1 00:00:00,733 --> 00:00:03,400 Vince: Tell me what's coming up today on "This Old House." 2 00:00:03,466 --> 00:00:05,133 Tom: Well, you, Mr. Vince Gill, 3 00:00:05,200 --> 00:00:06,900 are going to give me a tour of Nashville. 4 00:00:06,966 --> 00:00:08,366 You know anything about this place? 5 00:00:08,433 --> 00:00:09,900 Vince: I know there's six old hickories 6 00:00:09,966 --> 00:00:10,900 and you don't speed in Belle Meade. 7 00:00:10,966 --> 00:00:12,766 That's all I've ever learned. 8 00:00:12,833 --> 00:00:14,700 Tom: What does that mean? Vince: I'll tell you later. 9 00:00:14,766 --> 00:00:16,333 Richard: Here in Music City, U.S.A., 10 00:00:16,400 --> 00:00:18,300 is this drain line pitch-perfect? 11 00:00:18,366 --> 00:00:19,866 We'll find out. 12 00:00:19,933 --> 00:00:26,033 ♪♪ 13 00:00:26,100 --> 00:00:28,166 Man: Ahh. That's it. 14 00:00:28,233 --> 00:00:38,033 ♪♪ 15 00:00:38,100 --> 00:00:44,600 ♪♪ 16 00:00:46,933 --> 00:00:51,200 ♪♪ 17 00:00:51,266 --> 00:00:53,300 Kevin: Hey, there. I'm Kevin O'Connor. 18 00:00:53,366 --> 00:00:54,700 And welcome back to "This Old House" 19 00:00:54,766 --> 00:00:57,633 in East Nashville, Tennessee, where we are working 20 00:00:57,700 --> 00:01:01,500 for a young family of four on their 1929 cottage. 21 00:01:01,566 --> 00:01:04,500 This is the second floor, and if you recall, up here, 22 00:01:04,566 --> 00:01:07,600 well, it was pretty much just an attic space used for storage. 23 00:01:07,666 --> 00:01:10,000 And now, well, mostly living space. 24 00:01:10,066 --> 00:01:12,800 So, installation is in, board is up. 25 00:01:12,866 --> 00:01:15,900 And if you take a little tour of the living space, 26 00:01:15,966 --> 00:01:19,166 we've got a primary suite back here. 27 00:01:19,233 --> 00:01:21,133 Big bedroom, lots of light. 28 00:01:21,200 --> 00:01:23,900 We've got a primary bath in here. 29 00:01:23,966 --> 00:01:25,966 Now, the way we got all this extra space 30 00:01:26,033 --> 00:01:29,366 was by putting a dormer off the back of the house. 31 00:01:29,433 --> 00:01:31,600 That gave us all of this room, room for two bedrooms 32 00:01:31,666 --> 00:01:33,433 right here for the two kids, 33 00:01:33,500 --> 00:01:36,500 a big, open landing space here that can be play space, 34 00:01:36,566 --> 00:01:39,533 and a washer and dryer tucked into there, 35 00:01:39,600 --> 00:01:42,766 and a brand-new staircase down to our first floor. 36 00:01:43,700 --> 00:01:47,266 The first floor has been majorly reconfigured. 37 00:01:47,333 --> 00:01:49,333 There used to be a full bath right here 38 00:01:49,400 --> 00:01:51,633 with a bedroom for the kids behind this wall. 39 00:01:51,700 --> 00:01:54,500 Now we have got a half bath on the other side of this wall, 40 00:01:54,566 --> 00:01:56,466 and this space has all been opened up. 41 00:01:56,533 --> 00:01:59,000 So, dining room here, kitchen along this side. 42 00:01:59,066 --> 00:02:00,800 Pops, how are you? Tom: Good. How are you doing? 43 00:02:00,866 --> 00:02:02,766 Kevin: I'm doing alright. What are you working on? 44 00:02:02,833 --> 00:02:06,933 Tom: I'm actually working on recycling these old cedar posts 45 00:02:07,000 --> 00:02:08,400 that were holding the house up in the basement. 46 00:02:08,466 --> 00:02:09,533 Kevin: Ooh! I'm intrigued. 47 00:02:09,600 --> 00:02:10,433 I'll have to check back on that later. 48 00:02:10,500 --> 00:02:11,800 Tom: Alright. 49 00:02:11,866 --> 00:02:13,266 Kevin: Javi, how are you? Lyn, nice to see you. 50 00:02:13,333 --> 00:02:14,900 Lyn: Hey, Kevin. How are you? Kevin: Alright. 51 00:02:14,966 --> 00:02:16,433 Ooh! It came back, huh? Lyn: It did. 52 00:02:16,500 --> 00:02:17,966 The original telephone shelf. 53 00:02:18,033 --> 00:02:21,066 The owners wanted to reuse it, so we've installed it here, 54 00:02:21,133 --> 00:02:22,333 and we'll have the doorbell down here 55 00:02:22,400 --> 00:02:23,600 and a phone-charging station here. 56 00:02:23,666 --> 00:02:25,100 Kevin: Very clever. Nice touch. I love it. 57 00:02:25,166 --> 00:02:26,700 Javier: Thank you. Kevin: Alright. 58 00:02:26,766 --> 00:02:28,133 So, as you come to the front of the house, 59 00:02:28,200 --> 00:02:30,533 this is the front living room, completely unchanged. 60 00:02:30,600 --> 00:02:32,166 And what was the dining room 61 00:02:32,233 --> 00:02:33,566 is now going to become the music room, 62 00:02:33,633 --> 00:02:35,200 and what was a bedroom over there 63 00:02:35,266 --> 00:02:37,466 is now going to become the office. 64 00:02:37,533 --> 00:02:39,933 The front of the house and the facade -- no change at all, 65 00:02:40,000 --> 00:02:42,400 but big changes off of the back because of that dormer. 66 00:02:42,466 --> 00:02:44,900 So, the dormer pops up, but also gives us this 67 00:02:44,966 --> 00:02:48,033 little ceiling right here for a porch 68 00:02:48,100 --> 00:02:50,866 that runs left and right of the entire house. 69 00:02:50,933 --> 00:02:53,233 Let's just sit out here and look over a beautiful backyard, 70 00:02:53,300 --> 00:02:55,866 and beneath us, a new basement with mechanical space, 71 00:02:55,933 --> 00:02:57,300 finished space, and a plumber. 72 00:02:57,366 --> 00:02:58,300 Hey, Richard. Richard: Hey, Kevin. 73 00:02:58,366 --> 00:02:59,500 How are you? Kevin: Alright. 74 00:02:59,566 --> 00:03:01,233 Richard: So, this basement got higher, 75 00:03:01,300 --> 00:03:04,400 which gave us great advantage to run mechanical ductwork. 76 00:03:04,466 --> 00:03:06,166 Remember how low this building was? 77 00:03:06,233 --> 00:03:08,200 Now it's gone way up here. 78 00:03:08,266 --> 00:03:11,300 Now, our condenser is already connected outside, right here. 79 00:03:11,366 --> 00:03:14,333 We have our lines going up to our second floor. 80 00:03:14,400 --> 00:03:16,166 This goes to a condenser right here. 81 00:03:16,233 --> 00:03:19,900 These terminated lines go to the unit in the primary bedroom. 82 00:03:19,966 --> 00:03:21,366 So, one thing this building never had 83 00:03:21,433 --> 00:03:22,966 was a basement bathroom, 84 00:03:23,033 --> 00:03:25,166 and now it has a lavatory and a toilet right here, 85 00:03:25,233 --> 00:03:28,066 and that means that the drain lines run lower. 86 00:03:28,133 --> 00:03:30,333 It used to be that the drains would come to here, 87 00:03:30,400 --> 00:03:33,000 and they exited the building at a point right about here 88 00:03:33,066 --> 00:03:34,766 and the grade came to here. 89 00:03:34,833 --> 00:03:36,366 And then we looked at the new drain, 90 00:03:36,433 --> 00:03:37,566 which is down what? 91 00:03:37,633 --> 00:03:38,833 About 3 feet lower. 92 00:03:38,900 --> 00:03:40,600 And we said, "Well, wait a minute. 93 00:03:40,666 --> 00:03:42,000 We don't know where the sewer is out here. 94 00:03:42,066 --> 00:03:43,500 What if we don't have enough pitch 95 00:03:43,566 --> 00:03:46,333 to be able to get that water into the drain by gravity?" 96 00:03:46,400 --> 00:03:47,733 We really didn't want a pump. 97 00:03:47,800 --> 00:03:50,466 So, this was a week of exploration and excavation. 98 00:03:50,533 --> 00:03:52,633 So, Greg Slade is our plumber on this job. 99 00:03:52,700 --> 00:03:54,100 How are you, my friend? Greg: Hey, Richard. How are you? 100 00:03:54,166 --> 00:03:55,233 Richard: You've been busy out here. 101 00:03:55,300 --> 00:03:56,633 So, you dug it out to here. 102 00:03:56,700 --> 00:03:58,366 Greg: Yeah, we were digging and digging to see if, 103 00:03:58,433 --> 00:04:01,066 at some point, that pipe would fall deep enough 104 00:04:01,133 --> 00:04:04,066 to tie the newer, deeper sewer in, and it really wasn't. 105 00:04:04,133 --> 00:04:05,066 So it was still high, it was still high. 106 00:04:05,133 --> 00:04:06,166 Richard: Right, right. 107 00:04:06,233 --> 00:04:07,900 Greg: And we got all the way out here and 108 00:04:07,966 --> 00:04:09,866 we were still too high to tie into. 109 00:04:09,933 --> 00:04:11,366 Luckily, we went in just a little further 110 00:04:11,433 --> 00:04:14,400 and found that it dove down, and we were able to cut that off 111 00:04:14,466 --> 00:04:15,966 and give ourselves a nice low target 112 00:04:16,033 --> 00:04:17,266 that I think is going to work well 113 00:04:17,333 --> 00:04:19,066 for the new sewer to have the proper pitch. 114 00:04:19,133 --> 00:04:20,133 Richard: Thank goodness for that. 115 00:04:20,200 --> 00:04:22,700 So, how far are we from the house? 116 00:04:22,766 --> 00:04:26,333 Greg: It's about 73 feet, which, at an 1/8 inch per foot, 117 00:04:26,400 --> 00:04:28,233 means we got to fall at least 9 inches, 118 00:04:28,300 --> 00:04:29,966 at a minimum, from level. 119 00:04:30,033 --> 00:04:33,833 Richard: Okay. So, this level line will tell us a lot. 120 00:04:33,900 --> 00:04:37,233 So, if we start at the level point, 121 00:04:37,300 --> 00:04:38,800 this represents the bottom of the pipe. 122 00:04:38,866 --> 00:04:40,033 Greg: Yeah. 123 00:04:40,100 --> 00:04:41,400 Richard: And we have to go down by what? 9? 124 00:04:41,466 --> 00:04:44,400 Greg: Yeah, at least 9. Richard: So, let's call that 9. 125 00:04:44,466 --> 00:04:46,366 So, that's great. So we can get to this point, 126 00:04:46,433 --> 00:04:48,100 and then you can make the adapter to get to there. 127 00:04:48,166 --> 00:04:50,866 That's great. And this level line will also help establish 128 00:04:50,933 --> 00:04:53,600 what we need to do to scrape out the bottom of the trench. 129 00:04:53,666 --> 00:04:55,533 Greg: Yeah, it looks like the trench is done well, 130 00:04:55,600 --> 00:04:57,466 where it's not over-dug, and we just got a little 131 00:04:57,533 --> 00:04:59,133 hand scraping to get us to the level we need. 132 00:04:59,200 --> 00:05:00,833 Richard: And we don't want any extra undisturbed stuff, 133 00:05:00,900 --> 00:05:02,166 dirt underneath the pipe, right? 134 00:05:02,233 --> 00:05:03,233 Greg: That's correct, so I wouldn't want it 135 00:05:03,300 --> 00:05:04,533 any more dug than this. 136 00:05:04,600 --> 00:05:05,633 Richard: So we're gonna start from that end 137 00:05:05,700 --> 00:05:07,766 and work back, right? Greg: Yep. 138 00:05:11,500 --> 00:05:14,000 Richard: And the first fitting is an increaser, in this case, 139 00:05:14,066 --> 00:05:17,133 to go from 3-inch to the 4-inch. 140 00:05:17,200 --> 00:05:22,000 He's using a purple primer and a PVC cement. 141 00:05:30,200 --> 00:05:31,666 Greg: The "T" is the next thing we're gonna put 142 00:05:31,733 --> 00:05:33,033 on the end of this. 143 00:05:33,100 --> 00:05:34,766 Richard: Alright, we're putting primer and going to glue 144 00:05:34,833 --> 00:05:36,333 this clean-out fitting. 145 00:05:36,400 --> 00:05:38,100 The clean-out fitting is going to be exactly 146 00:05:38,166 --> 00:05:40,766 underneath the stair landing for future service, 147 00:05:40,833 --> 00:05:42,400 but out of sight. 148 00:05:42,466 --> 00:05:45,066 Greg: Give that a little twist and shove it on, we'll be good. 149 00:05:48,233 --> 00:05:51,166 Richard: In we go, spin. 150 00:05:52,533 --> 00:05:55,066 There it is. Greg: Like that. 151 00:05:55,133 --> 00:05:56,266 Richard: Okay. Greg: Lovely. 152 00:05:56,333 --> 00:05:58,933 Richard: 64 more feet. [ Chuckles ] 153 00:05:59,000 --> 00:06:06,966 ♪♪ 154 00:06:07,033 --> 00:06:14,700 ♪♪ 155 00:06:14,766 --> 00:06:16,700 Greg: Love it. Richard: Alright. 156 00:06:18,900 --> 00:06:20,900 Perfect. Perfect pitch. 157 00:06:20,966 --> 00:06:22,533 Greg: Alright. Richard: Thank you, my friend. 158 00:06:22,600 --> 00:06:24,333 Greg: Good job. Richard: It looks great. 159 00:06:24,400 --> 00:06:26,500 Let's backfill a little bit. 160 00:06:26,566 --> 00:06:32,666 ♪♪ 161 00:06:32,733 --> 00:06:34,333 Adam: Hey, Tommy. How are you? Tom: Hey, Adam. I'm good. 162 00:06:34,400 --> 00:06:35,866 How are you doing? Adam: Look at that. 163 00:06:35,933 --> 00:06:37,366 Tom: What do you think? 164 00:06:37,433 --> 00:06:39,300 Adam: I can't believe that was hiding in that old log. 165 00:06:39,366 --> 00:06:41,600 Tom: Yeah, these cedar logs have some nice wood in them, 166 00:06:41,666 --> 00:06:43,966 that's for sure. Adam: That is beautiful. 167 00:06:44,033 --> 00:06:45,233 Tom: And I'm really happy that you wanted to reclaim them 168 00:06:45,300 --> 00:06:46,900 and repurpose them. 169 00:06:46,966 --> 00:06:47,933 This is going to go in your kitchen island. 170 00:06:48,000 --> 00:06:49,066 There's two of them. 171 00:06:49,133 --> 00:06:50,833 And you wanted them on each corner 172 00:06:50,900 --> 00:06:52,766 of the outside part of the island. 173 00:06:52,833 --> 00:06:54,066 Adam: That's right. Tom: And it's tapered 174 00:06:54,133 --> 00:06:56,033 on four sides. Adam: Awesome. 175 00:06:56,100 --> 00:06:57,433 Tom: Ever done anything like this? 176 00:06:57,500 --> 00:06:58,766 Adam: I could use a refresher. Tom: Alright. 177 00:06:58,833 --> 00:07:00,033 That's always good. 178 00:07:00,100 --> 00:07:02,100 So, what we've done is, I've already made one. 179 00:07:02,166 --> 00:07:05,300 I've cut a log in half and I've set this one up 180 00:07:05,366 --> 00:07:07,866 and I've done one side of it real quick. 181 00:07:07,933 --> 00:07:10,300 So we're ready to basically true this one up 182 00:07:10,366 --> 00:07:12,266 to make it look like this one. 183 00:07:12,333 --> 00:07:13,600 Adam: Let's do it. 184 00:07:13,666 --> 00:07:15,966 Tom: Alright, what I did is, I attached a board 185 00:07:16,033 --> 00:07:17,600 to the side of the log 186 00:07:17,666 --> 00:07:20,333 and I put shims in it to give us a straight edge. 187 00:07:20,400 --> 00:07:22,466 So we want to run it through the saw 188 00:07:22,533 --> 00:07:25,433 as if it was like a sawmill cutting off a log. 189 00:07:25,500 --> 00:07:27,266 We shave the edge of it. 190 00:07:27,333 --> 00:07:29,300 So now I'm going to take and measure the dimensions 191 00:07:29,366 --> 00:07:30,400 that I have. 192 00:07:30,466 --> 00:07:31,666 Right here, that's about 6 1/8, 193 00:07:31,733 --> 00:07:32,933 but I want to take some off here, 194 00:07:33,000 --> 00:07:35,000 so I'm going to make it about 5 1/2. 195 00:07:35,066 --> 00:07:37,933 That will shave this off right here. 196 00:07:38,000 --> 00:07:41,666 Okay. I'll set my rip fence at 5 1/2. 197 00:07:44,133 --> 00:07:45,800 The blade on the table saw 198 00:07:45,866 --> 00:07:49,033 doesn't come up high enough to cut into this log, 199 00:07:49,100 --> 00:07:51,533 along with the filler that I have here. 200 00:07:51,600 --> 00:07:54,533 If we were to do this in a shop or something, 201 00:07:54,600 --> 00:07:57,700 you'd do it on a big bandsaw, but we're on the job site, 202 00:07:57,766 --> 00:07:59,700 so we got to make do with what we have. 203 00:07:59,766 --> 00:08:03,200 But first, we'll cut a nice straight groove into our log. 204 00:08:04,733 --> 00:08:06,533 With the reciprocating saw, 205 00:08:06,600 --> 00:08:09,633 I'll follow the groove to remove the remaining material. 206 00:08:15,300 --> 00:08:16,500 Now, to true up the cut, 207 00:08:16,566 --> 00:08:18,833 I'll hit it with my electric hand planer. 208 00:08:23,700 --> 00:08:25,366 Alright. Let's see what we have here. 209 00:08:25,433 --> 00:08:28,400 Now, we've got our two square edges 210 00:08:28,466 --> 00:08:29,900 that are pretty square right here. 211 00:08:29,966 --> 00:08:31,933 So we're going to use this edge and this edge 212 00:08:32,000 --> 00:08:36,133 to run against our rip fence to true up this side. 213 00:08:36,200 --> 00:08:38,033 We're still limited by our table saw, 214 00:08:38,100 --> 00:08:40,200 so I will make the cut, 215 00:08:40,266 --> 00:08:44,700 flip the piece over, and finish the face with another pass. 216 00:08:46,433 --> 00:08:49,233 I'll repeat the process to get our fourth side. 217 00:08:56,266 --> 00:08:59,866 Alright, to cut the taper, I took a scrap piece of siding 218 00:08:59,933 --> 00:09:04,133 and I cut a taper on it right here for the leg to sit in 219 00:09:04,200 --> 00:09:06,533 so all of the tapers will match. 220 00:09:06,600 --> 00:09:09,600 So, all I did is set the rip fence where it goes. 221 00:09:09,666 --> 00:09:12,666 I'll take the leg and hold it tight inside 222 00:09:12,733 --> 00:09:14,400 the tapering jig, like this. 223 00:09:14,466 --> 00:09:17,133 And when I push it, the taper will be cut. 224 00:09:18,900 --> 00:09:21,800 Alright, so, that's one of eight cuts that we have to make. 225 00:09:21,866 --> 00:09:25,566 So, now I can rotate it once, 226 00:09:25,633 --> 00:09:29,433 hold tight into the jig and send it through again. 227 00:09:35,100 --> 00:09:38,000 Now, that's one half of each side. 228 00:09:38,066 --> 00:09:41,000 So one side is tapered, one side is not. 229 00:09:41,066 --> 00:09:44,033 So what we have to do is do the same thing on each leg, 230 00:09:44,100 --> 00:09:47,266 but cut the other half of each cut. 231 00:09:47,333 --> 00:09:50,866 And to do that, I have to put my jig in, in reverse. 232 00:09:50,933 --> 00:09:53,266 Before, the end to push was up there. 233 00:09:53,333 --> 00:09:55,733 Now I'm going to push against the jig here, 234 00:09:55,800 --> 00:09:58,833 sending the leg through the opposite direction. 235 00:10:02,066 --> 00:10:03,533 Alright, so, let me show you what we did. 236 00:10:03,600 --> 00:10:09,400 We've cut the board using our guide and cut off two sides. 237 00:10:09,466 --> 00:10:14,400 Now, if I turn the leg, we now have a gap. 238 00:10:18,200 --> 00:10:21,266 Now it will stay in the position when we push it through. 239 00:10:24,766 --> 00:10:27,433 Alright, we're ready to start sanding. 240 00:10:27,500 --> 00:10:30,366 We'll start with 80-grit and work our way up. 241 00:10:35,800 --> 00:10:39,033 Nice job. Well, there you go. 242 00:10:39,100 --> 00:10:42,600 You have a couple of cedar legs for the end of your island. 243 00:10:42,666 --> 00:10:44,966 What do you think? Adam: These are awesome. 244 00:10:45,033 --> 00:10:46,466 Tom: Yeah, beautiful. Adam: It's beautiful. 245 00:10:46,533 --> 00:10:48,900 Tell you what, I can finish these up here and clean up. 246 00:10:48,966 --> 00:10:50,266 I know you've got someplace to be. 247 00:10:50,333 --> 00:10:52,533 Tom: I do. I just have to go visit a friend of mine, 248 00:10:52,600 --> 00:10:54,966 who just happens to be a country-western singer. 249 00:10:55,033 --> 00:10:56,433 Adam: Awesome. Tom: Alright, Adam, good luck. 250 00:10:56,500 --> 00:10:58,033 Adam: Thanks again. 251 00:10:58,100 --> 00:11:02,333 ♪♪ 252 00:11:02,400 --> 00:11:03,533 Kevin: Hey, guys. Rachel: Hi. 253 00:11:03,600 --> 00:11:04,966 Kevin: Hey, Adam, Rachel. How are you? 254 00:11:05,033 --> 00:11:06,300 Rachel: Great. I see you've met our designer, Debra. 255 00:11:06,366 --> 00:11:08,400 Kevin: Your designer and your neighbor. 256 00:11:08,466 --> 00:11:10,033 I didn't realize she was right here in the neighborhood, 257 00:11:10,100 --> 00:11:11,366 Debra: Right across the street. 258 00:11:11,433 --> 00:11:12,866 Kevin: This means she's got a vested interest 259 00:11:12,933 --> 00:11:14,333 in what you choose, because she's going to be looking at it. 260 00:11:14,400 --> 00:11:15,600 Debra: For sure. Rachel: Yep. That's right. 261 00:11:15,666 --> 00:11:17,033 Kevin: So, where did you steer them? 262 00:11:17,100 --> 00:11:18,766 Debra: Rachel and Adam have an awesome design sense. 263 00:11:18,833 --> 00:11:22,400 So they came to the table with a lot of great ideas anyway. 264 00:11:22,466 --> 00:11:23,933 They wanted a gray, 265 00:11:24,000 --> 00:11:26,833 but they were going really, really dark on the gray. 266 00:11:26,900 --> 00:11:30,433 So we thought, since you've got the boldness of the red brick, 267 00:11:30,500 --> 00:11:33,100 you've got black windows, black roof, 268 00:11:33,166 --> 00:11:34,500 let's do something a little lighter 269 00:11:34,566 --> 00:11:36,100 so there's some contrast. 270 00:11:36,166 --> 00:11:37,666 Kevin: So, just so that I understand, 271 00:11:37,733 --> 00:11:40,300 the body is the more stripes, 272 00:11:40,366 --> 00:11:41,566 and then the single stripe up top -- that represents a trim? 273 00:11:41,633 --> 00:11:43,066 Debra: That's right. 274 00:11:43,133 --> 00:11:45,566 Kevin: So seeing what's up here, do you guys have some thoughts? 275 00:11:45,633 --> 00:11:48,166 Maybe we start on the left, the lighter version here. 276 00:11:48,233 --> 00:11:50,266 Rachel: Yeah. Kevin: What do you think? 277 00:11:50,333 --> 00:11:53,833 Rachel: You know, I like it. I think it's a really nice color. 278 00:11:53,900 --> 00:11:55,766 Originally, one of my favorites, but... 279 00:11:55,833 --> 00:11:57,633 Adam: I wonder if it matches the foundation 280 00:11:57,700 --> 00:11:59,100 just a little bit too much. Rachel: I think so. 281 00:11:59,166 --> 00:12:01,700 Kevin: It is a close match to the concrete foundation. 282 00:12:01,766 --> 00:12:03,300 So maybe we move on to the next one. 283 00:12:03,366 --> 00:12:05,033 You get more pigment in that one, a little darker. 284 00:12:05,100 --> 00:12:06,633 Rachel: Yep. Kevin: Thoughts on that one? 285 00:12:06,700 --> 00:12:08,366 Rachel: I think it's great. I think it's really nice. 286 00:12:08,433 --> 00:12:09,833 Really nice color. 287 00:12:09,900 --> 00:12:11,233 A bit more contrast here, 288 00:12:11,300 --> 00:12:13,300 but still different from the windows and the roof. 289 00:12:13,366 --> 00:12:14,733 I think it's a great color. Kevin: We like "great." Adam? 290 00:12:14,800 --> 00:12:16,300 Adam: I like it. 291 00:12:16,366 --> 00:12:18,700 Kevin: Well, before you fall in love, we do have a darker one. 292 00:12:18,766 --> 00:12:21,133 It's up already, so let's at least consider it. 293 00:12:21,200 --> 00:12:22,666 Your thoughts? Rachel: Yeah. 294 00:12:22,733 --> 00:12:24,633 You know, originally, we were thinking even darker than this, 295 00:12:24,700 --> 00:12:26,266 but now that we see this up, I think, 296 00:12:26,333 --> 00:12:28,633 with the dark windows and the dark roof now, 297 00:12:28,700 --> 00:12:29,866 yeah, I think it'll be too much. 298 00:12:29,933 --> 00:12:32,066 So I think we really are leaning to this one. 299 00:12:32,133 --> 00:12:33,866 Kevin: I like that. You approve? Debra: Absolutely. 300 00:12:33,933 --> 00:12:35,733 And if we take a lighter trim 301 00:12:35,800 --> 00:12:38,000 and even a medium trim with this one, 302 00:12:38,066 --> 00:12:39,733 your black windows and your black roof 303 00:12:39,800 --> 00:12:41,566 are really going to pop, so the lines of the house 304 00:12:41,633 --> 00:12:43,100 are really gonna punch. Kevin: I love it. 305 00:12:43,166 --> 00:12:45,600 Alright, so, we got a -- Deb, if I could switch spots with you. 306 00:12:45,666 --> 00:12:48,400 You guys have got to think about a front door. 307 00:12:48,466 --> 00:12:51,433 So, three swatches in the blue category here. 308 00:12:51,500 --> 00:12:52,800 Rachel: Yes. 309 00:12:52,866 --> 00:12:55,333 Kevin: Let's start, I guess, maybe, with number one. 310 00:12:55,400 --> 00:12:57,600 If those are your body and trim colors, 311 00:12:57,666 --> 00:12:59,266 how do you feel about that for a front door? 312 00:12:59,333 --> 00:13:00,533 Rachel: I think it's just too bright. 313 00:13:00,600 --> 00:13:03,066 Kevin: Bright is out. What about this one? 314 00:13:03,133 --> 00:13:04,733 Rachel: It's a nice color. It's a nice blue. 315 00:13:04,800 --> 00:13:09,100 Not offensive at all. But I still don't -- I think -- 316 00:13:09,166 --> 00:13:10,566 Kevin: "Not offensive" is not what we're going for. 317 00:13:10,633 --> 00:13:11,900 Debra: Okay. Yep. 318 00:13:11,966 --> 00:13:15,400 Kevin: So, a little darker versus the medium tone. 319 00:13:15,466 --> 00:13:16,733 Rachel: See, I think I like this just that much -- 320 00:13:16,800 --> 00:13:17,833 a little bit better than that one. 321 00:13:17,900 --> 00:13:19,500 I think it's great. Kevin: Adam? 322 00:13:19,566 --> 00:13:21,233 Adam: They all kind of look the same to me. 323 00:13:21,300 --> 00:13:24,400 Kevin: Typical guy. Adam: I defer to the pros, yeah. 324 00:13:24,466 --> 00:13:26,066 Kevin: Deferring to the boss? Rachel: Yeah. 325 00:13:26,133 --> 00:13:28,866 Kevin: So, would you be comfortable living with that? 326 00:13:28,933 --> 00:13:30,400 Rachel: Yeah, I think it's great. 327 00:13:30,466 --> 00:13:31,900 Kevin: That's what we want. Rachel: Yeah, it's beautiful. 328 00:13:31,966 --> 00:13:33,933 Kevin: We like the decision. Thank you. Debra, appreciate it. 329 00:13:34,000 --> 00:13:35,100 We're glad you're in the neighborhood to help. 330 00:13:35,166 --> 00:13:36,200 Debra: Thank you. Rachel: Thank you. 331 00:13:37,433 --> 00:13:39,166 Tom: He's won more Grammys than any other 332 00:13:39,233 --> 00:13:42,233 male country-music artist ever, 333 00:13:42,300 --> 00:13:44,666 he has a star on the Hollywood Walk of Fame, 334 00:13:44,733 --> 00:13:46,933 and, oh, yeah, he has a reputation for being one 335 00:13:47,000 --> 00:13:49,500 of the nicest guys in Nashville. 336 00:13:49,566 --> 00:13:51,666 Vince Gill, country-music legend, 337 00:13:51,733 --> 00:13:54,366 famous for his world-class guitar playing 338 00:13:54,433 --> 00:13:56,266 and soulful songwriting, 339 00:13:56,333 --> 00:13:59,966 has volunteered to give me a tour of his favorite spots 340 00:14:00,033 --> 00:14:04,466 in town, starting with one of the most iconic stages in music. 341 00:14:04,533 --> 00:14:05,833 Vince: Hey, buddy. Tom: Hey, Vince, 342 00:14:05,900 --> 00:14:07,100 Vince: Welcome back. Tom: Good to see you again. 343 00:14:07,166 --> 00:14:08,666 Vince: Good to see you. Welcome to the Ryman. 344 00:14:08,733 --> 00:14:10,533 Tom: I've never been here. Vince: You've never been? 345 00:14:10,600 --> 00:14:12,866 Well, this building is synonymous with Nashville. 346 00:14:12,933 --> 00:14:14,766 You know, most people, when they think of 347 00:14:14,833 --> 00:14:18,533 Nashville, they think of music and they think of the Ryman. 348 00:14:18,600 --> 00:14:20,566 Tom: Oh, look at this. Vince: There you go. 349 00:14:20,633 --> 00:14:22,500 Tom: Wow! Vince: This is it right here. 350 00:14:22,566 --> 00:14:24,500 Tom: I love it. This is where it all happened. 351 00:14:24,566 --> 00:14:26,033 Vince: This is it. Come on. 352 00:14:26,100 --> 00:14:27,666 We'll have a seat, tell you a little bit about the Ryman. 353 00:14:27,733 --> 00:14:29,733 Tom: Alright. I was at the Grand Ole Opry 354 00:14:29,800 --> 00:14:31,900 a couple of times. I met you backstage. 355 00:14:31,966 --> 00:14:33,333 You were gracious enough to talk to me, 356 00:14:33,400 --> 00:14:35,166 but this is like a miniature. 357 00:14:35,233 --> 00:14:36,533 Vince: Yeah. You know, a lot of people 358 00:14:36,600 --> 00:14:39,033 don't realize this was built as a tabernacle 359 00:14:39,100 --> 00:14:40,266 when it was first built. 360 00:14:40,333 --> 00:14:42,966 It wasn't built to have the Grand Ole Opry here. 361 00:14:43,033 --> 00:14:47,333 The Grand Ole Opry wound up here in 1943, 362 00:14:47,400 --> 00:14:50,233 and then moved out to the Opry House in 1974. 363 00:14:50,300 --> 00:14:52,133 And so this was the home of the Opry 364 00:14:52,200 --> 00:14:54,566 for almost 30 years, 31 years. 365 00:14:54,633 --> 00:14:57,533 Tom: So that explains why all the seating is pews. 366 00:14:57,600 --> 00:14:59,933 Vince: Yeah, church pews. And they're very uncomfortable. 367 00:15:00,000 --> 00:15:01,400 [ Both laugh ] 368 00:15:01,466 --> 00:15:03,433 I've been to a million shows here myself, 369 00:15:03,500 --> 00:15:05,533 and my favorite seats are sitting in the center 370 00:15:05,600 --> 00:15:06,966 here in the balcony. 371 00:15:07,033 --> 00:15:09,300 I'd rather sit in the balcony than down on the floor, 372 00:15:09,366 --> 00:15:10,700 'cause the stage is raised. 373 00:15:10,766 --> 00:15:13,500 And it's just -- It's magnificent here. 374 00:15:13,566 --> 00:15:15,033 It's my favorite place to play. 375 00:15:15,100 --> 00:15:17,333 Tom: I read that you've played here more than anybody else. 376 00:15:17,400 --> 00:15:19,000 Vince: I don't know about that, but Amy and I 377 00:15:19,066 --> 00:15:23,100 have been doing Christmas shows in Nashville for over 30 years. 378 00:15:23,166 --> 00:15:24,433 It's how we met. 379 00:15:24,500 --> 00:15:26,300 And we do a dozen Christmas shows every year. 380 00:15:26,366 --> 00:15:30,300 So, I think we just finished over our 100th show here. 381 00:15:30,366 --> 00:15:32,533 Tom: Congratulations. Vince: Yeah. It's magical. 382 00:15:32,600 --> 00:15:34,700 Tom: Why is this place so special to you? 383 00:15:34,766 --> 00:15:36,766 Vince: I think because the building 384 00:15:36,833 --> 00:15:40,333 was originally intended to save souls. 385 00:15:40,400 --> 00:15:43,766 Tom: Yeah. Vince: So that's pretty simple. 386 00:15:43,833 --> 00:15:44,900 Tom: Right, right. 387 00:15:44,966 --> 00:15:47,000 Vince: Its intention was beautiful. 388 00:15:47,066 --> 00:15:51,466 So, to me, this is my church. This is where I feel like -- 389 00:15:51,533 --> 00:15:52,533 feel like home. 390 00:15:52,600 --> 00:15:54,133 Tom: Yeah. It makes perfect sense. 391 00:15:54,200 --> 00:15:55,533 Well, I hope to see a show here someday, 392 00:15:55,600 --> 00:15:57,000 but in the meantime, I get -- 393 00:15:57,066 --> 00:15:58,500 You have a pretty busy day for us. 394 00:15:58,566 --> 00:15:59,900 Vince: Yeah, we're going to go have some fun. 395 00:15:59,966 --> 00:16:01,700 We're going to go get a cheeseburger at Brown's Diner. 396 00:16:01,766 --> 00:16:02,966 It's legendary. 397 00:16:03,033 --> 00:16:04,100 Tom: All right, well, I'm hungry, so let's go. 398 00:16:04,166 --> 00:16:06,766 Vince: Alright, come on. I'm buying. 399 00:16:06,833 --> 00:16:10,166 Tom: Vince, when did you start actually playing music? 400 00:16:10,233 --> 00:16:12,400 I mean, at a young age? 401 00:16:12,466 --> 00:16:17,666 Vince: Man, I don't remember a time when I didn't. 402 00:16:17,733 --> 00:16:21,666 My mom has a picture of me when I was about a year and a half, 403 00:16:21,733 --> 00:16:26,833 2 years old, and I'm asleep on a couch, facedown, 404 00:16:26,900 --> 00:16:30,266 and I've got my arm around a little guitar. 405 00:16:30,333 --> 00:16:33,133 So I think I was always meant to play. 406 00:16:35,666 --> 00:16:39,966 And This is our crazy Broadway. Tom: This is a crazy street. 407 00:16:40,033 --> 00:16:42,600 Vince: Yeah, there's a bar every 6, 8 feet. 408 00:16:42,666 --> 00:16:44,900 This is the arena 409 00:16:44,966 --> 00:16:46,766 where the hockey team plays and a lot of concerts, 410 00:16:46,833 --> 00:16:50,733 Bridgestone Arena, and I got to be a part of 411 00:16:50,800 --> 00:16:52,166 picking the design. 412 00:16:52,233 --> 00:16:53,833 Tom: Oh, that's an honor. Vince: It was really fun. 413 00:16:53,900 --> 00:16:58,700 The one we picked was the only one that faced the Ryman. 414 00:16:58,766 --> 00:17:00,533 That was -- To me, it was a little bit of an homage 415 00:17:00,600 --> 00:17:02,000 to the old part of Nashville. 416 00:17:02,066 --> 00:17:03,966 And this is the circular drive 417 00:17:04,033 --> 00:17:07,866 that's really the few streets that are Music Row, you know? 418 00:17:07,933 --> 00:17:10,133 Owen Bradley. This is Owen Bradley Park. 419 00:17:10,200 --> 00:17:11,666 That's him at the piano. Tom: Yeah. 420 00:17:11,733 --> 00:17:15,166 Vince: One of the first really great producers in Nashville 421 00:17:15,233 --> 00:17:17,766 that produced Patsy Cline and countless others. 422 00:17:17,833 --> 00:17:22,766 And him and Chet Atkins were the two mainstays, 423 00:17:22,833 --> 00:17:27,033 producers that kind of helped put us on the map, musically. 424 00:17:27,100 --> 00:17:28,400 Tom: Chet Atkins. Vince: Yeah. 425 00:17:28,466 --> 00:17:29,900 He was such a sweet friend of mine. 426 00:17:29,966 --> 00:17:32,000 Let's go inside. You got to see the old place. 427 00:17:32,066 --> 00:17:33,300 Tom: Okay. I want to. Vince: It's really great. 428 00:17:33,366 --> 00:17:35,200 Tom: I love these old diners. 429 00:17:35,266 --> 00:17:36,900 Vince: This is the original. 430 00:17:36,966 --> 00:17:38,266 There's all there was is just this. 431 00:17:38,333 --> 00:17:39,733 Tom: This part right here? Vince: Uh-huh. Yeah. 432 00:17:39,800 --> 00:17:41,733 Tom: Little, wasn't it? Vince: It was. 433 00:17:41,800 --> 00:17:44,066 Tom: So, why is this place so famous? 434 00:17:44,133 --> 00:17:46,066 Vince: I think 'cause it's normal. 435 00:17:46,133 --> 00:17:47,433 Tom: Yeah. 436 00:17:47,500 --> 00:17:50,066 Vince: You know, I think the best places usually are. 437 00:17:50,133 --> 00:17:51,800 This place is friendly. 438 00:17:51,866 --> 00:17:55,633 I got a new song on my next record I'm going to put out. 439 00:17:55,700 --> 00:17:58,233 It's called Brown's Diner Bar. Tom: Maybe I can get a little... 440 00:17:58,300 --> 00:17:59,700 Vince: Yeah, it's sweet. It's... 441 00:17:59,766 --> 00:18:02,866 It starts off saying, "Brown's Diner Bar. 442 00:18:02,933 --> 00:18:05,333 It's my favorite in town. 443 00:18:05,400 --> 00:18:07,666 Back when I drank beer, I poured quite a few down." 444 00:18:07,733 --> 00:18:09,300 Tom: [ Laughs ] 445 00:18:09,366 --> 00:18:12,466 Vince: "The burgers are greasy, they still taste the same. 446 00:18:12,533 --> 00:18:16,066 Almost 100 years old, and not much has changed. 447 00:18:16,133 --> 00:18:18,166 So many memories in those 40-some years. 448 00:18:18,233 --> 00:18:20,700 But the one that sticks with me still brings me to tears. 449 00:18:20,766 --> 00:18:24,000 The night John Prine was singing on the jukebox. 450 00:18:24,066 --> 00:18:29,233 And Mama danced with Hal Ketchum in the parking lot." 451 00:18:29,300 --> 00:18:31,133 That's who's waiting on us is Mama. 452 00:18:31,200 --> 00:18:32,333 Tom: Oh, wow. It means a lot to you. 453 00:18:32,400 --> 00:18:33,466 Vince: Yeah, it does. 454 00:18:33,533 --> 00:18:36,500 Music is -- It's everything to me. 455 00:18:36,566 --> 00:18:38,433 It's my language. Tom: Yeah. 456 00:18:38,500 --> 00:18:40,233 Mama: Cheeseburger? Vince: That's for me. 457 00:18:40,300 --> 00:18:41,700 Cheeseburger, fries. Mama: No onions? 458 00:18:41,766 --> 00:18:44,566 Vince: No onions. Nice to be remembered and loved. 459 00:18:44,633 --> 00:18:45,666 Mama: Always. 460 00:18:45,733 --> 00:18:47,266 Vince: You know I don't like onions. 461 00:18:47,333 --> 00:18:48,866 Tom: I'll have a cheeseburger and onions. 462 00:18:48,933 --> 00:18:50,233 Mama: Thank you. Vince: Thank you, darling girl. 463 00:18:50,300 --> 00:18:52,200 Mama: I'll get your food. Tom: Thank you, dear. 464 00:18:52,266 --> 00:18:56,533 Mama: One cheeseburger with tomato and onion. And fries. 465 00:18:56,600 --> 00:18:58,833 Tom: Look at you. Mama: Extra napkins. 466 00:18:58,900 --> 00:19:00,833 Vince: Lookee there. Mama: One no onions. 467 00:19:00,900 --> 00:19:02,433 Vince: Thank you, beautiful. Tom: Thank you, dear. 468 00:19:02,500 --> 00:19:05,100 Mama: Thank you. Y'all enjoy. 469 00:19:05,166 --> 00:19:07,000 Tom: Alright, Vince, I'm gonna give this a shot. 470 00:19:07,066 --> 00:19:08,900 Vince: Okay. Tom: Let's see how you did. 471 00:19:08,966 --> 00:19:11,233 Vince: Don't be too harsh. 472 00:19:12,466 --> 00:19:14,866 Tom: Ooh! Vince: [ Laughs ] 473 00:19:14,933 --> 00:19:17,033 Is that a good "ooh"? Tom: Perfect. It's perfect. 474 00:19:17,100 --> 00:19:18,300 [ Both laugh ] 475 00:19:20,766 --> 00:19:22,933 Alright, Vince, where we heading to now? 476 00:19:23,000 --> 00:19:26,100 Vince: Man, I'm taking you to the mecca of all guitar shops. 477 00:19:26,166 --> 00:19:29,466 George Gruhn has a shop that he's had here since, 478 00:19:29,533 --> 00:19:30,766 I think, 1970. 479 00:19:30,833 --> 00:19:33,000 We've been friends since I was 18 years old, 480 00:19:33,066 --> 00:19:37,066 and I've bought an awful lot of guitars from him over the years. 481 00:19:37,133 --> 00:19:38,400 Tom: Yeah. 482 00:19:38,466 --> 00:19:40,466 Vince: He lives in a nice house because of me. 483 00:19:40,533 --> 00:19:42,066 [ Both laugh ] 484 00:19:42,133 --> 00:19:46,300 We went down 17th earlier, a big part of Music Row. 485 00:19:46,366 --> 00:19:49,133 This is 16th Avenue, where the little houses 486 00:19:49,200 --> 00:19:51,000 like that would be great publishing houses. 487 00:19:51,066 --> 00:19:52,133 Tom: Yeah. 488 00:19:52,200 --> 00:19:54,766 Vince: Might be a studio in there. 489 00:19:54,833 --> 00:19:57,333 And there's a million studios along here. 490 00:19:57,400 --> 00:19:59,933 Tom: This looks like the place. Vince: This is it. 491 00:20:00,000 --> 00:20:02,100 Tom: Ooh! Watch out for the cat. 492 00:20:02,166 --> 00:20:04,533 Vince: Alright. Hi, kitty. Tom: Oh, my gosh. Look at these. 493 00:20:04,600 --> 00:20:06,366 Vince: Welcome to Gruhn Guitars, my friend. 494 00:20:06,433 --> 00:20:07,766 Tom: Look at all these guitars. 495 00:20:07,833 --> 00:20:09,166 Vince: These are all mandolins here. 496 00:20:09,233 --> 00:20:11,633 Bill Monroe played. Tom: Oh, yeah, yeah. 497 00:20:11,700 --> 00:20:13,400 Vince: And George Gruhn owns this shop. 498 00:20:13,466 --> 00:20:16,966 George and I have been friends since 1975. 499 00:20:17,033 --> 00:20:18,233 Tom: Well, I mean, look at all these guitars. 500 00:20:18,300 --> 00:20:20,000 Where do they come from? Where does he get them? 501 00:20:20,066 --> 00:20:21,966 Vince: Well, people bring them in and consign them. 502 00:20:22,033 --> 00:20:24,600 He buys them and sells them and has been doing it, 503 00:20:24,666 --> 00:20:28,666 like I said, for 50-something, 55 years almost now. 504 00:20:28,733 --> 00:20:30,000 Tom: Yeah. 505 00:20:30,066 --> 00:20:32,066 Vince: These are all old Fender Stratocasters. 506 00:20:32,133 --> 00:20:35,066 Tom: Stratocasters? Vince: Fender Stratocaster. 507 00:20:35,133 --> 00:20:36,833 Right there on the... Tom: Yep. 508 00:20:36,900 --> 00:20:41,100 Vince: And they started making these in 1954 509 00:20:41,166 --> 00:20:42,633 and still make them to this day. 510 00:20:42,700 --> 00:20:46,033 Some jazz boxes, arch tops. Tom: You call them jazz boxes? 511 00:20:46,100 --> 00:20:48,200 Vince: Yeah, that's what the jazz guys play. 512 00:20:48,266 --> 00:20:49,466 Tom: Yeah. Vince: These old Gibsons. 513 00:20:49,533 --> 00:20:51,266 This is a '59, I think. 514 00:20:51,333 --> 00:20:53,633 Tom: This one right here -- $22,000. 515 00:20:53,700 --> 00:20:56,100 Vince: Uh-huh. That one's 115. Tom: Which one? 516 00:20:56,166 --> 00:20:58,366 Vince: That blonde one. This one right here. 517 00:20:58,433 --> 00:21:00,300 Tom: Wow. Oh, this row. 518 00:21:00,366 --> 00:21:02,233 Vince: Around the corner, they got a bunch of banjos. 519 00:21:02,300 --> 00:21:03,400 Tom: I see that. Look at this one right here. 520 00:21:03,466 --> 00:21:04,600 Vince: Yep. Tom: It's beautiful. 521 00:21:04,666 --> 00:21:06,233 And the cool thing about old instruments is 522 00:21:06,300 --> 00:21:07,400 they appreciate in value. 523 00:21:07,466 --> 00:21:08,800 A lot of people don't realize that. 524 00:21:08,866 --> 00:21:11,200 They just think they're crazy-expensive, 525 00:21:11,266 --> 00:21:13,766 but sometimes, for banjo or guitar, 526 00:21:13,833 --> 00:21:16,400 it's in really, really, really great condition, 527 00:21:16,466 --> 00:21:20,233 it'll bring more money because it hadn't been messed with. 528 00:21:20,300 --> 00:21:23,500 I know this kid. Tom: Yeah. 529 00:21:23,566 --> 00:21:24,800 Vince: Hey, Ali Brown. Alison: Hey, Vince. 530 00:21:24,866 --> 00:21:26,366 How you been, buddy? Good to see you. 531 00:21:26,433 --> 00:21:27,366 I know you know this fella, Tommy. 532 00:21:27,433 --> 00:21:28,466 Tom: Hey, Alison. 533 00:21:28,533 --> 00:21:29,900 Alison: It's great to see you again. 534 00:21:29,966 --> 00:21:31,800 Tom: You helped us out at the Station Inn. 535 00:21:31,866 --> 00:21:34,833 And I understand that you're a world-class banjo player. 536 00:21:34,900 --> 00:21:36,766 Alison: Maybe according to some. Tom: Can you guys play us out? 537 00:21:36,833 --> 00:21:38,033 Vince: Yeah. Tom: Alright. 538 00:21:38,100 --> 00:21:39,700 Vince: Let's play one. How about "John Henry"? 539 00:21:39,766 --> 00:21:41,000 Alison: Yeah. Vince: Alright. 540 00:21:41,066 --> 00:21:46,033 ♪♪ 541 00:21:46,100 --> 00:21:51,033 ♪♪ 542 00:21:51,100 --> 00:21:56,033 ♪♪ 543 00:21:56,100 --> 00:22:00,400 ♪♪ 544 00:22:00,466 --> 00:22:01,633 Tom: Thanks for a wonderful day. 545 00:22:01,700 --> 00:22:03,700 Vince: Thanks for letting me be on your show. 546 00:22:03,766 --> 00:22:05,900 It was fun. What a great day. 547 00:22:05,966 --> 00:22:08,866 ♪♪ 548 00:22:08,933 --> 00:22:10,566 Kevin: Tommy, you got quite the tour, huh? 549 00:22:10,633 --> 00:22:13,066 V.I.P. treatment. Tom: Yeah. Vince was great. 550 00:22:13,133 --> 00:22:15,966 He's a regular guy and he's a great storyteller. 551 00:22:16,033 --> 00:22:17,200 Kevin: No surprise you guys hit it off, right? 552 00:22:17,266 --> 00:22:18,400 Tom: Yeah. [ Laughs ] 553 00:22:18,466 --> 00:22:20,200 Kevin: Hey, Jenn! Welcome. Jenn: Thank you. 554 00:22:20,266 --> 00:22:21,933 Kevin: Alright. What are you here for? 555 00:22:22,000 --> 00:22:24,200 Jenn: Oh, I'm just finalizing the landscape plans. 556 00:22:24,266 --> 00:22:25,433 We got to do a little cleanup first, though. 557 00:22:25,500 --> 00:22:26,366 Kevin: Yeah. That means we're getting close. 558 00:22:26,433 --> 00:22:27,900 Jenn: Yep. 559 00:22:27,966 --> 00:22:30,500 Kevin: For all of us here in Tennessee, I'm Kevin O'Connor. 560 00:22:30,566 --> 00:22:31,533 Tom: I'm Tom Silva. Rachel: I'm Rich Trethewey. 561 00:22:31,600 --> 00:22:32,900 Jenn: I'm Jenn Nawada. 562 00:22:32,966 --> 00:22:34,033 Kevin: For "This Old House" here in Nashville. 563 00:22:34,100 --> 00:22:35,466 He's hanging out with Vince Gill. 564 00:22:35,533 --> 00:22:36,400 Rachel: I was jealous of you. Jenn: I know. Not bad. 565 00:22:36,466 --> 00:22:37,733 Tom: I had a great tour. 566 00:22:41,833 --> 00:22:43,933 Kevin: Next time on "This Old House"... 567 00:22:44,000 --> 00:22:45,300 We are going to install a new composite deck 568 00:22:45,366 --> 00:22:47,800 with the help from a familiar face. 569 00:22:47,866 --> 00:22:49,900 Man: And the nice thing about the porch-floor product 570 00:22:49,966 --> 00:22:52,166 is that when you look up from the bottom of this, 571 00:22:52,233 --> 00:22:53,933 it'll look nice and consistent and there won't be any debris 572 00:22:54,000 --> 00:22:55,300 that falls through. 573 00:22:55,366 --> 00:22:56,466 Kevin: Because it's tongue and groove. 574 00:22:56,533 --> 00:22:57,833 Man: Exactly. Yeah. 575 00:22:57,900 --> 00:22:59,666 Jenn: I'm here at a local landscape-design-build 576 00:22:59,733 --> 00:23:02,200 garden center that's helped Rachel bring the vision 577 00:23:02,266 --> 00:23:04,266 for her front yard to life. 578 00:23:04,333 --> 00:23:07,133 Kevin: And we're creating shelter from the storms 579 00:23:07,200 --> 00:23:09,500 by building a residential safe room.