RHIANNON GIDDENS: You know, where it is the banjo. Like, what could they possibly have in common? NAJI ABUMRAD: A new -- it was a new beginning. Comes from the mountains of North Carolina. JAD: Another thing he told me which I also didn't know, is that when we first moved to Tennessee -- he told me this when we were driving -- during the Iran hostage crisis when I would have been about seven ... NAJI ABUMRAD: We used to get -- several times people would be driving by and would throw rocks on our windows. I always wondered -- part of the -- part of what I've been wondering about is like, Dolly has -- her whole world is built on looking back at her home, Tennessee mountain this and that. She says she was riffing off a version by singer Sheila Kay Adams, but on Rhiannon's record she's accompanied by a guy named Francesco Turrisi who is playing the Iranian frame drum called the daf. BRIAN SEAVER: And that's the church bell. There are four episodes up there. I think that sometimes we give ourselves too much credit for having entered the age of globalization. And I looked at her and I shook my head no. If you've ever listen to somebody sing 14 verses of an Appalachian ballad, that's trance. So technically, if you want to split hairs this is the reconstructed semi-original house that the Dollywood copy is based on. JAD: Oh, did you say watch out for snakes? Meaning immigrant music. By submitting your information, you're agreeing to receive communications I'm your father. And we talk about that. Like, when you talk origins, it becomes a conversation about who owns it. Back on the mountaintop, standing under the rain by the Little Pigeon River, the trip triggers memories of Jad’s first visit to his father's childhood home, and opens the gateway to dizzying stories of music and migration. And that's the first time I also had a banana, and I loved them. Like, if you listen to the style of singing, the way the singers bend the notes up and down, you hear that same singing style and Appalachian balladry and the modes. And it's got space travel, and a stay at a communist labor camp, and electroshock therapy is in there and plenty of Cuban coffee. JAD: Now I work in radio, so perhaps this is a convenient metaphor, but I think about that radio, that little radio in his village. Special thanks to the folks at Sony and Melissa Cusick at Nonesuch Records. Moss-filled, framed box sign with white logo on walnut plank wall for the San Francisco office of Benchling, a unified platform to accelerate, measure, and forecast R&D from discovery through bioprocessing. As Dolly's reach has expanded and expanded to talk to so many different kinds of people, sometimes the conversations get tricky. Don't do that! "No." JAD: And I thought back to a conversation I'd had with Helen Morales who wrote that book Pilgrimage to Dollywood, it's been a real guide on this project. DOLLY PARTON: And so when they rushed me to the emergency room, he came to the emergency room. I'd referred to it earlier as Tennessee Valhalla. You just click, you just feel like you know them. This is Radiolab.

He played the piano and he'd sing or he'd play the guitar.]. In the last episode, we arrived at the place where Dolly left and has been singing about for 50, 60 years. Illuminated, neon-style jellyfish on moss wall at the office of Benchling, a San Francisco based company working on a unified platform to accelerate, measure, and forecast R&D from discovery through bioprocessing.

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