1 00:00:03,366 --> 00:00:06,233 >> JIM FORD IS THE GREATEST 2 00:00:05,133 --> 00:00:08,366 KENTUCKY SONGWRITER YOU'VE 3 00:00:06,233 --> 00:00:10,333 PROBABLY NEVER HEARD OF. 4 00:00:08,366 --> 00:00:12,933 WHETHER IT'S ROSE CUE, REHAB OR 5 00:00:10,333 --> 00:00:14,833 ROUND THE CLOCK CARE, SECOND 6 00:00:12,933 --> 00:00:15,766 CHANCES WILDLIFE CENTER PROVIDES 7 00:00:14,833 --> 00:00:16,833 INJURED AND ORPHANED ANIMALS 8 00:00:15,766 --> 00:00:19,800 WITH THE HELP THEY NEED. 9 00:00:16,833 --> 00:00:21,500 AND IN DANVILLE, ARTIST SHELDON 10 00:00:19,800 --> 00:00:22,833 TAPLEY WAS LURED BY AT PEEL OF 11 00:00:21,500 --> 00:00:24,066 KENTUCKY'S LANDSCAPES. 12 00:00:22,833 --> 00:00:27,500 STAY WITH US BECAUSE KENTUCKY 13 00:00:24,066 --> 00:00:27,900 LIFE BEGINS RIGHT NOW. 14 00:00:27,500 --> 00:00:39,800 ♪ ♪ 15 00:00:27,900 --> 00:00:39,800 ♪ ♪ 16 00:00:45,866 --> 00:00:47,500 HELLO, I'M DOUG FLYNN, HOST OF 17 00:00:47,000 --> 00:00:49,600 KENTUCKY LIFE. 18 00:00:47,500 --> 00:00:51,566 HERE AGAIN IN HARRODSBURG AT THE 19 00:00:49,600 --> 00:00:53,000 BEAUTIFUL BEAUMONT INN, IN A 20 00:00:51,566 --> 00:00:54,966 STATE WITH SO MANY GIFTED 21 00:00:53,000 --> 00:00:56,566 MUSICAL ARTISTS, SOME OF 22 00:00:54,966 --> 00:00:58,600 KENTUCKY'S MUSICIANS MAY JUST BE 23 00:00:56,566 --> 00:00:59,900 DESTINED TO SLIP THROUGH THE 24 00:00:58,600 --> 00:01:01,733 CRACKS OF STARDOM. 25 00:00:59,900 --> 00:01:03,133 JIM FORD WAS BORN IN JOHNSON 26 00:01:01,733 --> 00:01:04,633 COUNTY IN 1941. 27 00:01:03,133 --> 00:01:06,733 HE WROTE SONGS THAT WERE COVERED 28 00:01:04,633 --> 00:01:08,333 BY TOP ARTISTS LIKE ARETHA 29 00:01:06,733 --> 00:01:11,433 FRANKLIN AND THE TEMPTATIONS. 30 00:01:08,333 --> 00:01:11,900 BUT HE ONLY RECORDED ONE STUDIO 31 00:01:11,433 --> 00:01:14,533 ALBUM. 32 00:01:11,900 --> 00:01:17,233 AFTER HIS DEATH IN 2007, MORE OF 33 00:01:14,533 --> 00:01:19,333 HIS WORK WAS RELEASED AND AS NEW 34 00:01:17,233 --> 00:01:21,933 GENERATIONS OF MUSICIANS 35 00:01:19,333 --> 00:01:23,333 DISCOVER HIS SONGS, JIM FORD MAY 36 00:01:21,933 --> 00:01:28,400 FINALLY ACHIEVE THE RECOGNITION 37 00:01:23,333 --> 00:01:31,700 HE DESERVES. 38 00:01:28,400 --> 00:01:35,600 ♪ WITH A ROLL OF BALONEY AND A 39 00:01:31,700 --> 00:01:35,900 HUNK OF CHEESE AND SALTINE CRACK 40 00:01:35,600 --> 00:01:38,300 ERS... 41 00:01:35,900 --> 00:01:40,033 >> JIM FORD WAS BORN IN JOHNSON 42 00:01:38,300 --> 00:01:42,400 COUNTY, KENTUCKY, IN 1941. 43 00:01:40,033 --> 00:01:43,800 HE WAS BORN WHEN VAN LEER WAS 44 00:01:42,400 --> 00:01:45,300 STILL AN OPERATING COAL TOWN AND 45 00:01:43,800 --> 00:01:47,800 HE LIVED THERE UNTIL HE WAS 46 00:01:45,300 --> 00:01:50,533 ABOUT 13 AND HE WENT SHORTLY TO 47 00:01:47,800 --> 00:01:52,900 LIVE WITH HIS FATHER IN MICHIGAN 48 00:01:50,533 --> 00:01:54,300 AND THAT DIDN'T GO SO WELL. 49 00:01:52,900 --> 00:01:54,600 >> I GUESS HE DIDN'T LIKE THE 50 00:01:54,300 --> 00:01:56,000 RULES. 51 00:01:54,600 --> 00:01:57,800 HE SAID MAYBE HE DIDN'T LIKE, 52 00:01:56,000 --> 00:01:58,500 YOU KNOW, DEALING WITH THE 53 00:01:57,800 --> 00:02:00,433 MILITARY FATHER. 54 00:01:58,500 --> 00:02:02,800 SO HE TOOK A LITTLE BIT OF MONEY 55 00:02:00,433 --> 00:02:03,233 AND HOPPED A GREYHOUND BUS TO 56 00:02:02,800 --> 00:02:04,600 NEW ORLEANS. 57 00:02:03,233 --> 00:02:06,266 HE MUST HAVE LANDED IN NEW 58 00:02:04,600 --> 00:02:06,566 ORLEANS WHEN HE WAS IN HIS EARLY 59 00:02:06,266 --> 00:02:08,066 TEENS. 60 00:02:06,566 --> 00:02:08,800 >> AND HE WAS SORT OF AN OUTSID 61 00:02:08,066 --> 00:02:10,533 ER ARTIST. 62 00:02:08,800 --> 00:02:12,266 HE HAD AN IDEA WHAT HAVE HIS 63 00:02:10,533 --> 00:02:14,333 MUSIC SHOULD SOUND LIKE AND HE 64 00:02:12,266 --> 00:02:17,533 NEVER MOVED FROM THAT. 65 00:02:14,333 --> 00:02:20,366 ♪ MY HOPES ARE HIGH, SO AM I, 66 00:02:17,533 --> 00:02:22,833 YOU BETTER LOOK OUT, CALIFORNIA 67 00:02:20,366 --> 00:02:24,366 >> I ALWAYS CONSIDERED HIM A 68 00:02:22,833 --> 00:02:30,933 PIONEER OF THE GENRE OF THE 69 00:02:24,366 --> 00:02:33,133 STYLE OF COUNTRY FUNK. 70 00:02:30,933 --> 00:02:34,333 >> HE WROTE STRAIGHT UP COUNTRY 71 00:02:33,133 --> 00:02:35,433 STRONGS, STRAIGHT UP SOUL SONGS 72 00:02:34,333 --> 00:02:38,366 THAT OTHER PEOPLE COULD COVER 73 00:02:35,433 --> 00:02:40,433 BUT HIS OWN STUFF WAS REALLY A 74 00:02:38,366 --> 00:02:44,133 COMBINATION OF ALL THOSE THINGS. 75 00:02:40,433 --> 00:02:46,033 ♪ THE CANDLE'S BURN, THE CYCLE'S 76 00:02:44,133 --> 00:02:48,300 TURN ♪ 77 00:02:46,033 --> 00:02:48,933 ♪ ANOTHER DAY COMES HERE TO 78 00:02:48,300 --> 00:02:52,166 LEARN ♪ 79 00:02:48,933 --> 00:02:56,933 ♪ ALL THE THINGS I MISSED OUT ON 80 00:02:52,166 --> 00:03:00,866 >> HIS SONG, HARLEM COUNTY IS 81 00:02:56,933 --> 00:03:02,400 ONE OF THE FIRST ONES I HEARD. 82 00:03:00,866 --> 00:03:04,033 ♪ IN THE BACK HILLS OF KENTUCKY 83 00:03:02,400 --> 00:03:06,366 I WAS RAISED IN A SHACK... 84 00:03:04,033 --> 00:03:08,366 >> IT KIND OF HIT ME LIKE A 85 00:03:06,366 --> 00:03:09,766 BRICK WALL. 86 00:03:08,366 --> 00:03:11,566 I STOPPED AND LISTENED TO IT 87 00:03:09,766 --> 00:03:13,666 OVER AND OVER AND OVER AGAIN. 88 00:03:11,566 --> 00:03:14,400 ♪ THE TIMES I WENT HUNGRY, YOU 89 00:03:13,666 --> 00:03:17,666 CAN'T COUNT ♪ 90 00:03:14,400 --> 00:03:19,900 >> I COULDN'T BELIEVE THAT 91 00:03:17,666 --> 00:03:25,166 SOMEBODY WAS TELLING THAT STORY 92 00:03:19,900 --> 00:03:26,333 IN THAT STYLE. 93 00:03:25,166 --> 00:03:30,066 ♪ A MAN IS TIRED OF LIVING 94 00:03:26,333 --> 00:03:34,633 WHETHER HE'S 20. 95 00:03:30,066 --> 00:03:36,266 >> HAR LIN COUNTY, HE GOT A 96 00:03:34,633 --> 00:03:40,633 BLANK CHECK TO MAKE THE ALBUM. 97 00:03:36,266 --> 00:03:42,933 >> THE LATE SIXTH INTO THE EARLY 98 00:03:40,633 --> 00:03:44,633 SEVENTH 70s, ONLY STUDIO FULL 99 00:03:42,933 --> 00:03:45,633 LENGTH ALBUM HE WAS ABLE TO GET 100 00:03:44,633 --> 00:03:46,933 OUT INTO THE WORLD. 101 00:03:45,633 --> 00:03:48,133 HE WAS ABLE TO USED WHATEVER 102 00:03:46,933 --> 00:03:49,933 PLAYERS HE WANTED AND IT WAS 103 00:03:48,133 --> 00:03:52,966 PERFECT FOR HIM BECAUSE HE WAS A 104 00:03:49,933 --> 00:03:55,933 VISIONARY ARTIST AND HE HAD Dr. 105 00:03:52,966 --> 00:03:56,233 JOHN AND JIM CILT DISLT NE 106 00:03:55,933 --> 00:03:57,633 R. 107 00:03:56,233 --> 00:04:00,466 ALL OF THE STARS ALIGNED AND HE 108 00:03:57,633 --> 00:04:12,700 WAS ABLE TO MAKE THAT ONE ALBUM 109 00:04:00,466 --> 00:04:14,166 BUT IT NEVER HAPPENED. 110 00:04:12,700 --> 00:04:18,866 >> THE SOUNDS OF OUR TIME. 111 00:04:14,166 --> 00:04:20,266 THAT'S A SOUL ANTHEM. 112 00:04:18,866 --> 00:04:22,466 THAT'S JUST SUCH A POWERFUL 113 00:04:20,266 --> 00:04:24,566 PIECE OF MUSIC OF DESCRIBING A 114 00:04:22,466 --> 00:04:27,866 LANDSCAPE OF EVERYTHING THAT WAS 115 00:04:24,566 --> 00:04:34,300 HAPPENING IN THE LATE SIXTH AND 116 00:04:27,866 --> 00:04:35,900 CAPTURING KIND OF THE ENERGY OF 117 00:04:34,300 --> 00:04:37,466 ALL THE VARIOUS MOVEMENTS 118 00:04:35,900 --> 00:04:40,166 HAPPENING AT THE TIME. 119 00:04:37,466 --> 00:04:53,266 ♪ BIG GUNS FIRE, SOUNDS TO ME 120 00:04:40,166 --> 00:04:53,266 LIKE MY BROTHER'S DYING ♪ 121 00:04:58,766 --> 00:05:03,000 HE HAD ALL THE INFLUENCES FROM 122 00:05:00,100 --> 00:05:04,900 THE BLUES, GOSPEL, COUNTRY, SOUL 123 00:05:03,000 --> 00:05:06,500 , R&B, ALL OF IT MIXED IN 124 00:05:04,900 --> 00:05:08,400 AND WAS A GREAT INTERPRETER OF 125 00:05:06,500 --> 00:05:10,800 OTHER SONGS. 126 00:05:08,400 --> 00:05:23,500 AND WILLY DIXON SPOONFUL IS A 127 00:05:10,800 --> 00:05:25,366 GREAT EXAMPLE OF THAT. 128 00:05:23,500 --> 00:05:26,966 >> JIM FORWARD WAS A GREAT 129 00:05:25,366 --> 00:05:27,266 INTERPRETER OF OTHER PEOPLE'S 130 00:05:26,966 --> 00:05:32,166 SONGS. 131 00:05:27,266 --> 00:05:37,466 HE DOES WILLY DIXON SPOONFUL, 132 00:05:32,166 --> 00:05:42,700 THE ROCKED OUT VERSION OF THAT. 133 00:05:37,466 --> 00:05:45,166 ♪ SOME WONDER WHY... 134 00:05:42,700 --> 00:05:47,166 >> ON SOUNDS OF OUR TIME, THE UN 135 00:05:45,166 --> 00:05:49,933 ISSUED CAPITAL ALBUM HE DOES A 136 00:05:47,166 --> 00:05:51,333 VERSION OF SAM COOK'S CHAIN GANG 137 00:05:49,933 --> 00:05:52,066 THAT RIVALS THE ORIGINAL IF YOU 138 00:05:51,333 --> 00:05:54,033 CAN BELIEVE THAT. 139 00:05:52,066 --> 00:05:56,466 HE WAS SUCH A GREAT SINGER, HE 140 00:05:54,033 --> 00:05:57,866 WAS AS GOOD OF A SINGER AS 141 00:05:56,466 --> 00:06:02,700 SONGWRITER IF NOT BETTER. 142 00:05:57,866 --> 00:06:04,500 ♪ ALL DAY LONG WE WORKED SO HARD 143 00:06:02,700 --> 00:06:10,100 UNTIL THAT SUN IS GONE ♪ 144 00:06:04,500 --> 00:06:13,900 ♪ DOWN, DOWN, DOWN ON THE 145 00:06:10,100 --> 00:06:16,100 HIGHWAYS AND BYWAYS ♪ 146 00:06:13,900 --> 00:06:18,300 ♪ WEARING A FROWN ♪ 147 00:06:16,100 --> 00:06:21,000 >> THERE IS A STRONG COMMUNITY 148 00:06:18,300 --> 00:06:23,100 OF YOUNG KENTUCKY ARTISTS OUT 149 00:06:21,000 --> 00:06:28,333 WORKING TODAY WHO ARE DOING THE 150 00:06:23,100 --> 00:06:30,600 DEEP DIVE INTO KENTUCKY CULTURE. 151 00:06:28,333 --> 00:06:32,266 >> 152 00:06:30,600 --> 00:06:32,966 ♪ WAS GOING HAVE A BABY COME 153 00:06:32,266 --> 00:06:37,700 SATURDAY NIGHT ♪ 154 00:06:32,966 --> 00:06:39,166 ♪ BUT ALL THEY WERE DOING WAS 155 00:06:37,700 --> 00:06:40,366 HUGGING AND KISSING DOWN BY THE 156 00:06:39,166 --> 00:06:41,800 RIVERSIDE ♪ 157 00:06:40,366 --> 00:06:44,466 >> THERE IS A WHOLE NEW 158 00:06:41,800 --> 00:06:45,900 GENERATION OF ARTISTS OUT OF 159 00:06:44,466 --> 00:06:50,566 KENTUCKY WHO ARE REDISCOVERING 160 00:06:45,900 --> 00:06:52,266 THE MUSIC OF JIM FORD AND LIND 161 00:06:50,566 --> 00:06:59,566 AN JEAN STOKELY AN ANNA KLINE 162 00:06:52,266 --> 00:07:05,233 ARE RIGHT THERE IN THE MIX. 163 00:06:59,566 --> 00:07:07,500 ♪ DOWN BY THE RIVER I HEARD 164 00:07:05,233 --> 00:07:14,200 SOMEONE SAY ♪ 165 00:07:07,500 --> 00:07:16,100 ♪ HALLELUJAH USA ♪ 166 00:07:14,200 --> 00:07:20,400 ♪ DOWN BY. 167 00:07:16,100 --> 00:07:24,000 ♪ DOWN BY THE RIVERSIDE I HEARD 168 00:07:20,400 --> 00:07:36,700 SOMEONE SAY ♪ 169 00:07:24,000 --> 00:07:36,700 ♪ HALLELUJAH BIG MOUTH USA ♪ 170 00:07:42,366 --> 00:07:47,166 >> BABY SQUIRRELS FALL OUT OF 171 00:07:44,900 --> 00:07:49,600 TREES, BATS BREAK THEIR WINGS 172 00:07:47,166 --> 00:07:51,333 AND SKUNKS AND OPOSSUMS SEEM 173 00:07:49,600 --> 00:07:53,266 PRONE TO CROSSING THE ROADS AT 174 00:07:51,333 --> 00:07:54,700 THE WORST POSSIBLE TIME. 175 00:07:53,266 --> 00:07:56,166 SECOND CHANCES WILDLIFE CENTER 176 00:07:54,700 --> 00:07:57,266 HAS BEEN RESCUING AND 177 00:07:56,166 --> 00:07:59,066 REHABILITATING INJURED AND 178 00:07:57,266 --> 00:07:59,900 ORPHANED WILDLIFE FOR OVER A 179 00:07:59,066 --> 00:08:01,833 DECADE. 180 00:07:59,900 --> 00:08:03,433 EVERY YEAR MORE THAN 100 ANIMALS 181 00:08:01,833 --> 00:08:05,533 RECEIVE EXPERT CARE AND COM 182 00:08:03,433 --> 00:08:18,300 PASSION FROM THE CENTER'S 183 00:08:05,533 --> 00:08:18,300 DEDICATED STAFF AND VOLUNTEERS 184 00:08:28,866 --> 00:08:33,300 >> I'M ESPECIALLY PROUD WHEN I'M 185 00:08:31,800 --> 00:08:33,766 BY MYSELF IN OUR EDUCATION 186 00:08:33,300 --> 00:08:37,600 BUILDING. 187 00:08:33,766 --> 00:08:40,500 I THINK BACK TO 2009 WHEN I'M 188 00:08:37,600 --> 00:08:41,900 SITTING AT MY KITCHEN TABLE AND 189 00:08:40,500 --> 00:08:44,100 DECIDED THIS IS A GOOD IDEA. 190 00:08:41,900 --> 00:08:44,566 I THINK I SHOULD START 191 00:08:44,100 --> 00:08:45,900 REHABILITATING. 192 00:08:44,566 --> 00:08:46,300 THERE IS A NICHE FOR THIS IN OUR 193 00:08:45,900 --> 00:08:48,100 COMMUNITY. 194 00:08:46,300 --> 00:08:51,600 IT'S A VITAL NEED THAT WE HAVE. 195 00:08:48,100 --> 00:08:54,700 SO I AM PROUD TO THINK WHERE I 196 00:08:51,600 --> 00:08:57,500 STARTED AND WHERE I AM AND THEN 197 00:08:54,700 --> 00:08:58,600 THERE ARE OTHER DAYS THAT I 198 00:08:57,500 --> 00:08:59,500 QUESTION MYSELF, WHAT IN THE 199 00:08:58,600 --> 00:09:04,866 WORLD AM I DOING. 200 00:08:59,500 --> 00:09:07,900 IT IS REALLY JUST A LOT OF HARD 201 00:09:04,866 --> 00:09:09,633 WORK. 202 00:09:07,900 --> 00:09:12,333 >> WHEN I FIRST STARTED 203 00:09:09,633 --> 00:09:14,300 VOLUNTEERING FOR BRIDGE-- 204 00:09:12,333 --> 00:09:16,133 BRIDGET IT WAS IN HER BACKYARD 205 00:09:14,300 --> 00:09:18,133 IN A NICELY REMODELED GARAGE. 206 00:09:16,133 --> 00:09:19,433 IT WAS A GARAGE, IT WAS A SMALL 207 00:09:18,133 --> 00:09:21,033 SPACE AND WE COULDN'T HOUSE AS 208 00:09:19,433 --> 00:09:22,833 MANY ANIMALS BUT WE STILL TOOK 209 00:09:21,033 --> 00:09:24,833 IN EVERY SINGLE ANIMAL WE COULD. 210 00:09:22,833 --> 00:09:26,033 WE HATED TURNING ANYONE AWAY. 211 00:09:24,833 --> 00:09:29,200 IT HAS BECOME WHAT IT IS TODAY 212 00:09:26,033 --> 00:09:31,233 WHERE WE HAVE THIS HOUSE JUST 213 00:09:29,200 --> 00:09:32,933 DEDICATED TO WHAT WE DO, A WHOLE 214 00:09:31,233 --> 00:09:33,266 CENTER WITH AN EDUCATIONAL 215 00:09:32,933 --> 00:09:35,700 CENTER. 216 00:09:33,266 --> 00:09:38,133 WE HAVE LAND TO RELEASE ANIMALS 217 00:09:35,700 --> 00:09:40,100 ON SO IT'S JUST AMAZING TO SEE 218 00:09:38,133 --> 00:09:41,333 HOW IT'S GROWN AND SHE HAD ALL 219 00:09:40,100 --> 00:09:42,200 THESE IDEAS AND SHEILAS JUST 220 00:09:41,333 --> 00:09:47,233 MADE IT HAPPEN. 221 00:09:42,200 --> 00:09:51,900 IT'S AMAZING. 222 00:09:47,233 --> 00:09:56,200 >> THEY HAVE THE PROFESSIONAL 223 00:09:51,900 --> 00:10:01,300 BACKGROUND TO HELP THESE ANIMALS 224 00:09:56,200 --> 00:10:04,400 AND BIFF THEM THE BEST CHANCE AT 225 00:10:01,300 --> 00:10:06,700 SURVIVAL AND WHAT I LOVE ABOUT 226 00:10:04,400 --> 00:10:07,600 IT IS THAT THESE ANIMALS WILL BE 227 00:10:06,700 --> 00:10:08,700 REINTRODUCED INTO THE WILD. 228 00:10:07,600 --> 00:10:10,400 YOU DON'T WANT THEM TO GO 229 00:10:08,700 --> 00:10:12,566 SOMEWHERE WHERE THEY END UP IN A 230 00:10:10,400 --> 00:10:15,166 LITTLE CAGE FOREVER. 231 00:10:12,566 --> 00:10:17,766 THEY DO THEIR BEST FOR EVERY 232 00:10:15,166 --> 00:10:18,866 ANIMAL THAT IS TO BE ABLE TO BE 233 00:10:17,766 --> 00:10:19,966 RELEASED FOR THEM TO GO BACK 234 00:10:18,866 --> 00:10:34,266 INTO THE WILD. 235 00:10:19,966 --> 00:10:34,266 AND THAT'S WHAT I LOVE 236 00:10:38,033 --> 00:10:41,566 >> WE STARTED OFF RECEIVING 50 237 00:10:39,933 --> 00:10:43,366 PHONE CALLS EACH YEAR AND WE ARE 238 00:10:41,566 --> 00:10:44,566 UP TO ABOUT 2500. 239 00:10:43,366 --> 00:10:45,700 THANKFULLY WE DON'T NEED TO TAKE 240 00:10:44,566 --> 00:10:47,566 ALL THOSE ANIMALS. 241 00:10:45,700 --> 00:10:49,233 WE ARE ABLE TO REUNITE A LOT OF 242 00:10:47,566 --> 00:10:49,566 THE BABIES WITH THEIR NATURAL 243 00:10:49,233 --> 00:10:51,066 PARENTS. 244 00:10:49,566 --> 00:10:52,033 I HAVE ABOUT 40 VOLUNTEERS THAT 245 00:10:51,066 --> 00:10:54,066 WORK WITH ME. 246 00:10:52,033 --> 00:10:54,500 THEY'RE VITAL TO OUR 247 00:10:54,066 --> 00:10:57,733 ORGANIZATION. 248 00:10:54,500 --> 00:11:00,500 THEY ARE VITAL TO US BEING ABLE 249 00:10:57,733 --> 00:11:01,233 TO ACCEPT SO MANY ANIMALS AND 250 00:11:00,500 --> 00:11:04,300 SAVE SO MANY LIVES. 251 00:11:01,233 --> 00:11:05,300 WE TAKE IN INJURED AND ORPHANED 252 00:11:04,300 --> 00:11:06,600 WILDLIFE NATIVE TO KENTUCKY. 253 00:11:05,300 --> 00:11:07,800 OUR GOAL IS TO ALWAYS TRY TO 254 00:11:06,600 --> 00:11:09,200 RELEASE THEM BACK INTO THE WILD 255 00:11:07,800 --> 00:11:11,600 AND THOSE THAT ARE NOT QUITE 256 00:11:09,200 --> 00:11:12,933 HEALTHY ENOUGH TO SURVIVE BECOME 257 00:11:11,600 --> 00:11:15,100 OUR EDUCATION AMBASSADORS. 258 00:11:12,933 --> 00:11:17,266 WE REHABILITATE APPROXIMATELY 259 00:11:15,100 --> 00:11:19,200 300 ANIMALS EACH YEAR MOST OF 260 00:11:17,266 --> 00:11:20,866 THOSE ANIMALS DO MAKE IT BACK 261 00:11:19,200 --> 00:11:22,066 OUT INTO THE WILD. 262 00:11:20,866 --> 00:11:24,200 ABOUT 80% OF THEM. 263 00:11:22,066 --> 00:11:25,900 SOMETIMES ANIMALS COME TO US 264 00:11:24,200 --> 00:11:27,700 JUST IN TOO DIRE A CONDITION TO 265 00:11:25,900 --> 00:11:28,000 BE ABLE TO MAKE IT OUT INTO THE 266 00:11:27,700 --> 00:11:29,866 WILD. 267 00:11:28,000 --> 00:11:31,366 SO SOME OF THOSE, THE ONES THAT 268 00:11:29,866 --> 00:11:32,666 BECOME OUR EDUCATION AMBASSADORS 269 00:11:31,366 --> 00:11:33,366 , THEY'RE LICENSED 270 00:11:32,666 --> 00:11:34,966 THROUGH THE USDA. 271 00:11:33,366 --> 00:11:36,366 WHAT WE HAVE RIGHT NOW, WE HAVE 272 00:11:34,966 --> 00:11:37,200 A COUPLE OF RACCOONS THAT THE GO 273 00:11:36,366 --> 00:11:40,266 OUT FOR EDUCATION. 274 00:11:37,200 --> 00:11:43,166 WE HAVE TWO FLYING SQUIRRELS, A 275 00:11:40,266 --> 00:11:45,733 LOT OF OPOSSUMS. 276 00:11:43,166 --> 00:11:47,766 WE HAVE FOUR OPOSSUMS. 277 00:11:45,733 --> 00:11:51,766 AND WE HAVE A GROUND HOG AND 278 00:11:47,766 --> 00:11:54,766 THREE SKUNKS AND ARM BILL OWE 279 00:11:51,766 --> 00:11:56,166 HIVE-- HIEFER ARMADILLO AND EACH 280 00:11:54,766 --> 00:11:58,066 ONE SERVES A DIFFERENT NICHE TO 281 00:11:56,166 --> 00:11:58,400 GO OUT AND TEACH FOR VARIOUS 282 00:11:58,066 --> 00:12:00,133 REASONS. 283 00:11:58,400 --> 00:12:01,400 I'M AN EDUCATOR BY BACKGROUND. 284 00:12:00,133 --> 00:12:03,200 WHEN WE BRING THE ANIMALS OUT 285 00:12:01,400 --> 00:12:04,066 WITH US, IT IS NOT NECESSARILY A 286 00:12:03,200 --> 00:12:05,300 SHOW AND TELL. 287 00:12:04,066 --> 00:12:08,200 WE MEET STATE STANDARDS. 288 00:12:05,300 --> 00:12:09,733 WE MEET THE NECESSITY GENERATION 289 00:12:08,200 --> 00:12:10,566 -- THE NEW GENERATION 290 00:12:09,733 --> 00:12:11,700 SCIENCE STANDARDS. 291 00:12:10,566 --> 00:12:13,000 WHAT IS IMPORTANT ABOUT THE 292 00:12:11,700 --> 00:12:14,500 ANIMALS COMING TO THE CLASSES IS 293 00:12:13,000 --> 00:12:16,500 IT FORMS A CONNECTION WITH THE 294 00:12:14,500 --> 00:12:18,700 STUDENTS AND THE ENVIRONMENT. 295 00:12:16,500 --> 00:12:20,500 WHEN THEY CAN GET EXCITED TO SEE 296 00:12:18,700 --> 00:12:22,200 THESE ANIMALS IN A DIFFERENT 297 00:12:20,500 --> 00:12:23,300 SETTING THAN THEY NORMALLY DO, 298 00:12:22,200 --> 00:12:24,000 THEY'RE RAMPED UP. 299 00:12:23,300 --> 00:12:25,800 THEY'RE EXCITED. 300 00:12:24,000 --> 00:12:28,100 THEY'RE GOING TO GO OUT AND MAKE 301 00:12:25,800 --> 00:12:29,033 BETTER CHOICES NOT ONLY FOR OUR 302 00:12:28,100 --> 00:12:29,533 WILDLIFE BUT OUR ENVIRONMENT AS 303 00:12:29,033 --> 00:12:31,300 A WHOLE. 304 00:12:29,533 --> 00:12:32,633 THAT IS A HUGE GOAL FOR US I. IS 305 00:12:31,300 --> 00:12:35,200 NOT JUST THE REHABILITATION. 306 00:12:32,633 --> 00:12:36,600 IT IS FOR PEOPLE TO THINK ABOUT 307 00:12:35,200 --> 00:12:41,500 THE DECISIONS THEY'RE MAKING 308 00:12:36,600 --> 00:12:47,966 THAT AFFECT WILDLIFE AND OUR 309 00:12:41,500 --> 00:12:49,000 ENVIRONMENT ONCE YOU SEE THE 310 00:12:47,966 --> 00:12:50,766 ANIMALS RETURN TO THEIR 311 00:12:49,000 --> 00:12:52,000 ENVIRONMENT, RETURN TO WHERE 312 00:12:50,766 --> 00:12:53,766 THEY'RE SUPPOSED TO BE, YOU 313 00:12:52,000 --> 00:12:57,100 BREATHE A SIGH OF RELIEF LIKE 314 00:12:53,766 --> 00:13:00,633 THIS IS WHAT I'M DOING THIS FOR. 315 00:12:57,100 --> 00:13:01,000 IT IS HARD FEW MONTHS OF HARD 316 00:13:00,633 --> 00:13:02,033 LABOR. 317 00:13:01,000 --> 00:13:03,433 IT MAKES IT WORTH IT. 318 00:13:02,033 --> 00:13:05,633 YOU JUST KEEP IT IN MIND AND YOU 319 00:13:03,433 --> 00:13:07,933 KIND OF GET ATTACHED EVEN THOUGH 320 00:13:05,633 --> 00:13:10,133 WE ARE CAREFUL NOT TO BABY TALK 321 00:13:07,933 --> 00:13:13,500 THEM OR TO HANDLE THEM TOO MUCH. 322 00:13:10,133 --> 00:13:16,700 YOU KNOW, YOU ARE FEEDING AN 323 00:13:13,500 --> 00:13:18,133 ANIMAL AT LEAST TWICE A DAY ON A 324 00:13:16,700 --> 00:13:21,400 SHIFT AND EVERY SINGLE WEEK YOU 325 00:13:18,133 --> 00:13:21,700 SEE THEM AND YOU KNOW, YOU DO GO 326 00:13:21,400 --> 00:13:23,500 HOME. 327 00:13:21,700 --> 00:13:25,100 AND IF THEY'RE NOT DOING TOO 328 00:13:23,500 --> 00:13:26,500 GREAT, YOU ARE HOPING YOU ARE 329 00:13:25,100 --> 00:13:27,666 GOING TO SEE THEM AGAIN AND THAT 330 00:13:26,500 --> 00:13:35,966 THEY'RE GOING TO BE OKAY AND YOU 331 00:13:27,666 --> 00:13:41,000 ARE SAD, YOU KNOW. 332 00:13:35,966 --> 00:13:42,266 >> EVEN IF YOU DON'T GET THE 333 00:13:41,000 --> 00:13:43,200 TIME WITH THE ANIMAL, YOU STILL 334 00:13:42,266 --> 00:13:44,700 CARE ABOUT THE WELL-BEING AND 335 00:13:43,200 --> 00:13:48,566 YOU DON'T WANT THE SEE ANY HARM 336 00:13:44,700 --> 00:13:49,900 COME TO THEM. 337 00:13:48,566 --> 00:13:52,800 >> THERE IS NOTHING BETTER THAN 338 00:13:49,900 --> 00:13:54,900 KNOWING THAT YOU'VE MADE A 339 00:13:52,800 --> 00:13:58,000 DIFFERENCE FOR AN ANIMAL THAT 340 00:13:54,900 --> 00:14:03,466 WOULD OTHERWISE NOT HAVE SURVIV 341 00:13:58,000 --> 00:14:06,633 ED AND I FEEL THAT IT'S 342 00:14:03,466 --> 00:14:14,133 OUR RESPONSIBILITY AS HUMANS TO 343 00:14:06,633 --> 00:14:16,033 HELP AND PROVIDE THE CARE AND 344 00:14:14,133 --> 00:14:19,733 SUPPORT THAT AN ANIMAL NEEDS 345 00:14:16,033 --> 00:14:22,333 THAT IS SUFFERING DUE TO A CAR 346 00:14:19,733 --> 00:14:24,033 HITTING IT OR LAWN MOWER OR 347 00:14:22,333 --> 00:14:29,566 SOMETHING THAT WE'VE CAUSED AS 348 00:14:24,033 --> 00:14:31,266 HUMANS. 349 00:14:29,566 --> 00:14:32,933 >> WE MAKE SURE THAT THESE 350 00:14:31,266 --> 00:14:34,633 ANIMALS HAVE ADEQUATE SURVIVAL 351 00:14:32,933 --> 00:14:36,700 SKILLS BEFORE THEY GO. 352 00:14:34,633 --> 00:14:38,100 SO HOPEFULLY WITH THOSE SKILLS 353 00:14:36,700 --> 00:14:39,833 THEY'RE ON THEIR OWN AND THEY 354 00:14:38,100 --> 00:14:49,366 WILL SURVIVE FOR A LONG AMOUNT 355 00:14:39,833 --> 00:14:51,900 OF TIME. 356 00:14:49,366 --> 00:14:53,000 >> YOU KNOW, RUMOR HAS IT MANY 357 00:14:51,900 --> 00:14:54,366 FUTURE MAJOR LEAGUER GOT HIS 358 00:14:53,000 --> 00:14:55,000 START IN THE RANKS OF LITTLE 359 00:14:54,366 --> 00:14:56,800 LEAGUE BASEBALL. 360 00:14:55,000 --> 00:14:58,800 AND KENTUCKY'S TEAMS HAVE A 361 00:14:56,800 --> 00:15:00,466 GREAT TRADITION OF SUCCESS. 362 00:14:58,800 --> 00:15:03,066 SINCE JOINING THE GREAT LAKES 363 00:15:00,466 --> 00:15:05,000 REGION IN 2001, SEVEN KENTUCKY 364 00:15:03,066 --> 00:15:06,166 TEAMS WON THE REGIONAL 365 00:15:05,000 --> 00:15:07,533 CHAMPIONSHIP WITH A VALLEY 366 00:15:06,166 --> 00:15:11,333 SPORTS AMERICAN TEAM FROM 367 00:15:07,533 --> 00:15:14,633 LOUISVILLE WINNING IT ALL IN 368 00:15:11,333 --> 00:15:16,533 WILLIAMSPORT IN 2002. 369 00:15:14,633 --> 00:15:21,333 JOIN US AS WE TAKE IN THE EXCITE 370 00:15:16,533 --> 00:15:22,933 MENT OF OPENING DAY CHAMPS 371 00:15:21,333 --> 00:15:23,333 ST. MATTHEWS. 372 00:15:22,933 --> 00:15:35,266 ♪ ♪ 373 00:15:23,333 --> 00:15:35,266 ♪ ♪ 374 00:16:25,433 --> 00:16:32,766 ♪ ♪ 375 00:16:30,866 --> 00:16:40,066 ( BACKGROUND NOISES) 376 00:16:32,766 --> 00:16:48,766 >> NOW BATTING NUMBER 1. 377 00:16:40,066 --> 00:16:59,566 >> COME ON, COME ON! 378 00:16:48,766 --> 00:16:59,566 >> RUN, RUN! 379 00:17:10,933 --> 00:17:14,066 >> 1, 2, 3! 380 00:17:12,400 --> 00:17:16,166 >> GOOD JOB,. 381 00:17:14,066 --> 00:17:18,333 >> EARNEST SHELDON TAPLEY MOVED 382 00:17:16,166 --> 00:17:18,666 TO DANVILLE TO TEACH AT CENTER 383 00:17:18,333 --> 00:17:20,666 COLLEGE. 384 00:17:18,666 --> 00:17:22,366 NOW MORE THAN 35 YEARS LATER, 385 00:17:20,666 --> 00:17:24,366 TAPLEY IS A NATIONALLY RECOGNIZ 386 00:17:22,366 --> 00:17:28,400 ED PAINTER KNOWN FOR HIS 387 00:17:24,366 --> 00:17:38,666 STILL LIVES AND FOR HIS 388 00:17:28,400 --> 00:17:38,666 LANDSCAPES. 389 00:17:41,800 --> 00:17:45,233 >> MY STUDIO HERE ON MAIN STREET 390 00:17:43,566 --> 00:17:49,033 IS RIGHT IN THE HUB OF DOWNTOWN 391 00:17:45,233 --> 00:17:50,166 DANVILLE AND I WALK DOWN HERE 392 00:17:49,033 --> 00:17:52,533 MOST DAYS. 393 00:17:50,166 --> 00:17:54,233 WHEN I FOUND THIS STUDIO, VERY 394 00:17:52,533 --> 00:17:54,500 EAGER TO FIND NORTH LIGHT WINDOW 395 00:17:54,233 --> 00:17:56,633 S. 396 00:17:54,500 --> 00:17:57,300 I WANTED TO WORK BY DAYLIGHT AS 397 00:17:56,633 --> 00:17:59,533 MUCH AS POSSIBLE. 398 00:17:57,300 --> 00:18:02,600 AND I WILL SET UP A STILL LIFE 399 00:17:59,533 --> 00:18:09,100 IN THE LIGHT COMING FROM THAT 400 00:18:02,600 --> 00:18:13,966 WINDOW AND THE LIGHT MAKES THE 401 00:18:09,100 --> 00:18:15,666 SPACE. 402 00:18:13,966 --> 00:18:18,066 >> EVERY TIME WE FLY BACK TO 403 00:18:15,666 --> 00:18:20,766 KENTUCKY FROM SOME OTHER PLACE 404 00:18:18,066 --> 00:18:22,766 THE INCREDIBLE WEALTH OF BEAUTY 405 00:18:20,766 --> 00:18:27,166 OUT THE AIRPLANE WINDOW AS YOU 406 00:18:22,766 --> 00:18:29,366 COME INTO THE STATE AND YOU JUST 407 00:18:27,166 --> 00:18:31,066 SEE THE GREEN AND ROLLING HILLS 408 00:18:29,366 --> 00:18:32,666 AND YOU THINK PEOPLE GO TO 409 00:18:31,066 --> 00:18:34,100 ENGLAND, IRELAND, FRANCE. 410 00:18:32,666 --> 00:18:35,366 THEY GO PLACES THAT THE LOOK 411 00:18:34,100 --> 00:18:39,233 LIKE THIS AND KENTUCKY LOOKS 412 00:18:35,366 --> 00:18:41,366 LIKE THIS ALL THE TIME. 413 00:18:39,233 --> 00:18:44,133 WHEN I MOVED TO DANVILLE IN 1983 414 00:18:41,366 --> 00:18:45,166 , I HAD JUST COME HERE FROM 415 00:18:44,133 --> 00:18:47,733 GRADUATE SCHOOL TO START 416 00:18:45,166 --> 00:18:48,633 TEACHING AT CENTER COLLEGE AND 417 00:18:47,733 --> 00:18:52,633 LANDSCAPE ART WAS SOMETHING I 418 00:18:48,633 --> 00:18:54,033 REALLY WANTED TO PURSUE. 419 00:18:52,633 --> 00:18:55,433 I COULDN'T HAVE COME TO A BETTER 420 00:18:54,033 --> 00:18:57,366 PLACE THAN KENTUCKY. 421 00:18:55,433 --> 00:18:58,933 AND DANVILLE, IT WAS EASY TO GET 422 00:18:57,366 --> 00:19:01,633 OUT TO THE COUNTRY SIDE AND 423 00:18:58,933 --> 00:19:06,100 RESUME MY WORK AS A LANDSCAPIST. 424 00:19:01,633 --> 00:19:11,066 THE LUSHNESS, THE ROLLING HILLS, 425 00:19:06,100 --> 00:19:13,600 THE MARVELOUS SKIES REINFORCED 426 00:19:11,066 --> 00:19:15,100 FOR ME, THE IMPORTANCE OF THE 427 00:19:13,600 --> 00:19:20,200 MOTIFS I WAS FINDING WHEN I WENT 428 00:19:15,100 --> 00:19:21,466 OUT TO PAINT THERE IS A HUNGER 429 00:19:20,200 --> 00:19:24,866 AND REWARD THAT GOING OUT TO 430 00:19:21,466 --> 00:19:27,466 NATURE BRINGS TO PAINTING AND TO 431 00:19:24,866 --> 00:19:29,366 POINTING WITH THE WEATHER, WITH 432 00:19:27,466 --> 00:19:30,766 THE COWS, WITH WHATEVER THE DAY 433 00:19:29,366 --> 00:19:33,166 BRINGS YOU. 434 00:19:30,766 --> 00:19:40,566 THERE IS SOMETHING THAT HAPPENS 435 00:19:33,166 --> 00:19:42,066 THAT'S MAGICAL AS I WAS LEARNING 436 00:19:40,566 --> 00:19:43,666 MORE ABOUT HOW TO BE A GOOD 437 00:19:42,066 --> 00:19:45,466 LANDSCAPE PAINTER IN MY 20s, I 438 00:19:43,666 --> 00:19:49,333 SPENT A LOT OF TIME LOOKING AT 439 00:19:45,466 --> 00:19:50,633 THE ENGLISH PAINTER JOHN 440 00:19:49,333 --> 00:19:52,900 CONSTABLE AND THE KENTUCKY 441 00:19:50,633 --> 00:19:56,900 LANDSCAPE HAS A LOT OF ECHOS OF 442 00:19:52,900 --> 00:20:00,200 THE ENGLISH LANDSCAPE. 443 00:19:56,900 --> 00:20:03,933 >> IT'S INSPIRING TO GO AND SEE 444 00:20:00,200 --> 00:20:05,333 A CONSTABLE LANDSCAPE AND THINK 445 00:20:03,933 --> 00:20:06,733 WHAT CAN I BRING TO THAT. 446 00:20:05,333 --> 00:20:10,833 IF I'M GOING TO MAKE A LANDSCAPE 447 00:20:06,733 --> 00:20:13,833 WHERE WE LIVE, HOW DO I BRING 448 00:20:10,833 --> 00:20:16,533 SOME OF THAT RICHNESS AND 449 00:20:13,833 --> 00:20:19,233 VITALITY TO MY OWN WORK. 450 00:20:16,533 --> 00:20:20,533 >> ONE OF THE THINGS ABOUT NOT 451 00:20:19,233 --> 00:20:26,700 WORKING DIRECTLY FROM A 452 00:20:20,533 --> 00:20:31,533 PHOTOGRAPH IS THAT MY SENSE OF 453 00:20:26,700 --> 00:20:33,300 COLOR, MY IMAGINATION CAN COME 454 00:20:31,533 --> 00:20:35,300 INTO PLAY MORE FREELY THAN IF 455 00:20:33,300 --> 00:20:38,266 I'M SIMPLY WORKING FROM A 456 00:20:35,300 --> 00:20:42,700 PHOTOGRAPHIC REFERENCE. 457 00:20:38,266 --> 00:20:43,900 >> SHELDON'S WORK, THERE IS AN 458 00:20:42,700 --> 00:20:45,900 IMMEDIATE REWARD AND THEN THERE 459 00:20:43,900 --> 00:20:47,900 ARE MORE HIDDEN REWARDS IF YOU 460 00:20:45,900 --> 00:20:49,500 KEEP LOOKING AND YOU THINK ABOUT 461 00:20:47,900 --> 00:20:54,066 IT BECAUSE IT WAS MADE BY A 462 00:20:49,500 --> 00:20:57,700 REALLY SMART PAINTER. 463 00:20:54,066 --> 00:20:58,233 >> I THINK OOTSZ THAT'S ONE 464 00:20:57,700 --> 00:21:01,633 -OF-THE-THINGS ABOUT 465 00:20:58,233 --> 00:21:03,266 LANDSCAPE THAT HELPED ME THINK 466 00:21:01,633 --> 00:21:07,966 THAT I REALLY LIVED IN KENTUCKY. 467 00:21:03,266 --> 00:21:14,200 I WAS PAINTING THE LANDSCAPED 468 00:21:07,966 --> 00:21:16,133 AROUND ME. 469 00:21:14,200 --> 00:21:18,033 >> MIGHT THINK OF THEM AS SHORT 470 00:21:16,133 --> 00:21:19,833 STORIES OR EVEN SOME OF THE 471 00:21:18,033 --> 00:21:21,133 BIGGER PAINTINGS, I THINK OF 472 00:21:19,833 --> 00:21:22,733 THEM AS BEING LIKE NOVELS 473 00:21:21,133 --> 00:21:24,033 BECAUSE THE OBJECTS, THE INTER 474 00:21:22,733 --> 00:21:25,833 PLAY WEN THE OBJECTS AND 475 00:21:24,033 --> 00:21:27,233 THE RHYTHMS AND THE SHAPES THAT 476 00:21:25,833 --> 00:21:31,966 REFERENCE ONE ANOTHER AND HOW 477 00:21:27,233 --> 00:21:34,866 THEY BOUNCE BACK AND FORTH RE 478 00:21:31,966 --> 00:21:36,800 WARD LONG LOOKING. 479 00:21:34,866 --> 00:21:39,133 >> I WAS LOOKING AT STILL LIFE 480 00:21:36,800 --> 00:21:41,733 AND I WANTED TO FIND THE STORIES 481 00:21:39,133 --> 00:21:42,766 , THE IMPLICIT CONNECTION 482 00:21:41,733 --> 00:21:45,133 AND CONJUNCTIONS THAT THE PEOPLE 483 00:21:42,766 --> 00:21:49,900 WOULD FIND WHEN THEY LOOKED AT 484 00:21:45,133 --> 00:21:50,900 THEM AND THE GRACE MASSERS OF 485 00:21:49,900 --> 00:21:53,800 THE STILL LIFE IN WESTERN ART 486 00:21:50,900 --> 00:21:54,933 ARE THE DUTCH, FLEMISH, NORTHERN 487 00:21:53,800 --> 00:21:57,100 EUROPEANS SO I WENT TO THEM TO 488 00:21:54,933 --> 00:22:01,266 LOOK AT THEM AND HOW THEY MADE 489 00:21:57,100 --> 00:22:03,966 THOSE PAINTINGS AND WE USE 490 00:22:01,266 --> 00:22:06,066 OBJECTS IN WAYS THAT ARE PART OF 491 00:22:03,966 --> 00:22:08,533 MODERN LIFE AND EVERYTHING WE 492 00:22:06,066 --> 00:22:16,166 USE CONNECTS TO THE HUMAN BODY 493 00:22:08,533 --> 00:22:18,466 AND THE HUMAN STORY I THINK THE 494 00:22:16,166 --> 00:22:20,100 STILL LIVES HAVE A VIVIDNESS AND 495 00:22:18,466 --> 00:22:22,100 QUALITY OF JOY AND APPRECIATION, 496 00:22:20,100 --> 00:22:25,466 A SENSUOUS QUALITY THAT IS IN 497 00:22:22,100 --> 00:22:30,233 THE TEXTURE AND THE SHINE AND 498 00:22:25,466 --> 00:22:32,066 THE COLOR EVERYWHERE YOU LOOK 499 00:22:30,233 --> 00:22:33,833 THERE IS A GATHERING OF OBJECTS 500 00:22:32,066 --> 00:22:41,933 AND THEY SAY SOMETHING ABOUT THE 501 00:22:33,833 --> 00:22:46,033 PEOPLE THAT MADE THEM. 502 00:22:41,933 --> 00:22:48,533 >> ALL CAN I REALLY DO IS MAKE A 503 00:22:46,033 --> 00:22:51,133 PAINTING AS BEST I CAN SO THAT 504 00:22:48,533 --> 00:22:57,633 THE FEELING, THE STRUCTURE, THE 505 00:22:51,133 --> 00:23:09,033 THOUGHT THAT GOES INTO IT OFFERS 506 00:22:57,633 --> 00:23:11,966 SOMETHING SUBSTANTIAL, I HOPE. 507 00:23:09,033 --> 00:23:14,466 >> SHELDON TAPLEY WAS PROFILED 508 00:23:11,966 --> 00:23:15,066 IN KET'S 2001 ART SERIES LOOKING 509 00:23:14,466 --> 00:23:17,266 AT PAINTING. 510 00:23:15,066 --> 00:23:18,566 HE WAS ONE OF FOUR ARTISTS WHO 511 00:23:17,266 --> 00:23:21,100 DEMONSTRATED THE REALIST STYLE 512 00:23:18,566 --> 00:23:22,166 OF PAINTING AND DISCUSSED WHAT 513 00:23:21,100 --> 00:23:24,400 INSPIRED THEIR ART. 514 00:23:22,166 --> 00:23:25,866 HERE ON KENTUCKY LIFE, WE ARE 515 00:23:24,400 --> 00:23:27,600 ALWAYS INSPIRED BY THE WORK OF 516 00:23:25,866 --> 00:23:29,166 OUR STATE'S ARTISTS AND WE LOOK 517 00:23:27,600 --> 00:23:30,566 FORWARD TO SHARING MORE OF THEIR 518 00:23:29,166 --> 00:23:32,366 STORIES WITH YOU. 519 00:23:30,566 --> 00:23:33,766 AND NOW, WE WOULD LIKE TO SHARE 520 00:23:32,366 --> 00:23:35,566 SOME MOMENTS FROM WHAT IS ALWAYS 521 00:23:33,766 --> 00:23:37,500 ONE OF THE YEAR'S MOST 522 00:23:35,566 --> 00:23:38,666 ANTICIPATED MUSICAL EVENINGS, 523 00:23:37,500 --> 00:23:40,333 WHEN THE UNIVERSITY OF KENTUCKY 524 00:23:38,666 --> 00:23:42,933 'S OPERA THEATER TAKES 525 00:23:40,333 --> 00:23:44,533 THE STAGE AT THE SINGLETARY 526 00:23:42,933 --> 00:23:46,066 CENTER TO PERFORM HIT SONGS, 527 00:23:44,533 --> 00:23:48,666 CLASSICS FROM THE BILLBOARD 528 00:23:46,066 --> 00:23:50,866 CHARTS AND BROADWAY SHOW TUNES. 529 00:23:48,666 --> 00:23:52,866 ENJOY THE 25th ANNIVERSARY 530 00:23:50,866 --> 00:23:53,333 PERFORMANCE OF GRAND NIGHT FOR 531 00:23:52,866 --> 00:23:55,533 SINGING. 532 00:23:53,333 --> 00:24:04,200 I'M DOUG FLYNN ENJOYING LIFE, 533 00:23:55,533 --> 00:24:04,566 KENTUCKY LIFE. 534 00:24:04,200 --> 00:24:15,000 ♪ ♪ 535 00:24:04,566 --> 00:24:17,000 ♪ ♪ 536 00:24:15,000 --> 00:24:22,500 ♪ AIN'T NO SUNSHINE WHEN SHE'S 537 00:24:17,000 --> 00:24:26,033 GONE ♪ 538 00:24:22,500 --> 00:24:29,866 ♪ IT'S NOT WARM WHEN SHE'S AWAY 539 00:24:26,033 --> 00:24:33,366 ♪ AIN'T NO SUNSHINE WHEN SHE'S 540 00:24:29,866 --> 00:24:34,700 GONE, AND SHE'S ALWAYS GONE TOO 541 00:24:33,366 --> 00:24:41,466 LONG ♪ 542 00:24:34,700 --> 00:24:44,066 ♪ ANY TIME SHE GOES AWAY ♪ 543 00:24:41,466 --> 00:24:47,366 WONDER THIS TIME WHERE SHE'S 544 00:24:44,066 --> 00:24:57,466 GONE ♪ 545 00:24:47,366 --> 00:24:59,833 ♪ WONDER IF SHE'S GONE TOO STAY. 546 00:24:57,466 --> 00:25:00,933 ♪ AIN'T NO SUNSHINE WHEN SHE'S 547 00:24:59,833 --> 00:25:02,433 GONE ♪ 548 00:25:00,933 --> 00:25:06,000 THIS HOUSE JUST AIN'T NO HOME 549 00:25:02,433 --> 00:25:09,000 ANY TIME SHE GOES AWAY ♪ 550 00:25:06,000 --> 00:25:13,300 ♪ SHE GOES AWAY ♪ 551 00:25:09,000 --> 00:25:15,300 ♪ THERE'S A SPECIAL KIND OF 552 00:25:13,300 --> 00:25:24,300 BUSINESS IN SHOW BUSINESS ♪ 553 00:25:15,300 --> 00:25:24,700 JUST ASK ANY STRANGER YOU MEET ♪ 554 00:25:24,300 --> 00:25:27,900 ♪ ♪ 555 00:25:24,700 --> 00:25:29,700 ♪ ♪ 556 00:25:27,900 --> 00:25:31,800 WE'RE A SPECIAL KIND OF PEOPLE 557 00:25:29,700 --> 00:25:43,400 KNOWN AS SHOW PEOPLE ♪ 558 00:25:31,800 --> 00:25:43,400 ♪ WE LIVE IN A WORLD OF OUR OWN 559 00:25:54,966 --> 00:26:04,300 ♪ ♪ 560 00:25:55,333 --> 00:26:14,233 ♪ ♪ 561 00:26:04,300 --> 00:26:18,700 ♪ 55526,000 MINUTES. 562 00:26:14,233 --> 00:26:20,500 ♪ 500, 526,000 MINUTES. 563 00:26:18,700 --> 00:26:21,800 HOW DO YOU MEASURE, MEASURE A 564 00:26:20,500 --> 00:26:24,400 YEAR ♪ 565 00:26:21,800 --> 00:26:26,100 IN DAYLIGHT ♪ 566 00:26:24,400 --> 00:26:27,800 IN SUNSHET ♪ 567 00:26:26,100 --> 00:26:41,333 ♪ ♪ 568 00:26:27,800 --> 00:26:41,333 IN INCHES, IN MILES AND LAUGHTER 569 00:26:42,033 --> 00:26:43,800 525,600 MINUTES. 570 00:26:42,600 --> 00:26:48,266 HOW DO YOU MEASURE A YEAR IN THE 571 00:26:43,800 --> 00:26:52,000 LIGHT ♪ 572 00:26:48,266 --> 00:27:03,733 HOW ABOUT LOVE, LOVE ♪ 573 00:26:52,000 --> 00:27:06,633 HOW ABOUT LOVE.