1 00:00:03,917 --> 00:00:05,250 THIS SPECIAL PRESENTATION WAS 2 00:00:05,250 --> 00:00:06,999 PRODUCED IN HIGH DEFINITION BY 3 00:00:06,999 --> 00:00:08,208 WEDU -- TAMPA, ST. PETERSBURG, 4 00:00:08,208 --> 00:00:11,250 SARASOTA. 5 00:00:11,250 --> 00:00:12,792 MAJOR FUNDING FOR 6 00:00:12,792 --> 00:00:14,208 "WEDU ARTS PLUS" IS PROVIDED 7 00:00:14,208 --> 00:00:15,834 THROUGH THE GREATER CINCINNATI 8 00:00:15,834 --> 00:00:17,333 FOUNDATION BY AN ARTS-LOVING 9 00:00:17,333 --> 00:00:19,041 DONOR WHO ENCOURAGES OTHERS TO 10 00:00:19,041 --> 00:00:22,208 SUPPORT YOUR PBS STATION, WEDU. 11 00:00:22,208 --> 00:00:23,667 FUNDING IS ALSO PROVIDED BY THE 12 00:00:23,667 --> 00:00:26,834 S.L. GIMBEL FOUNDATION. 13 00:00:26,834 --> 00:00:28,208 IN THIS EDITION OF 14 00:00:28,208 --> 00:00:31,000 "WEDU ARTS PLUS," A TAMPA BAY 15 00:00:31,000 --> 00:00:32,999 ARTIST BRINGS THE OCEAN INTO 16 00:00:32,999 --> 00:00:35,583 HOMES AROUND THE WORLD. 17 00:00:35,583 --> 00:00:38,333 I FINISH IT METICULOUSLY WITH 18 00:00:38,333 --> 00:00:40,458 SMALL SHELLS, AND I SEND IT OFF 19 00:00:40,458 --> 00:00:42,999 IN HOPES THAT IT WILL CREATE A 20 00:00:42,999 --> 00:00:44,333 PEACE AND AN APPRECIATION OF THE 21 00:00:44,333 --> 00:00:46,250 OCEAN IN THEIR HOME. 22 00:00:46,250 --> 00:00:47,875 THE LIFE OF A LEGENDARY 23 00:00:47,875 --> 00:00:48,999 PERFORMER THROUGH MUSIC AND 24 00:00:48,999 --> 00:00:50,999 MAGIC. 25 00:00:50,999 --> 00:00:53,542 I THINK IT WAS HIS WARMTH AND 26 00:00:53,542 --> 00:00:56,250 GENEROUS SPIRIT THAT SOMEHOW GOT 27 00:00:56,250 --> 00:00:58,625 OVER THOSE FOOTLIGHTS AND 28 00:00:58,625 --> 00:01:00,208 REACHED THOSE DEVOTED FANS OF 29 00:01:00,208 --> 00:01:01,750 HIS. 30 00:01:01,750 --> 00:01:03,083 A FILMMAKER SHEDS LIGHT ON A 31 00:01:03,083 --> 00:01:05,166 WORLD-RENOWNED BALLET COMPANY. 32 00:01:05,166 --> 00:01:06,417 THE AMERICAN BALLET THEATRE 33 00:01:06,417 --> 00:01:08,083 IS THE OLDEST AMERICAN COMPANY 34 00:01:08,083 --> 00:01:09,999 BUT VERY, VERY YOUNG AS 35 00:01:09,999 --> 00:01:11,834 COMPANIES GO, AND I THINK IT'S 36 00:01:11,834 --> 00:01:13,750 GOING TO REMAIN YOUTHFUL. 37 00:01:13,750 --> 00:01:14,834 AND DISCOVER THE ART OF 38 00:01:14,834 --> 00:01:16,875 QUILTING. 39 00:01:16,875 --> 00:01:18,083 AN ART QUILT IS BASICALLY A 40 00:01:18,083 --> 00:01:19,999 PIECE OF ART THAT'S REFERENCING 41 00:01:19,999 --> 00:01:21,999 THE QUILT FORM. 42 00:01:21,999 --> 00:01:23,750 SO, BASICALLY, AN ART QUILT IS A 43 00:01:23,750 --> 00:01:24,999 CREATIVE VISUAL WORK THAT IS 44 00:01:24,999 --> 00:01:26,542 SKETCHED AND LAYERED. 45 00:01:26,542 --> 00:01:27,583 IT'S ALL COMING UP NEXT ON 46 00:01:27,583 --> 00:01:29,834 "WEDU ARTS PLUS." 47 00:01:30,999 --> 00:01:44,999 [ MUSIC ] 48 00:01:44,999 --> 00:01:46,500 HELLO. 49 00:01:46,500 --> 00:01:47,999 I'M GABE ORTIZ, AND THIS IS 50 00:01:47,999 --> 00:01:50,125 "WEDU ARTS PLUS." 51 00:01:50,125 --> 00:01:53,500 A DAY ON THE BEACH WITH FAMILY, 52 00:01:53,500 --> 00:01:54,999 A SIMPLE PLEASURE THAT HEATHER 53 00:01:54,999 --> 00:01:56,417 KENDALL TREASURES. 54 00:01:56,417 --> 00:01:58,000 AND WITH GOOD REASON. 55 00:01:58,000 --> 00:01:59,959 ABOUT 40 YEARS AGO, YOUNG 56 00:01:59,959 --> 00:02:01,375 HEATHER PATIENTLY COMBED THE 57 00:02:01,375 --> 00:02:02,917 BEACH FOR SHELLS WITH HER COUSIN 58 00:02:02,917 --> 00:02:04,208 WHILE HER LITTLE BROTHER WAS 59 00:02:04,208 --> 00:02:06,999 SICK IN THE HOSPITAL. 60 00:02:06,999 --> 00:02:09,125 NOW, SHE'S TURNED A PASTIME INTO 61 00:02:09,125 --> 00:02:11,375 A SUCCESSFUL AND CREATIVE DESIGN 62 00:02:11,375 --> 00:02:13,333 ENDEAVOR. 63 00:02:15,000 --> 00:02:25,208 [ MUSIC ] 64 00:02:25,208 --> 00:02:26,291 HI. 65 00:02:26,291 --> 00:02:27,458 I'M HEATHER KENDALL. 66 00:02:27,458 --> 00:02:28,792 WELCOME TO MY HOME STUDIO WHERE 67 00:02:28,792 --> 00:02:30,999 I MAKE SEASHELL DESIGNS FOR MY 68 00:02:30,999 --> 00:02:33,083 BUSINESS, ELEGANT SHELLS. 69 00:02:33,083 --> 00:02:35,750 WHEN I MAKE A PIECE FOR SOMEONE, 70 00:02:35,750 --> 00:02:36,999 I REALLY TRY TO IMAGINE IT IN 71 00:02:36,999 --> 00:02:39,709 THEIR HOME. 72 00:02:39,709 --> 00:02:42,999 AND I FINISH IT METICULOUSLY 73 00:02:42,999 --> 00:02:44,375 WITH SMALL SHELLS, WHICH IS MY 74 00:02:44,375 --> 00:02:46,542 FAVORITE PART, AND I SEND IT OFF 75 00:02:46,542 --> 00:02:48,959 IN HOPES THAT IT WILL CREATE A 76 00:02:48,959 --> 00:02:50,208 PEACE AND AN APPRECIATION OF THE 77 00:02:50,208 --> 00:02:52,999 OCEAN IN THEIR HOME. 78 00:02:52,999 --> 00:02:55,166 I'VE ALWAYS HAD A LOVE OF 79 00:02:55,166 --> 00:02:56,750 SEASHELLS, BUT ABOUT 16 YEARS 80 00:02:56,750 --> 00:02:59,834 AGO, I WAS ON A FAMILY VACATION, 81 00:02:59,834 --> 00:03:01,291 AND I WALKED INTO A STORE WITH A 82 00:03:01,291 --> 00:03:02,999 BUNCH OF GIRLFRIENDS, AND WE SAW 83 00:03:02,999 --> 00:03:05,583 THIS AMAZING SEASHELL WORK. 84 00:03:05,583 --> 00:03:06,834 ONE OF MY GIRLFRIENDS AND I 85 00:03:06,834 --> 00:03:07,999 LOOKED AT EACH OTHER AND 86 00:03:07,999 --> 00:03:09,917 THOUGHT, WE COULD DO THIS. 87 00:03:09,917 --> 00:03:11,750 WE COLLECTED A BUNCH OF SHELLS, 88 00:03:11,750 --> 00:03:12,667 AND WE PURCHASED A LOT OF SHELLS 89 00:03:12,667 --> 00:03:14,000 ALSO. 90 00:03:14,000 --> 00:03:17,291 SO I CAME HOME AND I TRIED IT 91 00:03:17,291 --> 00:03:19,667 WITH A GIRLFRIEND, AND WE MADE 92 00:03:19,667 --> 00:03:21,000 $10,000 IN THREE DAYS IN OUR 93 00:03:21,000 --> 00:03:22,875 FIRST THREE SHOWS. 94 00:03:22,875 --> 00:03:23,875 AND WE KNEW IT WAS A VIABLE 95 00:03:23,875 --> 00:03:25,959 BUSINESS THEN. 96 00:03:25,959 --> 00:03:26,792 FRIENDS STARTED TO HEAR ABOUT 97 00:03:26,792 --> 00:03:27,999 US. 98 00:03:27,999 --> 00:03:28,875 DESIGNERS STARTED TO HEAR ABOUT 99 00:03:28,875 --> 00:03:30,792 US. 100 00:03:30,792 --> 00:03:32,250 AND WE STARTED GETTING BUSINESS 101 00:03:32,250 --> 00:03:34,417 VIA WORD OF MOUTH. 102 00:03:34,417 --> 00:03:35,291 AND I GREW UP ON CLEARWATER 103 00:03:35,291 --> 00:03:36,542 BEACH. 104 00:03:36,542 --> 00:03:38,625 THOSE PEOPLE STARTED TALKING. 105 00:03:38,625 --> 00:03:42,999 THANKS TO SOCIAL MEDIA, I HAVE 106 00:03:42,999 --> 00:03:44,959 BECOME KNOWN AS ONE OF THE TOP 107 00:03:44,959 --> 00:03:48,375 SEASHELL ARTISTS IN THE WORLD. 108 00:03:48,375 --> 00:03:51,291 I'M DRAWN TO SHELLS BECAUSE AS A 109 00:03:51,291 --> 00:03:56,291 LITTLE GIRL, I SPENT MANY DAYS 110 00:03:56,291 --> 00:03:57,959 AND EVENINGS ON THE BEACH. 111 00:03:57,959 --> 00:03:59,999 I GREW UP ON THE BEACH. 112 00:03:59,999 --> 00:04:02,999 MY COUSIN MARY WALKED WITH ME ON 113 00:04:02,999 --> 00:04:03,999 THE BEACH ALMOST EVERY DAY FOR 114 00:04:03,999 --> 00:04:04,875 SUNSET. 115 00:04:04,875 --> 00:04:07,000 WE WOULD COLLECT SHELLS. 116 00:04:07,000 --> 00:04:09,999 MY LITTLE BROTHER WAS SICK. 117 00:04:09,999 --> 00:04:11,208 AT THAT TIME, HE WAS MY ONLY 118 00:04:11,208 --> 00:04:12,250 SIBLING AND MY MOTHER WAS GONE 119 00:04:12,250 --> 00:04:14,999 WITH HIM. 120 00:04:14,999 --> 00:04:15,999 THAT TIME WITH MY COUSIN WAS 121 00:04:15,999 --> 00:04:16,999 REALLY SPECIAL. 122 00:04:16,999 --> 00:04:19,166 I FELT SAFE, AND THE BEACH HAS 123 00:04:19,166 --> 00:04:20,917 ALWAYS BEEN A PLACE WHERE I GO 124 00:04:20,917 --> 00:04:24,834 TO FEEL AT PEACE. 125 00:04:24,834 --> 00:04:26,041 SO WHEN I SEE SEASHELLS, 126 00:04:26,041 --> 00:04:27,999 I'M HAPPY. 127 00:04:27,999 --> 00:04:29,458 I FEEL AT HOME. 128 00:04:29,458 --> 00:04:30,999 AND TO WORK WITH THEM AS A 129 00:04:30,999 --> 00:04:33,875 MEDIUM HAS BEEN A REAL BLESSING. 130 00:04:33,875 --> 00:04:36,458 I GET MY SHELLS FROM THE BEACHES 131 00:04:36,458 --> 00:04:38,417 HERE IN CLEARWATER BEACH AND 132 00:04:38,417 --> 00:04:40,583 MANASOTA. 133 00:04:40,583 --> 00:04:42,542 I KAYAK OUT INTO THE BAY TO GET 134 00:04:42,542 --> 00:04:43,625 MY CRUSHED SHELL FOR MY WHITE 135 00:04:43,625 --> 00:04:45,458 MIRRORS. 136 00:04:45,458 --> 00:04:47,417 I BUY SHELLS FROM INDIA, THE 137 00:04:47,417 --> 00:04:49,750 PHILIPPINES, SOUTH AFRICA. 138 00:04:49,750 --> 00:04:50,583 THOSE ARE THE MAIN COUNTRIES 139 00:04:50,583 --> 00:04:52,750 THEY COME FROM. 140 00:04:52,750 --> 00:04:53,999 THIS IS A MIRROR THAT I FINISHED 141 00:04:53,999 --> 00:04:55,750 LAST NIGHT. 142 00:04:55,750 --> 00:04:59,000 IT IS ALL MUSSEL SHELLS THAT I 143 00:04:59,000 --> 00:05:01,709 GOT FROM BONEFISH. 144 00:05:01,709 --> 00:05:02,709 MY FAMILY AND I ATE ALL OF 145 00:05:02,709 --> 00:05:05,834 THESE. 146 00:05:05,834 --> 00:05:08,667 I'M JUST GOING TO TAKE A LITTLE 147 00:05:08,667 --> 00:05:09,667 GLUE AND THEN PLACE IT RIGHT IN 148 00:05:09,667 --> 00:05:12,250 HERE. 149 00:05:12,250 --> 00:05:13,333 AND I'LL BE FINISHED, AND IT 150 00:05:13,333 --> 00:05:14,999 WILL BE READY TO DELIVER TO 151 00:05:14,999 --> 00:05:17,792 VERO BEACH THIS WEEK. 152 00:05:17,792 --> 00:05:18,959 I HAD BEEN WORKING FOR INTERIOR 153 00:05:18,959 --> 00:05:20,625 DESIGNERS. 154 00:05:20,625 --> 00:05:23,750 I UNDERSTOOD INTERIOR DESIGN. 155 00:05:23,750 --> 00:05:25,709 I WAS A VISUAL MERCHANDISER AND 156 00:05:25,709 --> 00:05:27,500 A STYLIST FOR PHOTO SHOOTS. 157 00:05:27,500 --> 00:05:30,250 SO I UNDERSTOOD PLACEMENT, AND I 158 00:05:30,250 --> 00:05:31,999 ALSO HAD TAKEN A LOT OF ART AND 159 00:05:31,999 --> 00:05:34,000 WAS RAISED BY ARTISTS WHO WERE 160 00:05:34,000 --> 00:05:35,583 RAISED BY ARTISTS AND ART 161 00:05:35,583 --> 00:05:38,834 COLLECTORS. 162 00:05:38,834 --> 00:05:40,208 SO I FELT CONFIDENT THAT I COULD 163 00:05:40,208 --> 00:05:42,959 LOOK AT A BLANK CHANDELIER AND 164 00:05:42,959 --> 00:05:44,625 FIGURE OUT WHERE TO PUT THE 165 00:05:44,625 --> 00:05:46,333 SHELLS AND HOW I COULD ADORN IT 166 00:05:46,333 --> 00:05:48,834 TO MAKE IT BEAUTIFUL. 167 00:05:48,834 --> 00:05:50,583 AND WITH THAT CONFIDENCE, 168 00:05:50,583 --> 00:05:52,083 BECAUSE OF WORKING IN ALL THOSE 169 00:05:52,083 --> 00:05:56,750 DIFFERENT JOBS AND POSITIONS, I 170 00:05:56,750 --> 00:05:59,417 WENT HOME AND PUT IT TOGETHER, 171 00:05:59,417 --> 00:06:01,208 A CHANDELIER, AND THEN DID A 172 00:06:01,208 --> 00:06:01,999 MIRROR, AND THEN DID MY 173 00:06:01,999 --> 00:06:05,166 FIREPLACE. 174 00:06:05,166 --> 00:06:06,999 AND I THOUGHT IT WAS GREAT AND 175 00:06:06,999 --> 00:06:09,041 FUN, AND PEOPLE CAME IN THE 176 00:06:09,041 --> 00:06:11,750 HOUSE AND SAID THAT IT FELT 177 00:06:11,750 --> 00:06:13,999 GOOD, AND IT WAS BEAUTIFUL AND 178 00:06:13,999 --> 00:06:16,291 SAID THEY WANTED THEM, TOO. 179 00:06:16,291 --> 00:06:19,250 SEE HOW IT PICKS UP THE LINES. 180 00:06:19,250 --> 00:06:20,999 I LOVE IT. 181 00:06:20,999 --> 00:06:23,583 LIKE MAGIC. 182 00:06:23,583 --> 00:06:25,333 YOU CAN'T EVEN TELL THAT ALL OF 183 00:06:25,333 --> 00:06:26,999 THAT IS ON THERE, YOU KNOW, 184 00:06:26,999 --> 00:06:29,375 LIKE ALL THAT METALWORK, BUT 185 00:06:29,375 --> 00:06:32,750 THEN AS SOON AS YOU DO THAT -- 186 00:06:32,750 --> 00:06:34,999 I JUST PLAY AROUND WITH THEM. 187 00:06:34,999 --> 00:06:41,417 YOU CAN ACTUALLY PUT THESE IN 188 00:06:41,417 --> 00:06:42,834 HERE, AND YOU CAN PUT IN PIECES 189 00:06:42,834 --> 00:06:45,166 OF CORAL WITH IT AND JUST LOAD 190 00:06:45,166 --> 00:06:48,875 THIS WHOLE CENTER PART UP. 191 00:06:48,875 --> 00:06:51,875 AND THEN HANG THESE SHELLS IN 192 00:06:51,875 --> 00:06:53,999 WHEREVER YOU LIKE. 193 00:06:53,999 --> 00:06:54,999 WHATEVER SHELLS YOU LIKE. 194 00:06:54,999 --> 00:06:56,041 ALL THESE DIFFERENT LITTLE 195 00:06:56,041 --> 00:06:57,291 PLACES ARE PLACES WHERE YOU CAN 196 00:06:57,291 --> 00:06:58,999 PUT SHELLS, ON THE TOP, ON THE 197 00:06:58,999 --> 00:07:00,999 BOTTOM. 198 00:07:00,999 --> 00:07:02,625 AND YOU JUST FIND COORDINATING 199 00:07:02,625 --> 00:07:04,999 SHELLS OR SHINY ONES POLISHED 200 00:07:04,999 --> 00:07:05,999 AND MIX THEM WITH NATURAL OR 201 00:07:05,999 --> 00:07:08,291 COLOR. 202 00:07:08,291 --> 00:07:10,041 SOMETIMES I USE RED CORAL AND 203 00:07:10,041 --> 00:07:12,000 BLACK-AND-WHITE SHELLS. 204 00:07:12,000 --> 00:07:13,999 EVERY ONE IS DIFFERENT BECAUSE 205 00:07:13,999 --> 00:07:17,041 EVERY SEASHELL IS DIFFERENT. 206 00:07:17,041 --> 00:07:20,750 I RECEIVE A LOT OF E-MAILS AND 207 00:07:20,750 --> 00:07:21,999 PHONE CALLS FROM PEOPLE THAT 208 00:07:21,999 --> 00:07:23,166 WANT TO KNOW HOW TO SHELL A 209 00:07:23,166 --> 00:07:27,625 PIECE. 210 00:07:27,625 --> 00:07:28,999 I CERTAINLY DO ANSWER ALL THE 211 00:07:28,999 --> 00:07:31,041 E-MAILS AND GIVE ANYBODY 212 00:07:31,041 --> 00:07:34,166 WHATEVER ADVICE I CAN. 213 00:07:34,166 --> 00:07:35,709 I BELIEVE I'VE INSPIRED MY 214 00:07:35,709 --> 00:07:39,999 CHILDREN TO BE ENTREPRENEURIAL 215 00:07:39,999 --> 00:07:41,709 AND THAT WE CAN CREATE A JOB FOR 216 00:07:41,709 --> 00:07:44,792 OURSELVES, AND IT'S POSSIBLE TO 217 00:07:44,792 --> 00:07:45,999 LIVE YOUR PASSION AND DO THINGS 218 00:07:45,999 --> 00:07:46,999 THAT YOU WANT AND THAT YOU 219 00:07:46,999 --> 00:07:48,999 SHOULD. 220 00:07:52,999 --> 00:07:53,999 TO LEARN MORE ABOUT 221 00:07:53,999 --> 00:07:56,250 HEATHER KENDALL DESIGNS, VISIT: 222 00:07:59,041 --> 00:08:01,083 > STEP INSIDE THE MILWAUKEE 223 00:08:01,083 --> 00:08:03,125 REPERTORY THEATER IN WISCONSIN 224 00:08:03,125 --> 00:08:04,667 FOR A BEHIND-THE-SCENES LOOK AT 225 00:08:04,667 --> 00:08:07,417 THE PRODUCTION, "LIBERACE!" 226 00:08:07,417 --> 00:08:09,333 THIS ONE-MAN SHOW PAYS TRIBUTE 227 00:08:09,333 --> 00:08:11,208 TO THE LEGENDARY MUSICIAN AND 228 00:08:11,208 --> 00:08:12,834 ENTERTAINER BY BRINGING THE 229 00:08:12,834 --> 00:08:14,333 SHOWMAN TO LIFE THROUGH MUSIC 230 00:08:14,333 --> 00:08:16,417 AND COSTUME. 231 00:08:18,917 --> 00:08:19,750 HI THERE, LADIES AND 232 00:08:19,750 --> 00:08:22,166 GENTLEMEN. 233 00:08:22,166 --> 00:08:24,417 MY NAME IS WLADZIU VALENTINO 234 00:08:24,417 --> 00:08:26,417 LIBERACE. 235 00:08:26,417 --> 00:08:30,500 WLADZIU, W-L-A-D-Z-I-U. 236 00:08:30,500 --> 00:08:32,166 MY MOTHER LIKED THE NAME WHEN 237 00:08:32,166 --> 00:08:33,417 SHE SAW IT ON THE DOCTOR'S 238 00:08:33,417 --> 00:08:36,083 EYE CHART. 239 00:08:36,083 --> 00:08:38,667 IT'S POLISH FOR WALTER. 240 00:08:38,667 --> 00:08:40,834 MY FRIENDS CALL ME LEE. 241 00:08:40,834 --> 00:08:44,291 YOU CAN CALL ME LEE. 242 00:08:44,291 --> 00:08:45,750 WELL, STRAP IN, FRIENDS, BECAUSE 243 00:08:45,750 --> 00:08:47,291 HERE WE GO. 244 00:08:47,291 --> 00:08:49,083 I WONDER IF ANY OF YOU ARE OLD 245 00:08:49,083 --> 00:08:50,333 ENOUGH TO REMEMBER THE 246 00:08:50,333 --> 00:08:52,959 BOOGIE WOOGIE CRAZE? 247 00:08:53,999 --> 00:09:00,291 [ MUSIC ] 248 00:09:00,291 --> 00:09:02,583 LIBERACE WAS A THOROUGH 249 00:09:02,583 --> 00:09:03,999 ENTERTAINER, AND HE WANTED 250 00:09:03,999 --> 00:09:07,417 PEOPLE TO LAUGH, AND HE WANTED 251 00:09:07,417 --> 00:09:08,458 PEOPLE TO CRY, BUT HE WANTED TO 252 00:09:08,458 --> 00:09:10,999 HAVE THIS COMPLETE SENSUAL 253 00:09:10,999 --> 00:09:14,959 EXPERIENCE. 254 00:09:14,959 --> 00:09:17,166 LIBERACE IS A PLAY ABOUT 255 00:09:17,166 --> 00:09:19,792 LIBERACE, A SAMPLING OF HIS LIFE 256 00:09:19,792 --> 00:09:22,375 AND HIS MUSIC AND DIGGING A 257 00:09:22,375 --> 00:09:24,667 LITTLE DEEPER INTO THE BIOGRAPHY 258 00:09:24,667 --> 00:09:26,041 THAT MOST PEOPLE MIGHT NOT BE 259 00:09:26,041 --> 00:09:29,166 AWARE OF. 260 00:09:29,166 --> 00:09:30,999 THE PLAY ITSELF EXPLORES THE 261 00:09:30,999 --> 00:09:33,291 ISSUES OF IDENTITY AND SORT OF 262 00:09:33,291 --> 00:09:34,500 THE MASKS THAT WE WEAR ON A 263 00:09:34,500 --> 00:09:36,583 DAY-TO-DAY BASIS. 264 00:09:36,583 --> 00:09:38,999 AND LIBERACE HAD SORT OF THE 265 00:09:38,999 --> 00:09:40,208 BIGGEST, MOST EXPENSIVE MASK 266 00:09:40,208 --> 00:09:41,375 ANYONE IN THE HISTORY OF SHOW 267 00:09:41,375 --> 00:09:42,875 BUSINESS EVER DID, YOU KNOW, 268 00:09:42,875 --> 00:09:45,959 THIS CHARACTER THAT WE ASSOCIATE 269 00:09:45,959 --> 00:09:47,125 WITH THE LIBERACE IN OUR MIND, 270 00:09:47,125 --> 00:09:48,959 THE FEATHERS AND SEQUINS AND 271 00:09:48,959 --> 00:09:50,999 CLOAKS AND CAPES WAS TO HIM IN 272 00:09:50,999 --> 00:09:53,999 MANY WAYS A DISGUISE TO ALLOW 273 00:09:53,999 --> 00:09:55,083 HIM TO GO OUT AND PERFORM EVERY 274 00:09:55,083 --> 00:09:56,542 EVENING, TO SHARE THE MUSIC THAT 275 00:09:56,542 --> 00:09:57,709 HE REALLY LOVED WITH HIS 276 00:09:57,709 --> 00:09:59,083 AUDIENCE. 277 00:09:59,083 --> 00:10:00,792 THAT BOOGIE WOOGIE ALWAYS 278 00:10:00,792 --> 00:10:02,583 TAKES ME BACK TO MY YOUTH DURING 279 00:10:02,583 --> 00:10:05,834 THE DEPRESSION. 280 00:10:05,834 --> 00:10:08,375 BOOGIE WOOGIE, TIN PAN ALLEY, 281 00:10:08,375 --> 00:10:13,625 AND RAGTIME. 282 00:10:13,625 --> 00:10:15,999 WE START WITH HIM AS A LITTLE 283 00:10:15,999 --> 00:10:17,458 KID GROWING UP IN WEST ALLIS, 284 00:10:17,458 --> 00:10:20,999 WISCONSIN, IN THE EARLY 1920s, 285 00:10:20,999 --> 00:10:23,458 ALL THROUGH HIS FORMATIVE YEARS, 286 00:10:23,458 --> 00:10:24,917 HIS TIME AT THE WISCONSIN 287 00:10:24,917 --> 00:10:26,417 CONSERVATORY OF MUSIC LEARNING 288 00:10:26,417 --> 00:10:28,999 TO PLAY, THE STRUGGLE HE HAD TO 289 00:10:28,999 --> 00:10:30,583 DECIDE WHETHER HE WANTED TO BE A 290 00:10:30,583 --> 00:10:31,667 CLASSICAL PIANIST OR JUST AN 291 00:10:31,667 --> 00:10:33,792 ENTERTAINER. 292 00:10:33,792 --> 00:10:35,999 HIS RISE TO FAME THROUGHOUT THE 293 00:10:35,999 --> 00:10:37,667 '40s AND EARLY '50s AND THEN 294 00:10:37,667 --> 00:10:39,125 HIS FALL AND HIS RISE BACK. 295 00:10:39,125 --> 00:10:41,500 AND THEN, AGAIN, ULTIMATE 296 00:10:41,500 --> 00:10:42,834 SUBSEQUENT FALL WITH HIS DEATH 297 00:10:42,834 --> 00:10:44,500 IN THE '80s. 298 00:10:44,500 --> 00:10:46,542 ALL DONE IN FRONT OF THE 299 00:10:46,542 --> 00:10:48,667 CANDELABRA. 300 00:10:48,667 --> 00:10:50,542 THIS IS NOT A BACKSTAGE STORY. 301 00:10:50,542 --> 00:10:52,083 HE SPENT HIS LIFE IN FRONT OF 302 00:10:52,083 --> 00:10:53,959 AUDIENCES. 303 00:10:53,959 --> 00:10:55,999 IT WAS SORT OF A CREATION, THIS 304 00:10:55,999 --> 00:10:58,250 MR. SHOWMANSHIP THAT WE SEE. 305 00:10:58,250 --> 00:10:59,999 IT WAS HIS OWN CREATION. 306 00:10:59,999 --> 00:11:01,542 SO THE TRICK OF THIS PLAY IS HOW 307 00:11:01,542 --> 00:11:04,000 DO WE TELL THE TRUE STORY WE CAN 308 00:11:04,000 --> 00:11:06,999 OUT OF THE MOUTH OF SOMEBODY 309 00:11:06,999 --> 00:11:09,583 WHOSE IDEA OF TRUTH WAS LAYERS 310 00:11:09,583 --> 00:11:12,999 AND LAYERS OF ARTIFICE. 311 00:11:12,999 --> 00:11:15,166 MR. SHOWMANSHIP, LAUGH AT 312 00:11:15,166 --> 00:11:15,999 YOURSELF BEFORE THEY CAN LAUGH 313 00:11:15,999 --> 00:11:18,125 AT YOU, RIGHT? 314 00:11:18,125 --> 00:11:20,375 YOU KNOW, THIS IS WHAT I WORE TO 315 00:11:20,375 --> 00:11:21,667 MY LAST COMMAND PERFORMANCE FOR 316 00:11:21,667 --> 00:11:23,375 QUEEN ELIZABETH. 317 00:11:23,375 --> 00:11:25,458 AND WOULD YOU BELIEVE IT, I WAS 318 00:11:25,458 --> 00:11:26,333 THE ONLY ONE THERE WITH ONE LIKE 319 00:11:26,333 --> 00:11:27,625 IT. 320 00:11:27,625 --> 00:11:28,709 JACK FORBES WILSON IS 321 00:11:28,709 --> 00:11:30,959 LIBERACE. 322 00:11:30,959 --> 00:11:32,667 I MEAN, HE'S PERFECT. 323 00:11:32,667 --> 00:11:33,875 HE'S A LOCAL ARTIST HERE IN 324 00:11:33,875 --> 00:11:34,917 MILWAUKEE. 325 00:11:34,917 --> 00:11:35,959 WE'VE WORKED WITH JACK HERE IN 326 00:11:35,959 --> 00:11:36,917 THE MILWAUKEE REPERTORY THEATER 327 00:11:36,917 --> 00:11:38,500 A NUMBER OF TIMES. 328 00:11:38,500 --> 00:11:40,291 THIS PLAY WAS FIRST DONE 329 00:11:40,291 --> 00:11:41,500 FOUR YEARS AGO. 330 00:11:41,500 --> 00:11:42,458 I THOUGHT LIBERACE WAS A PRETTY 331 00:11:42,458 --> 00:11:43,875 GOOD PIANO PLAYER. 332 00:11:43,875 --> 00:11:45,542 I DIDN'T KNOW IF I COULD PULL 333 00:11:45,542 --> 00:11:46,750 THAT OFF. 334 00:11:46,750 --> 00:11:47,959 AND THEN AFTER I SAID YES, I 335 00:11:47,959 --> 00:11:50,125 REALIZED WHAT A REALLY 336 00:11:50,125 --> 00:11:52,542 PHENOMENAL PIANO PLAYER LIBERACE 337 00:11:52,542 --> 00:11:53,625 WAS, SO I HAD TO START 338 00:11:53,625 --> 00:11:54,750 PRACTICING. 339 00:11:54,750 --> 00:11:55,999 SO I WAS INVOLVED IN CHOOSING A 340 00:11:55,999 --> 00:11:57,083 LOT OF THE MUSIC AND FINDING 341 00:11:57,083 --> 00:11:58,750 THINGS THAT HE DID THAT I LIKED 342 00:11:58,750 --> 00:11:59,959 THAT I THINK WOULD STILL BE 343 00:11:59,959 --> 00:12:01,625 POPULAR TODAY AND THAT I THOUGHT 344 00:12:01,625 --> 00:12:03,000 I COULD PULL OFF. 345 00:12:03,000 --> 00:12:04,999 TO ME, THERE WASN'T ANY 346 00:12:04,999 --> 00:12:06,667 DIFFERENCE BETWEEN RACHMANINOFF 347 00:12:06,667 --> 00:12:08,834 AND RAGTIME. 348 00:12:08,834 --> 00:12:10,250 MUSIC WAS MUSIC, AND I LOVED ALL 349 00:12:10,250 --> 00:12:11,750 OF IT. 350 00:12:11,750 --> 00:12:14,000 SO JACK IS ABLE TO BLEND THIS 351 00:12:14,000 --> 00:12:14,999 ENDLESS VOLUME OF TEXT I'VE 352 00:12:14,999 --> 00:12:15,999 GIVEN HIM. 353 00:12:15,999 --> 00:12:17,333 I MEAN, HE SAYS MORE WORDS THAN 354 00:12:17,333 --> 00:12:18,999 HAMLET IN THIS PLAY WITH SOME 355 00:12:18,999 --> 00:12:21,458 REALLY FEROCIOUS MUSICIANSHIP. 356 00:12:21,458 --> 00:12:22,917 IT IS A GREAT EVENING OF MUSIC 357 00:12:22,917 --> 00:12:23,999 INSIDE A GREAT STORY. 358 00:12:23,999 --> 00:12:25,625 BUT JACK WAS -- JACK WAS SORT OF 359 00:12:25,625 --> 00:12:26,625 THE ULTIMATE NO-BRAINER TO DO 360 00:12:26,625 --> 00:12:28,750 THE ROLE. 361 00:12:28,750 --> 00:12:30,041 ♪ DOWN IN A MEADOW ♪ 362 00:12:30,041 --> 00:12:32,041 ♪ IN A LITTLE BITTY POOL ♪ 363 00:12:32,041 --> 00:12:33,834 ♪ SWAM THREE LITTLE FISHIES ♪ 364 00:12:33,834 --> 00:12:36,999 ♪ AND A MOM OF FISHY, TOO ♪ 365 00:12:36,999 --> 00:12:38,083 A SING-ALONG, YOU WOULD ALL 366 00:12:38,083 --> 00:12:40,834 KNOW THE WORDS. 367 00:12:40,834 --> 00:12:41,999 HE WAS A GREAT PIANO PLAYER, 368 00:12:41,999 --> 00:12:43,208 BUT I DON'T THINK THAT THAT'S 369 00:12:43,208 --> 00:12:45,041 WHAT SOLD OUT RADIO CITY MUSIC 370 00:12:45,041 --> 00:12:46,750 HALL THREE YEARS IN A ROW. 371 00:12:46,750 --> 00:12:49,166 I THINK IT WAS HIS WARMTH AND 372 00:12:49,166 --> 00:12:51,750 GENEROUS SPIRIT THAT SOMEHOW GOT 373 00:12:51,750 --> 00:12:54,291 OVER THOSE FOOTLIGHTS AND 374 00:12:54,291 --> 00:12:55,917 REACHED THOSE DEVOTED FANS OF 375 00:12:55,917 --> 00:12:56,999 HIS. 376 00:12:56,999 --> 00:12:58,999 I THINK HE NEEDED -- HE NEEDED 377 00:12:58,999 --> 00:13:00,291 THAT FEEDBACK FROM THE AUDIENCE 378 00:13:00,291 --> 00:13:02,417 HIS WHOLE LIFE. 379 00:13:02,417 --> 00:13:04,375 THAT'S A NICE LITTLE SONG! 380 00:13:04,375 --> 00:13:06,208 HIS COSTUMES DEVELOPED FROM 381 00:13:06,208 --> 00:13:07,583 THOSE EARLY PERFORMANCES WHERE 382 00:13:07,583 --> 00:13:09,041 HE WAS WORKING LARGER AND LARGER 383 00:13:09,041 --> 00:13:11,125 AUDIENCES AND WANTED TO BE SEEN, 384 00:13:11,125 --> 00:13:12,166 AND HE WAS NOT AFRAID TO JUST 385 00:13:12,166 --> 00:13:14,291 KEEP GOING. 386 00:13:14,291 --> 00:13:16,750 MY FRIENDS WENT NUTS OVER THE 387 00:13:16,750 --> 00:13:18,999 MIX OF STYLES. 388 00:13:18,999 --> 00:13:20,709 HE COULD GO AS FAR AS HE 389 00:13:20,709 --> 00:13:22,625 WANTED TO GO, MAINLY BECAUSE 390 00:13:22,625 --> 00:13:24,542 THERE WAS ALWAYS A TWINKLE IN 391 00:13:24,542 --> 00:13:25,917 HIS EYE. 392 00:13:25,917 --> 00:13:29,583 IT WAS ALWAYS SORT OF A JOKE, 393 00:13:29,583 --> 00:13:30,999 AND IT WAS IMPOSSIBLE TO LAUGH 394 00:13:30,999 --> 00:13:32,999 AT HIM BECAUSE HE WAS LAUGHING 395 00:13:32,999 --> 00:13:34,041 WAY BEFORE ANY OF THE CRITICS 396 00:13:34,041 --> 00:13:35,667 WERE. 397 00:13:35,667 --> 00:13:37,917 WE STARTED OUT WITH CAPES, 398 00:13:37,917 --> 00:13:39,667 BUT THEN ELVIS WENT TO CAPES, SO 399 00:13:39,667 --> 00:13:41,250 WE HAD TO LENGTHEN OURS TO 400 00:13:41,250 --> 00:13:47,000 CLOAKS, AND THAT LED TO ROBES. 401 00:13:47,000 --> 00:13:49,166 I KNOW. 402 00:13:49,166 --> 00:13:51,999 HE ALWAYS AIMED FOR THIS 403 00:13:51,999 --> 00:13:54,875 ELEGANT HOLLYWOOD IMAGE, SO HE 404 00:13:54,875 --> 00:13:56,375 ALWAYS WORE TAILS OR A TUX. 405 00:13:56,375 --> 00:13:58,999 AND THERE'S ONE LAST PIECE. 406 00:13:58,999 --> 00:14:00,625 I SAW IT IN A MOVIE ABOUT MY 407 00:14:00,625 --> 00:14:04,166 FAVORITE COMPOSER, CHOPIN. 408 00:14:04,166 --> 00:14:05,999 IN ONE SCENE, HE DIDN'T HAVE 409 00:14:05,999 --> 00:14:07,999 ENOUGH LIGHT TO PLAY, SO A CUTE 410 00:14:07,999 --> 00:14:10,750 LITTLE MAID PUT ONE OF THESE 411 00:14:10,750 --> 00:14:14,875 RIGHT ON HIS PIANO. 412 00:14:14,875 --> 00:14:15,917 I THOUGHT IT LOOKED PRETTY 413 00:14:15,917 --> 00:14:17,917 CLASSY, SO I STARTED USING IT ON 414 00:14:17,917 --> 00:14:19,792 THOSE SUPPER CLUB TOURS. 415 00:14:19,792 --> 00:14:21,583 AND WOULDN'T YOU KNOW, 416 00:14:21,583 --> 00:14:24,999 IT BECAME MY TRADEMARK. 417 00:14:24,999 --> 00:14:27,250 NICE, HUH? 418 00:14:27,250 --> 00:14:29,417 BY THE TIME OF MY 35th 419 00:14:29,417 --> 00:14:31,834 BIRTHDAY IN 1954, I WAS THE 420 00:14:31,834 --> 00:14:34,333 BIGGEST STAR IN AMERICA. 421 00:14:34,333 --> 00:14:36,041 BETWEEN MY TOUR DATES, 422 00:14:36,041 --> 00:14:38,959 ENDORSEMENTS, TV RESIDUALS, 423 00:14:38,959 --> 00:14:40,458 AND RECORD ROYALTIES, I PULLED 424 00:14:40,458 --> 00:14:42,125 IN MORE THAN A MILLION DOLLARS 425 00:14:42,125 --> 00:14:45,999 THAT YEAR PLAYING THE PIANO. 426 00:14:45,999 --> 00:14:49,208 PEOPLE REALLY LIKE THIS STORY 427 00:14:49,208 --> 00:14:51,667 FOR ALL THE GOOD AND FOR ALL THE 428 00:14:51,667 --> 00:14:53,959 BAD, HE IS SORT OF THE 429 00:14:53,959 --> 00:14:54,999 EMBODIMENT OF WHAT WE USED TO 430 00:14:54,999 --> 00:14:56,625 CALL THE AMERICAN DREAM. 431 00:14:56,625 --> 00:14:59,999 HE CAME FROM HUMBLE MILWAUKEE 432 00:14:59,999 --> 00:15:03,208 ORIGINS, A WORKING-CLASS FAMILY 433 00:15:03,208 --> 00:15:05,875 IN THIS WORKING-CLASS IMMIGRANT 434 00:15:05,875 --> 00:15:08,458 NEIGHBORHOOD OF WEST ALLIS, 435 00:15:08,458 --> 00:15:10,208 AND HE WORKED, AND HE CREATED 436 00:15:10,208 --> 00:15:12,959 THIS THING FOR HIMSELF. 437 00:15:12,959 --> 00:15:14,291 AND SO I THINK THERE IS THIS 438 00:15:14,291 --> 00:15:17,291 APPEAL OF THIS SELF-MADE 439 00:15:17,291 --> 00:15:21,333 AMERICAN WHO WENT TO BEING THE 440 00:15:21,333 --> 00:15:23,917 HIGHEST PAID ENTERTAINER IN THE 441 00:15:23,917 --> 00:15:24,709 WORLD AT VARIOUS TIMES IN HIS 442 00:15:24,709 --> 00:15:26,458 LIFE. 443 00:15:26,458 --> 00:15:27,625 I HOPE THAT AUDIENCES WALK 444 00:15:27,625 --> 00:15:30,750 OUT WITH A GREATER APPRECIATION 445 00:15:30,750 --> 00:15:31,999 FOR WHO HE WAS, WHAT HE 446 00:15:31,999 --> 00:15:35,709 STRUGGLED WITH IN HIS LIFE, AND 447 00:15:35,709 --> 00:15:38,625 THE REAL SUCCESS THAT HE HAD, TO 448 00:15:38,625 --> 00:15:41,999 FIND A WAY TO EXECUTE HIS ART 449 00:15:41,999 --> 00:15:43,041 AND TO SHARE THE MUSIC THAT HE 450 00:15:43,041 --> 00:15:44,417 LOVED WITH PEOPLE, IF WE'RE 451 00:15:44,417 --> 00:15:45,625 WILLING TO HONOR AND CELEBRATE 452 00:15:45,625 --> 00:15:47,208 OURSELVES FOR WHO WE ARE AS 453 00:15:47,208 --> 00:15:48,625 INDIVIDUALS THAT THE WORLD 454 00:15:48,625 --> 00:15:49,834 BECOMES A RICHER, MORE 455 00:15:49,834 --> 00:15:51,959 INTERESTING PLACE AS A RESULT. 456 00:15:54,917 --> 00:15:55,959 YOU CAN FIND OUT MORE BY 457 00:15:55,959 --> 00:15:57,208 VISITING: 458 00:16:00,667 --> 00:16:02,208 > ONE OF THE WORLD'S 459 00:16:02,208 --> 00:16:03,999 PREEMINENT BALLET COMPANIES, 460 00:16:03,999 --> 00:16:06,583 THE AMERICAN BALLET THEATRE, 461 00:16:06,583 --> 00:16:07,834 IS CELEBRATING ITS 75th 462 00:16:07,834 --> 00:16:08,999 ANNIVERSARY. 463 00:16:08,999 --> 00:16:10,333 AMERICAN MASTERS IN 464 00:16:10,333 --> 00:16:11,500 COLLABORATION WITH FILMMAKER 465 00:16:11,500 --> 00:16:13,500 RIC BURNS, PRESENTS 466 00:16:13,500 --> 00:16:15,125 "AMERICAN BALLET THEATRE: 467 00:16:15,125 --> 00:16:17,000 A HISTORY," DELVING INTO THE 468 00:16:17,000 --> 00:16:18,250 RICH STORY OF THIS BALLET 469 00:16:18,250 --> 00:16:19,999 COMPANY. 470 00:16:19,999 --> 00:16:21,166 HERE'S A LOOK. 471 00:16:24,667 --> 00:16:26,500 [ MUSIC ] 472 00:16:26,500 --> 00:16:27,959 "AMERICAN BALLET THEATRE: A 473 00:16:27,959 --> 00:16:30,000 HISTORY," A COPRODUCTION BETWEEN 474 00:16:30,000 --> 00:16:31,417 PBS SERIES AMERICAN MASTERS 475 00:16:31,417 --> 00:16:35,166 AND FILMMAKER RIC BURNS. 476 00:16:35,166 --> 00:16:36,999 I THINK WHAT FILM CAN BRING 477 00:16:36,999 --> 00:16:40,166 TO DANCE IS AN ACT OF ATTENTION 478 00:16:40,166 --> 00:16:41,999 THAT, IN ESSENCE, WHETHER IT IS 479 00:16:41,999 --> 00:16:43,125 LITERALLY SLOWING IT DOWN IN 480 00:16:43,125 --> 00:16:44,625 SUPER SLOW MOTION SO WE HAVE 481 00:16:44,625 --> 00:16:45,999 THIS FOOTAGE USING A PHANTOM 482 00:16:45,999 --> 00:16:47,959 FLEX CAMERA WHICH SHOOTS 1500 TO 483 00:16:47,959 --> 00:16:49,583 2500 FRAMES A SECOND. 484 00:16:49,583 --> 00:16:50,999 THAT TAKES TEN SECONDS AND TURNS 485 00:16:50,999 --> 00:16:53,375 IT INTO TEN MINUTES. 486 00:16:53,375 --> 00:16:54,959 LITERALLY SLOWING IT DOWN OR 487 00:16:54,959 --> 00:16:56,125 FIGURATIVELY SLOWING IT DOWN, 488 00:16:56,125 --> 00:16:57,999 SOMEBODY WHO HAS INTERNALIZED IT 489 00:16:57,999 --> 00:16:59,542 AND CAN THINK AND FEEL AND 490 00:16:59,542 --> 00:17:01,999 ARTICULATE, PUT INTO WORDS 491 00:17:01,999 --> 00:17:03,917 PROVISIONALLY WHAT'S GOING ON 492 00:17:03,917 --> 00:17:04,875 FOR A DANCER, FOR A 493 00:17:04,875 --> 00:17:06,250 CHOREOGRAPHER IN A PIECE IN THE 494 00:17:06,250 --> 00:17:07,999 HISTORY OF BALLET. 495 00:17:07,999 --> 00:17:08,999 SO WHETHER IT'S 496 00:17:08,999 --> 00:17:10,917 KEVIN McKENZIE, INCREDIBLE 497 00:17:10,917 --> 00:17:11,999 ARTISTIC DIRECTOR, OR SOMEBODY 498 00:17:11,999 --> 00:17:13,125 OUTSIDE THE COMPANY ENTIRELY. 499 00:17:13,125 --> 00:17:14,375 LIKE A WONDERFUL DANCE 500 00:17:14,375 --> 00:17:16,999 HISTORIAN, JENNIFER HOMANS, 501 00:17:16,999 --> 00:17:18,792 THEY'RE, IN ESSENCE, SLOWING IT 502 00:17:18,792 --> 00:17:22,291 DOWN SO THAT WE CAN THINK AND 503 00:17:22,291 --> 00:17:24,375 FEEL AT A SLIGHTLY MORE DILATED 504 00:17:24,375 --> 00:17:27,250 PACE. 505 00:17:27,250 --> 00:17:28,959 AND WHAT YOU REALIZE IS WHAT YOU 506 00:17:28,959 --> 00:17:30,291 WOULD FEEL IF IT WERE GOING AT 507 00:17:30,291 --> 00:17:32,834 NORMAL SPEED. 508 00:17:32,834 --> 00:17:34,625 THIS IS A FORM, WHICH HOWEVER 509 00:17:34,625 --> 00:17:35,917 MUCH YOU THINK IT'S LIKE PLAYING 510 00:17:35,917 --> 00:17:37,999 TO A KIND OF TUTU CROWD OR IT'S 511 00:17:37,999 --> 00:17:40,041 ELITIST, THIS IS THE MOST PRIMAL 512 00:17:40,041 --> 00:17:42,417 HUMAN FORM OF EXPRESSION. 513 00:17:42,417 --> 00:17:45,041 BEFORE WE TALKED, WE GESTURED TO 514 00:17:45,041 --> 00:17:48,750 COMMUNICATE. 515 00:17:48,750 --> 00:17:50,166 AND WHAT THESE DANCERS ARE 516 00:17:50,166 --> 00:17:52,291 DOING, HOWEVER MUCH IT SEEMS TO 517 00:17:52,291 --> 00:17:54,000 BE IN THIS CODIFIED RITUALIZED 518 00:17:54,000 --> 00:17:55,125 FORM, IS THEY ARE USING THE 519 00:17:55,125 --> 00:17:57,083 LANGUAGE OF THE HUMAN SOUL 520 00:17:57,083 --> 00:17:58,792 THAT'S BEEN INSIDE BODIES TRYING 521 00:17:58,792 --> 00:17:59,959 TO COMMUNICATE. 522 00:17:59,959 --> 00:18:01,500 DEEP FEELINGS. 523 00:18:01,500 --> 00:18:04,667 LOVE, HATE, DESPAIR, ANGUISH, 524 00:18:04,667 --> 00:18:06,999 WHAT IT IS TO BE A HUMAN BEING. 525 00:18:06,999 --> 00:18:09,875 WHILE IT CAN ALWAYS BE 526 00:18:09,875 --> 00:18:11,999 TRIVIALIZED OR IT CAN BE DONE IN 527 00:18:11,999 --> 00:18:13,291 A CARTOONISH WAY OR IN A WAY 528 00:18:13,291 --> 00:18:14,999 THAT LEAVES AN AUDIENCE COLD, 529 00:18:14,999 --> 00:18:16,792 WHEN DANCE WORKS, WHEN BALLET 530 00:18:16,792 --> 00:18:17,959 WORKS, THERE'S NOT A HUMAN BEING 531 00:18:17,959 --> 00:18:18,875 IN THE WORLD WHO WOULDN'T 532 00:18:18,875 --> 00:18:20,417 RESPOND TO IT. 533 00:18:21,250 --> 00:18:27,999 [ MUSIC ] 534 00:18:27,999 --> 00:18:29,999 IT'S A HISTORY BOTH OF 535 00:18:29,999 --> 00:18:31,999 BALLET, THE ART FORM, THIS 536 00:18:31,999 --> 00:18:33,291 COMPANY, WHICH IS THE AMERICAN 537 00:18:33,291 --> 00:18:35,542 BALLET COMPANY, AND IT'S 538 00:18:35,542 --> 00:18:36,417 DESIGNATED AS SUCH BY OUR 539 00:18:36,417 --> 00:18:37,667 GOVERNMENT. 540 00:18:37,667 --> 00:18:39,333 IT TOURS THE WORLD, AND IT'S 541 00:18:39,333 --> 00:18:41,959 DIVERSE. 542 00:18:41,959 --> 00:18:44,999 IT REPRESENTS US AS AMERICANS. 543 00:18:44,999 --> 00:18:46,291 AMERICAN BALLET THEATRE IS 544 00:18:46,291 --> 00:18:48,250 THE OLDEST AMERICAN COMPANY BUT 545 00:18:48,250 --> 00:18:49,999 VERY, VERY YOUNG AS COMPANIES 546 00:18:49,999 --> 00:18:51,250 GO, AND I THINK IT'S GOING TO 547 00:18:51,250 --> 00:18:52,999 REMAIN YOUTHFUL. 548 00:18:54,083 --> 00:19:09,375 [ MUSIC ] 549 00:19:09,375 --> 00:19:12,083 I'VE JUST FOUND THE ART FILMS 550 00:19:12,083 --> 00:19:13,333 THAT I'VE HAD THE GOOD FORTUNE 551 00:19:13,333 --> 00:19:15,250 TO BE ABLE TO WORK ON ARE THE 552 00:19:15,250 --> 00:19:16,542 MOST HUMBLING BECAUSE THEY ARE 553 00:19:16,542 --> 00:19:17,875 THE ONES WHERE YOU JUST REALIZE 554 00:19:17,875 --> 00:19:18,917 NOBODY IS DOING IT FOR THE 555 00:19:18,917 --> 00:19:21,000 MONEY. 556 00:19:21,000 --> 00:19:22,208 WHEN YOU GO TO THE THEATER OR 557 00:19:22,208 --> 00:19:23,917 YOU SEE A MOVIE OR YOU READ A 558 00:19:23,917 --> 00:19:26,500 BOOK, THAT PROFOUNDLY STAYS WITH 559 00:19:26,500 --> 00:19:28,834 YOU. 560 00:19:28,834 --> 00:19:29,999 AND EVERYBODY HAS AT LEAST ONE 561 00:19:29,999 --> 00:19:30,999 OF THOSE EXPERIENCES IN THEIR 562 00:19:30,999 --> 00:19:32,999 LIFE. 563 00:19:32,999 --> 00:19:35,999 YOU DON'T HAVE TO KNOW WHY. 564 00:19:35,999 --> 00:19:38,625 IT JUST REPRESENTS THAT THAT IS 565 00:19:38,625 --> 00:19:40,125 A FORM OF COMMUNICATION THROUGH 566 00:19:40,125 --> 00:19:44,792 ART THAT TOUCHES TO THE VERY 567 00:19:44,792 --> 00:19:46,667 SOUL OF WHAT WE AS HUMAN BEINGS 568 00:19:46,667 --> 00:19:50,125 AND A SOCIETY ARE CAPABLE OF. 569 00:19:50,125 --> 00:19:51,834 POWERFUL FILMMAKING, BUT THAT 570 00:19:51,834 --> 00:19:53,750 COMES AS NO SURPRISE, 571 00:19:53,750 --> 00:19:55,917 CONSIDERING THAT RIC BURNS IS 572 00:19:55,917 --> 00:19:59,875 YOUNGER BROTHER TO KEN BURNS. 573 00:19:59,875 --> 00:20:00,959 WE'RE CLOSE IN AGE. 574 00:20:00,959 --> 00:20:02,041 KEN IS A YEAR AND A HALF OLDER 575 00:20:02,041 --> 00:20:03,333 THAN I AM. 576 00:20:03,333 --> 00:20:04,792 YOU KNOW, WE SHARED KIND OF 577 00:20:04,792 --> 00:20:06,750 GARDEN VARIETY DYSFUNCTIONAL 578 00:20:06,750 --> 00:20:08,250 CHILDHOOD. 579 00:20:08,250 --> 00:20:09,709 SO WE KIND OF HAD OURSELVES MORE 580 00:20:09,709 --> 00:20:12,125 THAN ANYBODY ELSE. 581 00:20:12,125 --> 00:20:13,458 LIKE EVERYBODY, YOU KNOW, I 582 00:20:13,458 --> 00:20:14,625 THINK WE BROUGHT A FAIR AMOUNT 583 00:20:14,625 --> 00:20:16,041 OF PAIN AND DAMAGE OUT OF OUR 584 00:20:16,041 --> 00:20:18,166 CHILDHOOD. 585 00:20:18,166 --> 00:20:19,375 AND I DIDN'T THINK I WAS GOING 586 00:20:19,375 --> 00:20:20,250 TO BE A FILMMAKER UNTIL I 587 00:20:20,250 --> 00:20:21,041 WATCHED KEN. 588 00:20:21,041 --> 00:20:21,999 SO, BASICALLY, I JUST WENT INTO 589 00:20:21,999 --> 00:20:23,083 HIS BUSINESS. 590 00:20:23,083 --> 00:20:24,709 I'M THE LITTLE BROTHER. 591 00:20:24,709 --> 00:20:25,709 SO, YOU KNOW, IT WAS LIKE, 592 00:20:25,709 --> 00:20:26,458 IF HE PLAYED CIVIL WAR, 593 00:20:26,458 --> 00:20:27,417 I PLAYED CIVIL WAR. 594 00:20:27,417 --> 00:20:28,999 ALWAYS THE REBEL. 595 00:20:28,999 --> 00:20:30,999 NEVER THE UNION CAUSE, 596 00:20:30,999 --> 00:20:31,625 BUT THAT'S BECAUSE I WAS THE 597 00:20:31,625 --> 00:20:33,834 YOUNGER BROTHER. 598 00:20:33,834 --> 00:20:35,875 AND, YOU KNOW, I'M SO GRATEFUL 599 00:20:35,875 --> 00:20:37,083 TO HIM FOR HAVING SHOWED THE 600 00:20:37,083 --> 00:20:38,792 WAY BECAUSE I DON'T KNOW -- HE 601 00:20:38,792 --> 00:20:40,041 KIND OF SHOWED HIMSELF THE WAY. 602 00:20:40,041 --> 00:20:41,166 AND I THOUGHT I WAS GOING TO BE 603 00:20:41,166 --> 00:20:42,375 A PROFESSOR OF ENGLISH FOR A 604 00:20:42,375 --> 00:20:43,917 LONG TIME, AND I STILL LOVE ALL 605 00:20:43,917 --> 00:20:46,999 THAT KIND OF STUFF, BUT THE 606 00:20:46,999 --> 00:20:49,625 POWER OF WHAT FILM CAN BE AND 607 00:20:49,625 --> 00:20:51,999 IT'S NOTHING IF NOT HUMBLING 608 00:20:51,999 --> 00:20:53,709 BECAUSE YOU DON'T -- YOU KNOW, 609 00:20:53,709 --> 00:20:54,999 EVERYBODY PUTS THEIR PANTS ON 610 00:20:54,999 --> 00:20:56,333 ONE LEG AT A TIME, AND TO MAKE 611 00:20:56,333 --> 00:20:57,834 30 SECONDS OF FILM THAT CAUSE 612 00:20:57,834 --> 00:20:59,417 SOMEBODY VOLUNTARILY TO STOP 613 00:20:59,417 --> 00:21:01,208 OTHER THINGS THEY ARE DOING AND 614 00:21:01,208 --> 00:21:03,709 LOOK AND ATTEND TO IT, YOU KNOW, 615 00:21:03,709 --> 00:21:04,792 AS LONG AS I STAY IN THE 616 00:21:04,792 --> 00:21:05,875 BUSINESS, IT DOESN'T GET ANY 617 00:21:05,875 --> 00:21:06,999 EASIER. 618 00:21:06,999 --> 00:21:08,291 AND I THINK THERE'S SOMETHING 619 00:21:08,291 --> 00:21:11,166 DEEPLY, DEEPLY MAGNETIC ABOUT 620 00:21:11,166 --> 00:21:12,959 LOOKING INTO PEOPLE WHO WORK IN 621 00:21:12,959 --> 00:21:13,999 THE ARTS. 622 00:21:13,999 --> 00:21:14,542 LIKE WHAT THE HELL ARE THEY 623 00:21:14,542 --> 00:21:15,333 DOING? 624 00:21:15,333 --> 00:21:17,458 WHY GO TO THAT KIND OF TROUBLE? 625 00:21:17,458 --> 00:21:18,500 YOU KNOW, LOOK HOW MUCH IT COST 626 00:21:18,500 --> 00:21:19,542 THEM. 627 00:21:19,542 --> 00:21:20,375 CAREERS ARE VERY OFTEN SHORT IN 628 00:21:20,375 --> 00:21:22,125 DANCE. 629 00:21:22,125 --> 00:21:23,000 VERY OFTEN MISERABLE IN 630 00:21:23,000 --> 00:21:24,917 LITERATURE. 631 00:21:24,917 --> 00:21:26,875 YOU KNOW, WHAT IS IT THAT PEOPLE 632 00:21:26,875 --> 00:21:27,709 ARE DOING WHEN THEY ARE MAKING 633 00:21:27,709 --> 00:21:28,667 ART? 634 00:21:28,667 --> 00:21:30,542 AND I FOUND THEM THE MOST 635 00:21:30,542 --> 00:21:32,999 SATISFYING FILMS TO WORK ON. 636 00:21:38,208 --> 00:21:39,875 VISIT: 637 00:21:47,959 --> 00:21:49,792 > HOUSTON, TEXAS, QUILTER 638 00:21:49,792 --> 00:21:51,709 KIM RITTER STRUGGLED WITH THE 639 00:21:51,709 --> 00:21:52,999 ADVICE OF A TEACHER WHO ADVISED 640 00:21:52,999 --> 00:21:55,999 HER TO "NEVER DO CUTE." 641 00:21:55,999 --> 00:21:57,458 AFTER MANY TRIALS AND 642 00:21:57,458 --> 00:21:58,999 TRIBULATIONS IN HER OWN LIFE, 643 00:21:58,999 --> 00:22:01,333 SHE DECIDED IT WAS TIME TO JUST 644 00:22:01,333 --> 00:22:03,999 BE HERSELF -- WHIMSICAL, IRONIC, 645 00:22:03,999 --> 00:22:06,917 AND FUNNY. 646 00:22:06,917 --> 00:22:09,125 JOIN RITTER AT HER STUDIO AS SHE 647 00:22:09,125 --> 00:22:10,792 TAKES US STEP BY STEP THROUGH 648 00:22:10,792 --> 00:22:13,208 HER CREATIVE PROCESS. 649 00:22:14,625 --> 00:22:16,999 [ MUSIC ] 650 00:22:16,999 --> 00:22:18,999 ART QUILTS STARTED, ACTUALLY, 651 00:22:18,999 --> 00:22:20,917 IN THE '70s, SORT OF DURING 652 00:22:20,917 --> 00:22:21,959 THE HIPPIE DAYS WHEN PEOPLE WERE 653 00:22:21,959 --> 00:22:23,667 GOING BACK TO MAKING WHOLE WHEAT 654 00:22:23,667 --> 00:22:25,999 BREAD AND TIE-DYE AND ALL THAT. 655 00:22:25,999 --> 00:22:27,083 THAT'S REALLY WHERE THE ART 656 00:22:27,083 --> 00:22:30,083 QUILT MOVEMENT STARTED. 657 00:22:30,083 --> 00:22:32,000 I COME TO MY STUDIO EVERY DAY, 658 00:22:32,000 --> 00:22:34,625 AND I SIT, AND I JUST WRITE AND 659 00:22:34,625 --> 00:22:36,583 THINK OF IDEAS AND JUST MAKE 660 00:22:36,583 --> 00:22:37,999 NOTES. 661 00:22:37,999 --> 00:22:39,375 I HAVE A PILE ABOUT THIS BIG OF 662 00:22:39,375 --> 00:22:40,834 IDEAS AND SKETCHES THAT ARE 663 00:22:40,834 --> 00:22:42,667 WAITING TO BE MADE INTO QUILTS. 664 00:22:45,083 --> 00:22:46,959 I'M KIM RITTER, 665 00:22:46,959 --> 00:22:49,834 AND I'M AN ART QUILTER. 666 00:22:49,834 --> 00:22:51,250 AN ART QUILT IS BASICALLY A 667 00:22:51,250 --> 00:22:53,458 PIECE OF ART THAT'S REFERENCING 668 00:22:53,458 --> 00:22:56,291 THE QUILT FORM. 669 00:22:56,291 --> 00:22:58,250 SO ART IS SOMETHING, A CREATIVE 670 00:22:58,250 --> 00:22:59,917 VISUAL WORK THAT COMES FROM 671 00:22:59,917 --> 00:23:01,999 THOUGHT AND BECOMES FORM. 672 00:23:01,999 --> 00:23:03,500 AND A QUILT IS SOMETHING THAT IS 673 00:23:03,500 --> 00:23:04,583 THREE LAYERS AND IS STITCHED 674 00:23:04,583 --> 00:23:06,000 TOGETHER. 675 00:23:06,000 --> 00:23:07,999 SO BASICALLY AN ART QUILT IS A 676 00:23:07,999 --> 00:23:09,250 CREATIVE VISUAL WORK THAT IS 677 00:23:09,250 --> 00:23:11,250 STITCHED AND LAYERED. 678 00:23:11,250 --> 00:23:12,750 I'VE BEEN AN ARTIST MY WHOLE 679 00:23:12,750 --> 00:23:14,291 LIFE, AND I WAS A COLLECTOR OF 680 00:23:14,291 --> 00:23:15,999 TRADITIONAL QUILTS. 681 00:23:15,999 --> 00:23:18,166 WHEN WE MOVED TO LONDON, I TOOK 682 00:23:18,166 --> 00:23:19,625 A LITTLE CLASS THAT I THOUGHT 683 00:23:19,625 --> 00:23:20,709 WAS JUST GOING TO BE A CLASS TO 684 00:23:20,709 --> 00:23:21,667 MEET FRIENDS, AND IT ENDED UP 685 00:23:21,667 --> 00:23:23,667 BEING A CITY AND GUILDS CLASS, 686 00:23:23,667 --> 00:23:25,500 WHICH IS SET UP TO RETAIN AND 687 00:23:25,500 --> 00:23:26,999 FURTHER THE TRADITIONAL CRAFT OF 688 00:23:26,999 --> 00:23:29,125 THE UK. 689 00:23:29,125 --> 00:23:30,667 AFTER I TOOK THAT TWO-YEAR 690 00:23:30,667 --> 00:23:31,834 CLASS, I WAS PRETTY MUCH SET UP 691 00:23:31,834 --> 00:23:32,875 AND READY TO GO TO BE AN 692 00:23:32,875 --> 00:23:34,709 ART QUILTER. 693 00:23:37,166 --> 00:23:38,999 THE STEPS OF MAKING AN ART QUILT 694 00:23:38,999 --> 00:23:39,959 ARE, FIRST, YOU HAVE TO COME UP 695 00:23:39,959 --> 00:23:41,583 WITH A DESIGN. 696 00:23:41,583 --> 00:23:42,834 I GET THE IDEAS, AND I PARE DOWN 697 00:23:42,834 --> 00:23:44,291 TO ONE IDEA THAT SEEMS TO BE 698 00:23:44,291 --> 00:23:46,083 RIGHT FOR THE MOMENT THAT I'M 699 00:23:46,083 --> 00:23:47,709 WORKING IN. 700 00:23:47,709 --> 00:23:49,000 AND THEN I TAKE THE DRAWING AND 701 00:23:49,000 --> 00:23:52,125 I SCAN IT INTO MY COMPUTER. 702 00:23:52,125 --> 00:23:53,959 SO THEN FINALLY I PRINT OUT THE 703 00:23:53,959 --> 00:23:56,333 QUILT. 704 00:23:56,333 --> 00:23:57,792 PART OF WHY I DO THE PRINTING IS 705 00:23:57,792 --> 00:23:58,917 I DON'T LIKE PIECING. 706 00:23:58,917 --> 00:24:00,208 IT'S A LITTLE BIT OF A CHEAT, 707 00:24:00,208 --> 00:24:01,250 BUT -- 708 00:24:01,250 --> 00:24:03,999 [ LAUGHTER ] 709 00:24:05,458 --> 00:24:06,417 SO THEN AFTER YOU ACTUALLY HAVE 710 00:24:06,417 --> 00:24:08,166 THE QUILT TOP, THEN YOU HAVE TO 711 00:24:08,166 --> 00:24:09,750 LAYER IT IN THREE LAYERS. 712 00:24:09,750 --> 00:24:11,417 YOU HAVE THE TOP, THE BATTING, 713 00:24:11,417 --> 00:24:13,250 WHICH IS THE THICK SOFT STUFF, 714 00:24:13,250 --> 00:24:15,999 AND THEN THE BACKING. 715 00:24:15,999 --> 00:24:17,792 THEN YOU HAVE THREE LAYERS, 716 00:24:17,792 --> 00:24:18,999 QUILTED WITH THE THREAD YOU 717 00:24:18,999 --> 00:24:19,999 WANTED, AND THE COLORS YOU 718 00:24:19,999 --> 00:24:22,917 WANTED. 719 00:24:22,917 --> 00:24:24,250 THEN YOU TAKE IT OFF THE FRAME 720 00:24:24,250 --> 00:24:25,542 AND YOU HAVE TO TRIM IT. 721 00:24:25,542 --> 00:24:26,750 AND THEN YOU PUT ON WHAT IS 722 00:24:26,750 --> 00:24:27,875 CALLED THE BINDING, WHICH IS 723 00:24:27,875 --> 00:24:28,917 WHAT YOU SEE GOING AROUND THE 724 00:24:28,917 --> 00:24:30,500 QUILTS, THE LITTLE THIN EDGE. 725 00:24:30,500 --> 00:24:31,458 AND THEN YOU'RE DONE -- WELL, 726 00:24:31,458 --> 00:24:32,917 CUT OFF ALL THE THREADS. 727 00:24:32,917 --> 00:24:34,667 [ LAUGHTER ] 728 00:24:35,999 --> 00:24:37,750 I THINK MY BIGGEST INSPIRATION 729 00:24:37,750 --> 00:24:38,834 FOR ART QUILTS HAS BEEN DAILY 730 00:24:38,834 --> 00:24:40,083 LIFE. 731 00:24:40,083 --> 00:24:41,291 WHAT I'M REALLY WELL KNOWN FOR 732 00:24:41,291 --> 00:24:42,166 ARE MY QUILTS THAT ARE ABOUT 733 00:24:42,166 --> 00:24:44,417 WOMEN. 734 00:24:44,417 --> 00:24:45,917 SO THAT HAS BEEN REALLY MY FOCUS 735 00:24:45,917 --> 00:24:46,999 FOR MOST OF THE TIME. 736 00:24:46,999 --> 00:24:47,999 I ALSO DO SOME THINGS ABOUT 737 00:24:47,999 --> 00:24:49,041 PETS. 738 00:24:49,041 --> 00:24:50,458 RECENTLY, I GUESS ALL THE 739 00:24:50,458 --> 00:24:52,250 READING OF DRAGONS KIND OF CREPT 740 00:24:52,250 --> 00:24:53,999 INTO MY HEAD, AND I HAD A WHOLE 741 00:24:53,999 --> 00:24:54,999 SERIES OF DRAGON QUILTS THAT 742 00:24:54,999 --> 00:24:57,458 JUST SHOWED UP FROM PEN AND HAD 743 00:24:57,458 --> 00:24:59,333 TO GO STRAIGHT TO BEING QUILTED 744 00:24:59,333 --> 00:25:00,250 BECAUSE I JUST LOVED THEM SO 745 00:25:00,250 --> 00:25:01,417 MUCH. 746 00:25:01,417 --> 00:25:02,709 MY DRAGONS DON'T BREATHE FIRE. 747 00:25:02,709 --> 00:25:03,999 THEY EAT CHERRIES. 748 00:25:03,999 --> 00:25:05,500 [ LAUGHTER ] 749 00:25:07,583 --> 00:25:10,583 IN 2008, OUR HOUSE GOT HIT BY 750 00:25:10,583 --> 00:25:11,999 HURRICANE IKE PRETTY BAD. 751 00:25:11,999 --> 00:25:13,291 WE WERE LIVING DOWN IN 752 00:25:13,291 --> 00:25:14,291 CLEAR LAKE, SO WE MOVED UP HERE 753 00:25:14,291 --> 00:25:15,875 TO MY STUDIO. 754 00:25:15,875 --> 00:25:17,083 AND I NEVER DID ADDRESS THOSE IN 755 00:25:17,083 --> 00:25:18,291 MY QUILTS. 756 00:25:18,291 --> 00:25:20,750 SIX YEARS LATER, HERE I AM, 757 00:25:20,750 --> 00:25:21,959 AND ALL THESE DRAWINGS KEEP 758 00:25:21,959 --> 00:25:23,083 COMING UP WITH THIS SORT OF 759 00:25:23,083 --> 00:25:24,333 CIRCULAR MOTION. 760 00:25:24,333 --> 00:25:25,667 I FINALLY REALIZED THOSE WERE 761 00:25:25,667 --> 00:25:28,125 THE HURRICANE QUILTS. 762 00:25:28,125 --> 00:25:30,333 THE QUILT WITH MY MOTHER ON IT 763 00:25:30,333 --> 00:25:31,625 IS AN HOMAGE TO HER. 764 00:25:31,625 --> 00:25:32,834 SHE IS THE ONE THAT TAUGHT ME 765 00:25:32,834 --> 00:25:33,999 HOW TO SEW AND TAUGHT ME TO BE 766 00:25:33,999 --> 00:25:35,083 REALLY CREATIVE. 767 00:25:35,083 --> 00:25:36,041 SHE TAUGHT ME HOW TO DRAW. 768 00:25:36,041 --> 00:25:37,959 SHE TAUGHT ME HOW TO KNIT. 769 00:25:37,959 --> 00:25:39,375 SHE TAUGHT ME HOW TO DO ALL THE 770 00:25:39,375 --> 00:25:40,999 THINGS THAT WOMEN DO TO MAKE 771 00:25:40,999 --> 00:25:43,417 ART. 772 00:25:43,417 --> 00:25:44,709 WHEN I'M MAKING MY ART QUILTS, I 773 00:25:44,709 --> 00:25:45,999 JUST LOVE THE FACT THAT YOU GET 774 00:25:45,999 --> 00:25:47,709 ZONED IN AND ALL THE OTHER 775 00:25:47,709 --> 00:25:48,999 WORRIES OF THE WORLD GO AWAY 776 00:25:48,999 --> 00:25:51,959 WHEN YOU'RE WORKING ON ART. 777 00:25:51,959 --> 00:25:53,250 WHEN PEOPLE COME AND LOOK AT MY 778 00:25:53,250 --> 00:25:54,834 WORK, WHAT MAKES ME THE HAPPIEST 779 00:25:54,834 --> 00:25:55,999 IS WHEN I HEAR A LITTLE CHUCKLE 780 00:25:55,999 --> 00:25:57,709 OR SEE A LITTLE SMILE AND I CAN 781 00:25:57,709 --> 00:25:59,583 SEE THE WHEELS TURNING IN THEIR 782 00:25:59,583 --> 00:26:01,542 HEAD OF CONNECTING THE TITLE TO 783 00:26:01,542 --> 00:26:02,750 THE PIECE AND KIND OF SEEING 784 00:26:02,750 --> 00:26:04,000 WHAT I'M TRYING TO DO. 785 00:26:04,000 --> 00:26:05,583 SO THAT'S REALLY WHAT I WANT 786 00:26:05,583 --> 00:26:07,250 THEM TO TAKE AWAY IS A SMILE AND 787 00:26:07,250 --> 00:26:08,709 SOMETHING ELSE TO THINK ABOUT 788 00:26:08,709 --> 00:26:10,291 AFTER THEY ARE DONE. 789 00:26:13,375 --> 00:26:15,667 FOR MORE INFORMATION, VISIT: 790 00:26:18,417 --> 00:26:19,999 AND THAT WRAPS IT UP FOR THIS 791 00:26:19,999 --> 00:26:22,917 EDITION OF "WEDU ARTS PLUS." 792 00:26:22,917 --> 00:26:24,291 FOR MORE ARTS AND CULTURE, 793 00:26:24,291 --> 00:26:27,999 VISIT wedu.org/artsplus WHERE 794 00:26:27,999 --> 00:26:29,750 YOU'LL FIND FEATURE VIDEOS, 795 00:26:29,750 --> 00:26:30,917 LOCAL EVENTS, AND ARTS AND 796 00:26:30,917 --> 00:26:32,333 CULTURE PARTNERS. 797 00:26:32,333 --> 00:26:33,834 UNTIL NEXT TIME, 798 00:26:33,834 --> 00:26:34,709 I'M GABE ORTIZ. 799 00:26:34,709 --> 00:26:35,999 THANKS FOR WATCHING. 800 00:26:42,083 --> 00:26:57,750 [ MUSIC ] 801 00:26:57,750 --> 00:26:58,834 MAJOR FUNDING FOR 802 00:26:58,834 --> 00:27:00,625 "WEDU ARTS PLUS" IS PROVIDED 803 00:27:00,625 --> 00:27:01,999 THROUGH THE GREATER CINCINNATI 804 00:27:01,999 --> 00:27:03,999 FOUNDATION BY AN ARTS-LOVING 805 00:27:03,999 --> 00:27:05,417 DONOR WHO ENCOURAGES OTHERS TO 806 00:27:05,417 --> 00:27:08,166 SUPPORT YOUR PBS STATION, WEDU. 807 00:27:08,166 --> 00:27:11,000 FUNDING IS ALSO PROVIDED BY THE 808 00:27:11,000 --> 00:27:11,667 S.L. GIMBEL FOUNDATION.