1 00:00:00,000 --> 00:03:28,833 ♫♫ 2 00:03:28,833 --> 00:03:29,166 >> ANNOUNCER: PRODUCTION OF 3 00:03:29,166 --> 00:03:29,700 "BROAD & HIGH" IS FUNDED IN PART 4 00:03:29,700 --> 00:03:30,100 BY THE GREATER COLUMBUS ARTS 5 00:03:30,100 --> 00:03:32,766 COUNCIL, SUPPORTING ARTS, 6 00:03:32,766 --> 00:03:33,533 ADVANCING CULTURE AND CONNECTING 7 00:03:33,533 --> 00:03:34,433 THE COMMUNITY TO CULTURAL 8 00:03:34,433 --> 00:03:35,300 EVENTS, ARTISTS AND CLASSES AT 9 00:03:35,300 --> 00:03:39,900 COLUMBUSMAKESART.COM. 10 00:03:39,900 --> 00:03:40,300 AND BY THE OHIO ARTS COUNCIL, A 11 00:03:40,300 --> 00:03:40,766 STATE AGENCY THAT FUNDS AND 12 00:03:40,766 --> 00:03:42,133 SUPPORTS QUALITY ARTS 13 00:03:42,133 --> 00:03:47,066 EXPERIENCES. 14 00:03:47,066 --> 00:03:47,900 >>> THIS TIME ON "BROAD & 15 00:03:47,900 --> 00:03:49,733 HIGH" -- 16 00:03:49,733 --> 00:03:50,266 WE'LL CHECK OUT THE SCENE IN 17 00:03:50,266 --> 00:03:52,266 DOWNTOWN MANSFIELD. 18 00:03:52,266 --> 00:03:53,100 >> WHEN WE GET TOURISTS IN HERE, 19 00:03:53,100 --> 00:03:53,966 THEY'RE LIKE "WOW, WE NEVER 20 00:03:53,966 --> 00:03:55,000 WOULD HAVE KNOWN THAT YOU GUYS 21 00:03:55,000 --> 00:03:56,166 GOT STUFF REALLY GOING DOWN 22 00:03:56,166 --> 00:03:58,900 HERE." 23 00:03:58,900 --> 00:03:59,733 >> A CHOREOGRAPHER WHO USES 24 00:03:59,733 --> 00:04:01,466 WATER TO TELL STORIES. 25 00:04:01,466 --> 00:04:05,566 AND FILMMAKER DAVID LYNCH. 26 00:04:05,566 --> 00:04:06,400 THIS AND MORE, RIGHT NOW, ON 27 00:04:06,400 --> 00:04:09,233 "BROAD & HIGH." 28 00:04:09,233 --> 00:04:23,200 ♫♫ 29 00:04:23,200 --> 00:04:23,766 >>> WELCOME BACK TO "BROAD & 30 00:04:23,766 --> 00:04:24,700 HIGH." 31 00:04:24,700 --> 00:04:27,466 I'M YOUR HOST KATE MANECKE. 32 00:04:27,466 --> 00:04:28,066 FOR OUR FIRST SEGMENT WE TRAVEL 33 00:04:28,066 --> 00:04:29,466 UP TO MANSFIELD, OHIO FOR A 34 00:04:29,466 --> 00:04:30,866 STORY ABOUT REVITALIZATION OF 35 00:04:30,866 --> 00:04:32,400 THE ARTS COMMUNITY THERE. 36 00:04:32,400 --> 00:04:34,200 MANSFIELD WAS A TYPICAL 37 00:04:34,200 --> 00:04:35,733 MANUFACTURING CITY THAT GREW 38 00:04:35,733 --> 00:04:36,800 WITH THE RAILROAD AND BURST AT 39 00:04:36,800 --> 00:04:38,400 THE SEAMS TRYING TO SUPPLY THE 40 00:04:38,400 --> 00:04:40,733 DEMAND FOR THINGS LIKE 41 00:04:40,733 --> 00:04:42,433 SUSPENDERS, PAPER BOXES AND 42 00:04:42,433 --> 00:04:43,533 BELIEVE IT OR NOT, CIGARS. 43 00:04:43,533 --> 00:04:46,166 IT'S A FAMILIAR STORY OF BLIGHT 44 00:04:46,166 --> 00:04:47,266 AS WELL WHEN THE FACTORIES 45 00:04:47,266 --> 00:04:48,100 CLOSED AND PEOPLE LOST THEIR 46 00:04:48,100 --> 00:04:49,566 JOBS. 47 00:04:49,566 --> 00:04:51,166 BUT THINGS ARE CHANGING, THANKS 48 00:04:51,166 --> 00:04:52,133 TO A COMMUNITY OF DEDICATED 49 00:04:52,133 --> 00:04:54,033 INDIVIDUALS WHO ARE DETERMINED 50 00:04:54,033 --> 00:04:55,800 TO BRING CULTURAL VIBRANCY BACK 51 00:04:55,800 --> 00:05:02,266 TO DOWNTOWN MANSFIELD. 52 00:05:02,266 --> 00:05:03,300 ♫♫ 53 00:05:03,300 --> 00:05:04,600 >> I LEFT AFTER HIGH SCHOOL FOR 54 00:05:04,600 --> 00:05:05,933 COLLEGE AT OU. 55 00:05:05,933 --> 00:05:07,533 AND THEN I WENT OUT EAST, AND I 56 00:05:07,533 --> 00:05:08,666 SPENT A COUPLE OF YEARS IN D.C. 57 00:05:08,666 --> 00:05:10,566 FIVE IN BOSTON. 58 00:05:10,566 --> 00:05:11,900 AND I GUESS YOU WOULD SAY A NEW 59 00:05:11,900 --> 00:05:13,733 YORK MINUTE IN NEW YORK. 60 00:05:13,733 --> 00:05:14,700 SO, OUR GENERATION GOT HIT 61 00:05:14,700 --> 00:05:15,500 PRETTY HARD WITH THE ECONOMIC 62 00:05:15,500 --> 00:05:17,600 SLUMP. 63 00:05:17,600 --> 00:05:18,833 I DID AND MOVED HOME. 64 00:05:18,833 --> 00:05:20,666 AND AT THE TIME IT SEEMED LIKE A 65 00:05:20,666 --> 00:05:22,666 HORRIBLE FAILURE. 66 00:05:22,666 --> 00:05:24,666 I DIDN'T EXPECT THERE TO BE 67 00:05:24,666 --> 00:05:27,566 ANYTHING MUCH FOR ME HERE. 68 00:05:27,566 --> 00:05:28,933 I WAS CERTAIN THERE WOULDN'T BE 69 00:05:28,933 --> 00:05:30,933 MUCH FOR ME HERE. 70 00:05:30,933 --> 00:05:33,833 WHEN I MOVED HOME THERE WAS THIS 71 00:05:33,833 --> 00:05:38,033 FAMILY WAITING FOR ME. 72 00:05:38,033 --> 00:05:40,433 I MEAN, THERE WAS MY ACTUAL 73 00:05:40,433 --> 00:05:41,900 FAMILY, BUT THEN THERE WAS A 74 00:05:41,900 --> 00:05:43,100 COMMUNITY THAT I WAS APART OF. 75 00:05:43,100 --> 00:05:44,266 AND WHEN I STARTED WORKING AT 76 00:05:44,266 --> 00:05:45,200 THE BOOKSTORE, I WAS REALLY A 77 00:05:45,200 --> 00:05:46,733 PART OF IT. 78 00:05:46,733 --> 00:05:50,933 ♫♫ 79 00:05:50,933 --> 00:05:53,066 THIS IS MAIN STREET BOOKS. 80 00:05:53,066 --> 00:05:54,566 I AM THE MANAGER, PUBLICIST AND 81 00:05:54,566 --> 00:05:57,866 MARKETER AND JANITOR. 82 00:05:57,866 --> 00:05:59,633 EVERYTHING ELSE. 83 00:05:59,633 --> 00:06:02,300 MY HUSBAND AND I RUN THE STORE. 84 00:06:02,300 --> 00:06:02,900 IT'S A SMALL INDEPENDENT 85 00:06:02,900 --> 00:06:04,166 BOOKSTORE. 86 00:06:04,166 --> 00:06:06,700 OUR PHILOSOPHY IS BASICALLY THAT 87 00:06:06,700 --> 00:06:09,233 WE CAN'T COMPETE WITH THE BIG 88 00:06:09,233 --> 00:06:11,200 GUYS, SO WE DON'T TRY. 89 00:06:11,200 --> 00:06:12,300 WE GET THE SMALL PRESSES, THE 90 00:06:12,300 --> 00:06:13,300 NEW AUTHORS, WE CURATE OUR 91 00:06:13,300 --> 00:06:18,900 SELECTION VERY CAREFULLY. 92 00:06:18,900 --> 00:06:19,633 ♫♫ 93 00:06:19,633 --> 00:06:20,266 SO THERE'S A WHOLE BUNCH OF US 94 00:06:20,266 --> 00:06:21,966 THAT MOVED HOME FROM FAR AWAY. 95 00:06:21,966 --> 00:06:24,500 AND WE ALL KIND OF BROUGHT WHAT 96 00:06:24,500 --> 00:06:28,466 WE WANTED, WHAT WE EXPECTED IN A 97 00:06:28,466 --> 00:06:32,966 COMMUNITY AND WE BROUGHT THAT 98 00:06:32,966 --> 00:06:35,833 HOME. 99 00:06:35,833 --> 00:06:36,566 AND WHAT I WANTED WAS READINGS 100 00:06:36,566 --> 00:06:36,966 AND WRITING GROUPS AND AUTHOR 101 00:06:36,966 --> 00:06:37,500 VISITS AND POETRY READINGS AND 102 00:06:37,500 --> 00:06:38,766 OPEN MIKES. 103 00:06:38,766 --> 00:06:40,000 SO I JUST SCHEDULED IT AND TOLD 104 00:06:40,000 --> 00:06:41,600 PEOPLE TO COME. 105 00:06:41,600 --> 00:06:42,666 AND THEY DID. 106 00:06:42,666 --> 00:06:43,733 [ LAUGHTER ] 107 00:06:43,733 --> 00:06:45,433 IT WAS GREAT. 108 00:06:45,433 --> 00:06:46,933 ♫♫ 109 00:06:46,933 --> 00:06:48,266 >> I MOVED FROM WASHINGTON, 110 00:06:48,266 --> 00:06:50,033 HERE, TO MANSFIELD BECAUSE OF 111 00:06:50,033 --> 00:06:51,500 CHEEP HOUSES. 112 00:06:51,500 --> 00:06:53,000 I LIKE SMALLER TOWNS. 113 00:06:53,000 --> 00:06:55,100 AND I FELT THAT THIS WAS, ONCE I 114 00:06:55,100 --> 00:06:56,500 CAME HERE, THERE WAS A LOT OF 115 00:06:56,500 --> 00:06:58,666 OPPORTUNITIES. 116 00:06:58,666 --> 00:07:00,566 AND THEN, OF COURSE BY ACCIDENT, 117 00:07:00,566 --> 00:07:02,133 THEN FOUND THE MUSEUM 18 YEARS 118 00:07:02,133 --> 00:07:03,766 AGO. 119 00:07:03,766 --> 00:07:08,633 AND THAT CHANGED EVERYTHING. 120 00:07:08,633 --> 00:07:10,866 MANSFIELD, IN MY CHILDHOOD, HAD 121 00:07:10,866 --> 00:07:12,466 SO MANY COOL STILL DOWNTOWN. 122 00:07:12,466 --> 00:07:14,033 THEN AS I GOT INTO COLLEGE IT 123 00:07:14,033 --> 00:07:16,333 REALLY GOT RAN DOWN, AND IT WAS 124 00:07:16,333 --> 00:07:18,133 PRETTY DEPRESSING DOWN HERE. 125 00:07:18,133 --> 00:07:20,333 SO I MOVED AWAY FOR AWHILE, BUT 126 00:07:20,333 --> 00:07:23,766 YEAH, THIS IS HOME. 127 00:07:23,766 --> 00:07:29,600 ♫♫ 128 00:07:29,600 --> 00:07:30,700 >> YOU CAN HEAR THE MUSIC 129 00:07:30,700 --> 00:07:31,366 EVERYWHERE. 130 00:07:31,366 --> 00:07:32,566 YOU JUST FOLLOW IT. 131 00:07:32,566 --> 00:07:36,700 THAT CAROUSEL OPENED UP IN '92, 132 00:07:36,700 --> 00:07:37,233 I BELIEVE. 133 00:07:37,233 --> 00:07:37,633 AND EVERYONE THOUGHT THEY WERE 134 00:07:37,633 --> 00:07:38,966 CRAZY. 135 00:07:38,966 --> 00:07:39,533 >> THAT WHOLE AREA WHERE THE 136 00:07:39,533 --> 00:07:40,133 CAROUSEL IS REALLY WENT IN TO A 137 00:07:40,133 --> 00:07:42,866 BAD DOWNTURN. 138 00:07:42,866 --> 00:07:44,033 AND SO THE CITY STARTED ACTUALLY 139 00:07:44,033 --> 00:07:46,566 TEARING DOWN LARGE SECTIONS. 140 00:07:46,566 --> 00:07:48,033 AND THEY WANTED SOMETHING TO 141 00:07:48,033 --> 00:07:49,000 ACTUALLY BRING IN PEOPLE INTO 142 00:07:49,000 --> 00:07:52,266 MANSFIELD. 143 00:07:52,266 --> 00:07:54,066 ALL THOSE THINGS WERE CARVED 144 00:07:54,066 --> 00:07:55,066 HERE. 145 00:07:55,066 --> 00:07:56,500 >> THE DOWNTOWN CAROUSEL 146 00:07:56,500 --> 00:07:59,766 DISTRICT, ONCE EVERYBODY 147 00:07:59,766 --> 00:08:00,766 REALIZED THE EXCITEMENT FOR IT, 148 00:08:00,766 --> 00:08:01,533 THERE'S A LOT OF OTHER 149 00:08:01,533 --> 00:08:02,533 BUSINESSES AROUND US. 150 00:08:02,533 --> 00:08:03,433 AND THERE'S MORE, HOPEFULLY, 151 00:08:03,433 --> 00:08:04,500 COMING IN. 152 00:08:04,500 --> 00:08:05,633 THINGS ARE STARTING TO HAPPEN 153 00:08:05,633 --> 00:08:06,866 DOWNTOWN FOR US, SO WE'RE 154 00:08:06,866 --> 00:08:07,466 EXCITED ABOUT THAT. 155 00:08:07,466 --> 00:08:08,333 WE'RE HAPPY TO BE A PART OF 156 00:08:08,333 --> 00:08:10,566 THAT. 157 00:08:10,566 --> 00:08:11,733 ♫♫ 158 00:08:11,733 --> 00:08:12,900 >> WHEN WE GET TOURISTS IN HERE, 159 00:08:12,900 --> 00:08:13,733 THEY'RE LIKE "WOW, WE NEVER 160 00:08:13,733 --> 00:08:15,500 WOULD HAVE KNOWN THAT YOU GUYS 161 00:08:15,500 --> 00:08:16,800 GOT STUFF REALLY GOING DOWN 162 00:08:16,800 --> 00:08:18,033 HERE." 163 00:08:18,033 --> 00:08:19,333 ♫♫ 164 00:08:19,333 --> 00:08:20,400 A LOT OF PEOPLE THAT LIVE HERE, 165 00:08:20,400 --> 00:08:22,866 THOUGH, DON'T KNOW YET THAT 166 00:08:22,866 --> 00:08:24,233 THERE'S THIS MUCH FUN STUFF 167 00:08:24,233 --> 00:08:25,333 GOING ON. 168 00:08:25,333 --> 00:08:25,966 >> THIS IS NOTHING AGAINST 169 00:08:25,966 --> 00:08:27,533 MANSFIELD, BUT I ALWAYS SAY AT 170 00:08:27,533 --> 00:08:29,000 8:00 THEY ROLL UP THE SIDEWALKS 171 00:08:29,000 --> 00:08:31,000 SO -- 172 00:08:31,000 --> 00:08:32,300 >> WELL I WOULD HAVE AGREED WITH 173 00:08:32,300 --> 00:08:33,266 THAT STATEMENT A COUPLE OF YEARS 174 00:08:33,266 --> 00:08:35,266 AGO, BUT THERE ARE CROWDS THAT 175 00:08:35,266 --> 00:08:36,600 HANG OUT DOWN HERE UNTIL PRETTY 176 00:08:36,600 --> 00:08:38,166 LATE AT NIGHT. 177 00:08:38,166 --> 00:08:39,733 >> THE FIRST FRIDAY SHOP HOP, 178 00:08:39,733 --> 00:08:40,733 ALL OF THE SHOPS STAY OPEN LATE, 179 00:08:40,733 --> 00:08:41,933 AND A LOT OF US HAVE SOME KIND 180 00:08:41,933 --> 00:08:44,100 OF ENTERTAINMENT. 181 00:08:44,100 --> 00:08:45,366 I OFTEN HAVE AUTHORS COME VISIT. 182 00:08:45,366 --> 00:08:46,866 NEXT DOOR, AT THE ART GALLERY, 183 00:08:46,866 --> 00:08:49,366 SHE HAS ARTISTS COME IN. 184 00:08:49,366 --> 00:08:51,200 IT'S VERY COOL. 185 00:08:51,200 --> 00:08:52,333 EVERYBODY'S GOT A LITTLE 186 00:08:52,333 --> 00:08:59,866 SOMETHING. 187 00:08:59,866 --> 00:09:00,833 >> THIS PLACE BECAME A MORTUARY 188 00:09:00,833 --> 00:09:02,466 IN 1914. 189 00:09:02,466 --> 00:09:03,866 THE REASON THAT THE MORTUARY 190 00:09:03,866 --> 00:09:06,900 SHUTDOWN IN THE '30S WAS BECAUSE 191 00:09:06,900 --> 00:09:08,333 THE SON OF THE OWNER COMMITTED 192 00:09:08,333 --> 00:09:09,933 SUICIDE IN THE PLACE. 193 00:09:09,933 --> 00:09:11,333 I KNEW THERE WAS SOMETHING IN 194 00:09:11,333 --> 00:09:13,933 MYTHOLOGY THAT ROSE UP OUT OF 195 00:09:13,933 --> 00:09:17,733 THE ASHES. 196 00:09:17,733 --> 00:09:20,400 SO IT WAS THE PHOENIX, AND WE 197 00:09:20,400 --> 00:09:23,000 WERE LIKE "OH, THAT'S GOT TO BE 198 00:09:23,000 --> 00:09:24,800 IT." 199 00:09:24,800 --> 00:09:26,066 ♫♫ 200 00:09:26,066 --> 00:09:26,800 BREWING IN MANSFIELD HAD GONE 201 00:09:26,800 --> 00:09:29,033 FOR AWHILE. 202 00:09:29,033 --> 00:09:30,400 WE HAD REALLY TWO BIG BREWERIES 203 00:09:30,400 --> 00:09:31,566 IN TOWN BEFORE PROHIBITION, AND 204 00:09:31,566 --> 00:09:32,333 THEY WERE RIGHT ACROSS THE 205 00:09:32,333 --> 00:09:34,166 STREET FROM HERE. 206 00:09:34,166 --> 00:09:35,866 KIND OF THE RESURRECTION OF 207 00:09:35,866 --> 00:09:37,733 BREWING AND MANSFIELD. 208 00:09:37,733 --> 00:09:39,000 IN FACT, OUR TAG LINE IS 209 00:09:39,000 --> 00:09:40,233 "RESURRECTING TRADITION ONE 210 00:09:40,233 --> 00:09:42,400 BATCH AT TIME." 211 00:09:42,400 --> 00:09:43,633 WE HAVE, BASICALLY, WHAT WE CALL 212 00:09:43,633 --> 00:09:44,866 SIX FLAGSHIP BEERS. 213 00:09:44,866 --> 00:09:45,866 AND I THINK EACH ONE OF THOSE IS 214 00:09:45,866 --> 00:09:48,800 SOLID FOR ITS STYLE. 215 00:09:48,800 --> 00:09:50,300 SOMETIMES IT'S A LITTLE 216 00:09:50,300 --> 00:09:51,700 OVERWHELMING THAT WE WERE ABLE 217 00:09:51,700 --> 00:09:55,066 TO DO THIS. 218 00:09:55,066 --> 00:09:57,000 IT'S HOME. 219 00:09:57,000 --> 00:10:01,833 I DON'T KNOW WHAT ELSE TO SAY. 220 00:10:01,833 --> 00:10:04,800 ♫♫ 221 00:10:04,800 --> 00:10:05,700 >> COME TO THE MANSFIELD 222 00:10:05,700 --> 00:10:06,800 MEMORIAM MUSEUM. 223 00:10:06,800 --> 00:10:09,433 ♫♫ 224 00:10:09,433 --> 00:10:10,466 THE CORNERSTONE WAS LAID 225 00:10:10,466 --> 00:10:13,466 IN 1887. 226 00:10:13,466 --> 00:10:15,200 WE ARE THE FIRST AND LAST 227 00:10:15,200 --> 00:10:18,000 STANDING THAT ACTUALLY STILL HAS 228 00:10:18,000 --> 00:10:19,366 VETERANS THAT MEET IN HERE. 229 00:10:19,366 --> 00:10:20,333 WE'RE THE OLDEST CONTINUOUSLY 230 00:10:20,333 --> 00:10:21,066 USED VETERAN'S HALL. 231 00:10:21,066 --> 00:10:21,700 AND OF COURSE THE MUSEUM ITSELF 232 00:10:21,700 --> 00:10:22,166 IS ONE OF THE OLDEST MUSEUMS IN 233 00:10:22,166 --> 00:10:23,033 OHIO. 234 00:10:23,033 --> 00:10:24,166 MANSFIELD, FOR THE -- IT'S 235 00:10:24,166 --> 00:10:26,100 INCREDIBLE, FOR THE SIZE OF ITS, 236 00:10:26,100 --> 00:10:28,466 FOR THE CITY ITSELF, WHAT IT 237 00:10:28,466 --> 00:10:30,500 CONTRIBUTED AND WHAT IT PRODUCED 238 00:10:30,500 --> 00:10:33,333 IS ABSOLUTELY INCREDIBLE. 239 00:10:33,333 --> 00:10:34,633 WHEN YOU LOOK AT THE SMALLER 240 00:10:34,633 --> 00:10:35,700 MUSEUMS AROUND THE COUNTRY, THEY 241 00:10:35,700 --> 00:10:37,033 ARE THE ONES THAT ARE ACTUALLY 242 00:10:37,033 --> 00:10:38,500 PRESERVING THE BULK OF THE 243 00:10:38,500 --> 00:10:41,133 COMMUNITY'S HISTORY. 244 00:10:41,133 --> 00:10:42,733 AND UNFORTUNATELY MORE AND MORE 245 00:10:42,733 --> 00:10:45,700 ARE GOING TO THE DUST. 246 00:10:45,700 --> 00:10:48,933 WE HAVE ONE GENTLEMEN WHO 247 00:10:48,933 --> 00:10:51,666 ACTUALLY GIVES ME, AND I CANNOT 248 00:10:51,666 --> 00:10:55,833 EXPRESS HOW GRATEFUL I AM, SOME 249 00:10:55,833 --> 00:10:58,200 FUNDS THAT I GET TO KEEP THE GAS 250 00:10:58,200 --> 00:11:03,033 ON. 251 00:11:03,033 --> 00:11:04,333 IN THE LAST EIGHT YEARS OF MY 252 00:11:04,333 --> 00:11:05,133 18, I HAVE NOT HAD A SALARY, BUT 253 00:11:05,133 --> 00:11:06,633 I'M HERE 40 HOURS A WEEK AND I 254 00:11:06,633 --> 00:11:08,000 DO OTHER JOBS TO MAKE SURE THIS 255 00:11:08,000 --> 00:11:10,766 IS MY LIFE. 256 00:11:10,766 --> 00:11:11,366 >> WE'RE KIND OF REDEFINING 257 00:11:11,366 --> 00:11:12,400 SUCCESS. 258 00:11:12,400 --> 00:11:13,666 AND TO US, SUCCESS IS HAVING 259 00:11:13,666 --> 00:11:14,733 THIS WEALTH OF FRIENDS AND ARTS 260 00:11:14,733 --> 00:11:17,533 AND CULTURE AND JUST HAVING A 261 00:11:17,533 --> 00:11:19,366 PLACE THAT MAKES YOU HAPPY AND 262 00:11:19,366 --> 00:11:21,433 THAT YOU CAN AFFORD TO LIVE IN. 263 00:11:21,433 --> 00:11:29,133 ♫♫ 264 00:11:29,133 --> 00:11:30,933 ♫♫ 265 00:11:30,933 --> 00:11:32,166 >> ON FRIDAY NOVEMBER 6TH, 266 00:11:32,166 --> 00:11:33,200 TOM BATIUK, THE CREATOR OF 267 00:11:33,200 --> 00:11:34,733 "FUNKY WINKERBEAN" AND 268 00:11:34,733 --> 00:11:36,066 "CRANKSHAFT", WILL BE AT MAIN 269 00:11:36,066 --> 00:11:37,333 STREET BOOKS IN DOWNTOWN 270 00:11:37,333 --> 00:11:40,400 MANSFIELD AS PART OF THE CITY'S 271 00:11:40,400 --> 00:11:41,333 FIRST FRIDAY SHOP HOP. 272 00:11:41,333 --> 00:11:42,833 AND VISIT MANSFIELDTOURISM.COM 273 00:11:42,833 --> 00:11:44,733 TO FIND OTHER COOL HAPPENINGS IN 274 00:11:44,733 --> 00:11:47,766 THE AREA. 275 00:11:47,766 --> 00:11:51,066 ♫♫ 276 00:11:51,066 --> 00:11:51,766 CHOREOGRAPHERS ARE STORYTELLERS. 277 00:11:51,766 --> 00:11:54,433 THEY INSTRUCT DANCERS TO CONVEY 278 00:11:54,433 --> 00:11:55,833 MEANING THROUGH MOVEMENT. 279 00:11:55,833 --> 00:11:58,733 CRYSTAL MICHELLE OF DAYTON 280 00:11:58,733 --> 00:11:59,833 RECENTLY EXPLORED THE POWER AND 281 00:11:59,833 --> 00:12:01,633 SIGNIFICANCE OF WATER IN A 282 00:12:01,633 --> 00:12:04,833 SITE-SPECIFIC PERFORMANCE SHE 283 00:12:04,833 --> 00:12:08,166 DEVELOPED ALONG THE SCIOTO RIVER 284 00:12:08,166 --> 00:12:11,733 IN DUBLIN EARLIER THIS YEAR. 285 00:12:11,733 --> 00:12:20,866 [ FAINT SINGING ] 286 00:12:20,866 --> 00:12:22,933 ♫♫ 287 00:12:22,933 --> 00:12:23,633 >> THE DECENT OF THIS WATER RAIN 288 00:12:23,633 --> 00:12:24,566 IS ACTUALLY THE DEFINITION OF 289 00:12:24,566 --> 00:12:25,666 RAIN. 290 00:12:25,666 --> 00:12:28,633 SO IF YOU LOOK AT RAIN, THE 291 00:12:28,633 --> 00:12:31,700 DECENT OF WATER, I JUST MADE 292 00:12:31,700 --> 00:12:33,333 SOME CONNECTIONS ABOUT 293 00:12:33,333 --> 00:12:35,166 DESCENDING ON A PLACE. 294 00:12:35,166 --> 00:12:36,200 ABOUT RAIN BEING PURE. 295 00:12:36,200 --> 00:12:37,766 OR BEING A PURIFYING ELEMENT, 296 00:12:37,766 --> 00:12:45,066 RATHER A CLEANSER. 297 00:12:45,066 --> 00:12:46,933 AND THINKING ABOUT EACH 298 00:12:46,933 --> 00:12:51,466 INDIVIDUAL PARTICIPANT, DANCER, 299 00:12:51,466 --> 00:12:55,800 VIEWER, AS DROPLETS OF RAIN. 300 00:12:55,800 --> 00:12:56,966 SO GATHERING INTO ONE BODY OF 301 00:12:56,966 --> 00:12:57,666 WATER. 302 00:12:57,666 --> 00:13:01,833 THE RIVER IN THIS INSTANCE. 303 00:13:01,833 --> 00:13:13,666 ♫♫ 304 00:13:13,666 --> 00:13:14,400 THE RIVER IS THIS THING, RIGHT, 305 00:13:14,400 --> 00:13:16,900 THAT PROVIDES RESOURCE AND 306 00:13:16,900 --> 00:13:19,966 CONNECTION NATURALLY. 307 00:13:19,966 --> 00:13:20,566 RIGHT? 308 00:13:20,566 --> 00:13:22,266 IF YOU LOOK AT OUR WATERSHEDS OR 309 00:13:22,266 --> 00:13:24,900 OUR RIVER, OUR OCEANS EVEN, 310 00:13:24,900 --> 00:13:26,166 LAKES -- THEY WAY THAT THEY 311 00:13:26,166 --> 00:13:27,833 CONNECT. 312 00:13:27,833 --> 00:13:30,600 SORT OF CONNECTING DOTS. 313 00:13:30,600 --> 00:13:31,733 SO BEING INTERESTED IN THE WAY 314 00:13:31,733 --> 00:13:34,733 WE CONNECT AND HOW WE USE IT. 315 00:13:34,733 --> 00:13:46,333 ♫♫ 316 00:13:46,333 --> 00:13:47,300 OHIO IS AN AMAZINGLY DIVERSE 317 00:13:47,300 --> 00:13:50,433 PLACE. 318 00:13:50,433 --> 00:13:51,433 SO NOT JUST FOR AFRICAN-AMERICAN 319 00:13:51,433 --> 00:13:52,600 PEOPLE, OR FOR NATIVE-AMERICAN 320 00:13:52,600 --> 00:13:53,900 POPULATIONS, BUT EVEN FOR WHITE 321 00:13:53,900 --> 00:13:55,300 POPULATIONS ARE NOT WHITE 322 00:13:55,300 --> 00:13:57,366 POPULATIONS, RIGHT. 323 00:13:57,366 --> 00:13:59,533 THEY'RE JUST -- GERMAN 324 00:13:59,533 --> 00:14:01,766 POPULATIONS AND ITALIAN 325 00:14:01,766 --> 00:14:03,266 POPULATIONS. 326 00:14:03,266 --> 00:14:05,500 AND ALL OF US WHO SORT OF FOUND 327 00:14:05,500 --> 00:14:07,200 THIS PLACE, THIS RIVER AREA. 328 00:14:07,200 --> 00:14:10,300 THE SCIOTO RIVER HAS AN 329 00:14:10,300 --> 00:14:11,366 INTERESTING HISTORY WITH THE 330 00:14:11,366 --> 00:14:13,500 UNDERGROUND RAILROAD POPULATION. 331 00:14:13,500 --> 00:14:16,300 SO I THOUGHT, IF I HAD THIS 332 00:14:16,300 --> 00:14:17,766 CONNECTION TO THE WATER AND TO 333 00:14:17,766 --> 00:14:19,866 THE EARTH, HERE IN THIS PLACE, 334 00:14:19,866 --> 00:14:21,566 IF I COULD DRAW THOSE LINES -- 335 00:14:21,566 --> 00:14:22,933 HOW COULD THE DANCERS DRAW THOS 336 00:14:22,933 --> 00:14:28,200 LINES AS WELL. 337 00:14:28,200 --> 00:14:30,000 AND WHAT WOULD IT MEAN TO START 338 00:14:30,000 --> 00:14:31,966 CONNECTING TO A PLACE AS GROUP 339 00:14:31,966 --> 00:14:35,433 OF PEOPLE. 340 00:14:35,433 --> 00:14:45,100 THE MUSIC ABSOLUTELY HELPS TELL 341 00:14:45,100 --> 00:14:47,100 THAT STORY. 342 00:14:47,100 --> 00:14:49,333 SO TO NOT JUST USE THINGS THAT I 343 00:14:49,333 --> 00:14:51,066 CONNECTED WITH, BUT TO USE MUSIC 344 00:14:51,066 --> 00:14:54,100 THAT COMES FROM THIS PLACE. 345 00:14:54,100 --> 00:14:55,533 TO USE BLUEGRASS MUSIC. 346 00:14:55,533 --> 00:14:59,300 TO USE RING-SHOUT MUSIC. 347 00:14:59,300 --> 00:15:00,966 TO USE THE HUMAN VOICE. 348 00:15:00,966 --> 00:15:04,633 OLD SPIRITUALS. 349 00:15:04,633 --> 00:15:06,233 SO THERE'S A PIECE OF MUSIC 350 00:15:06,233 --> 00:15:08,466 CALLED "BIG SCIOTY." 351 00:15:08,466 --> 00:15:10,666 IT'S A BLUEGRASS SONG THAT I USE 352 00:15:10,666 --> 00:15:11,900 TO KIND OF DO LIKE A PADDLE BOAT 353 00:15:11,900 --> 00:15:18,600 THING. 354 00:15:18,600 --> 00:15:19,666 A GROUP OF PEOPLE COMING ACROSS 355 00:15:19,666 --> 00:15:23,166 A SPACE. 356 00:15:23,166 --> 00:15:26,200 AND THEN I ALSO USED A VERY OLD 357 00:15:26,200 --> 00:15:28,566 RING-SHOUT KIND OF THING THAT 358 00:15:28,566 --> 00:15:29,533 FOLLOWS THAT, AND OVERLAID OVER 359 00:15:29,533 --> 00:15:30,233 IT ARE THE DANCERS VOICES 360 00:15:30,233 --> 00:15:31,200 TALKING ABOUT HOW THEY GO TO 361 00:15:31,200 --> 00:15:33,500 THIS PLACE ON THE POWER OF 362 00:15:33,500 --> 00:15:34,100 WATER. 363 00:15:34,100 --> 00:15:35,133 AND CREATED MOVEMENT TO GO IN 364 00:15:35,133 --> 00:15:38,100 THOSE THINGS. 365 00:15:38,100 --> 00:15:39,966 >> I KNOW MY ROOTS. 366 00:15:39,966 --> 00:15:41,633 >> IN ORDER TO DO THE 367 00:15:41,633 --> 00:15:46,266 CHOREOGRAPHY, YOU ALMOST HAVE TO 368 00:15:46,266 --> 00:15:49,266 LEAN BACK INTO THE HILL. 369 00:15:49,266 --> 00:15:51,633 IT'S SO -- I MEAN JUST WALKING 370 00:15:51,633 --> 00:15:52,866 UP AND DOWN IT IS PHYSICAL, 371 00:15:52,866 --> 00:15:56,666 RIGHT? 372 00:15:56,666 --> 00:15:57,700 AND SO WE WOULD HAVE THESE DAILY 373 00:15:57,700 --> 00:15:59,100 CONVERSATIONS DURING THE 374 00:15:59,100 --> 00:16:01,000 REHEARSAL THE WEEK LEADING UP TO 375 00:16:01,000 --> 00:16:01,800 IT -- THAT THAT'S WHAT MIGRATION 376 00:16:01,800 --> 00:16:05,800 FELT LIKE. 377 00:16:05,800 --> 00:16:06,633 YOU KNOW THEY LOVED THEIR THINGS 378 00:16:06,633 --> 00:16:09,900 ON THEIR BACK. 379 00:16:09,900 --> 00:16:10,666 THEY CLIMBED THESE HILLS. 380 00:16:10,666 --> 00:16:12,100 THEY WENT THROUGH THIS TERRAIN. 381 00:16:12,100 --> 00:16:13,300 AND I THINK THROUGH THE DANCE WE 382 00:16:13,300 --> 00:16:15,033 REALLY DID EXPERIENCE THAT. 383 00:16:15,033 --> 00:16:16,266 THERE WAS NO IGNORING THAT IT 384 00:16:16,266 --> 00:16:21,233 WAS A NATURAL SPACE. 385 00:16:21,233 --> 00:16:22,400 THE CHOREOGRAPHY STARTED TO 386 00:16:22,400 --> 00:16:23,733 ADJUST A LITTLE DAY BY DAY. 387 00:16:23,733 --> 00:16:24,933 THAT RUNNING UP THE HILL BECAME 388 00:16:24,933 --> 00:16:26,133 CRAWLING UP THE HILL. 389 00:16:26,133 --> 00:16:27,900 OR WALKING DOWN A HILL STRAIGHT 390 00:16:27,900 --> 00:16:29,966 BECAME SORT OF A SIDEWAYS JOG. 391 00:16:29,966 --> 00:16:31,166 EVERYTHING JUST GOT EXTREMELY 392 00:16:31,166 --> 00:16:32,666 PHYSICAL IN REACTION TO THE 393 00:16:32,666 --> 00:16:35,100 SPACE. 394 00:16:35,100 --> 00:16:36,566 BUT WHEN YOU'RE DOING 395 00:16:36,566 --> 00:16:39,733 SITE-SPECIFIC WORK YOU ALLOW 396 00:16:39,733 --> 00:16:43,500 THAT. 397 00:16:43,500 --> 00:16:44,700 ♫♫ 398 00:16:44,700 --> 00:16:45,866 ♫ SEEMED TO VANISH LIKE THE 399 00:16:45,866 --> 00:16:51,733 GAMBLER'S LUCKY STREAK ♫ 400 00:16:51,733 --> 00:16:53,033 ♫ WHEN WE'RE OUT TOGETHER 401 00:16:53,033 --> 00:16:58,633 DANCING CHEEK TO CHEEK ♫ 402 00:16:58,633 --> 00:17:10,633 ♫♫ 403 00:17:10,633 --> 00:17:11,466 >> STEVEN WALKER, A VIRGINIA 404 00:17:11,466 --> 00:17:12,333 NATIVE WHO NOW LIVES IN OHIO, 405 00:17:12,333 --> 00:17:14,300 SAYS THE BEST TIMES OF HIS LIFE 406 00:17:14,300 --> 00:17:16,833 WERE THE CHILDHOOD ROAD TRIPS HE 407 00:17:16,833 --> 00:17:17,800 TOOK WITH HIS FAMILY THROUGH THE 408 00:17:17,800 --> 00:17:18,733 COUNTRYSIDE, AND HIS LANDSCAPE 409 00:17:18,733 --> 00:17:19,666 PAINTINGS ARE REMINISCENT OF 410 00:17:19,666 --> 00:17:22,133 THESE TIMES. 411 00:17:22,133 --> 00:17:34,000 ♫♫ 412 00:17:34,000 --> 00:17:34,766 >> I DON'T KNOW HOW MANY YEARS 413 00:17:34,766 --> 00:17:36,000 AGO, BUT A FRIEND ASKED ME THIS 414 00:17:36,000 --> 00:17:36,833 WEIRD QUESTION. 415 00:17:36,833 --> 00:17:39,133 HE JUST SAID WHAT MAKES YOU 416 00:17:39,133 --> 00:17:40,833 HAPPY? 417 00:17:40,833 --> 00:17:41,933 AND IT THREW ME OFF BECAUSE I 418 00:17:41,933 --> 00:17:42,833 HADN'T GIVEN IT A SECOND 419 00:17:42,833 --> 00:17:44,033 THOUGHT. 420 00:17:44,033 --> 00:17:45,866 WHAT -- WHAT MAKES ME -- HUH? 421 00:17:45,866 --> 00:17:48,700 OH. 422 00:17:48,700 --> 00:17:49,766 AND SO I STARTED THINKING ABOUT 423 00:17:49,766 --> 00:17:51,633 IT, REALLY GAVE IT A LOT OF 424 00:17:51,633 --> 00:17:53,766 THOUGHT, AND I STARTED THINKING 425 00:17:53,766 --> 00:17:57,433 ABOUT THE BEST TIMES OF MY LIFE 426 00:17:57,433 --> 00:18:00,133 WERE ROAD TRIPS WHERE I'M JUST 427 00:18:00,133 --> 00:18:05,266 STARING OUT OF THE BACK SEAT AT 428 00:18:05,266 --> 00:18:06,066 RURAL COUNTRY. 429 00:18:06,066 --> 00:18:07,066 SEEING COWS PASS BY, FARMHOUSES. 430 00:18:07,066 --> 00:18:08,033 CAMPING IN BOY SCOUTS, TRAILS, 431 00:18:08,033 --> 00:18:11,900 JUST GETTING LOST SOMETIMES. 432 00:18:11,900 --> 00:18:14,433 THOSE REALLY TOOK ME TO A GOOD 433 00:18:14,433 --> 00:18:15,266 PLACE, AND IT ALWAYS HELPS TO 434 00:18:15,266 --> 00:18:20,133 KNOW YOUR SUBJECT. 435 00:18:20,133 --> 00:18:24,533 SO, I LOOK FOR A LOT OF CONTRAST 436 00:18:24,533 --> 00:18:26,766 AND A LOT OF TIMES I WON'T GO 437 00:18:26,766 --> 00:18:27,966 OUT SAY IN THE MIDDLE OF THE DAY 438 00:18:27,966 --> 00:18:29,633 BECAUSE EVERYTHING'S JUST WASHED 439 00:18:29,633 --> 00:18:30,900 OUT. 440 00:18:30,900 --> 00:18:32,266 TOWARDS THE END OF THE DAY, 441 00:18:32,266 --> 00:18:34,133 SUNSET, YOU GET THAT REALLY 442 00:18:34,133 --> 00:18:35,933 STRONG LIGHT. 443 00:18:35,933 --> 00:18:41,033 THAT GIVES US AT TIMES ORANGE 444 00:18:41,033 --> 00:18:42,600 GLOW ACROSS THE WHOLE LANDSCAPE 445 00:18:42,600 --> 00:18:44,400 AND THAT REALLY SPEAKS TO ME. 446 00:18:44,400 --> 00:18:47,300 AND TRYING TO KEEP IT NATURAL 447 00:18:47,300 --> 00:18:49,266 EVEN IF IT'S NOT YOUR TYPICAL 448 00:18:49,266 --> 00:18:51,833 BEAUTY. 449 00:18:51,833 --> 00:18:52,833 YOU KNOW, I'VE PAINTED THINGS 450 00:18:52,833 --> 00:18:53,533 WHERE THE TREES THAT ARE IN AN 451 00:18:53,533 --> 00:18:57,233 ALLEY WAY. 452 00:18:57,233 --> 00:18:58,066 AND YOU KNOW, WHO WOULD THINK TO 453 00:18:58,066 --> 00:19:00,133 EVEN DO THAT? 454 00:19:00,133 --> 00:19:02,166 BUT, IF THE LIGHTING'S HITTING 455 00:19:02,166 --> 00:19:03,566 EVERYTHING RIGHT, ANYTHING CAN 456 00:19:03,566 --> 00:19:07,500 BE BEAUTIFUL. 457 00:19:07,500 --> 00:19:11,333 ♫♫ 458 00:19:11,333 --> 00:19:12,033 YOU CAN'T WAIT FOR INSPIRATION 459 00:19:12,033 --> 00:19:13,266 TO COME, YOU GOT TO GO OUT AND 460 00:19:13,266 --> 00:19:14,300 GET IT. 461 00:19:14,300 --> 00:19:15,600 IF I WAITED FOR INSPIRATION, I 462 00:19:15,600 --> 00:19:17,633 COULDN'T -- I WOULDN'T HAVE MANY 463 00:19:17,633 --> 00:19:20,700 SHOWS. 464 00:19:20,700 --> 00:19:22,400 SO, THAT'S BEEN ONE KEY THING OR 465 00:19:22,400 --> 00:19:24,100 FEW KEY THINGS THAT REALLY 466 00:19:24,100 --> 00:19:25,633 HELPED ME WHEN STUDYING 467 00:19:25,633 --> 00:19:29,500 ILLUSTRATION. 468 00:19:29,500 --> 00:19:31,033 THEN THE KICKER WAS JUST FINDING 469 00:19:31,033 --> 00:19:34,633 MY OWN VOICE FOR FINE ART. 470 00:19:34,633 --> 00:19:42,533 ♫♫ 471 00:19:42,533 --> 00:19:47,400 SO MANY PEOPLE WANT TO JUST GET 472 00:19:47,400 --> 00:19:54,000 IT RIGHT FROM THE JUMP AND THEY 473 00:19:54,000 --> 00:19:54,566 DON'T WANT TO -- THEY DON'T WANT 474 00:19:54,566 --> 00:19:55,900 TO FAIL. 475 00:19:55,900 --> 00:19:56,900 THEY DON'T WANT TO SHOW ANYTHING 476 00:19:56,900 --> 00:19:57,966 THAT'S NOT MUSEUM WORTHY. 477 00:19:57,966 --> 00:19:58,766 YOU HAVE TO HAVE PATIENCE "WELL, 478 00:19:58,766 --> 00:20:00,000 OKAY I'M GOING TO DO THIS, IT'S 479 00:20:00,000 --> 00:20:00,866 NOT GONNA BE GREAT, BUT I'M 480 00:20:00,866 --> 00:20:02,233 GONNA LEARN FROM IT AND APPLY IT 481 00:20:02,233 --> 00:20:05,600 TO THE NEXT PIECE." 482 00:20:05,600 --> 00:20:06,433 AND, YOU KNOW, AS LONG AS YOU'RE 483 00:20:06,433 --> 00:20:07,700 STILL WORKING THE CRAFT AND 484 00:20:07,700 --> 00:20:08,566 HAVING THE PATIENCE TO KNOW THAT 485 00:20:08,566 --> 00:20:11,533 IT'S GONNA GET BETTER, YOU'LL BE 486 00:20:11,533 --> 00:20:15,166 JUST FINE. 487 00:20:15,166 --> 00:20:16,000 AND SOMETIMES, DOING A LITTLE 488 00:20:16,000 --> 00:20:17,266 BIT OF PAINTING SAYING "OKAY, I 489 00:20:17,266 --> 00:20:19,400 GOT TO WAIT. 490 00:20:19,400 --> 00:20:20,466 I GOT TO LOOK AT THIS FOR AWHILE 491 00:20:20,466 --> 00:20:22,766 TO SEE IF IT'S REALLY WORKING 492 00:20:22,766 --> 00:20:24,566 THE WAY I WANT IT TO." 493 00:20:24,566 --> 00:20:25,133 AS OPPOSED AS GIVING YOURSELF, 494 00:20:25,133 --> 00:20:26,533 "OKAY, WELL I GOT TO GET THIS 495 00:20:26,533 --> 00:20:27,933 FINISHED IN THIS AMOUNT OF 496 00:20:27,933 --> 00:20:31,033 TIME." 497 00:20:31,033 --> 00:20:33,400 IF IT DOESN'T, THEN IT DOESN'T. 498 00:20:33,400 --> 00:20:49,366 ♫♫ 499 00:20:49,366 --> 00:20:49,933 >> IF YOU'RE A "TWIN PEAKS" FAN, 500 00:20:49,933 --> 00:20:51,400 YOU'LL LOVE THIS SEGMENT. 501 00:20:51,400 --> 00:20:52,300 THE CRITICALLY ACCLAIMED 502 00:20:52,300 --> 00:20:53,500 1990S TV SERIES WILL RETURN TO 503 00:20:53,500 --> 00:20:55,066 SHOWTIME NEXT YEAR WITH ORIGINAL 504 00:20:55,066 --> 00:20:59,000 CREATOR AND DIRECTOR DAVID LYNCH 505 00:20:59,000 --> 00:20:59,833 AT THE HELM. 506 00:20:59,833 --> 00:21:00,766 BUT LONG BEFORE LYNCH BROUGHT US 507 00:21:00,766 --> 00:21:02,133 "TWIN PEAKS", "BLUE VELVET" AND 508 00:21:02,133 --> 00:21:03,400 "ERASERHEAD", HE WAS A STUDENT 509 00:21:03,400 --> 00:21:04,366 AT THE PENNSYLVANIA ACADEMY OF 510 00:21:04,366 --> 00:21:05,933 FINE ARTS WHERE HE DREAMED OF 511 00:21:05,933 --> 00:21:08,400 BECOMING A PAINTER. 512 00:21:08,400 --> 00:21:09,333 THE PAFA MUSEUM RECENTLY 513 00:21:09,333 --> 00:21:11,833 PRESENTED THE FIRST MAJOR U.S. 514 00:21:11,833 --> 00:21:13,133 EXHIBITION OF LYNCH'S WORK THAT 515 00:21:13,133 --> 00:21:14,900 UNITES ALL ASPECTS OF HIS 516 00:21:14,900 --> 00:21:17,966 CREATIVE LIFE, INCLUDING ONE OF 517 00:21:17,966 --> 00:21:25,100 THE FIRST FILMS HE EVER MADE. 518 00:21:25,100 --> 00:21:25,933 >> THE TRACES OF PHILADELPHIA IN 519 00:21:25,933 --> 00:21:27,133 HIS WORK ARE, YOU CAN'T UNWIND 520 00:21:27,133 --> 00:21:31,700 OR PULL ANYTHING APART WITHOUT 521 00:21:31,700 --> 00:21:36,900 PHILADELPHIA POKING UP. 522 00:21:36,900 --> 00:21:37,566 >> I HAVEN'T SEEN SOME OF THESE 523 00:21:37,566 --> 00:21:40,533 PAINTINGS THAT ARE IN THE SHOW 524 00:21:40,533 --> 00:21:44,100 SINCE THE 60S. 525 00:21:44,100 --> 00:21:44,933 WHEN I WENT AROUND LOOKING AT 526 00:21:44,933 --> 00:21:46,800 THE SHOW, I GOT MORE, I GOT 527 00:21:46,800 --> 00:21:50,800 IDEAS. 528 00:21:50,800 --> 00:21:53,433 SO, I THINK THAT IT'S GOOD TO 529 00:21:53,433 --> 00:21:55,766 LOOK BACK SOMETIMES. 530 00:21:55,766 --> 00:22:09,166 ♫♫ 531 00:22:09,166 --> 00:22:17,533 I ALWAYS SAY THAT PHILADELPHIA, 532 00:22:17,533 --> 00:22:18,666 PENNSYLVANIA IS MY BIGGEST 533 00:22:18,666 --> 00:22:21,366 INFLUENCE. THERE'S SOMETHING 534 00:22:21,366 --> 00:22:25,033 ABOUT THE MOOD HERE. 535 00:22:25,033 --> 00:22:26,966 THERE WAS DARK CARVED WOOD 536 00:22:26,966 --> 00:22:30,300 BANISTERS AND STAIRWAYS. 537 00:22:30,300 --> 00:22:31,366 THERE WAS A CERTAIN TYPE OF 538 00:22:31,366 --> 00:22:33,400 GREEN THAT THEY'D PAINT THE 539 00:22:33,400 --> 00:22:34,233 ROOMS, EITHER WHITE OR THIS 540 00:22:34,233 --> 00:22:37,300 STRANGE GREEN. 541 00:22:37,300 --> 00:22:41,066 THE ROOMS HAD NICE PROPORTIONS, 542 00:22:41,066 --> 00:22:42,133 SO THERE WAS A CERTAIN KIND OF 543 00:22:42,133 --> 00:22:44,966 PURITY. 544 00:22:44,966 --> 00:22:45,666 IT HADN'T BEEN DISTURBED EXCEPT 545 00:22:45,666 --> 00:22:46,566 BY THE SOOT. 546 00:22:46,566 --> 00:22:47,633 IT WASN'T ANY ONE PARTICULAR 547 00:22:47,633 --> 00:22:49,033 THING OR SCENE THAT YOU WITNESS 548 00:22:49,033 --> 00:22:50,266 HERE. 549 00:22:50,266 --> 00:22:51,666 IT'S THE MOOD AND WHAT SOME OF 550 00:22:51,666 --> 00:22:53,466 THE IMAGES DID ONCE THEY GOT 551 00:22:53,466 --> 00:22:55,166 DOWN INSIDE OF YOU. 552 00:22:55,166 --> 00:22:56,733 YEAH, PHILADELPHIA IS A 553 00:22:56,733 --> 00:23:01,366 PERCOLATING IN ME. 554 00:23:01,366 --> 00:23:04,666 >> THE UNIFIED FIELD IS THE 555 00:23:04,666 --> 00:23:07,266 FIRST MUSEUM EXHIBITION OF 556 00:23:07,266 --> 00:23:08,433 DAVID LYNCH'S PAINTINGS AND 557 00:23:08,433 --> 00:23:10,133 DRAWINGS EVER. 558 00:23:10,133 --> 00:23:12,566 IT IS THE LARGEST SURVEY THAT 559 00:23:12,566 --> 00:23:16,333 EVER BEEN ON VIEW IN AN AMERICAN 560 00:23:16,333 --> 00:23:18,666 MUSEUM AND IT'S THE FIRST. 561 00:23:18,666 --> 00:23:22,466 >> BACK IN 1965 AND I -- 562 00:23:22,466 --> 00:23:23,633 >> HE IS ALSO AN INTERNATIONALLY 563 00:23:23,633 --> 00:23:26,600 KNOWN FILM DIRECTOR AND WRITER. 564 00:23:26,600 --> 00:23:28,033 HE HAS BEEN NOMINATED FOR 565 00:23:28,033 --> 00:23:31,933 ACADEMY AWARDS. 566 00:23:31,933 --> 00:23:32,900 PRETTY MUCH A CELEBRITY. 567 00:23:32,900 --> 00:23:34,466 HE'S KNOWN THROUGHOUT THE ENTIRE 568 00:23:34,466 --> 00:23:37,200 WORLD AS A FILM DIRECTOR, BUT 569 00:23:37,200 --> 00:23:38,200 DAVID LYNCH IS AT HEART A 570 00:23:38,200 --> 00:23:40,333 PAINTER. 571 00:23:40,333 --> 00:23:40,966 >> I ONLY WANTED TO BE A 572 00:23:40,966 --> 00:23:41,566 PAINTER. 573 00:23:41,566 --> 00:23:44,700 I GOT INTO FILM BY ACCIDENT IN 574 00:23:44,700 --> 00:23:45,766 THIS VERY BUILDING IN ONE OF THE 575 00:23:45,766 --> 00:23:50,100 STUDIOS RIGHT OVER HERE. 576 00:23:50,100 --> 00:23:51,133 THE FIRST FILM I EVER MADE IS 577 00:23:51,133 --> 00:23:52,233 NOW BEING SHOWN HERE AS IT WAS 578 00:23:52,233 --> 00:23:56,200 WHEN I MADE IT. 579 00:23:56,200 --> 00:23:57,966 AND IT WAS PROJECTED IN THIS 580 00:23:57,966 --> 00:23:59,233 ROOM JUST TO THE RIGHT OF WHERE 581 00:23:59,233 --> 00:24:01,800 YOU ARE SITTING ON A 16 MM 582 00:24:01,800 --> 00:24:03,400 PROJECTOR AND I HAD A TAPE 583 00:24:03,400 --> 00:24:06,266 RECORDER WITH A LOOP OF SIRENS 584 00:24:06,266 --> 00:24:07,500 AND IT WAS PLAYED RIGHT HERE. 585 00:24:07,500 --> 00:24:14,900 [ SIREN ] 586 00:24:14,900 --> 00:24:22,366 >> ONE OF THE THINGS I'M MOST 587 00:24:22,366 --> 00:24:23,866 PROUD OF ABOUT THIS EXHIBITION 588 00:24:23,866 --> 00:24:25,566 IS THAT WE ARE PRESENTING "SIX 589 00:24:25,566 --> 00:24:28,166 MEN GETTING SICK" WHICH LYNCH 590 00:24:28,166 --> 00:24:29,666 DID IN 1967 FOR THE FIRST TIME 591 00:24:29,666 --> 00:24:33,166 SINCE 1967. 592 00:24:33,166 --> 00:24:35,666 WHERE DAVID LYNCH BEGINS TO ME 593 00:24:35,666 --> 00:24:39,866 AS SOMEBODY WHO IS MAKING WORK 594 00:24:39,866 --> 00:24:40,933 THAT IS UNIQUELY HIS OWN IS WITH 595 00:24:40,933 --> 00:24:45,133 "SIX MEN GETTING SICK." 596 00:24:45,133 --> 00:24:46,000 IT'S THAT PIECE THAT HE MADE AS 597 00:24:46,000 --> 00:24:47,400 HIS ENTRY INTO THE SECOND ANNUAL 598 00:24:47,400 --> 00:24:48,600 EXPERIMENTAL PAINTING AND 599 00:24:48,600 --> 00:24:49,966 SCULPTURE COMPETITION THAT WAS 600 00:24:49,966 --> 00:24:52,033 HELD AT PAFA. 601 00:24:52,033 --> 00:24:53,166 LYNCH WHO IS AN ADVANCED 602 00:24:53,166 --> 00:24:54,866 PAINTING STUDENT AT PAFA DIDN'T 603 00:24:54,866 --> 00:24:58,200 PRODUCE A PAINTING, BUT BASED ON 604 00:24:58,200 --> 00:25:01,533 AN EXPERIENCE HE HAD IN THE 605 00:25:01,533 --> 00:25:02,933 STUDIO ONE NIGHT HE'S PAINTING 606 00:25:02,933 --> 00:25:04,066 AN IMAGE OF GREEN GARDEN PLANTS 607 00:25:04,066 --> 00:25:05,800 AT NIGHT. 608 00:25:05,800 --> 00:25:07,100 IT WAS A NOCTURNAL SCENE. 609 00:25:07,100 --> 00:25:09,400 HE PAUSED AND THEN FROM THE 610 00:25:09,400 --> 00:25:11,133 PAINTING CAME A WIND THAT HE 611 00:25:11,133 --> 00:25:12,633 HEARD AND HE FELT. 612 00:25:12,633 --> 00:25:13,733 AND THEN HE SAW THE PLANTS START 613 00:25:13,733 --> 00:25:14,766 TO MOVE ON THE CANVAS, AND THEN 614 00:25:14,766 --> 00:25:16,233 HE THOUGHT, "OH! 615 00:25:16,233 --> 00:25:17,233 A MOVING PAINTING." 616 00:25:17,233 --> 00:25:18,800 AND HE STRESSES HE WASN'T ON 617 00:25:18,800 --> 00:25:20,266 DRUGS. 618 00:25:20,266 --> 00:25:21,466 YOU KNOW, THIS WAS THE 60S AND 619 00:25:21,466 --> 00:25:23,100 EVERYONE WANTS TO KNOW WAS 620 00:25:23,100 --> 00:25:24,566 DAVID LYNCH TAKING DRUGS, BUT 621 00:25:24,566 --> 00:25:26,866 ALL OF HIS FRIENDS AND HE SORT 622 00:25:26,866 --> 00:25:29,066 OF ASSERTS THAT HE WAS PRETTY 623 00:25:29,066 --> 00:25:30,933 MUCH STRAIGHT AS AN ARROW. 624 00:25:30,933 --> 00:25:33,733 NOT HAVING HAD ANY FILM TRAINING 625 00:25:33,733 --> 00:25:35,633 WHATSOEVER. 626 00:25:35,633 --> 00:25:44,233 THERE WAS NO FILM PROGRAM AT 627 00:25:44,233 --> 00:25:45,000 PAFA. 628 00:25:45,000 --> 00:25:45,366 THERE WASN'T EVEN A PHOTOGRAPHY 629 00:25:45,366 --> 00:25:45,633 CURRICULUM AT PAFA. 630 00:25:45,633 --> 00:25:45,900 HE AND HIS FRIEND 631 00:25:45,900 --> 00:25:46,266 BRUCE SAMUELSON -- WHO TEACHES 632 00:25:46,266 --> 00:25:46,633 HERE NOW, HAS BEEN TEACHING HERE 633 00:25:46,633 --> 00:25:47,000 SINCE THE EARLY 70S -- WAS A 634 00:25:47,000 --> 00:25:47,500 CLASSMATE OF LYNCH'S, TALKED 635 00:25:47,500 --> 00:25:48,300 ABOUT GETTING CAMERAS TOGETHER 636 00:25:48,300 --> 00:25:48,800 AND STARTING SOME KIND OF FILM 637 00:25:48,800 --> 00:25:50,033 EXPERIMENTS. 638 00:25:50,033 --> 00:25:50,733 WELL, LYNCH WENT AND BOUGHT A 639 00:25:50,733 --> 00:25:52,166 CAMERA. 640 00:25:52,166 --> 00:25:53,466 A WIND UP CAMERA. 641 00:25:53,466 --> 00:25:56,933 AND HE STARTED TO DO BASICALLY 642 00:25:56,933 --> 00:25:58,266 STOP MOTION ANIMATION OF A 643 00:25:58,266 --> 00:26:00,633 PAINTING HE WAS MAKING. 644 00:26:00,633 --> 00:26:05,966 "SIX MEN GETTING SICK" ISN'T THE 645 00:26:05,966 --> 00:26:06,400 MOMENT WHERE THERE IS A 646 00:26:06,400 --> 00:26:06,966 CROSSROADS AND DAVID LYNCH PICKS 647 00:26:06,966 --> 00:26:07,900 FILM OVER PAINTING OR DRAWING. 648 00:26:07,900 --> 00:26:09,500 IT IS THE FIRST MANIFESTATION OF 649 00:26:09,500 --> 00:26:11,866 WHAT WINDS UP BEING TOTAL, TOTAL 650 00:26:11,866 --> 00:26:15,033 SENSORY IMMERSION. 651 00:26:15,033 --> 00:26:15,800 WHEN YOU LOOK AT THE RESULT IS 652 00:26:15,800 --> 00:26:17,966 OF "SIX MEN GETTING SICK," IT IS 653 00:26:17,966 --> 00:26:19,400 A FILMED ANIMATION THAT GOES ON 654 00:26:19,400 --> 00:26:21,633 FOR 60 SECONDS, AND IT IS LOOPED 655 00:26:21,633 --> 00:26:24,366 AIMED AT A SCULPTED SCREEN THAT 656 00:26:24,366 --> 00:26:30,733 IS SIX BY EIGHT FEET. 657 00:26:30,733 --> 00:26:31,366 AND THE ANIMATION IS BASICALLY A 658 00:26:31,366 --> 00:26:32,700 PAINTING THAT HE IS MAKING, THAT 659 00:26:32,700 --> 00:26:34,166 HE GRADUALLY ADDS TO, SHOOTS TWO 660 00:26:34,166 --> 00:26:36,233 FRAMES, ADDS TO IT, SHOOTS TWO 661 00:26:36,233 --> 00:26:38,133 FRAMES, AND CONTINUES TO DO 662 00:26:38,133 --> 00:26:39,733 THAT. 663 00:26:39,733 --> 00:26:41,866 AND SO, HE IS NOT MAKING A 664 00:26:41,866 --> 00:26:42,766 LITTLE ANIMATED CELLS OR 665 00:26:42,766 --> 00:26:44,033 APPROACHING FILM IN THE WAY A 666 00:26:44,033 --> 00:26:53,200 FILMMAKER WOULD. 667 00:26:53,200 --> 00:26:53,933 LYNCH IS APPROACHING FILM IN THE 668 00:26:53,933 --> 00:26:55,233 WAY HE KNOWS HOW TO DO ANY KIND 669 00:26:55,233 --> 00:26:56,433 OF STUDIO WORK AND COME UP WITH 670 00:26:56,433 --> 00:27:00,833 A SOLUTION. 671 00:27:00,833 --> 00:27:02,200 HE IS ACTUALLY MAKING A PAINTING 672 00:27:02,200 --> 00:27:03,433 AND FILMING IT AS IT IS 673 00:27:03,433 --> 00:27:03,800 TRANSFORMING THROUGH HIS GRADUAL 674 00:27:03,800 --> 00:27:04,733 ADDITIVE PROCESS. 675 00:27:04,733 --> 00:27:05,200 >> I'VE BEEN PAINTING EVER 676 00:27:05,200 --> 00:27:06,466 SINCE. 677 00:27:06,466 --> 00:27:07,833 AND I GET SOMETHING FROM 678 00:27:07,833 --> 00:27:08,600 PAINTING THAT I DON'T GET FROM 679 00:27:08,600 --> 00:27:10,633 ANY OTHER MEDIUM FOR SURE. 680 00:27:10,633 --> 00:27:15,066 ♫♫ 681 00:27:15,066 --> 00:27:15,766 >> IF YOU DON'T KNOW WHAT IT IS, 682 00:27:15,766 --> 00:27:21,200 A SORE CAN BE VERY BEAUTIFUL. 683 00:27:21,200 --> 00:27:22,200 A SORE IN THE SKIN, AN 684 00:27:22,200 --> 00:27:27,300 INFECTION, A DEEP CUT WITH PUSS. 685 00:27:27,300 --> 00:27:29,066 BUT IF YOU TOOK A PICTURE OF IT, 686 00:27:29,066 --> 00:27:30,233 A CLOSE UP AND YOU DIDN'T KNOW 687 00:27:30,233 --> 00:27:32,633 EXACTLY WHAT IT WAS, IT COULD BE 688 00:27:32,633 --> 00:27:34,566 A GREAT BEAUTY OF ORGANIC 689 00:27:34,566 --> 00:27:39,200 PHENOMENON. 690 00:27:39,200 --> 00:27:39,833 >> HE'S CONSTANTLY TRYING TO 691 00:27:39,833 --> 00:27:40,733 THINK UP NEW WAYS OF REALIZING 692 00:27:40,733 --> 00:27:43,666 THAT IDEA, AND IT IS A VISION OF 693 00:27:43,666 --> 00:27:46,633 TOTAL SENSORY IMMERSION RATHER 694 00:27:46,633 --> 00:27:48,633 THAN, "I'M CHOOSING FILM OVER 695 00:27:48,633 --> 00:27:50,166 PAINTING." 696 00:27:50,166 --> 00:27:51,533 IT'S ALTOGETHER. 697 00:27:51,533 --> 00:27:52,300 >> I ONLY WANTED TO BE A 698 00:27:52,300 --> 00:27:53,966 PAINTER. 699 00:27:53,966 --> 00:27:56,333 PAINTING LED TO WANTING TO DO A 700 00:27:56,333 --> 00:27:59,866 MOVING PAINTING WITH SOUND. 701 00:27:59,866 --> 00:28:01,866 SO, CINEMA TO ME IS SOUND AND 702 00:28:01,866 --> 00:28:03,833 PICTURE MOVING TOGETHER IN TIME. 703 00:28:03,833 --> 00:28:05,166 AND FOR ME, IT WAS BORN OUT OF 704 00:28:05,166 --> 00:28:13,500 PAINTING. 705 00:28:13,500 --> 00:28:14,366 >> ERASERHEAD IS ALSO THIS 706 00:28:14,366 --> 00:28:15,800 INTUITIVE PROCESS -- 707 00:28:15,800 --> 00:28:17,000 THAT HE IS MAKING A FILM IN A 708 00:28:17,000 --> 00:28:19,466 MANNER THAT TAKES FOUR YEARS 709 00:28:19,466 --> 00:28:21,633 PARTLY BECAUSE OF FUNDING, BUT 710 00:28:21,633 --> 00:28:22,433 ALSO THE NATURE OF THE WAY HE IS 711 00:28:22,433 --> 00:28:25,766 CONSTRUCTING THE WORLD. 712 00:28:25,766 --> 00:28:27,366 CONSTRUCTED AND ADDED TO IN THE 713 00:28:27,366 --> 00:28:28,900 WAY THAT SOMEBODY WORKING IN A 714 00:28:28,900 --> 00:28:32,366 STUDIO DOING SOMETHING, PUTTING 715 00:28:32,366 --> 00:28:35,366 SOMETHING IN JUXTAPOSITION, 716 00:28:35,366 --> 00:28:37,500 ADDING SOMETHING TO IT, WOULD DO 717 00:28:37,500 --> 00:28:38,566 A FILM RATHER THAN SOMEBODY WHO 718 00:28:38,566 --> 00:28:40,566 IS SHOOTING A NARRATIVE THAT HAS 719 00:28:40,566 --> 00:28:42,733 A LINEAR SORT OF TRAJECTORY. 720 00:28:42,733 --> 00:28:47,333 ♫♫ 721 00:28:47,333 --> 00:28:48,000 HE WANTS TO CONSTANTLY REMIND 722 00:28:48,000 --> 00:28:50,500 PEOPLE THAT IT'S A MUSE. 723 00:28:50,500 --> 00:28:52,133 PHILADELPHIA HAS BEEN HIS MUSE, 724 00:28:52,133 --> 00:28:55,866 BASICALLY. 725 00:28:55,866 --> 00:29:01,833 ♫♫ 726 00:29:01,833 --> 00:29:02,866 >> THAT'S OUR SHOW. 727 00:29:02,866 --> 00:29:04,766 TO SEE ALL OF TODAY'S STORIES, 728 00:29:04,766 --> 00:29:05,900 VISIT WOSU.ORG. 729 00:29:05,900 --> 00:29:06,900 WE CAN ALSO FIND US ON FACEBOOK 730 00:29:06,900 --> 00:29:08,466 AND TWITTER. 731 00:29:08,466 --> 00:29:09,600 AND TRY OUT THE WOSU PUBLIC 732 00:29:09,600 --> 00:29:11,766 MEDIA MOBILE APP, WHERE YOU CAN 733 00:29:11,766 --> 00:29:12,866 WATCH OUR SEGMENTS ON YOUR 734 00:29:12,866 --> 00:29:14,333 SMARTPHONE OR TABLET. 735 00:29:14,333 --> 00:29:15,700 TODAY WE'RE TAKING YOU OUT WITH 736 00:29:15,700 --> 00:29:18,166 THE SOUNDS OF COMRADE QUESTION, 737 00:29:18,166 --> 00:29:19,300 A PSYCHEDELIC GARAGE BAND OUT OF 738 00:29:19,300 --> 00:29:21,100 COLUMBUS AND A TRACK OFF THEIR 739 00:29:21,100 --> 00:29:24,400 2014 ALBUM "PEPE POLO." 740 00:29:24,400 --> 00:29:25,433 THANKS FOR WATCHING. 741 00:29:25,433 --> 00:29:26,100 WE'LL SEE YOU NEXT WEEK ON 742 00:29:26,100 --> 00:29:28,366 "BROAD & HIGH." 743 00:29:28,366 --> 00:29:30,966 ♫ WHEN YOU'RE NOT LOOKIN THAT'S 744 00:29:30,966 --> 00:29:34,466 WHEN IT COMES ♫ 745 00:29:34,466 --> 00:29:37,666 ♫ THAT'S WHEN IT COMES IT'S 746 00:29:37,666 --> 00:29:41,233 COMIN TO GET YA ♫ 747 00:29:41,233 --> 00:29:43,066 ♫ THOUGHT LIVIN WAS EASY DON'T 748 00:29:43,066 --> 00:29:48,433 WORK TOO HARD ♫ 749 00:29:48,433 --> 00:29:51,433 ♫ PLAY YOUR BEST CARD ♫ 750 00:29:51,433 --> 00:29:53,066 >> ANNOUNCER: PRODUCTION OF 751 00:29:53,066 --> 00:29:53,800 "BROAD & HIGH" IS FUNDED IN PART 752 00:29:53,800 --> 00:29:58,166 BY THE GREATER COLUMBUS ARTS 753 00:29:58,166 --> 00:29:59,266 COUNCIL, SUPPORTING ARTS, 754 00:29:59,266 --> 00:30:00,033 ADVANCING CULTURE AND CONNECTING 755 00:30:00,033 --> 00:30:00,966 THE COMMUNITY TO ARTISTS EVENTS 756 00:30:00,966 --> 00:30:02,733 AND CLASSES AT 757 00:30:02,733 --> 00:30:03,966 COLUMBUSMAKESART.COM. 758 00:30:03,966 --> 00:30:05,566 AND BY THE OHIO ARTS COUNCIL, A 759 00:30:05,566 --> 00:30:06,833 STATE AGENCY THAT FUNDS AND 760 00:30:06,833 --> 00:30:08,666 SUPPORTS QUALITY ARTS 761 00:30:08,666 --> 00:30:12,666 EXPERIENCES.