WEBVTT

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Host: COMING UP NEXT

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A NEW ANGLE ON "STREET-WISE"...

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THE BONDS OF SURVIVAL...

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THE STROKE OF JUSTICE...

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AND THE RUSSIAN BALLET'S

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NEXT - ON ARTWORKS !

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CLOSED CAPTIONING HAS BEEN MADE

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EMPOWERING THOSE WHO ARE DEAF,

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OR SPEECH DISABLED TO STAY

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*

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Announcer: ARTWORKS IS MADE

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BY THE CITIZENS

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THIS IS ARTWORKS

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TONIGHT WE FEATURE ARTISTS

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THEY EXPLORE DIFFICULT

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THEY LOOK OUTSIDE OF THEMSELVES

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BUT FIRST, I WANT TO WELCOME MY

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WITH THESE COMMITTED ARTISTS.

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Randi: THANK YOU, RHEA.

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I'M RANDI PUPKIN,

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OF THE NONPROFIT ORGANIZATION

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BASED IN BALTIMORE.

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Rhea: OKAY SO NOW LOTS

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WHAT EXACTLY IS

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Randi: "ART WITH A HEART"

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ART ORGANIZATION THAT BRINGS

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UNDERSERVED COMMUNITIES.

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WE TAKE CLASSES INTO SCHOOLS,

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COMMUNITY CENTERS, HOSPITALS,

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Rhea: SO YOU HAVE A WIDE RANGE

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Randi: YES.

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WE PROGRAM WITH

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2 TO 102.

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Rhea: NOW YOU HAVE SOMETHING

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A JOB PROGRAM.

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I'D LOVE YOU TO

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Randi: WE COMBINE WORKFORCE

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SO WE USE ART AS A VEHICLE

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IT'S A 6 WEEK PROGRAM.

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OUR STUDENTS IN THAT PROGRAM ARE

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YOUTH AND WE HOPE THAT AFTER

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THEY WILL TRANSITION INTO A JOB.

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MOST, 75 PERCENT DO.

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Rhea: THAT IS JUST ABSOLUTELY

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AND YOU'RE ALSO IN THE SCHOOLS.

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NOW THERE IS NOT AS MUCH ART

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IN THE SCHOOLS.

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Randi: CORRECT.

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EVERY SCHOOL DOES NOT HAVE AN

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LOOKING TO SUPPLANT

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DOES NOT HAVE AN ART TEACHER,

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THAT VOID AND PROVIDE VISUAL ART

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Rhea: WELL EVERYTHING YOU DO IS

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ART REALLY DOES TRANSFORM LIVES

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IS DOING JUST THAT.

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SO PLEASE CHECK OUT THE WEBSITE,

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AND NOW, ON TO OUR FIRST STORY,

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WHERE TEENS TOOK TO THE STREETS

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AND PERSONALITIES OF

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Randi: THE PROJECT WAS CALLED

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AND THESE YOUNG ARTISTS TOOK

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*

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Terrence Cribbs Lorrant: PLAY TO

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BE PART OF THEIR UM, THEIR

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AND MAKE IT A REALITY

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GIVING STUDENTS THE OPPORTUNITY

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TO TAKE PICTURES AND CAPTURE

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Elijah Wells: THEY'RE

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GROUP OF KIDS FROM THE

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HIGH TECH PHONES TO TAKE

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AND SHOW IT IN THIS GALLERY.

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Jackie Mansfield: WE THOUGHT IT

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THE STUDENTS FROM ALL OVER TOWN

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PHOTOGRAPHY PROJECT AND-

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HERE AT ART BASEL.

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Ryan Everett: CW GRIFFIN HE CAME

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LIKE BEST PHOTOGRAPHERS AND HE

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AND THEY JUST SHOWED US THE

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C.W. Griffin: IT'S SOMETHING

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FOR YEARS.

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I'VE ALWAYS ENJOYED IT I'VE

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PEOPLE THAT TOOK INTEREST IN

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TO MOLD ME INTO WHERE I AM

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ACTUALLY A PRIVILEGE.

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Karen Vital: I DID THINGS I

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LIKE NOT BEING AFRAID TO

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WHEN I OPEN UP TO YOU, I MAKE

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FOR ME TO TAKE YOUR PICTURE.

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I DIDN'T KNOW THAT.

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I JUST, I WOULD JUST COME UP TO

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IT DOESN'T WORK LIKE THAT.

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SO THAT'S SOMETHING I LEARNED.

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Philips Julien: THAT WHEN YOU

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MANY STORIES AND MANY THINGS.

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AND... IT DEPENDS HOW YOU SEE IT

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WHOLE WORLD SEES IT BUT YOU HAVE

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TO EXPRESS HOW YOU THINK

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WE CAN LIKE TRY THE PHOTOS WE

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TO SEE HOW THE WORLD LIKE

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INTERACT WITH IT.

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Ryan: I HAVE THIS ONE PICTURE

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PLAY CHESS OUT HERE EVERY DAY

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STAY OUT HERE FROM 6 O'CLOCK IN

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UNTIL 6 AT NIGHT.

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THEIR TIME AND WHAT THEY DO TO

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OF STRESS AND EVERYTHING, THAT

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I TOOK A GREAT PICTURE OF THEM.

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I SUBMITTED TEN PHOTOGRAPHS BUT

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150 TO GET THOSE GOOD 10.

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Karen: I JUST WANT TO MOVE

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DIRECTION BECAUSE LIKE AS I WAS

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HMM... THIS COULD BE FOR ME.

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BECAUSE LIKE IT'S NOT ONLY

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LIKE I SAID BEFORE

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C.W. Griffin: THE ACTUAL FINAL

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WHAT THE TALENT LEVEL WAS.

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Jackie: I REALLY WAS BLOWN AWAY

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THAN I WAS EXPECTING.

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I JUST THINK THE KIDS REALLY

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THEIR OWN COMMUNITY AND THEY

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SOMETHING ELSE THAT WAS

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AND I THINK THAT THEIR WORK

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Ryan: THE MOST REWARDING

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HOW IT CAN BE SO...

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IT JUST TOUCHED ME JUST

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Karen: THERE'S A LOT OF STUDENTS

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SCHOOL THAT DO NOT...

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ACTIVITIES THAT YOU

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MANY PLACES THAT YOU DON'T EVEN

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AND OPEN THE DOORS

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THAT THESE PROGRAMS

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Philips: AFTER ALL, KIDS IS

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BE RESPONSIBLE AND LIKE TAKE

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THE COMMUNITY.

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C.W. Griffin: I WOULD LIKE TO

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CONTINUE TO GROW AND CONTINUE TO

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SORT OF SEE TO THEIR SUCCESS.

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Elijah: ONE THING THAT OUR

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OPPORTUNITY TO TRAVEL

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THAT'S ONE THING I WANT TO DO

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SO PHOTOGRAPHY I WANT TO PURSUE

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PICTURES BRING IT BACK AND YOU

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TRAVELED CAN SEE WHAT'S GOING ON

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Terrance: THE GOOD THING ABOUT

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IS BECAUSE IT'S IN THEIR HAND.

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IT'S SOMETHING THAT MOST

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MOST ADULTS USE EVERY DAY.

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SO NOW IT'S BECOME LIKE THEIR

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WELL IF I CAN GET THEM TO MAKE A

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AND THEIR DREAMS AND THEIR

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AS BEING IN THEIR RIGHT HAND

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IT MAKES ALL THE DIFFERENCE.

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Rhea: OUR NEXT STORY EXPLORES

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A MAN AND HIS DOG.

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BUT HOLD ON... THIS IS

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IT'S ABOUT LOYALTY,

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OF ART.

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[DRAMATIC MUSIC]

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Logan: DIEGO!

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[SIGHS HEAVILY]

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[LIGHT INSTRUMENTAL MUSIC]

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Logan: THE SAME DREAM AGAIN.

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Narrator: BASED ON HIS 2006 TOUR

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THE RELATIONSHIP BETWEEN LOGAN

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PARTNER DIEGO.

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IT ALL STARTED IN 1996, WHEN,

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LOGAN JOINED

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IN 2004, IN DEFERENCE TO 9/11,

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UNDERGRAD STUDIES AND WENT

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BUT THERE WAS JUST ONE PROBLEM.

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Logan: THE JOB I HAD THERE

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MILITARY, SO THEY SAID,

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AND MAKE YOU A COMBAT ENGINEER.

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SO PRIMARILY DEALING WITH

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AND THAT SORT OF THING.

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IT'S A TERRIFYING JOB.

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I FOUND OUT ABOUT A NEW DOG

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IN CONJUNCTION WITH THE BRITISH

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PERSONNEL BRANCH OF THE PENTAGON

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RIGHT, FOR ENGINEERS?"

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AND THEY SAID, "YEAH." AND I

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AND TWO WEEKS LATER,

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I FIRST MET DIEGO IN 2005 AS

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COURSE IN FORT LAUDERDALE,

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THESE GUYS HAD OVER 40 YEARS OF

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AND THEY WERE GENIUSES.

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ALL RIGHT, LADS!

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WELCOME TO THE SPECIALIZED

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OVER THE NEXT 14 WEEKS, YOU AND

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OVER 40 INDIVIDUAL

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IEDS, IMPROVISED EXPLOSIVE

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LETHAL WEAPON INSURGENTS ARE

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AND THEY'RE DAMN GOOD AT IT.

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Narrator: AS DESTINY WOULD

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POSSIBLE DOGS, LOGAN WAS PAIRED

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Logan: WE CLICKED INSTANTLY.

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AND HE WAS SMART, SO SMART.

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HE WOULD CHEAT.

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ABOUT HALFWAY THROUGH, DIEGO

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THAN ANY OTHER DOG, AND I DON'T

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IN 20 MINUTES.

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I MEAN HE WOULD ALWAYS

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AFTER A FEW DAYS OF THIS, RON

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HIS SCENT TO WHERE HE

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[LAUGHTER]

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WE HAD TO START CHANGING UP

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DIEGO WOULD JUST SEARCH.

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OH, HE WAS THE PERFECT MIXTURE

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AND INTELLIGENCE.

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AND HIS NOSE...

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Narrator: LOGAN AND DIEGO WERE

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MAKING INCREDIBLE FINDS.

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TOGETHER, THEY DISCOVERED

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OF WEAPONS, EXPLOSIVES,

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BECAUSE OF THE SPECIALIZED TASK

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PART OF A SPECIFIC UNIT, INSTEAD

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EVERYONE FROM THE SEALS

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BUT THIS CONSTANT SHIFTING

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ISOLATION.

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Logan: THERE WAS

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I'D DO A MISSION.

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I'D GO BACK TO MY TRAILER, GET

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I WAS LEFT ON MY OWN TO PROCESS

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HAPPENING...

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NO!

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DIEGO, THIS WAY!

11:54.246 --> 11:55.414 position:10% line:80% size:80%
COME!

11:55.514 --> 11:56.849 position:10% line:80% size:80%
COME, COME,

11:56.949 --> 11:58.084 position:10% line:80% size:80%
[SMOOCHES] COME HERE.

11:58.184 --> 11:58.884 position:10% line:80% size:80%
COME HERE.

11:58.984 --> 12:00.786 position:10% line:80% size:80%
NO NO NO NO NO.

12:00.886 --> 12:07.526 position:10% line:80% size:80%
[SIGHS] [RADIO CRACKLES] MOVING

12:07.626 --> 12:10.596 position:10% line:80% size:80%
EVERY FIBER IN MY BODY IS

12:10.696 --> 12:13.766 position:10% line:80% size:80%
A CAR BOMB.

12:13.866 --> 12:14.700 position:10% line:80% size:80%
COME ON, BUDDY.

12:14.800 --> 12:16.969 position:10% line:80% size:80%
[SMOOCHES] WHAT'S THIS?

12:17.069 --> 12:22.274 position:10% line:80% size:80%
SO I KNOW WITHOUT HIM, HAD I

12:22.374 --> 12:26.245 position:10% line:80% size:80%
OR HAD I EVEN BEEN WITH A DOG

12:26.345 --> 12:29.148 position:10% line:80% size:80%
CONNECTION ON TOP OF THE

12:29.248 --> 12:35.121 position:10% line:80% size:80%
WORKING CONNECTION, I DON'T KNOW

12:35.221 --> 12:39.091 position:10% line:80% size:80%
HE ABSOLUTELY KEPT ME HEALTHY.

12:39.191 --> 12:41.026 position:10% line:80% size:80%
Narrator: WHEN THEIR TIME

12:41.127 --> 12:44.230 position:10% line:80% size:80%
DIEGO WAS TRANSFERRED TO ANOTHER

12:44.330 --> 12:48.501 position:10% line:80% size:80%
KANSAS CITY TO PURSUE AN MFA IN

12:48.601 --> 12:52.138 position:10% line:80% size:80%
ALL THE WHILE TRYING IN VAIN TO

12:52.238 --> 12:53.506 position:10% line:80% size:80%
ELIGIBILITY.

12:53.606 --> 12:57.610 position:10% line:80% size:80%
THEY WOULD BE APART FOR SEVEN

12:57.710 --> 13:01.013 position:10% line:80% size:80%
IN 2012 AFTER LOGAN MOUNTED A

13:01.113 --> 13:03.249 position:10% line:80% size:80%
TO FIND HIS BELOVED BOY.

13:03.349 --> 13:04.617 position:10% line:80% size:80%
Logan: IT'S BEEN FANTASTIC.

13:04.717 --> 13:10.122 position:10% line:80% size:80%
I PICKED HIM UP THREE YEARS AGO

13:10.222 --> 13:11.590 position:10% line:80% size:80%
HE STILL WANTS TO WORK.

13:11.690 --> 13:14.927 position:10% line:80% size:80%
ALL OF HIS TRAINING IS STILL

13:15.027 --> 13:16.195 position:10% line:80% size:80%
A NEW SPACE.

13:16.295 --> 13:19.431 position:10% line:80% size:80%
HE ALWAYS DOES A LEFT TO RIGHT

13:19.532 --> 13:22.301 position:10% line:80% size:80%
HE LOOKS AT EVERYTHING, SMELLS

13:22.401 --> 13:23.536 position:10% line:80% size:80%
"OKAY, DAD. IT'S GOOD.

13:23.636 --> 13:25.838 position:10% line:80% size:80%
"NOW I'M JUST GONNA LAY DOWN,

13:25.938 --> 13:26.806 position:10% line:80% size:80%
PET ME."

13:26.906 --> 13:28.040 position:10% line:80% size:80%
[LAUGHTER]

13:28.140 --> 13:31.343 position:10% line:80% size:80%
SO HE'S LIVING THE PRETTY

13:31.443 --> 13:34.213 position:10% line:80% size:80%
Narrator: BUT WE MAY HAVE NEVER

13:34.313 --> 13:36.715 position:10% line:80% size:80%
IF THIS PAST MARCH, WHILE

13:36.816 --> 13:39.552 position:10% line:80% size:80%
AMERICA SHAKESPEARE FESTIVAL'S

13:39.652 --> 13:43.455 position:10% line:80% size:80%
LOGAN HADN'T POSED A QUESTION TO

13:43.556 --> 13:46.959 position:10% line:80% size:80%
Logan: I SAID, "HEY, WHAT

13:47.059 --> 13:48.494 position:10% line:80% size:80%
FRINGE THAT ARE 60 MINUTES?"

13:48.594 --> 13:49.995 position:10% line:80% size:80%
AND HE SAID, "OH, THAT'S EASY.

13:50.095 --> 13:51.263 position:10% line:80% size:80%
YOURS."

13:52.798 --> 13:55.734 position:10% line:80% size:80%
AND SO THAT KIND

13:56.402 --> 14:00.773 position:10% line:80% size:80%
IT TOOK ME PROBABLY ABOUT THREE

14:00.873 --> 14:04.310 position:10% line:80% size:80%
AND THEN A MONTH

14:04.410 --> 14:06.946 position:10% line:80% size:80%
AND IT WAS VERY MUCH

14:07.046 --> 14:10.149 position:10% line:80% size:80%
I SPENT A LOT OF TIME DOING

14:10.249 --> 14:12.751 position:10% line:80% size:80%
THAT WOULD TRIGGER MY PTSD.

14:12.852 --> 14:17.456 position:10% line:80% size:80%
AND I WOULD FIND THAT I HAD JUST

14:17.556 --> 14:21.393 position:10% line:80% size:80%
OTHER TIMES, IT WAS VERY

14:21.493 --> 14:26.298 position:10% line:80% size:80%
EVENT, NOW THAT I HAVE

14:26.398 --> 14:31.604 position:10% line:80% size:80%
IT, AND BREAK IT DOWN AND GO,

14:31.704 --> 14:35.875 position:10% line:80% size:80%
I WORKED VERY HARD TO NEVER TAKE

14:35.975 --> 14:37.977 position:10% line:80% size:80%
GOOD, WHETHER IT WAS RIGHT,

14:38.077 --> 14:38.944 position:10% line:80% size:80%
OR WERE WE NOT.

14:39.044 --> 14:40.312 position:10% line:80% size:80%
THAT'S NOT WHAT

14:40.412 --> 14:43.282 position:10% line:80% size:80%
IT'S JUST ABOUT MY

14:43.382 --> 14:45.985 position:10% line:80% size:80%
Narrator: AND IT'S AN

14:46.085 --> 14:49.521 position:10% line:80% size:80%
RESONATED WITH AUDIENCES, A FACT

14:49.622 --> 14:51.423 position:10% line:80% size:80%
FIRST PLAYWRITING EFFORT.

14:51.523 --> 14:54.326 position:10% line:80% size:80%
Logan: IT'S THE TYPE OF THEATER

14:54.426 --> 14:58.564 position:10% line:80% size:80%
WE WANT TO EFFECT A CHANGE

14:58.664 --> 15:05.604 position:10% line:80% size:80%
AND SUDDENLY, I WAS SEEING THAT

15:05.704 --> 15:07.673 position:10% line:80% size:80%
AND I SAW HIM.

15:07.773 --> 15:09.041 position:10% line:80% size:80%
DIEGO!

15:09.141 --> 15:10.209 position:10% line:80% size:80%
COME!

15:10.309 --> 15:11.610 position:10% line:80% size:80%
COME HERE, BUDDY!

15:11.710 --> 15:12.478 position:10% line:80% size:80%
OH!

15:12.578 --> 15:14.413 position:10% line:80% size:80%
GOOD BOY!

15:14.513 --> 15:16.815 position:10% line:80% size:80%
YEAH, BOY!

15:16.916 --> 15:19.318 position:10% line:80% size:80%
[LAUGHING] [APPLAUSE]

15:19.418 --> 15:23.222 position:10% line:80% size:80%
THE SHOW ENDS, EVERYONE CLAPS,

15:23.322 --> 15:25.090 position:10% line:80% size:80%
TO PET HIM,

15:25.190 --> 15:28.994 position:10% line:80% size:80%
THAT ARE SHAKING MY HAND

15:29.094 --> 15:31.964 position:10% line:80% size:80%
I HAD ONE VETERAN

15:32.064 --> 15:33.866 position:10% line:80% size:80%
HE FOUGHT IN VIETNAM.

15:33.966 --> 15:38.070 position:10% line:80% size:80%
AND HE TOLD ME THAT IF SOMEBODY

15:38.170 --> 15:43.876 position:10% line:80% size:80%
ABLE TO TELL THEIR STORY IN THIS

15:43.976 --> 15:46.879 position:10% line:80% size:80%
30 YEARS WANDERING IN DARKNESS.

15:46.979 --> 15:51.617 position:10% line:80% size:80%
SO WHEN I HAVE A VET TELL ME

15:51.717 --> 15:54.687 position:10% line:80% size:80%
CONTINUE TELLING THE STORY THEN.

15:54.787 --> 16:01.126 position:10% line:80% size:80%
I THINK THAT TELLING THEIR

16:01.226 --> 16:03.062 position:10% line:80% size:80%
SO I HOPE THE SHOW INSPIRES.

16:03.162 --> 16:09.768 position:10% line:80% size:80%
IF IT INSPIRES ONE VET TO WRITE

16:09.868 --> 16:12.137 position:10% line:80% size:80%
HAVE SUCCEEDED.

16:12.237 --> 16:13.872 position:10% line:80% size:80%
GOOD BOY.

16:13.973 --> 16:16.442 position:10% line:80% size:80%
[GENTLE MUSIC]

16:18.644 --> 16:21.013 position:10% line:80% size:80%
*

17:09.795 --> 17:12.831 position:10% line:80% size:80%
Randi: OUR NEXT STORY FEATURES

17:12.931 --> 17:15.734 position:10% line:80% size:80%
BROOKE HILL HAS BEEN MAKING ART

17:15.834 --> 17:19.071 position:10% line:80% size:80%
BUT HER SUBJECT

17:22.808 --> 17:24.610 position:10% line:80% size:80%
I'M BROOKE HILL

17:24.710 --> 17:25.844 position:10% line:80% size:80%
AT THE FIRST ACADEMY.

17:25.944 --> 17:27.946 position:10% line:80% size:80%
AND I'M CURRENTLY

17:30.616 --> 17:32.951 position:10% line:80% size:80%
I GOT STARTED IN ART WHEN I WAS

17:33.051 --> 17:34.453 position:10% line:80% size:80%
LIKE PROBABLY TWO YEARS OLD.

17:34.553 --> 17:37.256 position:10% line:80% size:80%
I WOULD ALWAYS WATCH "VEGGIE

17:37.356 --> 17:38.924 position:10% line:80% size:80%
DRAW MY FAVORITE CHARACTERS.

17:39.024 --> 17:41.894 position:10% line:80% size:80%
SO I DEFINITELY THINK IT WAS A

17:41.994 --> 17:45.164 position:10% line:80% size:80%
ALWAYS JUST HAD THAT DESIRE

17:45.264 --> 17:46.331 position:10% line:80% size:80%
JUST TO CREATE.

17:49.001 --> 17:53.105 position:10% line:80% size:80%
ART IS USED TO TALK, TO SPEAK TO

17:53.205 --> 17:56.375 position:10% line:80% size:80%
TO MAKE SOMETHING THAT WILL

17:56.475 --> 17:59.478 position:10% line:80% size:80%
HIDDEN MEANING OR HAVE SOMETHING

17:59.578 --> 18:01.747 position:10% line:80% size:80%
THE ACTUAL PICTURE ITSELF.

18:01.847 --> 18:03.715 position:10% line:80% size:80%
Marsha Gegerson:

18:03.816 --> 18:05.317 position:10% line:80% size:80%
OF EXPRESSING HERSELF.

18:05.417 --> 18:09.221 position:10% line:80% size:80%
A LOT OF ARTISTS EXPRESS

18:09.321 --> 18:12.091 position:10% line:80% size:80%
VISUAL VOICE OF WHAT THEY SEE

18:12.191 --> 18:13.592 position:10% line:80% size:80%
ON A CANVAS.

18:13.692 --> 18:20.599 position:10% line:80% size:80%
BROOKE THINKS AND FEELS, AND HAS

18:20.699 --> 18:22.468 position:10% line:80% size:80%
SOMETHING THAT

18:22.568 --> 18:26.472 position:10% line:80% size:80%
AND THAT IS A REAL HARD THING

18:27.873 --> 18:30.008 position:10% line:80% size:80%
Brooke: THE HUMAN TRAFFICKING

18:30.109 --> 18:35.247 position:10% line:80% size:80%
BECAUSE I LOVE JUSTICE AND I

18:35.347 --> 18:38.450 position:10% line:80% size:80%
AND SINCE I HAVE A TALENT FOR

18:38.550 --> 18:41.453 position:10% line:80% size:80%
AND I CAN BRING AWARENESS TO

18:41.553 --> 18:45.190 position:10% line:80% size:80%
PHYSICALLY DO

18:45.290 --> 18:47.726 position:10% line:80% size:80%
I REALLY LIKE THE MOTHER

18:47.826 --> 18:50.496 position:10% line:80% size:80%
THAT ONE TOOK ME FOREVER TO

18:50.596 --> 18:52.931 position:10% line:80% size:80%
I REALLY LOVE DOING EYES AND IF

18:53.031 --> 18:54.733 position:10% line:80% size:80%
THEY HAVE A LOT OF EMOTION.

18:54.833 --> 18:59.104 position:10% line:80% size:80%
AND IN THESE PAINTINGS THEY

18:59.204 --> 19:00.439 position:10% line:80% size:80%
HUMAN TRAFFICKING.

19:00.539 --> 19:02.040 position:10% line:80% size:80%
SO, THAT PAINTING WITH THE

19:02.141 --> 19:05.177 position:10% line:80% size:80%
THAT'S THE FIRST PAINTING

19:05.277 --> 19:09.214 position:10% line:80% size:80%
Marsha: I'M HAPPY TO SEE THAT

19:09.314 --> 19:12.518 position:10% line:80% size:80%
TO THE WORLD AROUND THEM AND

19:12.618 --> 19:15.420 position:10% line:80% size:80%
THEY ARE AWARE OF THEIR WORLD

19:15.521 --> 19:16.855 position:10% line:80% size:80%
WANT TO MAKE IT BETTER.

19:18.757 --> 19:22.194 position:10% line:80% size:80%
Brooke: ART IS VERY IMPORTANT IN

19:22.294 --> 19:22.961 position:10% line:80% size:80%
I LOVE PAINTING.

19:23.061 --> 19:24.029 position:10% line:80% size:80%
I LOVE DRAWING.

19:24.129 --> 19:26.265 position:10% line:80% size:80%
IT'S JUST SOMETHING THAT

19:36.909 --> 19:39.144 position:10% line:80% size:80%
Rhea: NOW IT'S TIME TO GET

19:39.244 --> 19:42.848 position:10% line:80% size:80%
THE MOSCOW BALLET'S RECENT

19:42.948 --> 19:45.217 position:10% line:80% size:80%
YOUNG DANCERS FROM BATON ROUGE.

19:45.317 --> 19:49.855 position:10% line:80% size:80%
THESE LUCKY STUDENTS PERFORMED

19:49.955 --> 19:53.125 position:10% line:80% size:80%
IN THE HOLIDAY CLASSIC,

19:54.860 --> 19:57.129 position:10% line:80% size:80%
*

20:02.100 --> 20:06.338 position:10% line:80% size:80%
Molly Bongiovanni: I HAVE BEEN

20:06.438 --> 20:08.807 position:10% line:80% size:80%
AND I'M READY FOR THE SHOW.

20:08.907 --> 20:13.412 position:10% line:80% size:80%
I'M GOING TO BE A SNOW SPRITE

20:13.512 --> 20:17.082 position:10% line:80% size:80%
LIKE THIS, IT FEELS LIKE I'M

20:19.318 --> 20:22.287 position:10% line:80% size:80%
Gwen Roland: I HAVE BEEN DANCING

20:22.387 --> 20:23.822 position:10% line:80% size:80%
SINCE I WAS THREE.

20:23.922 --> 20:25.424 position:10% line:80% size:80%
I'M DOUBLE CAST.

20:25.524 --> 20:27.359 position:10% line:80% size:80%
SO I AM IN THE PARTY SCENE.

20:27.459 --> 20:28.594 position:10% line:80% size:80%
I'M A PARTY GIRL.

20:28.694 --> 20:35.400 position:10% line:80% size:80%
AND, I'M ALSO A BUTTERFLY

20:35.500 --> 20:38.036 position:10% line:80% size:80%
IT'S REALLY EXCITING,

20:38.136 --> 20:39.738 position:10% line:80% size:80%
WITH A PROFESSIONAL

20:39.838 --> 20:43.542 position:10% line:80% size:80%
AND I IMAGINE THE COSTUMES ARE

20:43.642 --> 20:45.143 position:10% line:80% size:80%
AND REALLY EXPENSIVE.

20:45.244 --> 20:47.779 position:10% line:80% size:80%
Narrator: MOLLY BONGIOVANNI AND

20:47.879 --> 20:50.082 position:10% line:80% size:80%
ARE PART OF A VERY SPECIAL CLUB.

20:50.182 --> 20:52.851 position:10% line:80% size:80%
THEY ARE AMONG THOUSANDS OF

20:52.951 --> 20:56.121 position:10% line:80% size:80%
STAGE, IN FRONT OF SELL-OUT

20:56.221 --> 20:58.857 position:10% line:80% size:80%
OF THE GREAT RUSSIAN NUTCRACKER.

20:58.957 --> 21:02.361 position:10% line:80% size:80%
THE MOSCOW BALLET'S FAMOUS

21:02.461 --> 21:05.831 position:10% line:80% size:80%
AMERICAN CITIES EVERY YEAR,

21:05.931 --> 21:11.503 position:10% line:80% size:80%
TO PERFORM WITH, AND LEARN FROM,

21:11.603 --> 21:14.306 position:10% line:80% size:80%
Lana Popova: I LOVE AMERICA

21:14.406 --> 21:19.278 position:10% line:80% size:80%
AND UH, I ENJOY IT, EVERY TIME

21:19.378 --> 21:21.346 position:10% line:80% size:80%
CITIES AND CHILDREN.

21:21.446 --> 21:24.850 position:10% line:80% size:80%
AND I CAN... AND I GIVE THEM

21:24.950 --> 21:27.219 position:10% line:80% size:80%
IT'S SO IMPORTANT

21:27.319 --> 21:28.854 position:10% line:80% size:80%
Mary Talmi:

21:28.954 --> 21:32.557 position:10% line:80% size:80%
BALLET HAS BEEN THE

21:32.658 --> 21:36.795 position:10% line:80% size:80%
IT HAS ALWAYS SERVED IN THE

21:36.895 --> 21:42.401 position:10% line:80% size:80%
WHEN THE RUSSIAN BALLET HAS

21:42.501 --> 21:46.805 position:10% line:80% size:80%
REGARDLESS OF WHAT'S HAPPENING

21:46.905 --> 21:52.344 position:10% line:80% size:80%
AND ENJOYS, APPRECIATES

21:52.444 --> 21:54.746 position:10% line:80% size:80%
Narrator: PARTICIPATING YOUNG

21:54.846 --> 21:57.549 position:10% line:80% size:80%
ROLES A COUPLE OF MONTHS BEFORE

21:57.649 --> 21:58.917 position:10% line:80% size:80%
MOSCOW BALLET.

21:59.017 --> 22:02.654 position:10% line:80% size:80%
BUT, THE OPERATOR OF ONE DANCE

22:02.754 --> 22:05.957 position:10% line:80% size:80%
HASN'T BEEN AN INSURMOUNTABLE

22:06.058 --> 22:07.426 position:10% line:80% size:80%
Jennifer White: STARTING AT A

22:07.526 --> 22:10.562 position:10% line:80% size:80%
I TEACH THE CHILDREN THAT BALLET

22:10.662 --> 22:12.097 position:10% line:80% size:80%
IT'S AN ART.

22:12.197 --> 22:15.233 position:10% line:80% size:80%
AND IT'S A DISCIPLINE AND SO YOU

22:15.334 --> 22:17.903 position:10% line:80% size:80%
IN THE STUDIO, BUT ACTUALLY ON

22:18.003 --> 22:21.707 position:10% line:80% size:80%
SO THEY'RE ALREADY PREPARED FOR

22:21.807 --> 22:26.545 position:10% line:80% size:80%
MOSCOW BALLET HOW BEAUTIFUL OUR

22:26.645 --> 22:28.580 position:10% line:80% size:80%
Narrator: NOT ONLY IS THE

22:28.680 --> 22:31.683 position:10% line:80% size:80%
TIMELESS CHOREOGRAPHY, SOME

22:31.783 --> 22:36.221 position:10% line:80% size:80%
CLASSICAL BALLET, IT IS ALSO

22:36.321 --> 22:38.990 position:10% line:80% size:80%
AND TCHAIKOVSKY'S

22:39.091 --> 22:40.792 position:10% line:80% size:80%
White: THE GREAT RUSSIAN

22:40.892 --> 22:45.664 position:10% line:80% size:80%
MOSCOW BALLET PERFORMS

22:45.764 --> 22:51.303 position:10% line:80% size:80%
INCLUDING THE PROLOGUE AND ALSO

22:51.403 --> 22:56.675 position:10% line:80% size:80%
IN THE OPENING SCENE THERE IS

22:56.775 --> 23:00.245 position:10% line:80% size:80%
MANY VERSIONS OF THE PRODUCTION

23:00.345 --> 23:03.982 position:10% line:80% size:80%
NUTCRACKER PRINCE BACK TO HIS

23:04.082 --> 23:07.919 position:10% line:80% size:80%
Talmi: AT THE TIME THE WORLD

23:08.019 --> 23:11.923 position:10% line:80% size:80%
A LOT OF... OF WARS, AND THE

23:12.023 --> 23:14.359 position:10% line:80% size:80%
VLADIMIR TKACHENKO,

23:14.459 --> 23:17.362 position:10% line:80% size:80%
WANTED TO DO SOMETHING

23:17.462 --> 23:19.798 position:10% line:80% size:80%
THE LAND OF PEACE AND HARMONY

23:19.898 --> 23:21.833 position:10% line:80% size:80%
AND NO CHILDREN SUFFER.

23:21.933 --> 23:23.435 position:10% line:80% size:80%
OH, I LOVED THE

23:23.535 --> 23:26.071 position:10% line:80% size:80%
BUT, WHEN I SAW IT,

23:26.171 --> 23:28.707 position:10% line:80% size:80%
THIS IS A REALLY WONDERFUL IDEA.

23:28.807 --> 23:33.311 position:10% line:80% size:80%
AND SO WE INTEGRATED THE ROLE OF

23:33.412 --> 23:37.282 position:10% line:80% size:80%
THE SECOND ACT AND THEY HAVE

23:37.382 --> 23:39.284 position:10% line:80% size:80%
COSTUMES WHICH ARE REALLY

23:39.384 --> 23:40.452 position:10% line:80% size:80%
AND VERY BEAUTIFUL.

23:40.552 --> 23:43.054 position:10% line:80% size:80%
White: THE COSTUMES

23:43.155 --> 23:47.426 position:10% line:80% size:80%
HANDMADE, HAND-BEADED,

23:47.526 --> 23:49.761 position:10% line:80% size:80%
A LOT OF ATTENTION TO DETAIL,

23:49.861 --> 23:53.698 position:10% line:80% size:80%
AND UH, NOT JUST THE PRINCIPAL

23:53.799 --> 23:56.501 position:10% line:80% size:80%
THE LOCAL DANCERS THAT WILL BE

23:56.601 --> 23:58.703 position:10% line:80% size:80%
Lana Popova:

23:58.804 --> 24:04.843 position:10% line:80% size:80%
OUR UNIQUE COSTUME DESIGNER,

24:04.943 --> 24:09.714 position:10% line:80% size:80%
BEAUTIFUL FOR US AND IMPORTANT

24:09.815 --> 24:13.118 position:10% line:80% size:80%
COSTUMES ON THE STAGE

24:13.218 --> 24:17.823 position:10% line:80% size:80%
WE FEEL VERY BEAUTIFUL, VERY

24:17.923 --> 24:20.592 position:10% line:80% size:80%
FOR EACH BALLET DANCER.

24:32.537 --> 24:37.876 position:10% line:80% size:80%
Rhea: THAT'S ALL FOR TONIGHT,

24:37.976 --> 24:40.312 position:10% line:80% size:80%
AND WATCH MANY MORE SHOWS.

24:40.412 --> 24:43.548 position:10% line:80% size:80%
AND RANDI, THANK YOU SO MUCH FOR

24:43.648 --> 24:44.382 position:10% line:80% size:80%
WITH US.

24:44.483 --> 24:45.584 position:10% line:80% size:80%
Randi: THANK YOU, RHEA.

24:45.684 --> 24:48.420 position:10% line:80% size:80%
I'M RANDI PUPKIN, EXECUTIVE

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"ART WITH A HEART."

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Rhea: I'M RHEA FEIKIN AND WE'LL

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THANKS FOR WATCHING!

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AND THANK YOU VERY MUCH...

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Announcer: ARTWORKS IS MADE

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OF BALTIMORE COUNTY.

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CLOSED CAPTIONING HAS BEEN MADE

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EMPOWERING THOSE WITH

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TO STAY CONNECTED.

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*

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* Alone on a bus *

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* It's cold and

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* And I'm taken from all

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* And you on a flight *

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* Crossing the ocean *

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* Says you are not coming home *

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* 

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* The strange thing about love

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* 

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* They say it gets stronger

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* I hope I live long enough

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* This day erased from my mind *

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* And life carried on *

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* You know that it had to *

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* No matter how far

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* But you left me

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* That somehow I caused this *

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* Not that you are not