“The goal in sacred story is always to come back home, after getting the protagonist to leave home in the first place! A contradiction? A paradox? Yes, but now home has a whole new meaning, never imagined before.” – Richard Rohr, Falling Upward: A Spirituality for the Two Halves of Life (pp. 87-88)
Growing up I associated two things with Nashville: Churches of Christ and country music. The former was familiar, but even as a young person I was drawn toward things that were unfamiliar. And the latter was something my dad listened to in the car (other than a brief Randy Travis stage, I did not choose to listen to a lot of country music). So I never pictured myself in Nashville.
But when our potential move emerged, I was surprised how much I was drawn to the city itself. It felt like I would learn a lot about myself in Nashville, who I am, where I come from, and the meaning of the word “home.”
Still, it was surprising to think that country music had a role to play. Sure, moving to ground zero of Churches of Christ would involve introspection, but country music? Somehow I just knew that would prove important, too. Little did I know that famed filmmaker, Ken Burns, was putting the finishing touches on a new documentary miniseries to help me out.
If you have not been following Country Music on PBS, I suggest you find a way to catch up. Simply learning that the banjo came from African slaves and the fiddle came from European immigrants in Appalachia was worth tuning in. Country music is just that—an amalgam of this complicated country—and learning its history is helpful in understanding America if nothing else.
I had unfortunately never heard of DeFord Bailey, the first performer ever introduced on what became known as the Grand Ole Opry, and a grandson of slaves, and a harmonica genius. In fact, it was after Bailey’s brilliant rendition of a train on the show in 1927 (following a show that ended with the New York Symphony’s version) that announcer George Hay said, “For the past hour, we have been listening to music largely from Grand Opera, but from now on, we will present ‘The Grand Ole Opry.’” Bailey was unceremoniously fired in 1941 and spent the rest of his life shining shoes to make a living.
And speaking of 1941, I learned that country music was the favorite choice of soldiers during World War II, which provided a stunning realization as to why my dad always tuned in on the radio when I was a child. Country music must have walked my dad and a lot of people through tough times—the Great Depression, and a world at war. I also learned that it was World War II that propelled the Grand Ole Opry past other radio “barn dances” to its worldwide prominence. According to Burns, Japanese soldiers in the South Pacific were heard saying, “To hell with Roosevelt; to hell with Babe Ruth, and to hell with Roy Acuff.”
I’m not sure what I am learning about myself just yet, so if you are expecting me to weave this together in a perfect harmony that just isn’t going to happen today. What I do know, however, is that the banjo and fiddle are apparently providing the music that is serenading me toward home.
“They appear on television so often that their faces are as familiar to the public as presidents and movie stars. They are the Dallas Cowboys, ‘America’s Team.’” 
I elbowed my way through afternoon L.A. traffic to begin a four-hour mountain drive that ended in a surprising thunderstorm and finally some peace and quiet. Early the next morning I drove the few remaining miles to my destination: Manzanar.
Starting to Look Up 