¡Colores!; 1906; Painter Timothy Horn, Fashion Icon Diane Von Furstenberg, Author R.L. Stine, Guitarist Jol Dantzig

IN EDITION THIS COLORES... SANTE FE'S TIMOTHY HORN FINDS A MEETING POINT BETWEEN THE NATURAL AND CONSTRUCTED WORLDS. "What we do as humans, we attempt to replicate nature or improve upon nature." FASHION ICON DIANE VON FURSTENBERG CONTINUES TO EVOLVE HER STYLE AFTER DECADES IN THE BUSINESS "I realize that everything I do all goes to the same thing. The mission is the same is to empower women." GOOSEBUMPS READERS HAVE GROWN UP AND SO HAS RL STINE "And then they'd say, please write something for us, please write something for your original audience. That's why I wrote Red Rain." INFAMOUS GUITAR-MAKER, JOL DANTZIG CARVES THE PAST INTO EVERY INSTRUMENT "They have a soul they have a story. By the time you get it that instrument has witnessed all kindsof things. "

IT'S ALL AHEAD ON COLORES THIS IN PART BY NEW MEXICO ARTS. A DIVISION OF THE DEPARTMENT OF CULTURAL AFFAIRS AND THE NATIONAL ENDOWNENT FOR THE ARTS. INSPIRED BY NATURE, TIMOTHY HORN'S ARTWORKS REINVENT SCALE BECOMING EXAGGERATED, >>Timothy Horn: At times, I do feel like a child in a giant jewelry box. I love keeping visual diaries, because it's like a way I can play

>>Horn: Basically this piece is a hybrid between an eighteenth century jewelry pattern and nineteenth century natural history engravings of lichen. So, I've been looking at engravings of a 19th century zoologist, Ernst Haeckel. He was accused of attempting to improve upon nature, stylizing nature. He believed that one of the underlying notions of, or one of the underlying rules of nature was symmetry,

and as we know, nature is anything but symmetrical. >>Horn: I've called this piece "Tree of Heaven." There is a botanical species known as a tree of heaven. So, it's a tree that was introduced from China to the west in about 1750, and it was such a beautiful-looking tree that it quickly became popular, and was planted all over the East Coast in the U.S. The tree grew quickly, and when it reached maturity, it was discovered that it actually has foul-smelling flowers and that it's more of a noxious weed. >>Horn: I think my work really plays with polar opposites, things like the sacred and the profane, in a similar way with concepts of beauty and the grotesque. These are photographs of atomic detonations, which just have

this uncanny appearance, similar to jellyfish, the form and that terrifying beauty. >>Horn: Haeckel was really the first scientist to start studying jellyfish. When you look at Haeckel's studies, they look like chandeliers, so for me it wasn't too much of a leap to think of constructing one of Haeckel's drawings and using it as a sort of blueprint to create a larger chandelier. It's kind of the embellishment and the misconceptions that are food for me to work from. What we do as humans, we attempt to replicate nature or improve upon nature, which I guess links back

in with Haeckel. FASHION DESIGNER DIANE VON FURSTENBERG IS FOCUSING ON HER ROLE AS A LEADER IN THE FASHION INDUSTRY, HER EFFORT TO PUSH FOR WOMEN'S RIGHTS AND HER NEWEST CLOTHING LINE, CALLED "RENDEZVOUS." >>Paula Zahn: Well First of all it's such a pleasure to be invited into your headquarters here. Thank you for having us. >>Diane von Furstenberg: Welcome. >>PZ: I would love to talk to you about your new collection, Fall 2012 is now out. Describe to me what the process. >>DvF: It is called Rendezvous because we wanted something seductive and so nothing is more seductive than a Rendezvous. It's expectation, whether it's a business Rendezvous or a love Rendezvous. It is mysterious, seductive. It's always, you know ready for the unexpected. So the collection is very flirty. It is close to the body. The dress that opened the collection is called Bently and it's anew form of wrap. The colors are

>>PZ: Take us back to the early days of your life here in the United States where you- no one knew who you were but you were this jet setter, brand new designer on the scene who had just married a prince. >>DvF: I was 22. I came to America. I had just married my sweetheart from college, Egon, who was a prince, and an heir of the Fiat family and I was pregnant and but very and I was very happy and very much in love but I wanted very much to be independent and I had been working for an Italian industrialist in the fashion business, a man who had a printing factory, where he printed scarves and I asked him, I said "can I make a few samples and try to sell them in America" so at night when the factory was closed,

I would stay with the pattern maker and find whatever fabric was around and then I made my first sample and I had that little dress. >>PZ: Let's talk about the little dress. It is the wrap dress, which I am wearing, which is basically endured for 3 generations of women, right? >>DvF: It's like a dress that doesn't have a zipper or buttons that wraps around like a kimono but what was different about it, it was made in jersey therefor it molded the body >>PZ: You could wash it. >>DvF: You could wash it and then there was a print and then the movement of the print is like an animal that kind of goes with the body and all of that together just made this incredible thing and to this day I see people wearing it and I said, "You know what it works. There's something magical. There's something special about that dress" and at this point I just have to accept it. It has paid

for every bill. >>DvF: I was the first person that made inexpensive dresses that all women would buy. I started as awoman and I looked for the practical side and yet be sophisticated and all of that but then of course after, you know decades, I became a designer and now I'm a pro. >>PZ: Well, you certainly are (DvF: Well now I am) and this is after basically three very different evolutions of your company. You had this meteoric rise. >>DvF: My first generation. It was American dream (PZ: Right). Young girls comes to America and overnight is a meteor success, age 28, cover of Wall Street Journal, Newsweek and so on. Then I sold it, I sold the whole business and I thought I was finished with it and I'm... My children went to boarding school (PZ: you had a new life) and I had a new life and then I came back and my brand had completely deteriorated. It was all

over the place, the products at all prices and it just lost its DNA, lost everything. I started my second generation because I realized that young hip girls were buying the old dresses in vintage shops >>PZ: What do you think the key was to making yourself relevant again as you were trying to build this... >>DvF: I don't know. I started back with that old dress again and I just threw myself into it and itworked. And now, just about now between this year and next year, I think it's the third period thatis starting. Accessories is my next big effort and so I'm working in the company and creating a legacy and package that will be able to last after me. >>PZ: I know there are other passions outside of your business. Let's talk about your work at the CFDA. And I know that you feel it's your responsibility to help

nurture new talent. Is that something that you are enjoying? >>DvF: I mean my responsibility is really to build and to promote American fashion. So we do it fromthe schools on. We breathe new talent at the schools then when new designers come in we help them.We have the CFDA Vogue fund where Anna Wintour was just extraordinary. All the young, new designers all come out of that fund. I mean from Rodarte to Proenza Schouler to Prabal, Alex Wang- all cameout of that fund . And then my other commitment is really my commitment to women. I am very involved in Vital voices. Iam on the board of Vital voices. It's an organization that empowers women, that trains women all over the world, women leaders and so they do things to, again to advance human right and to get political acceptance and for economical development.

>>DvF: I really want to help other women because I am so impressed by the strength of women that really is inspiring to me because I have never met a woman who is not strong. Maybe because my mother was in the death camps when she was 20 and freedom was so important to her so that she always told me that she survived, god made her survive so she could give me life and therefor I had to carry her,her flag. And I realize that everything I do, all goes to the same thing. The mission is the same, is to empower women. >>PZ: Are you the woman you want to be today? >>DvF: Yeah. And if you ask me what I want to be remembered for- is if I can have inspired women to be the women they want to be through everything I do- my work, my mentoring, my philanthropy. That's, I mean to me that's

all very coherent. >>PZ: And we are delighted to be able to talk with you. Thank you very much. AUTHOR RL STINE HAS BEEN GIVING KIDS "GOOSEBUMPS" FOR DECADES. NOW, ON THE TWENTIETH ANNIVERSARY OF THE CHILDREN'S SERIES, STINE HAS PUBLISHED A NEW BOOK FOR ADULTS, TITLED "RED RAIN." >>Steve Adubato: We have one of the most prolific writers you will ever find, you're about to see him right here on camera. He is R.L. Stine: author of Red Rain, but that is just one in a series of books part of the um-Goosebumps. The series of books started in 1992, celebrating their 20th anniversary. Uh- the Goosebumps series has sold what bout, 1-200 books? >>R.L. Stine: We sold- Don't make me say the number. Steve Adubato: Say the number! >>R.L. Stine: No we sold a lot. >>Steve Adubato: Say the number! >>R.L. Stine: We sold- eh like 300 million, 400 million >>Steve Adubato: Oh, why you bragging. >>R.L. Stine: Well I want to know who counted. I mean that's the official number, but who counted them? >>Steve Adubato: I've gotta ask you something. When

you started >>R.L. Stine: Yeah I got very lucky with Goosebumps. >>Steve Adubato: Yeah luck, yeah hard work. The idea, for Goosebumps, comes from where, when, how? >>R.L. Stine: I was doing a series for older kids, for teenagers called Fear Street, and it was a teen terror series. I was killing off teenagers every month, killing. Why? Why did I enjoy killing teenagers so much? >>Steve Adubato: Yeah? >>R.L. Stine: I loved it. >>Steve Adubato: Yeah >>R.L. Stine: Um- my editors came to me and they said, let's try a series for younger kids, a scary series for 7-12 year olds. >>Steve Adubato: Age appropriate. >>R.L. Stine: And I said no, that's the kind of business man I am. >>Steve Adubato: No >>R.L. Stine: I said no I don't want to do it. >>Steve Adubato: No. What, you didn't see the market or you weren't interested? >>R.L. Stine: No, I didn't want to mess up Fear Street. I was afraid it would mess u, you know mess up the audience. And they kept after me, kept after me. And finally, I said alright. If I can thinkof a good name for a series, we can do a few. And one day I was reading TV guide, and it had TV listings inside; and there at the bottom of the page, it was an ad. It said: "It's Goosebumps week on channel 11". They were showing scary movies.

And I just stared at it. I mean, there was the word, there was the word. >>Steve Adubato: That was it? >>R.L. Stine: I said, we'll call it channel 11. That's a bad joke. I know. >>Steve Adubato: It's okay. You can get it away with it. So you saw Goosebumps, you said I wanna name it Goosebumps. >>R.L. Stine: It was perfect because it's scary but it's also funny. >>Steve Adubato: Yes >>R.L. Stine: And that's what I knew I had to do for younger kids. It couldn't be, I didn't want toterrify kids, it had to be funny too, and it was the perfect word. It worked out. >>Steve Adubato: But it was, eh- it was a teen thing, because your wife... >>R.L. Stine: My wife has a company called uh-parachute press. Their independent producers of TV, she and her partner, and most of my books go through her company. She is- I'm married to my editor. >>Steve Adubato: Yeah how does that work? >>R.L. Stine: It's a horror story what do you mean! >>Steve Adubato: No kidding. >>R.L. Stine: I married my editor! No man, she's a really tough editor. She's really good. >>Steve Adubato: It's good for the marriage. >>R.L. Stine: It's worked out. We've been married- we are the oldest married couple in America. >>Steve Adubato: You are,

aren't you? >>R.L. Stine: We are. Steve Adubato: And your son, Matt? >>R.L. Stine: Matt, yeah. >>Steve Adubato: What's interesting is that you've said that one of your favorite; actually you said that your favorite Goosebumps book is the Haunted Mas, which was inspired by your son Matt... >>R.L. Stine: Yeah, very few Goosebumps books come from real life. Mostly I have to just think, it comes- I have- it comes up from out of my head, from somewhere else. But this one, Matt was a little guy. He was like 8,9,10 years old, and it was before Halloween, and I was watching him, and he was trying on a green rubber Frankenstein mask, and he pulled it down over his head, and then he couldn'tget it off. And I'm watching from the doorway, and he's tugging, and tugging and I thought, what a great idea for a story. And I should've helped him; I should've helped him take the mask off, right? >>Steve Adubato: But you saw a possibility... >>R.L. Stine: I didn't get the dad award that day. I just started making notes and saying oh yeah the mask it sticks to her face, it can't come off, and that's how really how the 'Haunted Mask'

came along, thanks to Matt. >>Steve Adubato: Well big difference between that and Red Rain. >>R.L. Stine: Uh-yes. >>Steve Adubato: 'Red Rain,' Here's the deal. This young woman named Leah ... And she has these uh-she adopts these twin boys? >>R.L. Stine: Leah is a travel blogger. She goes to this outer-banks island off the coast of South Carolina, one that I made up, not a real one, not a tourist island, a lot of strange stories. And then the next day, she's caught in a devastating hurricane that just destroys the island, kills half the population, and wrecks everything; just total devastation, horrible, a scene of horror. And, the next, morning she wanders out, wanders to the beach, they're piling up the bodies. There are people moaning and crying, it's horrible. And she wanders to the beach and it starts to rain, and she looksup, and the rain drops are red,

bright red. And she thinks, this is the blood of all the victims raining down on us. And from out of these sheets of red rain, step these two beautiful, blonde twin boys. And they say, we're lost, we lost our parents, we don't have a home, and she becomes enthralled by them instantly. And she brings them home to her family in Long Island. And the reader knows, thatthese two beautiful blonde twins... >>Steve Adubato: Just sweet kids aren't they. >>R.L. Stine: They're supernaturally evil. And-mm- I mean this is what this book is really about, evil kids twins... thatthese two beautiful blonde twins... >>Steve Adubato: Just sweet kids aren't they. >>R.L. Stine: They're supernaturally evil. And-mm- I mean this is what this book is really about, evil kids because I thought people would find that funny, since I write about so many good kids. >>Steve Adubato: Yes >>R.L. Stine: It's about evil kids and really naive adults. >>Steve Adubato: Nice combination. >>R.L. Stine: Yeah. The parents don't have a clue. They have no idea what they've brought into theirhouse. >>Steve Adubato: I've gotta

ask you. Now this is, how many books, this series? >>R.L. Stine: Well I-this is my first adult book in 15 years, this is grown ups. This has nothing to do- believe me, this is not a Goosebumps books. Steve Adubato: Well, okay, >>R.L. Stine: This is not for kids. >>Steve Adubato: But the transition, I- forget about the transition. What made you say, "I want to do this for adults." >>R.L. Stine: Here's why. This is the 20th anniversary of Goosebumps. And all those kids who read Goosebumps back in the 90's now they're grown up, they're all in their 20's, they're in their 30's, and you know, I keep in touch with them...on twitter and they're wonderful. I mean it's a wonderful thing for me, I mean that was my audience, we had millions and millions, you know, Goosebumps was a craze in the 90's. >>Steve Adubato: Sure >>R.L. Stine: And they say thank you for getting me through my childhood, I wouldn't be a writer today if it wasn't for you, I wouldn't be a librarian today if it wasn't for you. And then they'd say, please right something for us. Please right something for your original audience. And I got so many messages

like that, and I thought, well I can't ignore them, those are my kids! I can't ignore them right? Steve Adubato: That's where it came from? >>R.L. Stine: That's why I wrote Red Rain. Yeah >>Steve Adubato: You-so.. So interested in social media you didn't say "I wanna do a poll" you justhad this ongoing dialogue... >>R.L. Stine: Yeah I have- I can keep in touch. What a great thing to be able to keep in touch with all my old kids. >>Steve Adubato: Now the whole thing, the cliche question that I'll ask you before I let you outtahere, the whole 'writer's block' thing... You looked at me funny just as I said it. >>R.L. Stine: Yeah cause I've never had it. I-uh..uhm..other writers hate me for this, but writing is actually the only thing I'm competent at.. >>Steve Adubato: (laughs) >>R.L. Stine: No, you could ask my wife Steve, you could ask my wife, it's the only thing I'm good at. >>Steve Adubato: Your editor, she'll say that? >>R.L. Stine: Yeah, that's the only thing I'm good at. But, but the secret is, I don't ever just sit down and start to write, ever. I do a complete outline of every book before I write it. All the thinking, I do a complete

chapter by chapter outline of every book first. And it's got, this is what happens in chapter one, this is what happ- and I know the ending. Before I start to write, I know everything that's going to happen in the book. So how can I have writer's block? I've done the hard part. >>Steve Adubato: You're very well organized. >>R.L. Stine: Yeah I'm cut out for this. >>Steve Adubato: You're good with time management? >>R.L. Stine: Yeah it's like factory work to me. (Laughs) It's a little like.. >>Steve Adubato: A little more creative >>R.L. Stine: You know... I'm cut out for it. IT IS AN UNDERSTATEMENT TO SAY MUSCIAN JOL DANTZIG, IS AN ACCOMPLISHED GUITAR MAKER. EACH OF DANTZIG'S ORIGINAL GUITARS IS A ONE-OF-A-KIND PIECE OF ART. >>NARR: Long before his hands begin their labor of love, Jol Dantzig dreams up guitars with some definite DNA. >>DANTZIG: It's totally about surrounding myself with inspiration and almost,

in a sub-conscious way, building an instrument to a theme. >>NARR: One of the world's finest guitar makers, this thoroughly modern luthier has given birth to some of the most iconic electrics ever, including custom designs for hundreds of artists - like the Beatles, Pearl Jam, the Police, and this five-neck monster for Cheap Trick's Rick Nielsen. He's not like a standard luthier, where he's just a craftsman. And there are those guys who build beautiful instruments, and know how to play them a little bit, but Jol really knows the music because he started out as a musician. >>NARR: A hopeful musician in hometown Chic ago in the early '70s, it was his day job fixing and reselling instruments that pushed his talents and technical skills one step further. >>DANTZIG: Once you've repaired and restored old guitars, it's just really

a hop, skip and a jump tobuilding one from scratch. >>NARR: So in 1973, with fix-it partner Paul Hamer, their new line of guitars was launched. And as sales for electrics boomed, in a pop culture craze by the British invasion, so did Hamer guitars and Dantzig's career. He took the quality of Gibson, and because it was a smaller shop, was able to detail it and make everything perfect. They took Gibson, and put it on steroids. >>NARR: In 2010, after a three-decade career, creating his own vintage guitar label became the logical destination. >>DANTZIG: I was fascinated with these older guitars, the ones from the '30s through the '50s, before vintage guitars were really called vintage guitars. They have a soul, they have a story. By the time you get it, that instrument has witnessed all kinds of things.

>>NARR: Toggle switches, dials and electrical wiring. It's stuff like this you find tucked away at the local hardware. But to Jol Dantzig, it's a little bit like buried treasure - especially if they've been used before. >>DANTZIG: These are old switches that were used in operator switchboards in Chicago. I can use it to control the electronics on the instrument, and it has the old cloth-covered wire so I'll refurbishit. Imagine if you could hear all the conversations that went through this switch and all these wires. >>DANTZIG: I'm trying to make a new guitar, but there's a whole pre-history that I build into the guitar. >>DANTZIG: This is inspired by a place in Fort Worth in the 1800s where all the cowboys would go fortheir, their pleasure. This is maple and ebony checks, and to me it kind of looks like a lariat, soI want to put this around

the entire guitar. >>NARR: Today, in the woods that surround his Connecticut studio, Dantzig lets his ideas unfold. With each handmade guitar, he's rekindled that creative idealism once inspired by a single childhood memory. >>DANTZIG: I must have been, like, 10 years old or something. One of the camp counselors brought an electric guitar and an amplifier to camp. I've never seen anything like this, it was a guitar somehow electrical, so it like pushed all the right buttons for me. It was music that was as loud as a racecar. Everything about it just captured my imagination, and that's when I knew I had to be part ON COLORES... KING OF THE POLITICAL CARTOON,

NEW MEXICAN PAT OLIPHANT... "What you are trying to do as a cartoonist is start a conversation. Plant an idea SCOTT BAXTER CAPTURES A LIVING AMERICAN HISTORY "As a group they're very of their heritage, they're very proud of what they do." A LEADING FIGURE IN WORLD MUSIC, CLARINETIST DAVID KRAKAUER... "You know, playing jazz is a whole thing about originality, and it's about finding your own voice." FINE ART PHOTOGRAPHER ORI GERSHT ... "I'm interested in this moment where the viewer becomes aware of what they are looking at." UNTIL NEXT TIME THANK