1 00:00:20,089 --> 00:00:22,457 A FAMILY GUITAR BUSINESS. >> I'M COMING HOME, AND I'M 2 00:00:22,459 --> 00:00:26,361 GOING TO WORK IN THE GUITAR FACTORY TO TRY TO FIND OUT HOW 3 00:00:26,363 --> 00:00:30,098 THESE THINGS ARE MADE. >> AND AN ARTISTIC TWIST ON 4 00:00:30,100 --> 00:00:32,034 TUPPERWARE PARTIES. >> AND THEN I STARTED MAKING 5 00:00:32,036 --> 00:00:35,537 MORE MONEY DOING THIS THAN I EVER DID AS AN ACTOR. 6 00:00:35,539 --> 00:00:38,006 SHOOT, I DON'T WANT TO LIVE IN HOLLYWOOD ANYMORE. 7 00:00:38,008 --> 00:00:39,608 THEY HAVE EARTHQUAKES AND CRAZY PEOPLE. 8 00:00:39,610 --> 00:00:43,945 >> IT'S ALL AHEAD ON THIS EDITION OF "ARTS." 9 00:00:43,947 --> 00:00:58,126 >> HI, I'M APRIL ANCIRA AND THANK YOU FOR JOINING US FOR 10 00:00:58,128 --> 00:01:01,897 THIS EDITION OF ARTS. TONIGHT WE BEGIN OUR "BEST OF 11 00:01:01,899 --> 00:01:07,402 LOCALLY" AS WE ROUND OUT THIS SEASON OF KLRN ARTS AND 2017. 12 00:01:07,404 --> 00:01:11,706 LET'S CHECK IN WITH OUR DONNA PARKER FOR HER PICKS OF SAN 13 00:01:11,708 --> 00:01:16,511 ANTONIO'S BEST OF LOCALLY. ¶ 14 00:01:16,513 --> 00:01:24,219 >> ENDORSED BY HIS HOLINESS THE DALAI LAMA, THE MONKS OF THE 15 00:01:24,221 --> 00:01:27,856 MYSTICAL ARTS OF TIBET PLAN TO SPEND THE NEXT FEW DAYS 16 00:01:27,858 --> 00:01:32,828 CONSTRUCTING A MANDALA, MADE OF BILLIONS OF GRAINS OF SAND. 17 00:01:32,830 --> 00:01:35,163 ELIMINATING NEGATIVE ENERGY AND PULLING IN THE POSITIVE BEFORE 18 00:01:35,165 --> 00:01:42,471 THE ART CREATION GETS UNDER WAY. >> THE MANDALA IN TIBETAN, WE 19 00:01:42,473 --> 00:01:45,273 CALL KILKO, THE CENTER AND THE SURROUNDING. 20 00:01:45,275 --> 00:01:51,847 IT SHOWS DIMENSION WHERE THE BUDDHA LIES AND ENTIRE 21 00:01:51,849 --> 00:01:54,449 SURROUNDINGS. >> CREATING THE MANDALA IS ONE 22 00:01:54,451 --> 00:01:58,153 OF THE WORLD'S MOST SACRED TRADITIONS, MEANT TO FOSTER 23 00:01:58,155 --> 00:02:01,189 WORLD PEACE THROUGH HARMONY AND UNDERSTANDING. 24 00:02:01,191 --> 00:02:04,392 MANDALA, WHICH TRANSLATES TO CIRCLE, ALWAYS BEGINS AT THE 25 00:02:04,394 --> 00:02:08,163 CENTER, WHICH REPRESENTS A MICROCOSM OF THE UNIVERSE. 26 00:02:08,165 --> 00:02:15,937 >> THEY DO WITH THE STRING. SO IT TAKES AROUND A MONTH TO 27 00:02:15,939 --> 00:02:19,141 CREATE THOSE LINES. AND WE'RE GOING TO WIPE UP ALL 28 00:02:19,143 --> 00:02:21,877 THE CHALK LINES AND GET THE FINAL DESIGN. 29 00:02:21,879 --> 00:02:27,616 >> THE MONKS USE METAL FUNNELS TO PAINSTAKINGLY PLACE COLORED 30 00:02:27,618 --> 00:02:36,158 SAND PARTICLES. >> THOUGH WE'RE USING MANY 31 00:02:36,160 --> 00:02:38,894 DIFFERENT COLORS, WITH THE PRIMARY COLORS LIKE THE WHITE, 32 00:02:38,896 --> 00:02:42,197 RED, YELLOW, GREEN, AND BLUE, WHICH REPRESENTING THE FIVE 33 00:02:42,199 --> 00:02:47,903 ELEMENTS OF THE NATURE. THE FOUR ELEMENTS, AND WE ALSO 34 00:02:47,905 --> 00:02:51,873 ADD THE FIFTH. >> THE MONKS MEMORIZE THE 35 00:02:51,875 --> 00:02:55,143 SCRIPTURES GUIDING WHERE EACH COLOR GOES, AND THEY GIVE NEW 36 00:02:55,145 --> 00:02:57,779 MEANING TO THE WORDS CROSS-TRAINING. 37 00:02:57,781 --> 00:03:01,516 >> SO THEY KEEP SWITCHING. EVERYBODY CAN DO ANYWHERE IN THE 38 00:03:01,518 --> 00:03:08,623 MANDALA. >> ALL THIS FOCUS ON CREATING 39 00:03:08,625 --> 00:03:13,328 THE MANDALA, ABSORBING AND RADIATING THE FOCUS, IS 40 00:03:13,330 --> 00:03:18,266 PRACTICING TRUE MINDFULNESS. >> IT'S A VERY, VERY KIND OF 41 00:03:18,268 --> 00:03:21,536 MEDITATIVE MINDFULNESS WATCHING THE MANDALA. 42 00:03:21,538 --> 00:03:27,042 THE MONKS CAN BE VERY MINDFULNESS ON WHAT YOU NEED. 43 00:03:27,044 --> 00:03:33,348 VERY INTRICATE ARTWORK. HAS TO BE VERY, VERY MINDFUL. 44 00:03:33,350 --> 00:03:38,987 BUT THE MINDFULNESS ABOUT WHAT IS THE BENEFIT THAT YOU BELIEVE, 45 00:03:38,989 --> 00:03:44,893 LIKE IT'S CREATION, WHICH IS TO BENEFIT THE ENVIRONMENT. 46 00:03:44,895 --> 00:03:47,963 >> IT ADDS VALUE TO IT, EVEN MORE VALUE TO IT, KNOWING THAT 47 00:03:47,965 --> 00:03:53,501 IT'S ONLY HERE FOR A TIME. SO IT'S VERY REFLECTIVE OF THE 48 00:03:53,503 --> 00:03:58,840 WAY WE SHOULD BE ENJOYING OUR LIVES AS WELL. 49 00:03:58,842 --> 00:04:02,143 >> IN THE TRUE SYMBOLISM OF THE BUDDHIST TEACHINGS, THE GRAINS 50 00:04:02,145 --> 00:04:07,015 OF SAND ARE CERTIFY MOEMONIOUSL TO THE SAN ANTONIO RIVER, 51 00:04:07,017 --> 00:04:10,485 ALLOWING THE HEALING ENERGY OF THE MANDALA TO FLOW INTO THE 52 00:04:10,487 --> 00:04:13,989 WORLD. AND SO IT GOES, THE TRANSITORY 53 00:04:13,991 --> 00:04:20,395 NATURE OF LIFE. >> UP NEXT, THOUSANDS OF SAN 54 00:04:20,397 --> 00:04:24,499 ANTONIOANS SHARE THEIR FAMILY STORIES IN A COLLABORATION KNOWN 55 00:04:24,501 --> 00:04:31,606 AS ARBOR DE LA VIDA; OR TREE OF LIFE. 56 00:04:31,608 --> 00:04:34,542 >> THE TREE OF LIFE IS TRADITIONALLY KNOWN AS A MEXICAN 57 00:04:34,544 --> 00:04:36,111 CRAFT. WE SEE IT THROUGHOUT MEXICO. 58 00:04:36,113 --> 00:04:40,982 THE WAY WE KNOW IT IS IT'S A THREE-DIMENSIONAL CLAY SCULPTURE 59 00:04:40,984 --> 00:04:45,120 THAT TAKES THE FORM OF A TREE. YOU HAVE THESE BEAUTIFUL LITTLE 60 00:04:45,122 --> 00:04:48,356 TREE BRANCHES, AND WITHIN THEM WE HOLD PIECES OF SCULPTURE THAT 61 00:04:48,358 --> 00:04:50,592 TELLS THE STORY. >> THESE STORIES, THE VERY 62 00:04:50,594 --> 00:04:53,995 FABRIC OF LIFE IN SOUTH TEXAS, GO BACK GENERATIONS, WEAVING 63 00:04:53,997 --> 00:04:57,299 TOGETHER THE NARRATIVES OF OUR EARLY EXISTENCE IN SAN ANTONIO 64 00:04:57,301 --> 00:05:04,072 AND PAINTING A PICTURE OF WHAT WE ALL SHARE WITH OUR ANCESTORS. 65 00:05:04,074 --> 00:05:08,209 >> IT IS IMPORTANT THAT WE ARE INVOLVED IN THIS KIND OF ART 66 00:05:08,211 --> 00:05:11,613 BECAUSE IT BRINGS US -- IT'S OUR HERITAGE. 67 00:05:11,615 --> 00:05:17,118 IT'S PART OF OUR FAMILY BACKGROUND. 68 00:05:17,120 --> 00:05:22,791 >> THE TREE OF LIFE DATES BACK TO THE OLMEC INDIANS, WHO LONG 69 00:05:22,793 --> 00:05:27,228 BEFORE THE WORD WAS INVENTED, UTILIZED IT AS A STORY METHOD, 70 00:05:27,230 --> 00:05:32,267 WHICH WAS USED TO CONVERT INDIGENOUS PEOPLE TO 71 00:05:32,269 --> 00:05:34,703 CHRISTIANITIES. >> TREE OF LIFE WAS USED BY 72 00:05:34,705 --> 00:05:38,540 SPANIARDS, WHEN THEY CAME TO THIS PART OF THE WORLD, TO 73 00:05:38,542 --> 00:05:40,842 SPREAD THE WORD. >> NOW THE SAN ANTONIO RIVER 74 00:05:40,844 --> 00:05:43,712 FOUNDATION IS INVOLVED IN A COMMUNITY-WIDE PROJECT TO 75 00:05:43,714 --> 00:05:49,150 CONSTRUCT A HUGE PORTAL LEADING INTO THE MISSION SAN FRANCISCO 76 00:05:49,152 --> 00:05:53,988 DE LA ESPARTA. >> THIS TREE IS GOING TO MEASURE 77 00:05:53,990 --> 00:05:57,192 40 FEET TALL, AND IS GOING TO BE 70 FEET WIDE. 78 00:05:57,194 --> 00:06:01,396 >> THESE PEOPLE, SOME ARTISTS, SOME NOT, ARE CONTRIBUTING THEIR 79 00:06:01,398 --> 00:06:03,732 SCULPTING WORK TO THE TREE OF LIFE AS A WAY TO TELL THEIR 80 00:06:03,734 --> 00:06:06,234 INDIVIDUAL FAMILY'S STORY, BUT ALSO AS A COLLECTIVE. 81 00:06:06,236 --> 00:06:08,737 >> MAYBE YOUNGER PEOPLE WOULD BE INTERESTED AND START LOOKING 82 00:06:08,739 --> 00:06:12,374 INTO THE HISTORY OF THE MISSIONS, WHICH IS THEIR 83 00:06:12,376 --> 00:06:13,641 BACKGROUND. IT'S SOMETHING THEY REALLY NEED 84 00:06:13,643 --> 00:06:16,611 TO BE SPREADING BY YOUNG PEOPLE. >> SOMETIMES WITH THE EXCITEMENT 85 00:06:16,613 --> 00:06:20,482 ALONG THE SAN ANTONIO RIVER, THE MISSIONS IN OUR CITY ARE 86 00:06:20,484 --> 00:06:23,451 OVERLOOKED. PART OF THE EMPHASIS BEHIND THE 87 00:06:23,453 --> 00:06:28,857 ARBOR DE LA VIDA IS TO DRAW ATTENTION TO THE MISSIONS IN SAN 88 00:06:28,859 --> 00:06:32,394 ANTONIO, GIVE PEOPLE A CHANCE TO PAUSE, REFLECT, AND ENJOY THE 89 00:06:32,396 --> 00:06:35,997 SOLITUDE AND MEDITATIVE QUALITIES AND VISIT THE HISTORY 90 00:06:35,999 --> 00:06:38,600 THAT IS OUR CITY. >> WHEN YOU'RE WALKING ALONG THE 91 00:06:38,602 --> 00:06:41,236 RIVER, YOU DON'T NECESSARILY KNOW THEY'RE THERE. 92 00:06:41,238 --> 00:06:45,206 THERE WAS THAT IDEA OF COULD WE PUT A PIECE OF PUBLIC ART IN 93 00:06:45,208 --> 00:06:47,275 PLACE THAT WOULD GET PEOPLE TO PAUSE? 94 00:06:47,277 --> 00:06:50,311 IF THEY PAUSE, WE CAN REDIRECT THEM TO TAKE THAT MOMENT, FIND 95 00:06:50,313 --> 00:06:54,449 SOME SHADE, AND THEN REALIZE, WOW, THERE'S THIS INCREDIBLE 96 00:06:54,451 --> 00:07:01,923 18th CENTURY ARTIFACT, THIS IS AMAZING WORLD HERITAGE SITE, 97 00:07:01,925 --> 00:07:04,526 RIGHT NEXT TO WHERE YOU ARE. AND IF PEOPLE LOVE SOMETHING, 98 00:07:04,528 --> 00:07:10,265 THEY'RE GOING TO BE MORE WILLING TO PROTECT SOMETHING. 99 00:07:10,267 --> 00:07:14,736 >> NEXT WE GO INSIDE A LIMESTONE CAVE IN THE TEXAS HILL COUNTRY. 100 00:07:14,738 --> 00:07:18,606 >>> HARD TO BELIEVE, AS YOU WATCH THE DEER GRACING IN THE 101 00:07:18,608 --> 00:07:23,545 GRASS, THAT JUST 80 VERTICAL FEEL BELOW IS ANOTHER WORLD, 102 00:07:23,547 --> 00:07:26,448 MAGICAL, MYSTICAL, COOL. DEDICATED TO NATURE AND 103 00:07:26,450 --> 00:07:29,050 PRESERVATION, THE MAJESTIC CAVE WAS FIRST DISCOVERED YEARS AGO 104 00:07:29,052 --> 00:07:34,589 AND HAS A STORIED PAST, PLAYING HOST TO A STILL DURING 105 00:07:34,591 --> 00:07:42,997 PROHIBITION. IT HAS PLENTY OF THE USUAL STA 106 00:07:42,999 --> 00:07:49,504 LACTITES AND STALAGMITES. BUT IT WAS MUSIC TO MANY TO -- 107 00:07:49,506 --> 00:07:53,575 TOM'S EAR WHEN HE REALIZED THE SOUND WAS MAGNIFICENT. 108 00:07:53,577 --> 00:07:57,078 >> THE ACOUSTICS CANNOT BE DUPLICATED BY A BUILDING. 109 00:07:57,080 --> 00:08:01,549 IT'S AWESOME ACOUSTICS. >> SO OFTEN THEY HONOR THIS 110 00:08:01,551 --> 00:08:07,222 GRANDE DAME OF A VENUE WITH DRUMS. 111 00:08:07,224 --> 00:08:13,094 GUITARS, EVEN DIDGEROOS. >> YOU PLAY DOWN HERE, AND IT 112 00:08:13,096 --> 00:08:14,929 SOUNDS GREAT. IT'S A WONDERFUL PLACE TO PLAY. 113 00:08:14,931 --> 00:08:17,899 >> THE CAVE TALKS BACK BECAUSE OF THAT RESONANCE. 114 00:08:17,901 --> 00:08:20,201 THAT REVERB YOU HEAR DOWN HERE, YOU FEEL IT. 115 00:08:20,203 --> 00:08:22,904 THE SOUND COMES BACK, AND YOU CAN HEAR IT ROLLING AND ROLLING. 116 00:08:22,906 --> 00:08:26,908 IT'S BEAUTIFUL. IT'S LIKE BEING IN A BIG 117 00:08:26,910 --> 00:08:28,910 CATHEDRAL. >> I THINK WE TRY ANYWAY TO 118 00:08:28,912 --> 00:08:35,283 BRING THE AUDIENCE WITH US, BACK THROUGH TIME, INTO SIMPLER AND 119 00:08:35,285 --> 00:08:38,820 MORE GROUNDED TIME, WHEN WE WERE LITERALLY IN OUR BODIES MAKING 120 00:08:38,822 --> 00:08:42,023 MUSIC TOGETHER AS A COMMUNITY. FIRST OF ALL, WE'RE IN THIS 121 00:08:42,025 --> 00:08:45,059 AMAZING SPACE HERE, 120 FEET UNDER THE GROUND. 122 00:08:45,061 --> 00:08:50,198 SO WE'RE LITERALLY IN THE WOMB OF MOTHER EARTH. 123 00:08:50,200 --> 00:08:52,934 COMING DOWN THOSE STAIRS AND FEELING THE HUMIDITY AND THE 124 00:08:52,936 --> 00:08:56,471 COOL IS A PART OF THE MUSIC, AS IS THE CAVERN ITSELF. 125 00:08:56,473 --> 00:09:03,778 ALL THE SONGS WE PLAY, ALL THE PIECES, ARE PROGRAMMED TO 126 00:09:03,780 --> 00:09:05,813 ENHANCE THE NATURAL REVERBERATIONS OF THE CAVE, BUT 127 00:09:05,815 --> 00:09:09,751 ALSO JUST THE AWARENESS THAT THE CAVE ITSELF IS A PLAYER IN THE 128 00:09:09,753 --> 00:09:11,786 BAND. THE CAVE IS BEING FORMED MOMENT 129 00:09:11,788 --> 00:09:16,291 BY MOMENT AS WE PLAY ONE DROP OF WATER AT A TIME. 130 00:09:16,293 --> 00:09:19,427 THE MUSIC IS BEING CREATED ONE MODE AT A TIME. 131 00:09:19,429 --> 00:09:22,297 >> THANKS, DONNA. WE'LL CHECK IN NEXT WEEK FOR 132 00:09:22,299 --> 00:09:25,767 YOUR FINAL PICKS OF "BEST OF LOCALLY." 133 00:09:25,769 --> 00:09:28,303 UP NEXT, THE MARTIN GUITARS IS A FAMILY BUSINESS BASED IN 134 00:09:28,305 --> 00:09:31,539 NAZARETH, PENNSYLVANIA THAT HAS BEEN KRAEFTING INSTRUMENTS FOR 135 00:09:31,541 --> 00:09:35,510 SIX GENERATIONS. IN THIS SEGMENT, CHRIS MARTIN 136 00:09:35,512 --> 00:09:40,748 REFLECTS ON HIS FAMILY'S LEGACY IN THE MUSIC WORLD. 137 00:09:40,750 --> 00:10:00,735 ¶ 138 00:10:00,737 --> 00:10:09,444 ¶ 139 00:10:09,446 --> 00:10:19,787 ¶ 140 00:10:19,789 --> 00:10:37,238 ¶ 141 00:10:37,240 --> 00:10:48,483 ¶ 142 00:10:48,485 --> 00:10:57,759 ¶ >> MY PARENTS WERE DIVORCED AND 143 00:10:57,761 --> 00:11:00,862 MY MOM AND DAD DID NOT GET ALONG, AND MY MOM DID NOT 144 00:11:00,864 --> 00:11:02,764 ENCOURAGE ME TO ENTER THE FAMILY BUSINESS. 145 00:11:02,766 --> 00:11:04,365 SHE SAID DO WHAT YOU WANT. I WAS GOING TO BECOME A MARINE 146 00:11:04,367 --> 00:11:07,869 BIOLOGIST. OKAY. 147 00:11:07,871 --> 00:11:10,838 SO I WAS GOING TO BECOME A MARINE BIOLOGIST, AND FRED 148 00:11:10,840 --> 00:11:13,374 WALECKI FROM WESTWOOD MUSIC CAME BACK EAST TO COME -- HE WAS A 149 00:11:13,376 --> 00:11:16,177 FRIEND OF MY DAD'S. CAME TO HANG OUT AT THE FACTORY 150 00:11:16,179 --> 00:11:17,812 AND SEE WHAT'S GOING ON, AND WE GOT TALKING, AND HE SAYS WHAT 151 00:11:17,814 --> 00:11:19,047 ARE YOU GOING TO DO WITH YOUR LIFE? 152 00:11:19,049 --> 00:11:21,749 I SAID I'M GOING TO GO TO THE UNIVERSITY OF MIAMI AND STUDY 153 00:11:21,751 --> 00:11:23,885 MARINE BIOLOGY, AND HE SAID WELL WHY? 154 00:11:23,887 --> 00:11:26,587 I SAID IT'S BECAUSE IT'S WARM. AND HE SAID WELL DON'T YOU HAVE 155 00:11:26,589 --> 00:11:27,955 AN INTEREST IN THE FAMILY BUSINESS? 156 00:11:27,957 --> 00:11:30,525 AND I SAID I DO, BUT FRED I FEEL LIKE AN IDIOT. 157 00:11:30,527 --> 00:11:34,562 I DON'T KNOW ANYTHING ABOUT IT. AND HE SAID WELL ITS WARM IN 158 00:11:34,564 --> 00:11:37,965 CALIFORNIA. YEAH. 159 00:11:37,967 --> 00:11:40,768 HE SAID IF YOU CAME TO CALIFORNIA YOU CAN GET INTO A 160 00:11:40,770 --> 00:11:41,969 SCHOOL BECAUSE I WAS A FULL PAYING STUDENT. 161 00:11:41,971 --> 00:11:44,205 SO UCLA TOOK ME. AND HE SAID I'LL GIVE YOU A PART 162 00:11:44,207 --> 00:11:46,140 TIME JOB AT MY MUSIC STORE, AND YOU CAN LEARN ABOUT THAT SIDE OF 163 00:11:46,142 --> 00:11:49,377 THE BUSINESS. OKAY. 164 00:11:49,379 --> 00:11:52,313 SO I CAME OUT AND WENT TO UCLA. THIS NERDY KID FROM THE EAST 165 00:11:52,315 --> 00:11:56,050 COAST, 29,000 STUDENTS. I WAS A LITTLE FISH OUT OF 166 00:11:56,052 --> 00:11:59,487 WATER, AND I GOT INTO THE STORE AND FRED PUT ME OUT ON THE SALES 167 00:11:59,489 --> 00:12:02,724 FLOOR, AND I WAS A DISASTER BECAUSE I DIDN'T KNOW ANYTHING. 168 00:12:02,726 --> 00:12:06,928 HE SAID, ALRIGHT. WELL, GO IN THE BACK AND HELP 169 00:12:06,930 --> 00:12:13,134 JOHN CAROTHERS REPAIR GUITARS. ANOTHER DISASTER BECAUSE I 170 00:12:13,136 --> 00:12:14,669 DIDN'T KNOW HOW TO REPAIR GUITARS, BUT I SAID TO MYSELF, 171 00:12:14,671 --> 00:12:15,837 BOY, THERE'S MORE TO THIS THAN MEETS THE EYE. 172 00:12:15,839 --> 00:12:18,239 SO I GOT ON THE PHONE AND CALLED MY MOM AND SAID, I'M COMING 173 00:12:18,241 --> 00:12:19,807 HOME. SHE SAID WHAT'S WRONG? 174 00:12:19,809 --> 00:12:21,409 I SAID THAT I'M QUITTING COLLEGE. 175 00:12:21,411 --> 00:12:23,377 SILENCE. I'M COMING HOME, AND I'M GOING 176 00:12:23,379 --> 00:12:25,379 TO WORK IN THE GUITAR FACTORY AND TRY AND FIND OUT HOW THESE 177 00:12:25,381 --> 00:12:31,185 THINGS ARE MADE. 178 00:12:31,187 --> 00:12:41,195 ¶ WHAT WE NEED TO DO TODAY IS MAKE 179 00:12:41,197 --> 00:12:47,135 3,000 OF THE BEST GUITARS THIS COMPANY HAS EVER MADE, AND I 180 00:12:47,137 --> 00:12:51,172 FELT THAT THAT WAS IMPORTANT TO REGAIN WHAT I KNEW THE MARTIN 181 00:12:51,174 --> 00:12:53,808 GUITAR ASPIRED TO BE AND THAT RESONATED WITH MY COLLEAGUES OUT 182 00:12:53,810 --> 00:12:55,209 IN THE SHOP BECAUSE THEY WERE LIKE WHY IS THE COMPANY SO 183 00:12:55,211 --> 00:12:57,812 DISTRACTED? I SAID, LOOK, WE ARE GOING TO 184 00:12:57,814 --> 00:13:00,081 GET RID OF THESE ACQUISITIONS THAT AREN'T WORKING, AND WE ARE 185 00:13:00,083 --> 00:13:03,785 JUST GOING TO MAKE ACOUSTIC FLAT TOP STEEL STRING GUITARS. 186 00:13:03,787 --> 00:13:09,023 AND SHORTLY AFTER THAT MTV UNPLUGGED HAPPENED, AND WE WERE 187 00:13:09,025 --> 00:13:11,659 READY, AND THE PHONES STARTED TO RING. 188 00:13:11,661 --> 00:13:14,462 HONESTLY OTHER THAN A COUPLE OF ECONOMIC UPS AND DOWNS THAT I 189 00:13:14,464 --> 00:13:24,372 CAN'T CONTROL, THE PHONES HAVE BEEN RINGING EVER SINCE. 190 00:13:24,374 --> 00:13:33,514 ¶ ON MARCH 18 OF 1915. 191 00:13:33,516 --> 00:13:35,283 SO BY THIS POINT THE ORIGINAL HMS DREADNOUGHT WAS OBSOLETE AS 192 00:13:35,285 --> 00:13:37,218 I HAD SAID, AND THEY WERE ON TO THE SUPER DREADNOUGHT, BUT IT 193 00:13:37,220 --> 00:13:41,656 WAS STILL IN THE FLEET. IT WAS UP OFF THE COAST OF 194 00:13:41,658 --> 00:13:45,259 SCOTLAND WITH A SISTER SHIP, A SMALLER BRITISH BATTLESHIP. 195 00:13:45,261 --> 00:13:50,765 AND AN INFAMOUS GERMAN U-BOAT U-29 SURFACES, FIRES A TORPEDO, 196 00:13:50,767 --> 00:13:54,602 HITS THAT SHIP, AND THE HMS DREADNOUGHT COMES ALONG AND 197 00:13:54,604 --> 00:13:57,972 SLICES THE U-BOAT IN HALF. THE ONLY BATTLESHIP TO EVER SINK 198 00:13:57,974 --> 00:13:59,006 A SUBMARINE BY CUTTING IT IN HALF. 199 00:13:59,008 --> 00:14:05,313 WHEN THE UNITED STATES VERY RELUCTANTLY IS BEING DRAWN INTO 200 00:14:05,315 --> 00:14:10,251 WORLD WAR II, SO THINK OF THAT. THAT POLITICALLY WE KNOW IT'S 201 00:14:10,253 --> 00:14:15,056 BAD, AND WE KNOW IT'S NOT GETTING ANY BETTER, AND WE DON'T 202 00:14:15,058 --> 00:14:18,993 WANT TO BE A PART OF IT, BUT WERE BEING DRAWN IN FORTUNATELY 203 00:14:18,995 --> 00:14:21,329 FOR EVERYONE WE WERE ABLE TO HELP THE BRITISH AND EVEN THE 204 00:14:21,331 --> 00:14:25,099 RUSSIANS DEFEAT THE GERMANS ULTIMATELY, BUT SO THAT'S THE 205 00:14:25,101 --> 00:14:30,972 CONTEXT INTO WHICH MY GREAT GREAT, GREAT GRANDFATHER, AS A 206 00:14:30,974 --> 00:14:33,941 HISTORY BUFF, SAID I'M DEDICATING THIS GUITAR TO THIS 207 00:14:33,943 --> 00:14:43,951 SIGNIFICANT HISTORICAL EVENT. ¶ THANKS TO MR. MARTIN I'M ALL 208 00:14:43,953 --> 00:14:46,487 RIGHT ¶ ¶ ONCE AGAIN THIS STEEL GUITAR 209 00:14:46,489 --> 00:14:50,424 HELPED ME THROUGH THE NIGHT ¶ ¶ I'M KIND OF GRATEFUL TO YOU 210 00:14:50,426 --> 00:14:54,061 ¶ YOU KNOW HOW TO MAKE THEM RIGHT ¶ 211 00:14:54,063 --> 00:15:00,668 ¶ THANK YOU MR. MARTIN I'M ALL RIGHT ¶ 212 00:15:00,670 --> 00:15:05,039 >> AFTER PLAYING SMALL ROLES IN HOLLYWOOD TELEVISION SHOWS, 213 00:15:05,041 --> 00:15:07,842 ACTOR KEVIN FARRELL FOUND A NEW WAY TO PAY THE BILLS USING HIS 214 00:15:07,844 --> 00:15:28,362 ACTING SKILLS. HERE'S HIS STORY. 215 00:15:28,364 --> 00:15:31,766 DYI IS MY CHARACTER TO SELL TUPPERWARE. 216 00:15:31,768 --> 00:15:37,071 DYI IS A LITTLE TRAILER TRASH. SHE IS NOT VERY CLASSY; SHE CAN 217 00:15:37,073 --> 00:15:38,039 KIND OF TALK LIKE A TRUCK DRIVER. 218 00:15:38,041 --> 00:15:44,278 HER LOOK IS JUST OUT THERE; IT'S LOUD AND IT'S OUT THERE. 219 00:15:44,280 --> 00:15:47,782 I AM LIKE A CLOWN, BUT SHE'S FUN LOVING AND SHE LIKES TO HAVE A 220 00:15:47,784 --> 00:15:52,186 GOOD TIME. IF SUZIE HOSTESS, SHE IS HAVING 221 00:15:52,188 --> 00:15:57,191 A TUPPERWARE PARTY, CHANCES ARE ALL HER GIRLFRIENDS ARE LIKE, 222 00:15:57,193 --> 00:16:01,662 OH, REALLY, YOU KNOW, I JUST WENT TO THE JEWELRY PARTY LAST 223 00:16:01,664 --> 00:16:04,031 WEEK. NOW I'VE GOT TO GO TO A CLOTHING 224 00:16:04,033 --> 00:16:13,074 PARTY NEXT WEEK. BUT WHEN THEY SEE A PICTURE OF 225 00:16:13,076 --> 00:16:17,845 DEE W. IEYE, THEN ALL THE GIRLS ARE LIKE, OH, MY GOD, I'M GOING 226 00:16:17,847 --> 00:16:19,981 TO COME TO THAT. >> ARE YOU ALL DRINKING? 227 00:16:19,983 --> 00:16:23,517 I'M PRETTIER WHEN YOU'RE DRUNK. >> HER CHARACTER IS FROM 228 00:16:23,519 --> 00:16:30,524 TENNESSEE, AND SHE WAS THE LAST SOLE HEIR TO THE JACK DANIELS 229 00:16:30,526 --> 00:16:34,562 FORTUNE. SHE HAD A LITTLE DRINKING 230 00:16:34,564 --> 00:16:38,833 PROBLEM. SO DEE W. IEYE IS DRIVING WHILE 231 00:16:38,835 --> 00:16:43,137 INTOXICATED. I WORKED AS AN ACTOR FOR TEN 232 00:16:43,139 --> 00:16:47,375 YEARS IN CHICAGO. I GOT CAST ON FRAZIER, WHICH 233 00:16:47,377 --> 00:16:52,146 BROUGHT ME OUT TO LOS ANGELES. I PLAYED DAVID HYDE PIERCE'S 234 00:16:52,148 --> 00:16:55,216 LOOK-ALIKE ON AN EPISODE. >> EVERYONE, THIS IS RODNEY 235 00:16:55,218 --> 00:16:56,183 BANKS. >> HOW DO YOU DO? 236 00:16:56,185 --> 00:17:06,193 >> THE PLEASURE IS MINE. >> THAT TOOK ME TO LOS ANGELES, 237 00:17:06,195 --> 00:17:08,529 AND I STARTED WORKING AS AN ACTOR NONSTOP. 238 00:17:08,531 --> 00:17:11,632 THEN I STARTED SELLING TUPPERWARE, AND IT JUST TOOK 239 00:17:11,634 --> 00:17:13,834 OFF. >> I WANT TO DO A LITTLE SURVEY. 240 00:17:13,836 --> 00:17:16,337 HOW MANY HAVE BEEN TO A TUPPERWARE BEFORE? 241 00:17:16,339 --> 00:17:17,638 RAISE YOUR HAND. VERY GOOD. 242 00:17:17,640 --> 00:17:21,709 QUITE A FEW OF US. WAS IT A TUPPERWARE PARTY LIKE 243 00:17:21,711 --> 00:17:24,412 THIS? >> IN 2010, I WAS NUMBER 1 IN 244 00:17:24,414 --> 00:17:26,981 THE NATION. FOUR YEARS IN A ROW, I SOLD MORE 245 00:17:26,983 --> 00:17:29,183 TUPPERWARE PERSONALLY THAN ANYBODY ELSE IN THE NATION. 246 00:17:29,185 --> 00:17:33,454 THEN I STARTED MAKING MORE MONEY DOING THIS THAN ANYONE DID AS AN 247 00:17:33,456 --> 00:17:35,790 AGENTOR. SHOOT, I DON'T WANT TO LIVE IN 248 00:17:35,792 --> 00:17:39,226 HOLLYWOOD ANYMORE. THEY HAVE EARTHQUAKES AND CRAZY 249 00:17:39,228 --> 00:17:41,562 PEOPLE. SO I DECIDED TO MOVE BACK. 250 00:17:41,564 --> 00:17:44,832 NOW I LIVE HERE. WHEW, I'M A BUCKEYE. 251 00:17:44,834 --> 00:17:50,204 >> I THINK TUPPERWARE HAS GROWN TO EMBRACE THE DRAG QUEEN 252 00:17:50,206 --> 00:17:51,839 ASPECT. THERE ARE OTHER GUYS WHO SELL IN 253 00:17:51,841 --> 00:17:55,376 DRAG. I'M NOT NOT THE ONLY ONE. 254 00:17:55,378 --> 00:17:58,112 WE'RE BRINGING TUPPERWARE TO A WHOLE NEW GENERATION OF PEOPLE 255 00:17:58,114 --> 00:18:00,448 WHO DON'T EVEN KNOW TUPPERWARE IS STILL AROUND. 256 00:18:00,450 --> 00:18:06,454 WE DO IT WITH SUCH AN ENTERTAINING ASPECT TO OUR SHOW 257 00:18:06,456 --> 00:18:08,989 THAT PEOPLE JUST FIND IT MORE FUN. 258 00:18:08,991 --> 00:18:13,027 ¶ PICKLES AND CHEESE ZUCCHINI AND CARROTS ¶ 259 00:18:13,029 --> 00:18:15,996 ¶ SERVE SOME FINE TASTING FERRET ¶ 260 00:18:15,998 --> 00:18:19,166 ¶ YOUR FOOD HAS NEVER TASTED SO FRESH TO DATE ¶ 261 00:18:19,168 --> 00:18:25,940 >> I WOULD SAY THAT 90% OF THE PEOPLE COME TO SEE DEE W. IEYE, 262 00:18:25,942 --> 00:18:28,642 AND THEN THEY BUY THE TUPPERWARE AFTERWARDS. 263 00:18:28,644 --> 00:18:32,046 TUPPERWARE CORPORATE IS ON BOARD WITH WHAT THEY DO BECAUSE WE'RE 264 00:18:32,048 --> 00:18:34,849 SELLING MORE PRODUCT THAN HALF OF THEIR SALES FORCE, BUT THERE 265 00:18:34,851 --> 00:18:37,685 ARE PEOPLE WHO DON'T UNDERSTAND WHAT I DO, AND THAT MAKES ME SAD 266 00:18:37,687 --> 00:18:41,188 BECAUSE I'M AN ACTOR WHO DRESSES UP AS A CHARACTER. 267 00:18:41,190 --> 00:18:44,592 I COME AS KEVIN. I GET DRESSED UP AS DEE AT YOUR 268 00:18:44,594 --> 00:18:48,028 HOUSE, AND I TAKE DEE OFF AND LEAVE YOUR HOUSE AS KEVIN 269 00:18:48,030 --> 00:18:50,631 BECAUSE I DON'T DRIVE AROUND TOWN IN DRAG, AND I DON'T GO TO 270 00:18:50,633 --> 00:18:54,034 THE SHOPPING STORES AS DEE. I DON'T HANG OUT AND GO TO THE 271 00:18:54,036 --> 00:18:56,670 ZOO AS DEE. IT IS A CHARACTER THAT I PUT ON 272 00:18:56,672 --> 00:19:03,177 AND A CHARACTER I TAKE OFF. MUCH LIKE ANY CHARACTER IN OUR 273 00:19:03,179 --> 00:19:08,616 LIFE PLAYING AT THE THEATER. THE BUSINESS SIDE OF MY BUSINESS 274 00:19:08,618 --> 00:19:11,852 IS HUGE BECAUSE I AVERAGE FOUR TO FIVE PARTIES A WEEK. 275 00:19:11,854 --> 00:19:15,156 IF I'M NOT WORKING, I'M IN MY OFFICE. 276 00:19:15,158 --> 00:19:20,194 I'M CALLING HOSTESSES TO CONFIRM THEIR DATES, DATING NEW PARTIES, 277 00:19:20,196 --> 00:19:22,630 ENTERING ALL THE ORDERS. SOMETIMES THINGS DON'T SHOW UP 278 00:19:22,632 --> 00:19:25,266 IN SHIPMENTS. I'M CALLING THE WAREHOUSE TO 279 00:19:25,268 --> 00:19:29,103 MAKE SURE MY ORDERS ARE FULFILLED. 280 00:19:29,105 --> 00:19:32,406 WHEN I MOVED TO LOS ANGELES, I THOUGHT I WAS GOING TO BE THIS 281 00:19:32,408 --> 00:19:36,343 BIG TIME TELEVISION ACTOR. I WAS GOING TO HAVE MY OWN SHOW, 282 00:19:36,345 --> 00:19:38,646 I WAS GOING TO HAVE THIS HUGE HOUSE IN BEVERLY HILLS, AND IT 283 00:19:38,648 --> 00:19:41,515 WAS ALL BASED ON MY BEING AN ENTERTAINER. 284 00:19:41,517 --> 00:19:44,185 WHAT HAPPENED IS I GOT EXACTLY WHAT I WANTED, BUT IT JUST CAME 285 00:19:44,187 --> 00:19:46,921 IN A DIFFERENT PACKAGE, WHICH IS AMAZING. 286 00:19:46,923 --> 00:19:48,455 >> COME UP HERE AND TOUCH AND FEEL. 287 00:19:48,457 --> 00:19:53,194 THE TUPPERWARE INCLUDED. I JUST WANTED TO BE A PAID 288 00:19:53,196 --> 00:19:57,364 ACTOR. NOW MY PAYCHECK COMES FROM 289 00:19:57,366 --> 00:19:58,899 TUPPERWA TUPPERWARE. 290 00:19:58,901 --> 00:20:01,368 IT DOESN'T COME FROM HBO OR SHOWTIME. 291 00:20:01,370 --> 00:20:06,874 I'M SELLING JUST AS MUCH HERE AS I DID IN LOS ANGELES. 292 00:20:06,876 --> 00:20:10,911 THERE'S REALLY A NEED FOR A DRAG QUEEN TUPPERWARE LADY IN 293 00:20:10,913 --> 00:20:12,880 COLUMBUS. I LOVE THE FACT THAT 294 00:20:12,882 --> 00:20:16,016 20-YEAR-OLDS TO 90-YEAR-OLDS CAN COME TO MY PARTY AND HAVE A GOOD 295 00:20:16,018 --> 00:20:18,385 TIME. I REALLY JUST WANT TO ENTERTAIN 296 00:20:18,387 --> 00:20:24,425 PEOPLE AND FOR THEM TO HAVE A GOOD TIME. 297 00:20:24,427 --> 00:20:27,595 >> MY NAME IS DEE W. EYE, AND I'M FROM TENNESSEE. 298 00:20:27,597 --> 00:20:30,598 >> THE FEDEX MAN IS HERE TO DELIVER TUPPERWARE. 299 00:20:30,600 --> 00:20:36,437 >> FINALLY, WE JOIN KANSAS CITY, MISSOURI ARTIST WHOSE PUBLIC 300 00:20:36,439 --> 00:20:39,139 INSTALLATIONS COMBINE COMMUNITY ART WITH AN INTERESTING FAMILY 301 00:20:39,141 --> 00:20:44,912 LEGACY. TAKE A LOOK. 302 00:20:44,914 --> 00:20:49,383 I HAVE WHAT I WOULD CALL A TRANSDISCIPLINARY PRACTICE. 303 00:20:49,385 --> 00:20:56,323 I MOVE BETWEEN MEDIUMS, INSPIRATIONS, PURPOSES, REASONS. 304 00:20:56,325 --> 00:20:58,859 I DON'T TEND TO QUESTION WHY I WANT TO MAKE SOMETHING. 305 00:20:58,861 --> 00:21:00,794 I JUST MAKE IT, AND THEN I KIND OF FIGURE OUT HOW IT FITS 306 00:21:00,796 --> 00:21:02,062 TOGETHER WITH OTHER THINGS THAT I'VE MADE LATER. 307 00:21:02,064 --> 00:21:12,873 IN THE DIFFERENT WAY THAT WORKS MANIFEST THEMSELVES IN MY 308 00:21:12,875 --> 00:21:17,311 STUDIO, SOME ARE JUST OF THE MOMENT ASSEMBLAGES, PURELY 309 00:21:17,313 --> 00:21:24,852 VISUALLY AESTHETIC OR SYMBOLIC. HAVEN IS THE FIRST PROJECT IN 310 00:21:24,854 --> 00:21:29,857 WHAT I THINK WILL BE A LIFELONG WORK OF MINE WHICH I CALL THE 311 00:21:29,859 --> 00:21:34,928 DEEP ECOLOGY PROJECT. HAVEN HAS A FUNCTIONALITY. 312 00:21:34,930 --> 00:21:36,530 THE CONVENTIONAL AESTHETICS OF THE WORK, WHAT IT'S MADE OF, HOW 313 00:21:36,532 --> 00:21:40,301 IT LOOKS-- THOSE ARE ALL IMPORTANT, BUT WHAT IT COMES 314 00:21:40,303 --> 00:21:44,305 DOWN TO IS WHAT THE PIECE SAYS, WHAT THE PIECE IS COMMUNICATING, 315 00:21:44,307 --> 00:21:55,683 AND HOW ITS FUNCTIONALITY IS AN IMPORTANT PART OF THAT. 316 00:21:55,685 --> 00:22:00,754 [ BEES BUZZING ] SO I'M AN ARTIST AND A 317 00:22:00,756 --> 00:22:05,426 THIRD-GENERATION BEEKEEPER. AND I GREW UP AROUND BEES, AND 318 00:22:05,428 --> 00:22:07,928 THERE'S BEEN A BIG CHANGE IN BEEKEEPING PRACTICES THAT I FELT 319 00:22:07,930 --> 00:22:11,365 LIKE I WOULD ADDRESS WITH THIS PROJECT. 320 00:22:11,367 --> 00:22:14,935 AS A SCULPTOR AND A PUBLIC ARTIST, I FUSED THOSE TWO 321 00:22:14,937 --> 00:22:18,739 INTERESTS TOGETHER AND CREATED THIS PROJECT. 322 00:22:18,741 --> 00:22:22,443 SO THE HIVE IS PRETTY HEAVY. IT'S FILLED WITH HONEYCOMB AND 323 00:22:22,445 --> 00:22:28,215 HONEY. BEES LIKE THEIR HIVE ENTRANCE TO 324 00:22:28,217 --> 00:22:33,320 FACE SOUTH OR SOUTHEAST. SO EVERY SITE WHERE HAVEN IS 325 00:22:33,322 --> 00:22:34,788 INSTALLED, YOU'LL NOTICE THAT IT'LL BE FACING SOUTHEAST. 326 00:22:34,790 --> 00:22:39,126 IN ORDER TO MAKE IT AS EASY AS POSSIBLE TO INSTALL, THE ONLY 327 00:22:39,128 --> 00:22:46,734 TOOL YOU NEED IS ONE WRENCH. POWERFUL MAGNETS THAT ARE -- 328 00:22:46,736 --> 00:22:55,275 EMBEDDED IN THESE PANELS AND SNAP RIGHT TOGETHER. 329 00:22:55,277 --> 00:22:57,244 AROUND 100 YEARS AGO, BRANCUSI SAID, "SIMPLICITY IS COMPLEXITY 330 00:22:57,246 --> 00:22:59,847 RESOLVED. " AND THE POLLINATOR ISSUE, THE 331 00:22:59,849 --> 00:23:02,583 DECLINE IN THE HONEYBEES, AND THE THREATS THAT FACE ALL THE 332 00:23:02,585 --> 00:23:05,486 POLLINATORS RIGHT NOW IS EXTREMELY COMPLEX. 333 00:23:05,488 --> 00:23:09,823 SO WHAT I WANTED TO DO WAS TO CREATE SOMETHING WHICH WAS AS 334 00:23:09,825 --> 00:23:14,661 ELEGANT AND SIMPLE AS POSSIBLE. IT HAS THE POTENTIAL TO GIVE 335 00:23:14,663 --> 00:23:18,265 BEES WHAT THEY NEED, AND IT HAS THE POTENTIAL TO ACT AS A TOOL 336 00:23:18,267 --> 00:23:19,566 TO GIVE US WHAT WE NEED TO UNDERSTAND BETTER WHAT'S 337 00:23:19,568 --> 00:23:23,871 HAPPENING. WITH THE DECIMATION OF THE 338 00:23:23,873 --> 00:23:27,374 POPULATION RIGHT NOW, IT'S VERY IMPORTANT FOR US TO LOOK AT 339 00:23:27,376 --> 00:23:29,276 WHAT'S HAPPENING IN THE WILD AND WHAT KEYS THERE MIGHT BE TO 340 00:23:29,278 --> 00:23:35,816 THESE SURVIVOR BEES. IF WE'VE LOST 80% TO 90% OF BEES 341 00:23:35,818 --> 00:23:38,652 IN THE WILD, THESE 10% TO 20% THAT ARE STILL LIVING, TO ME, 342 00:23:38,654 --> 00:23:43,891 ARE REALLY IMPORTANT. HONEYBEES ARE RESPONSIBLE FOR 343 00:23:43,893 --> 00:23:45,058 POLLINATING 1/3 OF THE FOOD THAT WE EAT. 344 00:23:45,060 --> 00:23:48,061 IF THE BEES GO, WE LOSE THAT FOOD. 345 00:23:48,063 --> 00:23:51,131 AND THAT HAS PROFOUND RIPPLE EFFECTS, AND THIS IS A PRETTY 346 00:23:51,133 --> 00:23:56,637 IMPORTANT FOOD SECURITY ISSUE. 347 00:23:56,639 --> 00:24:09,950 PART OF THE PROCESS OF INSTALLING THESE HIVES IS ALSO 348 00:24:09,952 --> 00:24:15,856 IN CATCHING THE WILD HONEYBEES, WHICH I DO IN THE SPRING. 349 00:24:15,858 --> 00:24:22,529 IF IT WERE A BIGGER BRANCH, I WOULD JUST POUND THE BRANCH OR 350 00:24:22,531 --> 00:24:24,298 SHAKE IT AND HAVE THE BEES FALL INTO THE BUCKET. 351 00:24:24,300 --> 00:24:26,333 I'M GONNA JUST TRY TO TAKE THE WHOLE BRANCH THAT THE BEES ARE 352 00:24:26,335 --> 00:24:34,174 ON. THAT'S WHY I'M REMOVING AS MUCH 353 00:24:34,176 --> 00:24:35,876 OF IT AS POSSIBLE. THEN I'LL JUST PUT THE LITTLE 354 00:24:35,878 --> 00:24:40,180 PIECE OF THE BRANCH IN THE BUCKET AND TAKE IT WITH ME. 355 00:24:40,182 --> 00:24:43,517 AND WHEN I INSTALL THE BEES IN THE HIVE, I'LL TAKE THE BRANCH 356 00:24:43,519 --> 00:24:46,753 OUT. WELL, DIDN'T GO QUITE AS 357 00:24:46,755 --> 00:24:50,657 SMOOTHLY AS I HOPED. THAT'S WHY I PUT THE TARP DOWN. 358 00:24:50,659 --> 00:24:53,327 THE QUEEN IS SOMEWHERE IN THIS MESS OF BEES. 359 00:24:53,329 --> 00:24:55,362 AND WE HOPE THAT SHE'S IN THE BUCKET. 360 00:24:55,364 --> 00:25:01,201 IF SHE'S NOT AND SHE'S ON THE TARP, THE BEES WILL JOIN HER. 361 00:25:01,203 --> 00:25:12,479 IF SHE'S IN THE BUCKET, THE BEES WILL JOIN HER IN THERE. 362 00:25:12,481 --> 00:25:15,315 ¶ AND THESE BEES ARE GONNA BE 363 00:25:15,317 --> 00:25:17,818 GOING INTO A HAVEN HIVE AT A PRIVATE RESIDENCE. 364 00:25:17,820 --> 00:25:21,488 HERE IN KANSAS CITY, I HAVE HAVEN HIVES IN BOTH PUBLIC AND 365 00:25:21,490 --> 00:25:31,164 PRIVATE LOCATIONS. WE HAVE HIVES AT HYDE PARK, THE 366 00:25:31,166 --> 00:25:34,535 DST GARDEN AT 18BROADWAY, KAUFFMAN MEMORIAL GARDEN AND THE 367 00:25:34,537 --> 00:25:39,339 KAUFFMAN FOUNDATION, JOHNSON COUNTY COMMUNITY COLLEGE, NERMAN 368 00:25:39,341 --> 00:25:40,807 MUSEUM'S COLLECTION, WHICH WILL ALSO BE ON THE JOHNSON COUNTY 369 00:25:40,809 --> 00:25:45,579 COMMUNITY COLLEGE CAMPUS. AT EACH HAVEN SITE, THERE IS A 370 00:25:45,581 --> 00:25:49,483 TITLE PLAQUE WITH A QR CODE. THE TITLE PLAQUE DESCRIBES TO 371 00:25:49,485 --> 00:25:52,586 PARK VISITORS WHAT THEY'RE LOOKING AT. 372 00:25:52,588 --> 00:25:56,023 THE QR CODE TAKES THEM TO A WEBSITE WITH A SURVEY PAGE. 373 00:25:56,025 --> 00:25:57,724 THE WEBSITE GIVES THEM MORE IN-DEPTH INFORMATION AS TO 374 00:25:57,726 --> 00:25:59,793 WHAT'S HAPPENING TO THE HONEYBEES AND WHAT THIS PROJECT 375 00:25:59,795 --> 00:26:03,764 IS ALL ABOUT. AND THE SURVEY PAGE ALLOWS THEM 376 00:26:03,766 --> 00:26:08,335 MAKE THEIR OWN OBSERVATIONS AND UPLOAD THAT INFORMATION TO THE 377 00:26:08,337 --> 00:26:13,106 WEBSITE TO HELP CROWDSOURCE THIS DATA GATHERING. 378 00:26:13,108 --> 00:26:14,541 IT ALLOWS VISITORS TO ENGAGE WITH THE PROJECT AT ANY LEVEL 379 00:26:14,543 --> 00:26:18,545 THEY WANT. IT CAN EVEN SERVE AS A TOOL FOR 380 00:26:18,547 --> 00:26:22,182 EDUCATORS THAT WANT TO TAKE A CLASS OF KIDS OUT TO SEE WHAT'S 381 00:26:22,184 --> 00:26:23,617 GOING ON AND LEARN ABOUT WHY POLLINATORS ARE IMPORTANT. 382 00:26:23,619 --> 00:26:26,820 THESE ARE THE BEES THAT ARE SPREADING THE SCENT TO TELL ALL 383 00:26:26,822 --> 00:26:29,256 THE OTHER BEES THAT THIS IS THE PLACE TO COME. 384 00:26:29,258 --> 00:26:37,230 "THE QUEEN IS IN HERE, COME AND JOIN US. 385 00:26:37,232 --> 00:26:39,366 IF YOU SIT HERE FOR A WHILE EVENTUALLY YOU'LL JUST SEE ALL 386 00:26:39,368 --> 00:26:41,234 THE BEES IN THE AIR AND THE TARP KIND OF COME INSIDE AND JOIN 387 00:26:41,236 --> 00:26:42,936 THEM IN THE BUCKET. THE BEES PRETTY MUCH JUST WANT 388 00:26:42,938 --> 00:26:44,671 TO IGNORE US, AND WE'RE NOT REALLY ON THEIR RADAR. 389 00:26:44,673 --> 00:26:46,406 WHAT THEY'RE LOOKING FOR ARE FLOWERS. 390 00:26:46,408 --> 00:26:50,010 THEY ARE NOT PRONE TO ATTACKING AND CHASING DOWN PEOPLE. 391 00:26:50,012 --> 00:26:51,778 COULDN'T TALK WITH THE BEE ON MY LIP. 392 00:26:51,780 --> 00:26:57,517 IT WAS IMPORTANT TO MAKE THE HIVE IN A WAY THAT WOULD ALLOW 393 00:26:57,519 --> 00:27:01,822 VISITORS TO ANY URBAN PARK FEEL COMFORTABLE IN ITS PROXIMITY. 394 00:27:01,824 --> 00:27:06,026 AT THIS HEIGHT, AT 16 FEET, THIS IS A WAY FOR US TO BE ABLE TO 395 00:27:06,028 --> 00:27:09,062 INTEGRATE THEM INTO OUR URBAN AND SUBURBAN ENVIRONMENTS AND 396 00:27:09,064 --> 00:27:19,940 MAKE THEM PART OF OUR ECOSYSTEM. ¶ 397 00:27:19,942 --> 00:27:25,078 PUBLIC REALM IS A GREAT PLACE TO PLAY WITH ART, AND THIS PROJECT 398 00:27:25,080 --> 00:27:28,415 GIVES ME A GREAT CHANCE TO STEP OUT OF THE GALLERY WALLS, TO 399 00:27:28,417 --> 00:27:34,087 STEP OUT OF THE INSTITUTION, TO INTERFACE WITH MY ART AND A 400 00:27:34,089 --> 00:27:36,890 GENERAL PUBLIC DIRECTLY. AND TO ME, THAT'S BECOME A VERY 401 00:27:36,892 --> 00:27:43,664 VALUABLE PART OF MY PRACTICE. 402 00:27:43,666 --> 00:27:57,878 >> AND THAT WRAPS IT UP FOR THIS EDITION OF ARTS. 403 00:27:57,880 --> 00:28:02,082 JOIN US NEXT WEEK AS WE FINISH OUT OUR "BEST OF, LOCALLY" FOR 404 00:28:02,084 --> 00:28:05,552 2017. WE'LL CHECK IN WITH DONNA PARKER 405 00:28:05,554 --> 00:28:08,789 AS SHE PICKS OUT A FEW FAVORITES FROM THIS SEASON. 406 00:28:08,791 --> 00:28:17,931 I'M APRIL ANCIRA, AND I'LL SEE YOU WITH MORE "ARTS" NEXT WEEK.