERGING.
00:20:21.210 --> 00:20:24.180
YOU CAN SEE THEM ADVERTISING.
00:20:24.200 --> 00:20:26.040
YOU CAN SEE BILLBOARDS AND TELEVISION ADS FOR
00:20:26.060 --> 00:20:30.150
IT, AND YOU'RE STARTING TO SEE SOMETHING CHANGING.
00:20:30.170 --> 00:20:35.110
ARE YOU SEEING IT CHANGE?
00:20:35.130 --> 00:20:37.180
WHERE'S YOUR HEAD IN REGARD TO-- I TOLD YOU
00:20:37.200 --> 00:20:41.140
ONE TIME IF I'M EVER ELECTED PRESIDENT OF THE
00:20:41.160 --> 00:20:45.190
UNITED STATES, YOU'RE GOING TO BE MY SECRETARY
00:20:45.210 --> 00:20:47.140
OF EDUCATION.
00:20:47.160 --> 00:20:48.270
AND THAT'S GOING TO HAPPEN.
00:20:48.290 --> 00:20:49.220
- IS IT?
00:20:49.240 --> 00:20:51.000
BECAUSE THAT WOULD BE A HECK OF A SHOW.
00:20:51.020 --> 00:20:52.030
- WOULDN'T THAT BE FUN?
00:20:52.050 --> 00:20:53.050
- THAT WOULD BE AN AMAZING SHOW.
00:20:53.070 --> 00:20:54.000
PRIME TIME.
00:20:54.020 --> 00:20:54.250
SWEEPS.
00:20:54.270 --> 00:20:57.240
SO THE QUESTION IS, AM I SEEING A CHANGE?
00:20:57.260 --> 00:21:00.250
- YEAH.
00:21:00.270 --> 00:21:02.040
- I'M THE FROG IN THE BOILING WATER.
00:21:02.060 --> 00:21:05.140
I'M PROBABLY TOO CLOSE TO IT.
00:21:05.160 --> 00:21:07.170
- I WOULD CALL YOU THE NOSTRADAMUS OF WORK.
00:21:07.190 --> 00:21:10.010
- WOW.
00:21:10.030 --> 00:21:11.250
THAT'S SOME HIGH COTTON, MATT.
00:21:11.270 --> 00:21:13.020
YES, I DO SEE CHANGES IN THE WAY WORK IS BEING
00:21:13.040 --> 00:21:17.180
TALKED ABOUT AND PORTRAYED.
00:21:17.200 --> 00:21:20.150
YOUR ABSOLUTELY RIGHT, THE DEFINITION OF A GOOD
00:21:20.170 --> 00:21:22.220
JOB IS NOT AN INHERENT THING.
00:21:22.240 --> 00:21:26.090
WE GET TO DECIDE.
00:21:26.110 --> 00:21:27.210
WE GET TO DECIDE THE NOBILITY AND DIGNITY IS,
00:21:27.230 --> 00:21:31.140
ALL OF THAT STUFF.
00:21:31.160 --> 00:21:32.180
AND HUMILITY, RIGHT.
00:21:32.200 --> 00:21:36.050
LOOK AT IT LIKE THIS, THINGS HAVE TO GO SPLAT
00:21:36.070 --> 00:21:39.130
SOMETIMES, RIGHT.
00:21:39.150 --> 00:21:41.230
I MEAN, BIG SYSTEMIC SOCIETAL PROBLEMS AND
00:21:41.250 --> 00:21:44.280
INDIVIDUALS, SOMETIMES THE THING THAT PRECEDES A
00:21:45.000 --> 00:21:48.200
REDEMPTION IS AN AWAKENING, AN EPIHPANY.
00:21:48.220 --> 00:21:53.020
THERE ARE A LOT OF DIFFERENT WORDS FOR IT.
00:21:53.040 --> 00:21:56.110
BUT IT'S ALL ROOTED IN HUMILITY.
00:21:56.130 --> 00:21:58.120
AND IT'S ALL ROOTED IN THE MOMENT YOU REALIZE
00:21:58.140 --> 00:22:01.130
THAT EVERYTHING YOU THOUGHT YOU KNEW ABOUT A
00:22:01.150 --> 00:22:04.180
THING WAS INCORRECT OR AT LEAST SOME OF IT WAS
00:22:04.200 --> 00:22:08.090
INCORRECT, YOU KNOW.
00:22:08.110 --> 00:22:09.210
THAT'S WHY I'M SUCH A FAN OF CURIOSITY AND WHY I
00:22:09.230 --> 00:22:12.040
ENJOYED MY TIME AT THE DISCOVERY CHANNEL SO MUCH
00:22:12.060 --> 00:22:14.230
BECAUSE YOU REALLY CAN'T BE CURIOUS WITHOUT BEING
00:22:14.250 --> 00:22:19.040
HUMBLE BECAUSE IF YOU'RE CURIOUS, IT'S BECAUSE YOU
00:22:19.060 --> 00:22:22.040
DON'T KNOW SOMETHING, AND IF YOU ADMIT YOU DON'T
00:22:22.060 --> 00:22:24.200
KNOW SOMETHING, THEN IT'S HARD TO BE HAUGHTY.
00:22:24.220 --> 00:22:28.140
SO WITH RESPECT TO THE BUSINESS OF WORK AND
00:22:28.160 --> 00:22:31.190
JOBS, FOR THE LAST 40 YEARS WE THOUGHT
00:22:31.210 --> 00:22:34.070
COLLECTIVELY, I'M GENERALIZING BUT
00:22:34.090 --> 00:22:36.250
COLLECTIVELY WE BOUGHT INTO THE IDEA THAT THE
00:22:36.270 --> 00:22:40.100
BEST PATH FOR THE MOST PEOPLE IS A 4 YEAR DEGREE
00:22:40.120 --> 00:22:42.010
WHICH JUST HAPPEN TO BE THE MOST EXPENSIVE
00:22:42.030 --> 00:22:44.160
PATH AS WELL.
00:22:44.180 --> 00:22:46.270
SO A GIANT PARADE OF UNINTENDED CONSEQUENCES
00:22:46.290 --> 00:22:52.090
FORMED UP AFTER WE TOOK SHOP CLASS OUT OF HIGH
00:22:52.110 --> 00:22:55.210
SCHOOL, AFTER WE TOOK AWAY ALL THE OPTICAL
00:22:55.230 --> 00:22:58.200
VESTIGES OF PROOF THAT THESE JOBS WERE REAL.
00:22:58.220 --> 00:23:03.180
WE JUST ELIMINATED THAT.
00:23:03.200 --> 00:23:05.180
AFTER THAT HAPPENED, THE SKILLS GAP GOT WIDE, THE
00:23:05.200 --> 00:23:09.130
COST OF COLLEGE WENT THROUGH THE ROOF, AND A
00:23:09.150 --> 00:23:11.190
LOT OF WITH WELL-EDUCATED BUT UNTRAINED KIDS WOUND
00:23:11.210 --> 00:23:15.020
UP MOVING BACK INTO THEIR PARENTS BASEMENTS, AND
00:23:15.040 --> 00:23:17.270
YOU KNOW WHAT?
00:23:17.290 --> 00:23:19.020
YOU MENTION THIS GENERATION, AND I'M
00:23:19.040 --> 00:23:21.040
FASCINATED BY THEM, AND THEY'RE AN EASY
00:23:21.060 --> 00:23:24.100
TARGET IN A LOT OF WAYS.
00:23:24.120 --> 00:23:26.090
BUT LOOK, WE'RE THE CLOUDS FROM WHICH THE
00:23:26.110 --> 00:23:31.120
SNOWFLAKES FELL.
00:23:31.140 --> 00:23:33.180
WE DID THIS, YOU KNOW.
00:23:33.200 --> 00:23:36.090
WE TOLD THEM IF YOU DON'T BORROW THE MONEY AND SIGN
00:23:36.110 --> 00:23:38.030
ON THE DOTTED LINE AND GET YOUR PAPER AND GET
00:23:38.050 --> 00:23:40.030
YOUR CREDENTIAL YOU'RE GOING TO WIND UP TURNING
00:23:40.050 --> 00:23:42.040
A WRENCH OR CRAWLING THROUGH A SEWER OR FILL
00:23:42.060 --> 00:23:45.140
IN THE BLANK.
00:23:45.160 --> 00:23:47.110
AND THAT'S HOW WE REDEFINED WHAT A GOOD JOB
00:23:47.130 --> 00:23:50.160
IS, AND THAT'S WHY IN MY VIEW WE'RE SITTING ON
00:23:50.180 --> 00:23:54.020
1. 6 TRILLION DOLLARS IN STUDENT LOANS
00:23:54.040 --> 00:23:56.290
7. 3 MILLION TERRIFIC OPPORTUNITIES MOST OF
00:23:57.010 --> 00:23:59.260
WHICH DON'T REQUIRE A 4 YEAR DEGREE, AND WE'RE
00:23:59.280 --> 00:24:02.180
STRUGGLING TO FILL THEM.
00:24:02.200 --> 00:24:03.260
- WE ARE IN SANTA MONICA, CALIFORNIA.
00:24:03.280 --> 00:24:06.060
MIKE ROWE IS GOING TO BE WITH US FOR THIS ENTIRE
00:24:06.080 --> 00:24:10.090
ONE HOUR.
00:24:10.110 --> 00:24:11.210
- OH SHEESH, YOU DIDN'T TELL ME THAT.
00:24:11.230 --> 00:24:12.230
AN HOUR?
00:24:12.250 --> 00:24:13.230
- YOU'RE GOING TO SING, TOO.
00:24:13.250 --> 00:24:15.210
[CLEARS THROAT] - YOU JUST GOTTA DO A LITTLE.
00:24:15.230 --> 00:24:17.130
- I GOT PLENTY OF NOTHING ...
00:24:17.150 --> 00:24:19.150
NOTHING IS PLENTY FOR ME ...
00:24:19.170 --> 00:24:21.160
NAME THAT MUSICAL.
00:24:21.180 --> 00:24:23.000
- I DON'T KNOW IT.
00:24:23.020 --> 00:24:24.090
I'M SORRY.
00:24:24.110 --> 00:24:25.180
I'M TOTALLY NOT INTO THE MUSIC THING.
00:24:25.200 --> 00:24:26.260
- PORGY AND BESS.
00:24:26.280 --> 00:24:27.260
THAT WAS PORGY AND BESS.
00:24:27.280 --> 00:24:29.140
GERSCHWIN.
00:24:29.160 --> 00:24:30.210
GIVE ME A MUSICAL AND I'LL GIVE
00:24:30.230 --> 00:24:31.150
YOU A SONG.
00:24:31.170 --> 00:24:32.270
- JESUS CHRIST SUPER STAR.
00:24:32.290 --> 00:24:35.100
MY MIND IS CLEARER NOW ...
00:24:35.120 --> 00:24:39.190
AT LAST ALL TOO WELL I CAN SEE ...
00:24:39.210 --> 00:24:45.000
WHERE WE ALL SOON WILL BE ...
00:24:45.020 --> 00:24:48.240
IF YOU STRIP AWAY THE MYTH FROM THE MAN ...
00:24:48.260 --> 00:24:54.240
YOU WILL SEE WHERE WE ALL SOON WILL BE ...
00:24:54.260 --> 00:25:01.010
- OH MY GOSH.
00:25:01.030 --> 00:25:02.180
- OPENING NUMBER.
00:25:02.200 --> 00:25:03.280
THAT'S JUDAS ISCARIOT LOOKING DOWN AND DARING TO
00:25:04.000 --> 00:25:06.070
CAST DISPERSIONS UPON THE MAN.
00:25:06.090 --> 00:25:09.020
- THE ART AND FAITH, THEY USED TO BE
00:25:09.040 --> 00:25:17.100
KIND OF MERGED.
00:25:17.120 --> 00:25:19.030
- OH MAN, I LOVE WHERE YOU'RE GOING WITH THIS.
00:25:19.050 --> 00:25:21.050
- OKAY. HELP ME HERE.
00:25:21.070 --> 00:25:23.150
- OKAY.
00:25:23.170 --> 00:25:24.230
SO THE KEY TO WRECKING ANY GREAT THING IS TO
00:25:24.250 --> 00:25:27.260
FIRST REMOVE THE ART FROM IT.
00:25:27.280 --> 00:25:30.080
- OH MY GOSH.
00:25:30.100 --> 00:25:31.270
- THAT'S WHAT YOU DO.
00:25:31.290 --> 00:25:33.110
AND WE ALWAYS LOOK AT WHAT HAPPENED IN HIGH
00:25:33.130 --> 00:25:34.250
SCHOOLS LIKE OH, THEY TOOK OUT ALL THE ART
00:25:34.270 --> 00:25:37.060
PROGRAMS AND THEN THEY TOOK OUT THE SHOP STUFF,
00:25:37.080 --> 00:25:40.110
BUT DIDN'T REALLY HAPPEN LIKE THAT.
00:25:40.130 --> 00:25:41.260
WHAT THEY DID FIRST, YOU HAVE TO REMEMBER BACK
00:25:41.280 --> 00:25:45.140
WHEN SHOP WAS CALLED VOCATIONAL ARTS.
00:25:45.160 --> 00:25:47.280
- REALLY?
00:25:48.000 --> 00:25:49.120
- OH, YEAH.
00:25:49.140 --> 00:25:50.200
V.A., THE VOCATIONAL ARTS IS WHAT A CARPENTER WOULD
00:25:50.220 --> 00:25:54.060
BE ESSENTIALLY LOOKED AT AS AN ARTIST WHO WAS
00:25:54.080 --> 00:25:57.210
LEARNING TO WORK IN THE MEDIUM OF WOOD.
00:25:57.230 --> 00:26:00.130
- GOT IT.
00:26:00.150 --> 00:26:01.090
- RIGHT.
00:26:01.110 --> 00:26:02.170
YOU PROBABLY KNOW A FAIRLY FAMOUS CARPENTER
00:26:02.190 --> 00:26:03.280
WHO WAS PROBABLY FAIRLY ARTISTIC AT HIS CRAFT
00:26:04.000 --> 00:26:06.260
ONCE UPON A TIME, BUT WHEN YOU TAKE THE ART OUT
00:26:06.280 --> 00:26:10.140
OF THE WORK, THEN YOU'RE JUST LEFT WITH SOMETHING
00:26:10.160 --> 00:26:13.110
THAT CLOSER APPROACHES DRUDGERY.
00:26:13.130 --> 00:26:17.160
SO WHEN THEY TOOK THE ART OUT OF THE VOCATIONAL
00:26:17.180 --> 00:26:20.040
ARTS, IT BECAME VO-TECH, AND VO-TECH ANY TIME YOU
00:26:20.060 --> 00:26:25.240
HYPHENATE SOMETHING IN SCHOOL IT'S A BAD SIGN.
00:26:25.260 --> 00:26:27.170
SO VO-TECH WAS IMMEDIATELY IN TROUBLE SO
00:26:27.190 --> 00:26:29.210
THEY CHANGED IT TO SHOP, AND WHEN THEY CHANGED IT
00:26:29.230 --> 00:26:33.210
TO SHOP, IT MADE IT A WHOLE LOT EASIER TO WALK
00:26:33.230 --> 00:26:35.230
OUT BEHIND THE BARN AND SHOOT.
00:26:35.250 --> 00:26:37.200
AND THAT'S HOW SHOP CLASS LEFT HIGH SCHOOL.
00:26:37.220 --> 00:26:39.090
WE STARTED BY TAKING THE ART OUT OF THE WORK.
00:26:39.110 --> 00:26:42.180
SO IF YOU TAKE THE ART OUT OF FAITH, IF YOU TAKE
00:26:42.200 --> 00:26:45.260
THE ART OUT OF LITERATURE, IF YOU
00:26:45.280 --> 00:26:48.120
-- NOTHING HAS EVER IN THE HISTORY OF TIME BEEN
00:26:48.140 --> 00:26:52.250
IMPROVED BY MAKING IT LESS ARTISTIC.
00:26:52.270 --> 00:26:56.150
- WOW.
00:26:56.170 --> 00:26:57.230
- THINK OF YOUR FAVORITE PREACHERS, THINK OF YOUR
00:26:57.250 --> 00:27:00.210
FAVORITE ORATORS, OF COURSE OF THE SUBSTANCE
00:27:00.230 --> 00:27:04.160
MATTERS MOST BUT BEYOND THAT, WHO ARE THE ONES
00:27:04.180 --> 00:27:07.140
YOU REALLY LEAN INTO?
00:27:07.160 --> 00:27:09.050
WHO GETS YOU ON THE EDGE OF YOUR SEAT AND MAKES
00:27:09.070 --> 00:27:11.250
YOU REALLY LISTEN?
00:27:11.270 --> 00:27:13.110
YOU KNOW, IT'S PART CONVICTION, YOU KNOW,
00:27:13.130 --> 00:27:16.180
IT'S PART PASSION, BUT THERE'S SOMETHING
00:27:16.200 --> 00:27:19.030
INDEFINABLE IN THERE, AND IT'S THE ART.
00:27:19.050 --> 00:27:21.020
- FOR ME IT'S MIKE ROWE.
00:27:21.040 --> 00:27:25.090
YOU INSTILL THAT EMOTION IN A LOT OF PEOPLE.
00:27:25.110 --> 00:27:28.070
YOUR NEW BOOK, NEW YORK TIME BEST SELLER,
00:27:28.090 --> 00:27:30.280
"THE WAY I HEARD IT".
00:27:31.000 --> 00:27:32.190
"THE BIGGEST NAME IN TOWN" IS THE NAME OF ONE OF
00:27:32.210 --> 00:27:36.210
YOUR PODCASTS, AND YOUR PODCAST IS THE WAY I
00:27:36.230 --> 00:27:40.100
HEARD IT, AND YOUR STYLE INSPIRED A LOT OF US AT
00:27:40.120 --> 00:27:47.180
TBN, AND WE TOOK YOUR KIND OF RAW FOOTAGE AND
00:27:47.200 --> 00:27:52.050
TURNED IT INTO THIS.
00:27:52.070 --> 00:27:53.200
THIS IS THE BIGGEST NAME IN TOWN. WATCH THIS.
00:27:53.220 --> 00:27:56.150
- HIGH IN THE HILLS OF A TOWN WITHOUT PITY,
00:27:59.270 --> 00:28:02.110
A STUBBORN SUN SLOWLY SETS ON A WARM SEPTEMBER EVENING
00:28:02.130 --> 00:28:05.260
AS A YOUNG STARLET WALKED UP THE SHOULDER OF
00:28:05.280 --> 00:28:08.120
A CANYON ROAD AND ON TO THE PROPERTY OF
00:28:08.140 --> 00:28:11.030
THE BIGGEST NAME IN TOWN.
00:28:11.050 --> 00:28:13.060
SHE WAS APPREHENSIVE, UNDERSTANDABLY, PARTLY
00:28:13.080 --> 00:28:15.150
BECAUSE IT WAS GETTING DARK, PARTLY BECAUSE SHE
00:28:15.170 --> 00:28:17.290
WAS TRESPASSING, AND PARTLY BECAUSE SHE WAS
00:28:18.010 --> 00:28:21.090
GOING TO KILL SOMEONE. FOR THE RECORD,
00:28:21.110 --> 00:28:24.130
THE STARLET WAS NOT VIOLENT BY NATURE
00:28:24.150 --> 00:28:26.230
BUT DESPERATE TIMES CALL FOR DESPERATE MEASURES.
00:28:26.250 --> 00:28:31.210
THE HEAD OF THE STUDIO, A FECKLESS FOOL WITHOUT
00:28:31.230 --> 00:28:33.240
TASTE OR COMMON SENSE HAD CUT HER OUT OF THE FILM
00:28:33.260 --> 00:28:37.190
THAT WOULD HAVE MADE HER FAMOUS.
00:28:37.210 --> 00:28:39.170
IN THE BLINK OF AN EYE, HER LONG ANTICIPATED
00:28:39.190 --> 00:28:41.270
DEBUT ON THE SILVER SCREEN HAD BEEN REDUCED
00:28:41.290 --> 00:28:44.150
TO A PILE OF WORTHLESS CELLULOID ON
00:28:44.170 --> 00:28:46.230
THE CUTTING ROOM FLOOR.
00:28:46.250 --> 00:28:48.140
THE DETERMINED STARLET WAS SMILING IN SPITE OF
00:28:48.160 --> 00:28:50.220
HER DARK PURPOSE. IT FELT GOOD TO FIGHT BACK.
00:28:50.240 --> 00:28:54.240
THREE DAYS LATER, A HIKER FOUND THE MANGLED VICTIM
00:28:54.260 --> 00:28:58.250
IN A NEARBY RAVINE.
00:28:58.270 --> 00:29:01.200
DETECTIVES WERE CALLED, BUT YOU DIDN'T HAVE TO BE
00:29:01.220 --> 00:29:04.210
A HARD-BOILED GUMSHOE OR A SUNSET BOULEVARD
00:29:04.230 --> 00:29:07.170
SHAMEST TO FIGURE OUT WHO HAD DONE IT.
00:29:07.190 --> 00:29:09.170
THE COPS KNEW ALL ABOUT THE STARLET'S ABRUPT
00:29:09.190 --> 00:29:11.250
REMOVAL FROM 13 WOMEN, HER FIRST AND LAST
00:29:11.270 --> 00:29:15.190
MAJOR MOTION PICTURE.
00:29:15.210 --> 00:29:17.150
BUT IT WAS THE CONTENTS OF HER PURSE THAT CLOSED
00:29:17.170 --> 00:29:19.240
THE CASE MOMENTS AFTER IT WAS OPENED.
00:29:19.260 --> 00:29:22.240
SPECIFICALLY, THE SHORT NOTE THAT READ
00:29:22.260 --> 00:29:25.260
"I'M AFRAID I'M A COWARD, I'M SORRY FOR EVERYTHING.
00:29:25.280 --> 00:29:29.290
IF I HAD DONE THIS A LONG TIME AGO, IT WOULD HAVE
00:29:30.010 --> 00:29:32.000
SAVED A LOT OF PAIN."
00:29:32.020 --> 00:29:34.070
IT WAS THERE AT THE END OF A CANYON ROAD CALLED
00:29:34.090 --> 00:29:37.090
BEACH ROAD THAT POOR PEG, HER SPIRIT BROKEN BY
00:29:37.110 --> 00:29:41.010
EMPTY PROMISES AND SHATTERED BY DREAMS MADE
00:29:41.030 --> 00:29:44.030
GOOD ON HER PROMISE TO KILL SOMEONE BY CLIMBING
00:29:44.050 --> 00:29:47.250
THE RUNGS OF A RICKETY LADDER, SCRAMBLING ON TO
00:29:47.270 --> 00:29:50.110
THE TOP OF THE GIANT "H" AND THROWING HERSELF OFF
00:29:50.130 --> 00:29:54.020
THE HOLLYWOOD SIGN.
00:29:54.040 --> 00:29:56.080
IT WAS AFTER ALL THE BIGGEST NAME IN TOWN.
00:29:56.100 --> 00:30:01.290
ANYWAY, THAT'S THE WAY I HEARD IT.
00:30:02.010 --> 00:30:04.240
[MUSIC]
00:30:04.260 --> 00:30:11.230
- ISN'T THAT AMAZING.
00:30:12.170 --> 00:30:15.120
THE, THE EMOTION THAT A STORY CAN EVOKE.
00:30:15.140 --> 00:30:20.080
- UH-HUH.
00:30:20.100 --> 00:30:22.070
- UM, LET'S TALK ABOUT THAT JUST FOR A MINUTE.
00:30:22.090 --> 00:30:26.020
THE WAY I HEARD IT, YOUR NEWEST BOOK, COULD YOU
00:30:26.040 --> 00:30:31.250
DO THE POSE ON THE BOOK BY THE WAY.
00:30:31.270 --> 00:30:33.100
JUST KIND OF...
00:30:33.120 --> 00:30:35.150
DO A LITTLE MINI VERSE VERSION OF IT.
00:30:35.170 --> 00:30:39.130
- YOU KNOW WHAT'S FUNNY, I ACTUALLY HAD THIS SAME
00:30:39.150 --> 00:30:41.010
SHIRT ON THIS MORNING.
00:30:41.030 --> 00:30:42.220
- OH, YOU SHOULD HAVE BROUGHT IT.
00:30:42.240 --> 00:30:44.080
- I THOUGHT IT WOULD BE TOO WEIRD.
00:30:44.100 --> 00:30:45.290
I THOUGHT PEOPLE'S HEADS WOULD EXPLODE.
00:30:46.010 --> 00:30:47.100
THEY'D SEE ME DOING THIS HERE AND ME DOING THAT THERE.
00:30:47.120 --> 00:30:49.010
I KNEW YOU'D ASK ME TO DO IT.
00:30:49.030 --> 00:30:50.260
PEOPLE WOULDN'T KNOW WHERE TO LOOK OR WHAT TO DO.
00:30:50.280 --> 00:30:54.280
- A LITTLE MINI-ME VERSION OF YOU.
00:30:55.000 --> 00:30:59.080
- MINI ME.
00:30:59.100 --> 00:31:02.000
- WHEN DID YOU EMBRACE STORY? WHEN DID YOU--
00:31:03.210 --> 00:31:08.140
WERE YOU A YOUNG STORY TELLER AS A CHILD?
00:31:08.160 --> 00:31:11.210
LET'S START AT THE BEGINNING, GET ALL THE
00:31:11.230 --> 00:31:13.280
WAY THROUGH THIS THING.
00:31:14.000 --> 00:31:15.190
- WELL IN THE BEGINNING, THE EARTH WAS
00:31:15.210 --> 00:31:17.110
WITHOUT FORM AND VOID.
00:31:17.130 --> 00:31:19.180
DO YOU REALLY WANT TO GO TO THE BEGINNING?
00:31:19.200 --> 00:31:21.110
- AND DARKNESS WAS UPON THE FACE OF THE DEEP.
00:31:21.130 --> 00:31:24.040
- AND EMPTINESS WAS UPON THE FACE OF THIS THEATER,
00:31:24.060 --> 00:31:26.260
WHICH IS WHY I WANTED TO COME HERE.
00:31:26.280 --> 00:31:28.200
BACK TO HUMILITY, I THOUGHT THERE WAS
00:31:28.220 --> 00:31:30.060
SOMETHING INTERESTING ABOUT TALKING TO
00:31:30.080 --> 00:31:33.100
AN EMPTY ROOM OR CAMERA.
00:31:33.120 --> 00:31:36.030
- INTERESTING.
00:31:36.050 --> 00:31:37.130
- ON THE ONE SENSE IT'S AN AUDIENCE OF ONE, AND
00:31:37.150 --> 00:31:39.140
THE OTHER SENSE IT'S JUST BOLD AND BRAVE TO DO THIS
00:31:39.160 --> 00:31:42.170
KIND OF THING, COME OUT AND SIT IN THE MIDDLE OF
00:31:42.190 --> 00:31:45.070
AN EMPTY THEATER AND TELL STORIES, ALTHOUGH THERE
00:31:45.090 --> 00:31:47.100
MIGHT HAVE BEEN PEOPLE IN HIS THEATER NOW THAT
00:31:47.120 --> 00:31:49.010
I THINK ABOUT IT. THAT'S BESIDE THE POINT.
00:31:49.030 --> 00:31:51.070
THE ANSWER TO YOUR QUESTION TRULY IS ONCE UPON A TIME.
00:31:51.090 --> 00:31:55.020
IT'S A, IT'S A FIRE, I'M IN THE BOY SCOUTS,
00:31:55.040 --> 00:32:00.060
I'M 14, 15, SHY, WRESTLING WITH A CHRONIC STAMMER
00:32:00.080 --> 00:32:10.100
THAT PLAGUED ME UNTIL I WAS 16, 17 YEARS OLD.
00:32:10.120 --> 00:32:14.080
NOT A FULL ON PORKY PIG STUTTER, RIGHT, BUT JUST
00:32:14.100 --> 00:32:17.190
A STAMMER BROUGHT ABOUT BY NERVOUSNESS, AND I
00:32:17.210 --> 00:32:21.040
TALK ABOUT HOW THAT GOT CURED BY A TEACHER.
00:32:21.060 --> 00:32:24.230
REMARKABLE STORY. BUT TO ANSWER YOUR QUESTION,
00:32:24.250 --> 00:32:27.210
I SAW A GUY GET UP AND WALK TO THE FIRE AND THERE
00:32:27.230 --> 00:32:32.040
WERE ABOUT FIFTY OR SIXTY BOY SCOUTS SITTING THERE,
00:32:32.060 --> 00:32:35.000
MOON WAS FULL, FIRE WAS CRACKLING, AND HE LOOKED
00:32:35.020 --> 00:32:39.220
AT US AND HE STARTED RECITING A POEM.
00:32:39.240 --> 00:32:43.080
IT WAS THE CREMATION OF SAM MCGEE IN FACT.
00:32:43.100 --> 00:32:45.290
AND I HAD A MOMENT.
00:32:46.010 --> 00:32:48.230
I WAS NOT JUST TRANSPORTED BY THE BASICS
00:32:48.250 --> 00:32:52.160
OF A GOOD STORY IN FIRE LIGHT WITH THE MOON
00:32:52.180 --> 00:32:56.030
HIGH IN THE SKY.
00:32:56.050 --> 00:32:58.040
I REALIZED I WAS MEMORIZING WITHOUT TRYING
00:32:58.060 --> 00:33:03.190
TO MEMORIZE, IT WAS ONE OF THE MASLOW WRITES
00:33:03.210 --> 00:33:06.160
ABOUT THIS, LIKE THESE PEEK EXPERIENCES WHERE
00:33:06.180 --> 00:33:08.290
SUDDENLY, LATER THAT NIGHT THE NEXT DAY,
00:33:09.010 --> 00:33:12.150
I REMEMBERED THE POEM. I MEAN IT'S A LONG POEM.
00:33:12.170 --> 00:33:17.210
BUT SITTING THERE AND JUST BEING COMPLETELY IN
00:33:17.230 --> 00:33:21.030
THE MOMENT, "THERE ARE STRANGE THINGS DONE IN
00:33:21.050 --> 00:33:23.190
"THE MIDNIGHT SUN BY THE MEN WHO MOIL FOR GOLD,
00:33:23.210 --> 00:33:27.000
"THE ARCTIC TRAILS HAVE THEIR SECRET TALES THAT
00:33:27.020 --> 00:33:29.120
"WOULD MAKE YOUR BLOOD RUN COLD, THE NORTHERN LIGHTS
00:33:29.140 --> 00:33:31.120
"HAVE SEEN QUEER SIGHTS BUT THE QUEEREST THEY EVER
00:33:31.140 --> 00:33:33.190
"DID SEE WAS THAT NIGHT ON THE MARGE OF LAKE LE BARGE
00:33:33.210 --> 00:33:37.060
"WHEN I CREMATED SAM MCGEE."
00:33:37.080 --> 00:33:39.280
DUDE, I'M IN.
00:33:40.000 --> 00:33:42.260
- AGE?
00:33:42.280 --> 00:33:43.280
- 14. 14.
00:33:44.000 --> 00:33:46.100
SO POETRY, CAMP FIRES, MEN TELLING STORIES WITH
00:33:46.120 --> 00:33:53.030
UNASHAMED SENTIMENTALITY, REALLY KIND OF PAVED THE
00:33:53.050 --> 00:33:57.280
WAY FOR SOMETHING VERY SIMILAR A COUPLE YEARS
00:33:58.000 --> 00:34:00.080
LATER WHEN MY HIGH SCHOOL TEACHER INTRODUCED ME TO
00:34:00.100 --> 00:34:03.260
THE VAGARIES AND STRANGENESS AND JOYS OF
00:34:03.280 --> 00:34:07.210
BARBERSHOP QUARTET SINGING.
00:34:07.230 --> 00:34:09.280
AND FRED KING WAS HIS NAME.
00:34:10.000 --> 00:34:11.220
HE DIRECTED THE CHORUS OF THE CHESAPEAKE.
00:34:11.240 --> 00:34:14.000
A HUNDRED AND TWENTY SOME MEN, MANY OF WHOM FOUGHT
00:34:14.020 --> 00:34:17.280
IN THE SECOND WORLD WAR, LOTS OF WHOM FOUGHT IN
00:34:18.000 --> 00:34:21.080
THE KOREAN WAR, VETERANS WHO WOULD STAND THERE
00:34:21.100 --> 00:34:24.120
SHOULDER TO SHOULDER EVERY TUESDAY NIGHT AND
00:34:24.140 --> 00:34:27.020
SING SONGS ABOUT MOTHERS AND BEST FRIENDS WHO
00:34:27.040 --> 00:34:32.220
WOULD NEVER LET YOU DOWN AND THEIR FIRST CAR.
00:34:32.240 --> 00:34:36.130
I MEAN, IT WAS SO HOKEY AND SO SENTIMENTAL THAT
00:34:36.150 --> 00:34:40.020
NONE OF MY FRIENDS BUT FOR THE THREE OTHERS THAT
00:34:40.040 --> 00:34:42.290
SANG WITH ME IN A QUARTET, YOU COULDN'T LOOK
00:34:43.010 --> 00:34:46.270
AT THAT AND NOT FEEL LIKE YOU WERE ON THE OUTSIDE
00:34:46.290 --> 00:34:49.110
OF COOL, BUT INSIDE IT, AFTER THOSE REHEARSALS,
00:34:49.130 --> 00:34:53.250
SITTING DOWN WITH SOME OF THESE GUYS AND LISTENING
00:34:53.270 --> 00:34:57.280
TO THEM SING SONGS ABOUT THEIR CHILDHOOD AND ABOUT
00:34:58.000 --> 00:35:02.200
THEIR WIVES, MAYBE THEY'RE WIDOWERS, THE SADDEST
00:35:02.220 --> 00:35:06.270
SONGS I EVER HEARD I HEARD IN A LITTLE JOINT
00:35:06.290 --> 00:35:10.280
CALLED JOHNNY JONES EVERY TUESDAY NIGHT AFTER
00:35:11.000 --> 00:35:13.170
REHEARSALS OF THE CHORUS OF THE CHESAPEAKE.
00:35:13.190 --> 00:35:16.110
AND I'M TELLING YOU, MATT, THESE SONGS.
00:35:16.130 --> 00:35:18.180
THE TURN OF THE CENTURY PEOPLE WROTE SONGS IN A
00:35:18.200 --> 00:35:21.140
WAY THAT HAD TO I THINK CHANNEL GRIEF DIFFERENTLY
00:35:21.160 --> 00:35:25.050
THAN WE DO TODAY.
00:35:25.070 --> 00:35:26.190
THERE WAS NO OTHER PLACE TO PUT IT.
00:35:26.210 --> 00:35:29.110
SO YOU HAD SONGS LIKE-- OH, MAN,
00:35:29.130 --> 00:35:33.010
"DEAR OLD GIRL,
00:35:33.030 --> 00:35:36.190
"THE ROBIN SINGS ABOVE YOU, DEAR OLD GIRL."
00:35:36.210 --> 00:35:39.260
THIS IS A SONG, I'M WATCHING FOUR MEN ALL OF
00:35:39.280 --> 00:35:42.160
WHOM HAVE LOST THEIR WIVES ALL IN THEIR LATE
00:35:42.180 --> 00:35:45.050
80'S AND EARLY 90'S SITTING AROUND A LITTLE
00:35:45.070 --> 00:35:47.180
SQUARE TABLE HARMONIZING.
00:35:47.200 --> 00:35:51.170
"TWAS A SUNNY DAY IN JUNE AND ALL THE BIRDS WERE
00:35:51.190 --> 00:35:54.040
"ALL IN TUNE, AND THE SONGS THEY SANG ALL MADE
00:35:54.060 --> 00:35:56.060
"ME THINK OF YOU, AND THE WORDS YOU CAME TO SPEAK
00:35:56.080 --> 00:35:58.180
"BROUGHT THE BLUSHES TO MY CHEEK AS YOU WHISPERED
00:35:58.200 --> 00:36:01.260
"YES AND FONDLY KISSED ME TOO.
00:36:01.280 --> 00:36:04.140
"I CAN SEE THE LOVE LIGHT SHINE IN YOUR BRIGHT EYES,
00:36:04.160 --> 00:36:06.220
"SWEETHEART MINE, AS THE PREACHER SAID THE WORDS
00:36:06.240 --> 00:36:09.020
"THAT MADE US ONE, AND YOU WERE FAITHFUL WIFE
00:36:09.040 --> 00:36:12.110
"THROUGH THE CHANGING SCENES OF LIFE TILL THE
00:36:12.130 --> 00:36:14.280
"MASTER SAID YOUR WORK ON EARTH WAS DONE."
00:36:15.000 --> 00:36:18.250
AND HERE'S-- THIS PART KILLS ME.
00:36:18.270 --> 00:36:21.050
"DEAR OLD GIRL, THE ROBIN SINGS ABOVE YOU, DEAR OLD
00:36:21.070 --> 00:36:25.130
"GIRL, IT SPEAKS OF HOW I LOVE YOU, THE BLINDING
00:36:25.150 --> 00:36:28.240
"TEARS ARE FALLING AS I THINK OF MY LOST PEARL
00:36:28.260 --> 00:36:32.150
"AND MY BROKEN HEART IS CALLING, CALLING FOR YOU
00:36:32.170 --> 00:36:36.190
"DEAR OLD GIRL."
00:36:36.210 --> 00:36:38.150
NOW, ME AND THAT GUY CHUCK, PRODUCER, THE WAY
00:36:38.170 --> 00:36:41.200
I HEARD IT, WE'RE SITTING IN JOHNNY JONES, WE'RE 17
00:36:41.220 --> 00:36:44.230
AND 16 WATCHING FOUR MEN WHO HAD LOST THEIR WIVES
00:36:44.250 --> 00:36:50.130
ALL OF WHOM HAD SERVED, ALL OF WHOM HAD BEEN
00:36:50.150 --> 00:36:53.030
DECORATED, SING THIS SONG AS TEARS RUN DOWN THEIR
00:36:53.050 --> 00:36:57.140
CHEEKS AND IT'S SO SAD, THE ONLY THING WE CAN
00:36:57.160 --> 00:37:00.250
DO IS SHAKE OUR HEADS AND GIGGLE.
00:37:00.270 --> 00:37:03.040
IT'S INAPPROPRIATE, BUT THE MEN LAUGHED TOO, AND
00:37:03.060 --> 00:37:06.220
THEY GO AROUND THE ROOM SINGING IN A CAPPELLA
00:37:06.240 --> 00:37:10.100
THESE IMPOSSIBLY SAD SONGS SO MAUDLIN, SO
00:37:10.120 --> 00:37:14.020
GRIM, THAT MANY COLLAPSE UNDER THE WEIGHT OF THEIR
00:37:14.040 --> 00:37:17.160
OWN MAWKISHNESS, BUT IT DOESN'T MATTER BECAUSE
00:37:17.180 --> 00:37:22.000
IT'S BEAUTIFUL, AND IT'S A VERY LONG ANSWER TO YOUR
00:37:22.020 --> 00:37:24.190
QUESTION, BUT THAT'S WHAT STORY TELLING IS SOMETIMES.
00:37:24.210 --> 00:37:28.030
- I THINK THAT WAS THE LONGEST I'VE EVER BEEN QUIET.
00:37:28.050 --> 00:37:32.200
- HONESTLY, WE WERE WORRIED.
00:37:32.220 --> 00:37:34.240
YOUR CAMERA GUYS ARE LIKE SOMEBODY,
00:37:34.260 --> 00:37:36.150
BREATHE! BREATHE MATT!
00:37:36.170 --> 00:37:39.070
- SO YOU ARE INTERESTING AND ARTICULATE.
00:37:39.090 --> 00:37:44.090
- OPINIONS VARY BUT THANK YOU.
00:37:44.110 --> 00:37:46.040
- AND WHAT I AM SITTING HERE SENSING IS WHAT IF I
00:37:46.060 --> 00:37:53.250
NEVER GOT PAST THE MIKE ROWE THAT I SAW ON
00:37:53.270 --> 00:37:58.100
TELEVISION, I WAS INTRODUCED TO YOU NOT IN
00:37:58.120 --> 00:38:01.270
GOOD EVENING SAN FRANCISCO, I DIDN'T LIVE IN SAN FRANCISCO.
00:38:01.290 --> 00:38:04.230
- YOU DON'T WANT TO.
00:38:04.250 --> 00:38:06.190
- YEAH. NO.
00:38:06.210 --> 00:38:08.230
WELL WE'LL RUN A LITTLE PIECE OF IT.
00:38:08.250 --> 00:38:11.020
- AH...SODOM. AND GOMORRAH. [LAUGHS]
00:38:11.040 --> 00:38:14.210
- AND SO BASICALLY YOU GOT INTRODUCED TO OUR
00:38:14.230 --> 00:38:19.080
FAMILY IN A TV PROGRAM ON DISCOVERY CHANNEL
00:38:19.100 --> 00:38:23.110
CALLED DIRTY JOBS.
00:38:23.130 --> 00:38:25.130
ONE OF THE FIRST TIMES IF NOT THE FIRST TIME I SAW
00:38:25.150 --> 00:38:28.070
YOU, YOU WERE NOT SIMPLY IN A SEWER WHERE YOU
00:38:28.090 --> 00:38:33.000
COULD PULL JUST THE TOP ROUND THING OFF THE
00:38:33.020 --> 00:38:35.240
STREET AND GO IN.
00:38:35.260 --> 00:38:37.130
YOU WERE DOWN IN WHERE THE SEWER DUMPED INTO.
00:38:37.150 --> 00:38:41.220
YOU WERE ABOUT TO YOUR WADED BOOTS
00:38:41.240 --> 00:38:45.090
ABOUT THE KNEE.
00:38:45.110 --> 00:38:47.090
- WHERE THE CHILI MEETS THE CHEESE, AS WE SAY.
00:38:47.110 --> 00:38:49.040
- EXACTLY. IN THE BOWELS OF THE SEWER SYSTEM OF
00:38:49.060 --> 00:38:53.020
SAN FRANCISCO WHICH IS QUITE POSSIBLY THE MOST
00:38:53.040 --> 00:38:57.110
HORRIBLE PLACE YOU COULD POSSIBLY BE.
00:38:57.130 --> 00:38:59.180
- WELL, ABOVE ON THE STREETS OF SAN FRANCISCO
00:38:59.200 --> 00:39:01.280
NOW TOO IS ALSO QUITE GRIM BUT CONTINUE.
00:39:02.000 --> 00:39:04.170
- YES. AND SO HERE I SIT.
00:39:04.190 --> 00:39:07.270
WHAT IF PART OF WHAT LIFE IS SUPPOSED TO BE IS TO
00:39:07.290 --> 00:39:14.110
GET PAST WHAT YOUR PERCEPTION OF SOMEBODY IS
00:39:14.130 --> 00:39:18.240
AND FIND OUT WHO THE REAL PERSON IS.
00:39:18.260 --> 00:39:21.040
- WHAT IF THAT'S THE WHOLE POINT?
00:39:21.060 --> 00:39:22.210
- WHAT IF THAT'S WHAT WE'RE SUPPOSED TO BE DOING.
00:39:22.230 --> 00:39:24.210
- WHAT IF THE STUFF THAT GOES ON UNDER THE STREET
00:39:24.230 --> 00:39:26.160
OUT OF SIGHT IS ACTUALLY THE PLACE WHERE THE MOST
00:39:26.180 --> 00:39:30.140
INTERESTING STORIES LIE?
00:39:30.160 --> 00:39:32.250
WHAT IF IT'S WHAT'S UNDER THE ROCK?
00:39:32.270 --> 00:39:34.290
WHAT IF REAL CURIOSITY CAN ACTUALLY GET YOU
00:39:35.010 --> 00:39:37.030
OUT INTO THE WORLD TO TAKE A PEEK AND MAYBE
00:39:37.050 --> 00:39:39.060
WALK IN SOMEBODY ELSE'S SHOES.
00:39:39.080 --> 00:39:41.070
- TO CLARIFY THE FIRST TIME I SAW YOU, YOU WERE
00:39:41.090 --> 00:39:43.120
STANDING KNEE DEEP IN CRAP.
00:39:43.140 --> 00:39:45.250
- THAT'S CORRECT.
00:39:45.270 --> 00:39:47.180
- AND I COULD HAVE DISMISSED YOU, BUT
00:39:47.200 --> 00:39:51.260
INSTEAD I WAS LIKE A MOTH TO THE FLAME.
00:39:51.280 --> 00:39:56.120
- YOU SICKO. SICK MAN. [LAUGHTER]
00:39:56.140 --> 00:39:58.170
- AND NOW I SIT HERE WITH INTERESTING AND
00:39:58.190 --> 00:40:03.210
ARTICULATE MIKE ROWE, AND I WONDER IF WE'RE ALL
00:40:03.230 --> 00:40:10.090
SUPPOSED TO GET PAST THE CRAP AND FIND OUT
00:40:10.110 --> 00:40:14.210
WHO THE REAL PERSON IS.
00:40:14.230 --> 00:40:16.220
- I DON'T.
00:40:16.240 --> 00:40:18.090
I BELIEVE IT'S ABSOLUTELY THE POINT, THE PURPOSE,
00:40:18.110 --> 00:40:22.230
AND IT'S NOT DRUDGERY, IT'S THE FUN OF IT.
00:40:22.250 --> 00:40:25.220
IT'S THE FUN OF IT.
00:40:25.240 --> 00:40:28.230
TO BE, LOOK, I HAD A DECENT CAREER FOR 15
00:40:28.250 --> 00:40:32.200
YEARS IMPERSONATING A HOST.
00:40:32.220 --> 00:40:35.050
I WAS FACILE, AND I WAS BELIEVABLE.
00:40:35.070 --> 00:40:39.110
I COULD AS WE'VE DISCUSSED IN THE PAST
00:40:39.130 --> 00:40:42.180
CREATE THE ILLUSION OF COMPETENCE IN A
00:40:42.200 --> 00:40:45.090
CONVINCING WAY IN SHORT BURSTS AND THAT'S WHAT
00:40:45.110 --> 00:40:48.070
I WAS PAID TO DO.
00:40:48.090 --> 00:40:49.250
DIRTY JOBS, IN FACT THE EPISODE YOU'RE TALKING
00:40:49.270 --> 00:40:52.080
ABOUT, REALLY FORGIVE ME BUT IT WAS A KIND OF
00:40:52.100 --> 00:40:58.240
HORRIBLE NON- TRADITIONAL BAPTISM.
00:40:58.260 --> 00:41:02.160
I WAS IN-- I'M JUST SAYING.
00:41:02.180 --> 00:41:05.260
FOR ME, WHEN YOU REALIZE AS I DID IN THE SEWERS OF
00:41:05.280 --> 00:41:09.150
SAN FRANCISCO THAT I WASN'T MEANT TO BE A HOST.
00:41:09.170 --> 00:41:14.070
THE THING I'D BEEN DOING FOR FIFTEEN YEARS, I WAS
00:41:14.090 --> 00:41:16.290
WORKING WITH A SEWER INSPECTOR DURING THAT
00:41:17.010 --> 00:41:19.190
EPISODE AND HE, A FELLOW NAMED GENE CRUISE,
00:41:19.210 --> 00:41:22.260
WAS REALLY THE EXPERT.
00:41:22.280 --> 00:41:25.010
I JUST DIDN'T SEE HIM THAT WAY BECAUSE I HAD
00:41:25.030 --> 00:41:27.010
GONE INTO THE SEWER TO MAKE GOOD ON MY MOTHER'S
00:41:27.030 --> 00:41:29.200
REQUEST TO SHOOT SOMETHING THAT MY
00:41:29.220 --> 00:41:31.250
GRANDFATHER WOULD RECOGNIZE AS WORK.
00:41:31.270 --> 00:41:34.170
SO I'M BASICALLY HONORING OH, GOSH, WHICH COMMANDMENT?
00:41:34.190 --> 00:41:38.230
HONOR THY FATHER?
00:41:38.250 --> 00:41:40.110
- ABOUT THE FIFTH OR SIXTH.
00:41:40.130 --> 00:41:42.020
- ABOUT THE FIFTH, MATT?
00:41:42.040 --> 00:41:43.190
- CLOSE ENOUGH.
00:41:43.210 --> 00:41:44.200
- A MAN IN YOUR POSITION.
00:41:44.220 --> 00:41:46.210
HONOR MY FATHER AND MOTHER, WHICH ONE?
00:41:46.230 --> 00:41:49.270
FIFTH. OKAY. SO THERE I AM.
00:41:49.290 --> 00:41:51.260
- I WAS RIGHT. JUST TRYING TO BE HUMBLE.
00:41:51.280 --> 00:41:53.270
- YOU WERE "RIGHTISH".
00:41:53.290 --> 00:41:56.130
OR FIFTH, SIXTH.
00:41:56.150 --> 00:41:58.130
SO I'M DOWN IN THE SEWER HONORING MY MOTHER'S
00:41:58.150 --> 00:42:00.210
WISHES BUT STILL TRYING TO BE THE HOST THAT THE
00:42:00.230 --> 00:42:04.270
CREDITS OF THAT PARTICULAR SHOW SAID I
00:42:04.290 --> 00:42:07.160
WAS, EVENING MAGAZINE, AND REALIZING AFTER THE
00:42:07.180 --> 00:42:12.020
SEWER KEPT ME FROM DOING MY JOB.
00:42:12.040 --> 00:42:15.140
THE ROACHES DOWN THERE ARE THE SIZE OF YOUR THUMB.
00:42:15.160 --> 00:42:17.230
THEY WILL CRAWL EVERYWHERE.
00:42:17.250 --> 00:42:19.240
THEY'LL GET DOWN IN YOUR COLLAR, THEY'LL GET IN
00:42:19.260 --> 00:42:21.270
YOUR EARS, THEY'LL MAKE YOU CRAZY.
00:42:21.290 --> 00:42:23.180
THEY'LL DISTRACT YOU FROM DOING YOUR JOB.
00:42:23.200 --> 00:42:25.260
THE RATS ARE THE SIZE OF LOAVES OF BREAD.
00:42:25.280 --> 00:42:28.200
THEY WILL PERCH ON YOUR SHOULDER LIKE A PARROT,
00:42:28.220 --> 00:42:30.290
THEY WILL SQUEAL IN YOUR EAR, JUMP IN YOUR LAP AND
00:42:31.010 --> 00:42:33.230
THEY WILL SEND YOU HURDLING SKYWARD ONLY TO
00:42:33.250 --> 00:42:36.090
SMASH YOUR HEAD AND TO FALL FACE FIRST INTO THE
00:42:36.110 --> 00:42:39.090
WORST OF IT, AND THAT'S WHAT I MEAN.
00:42:39.110 --> 00:42:41.250
YOU CAN'T TAKE YOURSELF TOO SERIOUSLY WHEN YOU'RE
00:42:41.270 --> 00:42:45.060
FACE FIRST IN SOMEBODY ELSE'S POOP, RIGHT?
00:42:45.080 --> 00:42:47.160
YOU JUST CAN'T. AND THAT'S WHAT IT TOOK FOR ME.
00:42:47.180 --> 00:42:51.040
THAT'S WHAT IT TOOK TO NOT SEE MYSELF AS A HOST
00:42:51.060 --> 00:42:54.280
BUT TO SAY OKAY, NEW SHERIFF IN TOWN.
00:42:55.000 --> 00:42:57.240
RESET BUTTON.
00:42:57.260 --> 00:42:59.060
THIS GUY WITH ME, GENE, HE'S THE HOST.
00:42:59.080 --> 00:43:02.130
HE'S THE EXPERT. I AM SOMETHING ELSE.
00:43:02.150 --> 00:43:05.100
MAYBE AN APPRENTICE, MAYBE A GUEST, MAYBE A
00:43:05.120 --> 00:43:07.240
CIPHER OR AN AVATAR, BUT I ON THAT DAY STOPPED ACTING
00:43:07.260 --> 00:43:14.280
LIKE A HOST AND STARTED BEING THE DILETTANTE I AM,
00:43:15.000 --> 00:43:19.110
THE AMATEUR.
00:43:19.130 --> 00:43:21.100
- OKAY, I NEED TO CORRECT YOUR THEOLOGY
00:43:21.120 --> 00:43:23.240
IN REGARD TO...
00:43:23.260 --> 00:43:25.110
- SAYS THE GUY WHO "MAYBE IT'S THE FOURTH,
00:43:25.130 --> 00:43:26.230
MAYBE IT'S THE FIFTH."
00:43:26.250 --> 00:43:28.070
- SO HONOR YOUR MOTHER AND YOUR FATHER IS NOT
00:43:28.090 --> 00:43:32.280
DOING WHAT THEY SAY, IT'S DOING WHAT GOD SAYS.
00:43:33.000 --> 00:43:37.230
BECAUSE THAT'S THE WAY--
00:43:37.250 --> 00:43:39.110
- OKAY. YOU GOT ME. YOU GOT ME.
00:43:39.130 --> 00:43:42.170
ALTHOUGH I DON'T THINK MY MOTHER NECESSARILY WAS
00:43:42.190 --> 00:43:44.170
SAYING I JUST HAD A CHAT WITH THE LORD AND I'VE
00:43:44.190 --> 00:43:47.120
GOT NEWS FOR YOU MICHAEL.
00:43:47.140 --> 00:43:49.160
THAT'S NOT HOW IT WAS DELIVERED BUT THAT
00:43:49.180 --> 00:43:51.100
DOESN'T MEAN THAT THERE WASN'T SOME
00:43:51.120 --> 00:43:54.240
INVISIBLE HAND AT WORK.
00:43:54.260 --> 00:43:56.200
- EXACTLY.
00:43:56.220 --> 00:43:58.100
MIKE ROWE STEPPED OUT ONTO THIS STAGE NOT LONG
00:43:58.120 --> 00:44:02.130
AGO AND CREATED SOME ROUGH FOOTAGE, THE RAW
00:44:02.150 --> 00:44:08.000
FOOTAGE, THE STORY TELLER VERSION PUT DOWN ON VIDEO,
00:44:08.020 --> 00:44:13.060
AND WE TOOK THAT AND KIND OF MASSAGED IT SOME.
00:44:13.080 --> 00:44:19.020
- YOU TURNED IT INTO A MOVIE!
00:44:19.040 --> 00:44:21.050
A MOVIE IS WHAT YOU DID. LOOK AT THIS. IT'S AMAZING.
00:44:21.070 --> 00:44:23.120
- WATCH THIS.
00:44:23.140 --> 00:44:25.000
- NOT LONG AFTER ITS HISTORIC LAUNCH IN 1990,
00:44:25.020 --> 00:44:28.020
THE HUBBLE SPACE TELESCOPE BEGAN SENDING
00:44:28.040 --> 00:44:30.050
BACK MUCH ANTICIPATED PHOTOS OF THE COSMOS.
00:44:30.070 --> 00:44:33.100
UNFORTUNATELY, THE PHOTOS THAT CAME BACK WERE
00:44:33.120 --> 00:44:35.240
BLURRY, SO NASA DID THE ONLY THING THEY COULD,
00:44:35.260 --> 00:44:38.280
THEY CALLED IN "CEPI".
00:44:39.000 --> 00:44:41.010
CEPI WAS AN ENGINEER WHO POSSESSED THE
00:44:41.030 --> 00:44:42.290
UNCANNY ABILITY TO REPAIR PRETTY MUCH ANYTHING.
00:44:43.010 --> 00:44:47.120
84 YEARS EARLIER, THE GARBAGE MAN HITCHED HIS
00:44:47.140 --> 00:44:50.150
WAGON TO HIS HORSE AND HEADED INTO THE CITY TO
00:44:50.170 --> 00:44:54.060
HAUL OUT THE TRASH.
00:44:54.080 --> 00:44:56.070
WE KNOW HE RAN INTO AMADEO IN THE STREET
00:44:56.090 --> 00:44:59.000
SHORTLY THEREAFTER JUST AS THE CITY WAS
00:44:59.020 --> 00:45:01.220
SLIPPING INTO CHAOS.
00:45:01.240 --> 00:45:03.180
WE KNOW THAT AMADEO HAD IN HIS POSSESSION A
00:45:03.200 --> 00:45:06.040
NUMBER OF HEAVY BAGS FILLED WITH GOLD COINS
00:45:06.060 --> 00:45:10.020
WORTH APPROXIMATELY TWO MILLION DOLLARS.
00:45:10.040 --> 00:45:12.070
WE KNOW THAT AMADEO BECAME DESPERATE TO GET
00:45:12.090 --> 00:45:14.170
HIS FORTUNE AWAY FROM THE LOOTERS WHO WOULD SOON
00:45:14.190 --> 00:45:17.080
EMERGE FROM THE LOOMING PANDEMONIUM.
00:45:17.100 --> 00:45:19.140
WE KNOW THAT AMADEO MADE A DEAL WITH THE GARBAGE MAN.
00:45:19.160 --> 00:45:23.200
GET ME OUT OF THIS CITY, HE BEGGED, SO THE GARBAGE
00:45:23.220 --> 00:45:26.120
MAN MADE THE BUSINESSMAN A PROPOSITION.
00:45:26.140 --> 00:45:30.050
I WILL DRIVE YOU AND YOUR TREASURE OUT OF THE CITY,
00:45:30.070 --> 00:45:32.290
HE SAID, IN RETURN I ASK ONLY THAT YOU GIVE MY BOY
00:45:33.010 --> 00:45:37.080
A JOB WHEN HE'S OLD ENOUGH TO BE OF USE.
00:45:37.100 --> 00:45:40.200
THEY SHOOK ON IT.
00:45:40.220 --> 00:45:43.200
IT WAS THE GREAT SAN FRANCISCO EARTHQUAKE OF 1906,
00:45:43.220 --> 00:45:47.210
AND IT WAS THE VERY DEFINITION OF HELL ON EARTH.
00:45:47.230 --> 00:45:54.070
MAYBE YOU KNOW THAT HE RETURNED AND
00:45:54.090 --> 00:45:56.110
BEGAN LOANING MONEY.
00:45:56.130 --> 00:45:58.210
HE MADE GOOD ON HIS PROMISE BY HIRING A
00:45:58.230 --> 00:46:01.010
YOUNG MAN NAMED FRANK CEPOLLINA.
00:46:01.030 --> 00:46:04.240
HE RETIRED EARLY AND RAISED A SON OF HIS OWN,
00:46:04.260 --> 00:46:08.220
AN ENGINEER, WHO THE PEOPLE AT NASA CALLED "CEPI".
00:46:08.240 --> 00:46:12.290
THE GRANDSON OF A GARBAGE MAN GOT THE ROBOTIC ARM
00:46:13.010 --> 00:46:16.080
ON THE ENDEAVOR TO SHAKE HANDS WITH THE HUBBLE.
00:46:16.100 --> 00:46:20.150
CONSEQUENTLY THE TELESCOPE WAS REPAIRED,
00:46:20.170 --> 00:46:22.130
AND TODAY ASTRONOMERS CAN LOOK BACK IN TIME AND SEE
00:46:22.150 --> 00:46:25.120
OUR EXPANDING UNIVERSE IN PERFECT FOCUS.
00:46:25.140 --> 00:46:29.080
A HAND SHAKE BETWEEN A GARBAGE MAN AND A BANKER.
00:46:29.100 --> 00:46:32.210
WITHOUT THAT BIG BANG AND THE HANDSHAKE THAT
00:46:32.230 --> 00:46:35.060
FOLLOWED AMADEO GIANNINI, HIS MODEST LITTLE LENDING
00:46:35.080 --> 00:46:40.100
INSTITUTION ONCE CALLED THE BANK OF ITALY
00:46:40.120 --> 00:46:43.250
WOULD HAVE NEVER BECOME THE BANK OF AMERICA.
00:46:43.270 --> 00:46:49.030
ANYWAY, THAT'S THE WAY I HEARD IT.
00:46:49.050 --> 00:46:52.250
I MEAN YOU CAN'T MAKE IT UP.
00:46:57.010 --> 00:46:58.140
- JUST, YOU CANNOT MAKE THIS STUFF UP.
00:46:58.160 --> 00:47:01.020
SO IN THE BOOK OF MATTHEW IN THE BIBLE, THE
00:47:01.040 --> 00:47:09.290
DISCIPLES COME TO JESUS AT ONE POINT AND THEY SAY
00:47:10.010 --> 00:47:13.110
WHY DO YOU TELL STORIES?
00:47:13.130 --> 00:47:16.080
AND HE SAID IN ONE OF THE TRANSLATIONS, HE SAYS TO
00:47:16.100 --> 00:47:23.150
CREATE READINESS, TO NUDGE PEOPLE TOWARDS
00:47:23.170 --> 00:47:29.000
RECEPTIVE INSIGHT OF THE KINGDOM OF GOD.
00:47:29.020 --> 00:47:32.160
WHY DO YOU TELL STORIES MIKE ROWE?
00:47:32.180 --> 00:47:36.000
- WELL, IT'S GOING TO FALL A BIT SHORT
00:47:36.020 --> 00:47:37.240
OF THAT MARK I'M AFRAID.
00:47:37.260 --> 00:47:39.150
- THAT'S A PRETTY HIGH BAR.
00:47:39.170 --> 00:47:40.250
- THAT'S A PRETTY HIGH BAR.
00:47:40.270 --> 00:47:43.060
IT'S LIKE THAT GREAT, THERE'S A GREAT CARTOON, PEANUTS.
00:47:43.080 --> 00:47:48.000
- THAT'S A HORRIBLE THING I JUST DID TO YOU.
00:47:48.020 --> 00:47:49.210
- HONESTLY?
00:47:49.230 --> 00:47:51.090
- PRETTY BAD. I HAVE TO APOLOGIZE.
00:47:51.110 --> 00:47:54.120
- I KIND OF DO IT FOR THE MONEY.
00:47:54.140 --> 00:47:57.130
AND YOU KNOW TRYING TO MAKE THE RENT MATT.
00:47:57.150 --> 00:48:01.220
A LOT OF PRESSURE OUT THERE TODAY.
00:48:01.240 --> 00:48:04.170
- WHAT A HORRIBLE THING TO DO TO A PERSON
00:48:04.190 --> 00:48:06.140
THAT I ACTUALLY LIKE.
00:48:06.160 --> 00:48:08.000
- NO, NO, IT'S A GREAT AND FAIR QUESTION AND THE
00:48:08.020 --> 00:48:10.160
HONEST ANSWER IS WHAT I SAID EARLIER, WRITING
00:48:10.180 --> 00:48:14.200
COMPRESSES TIME, AND ANYTHING THAT REALLY
00:48:14.220 --> 00:48:18.040
COMPRESSES TIME IS PROBABLY A THING WORTH
00:48:18.060 --> 00:48:20.100
DOING, SO ON A PURELY SELFISH LEVEL I DO IT
00:48:20.120 --> 00:48:23.180
BECAUSE IT'S VERY SHORT STORIES ARE SO
00:48:23.200 --> 00:48:26.180
SATISFYING, BEGINNING, MIDDLE, END.
00:48:26.200 --> 00:48:29.060
THERE ARE 35 STORIES IN HERE EACH FOLLOWED
00:48:29.080 --> 00:48:31.060
BY A RUMINATION. BUT THEY ALL HAVE
00:48:31.080 --> 00:48:34.000
BEGINNINGS, MIDDLES AND ENDS.
00:48:34.020 --> 00:48:36.110
SO I LIKE IT WHEN THE BOX CLOSES AND GOES CLICK
00:48:36.130 --> 00:48:41.000
AND IT ALL KIND OF COMES TOGETHER.
00:48:41.020 --> 00:48:42.250
IT'S JUST SATISFYING.
00:48:42.270 --> 00:48:44.180
BUT LOOK, I ALSO LIKE TO LOOK OUT AT AN AUDIENCE
00:48:44.200 --> 00:48:50.100
AS I'M TELLING A TALE AND SEE PEOPLE NOD THEIR HEADS.
00:48:50.120 --> 00:48:53.120
IT'S AFFIRMING, YOU KNOW, TO KNOW THAT WHEN PEOPLE
00:48:53.140 --> 00:48:57.130
SAY "I KNOW WHAT YOU MEAN", YOU REALLY BELIEVE THEY
00:48:57.150 --> 00:48:59.280
ACTUALLY KNOW WHAT YOU MEAN, SO IT'S JUST A
00:49:00.020 --> 00:49:04.050
DELIGHTFUL GIVE AND TAKE AND THERE'S SO MANY WAYS
00:49:04.070 --> 00:49:06.170
TO TELL STORIES TODAY, BUT I DON'T KNOW THAT
00:49:06.190 --> 00:49:09.220
WE'VE IMPROVED UPON ONCE UPON A TIME, YOU KNOW,
00:49:09.240 --> 00:49:13.230
AND THE CLOSEST, THIS WHOLE PODCAST WORLD IS
00:49:13.250 --> 00:49:16.150
INTERESTING TO ME BECAUSE IT REMINDS ME OF OLD TIME
00:49:16.170 --> 00:49:20.160
RADIO. OLD TIME RADIO IS INTERESTING BECAUSE IT
00:49:20.180 --> 00:49:23.170
REMINDS ME OF CAMP FIRES AND POEMS AND TALES.
00:49:23.190 --> 00:49:28.290
- THEN WOULD IT BE FAIR TO SAY IT THIS WAY.
00:49:29.010 --> 00:49:33.000
IF THERE WAS A TV SHOW CALLED
00:49:33.020 --> 00:49:36.040
SOMEBODY'S GOTTA DO IT...
00:49:36.060 --> 00:49:37.260
- TELL ME MORE.
00:49:37.280 --> 00:49:39.290
- ...AND YOU WERE EXPLORING FOR PEOPLE THAT ARE
00:49:40.010 --> 00:49:45.030
ACCOMPLISHING SOMETHING IN THEIR LIFE THAT THEY
00:49:45.050 --> 00:49:47.000
JUST HAVE TO DO, COULD WE DO AN EPISODE ON
00:49:47.020 --> 00:49:50.100
YOU AND YOUR WRITING?
00:49:50.120 --> 00:49:53.190
- YOU'RE REFERRING TO THE SHOW SOMEBODY'S GOTTA
00:49:53.210 --> 00:49:55.150
DO IT THAT IS CURRENTLY ON TBN SATURDAY NIGHTS
00:49:55.170 --> 00:49:57.220
HOSTED BY...
00:49:57.240 --> 00:49:59.010
- YEAH. SO COULD WE DO AN EPISODE OF YOU BECAUSE
00:49:59.030 --> 00:50:02.280
YOU HAVE TO WRITE?
00:50:03.000 --> 00:50:04.230
ARE YOU A CANDIDATE TO BE ON YOUR OWN SHOW,
00:50:04.250 --> 00:50:06.250
SOMEBODY'S GOTTA DO IT?
00:50:06.270 --> 00:50:08.100
- NO. NOPE, I DON'T THINK I AM.
00:50:08.120 --> 00:50:10.250
I DON'T THINK I COULD DO IT AND NOT COME OFF AS
00:50:10.270 --> 00:50:15.170
FUNDAMENTALLY UNLIKABLE. [LAUGHTER]
00:50:15.190 --> 00:50:18.220
I MEAN COME ON, TUNE IN SATURDAY NIGHT
00:50:18.240 --> 00:50:21.140
8:00 O'CLOCK AND GET A LOAD OF ME.
00:50:21.160 --> 00:50:24.000
WE'RE GONNA FOCUS ON ME THIS SATURDAY.
00:50:24.020 --> 00:50:25.260
TAKE A BIG DIVE INTO LAKE MIKE. SWIM AROUND.
00:50:25.280 --> 00:50:28.240
- LET ME SAY IT THIS WAY, I REMEMBER AN
00:50:28.260 --> 00:50:31.170
EPISODE WHERE YOU FOUND PEOPLE, I DON'T REMEMBER
00:50:31.190 --> 00:50:36.020
WHAT STATE IT WAS, SOMEWHERE IN THE MIDWEST
00:50:36.040 --> 00:50:38.130
THAT LOVE TO MAKE CREAMS, LOTIONS, SOAPS.
00:50:38.150 --> 00:50:42.140
THEY MAKE THEM OUT OF GOURDS AND PUMPKINS.
00:50:42.160 --> 00:50:45.210
- THAT SOUNDS RIGHT.
00:50:45.230 --> 00:50:47.010
- SO YOU REMEMBER THAT. - VAGUELY, YEAH.
00:50:47.030 --> 00:50:49.010
- SO USING THAT AS ANALOGY, COULD WE FOLLOW YOU--
00:50:49.030 --> 00:50:56.000
THIS IS A HYPOTHETICAL QUESTION, OKAY?
00:50:56.020 --> 00:50:59.160
COULD WE FOLLOW YOU BECAUSE YOU'RE THAT
00:50:59.180 --> 00:51:02.230
PERSON THAT LIKES TO WRITE THAT MUCH.
00:51:02.250 --> 00:51:05.180
- IT'S HYPOTHETICAL? - YEAH.
00:51:05.200 --> 00:51:07.180
- I WAS HOPING IT WAS RHETORICAL.
00:51:07.200 --> 00:51:10.020
- I DON'T KNOW THE DEFINITION SO
00:51:10.040 --> 00:51:11.130
YOU'RE GONNA HAVE TO EXPLAIN.
00:51:11.150 --> 00:51:13.040
- HYPOTHETICAL MEANS IT MAY OR MAY NOT HAVE BEEN
00:51:13.060 --> 00:51:15.100
ASKED. RHETORICAL MEANS IT DOESN'T REQUIRE AN ANSWER.
00:51:15.120 --> 00:51:18.020
THIS BEING AN INTERVIEW, I'M ASSUMING YOU WANT
00:51:18.040 --> 00:51:20.010
SOME KIND OF ANSWER, SO I WOULD SIMPLY SAY IN THE
00:51:20.030 --> 00:51:22.180
CONTEXT OF THE MEDIUM IN WHICH WE FIND OURSELVES
00:51:22.200 --> 00:51:25.290
PRESENTLY, IE THE VISUAL MEDIUM, I DON'T KNOW THAT
00:51:26.010 --> 00:51:30.130
WATCHING A MIDDLE AGED GUY WALK THROUGH LIFE
00:51:30.150 --> 00:51:33.090
WRITING THINGS DOWN WILL INSPIRE PEOPLE AT HOME TO
00:51:33.110 --> 00:51:38.030
YELL OUT SENTENCES LIKE HONEY GET IN HERE,
00:51:38.050 --> 00:51:41.200
HE'S WRITING!
00:51:41.220 --> 00:51:43.180
- BUT AGAIN, HYPOTHETICALLY, COULD YOU
00:51:43.200 --> 00:51:48.280
BE THE GUY THAT WANTS TO SIT AND WRITE AND
00:51:49.000 --> 00:51:53.230
WE DO A SHOW ABOUT IT.
00:51:53.250 --> 00:51:55.100
- YEAH. - OKAY.
00:51:55.120 --> 00:51:56.200
- HYPOTHETICALLY, LISTEN, AND I MEAN THIS
00:51:56.220 --> 00:52:00.130
WITH ALL MY HEART, WHETHER IT'S DIRTY JOBS--
00:52:00.150 --> 00:52:02.140
- THE CLIMAX IS OVER.
00:52:02.160 --> 00:52:03.230
YOU ALREADY SAID YEAH.
00:52:03.250 --> 00:52:05.140
- I HIT OIL AND I'M STILL DRILLING, RIGHT?
00:52:05.160 --> 00:52:08.060
ROOKIE MISTAKE!
00:52:08.080 --> 00:52:11.170
WE'RE IN THE CLOSE NOW. THEY'RE PROBABLY ROLLING
00:52:11.190 --> 00:52:13.030
CREDITS AND STUFF, RIGHT? SORRY.
00:52:13.050 --> 00:52:15.220
- SOMEBODY'S GOTTA DO IT WITH MIKE ROWE RIGHT HERE
00:52:15.240 --> 00:52:18.120
ON TBN, THE BOOK "THE WAY I HEARD IT", MIKE ROWE,
00:52:18.140 --> 00:52:22.140
RUNAWAY BEST SELLER NEW YORK TIMES.
00:52:22.160 --> 00:52:25.280
- HOW DO YOU KNOW WHERE TO LOOK IN?
00:52:26.000 --> 00:52:27.090
DO YOU LOOK HERE? THERE OR THERE?
00:52:27.110 --> 00:52:29.150
I LOVE COMING ON THIS SHOW BUT I NEVER KNOW
00:52:29.170 --> 00:52:34.060
WHERE TO LOOK. I DON'T KNOW WHERE TO LOOK.
00:52:34.080 --> 00:52:38.000
- SO I JUST WANT TO SAY THIS BOOK RIGHT NOW AS
00:52:38.020 --> 00:52:42.270
WE'RE TALKING IS TOP TEN NEW YORK TIMES
00:52:42.290 --> 00:52:46.220
BESTSELLING, IT'S ON ITS WAY TO NUMBER ONE.
00:52:46.240 --> 00:52:48.270
- WITH A BULLET.
00:52:48.290 --> 00:52:51.000
- OKAY, ON IT'S WAY TO NUMBER ONE.
00:52:51.020 --> 00:52:52.290
AND I JUST WANT TO SAY THANK YOU FOR THE
00:52:53.010 --> 00:52:57.150
COMPLEXITY OF WHO AND WHAT YOU ARE.
00:52:57.170 --> 00:53:00.240
AND NOW IF YOU'VE BEEN PAYING ATTENTION DURING
00:53:00.260 --> 00:53:03.080
THIS INTERVIEW, YOU'LL BE ABLE TO RESPOND IMMEDIATELY.
00:53:03.100 --> 00:53:06.020
- OKAY.
00:53:06.040 --> 00:53:07.010
- OKLAHOMA.
00:53:07.030 --> 00:53:08.120
- [SINGING] WHERE THE WIND COMES SWEEPING DOWN
00:53:08.140 --> 00:53:09.250
THE PLAIN, AND THE WAVING WHEAT CAN SURE SMELL
00:53:09.270 --> 00:53:12.110
SWEET WHEN THE WIND COMES RIGHT BEHIND THE RAIN!
00:53:12.130 --> 00:53:15.160
SOMETHING LIKE THAT.
00:53:15.180 --> 00:53:17.000
[SINGING] OKLAHOMA EVERY NIGHT, MY HONEY LAMB AND I.
00:53:17.020 --> 00:53:21.190
YOU KNOW, I MEAN I WANT TO THANK YOU FOR SEEING
00:53:21.210 --> 00:53:24.120
ME STANDING KNEE DEEP IN OTHER PEOPLE'S YOU KNOW
00:53:24.140 --> 00:53:27.270
WHAT AND NOT RUSHING TO JUDGMENT.
00:53:27.290 --> 00:53:30.250
I MEAN WHAT ARE THE ODDS THAT YOU'RE FLICKING
00:53:30.270 --> 00:53:32.130
AROUND AND YOU SEE ME IN A SEWER, AND THEN A
00:53:32.150 --> 00:53:34.170
COUPLE YEARS LATER HERE WE ARE SITTING ON A STAGE
00:53:34.190 --> 00:53:37.190
LIKE THIS HAVING A HIGH MINDED CONVERSATION.
00:53:37.210 --> 00:53:40.180
- THEN YOU'LL UNDERSTAND THIS.
00:53:40.200 --> 00:53:42.140
TO KILL A MOCKINGBIRD.
00:53:42.160 --> 00:53:45.250
- THAT'S NOT A MUSICAL.
00:53:45.270 --> 00:53:47.050
[LAUGHING]
00:53:47.070 --> 00:53:49.010
- YOU HAD ME FOR A MINUTE.
00:53:49.030 --> 00:53:50.150
YOU HAD ME FOR A MINUTE!
00:53:50.170 --> 00:53:52.110
THAT'S A GOOD! THAT WAS A GOOD ONE!
00:53:52.130 --> 00:53:54.200
HOW DO I NOT KNOW A SONG FROM TO KILL A
00:53:54.220 --> 00:53:56.040
MOCKINGBIRD, BUT THERE ARE NONE!
00:53:56.060 --> 00:53:57.240
- THERE ARE NONE.
00:53:57.260 --> 00:53:59.190
MIKE ROWE, WE'LL SEE YOU NEXT TIME.
00:53:59.210 --> 00:54:01.150
[MUSIC]
00:54:01.170 --> 00:54:09.290

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Praise | Mike Rowe | January 16, 2020

Praise | Mike Rowe | January 16, 2020

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Praise | Mike Rowe | January 16, 2020

Praise | Mike Rowe | January 16, 2020

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