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A soundtrack of wholly new interpretations of songs of the Vietnam era might have been very effective, both as part of the content (especially if the new artist saw the scene where the song would be placed) and as a calling card for the series.

Finally, I recall now that one very effective music match was, I believe, the only song not a part of the time period examined in the series.

The great-but-shopworn Hendrix recording is in Episode 10, just when you think you will escape it.By slanting the series toward those who lived through Vietnam, versus those who did not, an opportunity was missed. For example, what if Ike had strong-armed the French in the fifties, and struck a deal with Ho Chi Minh that would give the country to his movement, but not under the communist brand?– Glenn Burris interview: Q: “What did you think of Dylan’s version of ‘Norwegian Wood’? I remember he played it to me when he was in London. As thought-provoking as the series is, I was disappointed at the way the music of the period was selected and used.Maybe it’s the way he brings out each element more fully.11/05/17 In 2002, when asked how you might revise “Treasure Island,” you said you’d really missed “most of the Velvet Underground, which didn’t come across for me, perhaps because of West Coast snobbery, until punk had opened it up for me.” This was surprising, because in that discography you have VU’s work represented quite fully: their first three albums by a 2-LP retrospective followed by their final album , punk opened you up to additional non-album recordings by VU—perhaps bootlegs, or the mid-1980s collections of outtakes, or the 1995 box set?