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<v Announcer>St. Louis skyline, supported in part by the Missouri Arts Council, <v Announcer>a state agency by the Regional Arts Commission. <v Announcer>And by the Camelot Special Projects Fund of the Arts and Education Council of Greater St. <v Announcer>Louis. And now here is your host, Anne-Marie Skinner. <v Anne-Marie Skinner>Hello, welcome to St.Louis Skyline. <v Anne-Marie Skinner>His music may be called minimalist, but his impact on music has been anything but <v Anne-Marie Skinner>minimal. Tonight, you'll meet composer Philip Glass and hear about his latest <v Anne-Marie Skinner>collaboration. We'll also see a little of dancer Suzanne Grace's latest collaborative <v Anne-Marie Skinner>work. And I'd like to introduce my co-host for tonight's show, Beej Nierengarten-Smith, <v Anne-Marie Skinner>executive director of Laumeier Sculpture Park. <v Anne-Marie Skinner>Beej, you and I will have a chance to talk a little bit later in the show. <v Anne-Marie Skinner>But why don't you tell us what's what else is coming up tonight? <v Beej Niergarten-Smith>Well Anne, we're about to meet two sculptors who share a love for each other, <v Beej Niergarten-Smith>as well as for the sculptures they create. <v Beej Niergarten-Smith>Gail Soliwoda-Cassilly makes fine and delicate pieces while her husband, <v Beej Niergarten-Smith>Robert Cassilly, creates large beasts and architectural ornament.
<v Beej Niergarten-Smith>No matter the size or nature of the work, much time, introspection and <v Beej Niergarten-Smith>physical exertion goes into the making. <v Gail Soliwoda Cassily>Every time I see somebody move in a different way or every time I complete one <v Gail Soliwoda Cassily>figurative work, it just leads me on to have to be inspired to do something else. <v Gail Soliwoda Cassily>I've tried even consciously to to to go off in different directions at time. <v Gail Soliwoda Cassily>And it's inevitably a figure starts to appear.
<v Gail Soliwoda Cassily>And so I don't fight it anymore. <v Gail Soliwoda Cassily>I just I just really enjoy that. <v Gail Soliwoda Cassily>I was always the one who got to do bulletin boards and had the classroom art projects and <v Gail Soliwoda Cassily>things like that. And I just I took it for granted. <v Gail Soliwoda Cassily>You know, everybody seemed to think I could do it well. <v Gail Soliwoda Cassily>And so I did it. <v Anne-Marie Skinner>Her work captures the passion and spirit of the human form. <v Anne-Marie Skinner>His work captures the imagination. <v Robert Cassily>Tried to revert to childhood when I conceived my thesis, my most formative time was when <v Robert Cassily>I was 12 years old, I was sitting on the porch of our house. <v Robert Cassily>I had this miniature scene built. <v Robert Cassily>And there was I was listening to the adults talk. <v Robert Cassily>I dreamed I looked up and said, this could be so sad when I had to grow up and be an <v Robert Cassily>adult. I can't play in this dirt. <v Robert Cassily>And probably I worked it out that way that I can play in the dirt the rest of my life.
<v Robert Cassily>I like to use a water, a lot, water's fun, water makes pieces less serious <v Robert Cassily>and allows you to be more childlike and playful. <v Robert Cassily>But I'm most flattered when a 10 year old likes my work. <v Robert Cassily>I do find the most rewarding audience. <v Robert Cassily>I like to make them, you know, everybody like it or at least appealed <v Robert Cassily>to everyone on different levels. <v Robert Cassily>And I think the more levels that work appears on the matter, the better it is. <v Robert Cassily>Hippopotamus at the zoo and I over there, I see like 20 kids in line to go climb through <v Robert Cassily>it. And that makes me happy. I mean, we've got a two year old son, and that makes <v Robert Cassily>you. I was making a play house and end up at the zoo <v Robert Cassily>and actually all my work has revolved around my son since he's been born. <v Robert Cassily>You know, I've been making these big clay animals. <v Robert Cassily>Max was my inspiration because he's enthusiastic and spontaneous and he likes all <v Robert Cassily>the neat things in life, like, you know, bugs and insects and food. <v Robert Cassily>And, you know, so we got like.
<v Robert Cassily>And, you know, it's like a return to your roots. <v Robert Cassily>You know what's really important? <v Gail Soliwoda Cassily>I just find that when Max came along, suddenly children came into the picture <v Gail Soliwoda Cassily>and my work a lot more than they had before. <v Gail Soliwoda Cassily>Suddenly there were fathers and with children and mothers with children more than <v Gail Soliwoda Cassily>there had been before. <v Gail Soliwoda Cassily>And I felt much more comfortable working with a child's figure, having had <v Gail Soliwoda Cassily>such, you know, having my real hands on experience with him all the time. <v Anne-Marie Skinner>Mary Brunstrom is the owner of Ostro Gallery, where the Cassillys recently
<v Anne-Marie Skinner>had a show and Bob's mythical creatures are still on display <v Mary Brunstrom>I think I was probably really directly influenced with this type of image for my <v Mary Brunstrom>three years in Africa where every woman you saw walking down the road had <v Mary Brunstrom>a pile of something on her head, fruit or wood or heaven knows what. <v Beej Niergarten-Smith>Where were you teaching in Africa? <v Mary Brunstrom>I was teaching in Malawi. <v Mary Brunstrom>Teaching was teaching art at a girls school. <v Mary Brunstrom>And some things just keep creeping back into my work and keep a lot of people say <v Mary Brunstrom>they see African influences. And again, it's not really conscious on my <v Mary Brunstrom>part, but I always influence enough to have it just come out <v Mary Brunstrom>automatically from time to time. <v Anne-Marie Skinner>Several years ago, Bob and Gail started an architectural ornamentation business <v Anne-Marie Skinner>called Cassilly and Cassilly. <v Anne-Marie Skinner>The business has been quite successful, resulting in a full time staff and simultaneous <v Anne-Marie Skinner>projects beside finishing work for the Rocky Mountain Elk Foundation
<v Anne-Marie Skinner>and designing new sidewalk borders for Forest Park Parkway. <v Anne-Marie Skinner>The Cassillys are working on a giant squid for the zoo. <v Robert Cassily>But this is a giant squid. We're making for the St. Louis Zoo. <v Robert Cassily>It'll be 42 feet long when we're done. <v Robert Cassily>Basically, how we how we made this thing was like we made like a surfboard. <v Robert Cassily>We started with a steel armature. <v Robert Cassily>And then we use urethane foam like you spray in the attic. <v Robert Cassily>And we spread the whole thing with your thing foam. <v Robert Cassily>And then we got with chisels and files and carved this squid. <v Robert Cassily>When that was finished we sanded it down down and then covered the whole thing <v Robert Cassily>with fiberglass. So when it's finished it'll look like it's swimming in the ocean. <v Gail Soliwoda Cassily>I'm the finisher in the family, I uh Bob usually <v Gail Soliwoda Cassily>completes something at the ninety five percent mark and I'm usually pretty <v Gail Soliwoda Cassily>happy to take up at that point you know finish something off.
<v Robert Cassily>Really, the best thing about our relationship is she'd made me like 10 times as <v Robert Cassily>productive because I could start something, but I can't finish almost anything and she <v Robert Cassily>finishes all our projects. <v Gail Soliwoda Cassily>It's true. He's got incredible energy for starting things. <v Gail Soliwoda Cassily>Just momentus, you know, a huge, colossal things. <v Gail Soliwoda Cassily>He'll begin with great gusto. <v Gail Soliwoda Cassily>I mean, things I could never imagine starting. <v Gail Soliwoda Cassily>But then he just you know, after that initial enthusiasm and energy, he gets tired of it. <v Gail Soliwoda Cassily>He wants to go to the next big thing. <v Robert Cassily>She's sort of quality control for the two of us. <v Robert Cassily>She tells me that I'm getting off the deep end. <v Gail Soliwoda Cassily>I think I'm probably most satisfied with my work when I've just begun a project, <v Gail Soliwoda Cassily>because it's um I'm excited about it and I have a direction and I haven't <v Gail Soliwoda Cassily>ruined it yet. And there's just endless potential for what it can become. <v Gail Soliwoda Cassily>As in somewhere around the middle market, I usually can't stand <v Gail Soliwoda Cassily>it because I think that I'm ruining it and taking away the freshness that
<v Gail Soliwoda Cassily>I start out with. And then by the end, it's it's I've reached some sort of resolution <v Gail Soliwoda Cassily>which has made me somewhat happy, somewhat disappointed. <v Gail Soliwoda Cassily>I don't think my work needs a story like some people's work <v Gail Soliwoda Cassily>does. I think it's I think what you see is what it is. <v Gail Soliwoda Cassily>We really work very harmoniously and there's very little competition. <v Gail Soliwoda Cassily>We don't really have many conflicts. <v Gail Soliwoda Cassily>I think we are able to help each other fairly well. <v Robert Cassily>I think we know when they get out of the way. <v Anne-Marie Skinner>Every nook and cranny in the Cassillys' many studios hosts an abundance <v Anne-Marie Skinner>of promising half finished works piled up next to completed pieces. <v Anne-Marie Skinner>And like Adam and Eve in the garden, one is tempted to see even more. <v Anne-Marie Skinner>What a diversity of work. It's amazing that a couple can find so much support in
<v Anne-Marie Skinner>St. Louis to be able to do that kind of work. <v Beej Niergarten-Smith>Well, I think that's one of the highlights of being in the arts community in St. Louis. <v Beej Niergarten-Smith>Consider that both Gail and Bob work not only for institutions, but for themselves, <v Beej Niergarten-Smith>and that they found a gallery to represent their work, which is another layer of support <v Beej Niergarten-Smith>that the community can offer. <v Anne-Marie Skinner>It's not just the galleries. I mean, they have broad based support. <v Anne-Marie Skinner>The zoo, obviously, my children have climbed in that hippo many times. <v Beej Niergarten-Smith>Exactly. And I think that, you know, you'll find that as their careers develop, they'll <v Beej Niergarten-Smith>find other outlets in the community to use them as a resource. <v Anne-Marie Skinner>Well, those are they have a wide diversity of styles of sculpture. <v Anne-Marie Skinner>But at Laumeier, there is currently a very, very different style of sculpture. <v Anne-Marie Skinner>Can you tell us about that exhibit? <v Beej Niergarten-Smith>The Magdalena Abakanowicz exhibit now and the Laumeier Gallery is <v Beej Niergarten-Smith>a dramatically different and very serious gallery exhibit reflecting <v Beej Niergarten-Smith>the work and thoughts of a woman who grew up in Poland during the Second World War. <v Beej Niergarten-Smith>We're exhibiting her work in conjunction with another contemporary Polish
<v Beej Niergarten-Smith>artist who is working on site creating a side sculpture. <v Beej Niergarten-Smith>His name is Ursula von Rydingsvard. <v Beej Niergarten-Smith>So we have the opportunity to show someone who is well established in the field <v Beej Niergarten-Smith>of contemporary art from Poland as well as a new American Polish artist. <v Anne-Marie Skinner>Well, without further ado, let us see now a little bit of the Abakanowicz exhibit at <v Anne-Marie Skinner>Laumeier.
<v Anne-Marie Skinner>Beej, anything else you'd like to tell us about that exhibit? <v Beej Niergarten-Smith>Well, Magdalena's work, as you can see, shows bodies <v Beej Niergarten-Smith>in various states of emotional anxiety. <v Beej Niergarten-Smith>It's a good exhibit to do some serious study with because it deals not only with the <v Beej Niergarten-Smith>figure in contemporary art, but also with concepts of negative and positive spaces <v Beej Niergarten-Smith>and with a very strong, powerful theme. <v Beej Niergarten-Smith>As interpreted by a female artist who has not had an easy life, <v Beej Niergarten-Smith>who led a very difficult existence, becoming an artist as well <v Beej Niergarten-Smith>as an internationally known artist. <v Beej Niergarten-Smith>I would suggest that the viewer spend a lot of time just sort of empathizing <v Beej Niergarten-Smith>with what it probably is like to be in that kind of situation between exhibits <v Beej Niergarten-Smith>like this that are coming into St. Louis and the work of sculptures like the Cassillys'. <v Anne-Marie Skinner>It seems that sculpture is really coming alive in St. Louis. <v Anne-Marie Skinner>Is that your perception? <v Beej Niergarten-Smith>Well, I think I'm proud to say that it certainly is. <v Beej Niergarten-Smith>There is currently a wonderful show by Louise Bourgeois at
<v Beej Niergarten-Smith>Steinberg. And certainly Rebecca Horne, who is a fantastic German artist, <v Beej Niergarten-Smith>is being represented currently at the San Luis Art Museum. <v Beej Niergarten-Smith>So all of the institutions and organizations that do contemporary work seem <v Beej Niergarten-Smith>to have really brought to the fore this notion of sculpture and work in the third <v Beej Niergarten-Smith>dimension. And we're we're delighted. <v Anne-Marie Skinner>Is that something that is typical of St. Louis? <v Anne-Marie Skinner>Is this going on nationally or it is St. Louis discovering something about sculpture, <v Anne-Marie Skinner>perhaps because of Laumeier? <v Beej Niergarten-Smith>I think St. Louis is really beginning to take a leadership role in contemporary <v Beej Niergarten-Smith>sculpture. Lamar is producing a book currently on sculpture in St. Louis <v Beej Niergarten-Smith>called A St. Louis Sculpture. <v Beej Niergarten-Smith>And it will be available in December and it will further highlight the notion <v Beej Niergarten-Smith>of the leadership role taken by St. Louis. <v Anne-Marie Skinner>When we were talking earlier, you said you thought St. Louis was doing very well in the <v Anne-Marie Skinner>sculptural scene, but we still had a long way to go. <v Anne-Marie Skinner>And I just need to find out. What did you mean by that? <v Beej Niergarten-Smith>Well, I. I don't mean that in a negative sense. <v Beej Niergarten-Smith>I think we're at an edge. <v Beej Niergarten-Smith>Laumeier, particularly with 96 acres available for contemporary sculpture
<v Beej Niergarten-Smith>and having a full gallery program, is now moving into the realm of publications <v Beej Niergarten-Smith>and is moving into education. <v Beej Niergarten-Smith>And I think the need has been established for this kind of contemporary <v Beej Niergarten-Smith>reference. So what we'd like to see now is a transition moving <v Beej Niergarten-Smith>into larger quarters, more support for the arts in general. <v Beej Niergarten-Smith>I think what I really would like to see is just this general development <v Beej Niergarten-Smith>of organizations that once were small into something <v Beej Niergarten-Smith>permanent and established. <v Anne-Marie Skinner>That's something that's, I think, different about Laumeier. <v Anne-Marie Skinner>When you began many years ago, it was really the new thing to do. <v Anne-Marie Skinner>It was a very new place, very experimental. <v Anne-Marie Skinner>You have just described something that sounds magnificent to almost institutional. <v Anne-Marie Skinner>Does that change the nature of what you do? <v Beej Niergarten-Smith>Yes, it does. And the point is well taken because we want to hold on to the <v Beej Niergarten-Smith>fresh, sort of innovative look that's come through the institution. <v Beej Niergarten-Smith>On the other hand, there are so many areas that need work and
<v Beej Niergarten-Smith>so many service areas that have been developed that we have to find a kind of balance <v Beej Niergarten-Smith>between both of service areas and our own unique approach to contemporary art. <v Beej Niergarten-Smith>And we'll do it. We'll make sure that we do it. <v Anne-Marie Skinner>And you're famous for modern and contemporary sculpture as time moves on. <v Anne-Marie Skinner>How do you keep being contemporary? <v Beej Niergarten-Smith>I think you continue to study those new and revolutionary things that are available in <v Beej Niergarten-Smith>the discipline. <v Beej Niergarten-Smith>That question about the Museum of Modern Art becoming no longer a modern <v Beej Niergarten-Smith>museum, but becoming a history museum is one that we must address. <v Beej Niergarten-Smith>And we have to make sure that we're always there looking for the most unusual <v Beej Niergarten-Smith>and yet the most valid in contemporary art. <v Beej Niergarten-Smith>And at the same time, give a healthy dose of respect to those great achievers who have <v Beej Niergarten-Smith>gone on before. <v Anne-Marie Skinner>And Laumeier still just about my favorite place to go. <v Anne-Marie Skinner>My son calls it the Gelcher Park. <v Beej Niergarten-Smith>Well thank you it's my favorite place. <v Anne-Marie Skinner>Good, good. Well, now here is another preview of the latest work from an artist who <v Anne-Marie Skinner>dances with sculpture, with poets, with choirs, and sometimes with other dancers.
<v Anne-Marie Skinner>This time, Suzanne Grace of Burning Feet, Inc. <v Anne-Marie Skinner>has collaborated with video artist Kathy Corley and Carlos Pinero, musician <v Anne-Marie Skinner>Carl Weingarten and dancers Laura Burkhart and Patti Myers. <v Anne-Marie Skinner>Here's an excerpt from The Point Is.
<v Anne-Marie Skinner>Talk about Laumeier at the cutting edge. <v Anne-Marie Skinner>Suzanne is always at the cutting edge of dance. <v Beej Niergarten-Smith>She is. And this piece, particularly gives evidence about a <v Beej Niergarten-Smith>woman who's accomplished a great deal grabbing on to the new and the contemporary and <v Beej Niergarten-Smith>making it visible yet using her body as sculpture. <v Beej Niergarten-Smith>So it's a primary example of integrating the arts. <v Anne-Marie Skinner>Be a good chance to see it at Khoka. <v Anne-Marie Skinner>Well, speaking of collaborations, the most fascinating one is coming this weekend to <v Anne-Marie Skinner>Eddison Theater. 1000 Airplanes on the Roof is the intriguing title for a new <v Anne-Marie Skinner>work by composer Philip Glass. <v Anne-Marie Skinner>Playwright David Henry Hwang, winner of the 1988 Tony for Best Play with his M. <v Anne-Marie Skinner>Butterfly and Jerome Saleen, stage and scene designer of Everything From Visionary, <v Anne-Marie Skinner>an opera to Madonna's 1987 World Tour. <v Anne-Marie Skinner>While tickets for 1000 Airplanes have been sold out for some time now, we did have an <v Anne-Marie Skinner>opportunity to speak to Philip Glass. <v Anne-Marie Skinner>Just last week about this and other work. <v Anne-Marie Skinner>Here's Post-Dispatch music critic Jim Where's Bickie in conversation with composer and <v Anne-Marie Skinner>collaborator Philip Glass backstage at Washington University's Citizen Theater.
<v Philip Glass>It's certainly a piece of music theater, but the performer never sings. <v Philip Glass>It's a spoken opera. <v Jim Wierzbicki>A classic melodrama. <v Philip Glass>Now we know what it is. It's a spoken opera. And you're right. <v Philip Glass>It comes from the from the tradition of melodrama. <v Jim Wierzbicki>Last year in Paris, it was an opera by an American composer, Tod Makeover, a setting of <v Jim Wierzbicki>a science fiction novel by Philip Dick. <v Jim Wierzbicki>And the opera's called VALIS. It's about an encounter as a earthling with <v Jim Wierzbicki>some alien creatures. <v Jim Wierzbicki>Is this a trend? <v Philip Glass>In the course of presenting A Thousand Airplanes. I so far met two abductees who have <v Philip Glass>come to the show. That means people who have actually believe they've been taken onto <v Philip Glass>space ships I met two so far. <v Philip Glass>This is very much, people say, in the air. <v Philip Glass>And now I guess David has an interesting point of view about this. <v Philip Glass>David thinks that there have always been a kind of paranormal experience. <v Philip Glass>We describe them today in terms of visitors. He says, well, maybe fairies and genies and <v Philip Glass>demons and ghosts. He said maybe this has been going on for a thousand years, but every <v Philip Glass>generation finds its own language to describe it.
<v Philip Glass>Certainly, people are bumping into something in the dark and we don't know what it is, <v Philip Glass>but I don't know that we need to be more precise than <v Philip Glass>that. But we're talking about experiences that a large body of people are reporting. <v Philip Glass>What about you? Have you ever bumped into something that we made this up? <v Philip Glass>I have to put the story, on the other hand. <v Philip Glass>Within our team of people, two of the three of us have had visual <v Philip Glass>sightings of things. But what if I don't tell you <v Philip Glass>but that you see there? Again, this is precisely what the story is about. <v Philip Glass>People are unwilling to talk about it. <v Philip Glass>I'm unwilling to even tell you. <v Philip Glass>So that what happens to our character and this leads us to what the pieces about <v Philip Glass>the person has memories of encounters. <v Philip Glass>And finally, we even stage one on the stage and then they sit. <v Philip Glass>And so, my gosh, if I tell people about this, they'll think I'm crazy. <v Philip Glass>But if I don't tell them, that's even crazier. <v Philip Glass>So then they're caught in this terrible dilemma. <v Philip Glass>And what they do is the only thing that they can do is they begin to forget.
<v Philip Glass>And the piece finally becomes about forgetting and memory and what we can bear <v Philip Glass>to acknowledge about our own experiences. <v Philip Glass>?Barry Sun? who's a who does a visual design, he actually people think it's holograms. <v Philip Glass>Actually, what it is, is projected slides on a series of screens that <v Philip Glass>are three dimensional. We put our actor in those screens. <v Philip Glass>And you know what it's like? It's like looking at a movie. <v Philip Glass>You know, the scenes changes like a movie change we have dissolves and cuts. <v Philip Glass>We go from one street to a farm to a city to an inside of a building. <v Philip Glass>You see that happening except in the middle of it, a live actress. <v Philip Glass>People used to say is that, oh, the public doesn't like my music now. <v Philip Glass>But future generations will. And I begin to think, oh, why are the people who aren't born <v Philip Glass>yet better than the people that are right here? <v Philip Glass>Is there a difference? <v Jim Wierzbicki>Then you wouldn't be around to enjoy it anyway. <v Philip Glass>I'd rather write for the people I know than the people I don't know. <v Philip Glass>It seems obvious to me. And what happened? <v Philip Glass>We had a real return to the idea of public music.
<v Jim Wierzbicki>Any speculation as to why this music is catching on with the American and European public <v Jim Wierzbicki>in the late 1980s? <v Philip Glass>My generation and composers looked around at the people before us and decided we weren't <v Philip Glass>willing to write music for 200 people, 300 people that we were interested in entering <v Philip Glass>again into that historic dialog between artists and the public, <v Philip Glass>which has to do with how to hold onto your idealism about your work <v Philip Glass>and at the same time find the broadest public you can find. <v Philip Glass>This is the dialog that Mozart was involved in Beethoven Bognor. <v Philip Glass>It's a traditional, but Moylan's was dropped in the middle of the 20th century when <v Philip Glass>it was not fashionable to talk about the public or even to talk about people liking your <v Philip Glass>music. The idea was that art existed in some abstract place where it never <v Philip Glass>had to impact on the public. <v Philip Glass>And what happened is that we had several generations of, if not more composers who simply <v Philip Glass>never had a public. <v Philip Glass>My. So we're not going to do that. <v Philip Glass>And we began addressing ourselves to performances for a wide audience.
<v Philip Glass>And what's happening is the result is that people are back in the concert halls to hear <v Philip Glass>new music that they never would have heard before and never would have gone to before. <v Performer>My skin like a coat. <v Performer>I stared at my face and a stranger stared back. <v Performer>A stranger. <v Performer>Smiling. <v Philip Glass>You know, for a lot of the middle of the 20th century, people thought of modern <v Philip Glass>music as the kind of music that they just didn't want to hear. <v Philip Glass>It was very abstract. It was they could hear melodies that jumped all over the place. <v Philip Glass>I couldn't hear rhythms. And it was, you know, they said, gee, that's an era. <v Philip Glass>I don't want to hear that. And a lot of. <v Philip Glass>And then the public was driven all of the concert halls and opera <v Philip Glass>houses and people said, well, they'll come back later. <v Philip Glass>Well, they never came back, at least not to hear that.
<v Philip Glass>Now, this music was very abstract and a bunch of composers came <v Philip Glass>along and said, look, we see what happens when you do that. <v Philip Glass>And what they really wanted to do was that we put back metal melodies and some of <v Philip Glass>it was a little rough, repetitive, which I've been accused of, a rhythm that pieces that <v Philip Glass>have a rhythmic drive to it. <v Philip Glass>And people said, oh, that sounds like popular music, has got beat, has a beat in it <v Philip Glass>again. And people like John or myself or anything, it was they put the beat back in the <v Philip Glass>music and put the melody back in the music, and they put that kind of harmony that maybe <v Philip Glass>you can't really pick it out on the piano so easily. <v Philip Glass>But people thought that they could. <v Jim Wierzbicki>One of the things that troubles me about repetitive <v Jim Wierzbicki>tonal music in general is that it's so easy to <v Jim Wierzbicki>imitate. Now, I know that you spend a great deal of time working on your scores and your <v Jim Wierzbicki>music is, in fact more complicated than it might seem. <v Jim Wierzbicki>But it's very, very easy to to do a knock off of that. <v Jim Wierzbicki>Does it trouble you? <v Philip Glass>Well, it troubles me when I hear commercials that use what we call sound alikes.
<v Philip Glass>You know, it's hard to when you say, well, how can I tell you ahead of time how you'll <v Philip Glass>know my music from somebody else's? Now, one of the great mysteries of music is you can <v Philip Glass>teach somebody all the rules and they can write a piece of music, but somehow their <v Philip Glass>personality isn't there. It's like somehow the thumbprint isn't in there. <v Philip Glass>And you might use the question where one does a personally creepin where <v Philip Glass>when all the rules and all the notes. Where does the personality go? <v Philip Glass>And we don't know. It's one of those great mysteries. <v Philip Glass>One of the funny things that's happened is that this music was 20 years ago was so <v Philip Glass>unusual. It's now all over the place. <v Philip Glass>And when I ask people, I'll give you an example. <v Philip Glass>Someone says someone said recently to a friend of mine <v Philip Glass>was that music sounds like Philip Glass. <v Philip Glass>He said, Oh, everybody sounds like Philip Glass. [laughter] <v Anne-Marie Skinner>Well, even though 1000 Airplanes is sold out for this Sunday, if you would like to hear <v Anne-Marie Skinner>some great music, the St. Louis Jazz Festival is taking place this Sunday, October 16th,
<v Anne-Marie Skinner>from one to six p.m. in the amphitheater at Keehner Plaza. <v Anne-Marie Skinner>And as Beej said, art is alive in St. Louis. <v Anne-Marie Skinner>And that is the theme of the midday cultural program sponsored by the Atrium Gallery <v Anne-Marie Skinner>beginning on October 18th, lunch at noon. <v Anne-Marie Skinner>And reservations are required and next week Skyline will be preempted. <v Anne-Marie Skinner>But we will be back on October 24th to celebrate United Nation's Day <v Anne-Marie Skinner>with a special exhibit which brings together the art of U.S. <v Anne-Marie Skinner>and Soviet children. We'll also take a different approach to politics and the upcoming <v Anne-Marie Skinner>election with playwright Joan Lipkin. <v Beej Niergarten-Smith>And we'll look at a most unusual exhibit of quilts that were created definitely <v Beej Niergarten-Smith>not to cover the bed, but to hang on the wall as art. <v Anne-Marie Skinner>And Nicholas Cria will also join us to discuss what goes into making successful <v Anne-Marie Skinner>children's theater. Please join me and Beej who'll be back with us October 24th <v Anne-Marie Skinner>for St. Louis Skyline. I'm Ann Marie Skinnerd. <v Anne-Marie Skinner>Thank you for watching and good night.
<v Announcer>St. Louis skyline is supported in part by the Missouri Arts Council, a state <v Announcer>agency by the Regional Arts Commission and by the Camelot's <v Announcer>Special Projects Fund of the Arts and Education Council of Greater St. Louis. <v Speaker>Defense now Joe Wright shot wouldn't go and Turchin comes <v Speaker>out of there, Turchin down the counter, stops and pops it in. <v Speaker>It's all Kansas. Their defense has turned it totally around.
<v Speaker>Turchin got one in the eye. Pause for a moment. <v Speaker>Turgeon got hit in the face over there talking with the official what he may feel to call <v Speaker>time, but he got hit right on the bridge of the nose. <v Speaker>And Turgeon going to the bench. <v Speaker>Take a look at his play a moment ago. <v Speaker>This was the transition game at Kansas, has done a great job led by this man, Hunter, <v Speaker>Gold Coast to Coast. <v Speaker>Now, here's the dish off and we take a look right here. <v Speaker>Yep. <v Speaker>That's one too many. <v Speaker>It sure was. That was Calvin Thompson. <v Speaker>I'm not picking on anybody who fits with the husband either. <v Speaker>I got to work four million years sitting here, Jay. They're easy from here. <v Speaker>Well, you were one of the very best. <v Speaker>Believe me, the defensive Kansas has been <v Speaker>sensational. Number 22, Sarah Connor has put on a show for
<v Speaker>11 minutes in the second half. Joe Wright has touched the ball three times. <v Speaker>He's gotten one shot off a bad shot. <v Speaker>Doros Coleman forcing the shot won't go for him <v Speaker>Rebound Thompson of Kansas Out to Hunter Hunter down the Kellogg <v Speaker>Kellogg wants to put it up for a foul. <v Speaker>Jack Hartman says up, but did not coach the last <v Speaker>15 games of last year. There is Oklahoma Duke having a good win <v Speaker>in the second half. <v Speaker>Mike Kruszewski, nobody can pronounce his name. <v Speaker>He might be number one since North Carolina got beat. <v Speaker>Going to the line. <v Speaker>Kellogg shoots to Kellogg as <v Speaker>22 points this afternoon. <v Speaker>Twenty three nine oh seven to play J. <v Speaker>He knows all the tricks. The only thing he needs to be really good in the NBA is to
<v Speaker>handle the ball a little better as a second guard. <v Speaker>He can cover and obviously he can shoot it. <v Speaker>Thirteen point lead now for the Jayhawks with nine minutes to play. <v Speaker>Time to go inside. Kelly, a good job. <v Speaker>There it is. Foul on Kelly. <v Speaker>My guest stars Coleman. <v Speaker>Coleman laid the ball on Kellogg's head and he didn't like that. <v Speaker>Let's take a look at that. Go down in the box. <v Speaker>This is really important because you had scored the last 10 points. <v Speaker>That guy gets up and gone. College is much smaller than Manning. <v Speaker>There it is, the calm and he gets hammered. <v Speaker>Watch now puts the ball right on his forehead. <v Speaker>Norris Pohlmann at the free throw line. <v Speaker>Foreman was 17 points back. <v Speaker>It 18. <v Speaker>And that finally breaks out 10 points to a string, a little run. <v Speaker>You had Jack Hartman thought his ballot playing in the tournament
<v Speaker>in Topeka last April <v Speaker>64. <v Speaker>Fifty three. <v Speaker>Kansas, 850 to play. <v Speaker>Dreiling takes a little temper and gets it down, lot gaps in that zone right <v Speaker>now. If you flash with the big seven one dreiling, you're going to be able to find him. <v Speaker>Thirteen point lead for Kansas <v Speaker>Coleman. And when you go down, Boy Hunter comes out <v Speaker>of there for Kansas. <v Speaker>Kansas slowing it down a bit on offense with a 13 <v Speaker>point advantage. They led by 14 early in the game. <v Speaker>Biggest lead for Kansas State with five as they came back from that <v Speaker>14 point deficit to lead at halftime. <v Speaker>Thirty four. Thirty three, Larry, using the clock a little bit and they're making him
<v Speaker>extend. <v Speaker>That means somebody is open at the free throw line. <v Speaker>Kellogg <v Speaker>back at the other end. It's been all common. <v Speaker>Twelve of 19, that's it didn't good enough. <v Speaker>Right. Has not been able to get the basketball biggest lead of the game for Kansas. <v Speaker>That one goes down. <v Speaker>Put my hands up. Ben Mitchell, 68, 55. <v Speaker>Kansas with seven. Twenty five to go. <v Speaker>And as long as Jack Harmon stays in the zone, Larry will milk the clock. <v Speaker>He'll use it down to about the eight second mark. <v Speaker>Kellogg has the high score in the game with twenty six. <v Speaker>This is where it's a great <v Speaker>advantage. Having coached in the NBA, Larry Brown understands the clock. <v Speaker>Most college coaches are working with it really for the first time. <v Speaker>Last year, Dreiling tried that, batted in underneath.
<v Speaker>That's Archie Marshall, who is in the game now for Kansas. <v Speaker>And we're gonna get a timeout with six fifty seven. <v Speaker>Love to play in this one. <v Speaker>We'll be right back after this word. <v Speaker>Budweiser. <v Speaker>Carlos, I need one hundred of these by frame by frame. <v Speaker>My son is running. <v Speaker>Here's to you, reach an age for that clean, crisp page that says Budweiser. <v Speaker>Grips, gloves, fit the natural curve of your hand, and the leather construction is made
<v Speaker>for rough work in February. Get well as the light drips gloves for just six forty nine a <v Speaker>pair while supplies last. Look for the hardware value of the month. <v Speaker>Better at participating in true value hardware stores and homes in. <v Speaker>Along with her brown Jay Randolph reminding you of the 11th annual Women's Big, a <v Speaker>tournament will be held March six and eight, the Temple Arena in Kansas City. <v Speaker>Tickets available at Kamper. Don't miss the fun and excitement of the Big Eight women's <v Speaker>basketball tournament today here preceding this action in the women's game. <v Speaker>Kansas defeated Kansas State eighty one to seventy. <v Speaker>Jack Hartman, the remarkable junior college record at Coffeyville, <v Speaker>Kansas, and then a bar. <v Speaker>He had a great year that outside your Carbondale and his sixty seven Salukis <v Speaker>won the NIIT when a fellow named Walt Frazier took more story about him <v Speaker>down at the sun kind of DOT has contributed and won the national championship of Texas
<v Speaker>residents. Brown left that let me clown around a little bit tonight. <v Speaker>They're going to take some pictures giving him a break. <v Speaker>You came out. His first six has since called Timebombs his brown. <v Speaker>Whatever I tell you now is definitely on the level for real. <v Speaker>Hurling banks at end. <v Speaker>Fifteen point lead for Kansas, seven to fifty five. <v Speaker>Dreiling now has a total of nine. <v Speaker>Kansas has just shot lights out, Jay. <v Speaker>Seventy five percent in this half. <v Speaker>Well, and the second best field goal shooting team in America. <v Speaker>Only North Carolina doing better. <v Speaker>Ben Mitchell won't go. Ron Meyer rebounds, tries to get it out. <v Speaker>Kellog picks it up for Kansas. <v Speaker>Kellogg hey <v Speaker>you now ours made thirteen straight field goals and <v Speaker>Kellogg with twenty eight point seventy two to fifty five <v Speaker>and Kansas now having things pretty much the way they wanted it underneath.
<v Speaker>Ben like foul on Dreiling. <v Speaker>That's the first time that Hunter has lost his man in the second half. <v Speaker>And Joe. Right. That's a second shot. <v Speaker>He's gotten off. He's only touched the ball five times. <v Speaker>Joe Wright was able to duck around the screen. <v Speaker>Then he got fouled. <v Speaker>Turgeon is going to come back and you remember he took a shot on the bridge of the nose. <v Speaker>And Cedric Hunter is at a fine game, gets a rest. <v Speaker>Boy, he's been sensational. Kellogg has been amazing. <v Speaker>J That's the season's high with that twenty eight point. <v Speaker>He had twenty seven against Missouri earlier this year. <v Speaker>Joe, right at the line right <v Speaker>now, has 20 this afternoon. <v Speaker>Six minutes to play, 70 to 57, Kansas.
<v Speaker>Kansas, with a win, will clinch the Big Eight regular season title. <v Speaker>Ball belongs to Kansas State as Dreiling lost it in under there <v Speaker>and the ball hit a Kansas player. <v Speaker>Fourteen turnovers now for Kansas State, seven for Kansas. <v Speaker>Joe. Right. <v Speaker>And he blew it away trying to get it over to Len Smith. <v Speaker>The fifth turnover against the Wildcat Cedric Johnson has <v Speaker>picked up right now. Really, there's not been a drop off. <v Speaker>He made him work very, very hard. Hunter getting a little bit of a blow. <v Speaker>It is Calvin Thompson with Turgeon and Manning and Kellogg and Dreiling <v Speaker>on the court for the Jayhawks looking to win there. <v Speaker>Twenty six to the year, third ranked in both bowls. <v Speaker>Manning didn't go.
<v Speaker>He was going to go with the right hand side, was in trouble, shoveled it, left them back <v Speaker>then across some kind of move. And of course, when you go underneath like that, it keeps <v Speaker>the defender off your back. What impresses me about him is his footwork. <v Speaker>You play the game with your feet. And boy, he knows how foul on Dreiling. <v Speaker>And Dreiling commits his second personal foul, <v Speaker>Cedric Hunter will come back in for Kansas to replace <v Speaker>Dreiling. <v Speaker>I want to be Dreiling and Thompson and Turgeon and Kellogg and Manning <v Speaker>out there for Kansas. <v Speaker>Norris Coleman with 19 points Hook Line. <v Speaker>There's Greg Grayling's message is right there. <v Speaker>Very lovely, Kelly. <v Speaker>They have a daughter, Jill Lindsey,
<v Speaker>back into the lineup. Lance Simmons, number 34, replaces Ron Meyer for the Wildcats. <v Speaker>Four fifty four remaining 74. <v Speaker>Fifty eight, Kansas. <v Speaker>Norris Coleman. Eight out of 14, 20 points. <v Speaker>That a fine second half. <v Speaker>Four. <v Speaker>Fifty nine. Fifteen point advantage for the Jayhawks. <v Speaker>No use of block. Now, as long as a three two defense, a look at that mean somebody is <v Speaker>open at the top. <v Speaker>Big crowd of better than 15000 sitting quietly now, <v Speaker>but they'll be celebrating their regular season. <v Speaker>Big a championship here. <v Speaker>If the Jayhawks win this one and it appears they will as they have a 15 point <v Speaker>advantage. Try to take it all away and bat it out.
<v Speaker>Here's right. Right for the Wildcats. <v Speaker>Put it up. It is good. He is. <v Speaker>Joe Wright's first bucket of the second half gay status. <v Speaker>Got to get some shots out quickly. They're going to have to come out either foul or <v Speaker>double up. Number one, Jimmy Valvano won a national championship, Jay, just following <v Speaker>the North Carolina state. He had no shot in the Pepperton game. <v Speaker>Wow. You always have a shot, I guess. <v Speaker>No. And that's something <v Speaker>Wright has twenty three points <v Speaker>tapped out. <v Speaker>Right. Gets it back. <v Speaker>Call a foul on Turgeon Sturgeon's Third. <v Speaker>But that's a break for K State because only two seconds click off the clock and Bright <v Speaker>knocks a couple down to pick it up. <v Speaker>The three points they pick up for here. <v Speaker>It's not impossible. <v Speaker>Well there's no quit in the Jack Hartman teams, you know that they'll battle.
<v Speaker>You're right. <v Speaker>We've got a time out for oh nine remaining to be played <v Speaker>in regulation time. Kansas. <v Speaker>Seventy four. Kansas State sixty one. <v Speaker>First sergeant.
<v Speaker>Protection source. <v Speaker>Well, some of those big crowd. <v Speaker>Fifteen thousand one hundred twenty two plus jammed in <v Speaker>Kansas at Kansas State. <v Speaker>Kansas is one of the last six we mentioned earlier. <v Speaker>Jack Hartman has not been named Larry Brown. <v Speaker>Coach Dean, this storied series goes back <v Speaker>to nineteen hundred and two. The last win for the Wildcats here was a 70 <v Speaker>63 victory in the 82 83 season. <v Speaker>Here's the field goal, shooting Kansas, one of the best <v Speaker>in all of college basketball in that department, of course. <v Speaker>And here is Joe, right?
<v Speaker>Late in the second half. Duke by seven over Oklahoma. <v Speaker>Oklahoma showing very well against that fine HCC unit <v Speaker>of Microsoft. <v Speaker>Seventy four. <v Speaker>Sixty three. Kansas by eleven. <v Speaker>Gallop trapping possibilities here. <v Speaker>Once again, when you extend like that, the keyhole is open <v Speaker>dreiling to Kellogg for Thompson around one hundred back out <v Speaker>the Thompson eight and the clock up and Dreiling missed the pass from Manning <v Speaker>and underneath right. <v Speaker>Got that ball to Mitchell Len Smith almost losing <v Speaker>it as Hunter snuck up behind him. <v Speaker>It's I came here Jay try to get it in for a three pointer right down <v Speaker>the block by Dreiling Manning dashes it down the Kellogg <v Speaker>Kellogg. <v Speaker>It's about a five point play
<v Speaker>right there differential. <v Speaker>They really could that could do it. Coleman went up. <v Speaker>Dreiling did a great job at the other end stuffing him. <v Speaker>Take a look at the transition game. <v Speaker>Kellogg having the best night any jayhawkers had all year long. <v Speaker>The Cedric Cutter Hunter with a finger roll. <v Speaker>He's fouled. <v Speaker>Look at the block at the other end J. This was every bit as important. <v Speaker>They went in, tried for the three pointer a bit. <v Speaker>Greg Dreiling clean. <v Speaker>And as we come back, like three point play, Hunter now has nine points. <v Speaker>Seventy seven. Sixty three, Kansas. <v Speaker>That little free throw may not mean a lot to anybody, but it does. <v Speaker>Larry Brown. Hunter struggled earlier in the year tremendously from the line. <v Speaker>No foul him in the big a tournament and in the NBA playoffs. <v Speaker>He's got to make his free throws. You mentioned his improvement. <v Speaker>Ben Mitchell from the corner 77 65. <v Speaker>The lead as a dozen for the Jayhawks with three minutes to play.
<v Speaker>Dreiling takes it in. <v Speaker>Didn't got it. He is bound by Ben Mitchell. <v Speaker>Jack Hartman wants a timeout. <v Speaker>And Hartmans is going to get the time up. <v Speaker>Foul on Mitchell is his third. <v Speaker>Oh. Want to remind you about Monday night. <v Speaker>And we will let's take a look at that play a moment ago. <v Speaker>Inside game once again. Great Dreiling. <v Speaker>So big, so strong. <v Speaker>Picks it here, puts it on the ground and goes up with the little jump shot and it gets <v Speaker>found. Don't forget Monday night, Kansas. <v Speaker>Most of these stations. <v Speaker>Bankers have hundreds of years of banking tradition to back them up. <v Speaker>Bankers here and bankers are the newest ideas that have been.
<v Speaker>Larry, as a youngster enjoying the big a basketball action this afternoon <v Speaker>here with his dad, he mentioned that the Jayhawks will be in Oklahoma Monday at <v Speaker>game at eight thirty Central Time. <v Speaker>Then they'll meet Iowa State here next Saturday to finish off league play. <v Speaker>The Wildcats finish at home a week from today against Nebraska. <v Speaker>They'll play at Missouri next Wednesday evening. <v Speaker>And Dreiling with nine points, four for nine from the field, two rebounds <v Speaker>and three assists. This afternoon. <v Speaker>And the gentle giant misses the first step to <v Speaker>get a hands on him. <v Speaker>He's going to go high in the NBA draft. They tell me he has really improved. <v Speaker>NBA scouts like the way start to rebound in an area. <v Speaker>Now, he's worked very hard to hone his skills. <v Speaker>Seventy eight. Sixty five. <v Speaker>Kansas.
<v Speaker>Thirteen point lead for the Jayhawks <v Speaker>and a charge they call a foul <v Speaker>on Kellogg, Kellogg has stayed all the way <v Speaker>with. <v Speaker>It's a good move by Larry Brock, as many as four. <v Speaker>There it is. It's a good call. It is ever to get in front. <v Speaker>One more look at it. Jerry Brown is really intelligent. <v Speaker>Just a little play like that man has for putting on somebody who's not going to go the <v Speaker>hole whole, not going to shoot the ball. Let Kellogg, who can cover his record about this <v Speaker>man, let him. <v Speaker>Come on, man. Larry Brown with a good basketball player. <v Speaker>Tough guy. Knew how to use his elbows behind everything played for Dean Smith at North <v Speaker>Carolina. <v Speaker>Mitchell has 13 points. <v Speaker>Mitchell gets its bigging of Larry Brown. He's a little upset. <v Speaker>There's been a rumor going around that he might be going to the New York Knicks. <v Speaker>He said, I don't know what I'd start out over the next half a coach.
<v Speaker>And I'm very happy here, Dick. <v Speaker>But now our brand. <v Speaker>I've got that whole thing started. <v Speaker>I was upset there. Joe Wright ran round from the second spot before the ball was <v Speaker>released. <v Speaker>He touched any day and that's why he went wild. <v Speaker>It didn't sound like much, but he's got the same officials in the big A term and he's got <v Speaker>a 10 point lead. <v Speaker>But this is a message for two weeks from now, 78. <v Speaker>Sixty 67. Kansas. <v Speaker>Kellogg demanding the dreiling and back out front, leading up the clock. <v Speaker>They do this pretty good gasometer Oklahoma State. <v Speaker>They just ran a clinic very <v Speaker>well drilled. Manning in the lane gets it. <v Speaker>Eighty to sixty seven. Kansas with a minute and forty five to go. <v Speaker>Manning fifteen.
<v Speaker>Joe, right in the middle. <v Speaker>Twenty five to go. <v Speaker>Eighty to sixty nine, right has twenty seven on the afternoon <v Speaker>turnover back comes right. <v Speaker>Gives it the metal. <v Speaker>It'll belong to Kansas. <v Speaker>But wait a minute. Yes, it will. <v Speaker>Sixteen turnovers now, brocades day, Turgeon returning to the lineup for <v Speaker>the Jayhawks, Dreiling <v Speaker>going out. Nice hand for Greg. <v Speaker>Growling Get a good second half. <v Speaker>Eighty to sixty nine. Kansas Jayhawks with the ball a minute. <v Speaker>The play.
<v Speaker>Down to 50 second <v Speaker>Thompson, 80 to 69. <v Speaker>They're happy because they had the big a championship for the first time since 1978. <v Speaker>And their celebration is going to begin here in about forty one seconds. <v Speaker>And Manning coming out. <v Speaker>Archie Marshall coming in. <v Speaker>Piper comes in. Power goes out. <v Speaker>Manning with 15. Kellogg with 30 points <v Speaker>blocked by Thompson out of bounds with thirty three seconds lapse <v Speaker>into the lineup for Kansas number twenty, Rodney Hall. <v Speaker>First time we've seen a sophomore from Chicago, Illinois this afternoon
<v Speaker>and Calvin Thompson to leave. <v Speaker>And they start the celebration here with about half a minute to play. <v Speaker>Thompson with 18 <v Speaker>and Larry is going to get another player in the game as soon as that gets himself squared <v Speaker>away. That's what I half for this guy. He was great. <v Speaker>Cedric was amazing on defense. <v Speaker>Cedric Connor coming out <v Speaker>shot, but from the right side won't go. <v Speaker>Milt Newton is in the lineup along with Piper and Archie Marshall <v Speaker>and Turgeon Hall and about <v Speaker>eleven seconds left. <v Speaker>They on their feet here. <v Speaker>That's a very happy time. <v Speaker>But the Jayhawk folks, regular season, big title,
<v Speaker>first time since 78, turns in with a one on one. <v Speaker>The little guy from Topeka can make it a 15 point lead. <v Speaker>They're counting it down. <v Speaker>Mitchell takes it down once they go. <v Speaker>And the Kansas Jayhawks are regular <v Speaker>season big champions. <v Speaker>Eighty board, a 69. <v Speaker>Kansas over Kansas State, Larry Brown <v Speaker>continues his mastery over Jack Hartman. <v Speaker>Some travel arrangements made through Eastern airlines. <v Speaker>Whether you're traveling to Florida for spring vacation or spring training, chances are
<v Speaker>easterns going your way. Come fly with eastern <v Speaker>Herb Brown. <v Speaker>A remarkable year for the Jayhawks, who I think have a lot to look forward <v Speaker>to with 30. <v Speaker>Thompson with 18. Manning with fifteen. <v Speaker>Driving with 10. Hunter with nine. <v Speaker>Quite a job. We'll be right back after this. <v Speaker>Fun Budweiser. <v Speaker>Here's to you, Beechwood age for their clean Christi's that says. <v Speaker>Be enemy snow. <v Speaker>You never know when your car might lose its grip.
<v Speaker>But as I am watching people with years exceptional <v Speaker>Pampling or. <v Speaker>Aggressive criss cross tread, actually, Kooning's itself was <v Speaker>a. <v Speaker>Herb Brown, fun working with you this afternoon. <v Speaker>I enjoyed it very much. Too many horses for Kansas they came out to play. <v Speaker>Jack Carpenter, Valiant try. <v Speaker>All right. Thanks, Sam. Ray Kopp Sports will continue its exclusive coverage of Big Eight <v Speaker>basketball Monday night, Kansas and Oklahoma for <v Speaker>Jay Randolph anymore. Sixty nine Kansas. <v Speaker>This has been a right, a presentation of the Raycom Sports Network. <v Speaker>Winning a 30 second in a row. <v Speaker>You realize that you probably wouldn't want to be forward with an idea that you <v Speaker>might expect too big. You have an for the.
St. Louis Skyline
Episode Number
No. 805
Producing Organization
KETC-TV (Television station : Saint Louis, Mo.)
Contributing Organization
The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia (Athens, Georgia)
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Episode Description
Interviews with: Beej Nierengarten-Smith, Laumeier Sculpture Park Executive Director; sculptors Gail Soliwoda Cassily and Robert Cassily; Ostro Gallery owner Mary Brunstrom; composer Philip Glass; and music critic Jim Weirzbicki.
Series Description
"ST. LOUIS SKYLINE is a half-hour weekly video magazine devoted to the arts and cultural life of the community. Interviews, features and performance segments showcase the visual and performing arts, quality entertainment, cultural organizations and creative happenings within the community. "In addition to a regular host, ST. LOUIS SKYLINE presents temporary guest co-hosts, usually the heads of local arts and cultural organizations. On this particular episode, the guest co-host is the Executive Director of St. Louis' sculpture park. "Features for this episode include an interview with minimalist composer Philip Glass, a segment of prominent sculptors Robert and Gail Cassilly, and a premiere of [dance/video collaboration.]"--1988 Peabody Awards entry form.
Editors' note: The final 30 minutes have been redacted due to copyright concerns.
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Producing Organization: KETC-TV (Television station : Saint Louis, Mo.)
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The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia
Identifier: cpb-aacip-a6f0fe1336e (Filename)
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Duration: 0:27:48
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Chicago: “St. Louis Skyline; No. 805,” 1988, The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed June 26, 2022,
MLA: “St. Louis Skyline; No. 805.” 1988. The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. June 26, 2022. <>.
APA: St. Louis Skyline; No. 805. Boston, MA: The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from