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Welcome to metal Arts 13 I'm Abdul Salaam artistic director and choreographer of the forces of nature dance to the company and an artist in residence at the Cathedral of St. John the Divine. I mean one of the chapels. There are over a dozen of them all dedicated to different themes. A more intimate space than the main ambulatory. The knave is so long that there's a musical echo from the high altar to the rose window of six seconds. You've got to come and visit us so you can hear it for yourselves. In our next program. We'll be taking a look at a kind of music that was written for small spaces. Chamber music. Originally intended as music for gatherings of court. Chamber music conveys a sense of. Intimate sharing. In a New York television premiere. Metro Arts 13 is proud to bring you a video about the program established by the Chamber Music Society of Lincoln Center. To further the careers of gifted young musicians. Featuring the
Brentano string quartet. This short documentary captures the enthusiasm of both musicians and the students. It's called Chamber Music Society too. OK but the bottom so we decided to stop because it's so beautiful it sounds great. And.
The most difficult thing about this is stopping. The music especially when it's lost in banking. I was just about music maybe but I think you got to love him and I'm curious about the rehearsal process. Does it begin with discussion or and do you start by playing through the piece once and then starting to pick out you know pick it apart things that are bothering you. I believe the name that starts where we all get together for the first time the Chamber Music Society of Lincoln Center has a new program called Chamber Music Society too. So the idea is to bring the finest him chamber musicians artists on the verge of major careers into the society for two seasons. They will perform in a wide variety of activities together with artist members hand on their own in concerts with school groups both at Lincoln Center and in the schools in the family concerts the music of our time series The New Rose studio concerts and of course an
Alice Tony Hall. The artists will also participate in various workshops to explore educational philosophy and techniques. Here are members of the Brentano string quartet work with adult audiences in a seminar called Inside chamber music. You or your beautiful ass the bird on a string quartet is the Chamber Music Society to inaugural and we consider them to be one of the very best ensembles of their generation and they also possess qualities of vital to the program along with their extraordinary musicianship and thoughtful intelligent and articulate people they care about the big picture you to move your hand with and after a while you just get if you know how I like to do it. I remember very distinctly the first time I played a quartet when I was 10 years old and it was an incredible experience for me and I had such such a great great time doing it and feeling like I was playing and hear these other people responding to me and asking me questions and I
could all of a sudden I could use my violin playing as a way of sort of talking to people. It's funny because you know I tell people that I come from a musical family and they say Oh of course you know every almost every musician comes from a musical family it sort of passed on in families but that's really not true. And I mean for instance I'm the only person in the quartet who comes from a musical family and. Most people I think get their start because something sparked their interest in school. I was I had I had parents who neither of whom is a professional musician but who are music lovers and so there was always sort of music playing on recordings in the house and that kind of thing and I was and I was so I play viola now but I was originally a violinist and and I and they were always wanting to play the violin always want to do this is what I'd I'd like to have you know and and I've actually got it you know I went after my parents to give it to me and always it's sort of like this this magical thing that I'd like to play.
I started playing cello through the school system public school system in New Jersey. All of the fourth graders I guess were given music aptitude tests and I think as I recall it was difficult questions like yours the time is now the time is the first higher or lower than the second time they asked me if I wanted a place to live that sounded like really fun and pretty cool to me. So I said Sure I played the cello for almost 20 years now and it's taken me that long to be able to get good enough to play music like this take a lot of really hard work. Sure. But it's like anything it's like riding a bike is hard at first you're dancing like you're talking about is part of earth but if you practice it for a while then you're able to do it. And it's not so hard anymore. Obstinate is like being stubborn. If somebody wants you to go somewhere and you're standing by your mom or dad tell you we went to P.S. 145 in Manhattan and had a terrific time working with the kids there for the past being a good performer isn't enough anymore I think
it's necessary to specially in view of the slashing and cutting of music programs in schools nowadays it's necessary for us to continue to build up young audiences by bringing music to them in the schools. And the Quartet as a unit it's ideal for that purpose but that's it's small enough to be mobile. And yet there's four of us and so you have a sort of conversational interplay which is instructive and sort of a good medium for the kids to latch on to. So we regarded science as the ideal educational unit in that respect simple pulling the strings. When I go into the schools I don't think about turning each child into a professional musician. I just want to light a spark in them. I especially like playing with the kids because they respond in a really free and physical way. Their responses really immediate.
And also go as high as any of them. We go to a class of 50 K and there are one or two or three kids who really get turned on and it's cause for rejoicing. So yeah I can see myself in these these little kids in New Jersey I am and I hope there is someone there who has it in him and that we can help bring it out of them bring it out into the open. So let's say it like this. Bruce Adolph's the education director here has a vast amount of experience working with kids and we've really appreciated the help he's been giving us. So painful or so great so wonderful or so upsetting he's brought us closer to the gates more into their world using games and a way of talking that they really relate to like this. And we found that one of the best ways of preparing for these concerts is just to play the games ourselves. I'm going to give Mark a word and we're all going to guess from what place.
Brilliant. Often it is easier to play new music for children because they can somehow hear and feel the gestures and the music without being hung up on the fact that the surface texture is not something that they're used to because they're not used to much yet so they can often be more receptive and in bringing bringing this music to audiences is in many ways similar to asking children to listen to what you have to do it's a process of saying to people. We feel something
and we feel that this person who wrote this piece is something we want to share with you. In addition to this it's two elementary schools in New York the Brentano string quartet gave workshops and master classes for young musicians from the New Jersey public school system. I would like but again you're not old enough to be. With the Chamber Music Society is renowned young musicians program the Brentano quartet members coach aspiring high school age Chamber Players. The Brentano quartet members prepare these young players for a fully produced concert in Alice tele hall.
Brentano string quartet has shown an uncommon commitment to new music. Their passion and understanding has inspired a number of composers to write music especially for them. And the quartet has already begun to record a significant amount of contemporary string quartet literature. In 1906 the Brentano string quartet inaugurated the rose studio concerts. Here they rehearse with artistic director David Shaw for. This informal concert series in the elegant wood paneled Rose studio features the artists of the new program on their own and in concert with the Chamber Music Society our newest
members. Here they were hearse with Chamber Music Society cellist Gary Hart. Had a feeling. Besides entertaining and besides educating you want to edify people with what we go through in play music is a wonderful experiences. You're finding out the very most profound things about yourself. The most profound sorrow the most profound joy. And if you're lucky you're able to experience that with other people and you're able to share it with people who are coming to hear you play. During their two seasons in residence with us these super musicians will have an
extraordinary variety of artistic and educational experience. The program provides an environment that nurtures and supports the talents as performers educators and cultural ambassadors. They have become an important part of the extended family of the Chamber Music Society and so. On. Mm. Mm. Mm. Mm. Mm. You're watching Metro watch 13 on Emma's Jean-Michel guide.
Welcome back to Metro Arts 13. I'm a co-founder. Of forces of nature Dance Theater and an artist in residence here at the Cathedral of St. John the Divine. Other things we do in our choreography is combine various movement traditions to get the audience to see things in a new way. Our next program. Is a
documentary about Native American saxophonist and jazz great Jim pepper. Who was the first musician to fuse Native American music with jazz. This special includes peppers grandfather's recording. Of the chant which he titled known to many as a crossover hit on both the jazz and pop charts. It's a look into the life of a man whose music harmonize two distinct cultures. And now. Peppers pala. Major funding for peppers powwow was provided by the Corporation for Public Broadcasting. I maybe I was always geared to be a musician. You know to be expressing myself.
Trying to get feelings out for other people to feel. That as probably. Comes from. From all of that home from the dance scene from the music from my grandfather seen me father dance from. My mother and my father. I had music around all the time. Maybe I was just I had no choice because it was always there in Iowa you know. You. Really Are. It was good was
was. Was. Was. Was. Was. The. Little. Blue and. The. Music that. They didn't like Indians have been saying for years comes directly from the. Fan letter. Follow. The. Letter. From the four corners. The four directions.
And. It's. The music yours is if you mean for us. Yeah. I am. Yeah. Yeah but. Yeah. Yeah. Yeah.
Yeah. Yeah. Yeah yeah. Yeah. Yeah. That my name is Jim pepper and my Indian name is hunger jihadis which means fly the eagle.
It's a car Indian word. In my younger life I spent a lot of time in Oklahoma with my grandfather on my father's side. Ralph pepper. Who is a singer and also a very spiritual man he was in the purity religion. He was always seen as songs from the time I was very very small. I remember the music that he sang which he tried to kill is a song probably the first song that I remember that chant is still with me to this day I still do it. And that song is a healing itself. I am.
I am. I am. I am. I am. Wow.
Wow. Wow. I am. Certain special songs bring up that spirit back up you know from being down. And so that's that's what I do with my life. I'm a musician. And I try to I try to combine the music that I learned from my grandfather and my father and uncles and cousins and other people. I try to combine that with with
American jazz. Right. This. Makes me feel. Sick to. Undergo. Already known. To. Be.
Ranting. We already. Was. Yeah. Ah. My
mother is a creek in the end she's in Muskogee creek. She grew up in Oklahoma as did my father. Who is a car Indian. I'm sure you've heard of Creek Indians but not many people have heard of calling Indians here a very small tribe. They had died out. Late in the eighteen hundreds from. From smallpox. They were like attacked by that disease and it wiped a lot of a lot of my tribe out Succubi good luck here. Hi A.
Am I a. A A. A A. A A. A A A. I want to like the public schools in Portland and performed occasionally. Dancing. I also got into tap dancing at an early age I don't know how that came about but it was a fantastic period in my life I did that for a while until I finally got
embarrassed. It was through tap dancing that I got into the clarinet. Actually my father played the saxophone when he was in the system. So it was probably directly from my father that I started playing the clarinet and then eventually going to the saxophone. Basically any music that I've learned has been self-taught. I mean the first time that my dad taught me the word ad lib I didn't know what what he meant. I didn't know what that word man. I thought that meant that you could play something without reading the music. Well I could already do that I thought I was ad libbing but actually what he was trying to encourage me to do was improvise but finally when I realized what improvisation was it opened up everything about about playing the music and it was not for me. You know
in a role with which another joker is playing the same thing. It was about expressing myself. When I when that. First feeling of improvisation. When I first felt that it was like. A world opened up that was entirely my right. I didn't grow up on a reservation or in a big
Indian populated thing I grew up and urban Indian. Well then I nerve and. It was kind of hard no way when we first went to port on the day I didn't have any respect for any and you couldn't go into a restaurant and eat garlic to people a trade to kind of like a blacks. Damn was it all a and schooler. At that time and I didn't know it was and then when they found out I kind of get in my bad times. And I think I come around here in Oklahoma where it made its blade you know and kind of farmed his character made him believe you know. Thank goodness great in Maryland because I think I'd try to help him out his grandpa. Get him started dancing again. You know that like my. My brother danced and I danced when we were small and then when Jim
come back at that my dad got him to dance. So it's it all traces back to my dad and his dad before him and we've all been dancers. So and Jim Jim enjoyed it enjoyed dance and enjoyed the songs and your music just just came in and said my body you know it blocked everything else college. A lot of things that I could have done in my life just just faded because of the music. Jim decided to go to New York and it was it was hard for me to let go because I sort of seemed to realize that he was going to be that way anymore and he had a real tough existence there for a long time in New York and
1968 he was still in New York and he recorded with a group called Free spirits were very calling out and that better and they were ahead of their time they were ahead of it. And. I do know some people say it was the first jazz rock band fusion rock band. Whatever it was it was a band. Consisting of Larry Coryell guitar Bobby Moses drums Chris Hill's bass Columbus Baker in the current singer. And myself and so we made a record or a. Receipt maybe CPR and then called me out of sight out of sound. Really we were living the life in a way like pushing the boundaries of.
The rules it. Was like this. Incredible energy between pink paper and. Or was a special I would ask for a better sort of record. Kinky. Thank you. It seems to me you could store a shipment of 20 minute unaccompanied sacks of food just 20 minutes totally free. People just. Pepper I was about 16 and 15 and 16 and pepper used to play this really kind of Coltrane vibe stuff right on the rock and you know now that doesn't sound so
unusual. Like you know you could hear other examples of things kind of like that but back in 64 65 nobody could do both. You know Davis Bitches Brew is 970 a lot of people so far as jazz rock then there was a band called Blood Sweat and Tears and they were 68 69. There was another band The second one that I know it was a band led by Germany. Well Jeremy in the Seders and they had some jazz players doing rock but even that was about a year a year and I have after the free spirits and I think we were the first jazz rock that I know. What what became called fusion music was it was jazz musicians playing rock n all because the
rock n roll thing was selling so completely that jazz just got erased off the sets when the wind went train died. That was that was the thing that that really caused the big change was that the record companies decided to really back off on the support they were getting. Jazz musicians and just and and that's that's that's the thing they withdrew support from all of us in the late 60s through the early 70s it was a very difficult time for jazz musicians. Many of the jazz clubs for folding the free spirits broke up about that time choreo and Moses continued to do fusion combining of their own and certainly Jim pepper and Jim pepper followed me into the everything as everything band and was a
vital source of their inspiration. And so then the son. Of John Coltrane. Which. Goes into. Our number this is nearly 30 years of college. When you're. A. Kid. A more. Successful blending of sounds. On that one that has ever been done I've done a lot of time. People. See. All the most modern. Stuff. From. All kinds of ways. It's never happened. It happened one that one special time when Jim pepper. Or the whistling sound of Barry.
Wow. Thanks. Larry. My old friend would have
one. It was very fantastic innovator in today's music. It took a liking to me. Also he was a trumpet player Don Cherry. He enjoyed my music in the end they said Pepper Why don't you. Want to bring out more of your Native American music. And I said Yeah it was really interesting. They said they could hear something already coming from me that was that was different from anybody else. So I started to put this together about that time Jim wrote a little song called What you typed that was picked up on the national
charts was kept there for several weeks and that was the beginning of his rise in the music world. And then he recorded it then. I'm Pepper's powwow. When his father went to New York with him to record it and get him started playing. Music too. I was kind of glad for that and I was oh I feel good Khana. Helped him along with the first part. You know the first time I made a record. And I was lucky enough to be on the record with and went to New York City and made it. And. The mayor trounced better or worse. I was there the day he wrote that song. And it was about 16 16 we played it on all the free spirits. It may not get recorded or come out on record three or four years.
And then at that time. Yeah he started writing a lot of other. He used a lot of other Indian and he would take he had a bunch of tapes from his grandfathers and he would take the chance and put chords to it which ordinarily they didn't. He would put jazz harmony boards to these chants a bunch of you know early used to play all the friends. Then you had this classic. I mean for example we keep Tyco I mean the melody is like I mean it's one no record for moving SIX
SIX SIX. The melodies and all the line work and so it's kind of overlapping so and it's so simple yet it's so strong and it's kind of amazing amazing. I've seen the music do incredible things to people all over the world. Like the reactions to various musics. Especially the Indian music in this song in particular which I've seen I've seen people. I've had people come up and tell me like incredible stories of like you how it's helped them through difficult times you know just the music. Music is healing force. Would you try to know where Jim was really the first and only person that I know of who took traditional Native American chants combined them with almost a country rock hordes. And then
had jazz musicians play this material. It makes his music unique. You each with things as we were we both found those sound the same time. Sitting in a room together making weird noises at each other going I woud ever try this one. Doesn't know where is that. Yes I said and I guess in the ear and I thought wow look at that in the IT WOW that's fine you know and and so we just we were always you know doing things like that. And I heard him do something like a. Change and I said well gee I'm not your try one off through your fingers or who wanted to do that after it came out a little bit fuller and we would just expand on the different kind of things we might try that nobody else theory that you know you could almost say there's a similarity in lines or some similarity between almost all the
sets but this is a shared thing that they all went through. Pepper was skipped right over. He just played his way which works on any chord any style. Or. And he had it I could always read not just the sound but also the choice of notes. And that's really amazing because there's only 12 notes I mean if you look at a piano course you can play in between the pitches. But I mean the terms of pitch that we would call pitch is only 12 notes and how do you get in these patterns that nobody else found. It's all really kind of magical to me. He found patterns that were particularly peppered patterns and they would work with any style. Or he'd say. You know the bridge to small parts of it. And really like that. And he's five of the most beautiful thing in world.
And the fact that so many people who were extending the forms of. The big ignore and and Jim was one of them at that and just by the strength of his character and the very special person he was he was able to hold on going until. He could find another place to go like for instance Alaska to find a place to work and a way to play it in German you know.
And that was it was a very it was probably the major thing that kept him going at one part of my life it became too hard you know. And so I moved I moved up to Alaska because my spirit to time was flagging pretty hard I was like pretty hard on myself and now I really need to get my life back in order. So I went to Alaska I became a quick commercial fisherman. That. Too often. You know like the American public wants a certain version of the scene of a Native American. There goes with art you know. They don't want to go outside of those so-called norm. It's it's not to be a public it's not to be a chance for musicians it's not going to be a rock n roll star you know which is really kind of silly because
this is not what art is about. And all the people who are concerned with music being correct general frequently we're not fine find Jim's music because there was something something lacking in correctness. But Jim of course saw the whole concept of correctness as being. The opposite of what art should. Or should be. Jim was pretty brave and really brave. Go Go ahead. Composing music sometimes less than hopeful conditions but he says that the brain. Should start with what. I can see.
I'm sorry. Siegel. Something you know. Something about. Well I met Jim in Alaska June and I can't 77. And it was a great times and I think he was getting rejuvenated a little bit there. He loved to laugh. So one day he was just starting to be poetic and he started making up all these lines about polar bears about a player like where we went like other less coasts in Alaska and it became like a little anthem up there and you know and then people would die. You know I don't know. Kate. They don't play nice. I think he knew where he was he was headed he always knew there was a path he might have not
known how he was going to get there you know. But he knew that he was going to get there. Yeah that was that was yeah he knew it was going somewhere you know how maybe it was going to work out but he knew it. The people still new really came back to New York that he wasn't like people have forgotten. He played so much music in New York it's unbelievable. And I was very lucky to to start play with Don Cherry been one of mine. And you know I'm certainly going to you know to give me merch. In Europe. Just stronger until I said no. I'm packing up you back to work. You know we stagger a lot with superior.
Celebrityhood to support you want your. Help it's for you that I think you know that I have for. You. By someone you know and Jim played in your group for a lot of people like a special. Guest. Wow. Now. I have my albums I have no. One to three for a month but I'M ON MY GOD. 60 70 hours.
But. For. Somebody else to know. That my married. No I'm not married but I have girlfriend and yeah but I'm not married. Are you sure you really. Have a favorite song to play. Yeah I have several favorites of types of songs that I like to play like play ballads like. You know. I did inside get here someplace you know. You know it's always going to come out. And so I partially very pretty so. The. Week and. The. So I've always always been my contention that jazz has some of
you people too that we revere Brad was in winter and we were part of the invention so why would humans doing zebu not through evolution especially than. Axing it. So he would start dancing tribal music because there was a relationship that really no one has talked much about. My. Thanks. Go out. To let you know I would try to do all the creeks are you going to do it with me. Give me a yeah yeah. Hey pretty good because. This is a star dance song music Creek stomp dance song. So we started it I like the way a star starts like this. He goes oh yeah.
We eat. OK you do that with me OK. Oh yes please help me please. Do you know you it's always you know you know you I got yesterday I sat after the sat down and drew this salad dubiously. I grew up like you. Well I do. So you get the set you against the south on the south the side got it for the guy so ok
yeah that's the way he's learned a song. Yeah I. Made it music is rhythm and melody. So is that the music that the black slaves brought here was rhythm and melody. What happened to change dad was they had it European harmony. I have a motto about music and I call it. My favorite music is rhythm and melody and sweet Harmonix. You know that those three they are being greedy and so. When I try to put put in my native music with jazz I use a rhythm a melody and I had harmony to it. And I try to make the harmony so it's so it is in harmony with with whatever song doing. That.
At one time I was really fortunate to go to West Africa I went there in a State Department tour of the United States and was one of the most incredible and I mean experiences I've ever had in my life to see a culture that still lives right down from the ground and dances and sings all the time. They had no money but they had dignity and lot of music loving. Everybody in this world. All cultures. The most important
thing we have. Is our music. We as Indian people like have lost a lot of the land. A lot of. A lot of things but one thing that we still have is our music and the music should never die. He like. I was singing some forty nine songs with that hallelujah cut cut as in your with the freaks on him and it's sung practically I would say in every little church someplace a little every Sunday even today. And in the back that I'm Caddo when I went to see it to the concert
to see the program that he had named it Catto revival. I was really thrilled because I knew that he named it for me and did it because I taught him that. It was kind of great to. Eat. A bowl no call. Oh no. My girl.
My. When you play music it's for you play with too. That makes it makes a big difference. You know you play with good people. But your music is going to go hard. So as always it. Be it may point you try to make it always go higher. Try to make everything if you care. Thank.
You. Yeah. Yeah. Yeah. Mm. Hmm.
He gave a lot but then he would spend most of the time in Europe toy
that. He came in acceptance over there. I wasn't really moved to Europe and so I didn't. Then. Jim and I kind of. Separated. January 1st 1998 was our first year that we were apart. I mean our pick to the wedding anniversary for 1990. And told us that he had a date in Europe and so we suggested in that record for us. My happiness which was one of my favorite songs and send it to us for up to 220 anniversary which he did. The. Oh never played piano and all the people were very enthusiastic about him they all
loved him and they related to my on a personal level and like a homecoming for him every time we played. Yeah you know a lot of people around him knew him and friends and hugging and kissing the Stockwell. And music that was very inspired and warm. What a guy he was a good one you know you get full stop. But. He just wasn't you know he just wasn't good enough. None of us got enough you know our own country we really are not a lot it's actually a lot more difficult but it's all much more open market for all of us especially And that's why he moved there and I think he was on the verge of really hitting you know when he got a letter from Jim from you know told me that he said that he was not feeling very well and that he had gone for a check up and he had cancer.
And during the spring of that year in 91 when he returned and were you know with this illness like he had us think that he always said it was pretty like you know you go see a later Man oh man I see you now and then I realized we never know will ever see somebody and I remember when the last time I saw them and I was it was right for them some of them I was. Sleeping when I woke up early early in the morning of that dream period and I saw this one person you know waves. And then I suddenly recognize because yours is green. You know Jim used to have this being boyish grin and then he started out back in his
saxophone case and I wanted to tell him sht don't don't play it's everybody's asleep. I was trying to see if it was going to be done. Well anyway at that point I decided oh you know let them play. And you know the next thing with that song. So this makes you. Sore makes me sore makes everything all right. Strong and firm and you will sing for the day. To begin. This fellow said I.
Knew. It was near the time their job or be done. My dream was of a push to early morning and it was for a certain Sunday Monday I get some time that morning asking. Too much I can say that has me but I'd like to let it be known that I'm hearing representing many musicians that have called me and contacted me all over the world that have been affected by your music. He took his music and his culture.
And. Not because. I am I am. I
am. I and yeah. Yeah. Yeah I am. I am. To our YOU ARE AN. Eye out. To a. Few hours. Major funding for peppers powwow was provided by the Corporation for Public Broadcasting. This is PBS.
You're watching Metro Arts 13 on MSD Metro guide. Welcome back to Metro Arts 13. I'm Abdel Salam of forces of nature Dance Theater and artist in residence at the Cathedral of St. John the Divine. This time of the year families come together mingling the generations and open their hearts to create new memories for the years to come. Our next program is a tribute to an artist whose body of work songs like The Christmas Song. Mona Lisa. Straighten up and fly right to young Ramblin Rose and unforget. Will. Forms part of our collective memory. Nat King Cole was one of the pioneers who paved the way for the progress of African-American performers. He had his own television series in the 50s and today his recordings continue to be released. Let's
watch. The incomparable Nat King Cole. This program is made possible by the financial support of viewers like you. There
summer and I knew. They would not get. One. Yet. She. Was one.
Oh. Yeah yeah yeah. What is a better way. Yeah I am. And.
I'm gonna write. Thank you.
Yeah.
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treatment of my recent recordings. In fact it's. True. I am.
My. Great. Physician featuring Coleman Hawkins Stan Getz and the ask of. Sam. Sam Sam.
Yes. I am.
I am. I am. I am just me. I'm.
Not one. Thanks.
There was a treat with. The speech. Too when. It. Came. From the Sun. She.
Died by. Injury. There's a range everywhere. Eh
and. I am. An ass. I am if. You ask me. Yeah I am sure I am. Yeah at. The End of. The EP. Yeah.
EH and the end. I am. I out. The End of. The hour. I am I am. One of our favorites.
Tom looked at each other but I can't remember where. Father The smile you were smiling you were smiling. But I can't remember where. Something that happened for the first time. Seemed to happen to.
US that week. Yeah yeah yeah. Could be maybe.
Week. Yeah.
Can. Can. Can. Can. Yeah. Yeah. Yeah. Yeah. Yeah yeah. I am. Now. Thank you so much.
Oh yeah yeah. Now. Can. Can you. Can. I am. I am I am but I am here I am I am. Yeah I am. I am. I am. I am. I am the way I am. I am. I am. I
am. You are and you. Think. Yeah. Yeah.
Yeah yeah yeah yeah. Yeah yeah yeah. It's
OK. The gypsies say. Lost. Touch is Blossom. Yeah very soon. I saw you kissing someone new. We together. Forever. Untouched. Blossom
you turn. Yeah. Yeah yeah yeah. We gather to dream the dream has then. And try to narrow. That.
OK. I guess that's what you are. Forgetting. And.
To. Me. It'll. And. I.
Think. In. This case PBS. Thanks for joining us here at Metro Arts 13. For the rest of the week we'll be at the Cathedral of St. John the Divine. With more programming that celebrates the spirit of this holiday season. Tomorrow promote it coming together. For dance companies from different cultures meet in Denver.
And find a common language. Dance. Also. From the new season of sessions at West 54. Performances by the Brian Setzer Orchestra and Etta James. Remember. You have more than one opportunity to see these programs. We're here on MSD Retro Guide at 9 and 11 p.m. with an encore performance at 1:00 a.m.. I'm at the salon. Goodnight. Babe.
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Series
MetroArts/Thirteen
Producing Organization
Thirteen WNET
Contributing Organization
Thirteen WNET (New York, New York)
AAPB ID
cpb-aacip/75-06g1k310
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Description
Description
MA 1222A
Created Date
1998-12-22
Asset type
Raw Footage
Topics
Fine Arts
Media type
Moving Image
Duration
02:00:40
Credits
Producing Organization: Thirteen WNET
AAPB Contributor Holdings
Thirteen - New York Public Media (WNET)
Identifier: wnet_aacip_70766 (WNET Archive)
Format: DVCAM
Generation: Master
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Citations
Chicago: “MetroArts/Thirteen,” 1998-12-22, Thirteen WNET, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed June 20, 2024, http://americanarchive.org/catalog/cpb-aacip-75-06g1k310.
MLA: “MetroArts/Thirteen.” 1998-12-22. Thirteen WNET, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. June 20, 2024. <http://americanarchive.org/catalog/cpb-aacip-75-06g1k310>.
APA: MetroArts/Thirteen. Boston, MA: Thirteen WNET, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-75-06g1k310