WEBVTT 00:03.917 --> 00:05.250 THIS SPECIAL PRESENTATION WAS 00:05.250 --> 00:06.999 PRODUCED IN HIGH DEFINITION BY 00:06.999 --> 00:08.208 WEDU -- TAMPA, ST. PETERSBURG, 00:08.208 --> 00:11.250 SARASOTA. 00:11.250 --> 00:12.792 MAJOR FUNDING FOR 00:12.792 --> 00:14.208 "WEDU ARTS PLUS" IS PROVIDED 00:14.208 --> 00:15.834 THROUGH THE GREATER CINCINNATI 00:15.834 --> 00:17.333 FOUNDATION BY AN ARTS-LOVING 00:17.333 --> 00:19.041 DONOR WHO ENCOURAGES OTHERS TO 00:19.041 --> 00:22.208 SUPPORT YOUR PBS STATION, WEDU. 00:22.208 --> 00:23.667 FUNDING IS ALSO PROVIDED BY THE 00:23.667 --> 00:26.834 S.L. GIMBEL FOUNDATION. 00:26.834 --> 00:28.208 IN THIS EDITION OF 00:28.208 --> 00:31.000 "WEDU ARTS PLUS," A TAMPA BAY 00:31.000 --> 00:32.999 ARTIST BRINGS THE OCEAN INTO 00:32.999 --> 00:35.583 HOMES AROUND THE WORLD. 00:35.583 --> 00:38.333 I FINISH IT METICULOUSLY WITH 00:38.333 --> 00:40.458 SMALL SHELLS, AND I SEND IT OFF 00:40.458 --> 00:42.999 IN HOPES THAT IT WILL CREATE A 00:42.999 --> 00:44.333 PEACE AND AN APPRECIATION OF THE 00:44.333 --> 00:46.250 OCEAN IN THEIR HOME. 00:46.250 --> 00:47.875 THE LIFE OF A LEGENDARY 00:47.875 --> 00:48.999 PERFORMER THROUGH MUSIC AND 00:48.999 --> 00:50.999 MAGIC. 00:50.999 --> 00:53.542 I THINK IT WAS HIS WARMTH AND 00:53.542 --> 00:56.250 GENEROUS SPIRIT THAT SOMEHOW GOT 00:56.250 --> 00:58.625 OVER THOSE FOOTLIGHTS AND 00:58.625 --> 01:00.208 REACHED THOSE DEVOTED FANS OF 01:00.208 --> 01:01.750 HIS. 01:01.750 --> 01:03.083 A FILMMAKER SHEDS LIGHT ON A 01:03.083 --> 01:05.166 WORLD-RENOWNED BALLET COMPANY. 01:05.166 --> 01:06.417 THE AMERICAN BALLET THEATRE 01:06.417 --> 01:08.083 IS THE OLDEST AMERICAN COMPANY 01:08.083 --> 01:09.999 BUT VERY, VERY YOUNG AS 01:09.999 --> 01:11.834 COMPANIES GO, AND I THINK IT'S 01:11.834 --> 01:13.750 GOING TO REMAIN YOUTHFUL. 01:13.750 --> 01:14.834 AND DISCOVER THE ART OF 01:14.834 --> 01:16.875 QUILTING. 01:16.875 --> 01:18.083 AN ART QUILT IS BASICALLY A 01:18.083 --> 01:19.999 PIECE OF ART THAT'S REFERENCING 01:19.999 --> 01:21.999 THE QUILT FORM. 01:21.999 --> 01:23.750 SO, BASICALLY, AN ART QUILT IS A 01:23.750 --> 01:24.999 CREATIVE VISUAL WORK THAT IS 01:24.999 --> 01:26.542 SKETCHED AND LAYERED. 01:26.542 --> 01:27.583 IT'S ALL COMING UP NEXT ON 01:27.583 --> 01:29.834 "WEDU ARTS PLUS." 01:30.999 --> 01:44.999 [ MUSIC ] 01:44.999 --> 01:46.500 HELLO. 01:46.500 --> 01:47.999 I'M GABE ORTIZ, AND THIS IS 01:47.999 --> 01:50.125 "WEDU ARTS PLUS." 01:50.125 --> 01:53.500 A DAY ON THE BEACH WITH FAMILY, 01:53.500 --> 01:54.999 A SIMPLE PLEASURE THAT HEATHER 01:54.999 --> 01:56.417 KENDALL TREASURES. 01:56.417 --> 01:58.000 AND WITH GOOD REASON. 01:58.000 --> 01:59.959 ABOUT 40 YEARS AGO, YOUNG 01:59.959 --> 02:01.375 HEATHER PATIENTLY COMBED THE 02:01.375 --> 02:02.917 BEACH FOR SHELLS WITH HER COUSIN 02:02.917 --> 02:04.208 WHILE HER LITTLE BROTHER WAS 02:04.208 --> 02:06.999 SICK IN THE HOSPITAL. 02:06.999 --> 02:09.125 NOW, SHE'S TURNED A PASTIME INTO 02:09.125 --> 02:11.375 A SUCCESSFUL AND CREATIVE DESIGN 02:11.375 --> 02:13.333 ENDEAVOR. 02:15.000 --> 02:25.208 [ MUSIC ] 02:25.208 --> 02:26.291 HI. 02:26.291 --> 02:27.458 I'M HEATHER KENDALL. 02:27.458 --> 02:28.792 WELCOME TO MY HOME STUDIO WHERE 02:28.792 --> 02:30.999 I MAKE SEASHELL DESIGNS FOR MY 02:30.999 --> 02:33.083 BUSINESS, ELEGANT SHELLS. 02:33.083 --> 02:35.750 WHEN I MAKE A PIECE FOR SOMEONE, 02:35.750 --> 02:36.999 I REALLY TRY TO IMAGINE IT IN 02:36.999 --> 02:39.709 THEIR HOME. 02:39.709 --> 02:42.999 AND I FINISH IT METICULOUSLY 02:42.999 --> 02:44.375 WITH SMALL SHELLS, WHICH IS MY 02:44.375 --> 02:46.542 FAVORITE PART, AND I SEND IT OFF 02:46.542 --> 02:48.959 IN HOPES THAT IT WILL CREATE A 02:48.959 --> 02:50.208 PEACE AND AN APPRECIATION OF THE 02:50.208 --> 02:52.999 OCEAN IN THEIR HOME. 02:52.999 --> 02:55.166 I'VE ALWAYS HAD A LOVE OF 02:55.166 --> 02:56.750 SEASHELLS, BUT ABOUT 16 YEARS 02:56.750 --> 02:59.834 AGO, I WAS ON A FAMILY VACATION, 02:59.834 --> 03:01.291 AND I WALKED INTO A STORE WITH A 03:01.291 --> 03:02.999 BUNCH OF GIRLFRIENDS, AND WE SAW 03:02.999 --> 03:05.583 THIS AMAZING SEASHELL WORK. 03:05.583 --> 03:06.834 ONE OF MY GIRLFRIENDS AND I 03:06.834 --> 03:07.999 LOOKED AT EACH OTHER AND 03:07.999 --> 03:09.917 THOUGHT, WE COULD DO THIS. 03:09.917 --> 03:11.750 WE COLLECTED A BUNCH OF SHELLS, 03:11.750 --> 03:12.667 AND WE PURCHASED A LOT OF SHELLS 03:12.667 --> 03:14.000 ALSO. 03:14.000 --> 03:17.291 SO I CAME HOME AND I TRIED IT 03:17.291 --> 03:19.667 WITH A GIRLFRIEND, AND WE MADE 03:19.667 --> 03:21.000 $10,000 IN THREE DAYS IN OUR 03:21.000 --> 03:22.875 FIRST THREE SHOWS. 03:22.875 --> 03:23.875 AND WE KNEW IT WAS A VIABLE 03:23.875 --> 03:25.959 BUSINESS THEN. 03:25.959 --> 03:26.792 FRIENDS STARTED TO HEAR ABOUT 03:26.792 --> 03:27.999 US. 03:27.999 --> 03:28.875 DESIGNERS STARTED TO HEAR ABOUT 03:28.875 --> 03:30.792 US. 03:30.792 --> 03:32.250 AND WE STARTED GETTING BUSINESS 03:32.250 --> 03:34.417 VIA WORD OF MOUTH. 03:34.417 --> 03:35.291 AND I GREW UP ON CLEARWATER 03:35.291 --> 03:36.542 BEACH. 03:36.542 --> 03:38.625 THOSE PEOPLE STARTED TALKING. 03:38.625 --> 03:42.999 THANKS TO SOCIAL MEDIA, I HAVE 03:42.999 --> 03:44.959 BECOME KNOWN AS ONE OF THE TOP 03:44.959 --> 03:48.375 SEASHELL ARTISTS IN THE WORLD. 03:48.375 --> 03:51.291 I'M DRAWN TO SHELLS BECAUSE AS A 03:51.291 --> 03:56.291 LITTLE GIRL, I SPENT MANY DAYS 03:56.291 --> 03:57.959 AND EVENINGS ON THE BEACH. 03:57.959 --> 03:59.999 I GREW UP ON THE BEACH. 03:59.999 --> 04:02.999 MY COUSIN MARY WALKED WITH ME ON 04:02.999 --> 04:03.999 THE BEACH ALMOST EVERY DAY FOR 04:03.999 --> 04:04.875 SUNSET. 04:04.875 --> 04:07.000 WE WOULD COLLECT SHELLS. 04:07.000 --> 04:09.999 MY LITTLE BROTHER WAS SICK. 04:09.999 --> 04:11.208 AT THAT TIME, HE WAS MY ONLY 04:11.208 --> 04:12.250 SIBLING AND MY MOTHER WAS GONE 04:12.250 --> 04:14.999 WITH HIM. 04:14.999 --> 04:15.999 THAT TIME WITH MY COUSIN WAS 04:15.999 --> 04:16.999 REALLY SPECIAL. 04:16.999 --> 04:19.166 I FELT SAFE, AND THE BEACH HAS 04:19.166 --> 04:20.917 ALWAYS BEEN A PLACE WHERE I GO 04:20.917 --> 04:24.834 TO FEEL AT PEACE. 04:24.834 --> 04:26.041 SO WHEN I SEE SEASHELLS, 04:26.041 --> 04:27.999 I'M HAPPY. 04:27.999 --> 04:29.458 I FEEL AT HOME. 04:29.458 --> 04:30.999 AND TO WORK WITH THEM AS A 04:30.999 --> 04:33.875 MEDIUM HAS BEEN A REAL BLESSING. 04:33.875 --> 04:36.458 I GET MY SHELLS FROM THE BEACHES 04:36.458 --> 04:38.417 HERE IN CLEARWATER BEACH AND 04:38.417 --> 04:40.583 MANASOTA. 04:40.583 --> 04:42.542 I KAYAK OUT INTO THE BAY TO GET 04:42.542 --> 04:43.625 MY CRUSHED SHELL FOR MY WHITE 04:43.625 --> 04:45.458 MIRRORS. 04:45.458 --> 04:47.417 I BUY SHELLS FROM INDIA, THE 04:47.417 --> 04:49.750 PHILIPPINES, SOUTH AFRICA. 04:49.750 --> 04:50.583 THOSE ARE THE MAIN COUNTRIES 04:50.583 --> 04:52.750 THEY COME FROM. 04:52.750 --> 04:53.999 THIS IS A MIRROR THAT I FINISHED 04:53.999 --> 04:55.750 LAST NIGHT. 04:55.750 --> 04:59.000 IT IS ALL MUSSEL SHELLS THAT I 04:59.000 --> 05:01.709 GOT FROM BONEFISH. 05:01.709 --> 05:02.709 MY FAMILY AND I ATE ALL OF 05:02.709 --> 05:05.834 THESE. 05:05.834 --> 05:08.667 I'M JUST GOING TO TAKE A LITTLE 05:08.667 --> 05:09.667 GLUE AND THEN PLACE IT RIGHT IN 05:09.667 --> 05:12.250 HERE. 05:12.250 --> 05:13.333 AND I'LL BE FINISHED, AND IT 05:13.333 --> 05:14.999 WILL BE READY TO DELIVER TO 05:14.999 --> 05:17.792 VERO BEACH THIS WEEK. 05:17.792 --> 05:18.959 I HAD BEEN WORKING FOR INTERIOR 05:18.959 --> 05:20.625 DESIGNERS. 05:20.625 --> 05:23.750 I UNDERSTOOD INTERIOR DESIGN. 05:23.750 --> 05:25.709 I WAS A VISUAL MERCHANDISER AND 05:25.709 --> 05:27.500 A STYLIST FOR PHOTO SHOOTS. 05:27.500 --> 05:30.250 SO I UNDERSTOOD PLACEMENT, AND I 05:30.250 --> 05:31.999 ALSO HAD TAKEN A LOT OF ART AND 05:31.999 --> 05:34.000 WAS RAISED BY ARTISTS WHO WERE 05:34.000 --> 05:35.583 RAISED BY ARTISTS AND ART 05:35.583 --> 05:38.834 COLLECTORS. 05:38.834 --> 05:40.208 SO I FELT CONFIDENT THAT I COULD 05:40.208 --> 05:42.959 LOOK AT A BLANK CHANDELIER AND 05:42.959 --> 05:44.625 FIGURE OUT WHERE TO PUT THE 05:44.625 --> 05:46.333 SHELLS AND HOW I COULD ADORN IT 05:46.333 --> 05:48.834 TO MAKE IT BEAUTIFUL. 05:48.834 --> 05:50.583 AND WITH THAT CONFIDENCE, 05:50.583 --> 05:52.083 BECAUSE OF WORKING IN ALL THOSE 05:52.083 --> 05:56.750 DIFFERENT JOBS AND POSITIONS, I 05:56.750 --> 05:59.417 WENT HOME AND PUT IT TOGETHER, 05:59.417 --> 06:01.208 A CHANDELIER, AND THEN DID A 06:01.208 --> 06:01.999 MIRROR, AND THEN DID MY 06:01.999 --> 06:05.166 FIREPLACE. 06:05.166 --> 06:06.999 AND I THOUGHT IT WAS GREAT AND 06:06.999 --> 06:09.041 FUN, AND PEOPLE CAME IN THE 06:09.041 --> 06:11.750 HOUSE AND SAID THAT IT FELT 06:11.750 --> 06:13.999 GOOD, AND IT WAS BEAUTIFUL AND 06:13.999 --> 06:16.291 SAID THEY WANTED THEM, TOO. 06:16.291 --> 06:19.250 SEE HOW IT PICKS UP THE LINES. 06:19.250 --> 06:20.999 I LOVE IT. 06:20.999 --> 06:23.583 LIKE MAGIC. 06:23.583 --> 06:25.333 YOU CAN'T EVEN TELL THAT ALL OF 06:25.333 --> 06:26.999 THAT IS ON THERE, YOU KNOW, 06:26.999 --> 06:29.375 LIKE ALL THAT METALWORK, BUT 06:29.375 --> 06:32.750 THEN AS SOON AS YOU DO THAT -- 06:32.750 --> 06:34.999 I JUST PLAY AROUND WITH THEM. 06:34.999 --> 06:41.417 YOU CAN ACTUALLY PUT THESE IN 06:41.417 --> 06:42.834 HERE, AND YOU CAN PUT IN PIECES 06:42.834 --> 06:45.166 OF CORAL WITH IT AND JUST LOAD 06:45.166 --> 06:48.875 THIS WHOLE CENTER PART UP. 06:48.875 --> 06:51.875 AND THEN HANG THESE SHELLS IN 06:51.875 --> 06:53.999 WHEREVER YOU LIKE. 06:53.999 --> 06:54.999 WHATEVER SHELLS YOU LIKE. 06:54.999 --> 06:56.041 ALL THESE DIFFERENT LITTLE 06:56.041 --> 06:57.291 PLACES ARE PLACES WHERE YOU CAN 06:57.291 --> 06:58.999 PUT SHELLS, ON THE TOP, ON THE 06:58.999 --> 07:00.999 BOTTOM. 07:00.999 --> 07:02.625 AND YOU JUST FIND COORDINATING 07:02.625 --> 07:04.999 SHELLS OR SHINY ONES POLISHED 07:04.999 --> 07:05.999 AND MIX THEM WITH NATURAL OR 07:05.999 --> 07:08.291 COLOR. 07:08.291 --> 07:10.041 SOMETIMES I USE RED CORAL AND 07:10.041 --> 07:12.000 BLACK-AND-WHITE SHELLS. 07:12.000 --> 07:13.999 EVERY ONE IS DIFFERENT BECAUSE 07:13.999 --> 07:17.041 EVERY SEASHELL IS DIFFERENT. 07:17.041 --> 07:20.750 I RECEIVE A LOT OF E-MAILS AND 07:20.750 --> 07:21.999 PHONE CALLS FROM PEOPLE THAT 07:21.999 --> 07:23.166 WANT TO KNOW HOW TO SHELL A 07:23.166 --> 07:27.625 PIECE. 07:27.625 --> 07:28.999 I CERTAINLY DO ANSWER ALL THE 07:28.999 --> 07:31.041 E-MAILS AND GIVE ANYBODY 07:31.041 --> 07:34.166 WHATEVER ADVICE I CAN. 07:34.166 --> 07:35.709 I BELIEVE I'VE INSPIRED MY 07:35.709 --> 07:39.999 CHILDREN TO BE ENTREPRENEURIAL 07:39.999 --> 07:41.709 AND THAT WE CAN CREATE A JOB FOR 07:41.709 --> 07:44.792 OURSELVES, AND IT'S POSSIBLE TO 07:44.792 --> 07:45.999 LIVE YOUR PASSION AND DO THINGS 07:45.999 --> 07:46.999 THAT YOU WANT AND THAT YOU 07:46.999 --> 07:48.999 SHOULD. 07:52.999 --> 07:53.999 TO LEARN MORE ABOUT 07:53.999 --> 07:56.250 HEATHER KENDALL DESIGNS, VISIT: 07:59.041 --> 08:01.083 > STEP INSIDE THE MILWAUKEE 08:01.083 --> 08:03.125 REPERTORY THEATER IN WISCONSIN 08:03.125 --> 08:04.667 FOR A BEHIND-THE-SCENES LOOK AT 08:04.667 --> 08:07.417 THE PRODUCTION, "LIBERACE!" 08:07.417 --> 08:09.333 THIS ONE-MAN SHOW PAYS TRIBUTE 08:09.333 --> 08:11.208 TO THE LEGENDARY MUSICIAN AND 08:11.208 --> 08:12.834 ENTERTAINER BY BRINGING THE 08:12.834 --> 08:14.333 SHOWMAN TO LIFE THROUGH MUSIC 08:14.333 --> 08:16.417 AND COSTUME. 08:18.917 --> 08:19.750 HI THERE, LADIES AND 08:19.750 --> 08:22.166 GENTLEMEN. 08:22.166 --> 08:24.417 MY NAME IS WLADZIU VALENTINO 08:24.417 --> 08:26.417 LIBERACE. 08:26.417 --> 08:30.500 WLADZIU, W-L-A-D-Z-I-U. 08:30.500 --> 08:32.166 MY MOTHER LIKED THE NAME WHEN 08:32.166 --> 08:33.417 SHE SAW IT ON THE DOCTOR'S 08:33.417 --> 08:36.083 EYE CHART. 08:36.083 --> 08:38.667 IT'S POLISH FOR WALTER. 08:38.667 --> 08:40.834 MY FRIENDS CALL ME LEE. 08:40.834 --> 08:44.291 YOU CAN CALL ME LEE. 08:44.291 --> 08:45.750 WELL, STRAP IN, FRIENDS, BECAUSE 08:45.750 --> 08:47.291 HERE WE GO. 08:47.291 --> 08:49.083 I WONDER IF ANY OF YOU ARE OLD 08:49.083 --> 08:50.333 ENOUGH TO REMEMBER THE 08:50.333 --> 08:52.959 BOOGIE WOOGIE CRAZE? 08:53.999 --> 09:00.291 [ MUSIC ] 09:00.291 --> 09:02.583 LIBERACE WAS A THOROUGH 09:02.583 --> 09:03.999 ENTERTAINER, AND HE WANTED 09:03.999 --> 09:07.417 PEOPLE TO LAUGH, AND HE WANTED 09:07.417 --> 09:08.458 PEOPLE TO CRY, BUT HE WANTED TO 09:08.458 --> 09:10.999 HAVE THIS COMPLETE SENSUAL 09:10.999 --> 09:14.959 EXPERIENCE. 09:14.959 --> 09:17.166 LIBERACE IS A PLAY ABOUT 09:17.166 --> 09:19.792 LIBERACE, A SAMPLING OF HIS LIFE 09:19.792 --> 09:22.375 AND HIS MUSIC AND DIGGING A 09:22.375 --> 09:24.667 LITTLE DEEPER INTO THE BIOGRAPHY 09:24.667 --> 09:26.041 THAT MOST PEOPLE MIGHT NOT BE 09:26.041 --> 09:29.166 AWARE OF. 09:29.166 --> 09:30.999 THE PLAY ITSELF EXPLORES THE 09:30.999 --> 09:33.291 ISSUES OF IDENTITY AND SORT OF 09:33.291 --> 09:34.500 THE MASKS THAT WE WEAR ON A 09:34.500 --> 09:36.583 DAY-TO-DAY BASIS. 09:36.583 --> 09:38.999 AND LIBERACE HAD SORT OF THE 09:38.999 --> 09:40.208 BIGGEST, MOST EXPENSIVE MASK 09:40.208 --> 09:41.375 ANYONE IN THE HISTORY OF SHOW 09:41.375 --> 09:42.875 BUSINESS EVER DID, YOU KNOW, 09:42.875 --> 09:45.959 THIS CHARACTER THAT WE ASSOCIATE 09:45.959 --> 09:47.125 WITH THE LIBERACE IN OUR MIND, 09:47.125 --> 09:48.959 THE FEATHERS AND SEQUINS AND 09:48.959 --> 09:50.999 CLOAKS AND CAPES WAS TO HIM IN 09:50.999 --> 09:53.999 MANY WAYS A DISGUISE TO ALLOW 09:53.999 --> 09:55.083 HIM TO GO OUT AND PERFORM EVERY 09:55.083 --> 09:56.542 EVENING, TO SHARE THE MUSIC THAT 09:56.542 --> 09:57.709 HE REALLY LOVED WITH HIS 09:57.709 --> 09:59.083 AUDIENCE. 09:59.083 --> 10:00.792 THAT BOOGIE WOOGIE ALWAYS 10:00.792 --> 10:02.583 TAKES ME BACK TO MY YOUTH DURING 10:02.583 --> 10:05.834 THE DEPRESSION. 10:05.834 --> 10:08.375 BOOGIE WOOGIE, TIN PAN ALLEY, 10:08.375 --> 10:13.625 AND RAGTIME. 10:13.625 --> 10:15.999 WE START WITH HIM AS A LITTLE 10:15.999 --> 10:17.458 KID GROWING UP IN WEST ALLIS, 10:17.458 --> 10:20.999 WISCONSIN, IN THE EARLY 1920s, 10:20.999 --> 10:23.458 ALL THROUGH HIS FORMATIVE YEARS, 10:23.458 --> 10:24.917 HIS TIME AT THE WISCONSIN 10:24.917 --> 10:26.417 CONSERVATORY OF MUSIC LEARNING 10:26.417 --> 10:28.999 TO PLAY, THE STRUGGLE HE HAD TO 10:28.999 --> 10:30.583 DECIDE WHETHER HE WANTED TO BE A 10:30.583 --> 10:31.667 CLASSICAL PIANIST OR JUST AN 10:31.667 --> 10:33.792 ENTERTAINER. 10:33.792 --> 10:35.999 HIS RISE TO FAME THROUGHOUT THE 10:35.999 --> 10:37.667 '40s AND EARLY '50s AND THEN 10:37.667 --> 10:39.125 HIS FALL AND HIS RISE BACK. 10:39.125 --> 10:41.500 AND THEN, AGAIN, ULTIMATE 10:41.500 --> 10:42.834 SUBSEQUENT FALL WITH HIS DEATH 10:42.834 --> 10:44.500 IN THE '80s. 10:44.500 --> 10:46.542 ALL DONE IN FRONT OF THE 10:46.542 --> 10:48.667 CANDELABRA. 10:48.667 --> 10:50.542 THIS IS NOT A BACKSTAGE STORY. 10:50.542 --> 10:52.083 HE SPENT HIS LIFE IN FRONT OF 10:52.083 --> 10:53.959 AUDIENCES. 10:53.959 --> 10:55.999 IT WAS SORT OF A CREATION, THIS 10:55.999 --> 10:58.250 MR. SHOWMANSHIP THAT WE SEE. 10:58.250 --> 10:59.999 IT WAS HIS OWN CREATION. 10:59.999 --> 11:01.542 SO THE TRICK OF THIS PLAY IS HOW 11:01.542 --> 11:04.000 DO WE TELL THE TRUE STORY WE CAN 11:04.000 --> 11:06.999 OUT OF THE MOUTH OF SOMEBODY 11:06.999 --> 11:09.583 WHOSE IDEA OF TRUTH WAS LAYERS 11:09.583 --> 11:12.999 AND LAYERS OF ARTIFICE. 11:12.999 --> 11:15.166 MR. SHOWMANSHIP, LAUGH AT 11:15.166 --> 11:15.999 YOURSELF BEFORE THEY CAN LAUGH 11:15.999 --> 11:18.125 AT YOU, RIGHT? 11:18.125 --> 11:20.375 YOU KNOW, THIS IS WHAT I WORE TO 11:20.375 --> 11:21.667 MY LAST COMMAND PERFORMANCE FOR 11:21.667 --> 11:23.375 QUEEN ELIZABETH. 11:23.375 --> 11:25.458 AND WOULD YOU BELIEVE IT, I WAS 11:25.458 --> 11:26.333 THE ONLY ONE THERE WITH ONE LIKE 11:26.333 --> 11:27.625 IT. 11:27.625 --> 11:28.709 JACK FORBES WILSON IS 11:28.709 --> 11:30.959 LIBERACE. 11:30.959 --> 11:32.667 I MEAN, HE'S PERFECT. 11:32.667 --> 11:33.875 HE'S A LOCAL ARTIST HERE IN 11:33.875 --> 11:34.917 MILWAUKEE. 11:34.917 --> 11:35.959 WE'VE WORKED WITH JACK HERE IN 11:35.959 --> 11:36.917 THE MILWAUKEE REPERTORY THEATER 11:36.917 --> 11:38.500 A NUMBER OF TIMES. 11:38.500 --> 11:40.291 THIS PLAY WAS FIRST DONE 11:40.291 --> 11:41.500 FOUR YEARS AGO. 11:41.500 --> 11:42.458 I THOUGHT LIBERACE WAS A PRETTY 11:42.458 --> 11:43.875 GOOD PIANO PLAYER. 11:43.875 --> 11:45.542 I DIDN'T KNOW IF I COULD PULL 11:45.542 --> 11:46.750 THAT OFF. 11:46.750 --> 11:47.959 AND THEN AFTER I SAID YES, I 11:47.959 --> 11:50.125 REALIZED WHAT A REALLY 11:50.125 --> 11:52.542 PHENOMENAL PIANO PLAYER LIBERACE 11:52.542 --> 11:53.625 WAS, SO I HAD TO START 11:53.625 --> 11:54.750 PRACTICING. 11:54.750 --> 11:55.999 SO I WAS INVOLVED IN CHOOSING A 11:55.999 --> 11:57.083 LOT OF THE MUSIC AND FINDING 11:57.083 --> 11:58.750 THINGS THAT HE DID THAT I LIKED 11:58.750 --> 11:59.959 THAT I THINK WOULD STILL BE 11:59.959 --> 12:01.625 POPULAR TODAY AND THAT I THOUGHT 12:01.625 --> 12:03.000 I COULD PULL OFF. 12:03.000 --> 12:04.999 TO ME, THERE WASN'T ANY 12:04.999 --> 12:06.667 DIFFERENCE BETWEEN RACHMANINOFF 12:06.667 --> 12:08.834 AND RAGTIME. 12:08.834 --> 12:10.250 MUSIC WAS MUSIC, AND I LOVED ALL 12:10.250 --> 12:11.750 OF IT. 12:11.750 --> 12:14.000 SO JACK IS ABLE TO BLEND THIS 12:14.000 --> 12:14.999 ENDLESS VOLUME OF TEXT I'VE 12:14.999 --> 12:15.999 GIVEN HIM. 12:15.999 --> 12:17.333 I MEAN, HE SAYS MORE WORDS THAN 12:17.333 --> 12:18.999 HAMLET IN THIS PLAY WITH SOME 12:18.999 --> 12:21.458 REALLY FEROCIOUS MUSICIANSHIP. 12:21.458 --> 12:22.917 IT IS A GREAT EVENING OF MUSIC 12:22.917 --> 12:23.999 INSIDE A GREAT STORY. 12:23.999 --> 12:25.625 BUT JACK WAS -- JACK WAS SORT OF 12:25.625 --> 12:26.625 THE ULTIMATE NO-BRAINER TO DO 12:26.625 --> 12:28.750 THE ROLE. 12:28.750 --> 12:30.041 ♪ DOWN IN A MEADOW ♪ 12:30.041 --> 12:32.041 ♪ IN A LITTLE BITTY POOL ♪ 12:32.041 --> 12:33.834 ♪ SWAM THREE LITTLE FISHIES ♪ 12:33.834 --> 12:36.999 ♪ AND A MOM OF FISHY, TOO ♪ 12:36.999 --> 12:38.083 A SING-ALONG, YOU WOULD ALL 12:38.083 --> 12:40.834 KNOW THE WORDS. 12:40.834 --> 12:41.999 HE WAS A GREAT PIANO PLAYER, 12:41.999 --> 12:43.208 BUT I DON'T THINK THAT THAT'S 12:43.208 --> 12:45.041 WHAT SOLD OUT RADIO CITY MUSIC 12:45.041 --> 12:46.750 HALL THREE YEARS IN A ROW. 12:46.750 --> 12:49.166 I THINK IT WAS HIS WARMTH AND 12:49.166 --> 12:51.750 GENEROUS SPIRIT THAT SOMEHOW GOT 12:51.750 --> 12:54.291 OVER THOSE FOOTLIGHTS AND 12:54.291 --> 12:55.917 REACHED THOSE DEVOTED FANS OF 12:55.917 --> 12:56.999 HIS. 12:56.999 --> 12:58.999 I THINK HE NEEDED -- HE NEEDED 12:58.999 --> 13:00.291 THAT FEEDBACK FROM THE AUDIENCE 13:00.291 --> 13:02.417 HIS WHOLE LIFE. 13:02.417 --> 13:04.375 THAT'S A NICE LITTLE SONG! 13:04.375 --> 13:06.208 HIS COSTUMES DEVELOPED FROM 13:06.208 --> 13:07.583 THOSE EARLY PERFORMANCES WHERE 13:07.583 --> 13:09.041 HE WAS WORKING LARGER AND LARGER 13:09.041 --> 13:11.125 AUDIENCES AND WANTED TO BE SEEN, 13:11.125 --> 13:12.166 AND HE WAS NOT AFRAID TO JUST 13:12.166 --> 13:14.291 KEEP GOING. 13:14.291 --> 13:16.750 MY FRIENDS WENT NUTS OVER THE 13:16.750 --> 13:18.999 MIX OF STYLES. 13:18.999 --> 13:20.709 HE COULD GO AS FAR AS HE 13:20.709 --> 13:22.625 WANTED TO GO, MAINLY BECAUSE 13:22.625 --> 13:24.542 THERE WAS ALWAYS A TWINKLE IN 13:24.542 --> 13:25.917 HIS EYE. 13:25.917 --> 13:29.583 IT WAS ALWAYS SORT OF A JOKE, 13:29.583 --> 13:30.999 AND IT WAS IMPOSSIBLE TO LAUGH 13:30.999 --> 13:32.999 AT HIM BECAUSE HE WAS LAUGHING 13:32.999 --> 13:34.041 WAY BEFORE ANY OF THE CRITICS 13:34.041 --> 13:35.667 WERE. 13:35.667 --> 13:37.917 WE STARTED OUT WITH CAPES, 13:37.917 --> 13:39.667 BUT THEN ELVIS WENT TO CAPES, SO 13:39.667 --> 13:41.250 WE HAD TO LENGTHEN OURS TO 13:41.250 --> 13:47.000 CLOAKS, AND THAT LED TO ROBES. 13:47.000 --> 13:49.166 I KNOW. 13:49.166 --> 13:51.999 HE ALWAYS AIMED FOR THIS 13:51.999 --> 13:54.875 ELEGANT HOLLYWOOD IMAGE, SO HE 13:54.875 --> 13:56.375 ALWAYS WORE TAILS OR A TUX. 13:56.375 --> 13:58.999 AND THERE'S ONE LAST PIECE. 13:58.999 --> 14:00.625 I SAW IT IN A MOVIE ABOUT MY 14:00.625 --> 14:04.166 FAVORITE COMPOSER, CHOPIN. 14:04.166 --> 14:05.999 IN ONE SCENE, HE DIDN'T HAVE 14:05.999 --> 14:07.999 ENOUGH LIGHT TO PLAY, SO A CUTE 14:07.999 --> 14:10.750 LITTLE MAID PUT ONE OF THESE 14:10.750 --> 14:14.875 RIGHT ON HIS PIANO. 14:14.875 --> 14:15.917 I THOUGHT IT LOOKED PRETTY 14:15.917 --> 14:17.917 CLASSY, SO I STARTED USING IT ON 14:17.917 --> 14:19.792 THOSE SUPPER CLUB TOURS. 14:19.792 --> 14:21.583 AND WOULDN'T YOU KNOW, 14:21.583 --> 14:24.999 IT BECAME MY TRADEMARK. 14:24.999 --> 14:27.250 NICE, HUH? 14:27.250 --> 14:29.417 BY THE TIME OF MY 35th 14:29.417 --> 14:31.834 BIRTHDAY IN 1954, I WAS THE 14:31.834 --> 14:34.333 BIGGEST STAR IN AMERICA. 14:34.333 --> 14:36.041 BETWEEN MY TOUR DATES, 14:36.041 --> 14:38.959 ENDORSEMENTS, TV RESIDUALS, 14:38.959 --> 14:40.458 AND RECORD ROYALTIES, I PULLED 14:40.458 --> 14:42.125 IN MORE THAN A MILLION DOLLARS 14:42.125 --> 14:45.999 THAT YEAR PLAYING THE PIANO. 14:45.999 --> 14:49.208 PEOPLE REALLY LIKE THIS STORY 14:49.208 --> 14:51.667 FOR ALL THE GOOD AND FOR ALL THE 14:51.667 --> 14:53.959 BAD, HE IS SORT OF THE 14:53.959 --> 14:54.999 EMBODIMENT OF WHAT WE USED TO 14:54.999 --> 14:56.625 CALL THE AMERICAN DREAM. 14:56.625 --> 14:59.999 HE CAME FROM HUMBLE MILWAUKEE 14:59.999 --> 15:03.208 ORIGINS, A WORKING-CLASS FAMILY 15:03.208 --> 15:05.875 IN THIS WORKING-CLASS IMMIGRANT 15:05.875 --> 15:08.458 NEIGHBORHOOD OF WEST ALLIS, 15:08.458 --> 15:10.208 AND HE WORKED, AND HE CREATED 15:10.208 --> 15:12.959 THIS THING FOR HIMSELF. 15:12.959 --> 15:14.291 AND SO I THINK THERE IS THIS 15:14.291 --> 15:17.291 APPEAL OF THIS SELF-MADE 15:17.291 --> 15:21.333 AMERICAN WHO WENT TO BEING THE 15:21.333 --> 15:23.917 HIGHEST PAID ENTERTAINER IN THE 15:23.917 --> 15:24.709 WORLD AT VARIOUS TIMES IN HIS 15:24.709 --> 15:26.458 LIFE. 15:26.458 --> 15:27.625 I HOPE THAT AUDIENCES WALK 15:27.625 --> 15:30.750 OUT WITH A GREATER APPRECIATION 15:30.750 --> 15:31.999 FOR WHO HE WAS, WHAT HE 15:31.999 --> 15:35.709 STRUGGLED WITH IN HIS LIFE, AND 15:35.709 --> 15:38.625 THE REAL SUCCESS THAT HE HAD, TO 15:38.625 --> 15:41.999 FIND A WAY TO EXECUTE HIS ART 15:41.999 --> 15:43.041 AND TO SHARE THE MUSIC THAT HE 15:43.041 --> 15:44.417 LOVED WITH PEOPLE, IF WE'RE 15:44.417 --> 15:45.625 WILLING TO HONOR AND CELEBRATE 15:45.625 --> 15:47.208 OURSELVES FOR WHO WE ARE AS 15:47.208 --> 15:48.625 INDIVIDUALS THAT THE WORLD 15:48.625 --> 15:49.834 BECOMES A RICHER, MORE 15:49.834 --> 15:51.959 INTERESTING PLACE AS A RESULT. 15:54.917 --> 15:55.959 YOU CAN FIND OUT MORE BY 15:55.959 --> 15:57.208 VISITING: 16:00.667 --> 16:02.208 > ONE OF THE WORLD'S 16:02.208 --> 16:03.999 PREEMINENT BALLET COMPANIES, 16:03.999 --> 16:06.583 THE AMERICAN BALLET THEATRE, 16:06.583 --> 16:07.834 IS CELEBRATING ITS 75th 16:07.834 --> 16:08.999 ANNIVERSARY. 16:08.999 --> 16:10.333 AMERICAN MASTERS IN 16:10.333 --> 16:11.500 COLLABORATION WITH FILMMAKER 16:11.500 --> 16:13.500 RIC BURNS, PRESENTS 16:13.500 --> 16:15.125 "AMERICAN BALLET THEATRE: 16:15.125 --> 16:17.000 A HISTORY," DELVING INTO THE 16:17.000 --> 16:18.250 RICH STORY OF THIS BALLET 16:18.250 --> 16:19.999 COMPANY. 16:19.999 --> 16:21.166 HERE'S A LOOK. 16:24.667 --> 16:26.500 [ MUSIC ] 16:26.500 --> 16:27.959 "AMERICAN BALLET THEATRE: A 16:27.959 --> 16:30.000 HISTORY," A COPRODUCTION BETWEEN 16:30.000 --> 16:31.417 PBS SERIES AMERICAN MASTERS 16:31.417 --> 16:35.166 AND FILMMAKER RIC BURNS. 16:35.166 --> 16:36.999 I THINK WHAT FILM CAN BRING 16:36.999 --> 16:40.166 TO DANCE IS AN ACT OF ATTENTION 16:40.166 --> 16:41.999 THAT, IN ESSENCE, WHETHER IT IS 16:41.999 --> 16:43.125 LITERALLY SLOWING IT DOWN IN 16:43.125 --> 16:44.625 SUPER SLOW MOTION SO WE HAVE 16:44.625 --> 16:45.999 THIS FOOTAGE USING A PHANTOM 16:45.999 --> 16:47.959 FLEX CAMERA WHICH SHOOTS 1500 TO 16:47.959 --> 16:49.583 2500 FRAMES A SECOND. 16:49.583 --> 16:50.999 THAT TAKES TEN SECONDS AND TURNS 16:50.999 --> 16:53.375 IT INTO TEN MINUTES. 16:53.375 --> 16:54.959 LITERALLY SLOWING IT DOWN OR 16:54.959 --> 16:56.125 FIGURATIVELY SLOWING IT DOWN, 16:56.125 --> 16:57.999 SOMEBODY WHO HAS INTERNALIZED IT 16:57.999 --> 16:59.542 AND CAN THINK AND FEEL AND 16:59.542 --> 17:01.999 ARTICULATE, PUT INTO WORDS 17:01.999 --> 17:03.917 PROVISIONALLY WHAT'S GOING ON 17:03.917 --> 17:04.875 FOR A DANCER, FOR A 17:04.875 --> 17:06.250 CHOREOGRAPHER IN A PIECE IN THE 17:06.250 --> 17:07.999 HISTORY OF BALLET. 17:07.999 --> 17:08.999 SO WHETHER IT'S 17:08.999 --> 17:10.917 KEVIN McKENZIE, INCREDIBLE 17:10.917 --> 17:11.999 ARTISTIC DIRECTOR, OR SOMEBODY 17:11.999 --> 17:13.125 OUTSIDE THE COMPANY ENTIRELY. 17:13.125 --> 17:14.375 LIKE A WONDERFUL DANCE 17:14.375 --> 17:16.999 HISTORIAN, JENNIFER HOMANS, 17:16.999 --> 17:18.792 THEY'RE, IN ESSENCE, SLOWING IT 17:18.792 --> 17:22.291 DOWN SO THAT WE CAN THINK AND 17:22.291 --> 17:24.375 FEEL AT A SLIGHTLY MORE DILATED 17:24.375 --> 17:27.250 PACE. 17:27.250 --> 17:28.959 AND WHAT YOU REALIZE IS WHAT YOU 17:28.959 --> 17:30.291 WOULD FEEL IF IT WERE GOING AT 17:30.291 --> 17:32.834 NORMAL SPEED. 17:32.834 --> 17:34.625 THIS IS A FORM, WHICH HOWEVER 17:34.625 --> 17:35.917 MUCH YOU THINK IT'S LIKE PLAYING 17:35.917 --> 17:37.999 TO A KIND OF TUTU CROWD OR IT'S 17:37.999 --> 17:40.041 ELITIST, THIS IS THE MOST PRIMAL 17:40.041 --> 17:42.417 HUMAN FORM OF EXPRESSION. 17:42.417 --> 17:45.041 BEFORE WE TALKED, WE GESTURED TO 17:45.041 --> 17:48.750 COMMUNICATE. 17:48.750 --> 17:50.166 AND WHAT THESE DANCERS ARE 17:50.166 --> 17:52.291 DOING, HOWEVER MUCH IT SEEMS TO 17:52.291 --> 17:54.000 BE IN THIS CODIFIED RITUALIZED 17:54.000 --> 17:55.125 FORM, IS THEY ARE USING THE 17:55.125 --> 17:57.083 LANGUAGE OF THE HUMAN SOUL 17:57.083 --> 17:58.792 THAT'S BEEN INSIDE BODIES TRYING 17:58.792 --> 17:59.959 TO COMMUNICATE. 17:59.959 --> 18:01.500 DEEP FEELINGS. 18:01.500 --> 18:04.667 LOVE, HATE, DESPAIR, ANGUISH, 18:04.667 --> 18:06.999 WHAT IT IS TO BE A HUMAN BEING. 18:06.999 --> 18:09.875 WHILE IT CAN ALWAYS BE 18:09.875 --> 18:11.999 TRIVIALIZED OR IT CAN BE DONE IN 18:11.999 --> 18:13.291 A CARTOONISH WAY OR IN A WAY 18:13.291 --> 18:14.999 THAT LEAVES AN AUDIENCE COLD, 18:14.999 --> 18:16.792 WHEN DANCE WORKS, WHEN BALLET 18:16.792 --> 18:17.959 WORKS, THERE'S NOT A HUMAN BEING 18:17.959 --> 18:18.875 IN THE WORLD WHO WOULDN'T 18:18.875 --> 18:20.417 RESPOND TO IT. 18:21.250 --> 18:27.999 [ MUSIC ] 18:27.999 --> 18:29.999 IT'S A HISTORY BOTH OF 18:29.999 --> 18:31.999 BALLET, THE ART FORM, THIS 18:31.999 --> 18:33.291 COMPANY, WHICH IS THE AMERICAN 18:33.291 --> 18:35.542 BALLET COMPANY, AND IT'S 18:35.542 --> 18:36.417 DESIGNATED AS SUCH BY OUR 18:36.417 --> 18:37.667 GOVERNMENT. 18:37.667 --> 18:39.333 IT TOURS THE WORLD, AND IT'S 18:39.333 --> 18:41.959 DIVERSE. 18:41.959 --> 18:44.999 IT REPRESENTS US AS AMERICANS. 18:44.999 --> 18:46.291 AMERICAN BALLET THEATRE IS 18:46.291 --> 18:48.250 THE OLDEST AMERICAN COMPANY BUT 18:48.250 --> 18:49.999 VERY, VERY YOUNG AS COMPANIES 18:49.999 --> 18:51.250 GO, AND I THINK IT'S GOING TO 18:51.250 --> 18:52.999 REMAIN YOUTHFUL. 18:54.083 --> 19:09.375 [ MUSIC ] 19:09.375 --> 19:12.083 I'VE JUST FOUND THE ART FILMS 19:12.083 --> 19:13.333 THAT I'VE HAD THE GOOD FORTUNE 19:13.333 --> 19:15.250 TO BE ABLE TO WORK ON ARE THE 19:15.250 --> 19:16.542 MOST HUMBLING BECAUSE THEY ARE 19:16.542 --> 19:17.875 THE ONES WHERE YOU JUST REALIZE 19:17.875 --> 19:18.917 NOBODY IS DOING IT FOR THE 19:18.917 --> 19:21.000 MONEY. 19:21.000 --> 19:22.208 WHEN YOU GO TO THE THEATER OR 19:22.208 --> 19:23.917 YOU SEE A MOVIE OR YOU READ A 19:23.917 --> 19:26.500 BOOK, THAT PROFOUNDLY STAYS WITH 19:26.500 --> 19:28.834 YOU. 19:28.834 --> 19:29.999 AND EVERYBODY HAS AT LEAST ONE 19:29.999 --> 19:30.999 OF THOSE EXPERIENCES IN THEIR 19:30.999 --> 19:32.999 LIFE. 19:32.999 --> 19:35.999 YOU DON'T HAVE TO KNOW WHY. 19:35.999 --> 19:38.625 IT JUST REPRESENTS THAT THAT IS 19:38.625 --> 19:40.125 A FORM OF COMMUNICATION THROUGH 19:40.125 --> 19:44.792 ART THAT TOUCHES TO THE VERY 19:44.792 --> 19:46.667 SOUL OF WHAT WE AS HUMAN BEINGS 19:46.667 --> 19:50.125 AND A SOCIETY ARE CAPABLE OF. 19:50.125 --> 19:51.834 POWERFUL FILMMAKING, BUT THAT 19:51.834 --> 19:53.750 COMES AS NO SURPRISE, 19:53.750 --> 19:55.917 CONSIDERING THAT RIC BURNS IS 19:55.917 --> 19:59.875 YOUNGER BROTHER TO KEN BURNS. 19:59.875 --> 20:00.959 WE'RE CLOSE IN AGE. 20:00.959 --> 20:02.041 KEN IS A YEAR AND A HALF OLDER 20:02.041 --> 20:03.333 THAN I AM. 20:03.333 --> 20:04.792 YOU KNOW, WE SHARED KIND OF 20:04.792 --> 20:06.750 GARDEN VARIETY DYSFUNCTIONAL 20:06.750 --> 20:08.250 CHILDHOOD. 20:08.250 --> 20:09.709 SO WE KIND OF HAD OURSELVES MORE 20:09.709 --> 20:12.125 THAN ANYBODY ELSE. 20:12.125 --> 20:13.458 LIKE EVERYBODY, YOU KNOW, I 20:13.458 --> 20:14.625 THINK WE BROUGHT A FAIR AMOUNT 20:14.625 --> 20:16.041 OF PAIN AND DAMAGE OUT OF OUR 20:16.041 --> 20:18.166 CHILDHOOD. 20:18.166 --> 20:19.375 AND I DIDN'T THINK I WAS GOING 20:19.375 --> 20:20.250 TO BE A FILMMAKER UNTIL I 20:20.250 --> 20:21.041 WATCHED KEN. 20:21.041 --> 20:21.999 SO, BASICALLY, I JUST WENT INTO 20:21.999 --> 20:23.083 HIS BUSINESS. 20:23.083 --> 20:24.709 I'M THE LITTLE BROTHER. 20:24.709 --> 20:25.709 SO, YOU KNOW, IT WAS LIKE, 20:25.709 --> 20:26.458 IF HE PLAYED CIVIL WAR, 20:26.458 --> 20:27.417 I PLAYED CIVIL WAR. 20:27.417 --> 20:28.999 ALWAYS THE REBEL. 20:28.999 --> 20:30.999 NEVER THE UNION CAUSE, 20:30.999 --> 20:31.625 BUT THAT'S BECAUSE I WAS THE 20:31.625 --> 20:33.834 YOUNGER BROTHER. 20:33.834 --> 20:35.875 AND, YOU KNOW, I'M SO GRATEFUL 20:35.875 --> 20:37.083 TO HIM FOR HAVING SHOWED THE 20:37.083 --> 20:38.792 WAY BECAUSE I DON'T KNOW -- HE 20:38.792 --> 20:40.041 KIND OF SHOWED HIMSELF THE WAY. 20:40.041 --> 20:41.166 AND I THOUGHT I WAS GOING TO BE 20:41.166 --> 20:42.375 A PROFESSOR OF ENGLISH FOR A 20:42.375 --> 20:43.917 LONG TIME, AND I STILL LOVE ALL 20:43.917 --> 20:46.999 THAT KIND OF STUFF, BUT THE 20:46.999 --> 20:49.625 POWER OF WHAT FILM CAN BE AND 20:49.625 --> 20:51.999 IT'S NOTHING IF NOT HUMBLING 20:51.999 --> 20:53.709 BECAUSE YOU DON'T -- YOU KNOW, 20:53.709 --> 20:54.999 EVERYBODY PUTS THEIR PANTS ON 20:54.999 --> 20:56.333 ONE LEG AT A TIME, AND TO MAKE 20:56.333 --> 20:57.834 30 SECONDS OF FILM THAT CAUSE 20:57.834 --> 20:59.417 SOMEBODY VOLUNTARILY TO STOP 20:59.417 --> 21:01.208 OTHER THINGS THEY ARE DOING AND 21:01.208 --> 21:03.709 LOOK AND ATTEND TO IT, YOU KNOW, 21:03.709 --> 21:04.792 AS LONG AS I STAY IN THE 21:04.792 --> 21:05.875 BUSINESS, IT DOESN'T GET ANY 21:05.875 --> 21:06.999 EASIER. 21:06.999 --> 21:08.291 AND I THINK THERE'S SOMETHING 21:08.291 --> 21:11.166 DEEPLY, DEEPLY MAGNETIC ABOUT 21:11.166 --> 21:12.959 LOOKING INTO PEOPLE WHO WORK IN 21:12.959 --> 21:13.999 THE ARTS. 21:13.999 --> 21:14.542 LIKE WHAT THE HELL ARE THEY 21:14.542 --> 21:15.333 DOING? 21:15.333 --> 21:17.458 WHY GO TO THAT KIND OF TROUBLE? 21:17.458 --> 21:18.500 YOU KNOW, LOOK HOW MUCH IT COST 21:18.500 --> 21:19.542 THEM. 21:19.542 --> 21:20.375 CAREERS ARE VERY OFTEN SHORT IN 21:20.375 --> 21:22.125 DANCE. 21:22.125 --> 21:23.000 VERY OFTEN MISERABLE IN 21:23.000 --> 21:24.917 LITERATURE. 21:24.917 --> 21:26.875 YOU KNOW, WHAT IS IT THAT PEOPLE 21:26.875 --> 21:27.709 ARE DOING WHEN THEY ARE MAKING 21:27.709 --> 21:28.667 ART? 21:28.667 --> 21:30.542 AND I FOUND THEM THE MOST 21:30.542 --> 21:32.999 SATISFYING FILMS TO WORK ON. 21:38.208 --> 21:39.875 VISIT: 21:47.959 --> 21:49.792 > HOUSTON, TEXAS, QUILTER 21:49.792 --> 21:51.709 KIM RITTER STRUGGLED WITH THE 21:51.709 --> 21:52.999 ADVICE OF A TEACHER WHO ADVISED 21:52.999 --> 21:55.999 HER TO "NEVER DO CUTE." 21:55.999 --> 21:57.458 AFTER MANY TRIALS AND 21:57.458 --> 21:58.999 TRIBULATIONS IN HER OWN LIFE, 21:58.999 --> 22:01.333 SHE DECIDED IT WAS TIME TO JUST 22:01.333 --> 22:03.999 BE HERSELF -- WHIMSICAL, IRONIC, 22:03.999 --> 22:06.917 AND FUNNY. 22:06.917 --> 22:09.125 JOIN RITTER AT HER STUDIO AS SHE 22:09.125 --> 22:10.792 TAKES US STEP BY STEP THROUGH 22:10.792 --> 22:13.208 HER CREATIVE PROCESS. 22:14.625 --> 22:16.999 [ MUSIC ] 22:16.999 --> 22:18.999 ART QUILTS STARTED, ACTUALLY, 22:18.999 --> 22:20.917 IN THE '70s, SORT OF DURING 22:20.917 --> 22:21.959 THE HIPPIE DAYS WHEN PEOPLE WERE 22:21.959 --> 22:23.667 GOING BACK TO MAKING WHOLE WHEAT 22:23.667 --> 22:25.999 BREAD AND TIE-DYE AND ALL THAT. 22:25.999 --> 22:27.083 THAT'S REALLY WHERE THE ART 22:27.083 --> 22:30.083 QUILT MOVEMENT STARTED. 22:30.083 --> 22:32.000 I COME TO MY STUDIO EVERY DAY, 22:32.000 --> 22:34.625 AND I SIT, AND I JUST WRITE AND 22:34.625 --> 22:36.583 THINK OF IDEAS AND JUST MAKE 22:36.583 --> 22:37.999 NOTES. 22:37.999 --> 22:39.375 I HAVE A PILE ABOUT THIS BIG OF 22:39.375 --> 22:40.834 IDEAS AND SKETCHES THAT ARE 22:40.834 --> 22:42.667 WAITING TO BE MADE INTO QUILTS. 22:45.083 --> 22:46.959 I'M KIM RITTER, 22:46.959 --> 22:49.834 AND I'M AN ART QUILTER. 22:49.834 --> 22:51.250 AN ART QUILT IS BASICALLY A 22:51.250 --> 22:53.458 PIECE OF ART THAT'S REFERENCING 22:53.458 --> 22:56.291 THE QUILT FORM. 22:56.291 --> 22:58.250 SO ART IS SOMETHING, A CREATIVE 22:58.250 --> 22:59.917 VISUAL WORK THAT COMES FROM 22:59.917 --> 23:01.999 THOUGHT AND BECOMES FORM. 23:01.999 --> 23:03.500 AND A QUILT IS SOMETHING THAT IS 23:03.500 --> 23:04.583 THREE LAYERS AND IS STITCHED 23:04.583 --> 23:06.000 TOGETHER. 23:06.000 --> 23:07.999 SO BASICALLY AN ART QUILT IS A 23:07.999 --> 23:09.250 CREATIVE VISUAL WORK THAT IS 23:09.250 --> 23:11.250 STITCHED AND LAYERED. 23:11.250 --> 23:12.750 I'VE BEEN AN ARTIST MY WHOLE 23:12.750 --> 23:14.291 LIFE, AND I WAS A COLLECTOR OF 23:14.291 --> 23:15.999 TRADITIONAL QUILTS. 23:15.999 --> 23:18.166 WHEN WE MOVED TO LONDON, I TOOK 23:18.166 --> 23:19.625 A LITTLE CLASS THAT I THOUGHT 23:19.625 --> 23:20.709 WAS JUST GOING TO BE A CLASS TO 23:20.709 --> 23:21.667 MEET FRIENDS, AND IT ENDED UP 23:21.667 --> 23:23.667 BEING A CITY AND GUILDS CLASS, 23:23.667 --> 23:25.500 WHICH IS SET UP TO RETAIN AND 23:25.500 --> 23:26.999 FURTHER THE TRADITIONAL CRAFT OF 23:26.999 --> 23:29.125 THE UK. 23:29.125 --> 23:30.667 AFTER I TOOK THAT TWO-YEAR 23:30.667 --> 23:31.834 CLASS, I WAS PRETTY MUCH SET UP 23:31.834 --> 23:32.875 AND READY TO GO TO BE AN 23:32.875 --> 23:34.709 ART QUILTER. 23:37.166 --> 23:38.999 THE STEPS OF MAKING AN ART QUILT 23:38.999 --> 23:39.959 ARE, FIRST, YOU HAVE TO COME UP 23:39.959 --> 23:41.583 WITH A DESIGN. 23:41.583 --> 23:42.834 I GET THE IDEAS, AND I PARE DOWN 23:42.834 --> 23:44.291 TO ONE IDEA THAT SEEMS TO BE 23:44.291 --> 23:46.083 RIGHT FOR THE MOMENT THAT I'M 23:46.083 --> 23:47.709 WORKING IN. 23:47.709 --> 23:49.000 AND THEN I TAKE THE DRAWING AND 23:49.000 --> 23:52.125 I SCAN IT INTO MY COMPUTER. 23:52.125 --> 23:53.959 SO THEN FINALLY I PRINT OUT THE 23:53.959 --> 23:56.333 QUILT. 23:56.333 --> 23:57.792 PART OF WHY I DO THE PRINTING IS 23:57.792 --> 23:58.917 I DON'T LIKE PIECING. 23:58.917 --> 24:00.208 IT'S A LITTLE BIT OF A CHEAT, 24:00.208 --> 24:01.250 BUT -- 24:01.250 --> 24:03.999 [ LAUGHTER ] 24:05.458 --> 24:06.417 SO THEN AFTER YOU ACTUALLY HAVE 24:06.417 --> 24:08.166 THE QUILT TOP, THEN YOU HAVE TO 24:08.166 --> 24:09.750 LAYER IT IN THREE LAYERS. 24:09.750 --> 24:11.417 YOU HAVE THE TOP, THE BATTING, 24:11.417 --> 24:13.250 WHICH IS THE THICK SOFT STUFF, 24:13.250 --> 24:15.999 AND THEN THE BACKING. 24:15.999 --> 24:17.792 THEN YOU HAVE THREE LAYERS, 24:17.792 --> 24:18.999 QUILTED WITH THE THREAD YOU 24:18.999 --> 24:19.999 WANTED, AND THE COLORS YOU 24:19.999 --> 24:22.917 WANTED. 24:22.917 --> 24:24.250 THEN YOU TAKE IT OFF THE FRAME 24:24.250 --> 24:25.542 AND YOU HAVE TO TRIM IT. 24:25.542 --> 24:26.750 AND THEN YOU PUT ON WHAT IS 24:26.750 --> 24:27.875 CALLED THE BINDING, WHICH IS 24:27.875 --> 24:28.917 WHAT YOU SEE GOING AROUND THE 24:28.917 --> 24:30.500 QUILTS, THE LITTLE THIN EDGE. 24:30.500 --> 24:31.458 AND THEN YOU'RE DONE -- WELL, 24:31.458 --> 24:32.917 CUT OFF ALL THE THREADS. 24:32.917 --> 24:34.667 [ LAUGHTER ] 24:35.999 --> 24:37.750 I THINK MY BIGGEST INSPIRATION 24:37.750 --> 24:38.834 FOR ART QUILTS HAS BEEN DAILY 24:38.834 --> 24:40.083 LIFE. 24:40.083 --> 24:41.291 WHAT I'M REALLY WELL KNOWN FOR 24:41.291 --> 24:42.166 ARE MY QUILTS THAT ARE ABOUT 24:42.166 --> 24:44.417 WOMEN. 24:44.417 --> 24:45.917 SO THAT HAS BEEN REALLY MY FOCUS 24:45.917 --> 24:46.999 FOR MOST OF THE TIME. 24:46.999 --> 24:47.999 I ALSO DO SOME THINGS ABOUT 24:47.999 --> 24:49.041 PETS. 24:49.041 --> 24:50.458 RECENTLY, I GUESS ALL THE 24:50.458 --> 24:52.250 READING OF DRAGONS KIND OF CREPT 24:52.250 --> 24:53.999 INTO MY HEAD, AND I HAD A WHOLE 24:53.999 --> 24:54.999 SERIES OF DRAGON QUILTS THAT 24:54.999 --> 24:57.458 JUST SHOWED UP FROM PEN AND HAD 24:57.458 --> 24:59.333 TO GO STRAIGHT TO BEING QUILTED 24:59.333 --> 25:00.250 BECAUSE I JUST LOVED THEM SO 25:00.250 --> 25:01.417 MUCH. 25:01.417 --> 25:02.709 MY DRAGONS DON'T BREATHE FIRE. 25:02.709 --> 25:03.999 THEY EAT CHERRIES. 25:03.999 --> 25:05.500 [ LAUGHTER ] 25:07.583 --> 25:10.583 IN 2008, OUR HOUSE GOT HIT BY 25:10.583 --> 25:11.999 HURRICANE IKE PRETTY BAD. 25:11.999 --> 25:13.291 WE WERE LIVING DOWN IN 25:13.291 --> 25:14.291 CLEAR LAKE, SO WE MOVED UP HERE 25:14.291 --> 25:15.875 TO MY STUDIO. 25:15.875 --> 25:17.083 AND I NEVER DID ADDRESS THOSE IN 25:17.083 --> 25:18.291 MY QUILTS. 25:18.291 --> 25:20.750 SIX YEARS LATER, HERE I AM, 25:20.750 --> 25:21.959 AND ALL THESE DRAWINGS KEEP 25:21.959 --> 25:23.083 COMING UP WITH THIS SORT OF 25:23.083 --> 25:24.333 CIRCULAR MOTION. 25:24.333 --> 25:25.667 I FINALLY REALIZED THOSE WERE 25:25.667 --> 25:28.125 THE HURRICANE QUILTS. 25:28.125 --> 25:30.333 THE QUILT WITH MY MOTHER ON IT 25:30.333 --> 25:31.625 IS AN HOMAGE TO HER. 25:31.625 --> 25:32.834 SHE IS THE ONE THAT TAUGHT ME 25:32.834 --> 25:33.999 HOW TO SEW AND TAUGHT ME TO BE 25:33.999 --> 25:35.083 REALLY CREATIVE. 25:35.083 --> 25:36.041 SHE TAUGHT ME HOW TO DRAW. 25:36.041 --> 25:37.959 SHE TAUGHT ME HOW TO KNIT. 25:37.959 --> 25:39.375 SHE TAUGHT ME HOW TO DO ALL THE 25:39.375 --> 25:40.999 THINGS THAT WOMEN DO TO MAKE 25:40.999 --> 25:43.417 ART. 25:43.417 --> 25:44.709 WHEN I'M MAKING MY ART QUILTS, I 25:44.709 --> 25:45.999 JUST LOVE THE FACT THAT YOU GET 25:45.999 --> 25:47.709 ZONED IN AND ALL THE OTHER 25:47.709 --> 25:48.999 WORRIES OF THE WORLD GO AWAY 25:48.999 --> 25:51.959 WHEN YOU'RE WORKING ON ART. 25:51.959 --> 25:53.250 WHEN PEOPLE COME AND LOOK AT MY 25:53.250 --> 25:54.834 WORK, WHAT MAKES ME THE HAPPIEST 25:54.834 --> 25:55.999 IS WHEN I HEAR A LITTLE CHUCKLE 25:55.999 --> 25:57.709 OR SEE A LITTLE SMILE AND I CAN 25:57.709 --> 25:59.583 SEE THE WHEELS TURNING IN THEIR 25:59.583 --> 26:01.542 HEAD OF CONNECTING THE TITLE TO 26:01.542 --> 26:02.750 THE PIECE AND KIND OF SEEING 26:02.750 --> 26:04.000 WHAT I'M TRYING TO DO. 26:04.000 --> 26:05.583 SO THAT'S REALLY WHAT I WANT 26:05.583 --> 26:07.250 THEM TO TAKE AWAY IS A SMILE AND 26:07.250 --> 26:08.709 SOMETHING ELSE TO THINK ABOUT 26:08.709 --> 26:10.291 AFTER THEY ARE DONE. 26:13.375 --> 26:15.667 FOR MORE INFORMATION, VISIT: 26:18.417 --> 26:19.999 AND THAT WRAPS IT UP FOR THIS 26:19.999 --> 26:22.917 EDITION OF "WEDU ARTS PLUS." 26:22.917 --> 26:24.291 FOR MORE ARTS AND CULTURE, 26:24.291 --> 26:27.999 VISIT wedu.org/artsplus WHERE 26:27.999 --> 26:29.750 YOU'LL FIND FEATURE VIDEOS, 26:29.750 --> 26:30.917 LOCAL EVENTS, AND ARTS AND 26:30.917 --> 26:32.333 CULTURE PARTNERS. 26:32.333 --> 26:33.834 UNTIL NEXT TIME, 26:33.834 --> 26:34.709 I'M GABE ORTIZ. 26:34.709 --> 26:35.999 THANKS FOR WATCHING. 26:42.083 --> 26:57.750 [ MUSIC ] 26:57.750 --> 26:58.834 MAJOR FUNDING FOR 26:58.834 --> 27:00.625 "WEDU ARTS PLUS" IS PROVIDED 27:00.625 --> 27:01.999 THROUGH THE GREATER CINCINNATI 27:01.999 --> 27:03.999 FOUNDATION BY AN ARTS-LOVING 27:03.999 --> 27:05.417 DONOR WHO ENCOURAGES OTHERS TO 27:05.417 --> 27:08.166 SUPPORT YOUR PBS STATION, WEDU. 27:08.166 --> 27:11.000 FUNDING IS ALSO PROVIDED BY THE 27:11.000 --> 27:11.667 S.L. 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