Colores

FULL EPISODE

Haley Greenfeather

Haley Greenfeather seeks healing and acceptance with her mural, “Queer Indigenous Feminisms.”

AIRED: November 07, 2020 | 0:26:22
ABOUT THE PROGRAM
TRANSCRIPT

FREDERICK HAMMERSLEY FOUNDATION...

...AND VIEWERS LIKE YOU

HALEY GREENFEATHER ENGLISH SEEKS HEALING AND ACCEPTANCE

WITH HER MURAL QUEER INDIGENOUS FEMINISMS.

A PIONEER IN SKY ART OTTO PIENE WANTED AUDIENCES TO

RE-EXPERIENCE SPACES.

STRUMMING HIS UKULELE DANIEL GOLDMARK LEADS US

THROUGH A SHEET MUSIC HISTORY.

MASHING GENRES OF ART AND ENTERTAINMENT THE HUGE

INTERACTIVE OTHERWORLD IS AN IMMERSIVE EXPERIENCE.

IT'S ALL AHEAD ON COLORES!

A WAY TO HEAL.

THIS IS MY STUDIO CORNER RIGHT NOW.

LOTS OF PAINT.

IT BACKS UP TO MY KITCHEN.

I'VE BEEN LIVING AND WORKING IN THIS SPACE AND

I ALSO PAINT MY SPACE.

I FEEL COMPELLED TO CREATE EVERY DAY BECAUSE IT'S HEALING FOR ME.

MY DAD, GROWING UP TALKED A LOT ABOUT HEALING IN HIS

WORK AND WHEN I HAD THE REALIZATION THAT I USE ART

IN THE SAME WAY, IN ORDER TO HEAL, I ALSO WANNA USE

IT TO HELP OTHER PEOPLE HEAL TOO.

THESE ARE A COUPLE OF THE THINGS THAT I'VE BEEN

WORKING ON FOR SOME TIME.

UH I'VE GOT THIS PAINTING; IT'S CALLED THE TRUE STORY OF

LA LLORONA.

AND IT'S LA LLORONA WITH HER CHILDREN UH AND THEN

FROM THE NARRATIVE OF THE CONQUISTADORS, THIS IS HER

CONQUISTADOR HUSBAND AND IN THIS NARRATIVE, HE IS DEAD,

SHE IS NOT.

I'VE ALSO BEEN WORKING ON PORTRAITS.

FOR A MURAL OF VICTIMS OF UM GUN VIOLENCE FROM

ALBUQUERQUE POLICE DEPARTMENT.

SO, THIS IS MARY HAWKES.

SHE WAS A NINETEEN YEAR OLD QUEER WOMAN MURDERED

BY APD IN 2014.

I'VE BEEN WORKING ON DRAWINGS.

IT'S JUST A LOT OF DIFFERENT ZONES I'M WORKING IN.

SOME DOODLES.

THIS ONE LADY.

THIS A VERY IMPORTANT SELF-PORTR- OR PORTRAIT, I

DIDN'T DO IT, BUT A PORTRAIT MY NEPHEW DID OF

ME, WHICH I THINK IS PRETTY ACCURATE.

ANOTHER PORTRAIT, THIS ONE I DID OF MYSELF.

AND THEN I'VE JUST BEEN WORKING ON A LOT OF FUN

ABSTRACT DRAWINGS BECAUSE SOMETIMES YOU JUST DON'T

WANNA MAKE WHAT YOU NORMALLY MAKE.

HUMOR IS INCREDIBLE BECAUSE HUMOR OR

SPECIFICALLY CLOWNS A LOT OF THE TIME ARE USED AS TEACHERS.

AND I'M A TEACHER AND MY MAIN FORM OF PEDAGOGY IS

TO USE HUMOR IN MY WORK AND TO TEACH PEOPLE

BECAUSE IT CREATES HUMAN CONNECTION.

INSTEAD OF HAVING SORT OF THAT

"I'M HERE AND YOU'RE THERE FEELING."

UH HUMOR CREATES A BRIDGE FOR PEOPLE AND SUDDENLY

IT'S WARM UH AND YOU CAN RELATE TO SOMEBODY AND YOU

WANT TO BE OPEN AROUND SOMEBODY AND YOU FEEL LIKE

YOU'RE IN A SAFE SPACE.

AND I KNOW THAT'S NOT FOR EVERYBODY, BUT I THINK

THAT A LOT OF PEOPLE IT HELPS THEM UM TO WARM UP

IN A SPACE, WARM UP TO PEOPLE, AND TO CREATE A

QUICKER BOND AND THEN YOU CAN DIVE IN TO DEEPER,

HARDER, MORE SERIOUS THINGS.

I'M TRYING TO SAY THAT FEMINISM IS FOR EVERYBODY.

I'M TRYING TO SAY THAT EVERYBODY IS A FEMINIST.

I THINK THAT THERE ARE A LOT OF DIFFERENT FORMS OF

FEMINISM AND THAT'S ALSO WHAT I'M TRYING TO SAY.

FOR ME IT'S SPECIFICALLY ABOUT QUEER INDIGENOUS

FEMINISM BECAUSE THAT'S WHAT RESONATES WITH ME AND

THAT'S WHAT I'M INTERESTED IN AND I THINK THAT A LOT

OF OTHER PEOPLE HAVE DIFFERENT IDEAS OF

FEMINISM AND SO IT IS ABOUT ALL OF THOSE

DIFFERENT IDEAS COMING TOGETHER IN ONE FORM.

I HAVE ALL OF THESE SKETCHES THAT I DID OF THE

FEMINISMS UM AND IT CHANGED OVER TIME TOO, IT

WAS LIKE, IT CAME IN A MILLION DIFFERENT FORMS.

THE WORD FEMININE, IN IT IS THIS IDEA OF A

MATRILINEAL IDEA OF WOMAN CARE TAKING PEOPLE OR LIKE

HAVING BABIES AND TAKING CARE OF THOSE BABIES, RIGHT?

AND SO, I THINK THE IDEA COMES FROM THE FEMININE

AND THE WAY THAT WOMAN CARE TAKE FOR THEIR

FAMILIES AND EVERYBODY AROUND THEM.

BUT THAT IDEA IS THAT EVERYBODY CAN DO THAT NOT JUST WOMEN.

MEN CAN DO IT TOO, UM PEOPLE THAT ARE NON-BINARY

CAN DO IT, QUEER PEOPLE CAN DO IT, GAY PEOPLE CAN

DO IT AND SO TO ME THAT'S WHERE IT COMES FROM IS LIKE

THE ESSENCE OF THE FEMINISTS- FEMININE AND, AND CARE TAKING.

THIS IDEA OF RADICAL INCLUSIVITY AND TAKING

CARE OF OUR RELATIVES AND BEING A GOOD ANCESTOR TO

PEOPLE AND I DON'T HEAR A LOT OF PEOPLE OUTSIDE OF

NATIVE PEOPLE TALKING ABOUT THAT KIND OF THING

AND WHAT WHAT THAT MEANS AND HOW WE CAN EXPAND THE

IDEA OF FEMINISM TO INCLUDE EVERYBODY AND TO

NOT MAKE IT AN EXCLUSIVE IDEA.

PUSHING BOUNDARIES.

(GERMAN SPEAKING)

AT THE CLOSING OF THE 1972 SUMMER

OLYMPICS IN MUNICH, A 1500-FOOT LONG OLYMPIC

RAINBOW REACHED ACROSS THE LANDSCAPE.

A PARADE IN POLYTHENE, IT WAS THE WORK OF GERMAN

ARTIST OTTO PIENE-A PIONEER OF WHAT HE CALLED SKY ART.

"HE ALWAYS WAS SORT OF LIKE LOOKING AT SPACES

AROUND HIM AND THINKING ABOUT HOW, BY INSERTING

ART INTO IT, YOU MIGHT RE-EXPERIENCE THESE SPACES

IN DIFFERENT WAYS."

IT WAS A POINT OF PRIDE FOR PIENE, WHO DIED IN

2014, TO REDESIGN THE SKY-HOWEVER BRIEFLY.

HE SET IT ABLAZE POPULATED IT WITH A

DESERT BLOSSOM AND FILLED IT WITH A FLOATING CELLIST.

"HE WAS REALLY AT THE

FOREFRONT OF PUSHING ART AND TECHNOLOGY AND EXPERIMENTING.

SORT OF PUSHING BEYOND THE BOUNDS AND LIMITS OF PAINTING."

LISA CROSSMAN IS THE CURATOR OF THIS

RETROSPECTIVE AT THE FITCHBURG ART MUSEUM.

IT SPANS THE LAST THIRTY YEARS OF PIENE'S LIFE.

WE FIND THE SKETCHBOOKS HE CARRIED AND FILLED RELIGIOUSLY.

WE ENTER INTO HIS PROLIFERATION OF THE SUN,

WHICH FILLS AN ENTIRE GALLERY AND HASN'T BEEN

SEEN IN THIS COUNTRY IN MORE THAN 50 YEARS.

AND WE ARE AUDIENCE TO A LIGHT BALLET

CHOREOGRAPHED BY HIS LIGHT ROBOTS.

"IN PIENE'S WORK YOU CAN SEE A LOT OF ENERGY."

LIGHT HAD FASCINATED PIENE SINCE CHILDHOOD, AND LATER

AS HE WATCHED MENACING LIGHTS DOMINATE THE SKY

DURING WORLD WAR II.

HIS WORK, CROSSMAN SAYS, WAS A WAY TO REORDER THAT CHAOS.

"WHEN I LOOK AT HIS WORK, I THINK THAT THERE'S AN

OPTIMISM TO IT, UM THAT COMES ACROSS IN THE WAY

THAT, UM, TECHNOLOGY IS USED AS A WAY TO SORT OF

BRING-, CREATE A HARMONIOUS KIND OF

EXPERIENCE FOR PEOPLE WHO ENTER INTO IT."

"HE DID SAY THAT A BLUE SKY MEANT BOMBS AND DANGER...

POET ELIZABETH GOLDRING PIENE IS OTTO'S WIDOW.

"HIS SKY ART THAT COULD FLOURISH AND FLOWER IN IN

A BLUE SKY, THAT'S REALLY REALLY SIGNIFICANT TO HIM."

THE COUPLE MOVED HERE TO THIS BUCOLIC FARMHOUSE IN

GROTON IN 1985.

IT WAS A LANDSCAPE RICH FOR MAKING.

AND TODAY THEIR HOME BRIMS WITH OTTO'S PAINTINGS,

CERAMICS AND SCULPTURE.

"(TELL ME WHAT THIS SPACE MEANT TO YOUR HUSBAND.

HE WORKED HERE FOR DECADES.) HE DID.

HE WANTED TO MOVE OUT OF BOSTON AND CAMBRIDGE...

TO THE BIG SKY, AND, A LOT OF LAND,

TO A PLACE WHERE HE KNEW NO ONE.

HE COULD JUST WORK."

HE WAS DRAWN TO THE PROPERTY FOR ITS TWO SILOS.

ONE OF WHICH NOW HOUSES A LIGHT SCULPTURE HE TITLED

"STAR OF DAVID."

A DAZZLING LIGHT BALLET FEATURING

A RECURRING SPIDER MOTIF.

(IT SEEMS AS THOUGH HE WAS ALWAYS PUSHING FORWARD,

FINDING NEW WAYS TO MAKE, NEW WAYS TO LOOK.) YES.

HE WAS.

HE WAS, HE WAS REALLY CURIOUS.

UM, HE, HE WASN'T SO INTERESTED IN WHAT HE'D

HEARD A THOUSAND TIMES BEFORE.

HE WAS ALWAYS, HE WAS, ALWAYS FASCINATED BY,

SOMEBODY WHO TOLD US SOMETHING WE DIDN'T KNOW."

PIENE WAS A CO-FOUNDER OF GROUP ZERO-A SMALL

COLLECTION OF ARTISTS IN THE 1950S AND 60S WHO HAD

LITTLE USE FOR TRADITIONAL ART-MAKING.

INSTEAD, PIENE WAS MAKING WORK LIKE

"ELECTRONIC LIGHT BALLET"

WHICH AIRED ON WGBH IN 1969.

(REVERBERATING SOUNDS)

"ONE OF HIS CRITICISMS OF SOME OF THE POST-WAR ART

MOVEMENTS, UM, WAS THAT THEY WEREN'T SORT OF

THINKING ABOUT LIGHT BEYOND THE SORT OF

LIMITATIONS OF THE CANVAS."

BUT PIENE WAS.

HE WAS WILLING TO PLAY WITH FIRE.

(SPRAYING)

PIENE PRODUCED FIRE PAINTINGS FOR DECADES.

IGNITING ADHESIVE HE'D SPRAYED ON THE CANVAS,

HE'D THEN MANUALLY CONTROL THE FLAME AS IF IT WERE A BRUSH.

"THERE ARE SOME WHERE THEY ARE FROM ONE YEAR.

THERE ARE OTHER PAINTINGS THAT WILL, YOU'LL SEE

HAVE, UM, ARE DATED AS MULTIPLE YEARS.

BECAUSE HE CAME BACK TO THEM IN DIFFERENT YEARS TO

SORT OF REWORK THEM.

SO I THINK THAT PROCESS IS KEY."

IN A BODY OF WORK THAT WAS PARAMOUNT.

HISTORY THROUGH POPULAR MUSIC.

(STRUMMING UKELE AND HUMMING)

- [DANIEL] NOWADAYS, IF WE WANT A SONG, WE GO ONLINE AND

WE CAN BUY IT THROUGH WHATEVER ONLINE SOURCE WE MIGHT USE.

AND WE TYPICALLY BUY ONE SONG AT A TIME.

WELL, 120 YEARS AGO WHEN SHEET MUSIC IS THE BIG

THING THAT WAS THE WAY YOU DID THINGS AS WELL.

YOU WEREN'T BUYING A WHOLE BUNCH OF MUSIC ALL BY ONE

PERFORMER OR ONE WRITER.

YOU WERE BUYING ONE SONG AT A TIME.

AND IF YOU'RE LOOKING FOR SONGS AND YOU'RE LIVING IN

CLEVELAND AT THE TURN OF THE CENTURY, YOU COULD GO

TO A BUNCH OF DIFFERENT PLACES.

YOU COULD COME HERE TO THE ARCADE, BECAUSE YOU HAD

MUSIC STORES AND EVEN MUSIC PUBLISHERS BASED HERE.

AND YOU COULD GO STRAIGHT IN, BUY WHAT THE LATEST

SONGS WERE, MAYBE GO LOOK FOR SOMETHING FROM THEIR

OLDER CATALOG, SOMETHING YOU'D HEARD BEFORE AND

LIKE OH, CAN YOU HAVE A COPY OF THAT SONG?

AND YOU COULD FIND JUST ABOUT ANYTHING.

(ACOUSTIC UKULELE MUSIC)

SO IN THE LATE 19TH CENTURY,

THE POPULAR MUSIC INDUSTRY WAS BASICALLY

BASED IN NEW YORK CITY AND THE AREA WAS REFERRED TO

AS TIN PAN ALLEY.

THIS WAS ON 28TH STREET AROUND BROADWAY.

AND THIS IS AROUND WHERE ALL THE THEATERS WERE

BASED BEFORE THEY STARTED MOVING UP TOWARD TIMES SQUARE.

NOW IN CLEVELAND, A LOT OF THE BIG PUBLISHERS WERE

ACTUALLY BASED HERE AT THE ARCADE.

AND IF YOU THINK ABOUT THE ARCADE'S PROXIMITY TO

PLAYHOUSE SQUARE IT MAKES PERFECT SENSE, BECAUSE YOU

HAD A LOT OF SHOWS COMING INTO CLEVELAND, YOU HAD

SHOWS STARTING HERE IN CLEVELAND, AND THOSE SHOWS

WOULD NEED MUSIC.

AND SO THEY WOULD COME TO THE PUBLISHERS, ASK FOR

SONGS, THE SONGS WOULD BE WRITTEN, AND THEY WOULD

PUT 'EM RIGHT INTO THE SHOWS.

AND THAT'S THE THING ABOUT SHOWS BACK THEN.

THIS IS BEFORE BROADWAY GETS REALLY BIG.

IT'S BEFORE "OKLAHOMA!"

AND "SHOWBOAT" AND BEFORE THE SONGS ARE SO

IDENTIFIED WITH A PARTICULAR SHOW.

THE TURN OF THE 20TH CENTURY, IF A SONG WASN'T GOOD THEY'D

CHUCK IT OUT AND YOU COULD WRITE A NEW SONG NEXT WEEK.

THEY WEREN'T LOOKING AT THEM AS GREAT ART.

IT WAS A PRODUCT.

IT WAS SOMETHING THEY WERE SELLING TO THE PUBLIC.

IT WAS SOMETHING THAT WAS GONNA GET PEOPLE INTO THE

THEATERS AND HOPEFULLY INTO THE STORES TO BUY

MORE AND MORE MUSIC.

(ACOUSTIC UKULELE MUSIC)

OH NORA LEE

MY NORA LEE

YOUR NAME IS THE SWEETEST

MUSIC TO ME

IT'S SIREN SONG

HOLDS ME COMPLETELY

BIRDS IN THEIR TREES

SING THEIR SONGS MORE SWEETLY

JUST FOR NORA LEE

- SHEET MUSIC IS CERTAINLY NOT A NEW INVENTION IN THE

LATE 19TH CENTURY.

IT'S BEEN AROUND FOR A LONG TIME.

BUT THERE ARE A COUPLE ADVANCES IN TECHNOLOGY

THAT HELP THE MUSIC INDUSTRY EXPLODE BY THE LATE 1890'S.

AND ONE OF THOSE, OF COURSE, ARE TECH, ADVANCES

IN PRINTING TECHNOLOGY.

PRINTING THINGS IN FOUR COLOR, MEANING YOU HAVE

THE FULL SPECTRUM OF THE RAINBOW.

ADVANCES IN LITHOGRAPHY, SO YOU HAVE REALLY CLEAR

DEFINITION OF IMAGES AND LAYERS UPON LAYERS UPON LAYERS.

THAT BECAME A REAL BOON TO THE PRINTING INDUSTRY, A

LOT OF WHICH WAS BASED IN CLEVELAND.

(ACOUSTIC UKULELE MUSIC)

- MUSIC PUBLISHERS AT THE TIME WOULD BASICALLY GLOM

ON TO ANY TOPIC THEY COULD THAT THEY THOUGHT MIGHT SELL.

SO WHEN THE RAGTIME CRAZE HAPPENS, EVERYBODY WRITES

A RAG ON EVERY THEME FROM FAMOUS NAMES TO ANIMALS,

FRUITS AND VEGETABLES, "LOBSTER RAG," "FRUIT AND

VEGETABLE RAG," "PICKLED BEETS RAG," YOU NAME IT.

SO EVERY TIME SOMETHING HAPPENS, THE INDUSTRY KIND OF CONTRACTS

AND TRIES TO FIGURE OUT WHICH OF THOSE IS GONNA BE A HIT.

AND USUALLY THEY WEREN'T.

USUALLY THEY'RE JUST TRYING TO JUMP ON THE BANDWAGON.

CLEVELAND, I'M STRONG FOR YOU

YOU ALSO HAVE PUBLISHERS, OF COURSE, ARE GONNA TRY AND HAVE

SONGS ABOUT LOCAL INTERESTS, CURRENT EVENTS,

EVEN LOCAL BOOSTERISM.

SO THERE'S ALL KINDS OF SONGS ABOUT CLEVELAND, FOR INSTANCE,

SAYING HOW WONDERFUL OF A PLACE CLEVELAND IS,

OR SAYING HOW WONDERFUL OF A PLACE OHIO IS.

THE OHIO CENTENNIAL, THE CLEVELAND INDUSTRIAL

EXPOSITION IN THE 1900'S, THE GREAT LAKES EXPOSITION

IN THE LATE 1930'S, ALL OF THESE NEEDED SONGS.

THEY WANTED SONGS.

PEOPLE BOUGHT THE SONGS FOR THESE.

AND IT'S JUST AN IMPOSSIBLE NUMBER TO TRY

AND WRAP YOUR MIND AROUND HOW MANY SONGS ARE OUT THERE.

AND SO FEW OF THESE SONGS ACTUALLY BECAME HITS, AND

THAT'S WHAT'S FASCINATING ABOUT THEM IS WE GET THIS

ENTIRE HISTORY OF THE LIFE OF A CITY.

CLEVELAND OR DETROIT OR NEW YORK OR CHICAGO.

WHEREVER YOU WANNA LOOK, YOU CAN REALLY SEE WHAT

WAS GOING ON IN THE PEOPLES' MINDS AT THE TIME

BY LOOKING AT THE KINDS OF SONGS THAT ARE BEING PUBLISHED.

BUT WHEN I'M BLUE AND BROKEN-HEARTED

OR GOOD TIMES AND I HAVE PARTED

I KNOW I'LL BE WELCOME DOWN IN CLEVELAND

->>PROBABLY THE MOST FAMOUS MUSIC PUBLISHER TO

EVER COME OUT OF CLEVELAND WAS SAM FOX MUSIC.

WE WERE ACTUALLY BASED DIRECTLY ABOVE WHERE I'M

STANDING ON THE THIRD FLOOR IN THE ARCADE.

SAM FOX SOLD, BUT ALSO STARTED WRITING A FEW

SONGS OF HIS OWN.

AND WITHIN A COUPLE YEARS, HE BORROWED A COUPLE

HUNDRED DOLLARS AND STARTED HIS OWN MUSIC

PUBLISHING COMPANY AGAIN, BASED RIGHT HERE IN THE ARCADE.

SO VERY QUICKLY, HE KIND OF STARTS TO CORNER THE

MARKET ON THIS KIND OF MUSIC.

AND HE GETS, MAKES A NAME FOR HIMSELF NOT JUST IN CLEVELAND,

BUT THROUGHOUT THE ENTIRE MUSIC PUBLISHING INDUSTRY.

(ACOUSTIC UKULELE MUSIC)

I'M GOING BACK TO CLEVELAND NOW

TO CLEVELAND OHIO

WHERE I GET THREE SQUARE MEALS A DAY

AND MONEY FOR THE SHOW

>> THE SAD THING ABOUT THE ART FOR SHEET MUSIC COVERS

IS THAT A LOT OF THESE ARE UNSIGNED.

OR EVEN THE ONES THAT ARE SIGNED, WE KNOW VERY, VERY

LITTLE ABOUT THE PEOPLE WHO CREATED THEM BECAUSE

THESE WERE CRAFTS PEOPLE, JUST LIKE PEOPLE WHO MADE FURNITURE

OR BUILT CARS OR HAD ANY OTHER KIND OF NINE-TO-FIVE JOB.

NOBODY COULD'VE IMAGINED THAT, YOU KNOW, BASICALLY

A CENTURY LATER, FOLKS LIKE ME WOULD BE ASKING

"OH, WHO IS THIS PERSON WHO DID THIS AMAZING COVER?"

OR BETTER YET, "WHO IS THIS PERSON WHO DID "300

COVERS OVER A PERIOD OF SEVERAL YEARS" WITH SUCH

GREAT BREADTH AND, YOU KNOW, SKILL?"

I WANNA KNOW ABOUT THEM AND, UNFORTUNATELY,

THERE'S SUCH LITTLE INFORMATION ABOUT THESE FOLKS.

SO THAT'S ONE OF THE GREAT MYSTERIES ABOUT THE MUSIC.

AND IT'S ALSO ONE OF THE GREAT JOYS, BECAUSE EVERY

TIME YOU FIND A NEW PIECE YOU'RE LIKE "OH, WOW!"

ANOTHER LITTLE PIECE OF THE PUZZLE SLIDES INTO PLACE.

YOU KNOW, THE 10% OF MUSIC THAT WAS PUBLISHED IN

CLEVELAND THAT MADE IT TO THE REST OF THE UNITED

STATES, THERE'S THAT OTHER 90% THAT'S IN PEOPLES'

ATTICS AND BASEMENTS AND IN THRIFT STORES AND ON

EBAY AND OTHER PLACES JUST WAITING TO BE FOUND.

AND SO I STARTED JUST COLLECTING.

ANY TIME I WOULD RUN INTO SOMEONE, I WOULD SAY, "YOU

KNOW, IF YOU HAVE ANY SHEET MUSIC" IN THE

BASEMENT, IF YOU KNOW SOMEONE WHO'S GETTING RID"

OF IT, PLEASE DON'T LET THEM TRASH IT.

"COME FIND ME, I'LL TAKE IT OFF YOUR HANDS." EVEN

IF I HAVE TO, YOU KNOW, FIND AN EVENTUAL HOME FOR

IT BECAUSE IT'S NOT WHAT I'M LOOKING FOR, I'M MORE

INTERESTED IN SEEING THE STUFF NOT BE DESTROYED.

I THINK ULTIMATELY WHAT I WANNA DO IS BE ABLE TO

TELL A STORY OF HOW POPULAR MUSIC WAS A PART OF

LIFE IN CLEVELAND, PARTICULARLY BEFORE ROCK 'N ROLL.

AND VISUALLY, IT'S SO RICH.

I'M REALLY LOOKING FORWARD TO HAVING THE CHANCE TO

HELP FILL IN THIS GAP OF WHAT A STRONG PART

CLEVELAND HAD IN THE MUSIC INDUSTRY AND SHAPING

MUSICAL TASTES IN THE UNITED STATES DURING THE

LATE 19TH AND, YOU KNOW, THROUGH THE 20TH CENTURY.

(ACOUSTIC UKULELE MUSIC)

A DREAMWORLD TO PLAY IN.

>> THIS IS SCOTT SLIGER OVER HERE, HE'S SCULPTING

A SPIDER CREATURE HEAD.

WE'RE IN EAST COLUMBUS, THIS IS GOING TO BE THE

SITE OF OTHERWORLD, IT'S 32,000 AND SOME CHANGE SQUARE FOOT,

INTERACTIVE ART INSTALLATION THAT WE'RE BUILDING.

IT'S KIND OF A COMBINATION OF LIKE A CHILDREN'S

SCIENCE CENTER AN ESCAPE ROOM AND A HAUNTED HOUSE

AND AN ART GALLERY.

SO WE'RE KIND OF MIXING AND MASHING A LOT OF

DIFFERENT GENRES OF ART AND ENTERTAINMENT.

WE'RE HOPING IT CAN APPEAL TO PEOPLE OF

ALL AGES AND BACKGROUNDS.

SO WHEN YOU ARRIVE HERE YOU'RE ACTUALLY ARRIVING

AT THE HEADQUARTERS OF OTHERWORLD INDUSTRIES.

IT'S A COMPANY THAT IS -- THEY'VE KIND OF BEEN DOING

THIS ALTERNATE-REALM EXPLORATION, THEY SORT OF

STUMBLED ACROSS THIS DREAM REALM.

THAT'S KIND OF THE BASE REALITY OF IT.

BUT ONCE YOU GO INTO THIS OTHERWORLD THERE'S ALL

SORTS OF THESE LITTLE MINI ADVENTURES ALMOST, SO

ALMOST LIKE DIFFERENT CHOOSE-YOUR-OWN-

ADVENTURES THAT ARE LOOSELY INTERTWINED.

>> SO WHEN A VISITOR WALKS IN, UH, OUR GOAL IS FOR

YOU TO BE COMPLETELY OVERWHELMED.

WE REALLY WANT YOU TO NOT BE ABLE TO PREDICT WHAT'S

AROUND EVERY CORNER.

IT'S LIKE A PAGE TURN OF A GRAPHIC NOVEL OR A BOOK,

WHERE YOU TURN THAT CORNER, AND JUST GET LIKE

THE -- MOMENT.

THAT'S OUR GOAL.

>> THIS IS THE CHURCH.

SO WHAT YOU'RE KIND OF SEEING IS THE REACTION OF

OUR SODIUM LIGHT.

WHAT THIS DOES IS IT TAKES THE COLOR SPECTRUM OUT OF THE ROOM.

SO PART OF THE ROOM SCALE ACTIVATION IS GOING TO

INVOLVE BRINGING THAT COLOR SPECTRUM BACK IN.

SO IF WE TAKE A NORMAL LIGHT, IT KIND OF BRINGS

BACK THE COLOR.

SO KIND OF PUTTING THESE SCENIC CHANGES IN THE

HANDS OF THE VIEWER.

>> EVERY SINGLE PIECE HERE WE FABRICATED IN HOUSE, WE

DESIGNED AND FABRICATED ON OUR OWN.

SO THERE'S NOTHING THAT'S BEEN BOUGHT OFF THE SHELF FROM

ANYWHERE ELSE, IT'S ALL CUSTOM, ONE-OF-A-KIND PIECES.

SO THERE'S PEOPLE WITH ALL SORTS OF DIFFERENT SKILLSETS

HERE, TO MAKE SOMETHING LIKE THIS COME TOGETHER.

>> SO WE'RE KIND OF ENTERING INTO THE FOCAL

POINT OF THE SPACE IS THE TREE.

THIS IS WHERE WE'RE KIND OF FLEXING THE MOST MUSCLES.

WE HAVE WELDING, SCENIC, TECH, TEXTILES, THERE'S

ALSO GOING TO BE SOME INTERACTIVE ELEMENTS THAT

CAN CHANGE THE COLOR OF IT, SO PRETTY MUCH

EVERYTHING THAT'S MAKING OTHERWORLD INTO OTHERWORLD

IS ROLLED UP RIGHT IN OUR CENTER.

>> ALMOST EVERY SINGLE SURFACE IS INTERACTIVE IN SOME WAY.

THERE ARE A TON OF L.E.D'S, THERE'S A LOT OF

INTERACTIVE PROJECTION MAPPING, WE HAVE SOME

INTERESTING NEW CONCEPTS I'M TRYING OUT WITH

PROJECTION MAPPING.

SO WE HAVE A LOT OF LASER TRACKING, WE'RE TRACKING

THROUGHOUT ROOMS USING LIDAR, WHICH IS THE SAME

TECHNOLOGY USED IN SELF-DRIVING CARS.

WE HAVE THIS 3D INFINITY ROOM THAT HAS A

3-DIMENSIONAL ARRAY FLOOR-TO-CEILING OF L.E.D.

NOODLES INSIDE OF A ROOM WHERE ALL OF THE WALLS ARE MIRRORS

>> SO KIND OF WHAT WE'RE IN RIGHT NOW IS A

GIANT 3-DIMENSIONAL L.E.D.

PIXEL GRID THAT IS THEN MAPPED BY OUR TECH TEAM.

SO UPON OPENING THERE'S ACTUALLY THESE LARGE SCALE

3D ANIMATIONS THAT WE CAN PUT IN THIS ROOM AND PUT

TO MUSIC SO IT'S NOT JUST THIS AMBIENT EFFECT, BUT

YOU CAN ACTUALLY HAVE LIKE LIGHT PHYSICALLY TRAVELING

IN 3D SPACES OF THE ROOM.

THIS IS ALSO THE STANDARD SELFIE ROOM.

>> THIS ISN'T AN ESCAPE ROOM.

THIS IS A MORE LIKE A CHILDREN'S MUSEUM.

SO, YOU KNOW, YOU HAVE TO THINK ABOUT HOW IS THIS IS

GOING TO BE USED, HOW IS IT GOING TO WEAR OVER

TIME, HOW CAN WE REDUCE THE NUMBER OF MECHANICAL ELEMENTS?

IF WE HAVE TO USE MECHANICAL ELEMENTS WHAT

KIND MATERIALS CAN WE USE, AND HOW CAN WE MAKE SURE

THE ELECTRONICS STAY NICE AND NESTLED AND DON'T GET DAMAGED?

>> SO I'M THE PRODUCTION DIRECTOR.

MY ROLE IS TO MAKE SURE THAT ALL THE THINGS THAT

WE DESIGN ON PAPER GET BUILT IN REAL LIFE.

THEN MY FAVORITE PART IS THE CREATIVE PROBLEM

SOLVING, WHERE IT'S JUST LIKE, WEIRD CHALLENGES COME

UP WHEN YOU'RE MAKING THINGS THAT NO ONE'S EVER DONE BEFORE.

>> IT'S A REALLY GREAT TO WORK WITH PEOPLE WHO

SPECIALIZE IN THE PHYSICAL WORLD SO THAT WAY I CAN FOCUS

ON ELECTRONICS AND CODE WHICH ARE THE THINGS THAT I'M GOOD AT.

>> ANOTHER THING IS WE HAVE THIS INTERACTIVE

HARP, THIS SPIDER-WEB HARP DEVICE THAT FIGURING OUT

HOW TO RIG UP INTO THE AIR TWELVE FEET UP SO YOU CAN

STILL PLUCK IT AND THERE'S NOT TOO MUCH VIBRATION

GOING ON THE SENSOR THAT IT KEEPS TRIPPING BUT

THERE'S ENOUGH VIBRATION THAT IT TRIPS THE SENSOR

AND THEN KIND OF CREATES THE HARP EFFECT.

>> SO THIS IS THE SEAMSTRESS ROOM, THIS IS

ANOTHER ONE OF OUR MANY NARRATIVES WITHIN THE SPACE.

WITHOUT REVEALING TOO MUCH, THERE IS THIS

SEAMSTRESS CHARACTER WHO HAS A BUNCH OF SPIDER

CHILDREN AND IS CREATING THESE KIND OF FLUFFY TO

FEED TO THE SPIDERS.

OR IS SHE?

WE'LL FIND OUT.

SO ALL OF THIS WEBBING WAS HAND WEBBED, HAND GLUED.

ALL THE SPIDERS WERE WELDED TOGETHER CUSTOM AND

THEN UPHOLSTERED.

SO WHEN IT'S FULLY OPERATIONAL AND YOU PLUCK

THE COLORED THREADS YOU GET A ROOM ACTIVATION

WHERE IT ACTUALLY BECOMES A GIANT HARP.

I THINK THIS PROJECT HAS BEEN ABLE TO BRING

TOGETHER A LOT OF CREATIVES AND HAS GIVEN

THEM THE OPPORTUNITY TO SPEAK UP AND HAVE THEIR

IDEAS BE HEARD AND HAVE THEM COMMUNICATE AND

CHALLENGE EACH OTHER.

AND I THINK WE'RE SHOWING A PRODUCTION MODEL HERE

WHERE KIND OF EVERYONE GETS TO PLAY TO THEIR FULLEST

AND I'M JUST HOPING THAT LATER WE CAN SET AN EXAMPLE

FOR THAT AND MORE CREATIVE SPACES AROUND THE CITY.

>> JUST COME CHECK IT OUT, IT'S GOING TO BE SWEET.

>> THIS IS WHAT I WANT TO DO FOREVER.

>> I MEAN, YEAH THERE'S NOTHING ELSE LIKE IT ANYWHERE.

TO VEW THIS AND OTHER COLORES PROGRAMS GO TO:

New Mexico PBS dot org and look for COLORES under

What We Do and Local Productions.

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