By JOHN JAMES MARSHALL/Designated Writers

You’d think that LeBron James would know better. You’d think that he’d recognize that almost every word he used in his interview about the recent NBA-China issue could be turned around and thrown right back at him.

You’d think that when he said Houston general manager Daryl Morey’s tweet in support of Hong Kong was “misinformed” and that Morey wasn’t educated about the issue, he would remember how often he speaks out or tweets about an issue in which the same could be said about him.

You’d think that the words he used in regards to Morey’s tweet (“so many people could have been harmed not only financially, physically, emotionally, spiritually”) would ring hollow, especially that first adverb.

You’d think that someone who wants us to believe that he’s such a social justice warrior wouldn’t be advocating against free speech, the most basic tenet of all liberties that Americans have and the people of China do not. You’d think THIS would be what James would be advocating for above all else.

You’d think that he wouldn’t say this with a straight face — “Yes, we all do have freedom of speech, but at times there are ramifications for the negative that can happen when you’re not thinking about others and you’re only thinking about yourself” — but he did.

You’d think he’d stand behind what he originally said and not try to crawfish his way out of it, but he did by saying that it had been a difficult week for him. You’d think he’d know that every week is a difficult week for those fighting for their freedom, no matter what continent they are on. You’d think he wouldn’t say that Morey “could have waited a week” without everyone knowing what that meant.

You’d think that James, who tweeted 18 months ago that “Injustice anywhere is a threat to justice everywhere” would stand behind a man who only said “Fight for freedom. Stand with Hong Kong.”

You’d think he wouldn’t be a hypocrite, but he is.

You’d think when it came down to Morey or Money, LeBron James would do the right thing.

But you’d be wrong.

(Ran originally in Sunday October 6 editions of The Times and The News-Star.)

Country Music: A Film by Ken Burns is all the television rage right now, an eight-part documentary worth watching if for no other reason than to enjoy the genius of Roger Miller and his made-up-on-the-spot parody of I Walk the Line on The Johnny Cash Show.

Both Miller and Cash in suits sitting there on the stage of the Ryman Auditorium in Nashville with their guitars, all spiffy and smiling, and Miller starts, cautiously, and sort of feels his way through these four never-sang-until-now lines:

“I keep my pants up with a piece of twine,

I keep my eyes wide open all the time,

I keep the ends out for the tie that binds,

Please say you’re mine, and pull the twine.”

Hilarity ensues.

A tame lyric today for sure, but that’s walking the line on 1969 network television. And it’s during the time country music was changing from “You can’t write about that” to “We write about that all the time.”

Once Roger Miller wrote the wannabe lyric, “I’m still here because my tears feel right at home in Salt Lake City,” showed it to singer-songwriter stud Larry Gatlin, laughed and said, “That’s all I’ve got to the song so far…”

Gatlin looked at it, wrote, “…and if I keep on crying, I’ll have a Salt Lake all of my own.”

Miller loved that. Me too.

Gatlin finished If I Never See You or Utah Again and splits the royalties with the family of the multi-talented and now late Miller. I learned that story not from the documentary but from Larry Gatlin at a performance by him and his brothers one night, but that’s just the sort of thing Country Music will show you, and I like those kinds of stories.

I haven’t watched all eight episodes yet because of work and whatnot, but I have watched enough of it and talked to enough people to let you know with full confidence that this documentary has been a musical and lyrical oasis in a dry and barren land that is today’s television. And country music.

I understand, even though The Carol Burnett Show has bit the dust, that there is still wonderful TV being made, which is why I don’t watch it because I don’t want to get sucked in. I’m sure a lot of it is silly — the sitcoms, please — but a lot of it is good.

Can’t say the same for today’s country music, which, barring a Brad Paisley here and a Vince Gill there, is gut-bucket drivel.

Ain’t happening.

But who’s complaining? We’ve got online music apps to fetch up some Charley Pride and Gene Watson, and now, to give us some more context, we’ve got Country Music, which you can stream online at pbs.org. Each episode is about two hours.

There are probably other easier ways to watch it; ask your kids or grandkids and they’ll have you hooked up before you can say Johnny Austin Paycheck.

I’ve had a half-dozen people say they think this is the best TV they’ve ever seen. And who doesn’t love themselves a good documentary?

Next time I’ll introduce you to a friend who knows and loves music. We will co-announce the Four Top Female Country Artists, do the same with the males, songs, and instrumentalists. Of course that’s just our opinion, so you be thinking of yours…

In the meantime, as Johnny Cash would sing…If you’re behind, catch up online.

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