A FAMILY GUITAR BUSINESS.
>> I'M COMING HOME, AND I'M

GOING TO WORK IN THE GUITAR
FACTORY TO TRY TO FIND OUT HOW

THESE THINGS ARE MADE.
>> AND AN ARTISTIC TWIST ON

TUPPERWARE PARTIES.
>> AND THEN I STARTED MAKING

MORE MONEY DOING THIS THAN I
EVER DID AS AN ACTOR.

SHOOT, I DON'T WANT TO LIVE IN
HOLLYWOOD ANYMORE.

THEY HAVE EARTHQUAKES AND CRAZY
PEOPLE.

>> IT'S ALL AHEAD ON THIS
EDITION OF "ARTS."

>> HI, I'M APRIL ANCIRA AND
THANK YOU FOR JOINING US FOR

THIS EDITION OF ARTS.
TONIGHT WE BEGIN OUR "BEST OF

LOCALLY" AS WE ROUND OUT THIS
SEASON OF KLRN ARTS AND 2017.

LET'S CHECK IN WITH OUR DONNA
PARKER FOR HER PICKS OF SAN

ANTONIO'S BEST OF LOCALLY.
¶

>> ENDORSED BY HIS HOLINESS THE
DALAI LAMA, THE MONKS OF THE

MYSTICAL ARTS OF TIBET PLAN TO
SPEND THE NEXT FEW DAYS

CONSTRUCTING A MANDALA, MADE OF
BILLIONS OF GRAINS OF SAND.

ELIMINATING NEGATIVE ENERGY AND
PULLING IN THE POSITIVE BEFORE

THE ART CREATION GETS UNDER WAY.
>> THE MANDALA IN TIBETAN, WE

CALL KILKO, THE CENTER AND THE
SURROUNDING.

IT SHOWS DIMENSION WHERE THE
BUDDHA LIES AND ENTIRE

SURROUNDINGS.
>> CREATING THE MANDALA IS ONE

OF THE WORLD'S MOST SACRED
TRADITIONS, MEANT TO FOSTER

WORLD PEACE THROUGH HARMONY AND
UNDERSTANDING.

MANDALA, WHICH TRANSLATES TO
CIRCLE, ALWAYS BEGINS AT THE

CENTER, WHICH REPRESENTS A
MICROCOSM OF THE UNIVERSE.

>> THEY DO WITH THE STRING.
SO IT TAKES AROUND A MONTH TO

CREATE THOSE LINES.
AND WE'RE GOING TO WIPE UP ALL

THE CHALK LINES AND GET THE
FINAL DESIGN.

>> THE MONKS USE METAL FUNNELS
TO PAINSTAKINGLY PLACE COLORED

SAND PARTICLES.
>> THOUGH WE'RE USING MANY

DIFFERENT COLORS, WITH THE
PRIMARY COLORS LIKE THE WHITE,

RED, YELLOW, GREEN, AND BLUE,
WHICH REPRESENTING THE FIVE

ELEMENTS OF THE NATURE.
THE FOUR ELEMENTS, AND WE ALSO

ADD THE FIFTH.
>> THE MONKS MEMORIZE THE

SCRIPTURES GUIDING WHERE EACH
COLOR GOES, AND THEY GIVE NEW

MEANING TO THE WORDS
CROSS-TRAINING.

>> SO THEY KEEP SWITCHING.
EVERYBODY CAN DO ANYWHERE IN THE

MANDALA.
>> ALL THIS FOCUS ON CREATING

THE MANDALA, ABSORBING AND
RADIATING THE FOCUS, IS

PRACTICING TRUE MINDFULNESS.
>> IT'S A VERY, VERY KIND OF

MEDITATIVE MINDFULNESS WATCHING
THE MANDALA.

THE MONKS CAN BE VERY
MINDFULNESS ON WHAT YOU NEED.

VERY INTRICATE ARTWORK.
HAS TO BE VERY, VERY MINDFUL.

BUT THE MINDFULNESS ABOUT WHAT
IS THE BENEFIT THAT YOU BELIEVE,

LIKE IT'S CREATION, WHICH IS TO
BENEFIT THE ENVIRONMENT.

>> IT ADDS VALUE TO IT, EVEN
MORE VALUE TO IT, KNOWING THAT

IT'S ONLY HERE FOR A TIME.
SO IT'S VERY REFLECTIVE OF THE

WAY WE SHOULD BE ENJOYING OUR
LIVES AS WELL.

>> IN THE TRUE SYMBOLISM OF THE
BUDDHIST TEACHINGS, THE GRAINS

OF SAND ARE CERTIFY MOEMONIOUSL
TO THE SAN ANTONIO RIVER,

ALLOWING THE HEALING ENERGY OF
THE MANDALA TO FLOW INTO THE

WORLD.
AND SO IT GOES, THE TRANSITORY

NATURE OF LIFE.
>> UP NEXT, THOUSANDS OF SAN

ANTONIOANS SHARE THEIR FAMILY
STORIES IN A COLLABORATION KNOWN

AS ARBOR DE LA VIDA; OR TREE OF
LIFE.

>> THE TREE OF LIFE IS
TRADITIONALLY KNOWN AS A MEXICAN

CRAFT.
WE SEE IT THROUGHOUT MEXICO.

THE WAY WE KNOW IT IS IT'S A
THREE-DIMENSIONAL CLAY SCULPTURE

THAT TAKES THE FORM OF A TREE.
YOU HAVE THESE BEAUTIFUL LITTLE

TREE BRANCHES, AND WITHIN THEM
WE HOLD PIECES OF SCULPTURE THAT

TELLS THE STORY.
>> THESE STORIES, THE VERY

FABRIC OF LIFE IN SOUTH TEXAS,
GO BACK GENERATIONS, WEAVING

TOGETHER THE NARRATIVES OF OUR
EARLY EXISTENCE IN SAN ANTONIO

AND PAINTING A PICTURE OF WHAT
WE ALL SHARE WITH OUR ANCESTORS.

>> IT IS IMPORTANT THAT WE ARE
INVOLVED IN THIS KIND OF ART

BECAUSE IT BRINGS US -- IT'S OUR
HERITAGE.

IT'S PART OF OUR FAMILY
BACKGROUND.

>> THE TREE OF LIFE DATES BACK
TO THE OLMEC INDIANS, WHO LONG

BEFORE THE WORD WAS INVENTED,
UTILIZED IT AS A STORY METHOD,

WHICH WAS USED TO CONVERT
INDIGENOUS PEOPLE TO

CHRISTIANITIES.
>> TREE OF LIFE WAS USED BY

SPANIARDS, WHEN THEY CAME TO
THIS PART OF THE WORLD, TO

SPREAD THE WORD.
>> NOW THE SAN ANTONIO RIVER

FOUNDATION IS INVOLVED IN A
COMMUNITY-WIDE PROJECT TO

CONSTRUCT A HUGE PORTAL LEADING
INTO THE MISSION SAN FRANCISCO

DE LA ESPARTA.
>> THIS TREE IS GOING TO MEASURE

40 FEET TALL, AND IS GOING TO BE
70 FEET WIDE.

>> THESE PEOPLE, SOME ARTISTS,
SOME NOT, ARE CONTRIBUTING THEIR

SCULPTING WORK TO THE TREE OF
LIFE AS A WAY TO TELL THEIR

INDIVIDUAL FAMILY'S STORY, BUT
ALSO AS A COLLECTIVE.

>> MAYBE YOUNGER PEOPLE WOULD BE
INTERESTED AND START LOOKING

INTO THE HISTORY OF THE
MISSIONS, WHICH IS THEIR

BACKGROUND.
IT'S SOMETHING THEY REALLY NEED

TO BE SPREADING BY YOUNG PEOPLE.
>> SOMETIMES WITH THE EXCITEMENT

ALONG THE SAN ANTONIO RIVER, THE
MISSIONS IN OUR CITY ARE

OVERLOOKED.
PART OF THE EMPHASIS BEHIND THE

ARBOR DE LA VIDA IS TO DRAW
ATTENTION TO THE MISSIONS IN SAN

ANTONIO, GIVE PEOPLE A CHANCE TO
PAUSE, REFLECT, AND ENJOY THE

SOLITUDE AND MEDITATIVE
QUALITIES AND VISIT THE HISTORY

THAT IS OUR CITY.
>> WHEN YOU'RE WALKING ALONG THE

RIVER, YOU DON'T NECESSARILY
KNOW THEY'RE THERE.

THERE WAS THAT IDEA OF COULD WE
PUT A PIECE OF PUBLIC ART IN

PLACE THAT WOULD GET PEOPLE TO
PAUSE?

IF THEY PAUSE, WE CAN REDIRECT
THEM TO TAKE THAT MOMENT, FIND

SOME SHADE, AND THEN REALIZE,
WOW, THERE'S THIS INCREDIBLE

18th CENTURY ARTIFACT, THIS IS
AMAZING WORLD HERITAGE SITE,

RIGHT NEXT TO WHERE YOU ARE.
AND IF PEOPLE LOVE SOMETHING,

THEY'RE GOING TO BE MORE WILLING
TO PROTECT SOMETHING.

>> NEXT WE GO INSIDE A LIMESTONE
CAVE IN THE TEXAS HILL COUNTRY.

>>> HARD TO BELIEVE, AS YOU
WATCH THE DEER GRACING IN THE

GRASS, THAT JUST 80 VERTICAL
FEEL BELOW IS ANOTHER WORLD,

MAGICAL, MYSTICAL, COOL.
DEDICATED TO NATURE AND

PRESERVATION, THE MAJESTIC CAVE
WAS FIRST DISCOVERED YEARS AGO

AND HAS A STORIED PAST, PLAYING
HOST TO A STILL DURING

PROHIBITION.
IT HAS PLENTY OF THE USUAL STA

LACTITES AND STALAGMITES.
BUT IT WAS MUSIC TO MANY TO --

TOM'S EAR WHEN HE REALIZED THE
SOUND WAS MAGNIFICENT.

>> THE ACOUSTICS CANNOT BE
DUPLICATED BY A BUILDING.

IT'S AWESOME ACOUSTICS.
>> SO OFTEN THEY HONOR THIS

GRANDE DAME OF A VENUE WITH
DRUMS.

GUITARS, EVEN DIDGEROOS.
>> YOU PLAY DOWN HERE, AND IT

SOUNDS GREAT.
IT'S A WONDERFUL PLACE TO PLAY.

>> THE CAVE TALKS BACK BECAUSE
OF THAT RESONANCE.

THAT REVERB YOU HEAR DOWN HERE,
YOU FEEL IT.

THE SOUND COMES BACK, AND YOU
CAN HEAR IT ROLLING AND ROLLING.

IT'S BEAUTIFUL.
IT'S LIKE BEING IN A BIG

CATHEDRAL.
>> I THINK WE TRY ANYWAY TO

BRING THE AUDIENCE WITH US, BACK
THROUGH TIME, INTO SIMPLER AND

MORE GROUNDED TIME, WHEN WE WERE
LITERALLY IN OUR BODIES MAKING

MUSIC TOGETHER AS A COMMUNITY.
FIRST OF ALL, WE'RE IN THIS

AMAZING SPACE HERE, 120 FEET
UNDER THE GROUND.

SO WE'RE LITERALLY IN THE WOMB
OF MOTHER EARTH.

COMING DOWN THOSE STAIRS AND
FEELING THE HUMIDITY AND THE

COOL IS A PART OF THE MUSIC, AS
IS THE CAVERN ITSELF.

ALL THE SONGS WE PLAY, ALL THE
PIECES, ARE PROGRAMMED TO

ENHANCE THE NATURAL
REVERBERATIONS OF THE CAVE, BUT

ALSO JUST THE AWARENESS THAT THE
CAVE ITSELF IS A PLAYER IN THE

BAND.
THE CAVE IS BEING FORMED MOMENT

BY MOMENT AS WE PLAY ONE DROP OF
WATER AT A TIME.

THE MUSIC IS BEING CREATED ONE
MODE AT A TIME.

>> THANKS, DONNA.
WE'LL CHECK IN NEXT WEEK FOR

YOUR FINAL PICKS OF "BEST OF
LOCALLY."

UP NEXT, THE MARTIN GUITARS IS A
FAMILY BUSINESS BASED IN

NAZARETH, PENNSYLVANIA THAT HAS
BEEN KRAEFTING INSTRUMENTS FOR

SIX GENERATIONS.
IN THIS SEGMENT, CHRIS MARTIN

REFLECTS ON HIS FAMILY'S LEGACY
IN THE MUSIC WORLD.

¶

¶

¶

¶

¶

¶
>> MY PARENTS WERE DIVORCED AND

MY MOM AND DAD DID NOT GET
ALONG, AND MY MOM DID NOT

ENCOURAGE ME TO ENTER THE FAMILY
BUSINESS.

SHE SAID DO WHAT YOU WANT.
I WAS GOING TO BECOME A MARINE

BIOLOGIST.
OKAY.

SO I WAS GOING TO BECOME A
MARINE BIOLOGIST, AND FRED

WALECKI FROM WESTWOOD MUSIC CAME
BACK EAST TO COME -- HE WAS A

FRIEND OF MY DAD'S.
CAME TO HANG OUT AT THE FACTORY

AND SEE WHAT'S GOING ON, AND WE
GOT TALKING, AND HE SAYS WHAT

ARE YOU GOING TO DO WITH YOUR
LIFE?

I SAID I'M GOING TO GO TO THE
UNIVERSITY OF MIAMI AND STUDY

MARINE BIOLOGY, AND HE SAID WELL
WHY?

I SAID IT'S BECAUSE IT'S WARM.
AND HE SAID WELL DON'T YOU HAVE

AN INTEREST IN THE FAMILY
BUSINESS?

AND I SAID I DO, BUT FRED I FEEL
LIKE AN IDIOT.

I DON'T KNOW ANYTHING ABOUT IT.
AND HE SAID WELL ITS WARM IN

CALIFORNIA.
YEAH.

HE SAID IF YOU CAME TO
CALIFORNIA YOU CAN GET INTO A

SCHOOL BECAUSE I WAS A FULL
PAYING STUDENT.

SO UCLA TOOK ME.
AND HE SAID I'LL GIVE YOU A PART

TIME JOB AT MY MUSIC STORE, AND
YOU CAN LEARN ABOUT THAT SIDE OF

THE BUSINESS.
OKAY.

SO I CAME OUT AND WENT TO UCLA.
THIS NERDY KID FROM THE EAST

COAST, 29,000 STUDENTS.
I WAS A LITTLE FISH OUT OF

WATER, AND I GOT INTO THE STORE
AND FRED PUT ME OUT ON THE SALES

FLOOR, AND I WAS A DISASTER
BECAUSE I DIDN'T KNOW ANYTHING.

HE SAID, ALRIGHT.
WELL, GO IN THE BACK AND HELP

JOHN CAROTHERS REPAIR GUITARS.
ANOTHER DISASTER BECAUSE I

DIDN'T KNOW HOW TO REPAIR
GUITARS, BUT I SAID TO MYSELF,

BOY, THERE'S MORE TO THIS THAN
MEETS THE EYE.

SO I GOT ON THE PHONE AND CALLED
MY MOM AND SAID, I'M COMING

HOME.
SHE SAID WHAT'S WRONG?

I SAID THAT I'M QUITTING
COLLEGE.

SILENCE.
I'M COMING HOME, AND I'M GOING

TO WORK IN THE GUITAR FACTORY
AND TRY AND FIND OUT HOW THESE

THINGS ARE MADE.

¶
WHAT WE NEED TO DO TODAY IS MAKE

3,000 OF THE BEST GUITARS THIS
COMPANY HAS EVER MADE, AND I

FELT THAT THAT WAS IMPORTANT TO
REGAIN WHAT I KNEW THE MARTIN

GUITAR ASPIRED TO BE AND THAT
RESONATED WITH MY COLLEAGUES OUT

IN THE SHOP BECAUSE THEY WERE
LIKE WHY IS THE COMPANY SO

DISTRACTED?
I SAID, LOOK, WE ARE GOING TO

GET RID OF THESE ACQUISITIONS
THAT AREN'T WORKING, AND WE ARE

JUST GOING TO MAKE ACOUSTIC FLAT
TOP STEEL STRING GUITARS.

AND SHORTLY AFTER THAT MTV
UNPLUGGED HAPPENED, AND WE WERE

READY, AND THE PHONES STARTED TO
RING.

HONESTLY OTHER THAN A COUPLE OF
ECONOMIC UPS AND DOWNS THAT I

CAN'T CONTROL, THE PHONES HAVE
BEEN RINGING EVER SINCE.

¶
ON MARCH 18 OF 1915.

SO BY THIS POINT THE ORIGINAL
HMS DREADNOUGHT WAS OBSOLETE AS

I HAD SAID, AND THEY WERE ON TO
THE SUPER DREADNOUGHT, BUT IT

WAS STILL IN THE FLEET.
IT WAS UP OFF THE COAST OF

SCOTLAND WITH A SISTER SHIP, A
SMALLER BRITISH BATTLESHIP.

AND AN INFAMOUS GERMAN U-BOAT
U-29 SURFACES, FIRES A TORPEDO,

HITS THAT SHIP, AND THE HMS
DREADNOUGHT COMES ALONG AND

SLICES THE U-BOAT IN HALF.
THE ONLY BATTLESHIP TO EVER SINK

A SUBMARINE BY CUTTING IT IN
HALF.

WHEN THE UNITED STATES VERY
RELUCTANTLY IS BEING DRAWN INTO

WORLD WAR II, SO THINK OF THAT.
THAT POLITICALLY WE KNOW IT'S

BAD, AND WE KNOW IT'S NOT
GETTING ANY BETTER, AND WE DON'T

WANT TO BE A PART OF IT, BUT
WERE BEING DRAWN IN FORTUNATELY

FOR EVERYONE WE WERE ABLE TO
HELP THE BRITISH AND EVEN THE

RUSSIANS DEFEAT THE GERMANS
ULTIMATELY, BUT SO THAT'S THE

CONTEXT INTO WHICH MY GREAT
GREAT, GREAT GRANDFATHER, AS A

HISTORY BUFF, SAID I'M
DEDICATING THIS GUITAR TO THIS

SIGNIFICANT HISTORICAL EVENT.
¶ THANKS TO MR. MARTIN I'M ALL

RIGHT ¶
¶ ONCE AGAIN THIS STEEL GUITAR

HELPED ME THROUGH THE NIGHT ¶
¶ I'M KIND OF GRATEFUL TO YOU

¶ YOU KNOW HOW TO MAKE THEM
RIGHT ¶

¶ THANK YOU MR. MARTIN
I'M ALL RIGHT ¶

>> AFTER PLAYING SMALL ROLES IN
HOLLYWOOD TELEVISION SHOWS,

ACTOR KEVIN FARRELL FOUND A NEW
WAY TO PAY THE BILLS USING HIS

ACTING SKILLS.
HERE'S HIS STORY.

DYI IS MY CHARACTER TO SELL
TUPPERWARE.

DYI IS A LITTLE TRAILER TRASH.
SHE IS NOT VERY CLASSY; SHE CAN

KIND OF TALK LIKE A TRUCK
DRIVER.

HER LOOK IS JUST OUT THERE; IT'S
LOUD AND IT'S OUT THERE.

I AM LIKE A CLOWN, BUT SHE'S FUN
LOVING AND SHE LIKES TO HAVE A

GOOD TIME.
IF SUZIE HOSTESS, SHE IS HAVING

A TUPPERWARE PARTY, CHANCES ARE
ALL HER GIRLFRIENDS ARE LIKE,

OH, REALLY, YOU KNOW, I JUST
WENT TO THE JEWELRY PARTY LAST

WEEK.
NOW I'VE GOT TO GO TO A CLOTHING

PARTY NEXT WEEK.
BUT WHEN THEY SEE A PICTURE OF

DEE W. IEYE, THEN ALL THE GIRLS
ARE LIKE, OH, MY GOD, I'M GOING

TO COME TO THAT.
>> ARE YOU ALL DRINKING?

I'M PRETTIER WHEN YOU'RE DRUNK.
>> HER CHARACTER IS FROM

TENNESSEE, AND SHE WAS THE LAST
SOLE HEIR TO THE JACK DANIELS

FORTUNE.
SHE HAD A LITTLE DRINKING

PROBLEM.
SO DEE W. IEYE IS DRIVING WHILE

INTOXICATED.
I WORKED AS AN ACTOR FOR TEN

YEARS IN CHICAGO.
I GOT CAST ON FRAZIER, WHICH

BROUGHT ME OUT TO LOS ANGELES.
I PLAYED DAVID HYDE PIERCE'S

LOOK-ALIKE ON AN EPISODE.
>> EVERYONE, THIS IS RODNEY

BANKS.
>> HOW DO YOU DO?

>> THE PLEASURE IS MINE.
>> THAT TOOK ME TO LOS ANGELES,

AND I STARTED WORKING AS AN
ACTOR NONSTOP.

THEN I STARTED SELLING
TUPPERWARE, AND IT JUST TOOK

OFF.
>> I WANT TO DO A LITTLE SURVEY.

HOW MANY HAVE BEEN TO A
TUPPERWARE BEFORE?

RAISE YOUR HAND.
VERY GOOD.

QUITE A FEW OF US.
WAS IT A TUPPERWARE PARTY LIKE

THIS?
>> IN 2010, I WAS NUMBER 1 IN

THE NATION.
FOUR YEARS IN A ROW, I SOLD MORE

TUPPERWARE PERSONALLY THAN
ANYBODY ELSE IN THE NATION.

THEN I STARTED MAKING MORE MONEY
DOING THIS THAN ANYONE DID AS AN

AGENTOR.
SHOOT, I DON'T WANT TO LIVE IN

HOLLYWOOD ANYMORE.
THEY HAVE EARTHQUAKES AND CRAZY

PEOPLE.
SO I DECIDED TO MOVE BACK.

NOW I LIVE HERE.
WHEW, I'M A BUCKEYE.

>> I THINK TUPPERWARE HAS GROWN
TO EMBRACE THE DRAG QUEEN

ASPECT.
THERE ARE OTHER GUYS WHO SELL IN

DRAG.
I'M NOT NOT THE ONLY ONE.

WE'RE BRINGING TUPPERWARE TO A
WHOLE NEW GENERATION OF PEOPLE

WHO DON'T EVEN KNOW TUPPERWARE
IS STILL AROUND.

WE DO IT WITH SUCH AN
ENTERTAINING ASPECT TO OUR SHOW

THAT PEOPLE JUST FIND IT MORE
FUN.

¶ PICKLES AND CHEESE
ZUCCHINI AND CARROTS ¶

¶ SERVE SOME FINE TASTING
FERRET ¶

¶ YOUR FOOD HAS NEVER TASTED SO
FRESH TO DATE ¶

>> I WOULD SAY THAT 90% OF THE
PEOPLE COME TO SEE DEE W. IEYE,

AND THEN THEY BUY THE TUPPERWARE
AFTERWARDS.

TUPPERWARE CORPORATE IS ON BOARD
WITH WHAT THEY DO BECAUSE WE'RE

SELLING MORE PRODUCT THAN HALF
OF THEIR SALES FORCE, BUT THERE

ARE PEOPLE WHO DON'T UNDERSTAND
WHAT I DO, AND THAT MAKES ME SAD

BECAUSE I'M AN ACTOR WHO DRESSES
UP AS A CHARACTER.

I COME AS KEVIN.
I GET DRESSED UP AS DEE AT YOUR

HOUSE, AND I TAKE DEE OFF AND
LEAVE YOUR HOUSE AS KEVIN

BECAUSE I DON'T DRIVE AROUND
TOWN IN DRAG, AND I DON'T GO TO

THE SHOPPING STORES AS DEE.
I DON'T HANG OUT AND GO TO THE

ZOO AS DEE.
IT IS A CHARACTER THAT I PUT ON

AND A CHARACTER I TAKE OFF.
MUCH LIKE ANY CHARACTER IN OUR

LIFE PLAYING AT THE THEATER.
THE BUSINESS SIDE OF MY BUSINESS

IS HUGE BECAUSE I AVERAGE FOUR
TO FIVE PARTIES A WEEK.

IF I'M NOT WORKING, I'M IN MY
OFFICE.

I'M CALLING HOSTESSES TO CONFIRM
THEIR DATES, DATING NEW PARTIES,

ENTERING ALL THE ORDERS.
SOMETIMES THINGS DON'T SHOW UP

IN SHIPMENTS.
I'M CALLING THE WAREHOUSE TO

MAKE SURE MY ORDERS ARE
FULFILLED.

WHEN I MOVED TO LOS ANGELES, I
THOUGHT I WAS GOING TO BE THIS

BIG TIME TELEVISION ACTOR.
I WAS GOING TO HAVE MY OWN SHOW,

I WAS GOING TO HAVE THIS HUGE
HOUSE IN BEVERLY HILLS, AND IT

WAS ALL BASED ON MY BEING AN
ENTERTAINER.

WHAT HAPPENED IS I GOT EXACTLY
WHAT I WANTED, BUT IT JUST CAME

IN A DIFFERENT PACKAGE, WHICH IS
AMAZING.

>> COME UP HERE AND TOUCH AND
FEEL.

THE TUPPERWARE INCLUDED.
I JUST WANTED TO BE A PAID

ACTOR.
NOW MY PAYCHECK COMES FROM

TUPPERWA
TUPPERWARE.

IT DOESN'T COME FROM HBO OR
SHOWTIME.

I'M SELLING JUST AS MUCH HERE AS
I DID IN LOS ANGELES.

THERE'S REALLY A NEED FOR A DRAG
QUEEN TUPPERWARE LADY IN

COLUMBUS.
I LOVE THE FACT THAT

20-YEAR-OLDS TO 90-YEAR-OLDS CAN
COME TO MY PARTY AND HAVE A GOOD

TIME.
I REALLY JUST WANT TO ENTERTAIN

PEOPLE AND FOR THEM TO HAVE A
GOOD TIME.

>> MY NAME IS DEE W. EYE, AND
I'M FROM TENNESSEE.

>> THE FEDEX MAN IS HERE TO
DELIVER TUPPERWARE.

>> FINALLY, WE JOIN KANSAS CITY,
MISSOURI ARTIST WHOSE PUBLIC

INSTALLATIONS COMBINE COMMUNITY
ART WITH AN INTERESTING FAMILY

LEGACY.
TAKE A LOOK.

I HAVE WHAT I WOULD CALL A
TRANSDISCIPLINARY PRACTICE.

I MOVE BETWEEN MEDIUMS,
INSPIRATIONS, PURPOSES, REASONS.

I DON'T TEND TO QUESTION WHY I
WANT TO MAKE SOMETHING.

I JUST MAKE IT, AND THEN I KIND
OF FIGURE OUT HOW IT FITS

TOGETHER WITH OTHER THINGS THAT
I'VE MADE LATER.

IN THE DIFFERENT WAY THAT WORKS
MANIFEST THEMSELVES IN MY

STUDIO, SOME ARE JUST OF THE
MOMENT ASSEMBLAGES, PURELY

VISUALLY AESTHETIC OR SYMBOLIC.
HAVEN IS THE FIRST PROJECT IN

WHAT I THINK WILL BE A LIFELONG
WORK OF MINE WHICH I CALL THE

DEEP ECOLOGY PROJECT.
HAVEN HAS A FUNCTIONALITY.

THE CONVENTIONAL AESTHETICS OF
THE WORK, WHAT IT'S MADE OF, HOW

IT LOOKS-- THOSE ARE ALL
IMPORTANT, BUT WHAT IT COMES

DOWN TO IS WHAT THE PIECE SAYS,
WHAT THE PIECE IS COMMUNICATING,

AND HOW ITS FUNCTIONALITY IS AN
IMPORTANT PART OF THAT.

[ BEES BUZZING ]
SO I'M AN ARTIST AND A

THIRD-GENERATION BEEKEEPER.
AND I GREW UP AROUND BEES, AND

THERE'S BEEN A BIG CHANGE IN
BEEKEEPING PRACTICES THAT I FELT

LIKE I WOULD ADDRESS WITH THIS
PROJECT.

AS A SCULPTOR AND A PUBLIC
ARTIST, I FUSED THOSE TWO

INTERESTS TOGETHER AND CREATED
THIS PROJECT.

SO THE HIVE IS PRETTY HEAVY.
IT'S FILLED WITH HONEYCOMB AND

HONEY.
BEES LIKE THEIR HIVE ENTRANCE TO

FACE SOUTH OR SOUTHEAST.
SO EVERY SITE WHERE HAVEN IS

INSTALLED, YOU'LL NOTICE THAT
IT'LL BE FACING SOUTHEAST.

IN ORDER TO MAKE IT AS EASY AS
POSSIBLE TO INSTALL, THE ONLY

TOOL YOU NEED IS ONE WRENCH.
POWERFUL MAGNETS THAT ARE --

EMBEDDED IN THESE PANELS AND
SNAP RIGHT TOGETHER.

AROUND 100 YEARS AGO, BRANCUSI
SAID, "SIMPLICITY IS COMPLEXITY

RESOLVED.
" AND THE POLLINATOR ISSUE, THE

DECLINE IN THE HONEYBEES, AND
THE THREATS THAT FACE ALL THE

POLLINATORS RIGHT NOW IS
EXTREMELY COMPLEX.

SO WHAT I WANTED TO DO WAS TO
CREATE SOMETHING WHICH WAS AS

ELEGANT AND SIMPLE AS POSSIBLE.
IT HAS THE POTENTIAL TO GIVE

BEES WHAT THEY NEED, AND IT HAS
THE POTENTIAL TO ACT AS A TOOL

TO GIVE US WHAT WE NEED TO
UNDERSTAND BETTER WHAT'S

HAPPENING.
WITH THE DECIMATION OF THE

POPULATION RIGHT NOW, IT'S VERY
IMPORTANT FOR US TO LOOK AT

WHAT'S HAPPENING IN THE WILD AND
WHAT KEYS THERE MIGHT BE TO

THESE SURVIVOR BEES.
IF WE'VE LOST 80% TO 90% OF BEES

IN THE WILD, THESE 10% TO 20%
THAT ARE STILL LIVING, TO ME,

ARE REALLY IMPORTANT.
HONEYBEES ARE RESPONSIBLE FOR

POLLINATING 1/3 OF THE FOOD THAT
WE EAT.

IF THE BEES GO, WE LOSE THAT
FOOD.

AND THAT HAS PROFOUND RIPPLE
EFFECTS, AND THIS IS A PRETTY

IMPORTANT FOOD SECURITY ISSUE.

PART OF THE PROCESS OF
INSTALLING THESE HIVES IS ALSO

IN CATCHING THE WILD HONEYBEES,
WHICH I DO IN THE SPRING.

IF IT WERE A BIGGER BRANCH, I
WOULD JUST POUND THE BRANCH OR

SHAKE IT AND HAVE THE BEES FALL
INTO THE BUCKET.

I'M GONNA JUST TRY TO TAKE THE
WHOLE BRANCH THAT THE BEES ARE

ON.
THAT'S WHY I'M REMOVING AS MUCH

OF IT AS POSSIBLE.
THEN I'LL JUST PUT THE LITTLE

PIECE OF THE BRANCH IN THE
BUCKET AND TAKE IT WITH ME.

AND WHEN I INSTALL THE BEES IN
THE HIVE, I'LL TAKE THE BRANCH

OUT.
WELL, DIDN'T GO QUITE AS

SMOOTHLY AS I HOPED.
THAT'S WHY I PUT THE TARP DOWN.

THE QUEEN IS SOMEWHERE IN THIS
MESS OF BEES.

AND WE HOPE THAT SHE'S IN THE
BUCKET.

IF SHE'S NOT AND SHE'S ON THE
TARP, THE BEES WILL JOIN HER.

IF SHE'S IN THE BUCKET, THE BEES
WILL JOIN HER IN THERE.

¶
AND THESE BEES ARE GONNA BE

GOING INTO A HAVEN HIVE AT A
PRIVATE RESIDENCE.

HERE IN KANSAS CITY, I HAVE
HAVEN HIVES IN BOTH PUBLIC AND

PRIVATE LOCATIONS.
WE HAVE HIVES AT HYDE PARK, THE

DST GARDEN AT 18BROADWAY,
KAUFFMAN MEMORIAL GARDEN AND THE

KAUFFMAN FOUNDATION, JOHNSON
COUNTY COMMUNITY COLLEGE, NERMAN

MUSEUM'S COLLECTION, WHICH WILL
ALSO BE ON THE JOHNSON COUNTY

COMMUNITY COLLEGE CAMPUS.
AT EACH HAVEN SITE, THERE IS A

TITLE PLAQUE WITH A QR CODE.
THE TITLE PLAQUE DESCRIBES TO

PARK VISITORS WHAT THEY'RE
LOOKING AT.

THE QR CODE TAKES THEM TO A
WEBSITE WITH A SURVEY PAGE.

THE WEBSITE GIVES THEM MORE
IN-DEPTH INFORMATION AS TO

WHAT'S HAPPENING TO THE
HONEYBEES AND WHAT THIS PROJECT

IS ALL ABOUT.
AND THE SURVEY PAGE ALLOWS THEM

MAKE THEIR OWN OBSERVATIONS AND
UPLOAD THAT INFORMATION TO THE

WEBSITE TO HELP CROWDSOURCE THIS
DATA GATHERING.

IT ALLOWS VISITORS TO ENGAGE
WITH THE PROJECT AT ANY LEVEL

THEY WANT.
IT CAN EVEN SERVE AS A TOOL FOR

EDUCATORS THAT WANT TO TAKE A
CLASS OF KIDS OUT TO SEE WHAT'S

GOING ON AND LEARN ABOUT WHY
POLLINATORS ARE IMPORTANT.

THESE ARE THE BEES THAT ARE
SPREADING THE SCENT TO TELL ALL

THE OTHER BEES THAT THIS IS THE
PLACE TO COME.

"THE QUEEN IS IN HERE, COME AND
JOIN US.

IF YOU SIT HERE FOR A WHILE
EVENTUALLY YOU'LL JUST SEE ALL

THE BEES IN THE AIR AND THE TARP
KIND OF COME INSIDE AND JOIN

THEM IN THE BUCKET.
THE BEES PRETTY MUCH JUST WANT

TO IGNORE US, AND WE'RE NOT
REALLY ON THEIR RADAR.

WHAT THEY'RE LOOKING FOR ARE
FLOWERS.

THEY ARE NOT PRONE TO ATTACKING
AND CHASING DOWN PEOPLE.

COULDN'T TALK WITH THE BEE ON MY
LIP.

IT WAS IMPORTANT TO MAKE THE
HIVE IN A WAY THAT WOULD ALLOW

VISITORS TO ANY URBAN PARK FEEL
COMFORTABLE IN ITS PROXIMITY.

AT THIS HEIGHT, AT 16 FEET, THIS
IS A WAY FOR US TO BE ABLE TO

INTEGRATE THEM INTO OUR URBAN
AND SUBURBAN ENVIRONMENTS AND

MAKE THEM PART OF OUR ECOSYSTEM.
¶

PUBLIC REALM IS A GREAT PLACE TO
PLAY WITH ART, AND THIS PROJECT

GIVES ME A GREAT CHANCE TO STEP
OUT OF THE GALLERY WALLS, TO

STEP OUT OF THE INSTITUTION, TO
INTERFACE WITH MY ART AND A

GENERAL PUBLIC DIRECTLY.
AND TO ME, THAT'S BECOME A VERY

VALUABLE PART OF MY PRACTICE.

>> AND THAT WRAPS IT UP FOR THIS
EDITION OF ARTS.

JOIN US NEXT WEEK AS WE FINISH
OUT OUR "BEST OF, LOCALLY" FOR

2017.
WE'LL CHECK IN WITH DONNA PARKER

AS SHE PICKS OUT A FEW FAVORITES
FROM THIS SEASON.

I'M APRIL ANCIRA, AND I'LL SEE
YOU WITH MORE "ARTS" NEXT WEEK.