This program was made possible by the Corporation for Public Broadcasting.

Additional funding provided by George Landecker and Diane Wallach.

I mean, it's just one shot after another.

It's like nothing I've ever seen.

When I was a child, we couldn't wait to get out on our road trip.

That's where I first saw America, with my great big eyes.

The back seat.

The whole back seat was mine.

And there was a miracle.

And that's really kind of where I became a nomad.

Somebody call me the other day, she said, you're 79 and I'm still going on the road trips.

43 years.

I started documenting America.

And it's it's really hard to believe that here I stand.

And then in about three days, I'm going to be finished with my study.

Fascinated by Crime Canyon.

You should be an American history, because this is a moment I might have to take a photo.

Them so fascinated by where we live and how we live and and the terrain.

And how could I do something this interesting?

Cross America for 43 years.

No way.

This is it.

When I get on the road, I'm on the road trip that I've had all my life.

If I came out today.

Now the problem is we're in Flagstaff, so we're three hours away.

If I came out today, could we need to get undercover?

We can't just go out there and it rains on us and that's a problem.

We exhibitions, but I think, well, what about it?

It was supposed to be boring.

Rain.

Okay, so just know we are coming.

I don't know how to get to you once I get there.

Oh, my phone out there.

Tempers say orange face bag.

I don't see it here.

It here.

Okay, so I need the orange phase back.

And the other.

That's it here.

And then I need to flash cards.

Oh, wait a minute.

Here.

Is that good?

Good.

You found it.

Yes.

Yay!

Okay, so we have two phase cameras.

We have one cannon, but I don't know where they chargers are.

So that's it?

We're just about ready.

Let me just think it through.

Oh, there it is.

Okay, let's do it.

Let's do it.

You feel better?

Okay.

You look like $1 million, I know.

Believe it snowed last night.

Isn't it incredible?

I first learned about Carol Highsmith's work when I became the 14th librarian of Congress in the Library of Congress.

Main cafeteria.

Carol's photographs that capture food and signs of restaurants from around the country are surrounding people.

There is a photograph that would always give me comfort, and it was a sign that just said Beautiful Color Cafe.

And it drew me because it's just striking visually.

And I finally one day went over there and it was a small town.

I thought, oh my goodness, I wonder what the cafe looked like.

Definitely what they were serving.

The understated beauty of people and places.

And you get that appreciation.

Wow, this is our country.

Look at that.

I already knew about the collections at the Library of Congress, mainly that they had the largest collection of this, the largest collection of that.

And I knew about the fact that they had the largest collection of photography in the United States and possibly the world.

What I didn't know was that they had copyright free, wonderful photographs for the public to use by Carol Highsmith.

Who is this person who would give such an archive to, really, the American people?

Ansel Adams claimed the landscapes.

Others have claimed people or professions, but Carol's sheer ambition and the work ethic to approach reaching that ambition are unique.

Carol has been visually documenting the late 20th and early 21st century America on behalf of the Library of Congress.

Her archive at the library includes all of it people, small towns, urban sprawls, national parks, rural landscapes, and roadside curiosities.

You get the picture.

I worry that all the cell phones and the computers are going to the dumpster, and we don't have scrap shot albums, and it will be harder to know about American Life Pictures.

Find their audiences.

There will be people who are not interested in Carol's work.

She doesn't care about contemporary art esthetics.

They are documents.

They are not as static creations in a way that much of contemporary art is how pictures are optimistic.

There are negative aspects of America that she is simply not going to cover.

Other people are covering them.

If they weren't, it would be a bigger problem.

She is preserving her perceptions of what the United States has been and is over a 40 year period, and historians will find that useful.

Now, the reason I did this.

Why did I go into photography?

Because that's me and my dad photographed me from the time I popped out.

I mean, it was constant 24 over seven super eight movies not to do everything you can imagine.

Look how proud he was of us.

So I look at the car in the background.

Oh.

I'm fun.

Oh, this is such a great.

It's such a great picture.

And I so remembered dad this way.

You know, he had on his dress coat and.

Oh, yeah, he did.

And to have snow in Minneapolis.

Dad took photographs of me and my sister Sarah, from the time we were born.

We never moved without him taking our photograph.

Never.

Then the super eight movies of me with my mother and my mother playing the ukulele, and me and my little cowboy outfit.

I was the black sheep because I had straight hair and I was a tomboy.

And I was always in trouble.

I listened to no one.

My sister was a movie star and I was a black sheep.

I love to play cowboys and Indians, but Carol was the one.

Had to always be the cowboy.

My parents would give me the shadow of the doubt because I was older, and then Carol would do it, and she just would be the kid.

And my parents didn't let her grow up.

Maybe Carol was always the underdog.

I think she dealt with that all through her years.

I didn't want to be like my sister.

I was just this little carefree oddball.

My dad sold bus systems to cities.

One time he had this bus that he brought home, and they took me to Billings, Montana, in the bus, and I had the entire back seat.

It was Utopia.

I loved it.

We went to Mount Rushmore and all drug the scenery and the excitement of leaving Minneapolis and then all that we saw along the way.

I would look out over America, and to me it was a dream.

I was just hooked.

I was a nomad from the moment.

Go.

I've been doing this for 42 years.

Sonny of America for.

There is no question that this project needs to be done.

We're lucky to be Americans, and we need to have a record of our times.

Oh.

Thank you.

Yes.

Oh.

But I think the story needs to be told that it was a it was not just this little kid just, oh, I'm going to go out into America.

And it all worked.

It didn't.

I was absolutely a child of the 60s.

No question.

Never entered in school.

Are you getting me out?

Boring.

It was going to be hopeless for me to get into college, so I kind of applied myself a little bit my senior year, and we got me in.

Now, the problem was that the school I went to, the college only the wettest and wilder school in America at the time.

Life magazine did an article about it, but it was wonderful.

Mark I met at Parsons College.

He was an artist, and I think he loved me because I was so fearfully.

And about two years later, we married.

Mark went to Vietnam, I believe, in 1967, 1968.

He regretted it.

It never really should have gone, and we probably could have gotten out of it.

We toyed with going to Canada.

So it was a very difficult decision.

It was a terrible thing.

I think there were things that Vietnam veterans saw that changed them.

They were never the same.

They never were.

I got a letter from him saying, I'm confused.

I don't know what to do.

I'm not sure where to turn, but I will always love you.

And I knew from that letter that he was he was in trouble.

And.

So what?

I heard the news, I. I know.

They said Mark Highsmith committed suicide at the Pennsylvania Academy of Fine Arts.

She called me and she just was broke down and told me about it, and it was just so sad.

He was a child of the 60s, and he went to the Vietnam War, and it destroyed him.

I could have just taken my own life that day and just said, okay, it's over.

My dad said, you can come home.

I'll put you through college.

I don't want to do that.

I wanted to be my own person.

At Hawaii tour.

But I don't want anybody else but the two of us in a helicopter.

It's going to be a documentary about me photographing American.

We are in Hana on Maui.

Saying things from the ground is one thing, but then seeing it, especially with an island that's 100% surrounded by the ocean, this is just a whole other thing.

Up 10,000ft.

It was unbelievable.

So many more waterfalls were not seen anywhere else and they were all just past.

I love it and I don't care if I'm 150 years.

Oh, I'm going to go on the I know, think I get all this.

Well why don't you see.

Oh.

Me who?

I love.

All of my my hair for my mother.

Love.

Sometimes I'm out shooting and I forget why this all came to be.

But then I get in front of the Willard Hotel, and all of this comes back to me, and I think, oh, my.

Of course.

How could I not be here?

I was pulled in.

I was sucked in.

I couldn't leave it alone.

All I thought about it was Francis Benjamin Johnson, the Willard Hotel, Washington, D.C.. The importance of this.

Finally, I started dating this man, and he was going to move to Washington, D.C., and I thought, well, I'll go and see if I can find a job down there.

I started working in sales.

I did so well because I was a little personality and I was always on the sunny side.

I won trips to China, to Russia.

This was in the 70s, so it had just opened up.

It's so different than anything I'd ever seen in a client.

When I went to Russia, gave me a camera, Pentax K 1000, kind of a dove.

Basics.

I didn't know anything about the camera.

You know, I just clicked.

Yeah, there were no techniques.

Of course you couldn't see what you were shooting.

You had no idea.

I came home a changed person.

I just thought, okay, this is it.

This is what I want to do forever.

I went to the Corcoran School of Photography at night and they gave us an assignment.

Come in with some interesting project that you've done and submit it.

So I thought, oh, what about getting into the Willard Hotel?

That's what I'll do.

The Willard Hotel is located about two blocks in the white House, and it was originally the hotel of presidents.

Various presidents had stayed there before.

They're not roll a Lincoln stayed there.

I knew that it had fallen into disrepair.

So I asked Elizabeth, my pretty friend, to go in with me, and she just kind of hidden crevices.

And I took photos of her in the rubble.

I didn't know how bad it was until I got in there.

We were shocked.

All natural light.

I brought in no lights.

It was learning how to bleed something in a got that A+ professor just couldn't stop talking about it.

So I thought, well, why don't I just ask if I can continue on and here and teach myself the lessons of photography, light and dark and art teaching myself how to see.

I go there every weekend, and then I'd come home and I'd look at everything.

I was all on film that I would go into the darkroom and I would develop.

So I learned all about the darkroom I'd spent, I don't know, two years before I saw a soul in there.

One day I saw this man walk through John Mariano's and he said, well, I'm going to restore the Willard Hotel.

And he was, as he's a little bit full of prints in his hand.

That was very unusual, that there were any interiors, because interiors were difficult and not really taken very often back then.

And there they were all they had to put the Willard Hotel back together again was Francis Benjamin Johnston's images.

And he said, you know, these photographs are down at the Library of Congress.

Well, I knew very little about the Library of Congress.

He said, why don't you and I meet tomorrow morning and we'll go and see these photographs?

Francis Benjamin Johnston was an American original.

She was born in 1864.

She went to the Academy Julian in Paris to learn painting.

It was one of the few schools that accepted women.

Frances got her first camera from George Eastman.

One of her big moments was Chicago Exposition.

She made these beautiful photographs, and her presidential portraits were important.

Johnston photographed McKinley just before he was shot.

Assassinated.

Her portrait of Mark Twain with his hair kind of looking like a halo.

Incredible.

It's true that there was a subculture, especially in photography, of women who were gay.

It was a scene Johnston was very familiar with.

She's in partnership with Mattie Hewitt.

She defied all norms.

That's what Francis Benjamin Johnston did.

No woman was carrying around an eight by ten camera.

A woman smoking, a woman drinking.

The self-portrait that Johnston made.

I used it for the cover of my biography of her because it's so iconic.

She's got her beer stein.

She's got a cigarette.

In the other hand, she was a big smoker.

You know, if you don't like, it's your problem, not mine.

I think that's a wonderful summary of how she wanted to live her life.

One thing about Johnston is that she needed to make a business out of everything.

She's hustling.

She has to hustle.

Most of the men.

They were wealthy.

She's always finding a way to make a living at it.

Johnston wasn't making an archive.

She was making a business and creating wonderful photographs.

But Carroll, in retrospect, could see the legacy she left.

I remember Carroll coming in looking for the Willard Hotel photographs.

I remember her expressing I want to do what Francis Benjamin Johnston did.

That's what really grabbed her.

Johnston did architecture, interiors.

She did gardens.

She did people as well.

She was a portraitist.

I looked at her photographs, and I realized what she had captured of her time in America was what we needed to learn all over again, how valuable all of that was.

The light in her eyes was clear and bright that this was where she wanted to head.

Into, and the French Quarter on Martha Street, a love of 32 were Francis, Benjamin Johnston.

Luke, listen to all.

There's no cars.

None.

Okay.

I'm ready.

About three blocks off, baby.

Two or bar, where she hung out.

Every day I come to New Orleans.

And because it still looks the same as when she was here.

I'm close by.

Francis.

Ready to Johnson, I really am.

I. Just a minute.

I hit the city.

I'm here.

Francis would love the way Carroll has this can do attitude.

I'll get that photograph.

Okay, guys, we got full clearance.

Wow.

From Newark to do everything we need.

One of the most remarkable stories is her funding herself, hiring a helicopter and photographing lower Manhattan.

A month or so before nine over 11.

Absolutely pristine view of lower Manhattan on the most perfect day in the history of the world.

And a month or so later, it's gone.

Is this not something the Library of Congress should have?

I don't think Francis Benjamin Johnston ever set out to create an archive for the nation that came very late in her life, when she was trying to decide what to do with her life's work, but that provided a good model for Carol.

Once we got the foothold in the library of her collection and the acceptance that her archive was going to come there, and the key thing in that was that it was rights free, which was absolutely unprecedented.

That made it doable with the library, which does have limited resources.

There were no photographers around that I had ever encountered who were willing to give up their rights.

He rubbed the little lamp 18 times and the genie never comes out.

And then the genie walks into your office.

This is her gift to the nation.

We do prioritize rights free because as a library, our purpose is share the pictures.

We also understand that for most contemporary living photographers, their copyright matters.

It's how they make their living.

Long comes Carol Highsmith, and her mission in life is to find funders and sponsors who will support her work, but make it possible for the pictures to come straight into the public domain.

By documenting the present, she's making sure that people can know the past in a way that only photography can communicate, because it freezes time.

People aren't telling you what to think.

They're showing you how it looked and let you make your own conclusions.

Somebody the other day said, you really shouldn't have done that.

You should have kept all your images.

I said to her, what would that have brought me?

Money?

Probably not.

Because, you know, images are great, but now of people are taking them.

You know what?

So what do I have in this wonderful little plate of goodies?

The library of Congress.

Hello.

I have a way to get across America.

A fascinating job.

Could anybody have done this?

Probably.

Maybe.

But you better damn well be ready to really push.

I'll do something.

I'll allow researcher to see if I can bring in something that's going to give me some boost, some real boost.

It's been a constant up and down for Carol to get the funding to.

To watch her dream develop.

Ted's just been an absolutely wonderful, wonderful soulmate for Carol.

I think Carol's where she is today, having Ted hold her hand as she's done it.

I had an opportunity to work at the Voice of America.

I was the Americana reporter and a friend.

Mutual friend said, well, you ought to have a drink with a friend of mine, Carol Highsmith.

And we sat across from each other, and she was at a point in her life where she also was looking for someone to spend her life with.

It was a match made in heaven because we compliment each other so much and we knew that instantly.

He is.

Oh, God sent.

What would I do without him?

He goes everywhere with me.

We've been married about 30 years.

He's fabulous.

He drives the car because if I drove the car, we'd still be back in Washington, D.C., waiting for the light to change.

We spend 2 to 300 nights a year in hotels.

In our lives together.

We've had some real valleys.

We've come near bankruptcy.

We've come near lost our home.

The library has found money to help support this effort.

But it's not assured.

We lose some sleep and the bills keep coming.

An easy life.

I mean, that's the American dream.

It's Carol's nightmare.

You have to be bold and believe in yourself.

I'm going to make it work if it's over my dead body.

Those who doubt me, those who don't think that my work is significant.

By God, I'm going to show it to you.

It is much like climbing the mountain behind me.

You go a little bit of a time.

You're not going to just go, okay, I'll just run up it and everything will be great.

Well, no.

It's complex.

Life is complex.

S photographs help you love the country in its complexity.

Because you get an understanding when you see native people in Arizona next to a photograph of people in Washington, D.C., at the restaurant, and you start looking at the fact that this is a big country but a diverse country.

And she captured that.

And there's a beauty in that.

I love this country, and this is my very favorite part, because it's still run by the Endless.

I just ignore it.

We are so lucky we still have this.

I mean, this is where they filmed most of the Westerns.

When you get something like this in your very favorite part, you can't describe it.

There's no there's no description for this.

I mean, here I am in my very favorite place, United States.

And it's magnificent.

And it's not raining.

That's incredible.

It was supposed to rain all day, and now it's dead.

We have shafts of light.

We have magnificent clouds.

They gave it.

They give the image great dimension.

So let's get a little closer to the edge.

Kind of go to where you need to go to get the best for the sun separation.

All right.

Look how beautiful this is.

Oh, oh, oh, and you're gorgeous too.

This is fabulous.

Thank you for waiting for us.

Look at you.

Oh, oh, I'm indebted to you for this.

Oh.

How beautiful.

You say?

I know I'm going to have my photo taken for his sake.

Now, let's hope the light stays on, y'all.

Where's the light?

Yeah.

It's going to be okay.

Can I come back out?

I need a line.

Oh.

You baby.

You know you have to be this way.

He over here originally and you're still here.

And it's not owned by the Park Service.

And you still own it.

And to me, that is fabulous.

I love that that's the whole reason that it's so emotional for me to be here is that.

That it's still belongs to you.

And that's huge to me now.

Maybe not to everybody.

To me, it does.

Ted always drives.

I'm in the back seat, working on the computer, looking out the window, and I see just the shot.

And it's maybe just one shot, but it's the best shot on Earth, and I have to get there.

I was told that there was a fire station in Ridgeway, Colorado, that John Wayne.

They made a movie there, and he put a little Cooper on top.

I thought, oh, I have to go photograph that.

Well, I did.

They said, there's a man down the street.

He makes Grammy Awards in his basement.

I thought, well, that'll be kind of fascinating.

I'll go see what he does.

Just beautiful.

Make sure your face.

Yeah.

Your face is getting totally lit.

It's a white cloth.

Is that coming back to reflect on your face?

So just gorgeous.

How long have you been making these friends?

It's going on.

Well, it's been 40 years.

Been 40 years.

And you, I believe, over apprentice, was apprenticed to the rich painter.

Isn't that something?

I got shot for.

But my question is, do you have an apprentice?

What I do.

There is no need for.

I mean, seriously, I'm a master.

Yes, and I just made a mold for the Dragon V2 space capsule that will carry astronauts to the space station.

And I use 200 year old techniques to make this back to the future.

Space caps.

Oh, the rocket engines on this space capsule are 3D printed.

They weren't cast, they weren't machined.

They were printed.

I see there is there's not going to be a need for me.

Okay, that's even more reason why you should be in American history.

Because this is a moment.

It's going to be gone.

Yes.

Just like so many things you and I have both saying, because we're the same age in our lifetime.

But at least, at least in a place of preservation like the Library of Congress, it will be be able to see.

Yeah.

And people can look at this and say, oh, that's what they look like.

Wow.

Oh just beautiful.

It is gorgeous.

You get people that can work with their hands and show you where they come from, and they're proud of their heritage.

And we are proud that they're proud because we are, too.

We're all Americans.

How are you doing?

I'm Carol.

Hi.

Pleased to meet you.

I'm chief Howard.

Yes, I was Mardi Gras in the tribe.

Well, this is one of the mighty soups that we have here, right?

It took nine months to a year to make one of these suits.

And every beat you see on here, every rhinestone you see on here, goes on.

And Neil it one at a time.

What does this cave stand for?

Food claims.

Oh, you know, here's what's happened here is that these dogs are were sent out for some runaway slave that ran away.

And as you can see, this one here is defending his lady.

And you also see the tears coming out of her eyes from her crying, from being hunted down.

So how many of these outfits have you made over time?

Let's say about 52.

I've been there since.

Since 1969.

I've been a part of the culture since I was a kid.

So you even did them when you were young.

You made.

When I first went, I made.

It didn't look like this, but I was about 13 years old.

Would you mind putting on the suit for us?

I know that's a lot to ask, but it would cheer me to lot.

Okay, I mind what I'm going to do it.

Look at this.

Oh, they're all in respect their stopping.

Oh, oh.

Oh.

It's gorgeous.

Oh, look.

I'm just floored.

I like that.

I like that a lot.

Let's take 2 or 3 little smiles.

Oh, Lord, look at this man.

This amazing neighborhood.

Yes.

For me?

Yes.

Tell me about it.

Because you grew up here.

It's.

The old neighborhood is so full of tradition and color and culture.

As you can see here, like with the church, bells are ringing.

Why is it while a preacher is wrong and the sisters moan in a blessed tone.

This is a church that I invoked when I said there was a the choir singing.

Yes, in the preacher is grown in while sisters moan in a blessed tone.

I used to pass this church on Sundays and it would be rocking.

Oh how fun to be walking in this one.

And another one that I was still sanding and hasn't fallen yet.

Well the steeple.

The steeple is not doing so well.

Well, so much shaking going on, you know.

Yeah, they rocket man.

He and my baby.

We're all going crazy for jumping ahead on that point.

And look, the bugs jumping and having seen people was always was bug jumping and bug jumping out of a horse.

That's bucking and jumping, right?

And that's one of the like when people are dancing, they bug jumping.

That's basically how fun.

This is.

This is you can't help it.

This is amazing.

God moves me.

Amazingly sad.

I was sitting here drinking coffee when the the brass band passed in front of my door the morning I wrote the song.

Steps by my foot in front of my door.

There's real mixed emotions about this, dad, you know.

It breaks my heart, man, because there's there's a lot of people who never return back to New Orleans.

We were just coming to this place, and that's climate change, displacement.

And this is what it looks like.

Yeah.

Oh, but there's still a lot of music, a lot of culture, and a lot of black people still here.

I do, however, I must admit, just adore this neighborhood.

Oh, see this place here?

Yeah.

Clark Terry, most incredible trumpet player, came in here.

And right in here.

This is where Tuba Fats used to live.

But we had a session with Clark Terry in every trumpet player in New Orleans.

Nicholas Payton was in here.

James Andrews, Schlumberger.

Shorty was in a room with a plastic horn.

Two miles.

Is that where you're going to put all.

Okay.

That's incredible.

I think this is a good idea.

They put this up after Katrina.

Now, remember, this is going down in history.

Yeah.

Thousands of years on this image.

And having fun.

Her and her willingness to see people, to actually see them and talk with them and be interested in them and that that warmth would just come through by the end of a session with talking with Carol, their hugs and her images were hugs down in the tramways.

Me and my baby.

We're all going crazy about jamming and having fun.

Down.

Naked girl.

You got it.

You got.

I'm good.

Good girl.

Against the Library of Congress.

Picture.

Three seven.

Oh, nice.

Hold on.

Okay, now.

All right.

500m.

That's great.

I am okay.

Hold on.

Okay.

Ready?

Okay.

Ready?

Ready?

That's it.

Yes.

Perfect.

One more.

Some more.

I travel across America.

Obviously, we all have various walks of life, but I see a huge similarity between all of us.

This is us at our best.

Yeah.

Grand Canyon.

The shafts of sun.

And they cause shadows everywhere.

And that makes it even more impressive.

This is an American masterpiece.

I'm looking at the Grand Canyon, and dying is what I'm doing.

I would have died had I not come.

Are you kidding me?

This is the point.

You want to show it uniquely?

You don't want to just show some old blue sky thing?

I've been there, done that.

You want to see the weather?

Life happens.

I mean, here we are traveling.

What?

200 days a year.

Do you think it's not gonna rain?

Then you think it's not going to be 150 degrees?

This is the life of a nomad who travels through America.

That's what we do.

I mean, look at this.

It's fog while you die for fog.

Are you kidding me?

You can't buy fog.

So now you know what we have to do.

We have to run down there as fast as we can because it's not raining.

It's fog.

And now we have to go in the fall.

Because of what?

Because what it's all about.

Oh, wait a little bit.

Oh my God.

Look the sun.

Look at that gorgeous rainbow.

I can bring that out.

Yes I can.

Regarding photography, it's very hard for me sometimes.

But you have to tell the truth.

Even if it hurts.

Maybe you want that sky from Nebraska that was out of this world that you captured to bring it into a Wyoming shot or a Arizona shot just to make it, you know.

Wow.

This is what I see.

And this is what you should see 100 or 1000 years from now.

And that's really important.

And sometimes, you know, some of my shots are maybe not as rich or amazing as they could have been.

Had I added something or changed something.

You should just cut all the time for me.

Forget the people out there.

Let's see here.

I want to take a lot.

I want to take a measurement.

I could not have won the jackpot more than I did when I met Ted.

Laughter.

Oh, here comes the teeth.

Yeah, it's actually seeing.

Kind of seeing better days, maybe.

Yeah.

Go.

We're at the exact same spot that we realize.

It's time to quiet down.

Just a touch.

Not because I'm going to be 80 or he's 82, but because maybe we need to stop and enjoy some life.

I don't know, the last day I've had off, I can't remember maybe 20 years.

One day, my birthday.

Christmas.

Nothing.

Not.

Go.

Here's the here's the thing about our cast is kind of remarkable.

Of our eight cats, one of them weighs less than 2 pounds.

This guy weighs 22 pounds.

When I first started my career, I worked mainly in film.

And so there's not only loads of film in the Library of Congress, but also in my archives.

This is one of my archives.

What my plan is, is to probably spend the next ten years going through all of this, every single image and making sure it's all preserved, and it really needs my hands on it.

So I can tell you what you're looking at, what the time period was.

All of it will be eventually scanned and made into digital files, but right now it's going to be just what you see.

And that is four by five film.

At least I have it.

That's the important thing.

She wants to leave a legacy like Francis Benjamin Johnston, which is a good model, but hers becomes more it becomes the whole country.

I think Carol's archive and working with Carol to help make it, is one of the most satisfying and rewarding things I've done for Carol and for myself, and for the Library of Congress.

At a time when we were thinking about what history means, how can it help us in the future?

We like to say there's hope in history to have a national library that is tasked basically with preserving and making accessible collective stories and histories of the people of the country means even more because you have a historical record.

Adams.

Adams.

So.

Okay, I'm overloaded with clothes, man.

I don't particularly care for small planes.

That is kind of where I draw the line.

But I have to get the job, so you take a chance.

Come on.

The emotion I feel is proud that I've come this far.

A little love caught up in emotion, yes, but that I actually continued.

No matter how hard it got.

I was young when I started all this and ran like the wind.

I'm so young because I think young.

How fun is that?

Oh man said that.

I have all that behind him.

Thank you.

Take me home to the play place I got was continue on my.

Take me home.

Thank you all.

I hear her voice in the morning hours.

She calls me the radio.

Reminds me of my home far away and try to down the road.

I get a feeling that I should have been home yesterday.

Yesterday.

Country road.

Take me home to the place I belong.

West Virginia mountain.

Mama, take me home.

Country road, country road.

Take me home.

This program was made possible by the Corporation for Public Broadcasting.

Additional funding provided by George Landecker and Diane Wallach.