I learned how to drive a stick shift when I was 17 or 18 years old from my buddy Greg Moulton.

He was one of the nicest guys I've ever met, just a great guy.

And he had this old Ford Pinto, and we met up about four in the morning at Mr. D's

parking lot in the south side of Indianapolis.

And he taught me how to drive a stick shift.

So whenever I see a Ford Pino, I think at Greg, and it always brings back good memories.

I was driving through the neighborhood the other day, and I pulled up behind this Ford Pino.

It was just rusted out.

It looked like it'd seen much better days.

And I looked down, and I noticed it had a bumper sticker on it.

And a bumper sticker said,

I just filled up and doubled my car's value.

Yeah. doubled my car's value. Hi, friends, this is Otis Gibbs, and you're listening to Thanks for Giving a Dam.

I'm sitting here in my living room in East Nashville.

This is a personal journal. This is a bit of an experiment. I like to say right up front that I haven't the slightest idea what I'm doing but I decided to do it anyway.

And this show was founded with the idea that there are only two people in art that matter.

There's a creative individual and a person experiencing it. And everything else is an artificial filter.

This is a way for me to share things with you guys without any filters whatsoever.

My guess this week is John Lomax III.

John's a historian, a journalist, an author, a producer, a publisher, a photographer, and he's managed people like Towns Van Zant, Steve

Earl, and Casey Chambers.

I think it's fair to say that John's family has done more to shape American music as we know it than

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