WEBVTT 00:20.089 --> 00:22.457 A FAMILY GUITAR BUSINESS. >> I'M COMING HOME, AND I'M 00:22.459 --> 00:26.361 GOING TO WORK IN THE GUITAR FACTORY TO TRY TO FIND OUT HOW 00:26.363 --> 00:30.098 THESE THINGS ARE MADE. >> AND AN ARTISTIC TWIST ON 00:30.100 --> 00:32.034 TUPPERWARE PARTIES. >> AND THEN I STARTED MAKING 00:32.036 --> 00:35.537 MORE MONEY DOING THIS THAN I EVER DID AS AN ACTOR. 00:35.539 --> 00:38.006 SHOOT, I DON'T WANT TO LIVE IN HOLLYWOOD ANYMORE. 00:38.008 --> 00:39.608 THEY HAVE EARTHQUAKES AND CRAZY PEOPLE. 00:39.610 --> 00:43.945 >> IT'S ALL AHEAD ON THIS EDITION OF "ARTS." 00:43.947 --> 00:58.126 >> HI, I'M APRIL ANCIRA AND THANK YOU FOR JOINING US FOR 00:58.128 --> 01:01.897 THIS EDITION OF ARTS. TONIGHT WE BEGIN OUR "BEST OF 01:01.899 --> 01:07.402 LOCALLY" AS WE ROUND OUT THIS SEASON OF KLRN ARTS AND 2017. 01:07.404 --> 01:11.706 LET'S CHECK IN WITH OUR DONNA PARKER FOR HER PICKS OF SAN 01:11.708 --> 01:16.511 ANTONIO'S BEST OF LOCALLY. ¶ 01:16.513 --> 01:24.219 >> ENDORSED BY HIS HOLINESS THE DALAI LAMA, THE MONKS OF THE 01:24.221 --> 01:27.856 MYSTICAL ARTS OF TIBET PLAN TO SPEND THE NEXT FEW DAYS 01:27.858 --> 01:32.828 CONSTRUCTING A MANDALA, MADE OF BILLIONS OF GRAINS OF SAND. 01:32.830 --> 01:35.163 ELIMINATING NEGATIVE ENERGY AND PULLING IN THE POSITIVE BEFORE 01:35.165 --> 01:42.471 THE ART CREATION GETS UNDER WAY. >> THE MANDALA IN TIBETAN, WE 01:42.473 --> 01:45.273 CALL KILKO, THE CENTER AND THE SURROUNDING. 01:45.275 --> 01:51.847 IT SHOWS DIMENSION WHERE THE BUDDHA LIES AND ENTIRE 01:51.849 --> 01:54.449 SURROUNDINGS. >> CREATING THE MANDALA IS ONE 01:54.451 --> 01:58.153 OF THE WORLD'S MOST SACRED TRADITIONS, MEANT TO FOSTER 01:58.155 --> 02:01.189 WORLD PEACE THROUGH HARMONY AND UNDERSTANDING. 02:01.191 --> 02:04.392 MANDALA, WHICH TRANSLATES TO CIRCLE, ALWAYS BEGINS AT THE 02:04.394 --> 02:08.163 CENTER, WHICH REPRESENTS A MICROCOSM OF THE UNIVERSE. 02:08.165 --> 02:15.937 >> THEY DO WITH THE STRING. SO IT TAKES AROUND A MONTH TO 02:15.939 --> 02:19.141 CREATE THOSE LINES. AND WE'RE GOING TO WIPE UP ALL 02:19.143 --> 02:21.877 THE CHALK LINES AND GET THE FINAL DESIGN. 02:21.879 --> 02:27.616 >> THE MONKS USE METAL FUNNELS TO PAINSTAKINGLY PLACE COLORED 02:27.618 --> 02:36.158 SAND PARTICLES. >> THOUGH WE'RE USING MANY 02:36.160 --> 02:38.894 DIFFERENT COLORS, WITH THE PRIMARY COLORS LIKE THE WHITE, 02:38.896 --> 02:42.197 RED, YELLOW, GREEN, AND BLUE, WHICH REPRESENTING THE FIVE 02:42.199 --> 02:47.903 ELEMENTS OF THE NATURE. THE FOUR ELEMENTS, AND WE ALSO 02:47.905 --> 02:51.873 ADD THE FIFTH. >> THE MONKS MEMORIZE THE 02:51.875 --> 02:55.143 SCRIPTURES GUIDING WHERE EACH COLOR GOES, AND THEY GIVE NEW 02:55.145 --> 02:57.779 MEANING TO THE WORDS CROSS-TRAINING. 02:57.781 --> 03:01.516 >> SO THEY KEEP SWITCHING. EVERYBODY CAN DO ANYWHERE IN THE 03:01.518 --> 03:08.623 MANDALA. >> ALL THIS FOCUS ON CREATING 03:08.625 --> 03:13.328 THE MANDALA, ABSORBING AND RADIATING THE FOCUS, IS 03:13.330 --> 03:18.266 PRACTICING TRUE MINDFULNESS. >> IT'S A VERY, VERY KIND OF 03:18.268 --> 03:21.536 MEDITATIVE MINDFULNESS WATCHING THE MANDALA. 03:21.538 --> 03:27.042 THE MONKS CAN BE VERY MINDFULNESS ON WHAT YOU NEED. 03:27.044 --> 03:33.348 VERY INTRICATE ARTWORK. HAS TO BE VERY, VERY MINDFUL. 03:33.350 --> 03:38.987 BUT THE MINDFULNESS ABOUT WHAT IS THE BENEFIT THAT YOU BELIEVE, 03:38.989 --> 03:44.893 LIKE IT'S CREATION, WHICH IS TO BENEFIT THE ENVIRONMENT. 03:44.895 --> 03:47.963 >> IT ADDS VALUE TO IT, EVEN MORE VALUE TO IT, KNOWING THAT 03:47.965 --> 03:53.501 IT'S ONLY HERE FOR A TIME. SO IT'S VERY REFLECTIVE OF THE 03:53.503 --> 03:58.840 WAY WE SHOULD BE ENJOYING OUR LIVES AS WELL. 03:58.842 --> 04:02.143 >> IN THE TRUE SYMBOLISM OF THE BUDDHIST TEACHINGS, THE GRAINS 04:02.145 --> 04:07.015 OF SAND ARE CERTIFY MOEMONIOUSL TO THE SAN ANTONIO RIVER, 04:07.017 --> 04:10.485 ALLOWING THE HEALING ENERGY OF THE MANDALA TO FLOW INTO THE 04:10.487 --> 04:13.989 WORLD. AND SO IT GOES, THE TRANSITORY 04:13.991 --> 04:20.395 NATURE OF LIFE. >> UP NEXT, THOUSANDS OF SAN 04:20.397 --> 04:24.499 ANTONIOANS SHARE THEIR FAMILY STORIES IN A COLLABORATION KNOWN 04:24.501 --> 04:31.606 AS ARBOR DE LA VIDA; OR TREE OF LIFE. 04:31.608 --> 04:34.542 >> THE TREE OF LIFE IS TRADITIONALLY KNOWN AS A MEXICAN 04:34.544 --> 04:36.111 CRAFT. WE SEE IT THROUGHOUT MEXICO. 04:36.113 --> 04:40.982 THE WAY WE KNOW IT IS IT'S A THREE-DIMENSIONAL CLAY SCULPTURE 04:40.984 --> 04:45.120 THAT TAKES THE FORM OF A TREE. YOU HAVE THESE BEAUTIFUL LITTLE 04:45.122 --> 04:48.356 TREE BRANCHES, AND WITHIN THEM WE HOLD PIECES OF SCULPTURE THAT 04:48.358 --> 04:50.592 TELLS THE STORY. >> THESE STORIES, THE VERY 04:50.594 --> 04:53.995 FABRIC OF LIFE IN SOUTH TEXAS, GO BACK GENERATIONS, WEAVING 04:53.997 --> 04:57.299 TOGETHER THE NARRATIVES OF OUR EARLY EXISTENCE IN SAN ANTONIO 04:57.301 --> 05:04.072 AND PAINTING A PICTURE OF WHAT WE ALL SHARE WITH OUR ANCESTORS. 05:04.074 --> 05:08.209 >> IT IS IMPORTANT THAT WE ARE INVOLVED IN THIS KIND OF ART 05:08.211 --> 05:11.613 BECAUSE IT BRINGS US -- IT'S OUR HERITAGE. 05:11.615 --> 05:17.118 IT'S PART OF OUR FAMILY BACKGROUND. 05:17.120 --> 05:22.791 >> THE TREE OF LIFE DATES BACK TO THE OLMEC INDIANS, WHO LONG 05:22.793 --> 05:27.228 BEFORE THE WORD WAS INVENTED, UTILIZED IT AS A STORY METHOD, 05:27.230 --> 05:32.267 WHICH WAS USED TO CONVERT INDIGENOUS PEOPLE TO 05:32.269 --> 05:34.703 CHRISTIANITIES. >> TREE OF LIFE WAS USED BY 05:34.705 --> 05:38.540 SPANIARDS, WHEN THEY CAME TO THIS PART OF THE WORLD, TO 05:38.542 --> 05:40.842 SPREAD THE WORD. >> NOW THE SAN ANTONIO RIVER 05:40.844 --> 05:43.712 FOUNDATION IS INVOLVED IN A COMMUNITY-WIDE PROJECT TO 05:43.714 --> 05:49.150 CONSTRUCT A HUGE PORTAL LEADING INTO THE MISSION SAN FRANCISCO 05:49.152 --> 05:53.988 DE LA ESPARTA. >> THIS TREE IS GOING TO MEASURE 05:53.990 --> 05:57.192 40 FEET TALL, AND IS GOING TO BE 70 FEET WIDE. 05:57.194 --> 06:01.396 >> THESE PEOPLE, SOME ARTISTS, SOME NOT, ARE CONTRIBUTING THEIR 06:01.398 --> 06:03.732 SCULPTING WORK TO THE TREE OF LIFE AS A WAY TO TELL THEIR 06:03.734 --> 06:06.234 INDIVIDUAL FAMILY'S STORY, BUT ALSO AS A COLLECTIVE. 06:06.236 --> 06:08.737 >> MAYBE YOUNGER PEOPLE WOULD BE INTERESTED AND START LOOKING 06:08.739 --> 06:12.374 INTO THE HISTORY OF THE MISSIONS, WHICH IS THEIR 06:12.376 --> 06:13.641 BACKGROUND. IT'S SOMETHING THEY REALLY NEED 06:13.643 --> 06:16.611 TO BE SPREADING BY YOUNG PEOPLE. >> SOMETIMES WITH THE EXCITEMENT 06:16.613 --> 06:20.482 ALONG THE SAN ANTONIO RIVER, THE MISSIONS IN OUR CITY ARE 06:20.484 --> 06:23.451 OVERLOOKED. PART OF THE EMPHASIS BEHIND THE 06:23.453 --> 06:28.857 ARBOR DE LA VIDA IS TO DRAW ATTENTION TO THE MISSIONS IN SAN 06:28.859 --> 06:32.394 ANTONIO, GIVE PEOPLE A CHANCE TO PAUSE, REFLECT, AND ENJOY THE 06:32.396 --> 06:35.997 SOLITUDE AND MEDITATIVE QUALITIES AND VISIT THE HISTORY 06:35.999 --> 06:38.600 THAT IS OUR CITY. >> WHEN YOU'RE WALKING ALONG THE 06:38.602 --> 06:41.236 RIVER, YOU DON'T NECESSARILY KNOW THEY'RE THERE. 06:41.238 --> 06:45.206 THERE WAS THAT IDEA OF COULD WE PUT A PIECE OF PUBLIC ART IN 06:45.208 --> 06:47.275 PLACE THAT WOULD GET PEOPLE TO PAUSE? 06:47.277 --> 06:50.311 IF THEY PAUSE, WE CAN REDIRECT THEM TO TAKE THAT MOMENT, FIND 06:50.313 --> 06:54.449 SOME SHADE, AND THEN REALIZE, WOW, THERE'S THIS INCREDIBLE 06:54.451 --> 07:01.923 18th CENTURY ARTIFACT, THIS IS AMAZING WORLD HERITAGE SITE, 07:01.925 --> 07:04.526 RIGHT NEXT TO WHERE YOU ARE. AND IF PEOPLE LOVE SOMETHING, 07:04.528 --> 07:10.265 THEY'RE GOING TO BE MORE WILLING TO PROTECT SOMETHING. 07:10.267 --> 07:14.736 >> NEXT WE GO INSIDE A LIMESTONE CAVE IN THE TEXAS HILL COUNTRY. 07:14.738 --> 07:18.606 >>> HARD TO BELIEVE, AS YOU WATCH THE DEER GRACING IN THE 07:18.608 --> 07:23.545 GRASS, THAT JUST 80 VERTICAL FEEL BELOW IS ANOTHER WORLD, 07:23.547 --> 07:26.448 MAGICAL, MYSTICAL, COOL. DEDICATED TO NATURE AND 07:26.450 --> 07:29.050 PRESERVATION, THE MAJESTIC CAVE WAS FIRST DISCOVERED YEARS AGO 07:29.052 --> 07:34.589 AND HAS A STORIED PAST, PLAYING HOST TO A STILL DURING 07:34.591 --> 07:42.997 PROHIBITION. IT HAS PLENTY OF THE USUAL STA 07:42.999 --> 07:49.504 LACTITES AND STALAGMITES. BUT IT WAS MUSIC TO MANY TO -- 07:49.506 --> 07:53.575 TOM'S EAR WHEN HE REALIZED THE SOUND WAS MAGNIFICENT. 07:53.577 --> 07:57.078 >> THE ACOUSTICS CANNOT BE DUPLICATED BY A BUILDING. 07:57.080 --> 08:01.549 IT'S AWESOME ACOUSTICS. >> SO OFTEN THEY HONOR THIS 08:01.551 --> 08:07.222 GRANDE DAME OF A VENUE WITH DRUMS. 08:07.224 --> 08:13.094 GUITARS, EVEN DIDGEROOS. >> YOU PLAY DOWN HERE, AND IT 08:13.096 --> 08:14.929 SOUNDS GREAT. IT'S A WONDERFUL PLACE TO PLAY. 08:14.931 --> 08:17.899 >> THE CAVE TALKS BACK BECAUSE OF THAT RESONANCE. 08:17.901 --> 08:20.201 THAT REVERB YOU HEAR DOWN HERE, YOU FEEL IT. 08:20.203 --> 08:22.904 THE SOUND COMES BACK, AND YOU CAN HEAR IT ROLLING AND ROLLING. 08:22.906 --> 08:26.908 IT'S BEAUTIFUL. IT'S LIKE BEING IN A BIG 08:26.910 --> 08:28.910 CATHEDRAL. >> I THINK WE TRY ANYWAY TO 08:28.912 --> 08:35.283 BRING THE AUDIENCE WITH US, BACK THROUGH TIME, INTO SIMPLER AND 08:35.285 --> 08:38.820 MORE GROUNDED TIME, WHEN WE WERE LITERALLY IN OUR BODIES MAKING 08:38.822 --> 08:42.023 MUSIC TOGETHER AS A COMMUNITY. FIRST OF ALL, WE'RE IN THIS 08:42.025 --> 08:45.059 AMAZING SPACE HERE, 120 FEET UNDER THE GROUND. 08:45.061 --> 08:50.198 SO WE'RE LITERALLY IN THE WOMB OF MOTHER EARTH. 08:50.200 --> 08:52.934 COMING DOWN THOSE STAIRS AND FEELING THE HUMIDITY AND THE 08:52.936 --> 08:56.471 COOL IS A PART OF THE MUSIC, AS IS THE CAVERN ITSELF. 08:56.473 --> 09:03.778 ALL THE SONGS WE PLAY, ALL THE PIECES, ARE PROGRAMMED TO 09:03.780 --> 09:05.813 ENHANCE THE NATURAL REVERBERATIONS OF THE CAVE, BUT 09:05.815 --> 09:09.751 ALSO JUST THE AWARENESS THAT THE CAVE ITSELF IS A PLAYER IN THE 09:09.753 --> 09:11.786 BAND. THE CAVE IS BEING FORMED MOMENT 09:11.788 --> 09:16.291 BY MOMENT AS WE PLAY ONE DROP OF WATER AT A TIME. 09:16.293 --> 09:19.427 THE MUSIC IS BEING CREATED ONE MODE AT A TIME. 09:19.429 --> 09:22.297 >> THANKS, DONNA. WE'LL CHECK IN NEXT WEEK FOR 09:22.299 --> 09:25.767 YOUR FINAL PICKS OF "BEST OF LOCALLY." 09:25.769 --> 09:28.303 UP NEXT, THE MARTIN GUITARS IS A FAMILY BUSINESS BASED IN 09:28.305 --> 09:31.539 NAZARETH, PENNSYLVANIA THAT HAS BEEN KRAEFTING INSTRUMENTS FOR 09:31.541 --> 09:35.510 SIX GENERATIONS. IN THIS SEGMENT, CHRIS MARTIN 09:35.512 --> 09:40.748 REFLECTS ON HIS FAMILY'S LEGACY IN THE MUSIC WORLD. 09:40.750 --> 10:00.735 ¶ 10:00.737 --> 10:09.444 ¶ 10:09.446 --> 10:19.787 ¶ 10:19.789 --> 10:37.238 ¶ 10:37.240 --> 10:48.483 ¶ 10:48.485 --> 10:57.759 ¶ >> MY PARENTS WERE DIVORCED AND 10:57.761 --> 11:00.862 MY MOM AND DAD DID NOT GET ALONG, AND MY MOM DID NOT 11:00.864 --> 11:02.764 ENCOURAGE ME TO ENTER THE FAMILY BUSINESS. 11:02.766 --> 11:04.365 SHE SAID DO WHAT YOU WANT. I WAS GOING TO BECOME A MARINE 11:04.367 --> 11:07.869 BIOLOGIST. OKAY. 11:07.871 --> 11:10.838 SO I WAS GOING TO BECOME A MARINE BIOLOGIST, AND FRED 11:10.840 --> 11:13.374 WALECKI FROM WESTWOOD MUSIC CAME BACK EAST TO COME -- HE WAS A 11:13.376 --> 11:16.177 FRIEND OF MY DAD'S. CAME TO HANG OUT AT THE FACTORY 11:16.179 --> 11:17.812 AND SEE WHAT'S GOING ON, AND WE GOT TALKING, AND HE SAYS WHAT 11:17.814 --> 11:19.047 ARE YOU GOING TO DO WITH YOUR LIFE? 11:19.049 --> 11:21.749 I SAID I'M GOING TO GO TO THE UNIVERSITY OF MIAMI AND STUDY 11:21.751 --> 11:23.885 MARINE BIOLOGY, AND HE SAID WELL WHY? 11:23.887 --> 11:26.587 I SAID IT'S BECAUSE IT'S WARM. AND HE SAID WELL DON'T YOU HAVE 11:26.589 --> 11:27.955 AN INTEREST IN THE FAMILY BUSINESS? 11:27.957 --> 11:30.525 AND I SAID I DO, BUT FRED I FEEL LIKE AN IDIOT. 11:30.527 --> 11:34.562 I DON'T KNOW ANYTHING ABOUT IT. AND HE SAID WELL ITS WARM IN 11:34.564 --> 11:37.965 CALIFORNIA. YEAH. 11:37.967 --> 11:40.768 HE SAID IF YOU CAME TO CALIFORNIA YOU CAN GET INTO A 11:40.770 --> 11:41.969 SCHOOL BECAUSE I WAS A FULL PAYING STUDENT. 11:41.971 --> 11:44.205 SO UCLA TOOK ME. AND HE SAID I'LL GIVE YOU A PART 11:44.207 --> 11:46.140 TIME JOB AT MY MUSIC STORE, AND YOU CAN LEARN ABOUT THAT SIDE OF 11:46.142 --> 11:49.377 THE BUSINESS. OKAY. 11:49.379 --> 11:52.313 SO I CAME OUT AND WENT TO UCLA. THIS NERDY KID FROM THE EAST 11:52.315 --> 11:56.050 COAST, 29,000 STUDENTS. I WAS A LITTLE FISH OUT OF 11:56.052 --> 11:59.487 WATER, AND I GOT INTO THE STORE AND FRED PUT ME OUT ON THE SALES 11:59.489 --> 12:02.724 FLOOR, AND I WAS A DISASTER BECAUSE I DIDN'T KNOW ANYTHING. 12:02.726 --> 12:06.928 HE SAID, ALRIGHT. WELL, GO IN THE BACK AND HELP 12:06.930 --> 12:13.134 JOHN CAROTHERS REPAIR GUITARS. ANOTHER DISASTER BECAUSE I 12:13.136 --> 12:14.669 DIDN'T KNOW HOW TO REPAIR GUITARS, BUT I SAID TO MYSELF, 12:14.671 --> 12:15.837 BOY, THERE'S MORE TO THIS THAN MEETS THE EYE. 12:15.839 --> 12:18.239 SO I GOT ON THE PHONE AND CALLED MY MOM AND SAID, I'M COMING 12:18.241 --> 12:19.807 HOME. SHE SAID WHAT'S WRONG? 12:19.809 --> 12:21.409 I SAID THAT I'M QUITTING COLLEGE. 12:21.411 --> 12:23.377 SILENCE. I'M COMING HOME, AND I'M GOING 12:23.379 --> 12:25.379 TO WORK IN THE GUITAR FACTORY AND TRY AND FIND OUT HOW THESE 12:25.381 --> 12:31.185 THINGS ARE MADE. 12:31.187 --> 12:41.195 ¶ WHAT WE NEED TO DO TODAY IS MAKE 12:41.197 --> 12:47.135 3,000 OF THE BEST GUITARS THIS COMPANY HAS EVER MADE, AND I 12:47.137 --> 12:51.172 FELT THAT THAT WAS IMPORTANT TO REGAIN WHAT I KNEW THE MARTIN 12:51.174 --> 12:53.808 GUITAR ASPIRED TO BE AND THAT RESONATED WITH MY COLLEAGUES OUT 12:53.810 --> 12:55.209 IN THE SHOP BECAUSE THEY WERE LIKE WHY IS THE COMPANY SO 12:55.211 --> 12:57.812 DISTRACTED? I SAID, LOOK, WE ARE GOING TO 12:57.814 --> 13:00.081 GET RID OF THESE ACQUISITIONS THAT AREN'T WORKING, AND WE ARE 13:00.083 --> 13:03.785 JUST GOING TO MAKE ACOUSTIC FLAT TOP STEEL STRING GUITARS. 13:03.787 --> 13:09.023 AND SHORTLY AFTER THAT MTV UNPLUGGED HAPPENED, AND WE WERE 13:09.025 --> 13:11.659 READY, AND THE PHONES STARTED TO RING. 13:11.661 --> 13:14.462 HONESTLY OTHER THAN A COUPLE OF ECONOMIC UPS AND DOWNS THAT I 13:14.464 --> 13:24.372 CAN'T CONTROL, THE PHONES HAVE BEEN RINGING EVER SINCE. 13:24.374 --> 13:33.514 ¶ ON MARCH 18 OF 1915. 13:33.516 --> 13:35.283 SO BY THIS POINT THE ORIGINAL HMS DREADNOUGHT WAS OBSOLETE AS 13:35.285 --> 13:37.218 I HAD SAID, AND THEY WERE ON TO THE SUPER DREADNOUGHT, BUT IT 13:37.220 --> 13:41.656 WAS STILL IN THE FLEET. IT WAS UP OFF THE COAST OF 13:41.658 --> 13:45.259 SCOTLAND WITH A SISTER SHIP, A SMALLER BRITISH BATTLESHIP. 13:45.261 --> 13:50.765 AND AN INFAMOUS GERMAN U-BOAT U-29 SURFACES, FIRES A TORPEDO, 13:50.767 --> 13:54.602 HITS THAT SHIP, AND THE HMS DREADNOUGHT COMES ALONG AND 13:54.604 --> 13:57.972 SLICES THE U-BOAT IN HALF. THE ONLY BATTLESHIP TO EVER SINK 13:57.974 --> 13:59.006 A SUBMARINE BY CUTTING IT IN HALF. 13:59.008 --> 14:05.313 WHEN THE UNITED STATES VERY RELUCTANTLY IS BEING DRAWN INTO 14:05.315 --> 14:10.251 WORLD WAR II, SO THINK OF THAT. THAT POLITICALLY WE KNOW IT'S 14:10.253 --> 14:15.056 BAD, AND WE KNOW IT'S NOT GETTING ANY BETTER, AND WE DON'T 14:15.058 --> 14:18.993 WANT TO BE A PART OF IT, BUT WERE BEING DRAWN IN FORTUNATELY 14:18.995 --> 14:21.329 FOR EVERYONE WE WERE ABLE TO HELP THE BRITISH AND EVEN THE 14:21.331 --> 14:25.099 RUSSIANS DEFEAT THE GERMANS ULTIMATELY, BUT SO THAT'S THE 14:25.101 --> 14:30.972 CONTEXT INTO WHICH MY GREAT GREAT, GREAT GRANDFATHER, AS A 14:30.974 --> 14:33.941 HISTORY BUFF, SAID I'M DEDICATING THIS GUITAR TO THIS 14:33.943 --> 14:43.951 SIGNIFICANT HISTORICAL EVENT. ¶ THANKS TO MR. MARTIN I'M ALL 14:43.953 --> 14:46.487 RIGHT ¶ ¶ ONCE AGAIN THIS STEEL GUITAR 14:46.489 --> 14:50.424 HELPED ME THROUGH THE NIGHT ¶ ¶ I'M KIND OF GRATEFUL TO YOU 14:50.426 --> 14:54.061 ¶ YOU KNOW HOW TO MAKE THEM RIGHT ¶ 14:54.063 --> 15:00.668 ¶ THANK YOU MR. MARTIN I'M ALL RIGHT ¶ 15:00.670 --> 15:05.039 >> AFTER PLAYING SMALL ROLES IN HOLLYWOOD TELEVISION SHOWS, 15:05.041 --> 15:07.842 ACTOR KEVIN FARRELL FOUND A NEW WAY TO PAY THE BILLS USING HIS 15:07.844 --> 15:28.362 ACTING SKILLS. HERE'S HIS STORY. 15:28.364 --> 15:31.766 DYI IS MY CHARACTER TO SELL TUPPERWARE. 15:31.768 --> 15:37.071 DYI IS A LITTLE TRAILER TRASH. SHE IS NOT VERY CLASSY; SHE CAN 15:37.073 --> 15:38.039 KIND OF TALK LIKE A TRUCK DRIVER. 15:38.041 --> 15:44.278 HER LOOK IS JUST OUT THERE; IT'S LOUD AND IT'S OUT THERE. 15:44.280 --> 15:47.782 I AM LIKE A CLOWN, BUT SHE'S FUN LOVING AND SHE LIKES TO HAVE A 15:47.784 --> 15:52.186 GOOD TIME. IF SUZIE HOSTESS, SHE IS HAVING 15:52.188 --> 15:57.191 A TUPPERWARE PARTY, CHANCES ARE ALL HER GIRLFRIENDS ARE LIKE, 15:57.193 --> 16:01.662 OH, REALLY, YOU KNOW, I JUST WENT TO THE JEWELRY PARTY LAST 16:01.664 --> 16:04.031 WEEK. NOW I'VE GOT TO GO TO A CLOTHING 16:04.033 --> 16:13.074 PARTY NEXT WEEK. BUT WHEN THEY SEE A PICTURE OF 16:13.076 --> 16:17.845 DEE W. IEYE, THEN ALL THE GIRLS ARE LIKE, OH, MY GOD, I'M GOING 16:17.847 --> 16:19.981 TO COME TO THAT. >> ARE YOU ALL DRINKING? 16:19.983 --> 16:23.517 I'M PRETTIER WHEN YOU'RE DRUNK. >> HER CHARACTER IS FROM 16:23.519 --> 16:30.524 TENNESSEE, AND SHE WAS THE LAST SOLE HEIR TO THE JACK DANIELS 16:30.526 --> 16:34.562 FORTUNE. SHE HAD A LITTLE DRINKING 16:34.564 --> 16:38.833 PROBLEM. SO DEE W. IEYE IS DRIVING WHILE 16:38.835 --> 16:43.137 INTOXICATED. I WORKED AS AN ACTOR FOR TEN 16:43.139 --> 16:47.375 YEARS IN CHICAGO. I GOT CAST ON FRAZIER, WHICH 16:47.377 --> 16:52.146 BROUGHT ME OUT TO LOS ANGELES. I PLAYED DAVID HYDE PIERCE'S 16:52.148 --> 16:55.216 LOOK-ALIKE ON AN EPISODE. >> EVERYONE, THIS IS RODNEY 16:55.218 --> 16:56.183 BANKS. >> HOW DO YOU DO? 16:56.185 --> 17:06.193 >> THE PLEASURE IS MINE. >> THAT TOOK ME TO LOS ANGELES, 17:06.195 --> 17:08.529 AND I STARTED WORKING AS AN ACTOR NONSTOP. 17:08.531 --> 17:11.632 THEN I STARTED SELLING TUPPERWARE, AND IT JUST TOOK 17:11.634 --> 17:13.834 OFF. >> I WANT TO DO A LITTLE SURVEY. 17:13.836 --> 17:16.337 HOW MANY HAVE BEEN TO A TUPPERWARE BEFORE? 17:16.339 --> 17:17.638 RAISE YOUR HAND. VERY GOOD. 17:17.640 --> 17:21.709 QUITE A FEW OF US. WAS IT A TUPPERWARE PARTY LIKE 17:21.711 --> 17:24.412 THIS? >> IN 2010, I WAS NUMBER 1 IN 17:24.414 --> 17:26.981 THE NATION. FOUR YEARS IN A ROW, I SOLD MORE 17:26.983 --> 17:29.183 TUPPERWARE PERSONALLY THAN ANYBODY ELSE IN THE NATION. 17:29.185 --> 17:33.454 THEN I STARTED MAKING MORE MONEY DOING THIS THAN ANYONE DID AS AN 17:33.456 --> 17:35.790 AGENTOR. SHOOT, I DON'T WANT TO LIVE IN 17:35.792 --> 17:39.226 HOLLYWOOD ANYMORE. THEY HAVE EARTHQUAKES AND CRAZY 17:39.228 --> 17:41.562 PEOPLE. SO I DECIDED TO MOVE BACK. 17:41.564 --> 17:44.832 NOW I LIVE HERE. WHEW, I'M A BUCKEYE. 17:44.834 --> 17:50.204 >> I THINK TUPPERWARE HAS GROWN TO EMBRACE THE DRAG QUEEN 17:50.206 --> 17:51.839 ASPECT. THERE ARE OTHER GUYS WHO SELL IN 17:51.841 --> 17:55.376 DRAG. I'M NOT NOT THE ONLY ONE. 17:55.378 --> 17:58.112 WE'RE BRINGING TUPPERWARE TO A WHOLE NEW GENERATION OF PEOPLE 17:58.114 --> 18:00.448 WHO DON'T EVEN KNOW TUPPERWARE IS STILL AROUND. 18:00.450 --> 18:06.454 WE DO IT WITH SUCH AN ENTERTAINING ASPECT TO OUR SHOW 18:06.456 --> 18:08.989 THAT PEOPLE JUST FIND IT MORE FUN. 18:08.991 --> 18:13.027 ¶ PICKLES AND CHEESE ZUCCHINI AND CARROTS ¶ 18:13.029 --> 18:15.996 ¶ SERVE SOME FINE TASTING FERRET ¶ 18:15.998 --> 18:19.166 ¶ YOUR FOOD HAS NEVER TASTED SO FRESH TO DATE ¶ 18:19.168 --> 18:25.940 >> I WOULD SAY THAT 90% OF THE PEOPLE COME TO SEE DEE W. IEYE, 18:25.942 --> 18:28.642 AND THEN THEY BUY THE TUPPERWARE AFTERWARDS. 18:28.644 --> 18:32.046 TUPPERWARE CORPORATE IS ON BOARD WITH WHAT THEY DO BECAUSE WE'RE 18:32.048 --> 18:34.849 SELLING MORE PRODUCT THAN HALF OF THEIR SALES FORCE, BUT THERE 18:34.851 --> 18:37.685 ARE PEOPLE WHO DON'T UNDERSTAND WHAT I DO, AND THAT MAKES ME SAD 18:37.687 --> 18:41.188 BECAUSE I'M AN ACTOR WHO DRESSES UP AS A CHARACTER. 18:41.190 --> 18:44.592 I COME AS KEVIN. I GET DRESSED UP AS DEE AT YOUR 18:44.594 --> 18:48.028 HOUSE, AND I TAKE DEE OFF AND LEAVE YOUR HOUSE AS KEVIN 18:48.030 --> 18:50.631 BECAUSE I DON'T DRIVE AROUND TOWN IN DRAG, AND I DON'T GO TO 18:50.633 --> 18:54.034 THE SHOPPING STORES AS DEE. I DON'T HANG OUT AND GO TO THE 18:54.036 --> 18:56.670 ZOO AS DEE. IT IS A CHARACTER THAT I PUT ON 18:56.672 --> 19:03.177 AND A CHARACTER I TAKE OFF. MUCH LIKE ANY CHARACTER IN OUR 19:03.179 --> 19:08.616 LIFE PLAYING AT THE THEATER. THE BUSINESS SIDE OF MY BUSINESS 19:08.618 --> 19:11.852 IS HUGE BECAUSE I AVERAGE FOUR TO FIVE PARTIES A WEEK. 19:11.854 --> 19:15.156 IF I'M NOT WORKING, I'M IN MY OFFICE. 19:15.158 --> 19:20.194 I'M CALLING HOSTESSES TO CONFIRM THEIR DATES, DATING NEW PARTIES, 19:20.196 --> 19:22.630 ENTERING ALL THE ORDERS. SOMETIMES THINGS DON'T SHOW UP 19:22.632 --> 19:25.266 IN SHIPMENTS. I'M CALLING THE WAREHOUSE TO 19:25.268 --> 19:29.103 MAKE SURE MY ORDERS ARE FULFILLED. 19:29.105 --> 19:32.406 WHEN I MOVED TO LOS ANGELES, I THOUGHT I WAS GOING TO BE THIS 19:32.408 --> 19:36.343 BIG TIME TELEVISION ACTOR. I WAS GOING TO HAVE MY OWN SHOW, 19:36.345 --> 19:38.646 I WAS GOING TO HAVE THIS HUGE HOUSE IN BEVERLY HILLS, AND IT 19:38.648 --> 19:41.515 WAS ALL BASED ON MY BEING AN ENTERTAINER. 19:41.517 --> 19:44.185 WHAT HAPPENED IS I GOT EXACTLY WHAT I WANTED, BUT IT JUST CAME 19:44.187 --> 19:46.921 IN A DIFFERENT PACKAGE, WHICH IS AMAZING. 19:46.923 --> 19:48.455 >> COME UP HERE AND TOUCH AND FEEL. 19:48.457 --> 19:53.194 THE TUPPERWARE INCLUDED. I JUST WANTED TO BE A PAID 19:53.196 --> 19:57.364 ACTOR. NOW MY PAYCHECK COMES FROM 19:57.366 --> 19:58.899 TUPPERWA TUPPERWARE. 19:58.901 --> 20:01.368 IT DOESN'T COME FROM HBO OR SHOWTIME. 20:01.370 --> 20:06.874 I'M SELLING JUST AS MUCH HERE AS I DID IN LOS ANGELES. 20:06.876 --> 20:10.911 THERE'S REALLY A NEED FOR A DRAG QUEEN TUPPERWARE LADY IN 20:10.913 --> 20:12.880 COLUMBUS. I LOVE THE FACT THAT 20:12.882 --> 20:16.016 20-YEAR-OLDS TO 90-YEAR-OLDS CAN COME TO MY PARTY AND HAVE A GOOD 20:16.018 --> 20:18.385 TIME. I REALLY JUST WANT TO ENTERTAIN 20:18.387 --> 20:24.425 PEOPLE AND FOR THEM TO HAVE A GOOD TIME. 20:24.427 --> 20:27.595 >> MY NAME IS DEE W. EYE, AND I'M FROM TENNESSEE. 20:27.597 --> 20:30.598 >> THE FEDEX MAN IS HERE TO DELIVER TUPPERWARE. 20:30.600 --> 20:36.437 >> FINALLY, WE JOIN KANSAS CITY, MISSOURI ARTIST WHOSE PUBLIC 20:36.439 --> 20:39.139 INSTALLATIONS COMBINE COMMUNITY ART WITH AN INTERESTING FAMILY 20:39.141 --> 20:44.912 LEGACY. TAKE A LOOK. 20:44.914 --> 20:49.383 I HAVE WHAT I WOULD CALL A TRANSDISCIPLINARY PRACTICE. 20:49.385 --> 20:56.323 I MOVE BETWEEN MEDIUMS, INSPIRATIONS, PURPOSES, REASONS. 20:56.325 --> 20:58.859 I DON'T TEND TO QUESTION WHY I WANT TO MAKE SOMETHING. 20:58.861 --> 21:00.794 I JUST MAKE IT, AND THEN I KIND OF FIGURE OUT HOW IT FITS 21:00.796 --> 21:02.062 TOGETHER WITH OTHER THINGS THAT I'VE MADE LATER. 21:02.064 --> 21:12.873 IN THE DIFFERENT WAY THAT WORKS MANIFEST THEMSELVES IN MY 21:12.875 --> 21:17.311 STUDIO, SOME ARE JUST OF THE MOMENT ASSEMBLAGES, PURELY 21:17.313 --> 21:24.852 VISUALLY AESTHETIC OR SYMBOLIC. HAVEN IS THE FIRST PROJECT IN 21:24.854 --> 21:29.857 WHAT I THINK WILL BE A LIFELONG WORK OF MINE WHICH I CALL THE 21:29.859 --> 21:34.928 DEEP ECOLOGY PROJECT. HAVEN HAS A FUNCTIONALITY. 21:34.930 --> 21:36.530 THE CONVENTIONAL AESTHETICS OF THE WORK, WHAT IT'S MADE OF, HOW 21:36.532 --> 21:40.301 IT LOOKS-- THOSE ARE ALL IMPORTANT, BUT WHAT IT COMES 21:40.303 --> 21:44.305 DOWN TO IS WHAT THE PIECE SAYS, WHAT THE PIECE IS COMMUNICATING, 21:44.307 --> 21:55.683 AND HOW ITS FUNCTIONALITY IS AN IMPORTANT PART OF THAT. 21:55.685 --> 22:00.754 [ BEES BUZZING ] SO I'M AN ARTIST AND A 22:00.756 --> 22:05.426 THIRD-GENERATION BEEKEEPER. AND I GREW UP AROUND BEES, AND 22:05.428 --> 22:07.928 THERE'S BEEN A BIG CHANGE IN BEEKEEPING PRACTICES THAT I FELT 22:07.930 --> 22:11.365 LIKE I WOULD ADDRESS WITH THIS PROJECT. 22:11.367 --> 22:14.935 AS A SCULPTOR AND A PUBLIC ARTIST, I FUSED THOSE TWO 22:14.937 --> 22:18.739 INTERESTS TOGETHER AND CREATED THIS PROJECT. 22:18.741 --> 22:22.443 SO THE HIVE IS PRETTY HEAVY. IT'S FILLED WITH HONEYCOMB AND 22:22.445 --> 22:28.215 HONEY. BEES LIKE THEIR HIVE ENTRANCE TO 22:28.217 --> 22:33.320 FACE SOUTH OR SOUTHEAST. SO EVERY SITE WHERE HAVEN IS 22:33.322 --> 22:34.788 INSTALLED, YOU'LL NOTICE THAT IT'LL BE FACING SOUTHEAST. 22:34.790 --> 22:39.126 IN ORDER TO MAKE IT AS EASY AS POSSIBLE TO INSTALL, THE ONLY 22:39.128 --> 22:46.734 TOOL YOU NEED IS ONE WRENCH. POWERFUL MAGNETS THAT ARE -- 22:46.736 --> 22:55.275 EMBEDDED IN THESE PANELS AND SNAP RIGHT TOGETHER. 22:55.277 --> 22:57.244 AROUND 100 YEARS AGO, BRANCUSI SAID, "SIMPLICITY IS COMPLEXITY 22:57.246 --> 22:59.847 RESOLVED. " AND THE POLLINATOR ISSUE, THE 22:59.849 --> 23:02.583 DECLINE IN THE HONEYBEES, AND THE THREATS THAT FACE ALL THE 23:02.585 --> 23:05.486 POLLINATORS RIGHT NOW IS EXTREMELY COMPLEX. 23:05.488 --> 23:09.823 SO WHAT I WANTED TO DO WAS TO CREATE SOMETHING WHICH WAS AS 23:09.825 --> 23:14.661 ELEGANT AND SIMPLE AS POSSIBLE. IT HAS THE POTENTIAL TO GIVE 23:14.663 --> 23:18.265 BEES WHAT THEY NEED, AND IT HAS THE POTENTIAL TO ACT AS A TOOL 23:18.267 --> 23:19.566 TO GIVE US WHAT WE NEED TO UNDERSTAND BETTER WHAT'S 23:19.568 --> 23:23.871 HAPPENING. WITH THE DECIMATION OF THE 23:23.873 --> 23:27.374 POPULATION RIGHT NOW, IT'S VERY IMPORTANT FOR US TO LOOK AT 23:27.376 --> 23:29.276 WHAT'S HAPPENING IN THE WILD AND WHAT KEYS THERE MIGHT BE TO 23:29.278 --> 23:35.816 THESE SURVIVOR BEES. IF WE'VE LOST 80% TO 90% OF BEES 23:35.818 --> 23:38.652 IN THE WILD, THESE 10% TO 20% THAT ARE STILL LIVING, TO ME, 23:38.654 --> 23:43.891 ARE REALLY IMPORTANT. HONEYBEES ARE RESPONSIBLE FOR 23:43.893 --> 23:45.058 POLLINATING 1/3 OF THE FOOD THAT WE EAT. 23:45.060 --> 23:48.061 IF THE BEES GO, WE LOSE THAT FOOD. 23:48.063 --> 23:51.131 AND THAT HAS PROFOUND RIPPLE EFFECTS, AND THIS IS A PRETTY 23:51.133 --> 23:56.637 IMPORTANT FOOD SECURITY ISSUE. 23:56.639 --> 24:09.950 PART OF THE PROCESS OF INSTALLING THESE HIVES IS ALSO 24:09.952 --> 24:15.856 IN CATCHING THE WILD HONEYBEES, WHICH I DO IN THE SPRING. 24:15.858 --> 24:22.529 IF IT WERE A BIGGER BRANCH, I WOULD JUST POUND THE BRANCH OR 24:22.531 --> 24:24.298 SHAKE IT AND HAVE THE BEES FALL INTO THE BUCKET. 24:24.300 --> 24:26.333 I'M GONNA JUST TRY TO TAKE THE WHOLE BRANCH THAT THE BEES ARE 24:26.335 --> 24:34.174 ON. THAT'S WHY I'M REMOVING AS MUCH 24:34.176 --> 24:35.876 OF IT AS POSSIBLE. THEN I'LL JUST PUT THE LITTLE 24:35.878 --> 24:40.180 PIECE OF THE BRANCH IN THE BUCKET AND TAKE IT WITH ME. 24:40.182 --> 24:43.517 AND WHEN I INSTALL THE BEES IN THE HIVE, I'LL TAKE THE BRANCH 24:43.519 --> 24:46.753 OUT. WELL, DIDN'T GO QUITE AS 24:46.755 --> 24:50.657 SMOOTHLY AS I HOPED. THAT'S WHY I PUT THE TARP DOWN. 24:50.659 --> 24:53.327 THE QUEEN IS SOMEWHERE IN THIS MESS OF BEES. 24:53.329 --> 24:55.362 AND WE HOPE THAT SHE'S IN THE BUCKET. 24:55.364 --> 25:01.201 IF SHE'S NOT AND SHE'S ON THE TARP, THE BEES WILL JOIN HER. 25:01.203 --> 25:12.479 IF SHE'S IN THE BUCKET, THE BEES WILL JOIN HER IN THERE. 25:12.481 --> 25:15.315 ¶ AND THESE BEES ARE GONNA BE 25:15.317 --> 25:17.818 GOING INTO A HAVEN HIVE AT A PRIVATE RESIDENCE. 25:17.820 --> 25:21.488 HERE IN KANSAS CITY, I HAVE HAVEN HIVES IN BOTH PUBLIC AND 25:21.490 --> 25:31.164 PRIVATE LOCATIONS. WE HAVE HIVES AT HYDE PARK, THE 25:31.166 --> 25:34.535 DST GARDEN AT 18BROADWAY, KAUFFMAN MEMORIAL GARDEN AND THE 25:34.537 --> 25:39.339 KAUFFMAN FOUNDATION, JOHNSON COUNTY COMMUNITY COLLEGE, NERMAN 25:39.341 --> 25:40.807 MUSEUM'S COLLECTION, WHICH WILL ALSO BE ON THE JOHNSON COUNTY 25:40.809 --> 25:45.579 COMMUNITY COLLEGE CAMPUS. AT EACH HAVEN SITE, THERE IS A 25:45.581 --> 25:49.483 TITLE PLAQUE WITH A QR CODE. THE TITLE PLAQUE DESCRIBES TO 25:49.485 --> 25:52.586 PARK VISITORS WHAT THEY'RE LOOKING AT. 25:52.588 --> 25:56.023 THE QR CODE TAKES THEM TO A WEBSITE WITH A SURVEY PAGE. 25:56.025 --> 25:57.724 THE WEBSITE GIVES THEM MORE IN-DEPTH INFORMATION AS TO 25:57.726 --> 25:59.793 WHAT'S HAPPENING TO THE HONEYBEES AND WHAT THIS PROJECT 25:59.795 --> 26:03.764 IS ALL ABOUT. AND THE SURVEY PAGE ALLOWS THEM 26:03.766 --> 26:08.335 MAKE THEIR OWN OBSERVATIONS AND UPLOAD THAT INFORMATION TO THE 26:08.337 --> 26:13.106 WEBSITE TO HELP CROWDSOURCE THIS DATA GATHERING. 26:13.108 --> 26:14.541 IT ALLOWS VISITORS TO ENGAGE WITH THE PROJECT AT ANY LEVEL 26:14.543 --> 26:18.545 THEY WANT. IT CAN EVEN SERVE AS A TOOL FOR 26:18.547 --> 26:22.182 EDUCATORS THAT WANT TO TAKE A CLASS OF KIDS OUT TO SEE WHAT'S 26:22.184 --> 26:23.617 GOING ON AND LEARN ABOUT WHY POLLINATORS ARE IMPORTANT. 26:23.619 --> 26:26.820 THESE ARE THE BEES THAT ARE SPREADING THE SCENT TO TELL ALL 26:26.822 --> 26:29.256 THE OTHER BEES THAT THIS IS THE PLACE TO COME. 26:29.258 --> 26:37.230 "THE QUEEN IS IN HERE, COME AND JOIN US. 26:37.232 --> 26:39.366 IF YOU SIT HERE FOR A WHILE EVENTUALLY YOU'LL JUST SEE ALL 26:39.368 --> 26:41.234 THE BEES IN THE AIR AND THE TARP KIND OF COME INSIDE AND JOIN 26:41.236 --> 26:42.936 THEM IN THE BUCKET. THE BEES PRETTY MUCH JUST WANT 26:42.938 --> 26:44.671 TO IGNORE US, AND WE'RE NOT REALLY ON THEIR RADAR. 26:44.673 --> 26:46.406 WHAT THEY'RE LOOKING FOR ARE FLOWERS. 26:46.408 --> 26:50.010 THEY ARE NOT PRONE TO ATTACKING AND CHASING DOWN PEOPLE. 26:50.012 --> 26:51.778 COULDN'T TALK WITH THE BEE ON MY LIP. 26:51.780 --> 26:57.517 IT WAS IMPORTANT TO MAKE THE HIVE IN A WAY THAT WOULD ALLOW 26:57.519 --> 27:01.822 VISITORS TO ANY URBAN PARK FEEL COMFORTABLE IN ITS PROXIMITY. 27:01.824 --> 27:06.026 AT THIS HEIGHT, AT 16 FEET, THIS IS A WAY FOR US TO BE ABLE TO 27:06.028 --> 27:09.062 INTEGRATE THEM INTO OUR URBAN AND SUBURBAN ENVIRONMENTS AND 27:09.064 --> 27:19.940 MAKE THEM PART OF OUR ECOSYSTEM. ¶ 27:19.942 --> 27:25.078 PUBLIC REALM IS A GREAT PLACE TO PLAY WITH ART, AND THIS PROJECT 27:25.080 --> 27:28.415 GIVES ME A GREAT CHANCE TO STEP OUT OF THE GALLERY WALLS, TO 27:28.417 --> 27:34.087 STEP OUT OF THE INSTITUTION, TO INTERFACE WITH MY ART AND A 27:34.089 --> 27:36.890 GENERAL PUBLIC DIRECTLY. AND TO ME, THAT'S BECOME A VERY 27:36.892 --> 27:43.664 VALUABLE PART OF MY PRACTICE. 27:43.666 --> 27:57.878 >> AND THAT WRAPS IT UP FOR THIS EDITION OF ARTS. 27:57.880 --> 28:02.082 JOIN US NEXT WEEK AS WE FINISH OUT OUR "BEST OF, LOCALLY" FOR 28:02.084 --> 28:05.552 2017. WE'LL CHECK IN WITH DONNA PARKER 28:05.554 --> 28:08.789 AS SHE PICKS OUT A FEW FAVORITES FROM THIS SEASON. 28:08.791 --> 28:17.931 I'M APRIL ANCIRA, AND I'LL SEE YOU WITH MORE "ARTS" NEXT WEEK.