>> A LOOK THROUGH THE EYES OF VERNLT ARTISTS AT A FAST DISAPPEARING LIFE, WE ATTEND A ART EXHIBITION DEVOTED TO PEOPLE AND THEIR FOUR LEGGED FRIEND THAT HAVE GIVEN OUR STATE AN ENDANGERED IDENTITY, AND A POETIC PERSPECTIVE ON THE POIGNANT REALITIES OF VERMONT'S EVOLUTION, AND A CARTOONIST VIEWS THE 1988 PRESIDENTIAL ELECTION CHOICES IN TERMS ONLY A VERMONTER COULD LOVE.

>> WELCOME TO "CROSSROADS.

SOME SAY IT COULD ONLY HAVE HAPPENED IN VERMONT, A FULL SCALE ART GALLERY EXHIBITION DEVOTED TO DAIRY FARMING AND STARRING THAT NO LONGER OMNI PRESENT SYMBOL OF RURAL LIVELIHOOD.

ONCE THE MOST DURABLE ASPECT OF LIFE IN VERMONT, THE FAMILY FARM IS FAST DISAPPEARING AS AN ECONOMICALLY VIABLE INSTITUTION, BUT NOT AS A PHILOSOPHICAL IDEAL.

THIS SUMMER THE T.W.

WOOD ART GALLERY AT VERNLT VERMONT COLLEE SPONSORED AN EXHIBITION TO DRAW ATTENTION TO THE IMPENDING LOSS OF THE FAMILY DAIRY FARM AND CHANGES IN THE RURAL LANDSCAPE AS VERMONTERS HAVE ALWAYS KNOWN IT.

APTLY TITLED, "ABSOLUTE CROW," THE SHOW COMPRISED A WIDE RANGE OF INSTALLATIONS, COLLABORATIVELY CONCEIVED AND EXECUTED BY WELL OVER A DOZEN VERMONT AND NEW HAMPSHIRE ARTISTS, MUSICIANS AND POETS.

IT WAS A CELEBRATION OF WHAT SHOW DESIGNER BARBARA ZUCKER CALLS COWISMS, SYMBOLS OF AN ENDANGERED WAY OF A LOT OF.

WE ATTENDED THE OPENING OF "ABSOLUTE CROW" TO FIND THERE CAN BE GREAT SADNESS IN CELEBRATION.

[AUCTIONER SPEAKING] >> ONCE, TWICE, ALL DONE.

I SOLD HER, $1800.

GOING TO WISCONSIN, THANK YOU, THE LADY FROM WISCONSIN, THANK YOU, MA'AM, GOOD LUCK, QUEENY.

[LAUGHTER] >> HIS FATHER'S FATHER SETTLED ON THIS LAND, WRESTLING THE PLOW AND CARVING OUT THE LAND FROM RICH EARTH THAT CRUMBLED BENEATH THE HAND.

THEY HUED THE MEADOW OUT OF A THICK STAND OF BEACH.

PICK STONES TO CLEAR FOR THE HARROW.

HIS FATHER'S FATHER'S SWEAT ON THIS LAND.

HE PICKED UP EGGS FROM HENS THAT FANNED THEIR WINGS AND SCRATCHED UP BURROWS IN EARTH THAT CRUMBLED BENEATH HIS HAND AND CUT WOOD FROM THE SWAMP WHERE BEAVER'S DAMMED THE LOWER BROOK RIGHT WHERE THE VALLEY NARROWS.

THEIR FATHER'S, FATHERS, TOO YOU WERE ON THIS LAND.

TODAY IS HE SAYS, FORGET THE STANSHIONS CRACKING.

NOT OUR AFFAIR IF THEY CRUMBLE BESIDES THE HAND.

HE QUARRIES FOR WAGES.

HOLDS GRANITE FROM THE GROUND, HACKS HOLDS WHERE HE CAN BURY THE HOPES HIS FATHER SETTLED ON THE LAND.

THE MEMORY OF WARM EARTH IN HIS HAND.

>> A LOT OF PEOPLE GOT EDUCATED.

A LOT OF THE ARTISTS GOT EDUCATED IN WHAT COWS REALLY ARE ABOUT, HOW MUCH MILK THEY PRODUCE, HOW MUCH WATER.

WHEN THEY LIE DOWN, STAND UP, CALVE.

THERE ARE FIVE KINDS IN VERMONT THAT ARE BRED, ETC., SO IT'S A REAL LEARNING EXPERIENCE FOR EVERYONE.

I THINK THAT THIS LITTLE STATEMENT HERE, WHICH SAYS, SAVE THE FAMILY FARM, IS THE KIND OF NUCLEUS AND THE POINT OF THE SHOW, ULTIMATELY.

MY CONCERNS AND OUR CONCERNS, AS COLLABORATIVE ARTISTS IN THIS PROJECT WERE TO DRAW ATTENTION TO THE IMPENDING LOSS OF THE FAMILY FARM IN VERMONT.

THE LOSS OF THE COW FROM THE LANDSCAPE, AND THE WAY THAT WE CHOKED TO DO THAT WAS BY USING THE COW AS THE SYMBOL OF THE FARM AND THE THINGS THAT PEOPLE CARE SO MUCH ABOUT IN VERMONT.

OUR APPROACH WAS AN ATTEMPT NOT TO BE HEAVY HANDED.

AND WE TRIED TO BE BROUGHT RANGING IN OUR CONCERNS.

SO THAT THERE WAS POETRY, VIDEO, CHOREOGRAPHY, MUSIC, AND AS WELL AS PHOTOGRAPHS, PAINTINGS, SCULPTURES, AND ELECTRONICALLY OPERATING COW HEADS, AND A LARGE MANGER AREA WITH COWS SLEEPING, AND THERE WAS HUMOR, REALITY, TESTIMONY SO THAT YOU COULD REALLY DIGEST EVERYTHING AND NOT JUST HAVE A ONE-SIDED VIEW OF THE SUBJECT.

WE TRIED TO LOOK AT THE COW FRESH, ANEW.

♪ WHY NOT TAKE ALL OF ME CAN'T YOU SEE I AM NO GOOD WITHOUT YOU.

TAKE MY LIPS.

I DON'T WANT TO LOSE THEM.

TAKE MY ARMS, YOUR GOODBYE LET ME WITHOUT A CRY.

HOW CAN I GO ON WITHOUT YOU.

YOU TOOK PATH THAT ONCE WAS MY HEART, SO WHY NOT TAKE ALL OF ME.

>> WHEN I TOOK ON THIS CHALLENGE, AND THINGS WERE OPEN, WHAT DO I DO, GO OUT AND TAKE FOOTAGE OF COWS OR WHATEVER, AND THEN I WAS LISTENING TO ALL OF ME, WHICH IS ONE OF MY FAVORITE SONGS.

AND THAT WAS IT.

IT WAS LIKE VERMONT WAS SPEAKING TO ME.

ALL OF ME, WHY NOT TAKE A CALL OF ME.

CAN'T YOU SEE I AM NO GOOD WITHOUT YOU, AND WAS LIKE YES, VERMONT IS NO GOOD WITHOUT COWS.

>> I AM MARCY, I AM ONE OF THE ARTISTS IN THE ABSOLUTE COW SHOW, AND I WORKED AS A COLLABORATOR WITH ABOUT TEN OTHER PEOPLE.

WE CONCEIVED THE SHOW ORIGINALLY TO BE A CELEBRATION OF COWS.

AS WE MET AND TALKED ABOUT HOW COWS HAD AFFECTED US IN THE PAST, A NUMBER OF US ARE EITHER CHILDREN OF FARMERS OR WE HAD GRANDPARENTS WHO FARMED.

WE REALIZED IT WOULD BE A CELEBRATION THAT WOULD BE PINCHED WITH SADNESS.

ONE PARTICULAR PIECE THAT I DID WAS CALLED FARMING TAKES ITS TOLL.

MANY FARMERS ARE DISABLED OR INJURED OR KILLED IN THE COURSE OF FARMING SO THIS IS A PIECE THAT HAS A CANE AND IMAGES HANGING DOWN FROM THE CANE AND THE LITTLE TRACTOR ON A STRING.

THE COW PIANO WITH THE SUIT AND THE HIDE AND GOLDEN HOOVES AND 50 LITTLE CERAMIC COWS, AGAIN WAS A COLLABORATION WHERE ONE ARTIST WAS DESIGNING OUT OF PAPERMACHE, AND ANOTHER WAS SEWING AND CAREFULLY FOR THE COW'S SUIT.

THE PIANO COULDN'T BE MOVED AND WE DID NOT WANT IT TO SIT THERE AND EVERYTHING ELSE WAS MAKING REFERENCES TO COWS SO IT WAS RECREATED AS SUCH.

THE LITTLE CERAMIC COWS WERE MADE BY THE CERAMIC PERSON INVOLVED IN THE EXHIBITION AND HER STUDENTS FROM THE UNIVERSITY OF VERMONT.

AND AGAIN, THEY SAT FOR HOURS TOGETHER CREATING THESE COWS IN VARIOUS FORMS.

FIRING THEM DOWN TO MAKE IT REALLY QUITE EFFECTIVE AND TRUE TO FORM, AND CAME UP WITH THIS CREATION.

THERE WAS 11 COLLABORATING ARTISTS WHO WORKED CLOSELY TOGETHER ON EACH OF THE INSTALLATIONS.

THERE ARE SIX INSTALLATIONS PLUS A TRADITIONAL GALLERY SPACE IN THE EXHIBITION, ITSELF.

THIS WALL IMMEDIATELY BEHIND US, WHICH IS CALLED FROM COWS TO CONDOS WAS A COLLABORATION OF MEG WALKER, AN THEIST WHO DESIGNED THE CONCEPT.

HER HUSBAND, PETER, AN ARCHITECT, DID THE ARCHITECTURAL DRAWINGS.

AND ANOTHER ARTIST, RONNIE, WORKED VERY CLOSELY WITH FARMERS IN THE AREA, INVESTIGATING THEM ABOUT THEIR LIVES AS FARMERS, HOW THEY DEAL WITH THEIR CHILDREN ON THE FARM AND HOW LONG THEY WORK AND WHAT THE HAYING IS LIKE AND SO FORTH, AND THEIR TESTIMONY BECAME PART OF THIS INSTALLATION, ITSELF.

ANOTHER ARTIST, JANET FREDERICKS, PAINT THE OIL PAINTINGS SO YOU CAN SEE THE COLLABORATION WAS -- IT MIGHT HAVE BEEN ONE PERSON'S CONCEPT, AND IT WAS BECAUSE THE CONCEPTS WERE FORMULATED IN THESE ORIGINAL COLLABORATIVE MEETINGS THAT WE HAD.

PEOPLE WOULD GO OFF AND THE EFFORT WOULD BE JOINED BY OTHERS TO MAKE THE FINAL RESULT.

>> I WAS ONE OF THE EIGHT COLLABORATIVE ARTISTS TO HANDLE ONE OF THE AREAS.

I HANDLED THE AREA CALLED COW FACTS, AN AREA THAT DEALT WITH TRYING TO MAKE IT KNOWN IN A DRAMATIC WAY SOME, SOME REALLY IMPORTANT FACTUAL INFORMATION ABOUT THE DEMISE OF THE DAIRY FARM AND THE DAIRY INDUSTRY AND IN THE STATE OF VERMONT AS WELL AS NATION-WIDE.

MY INTEREST IN THIS STEMS FROM A FAMILY HISTORY OF FARMS.

I AM A NATIVE VERMONTER.

ALTHOUGH I DID NOT GROW UP ON A FARM.

MY FATHER DID, AND MY GRANDFATHER DID.

I THINK THAT THE ISSUE IS AN IMPORTANT ISSUE.

IT'S NOT PART OF MY OWN ARTISTIC LIFE, BUT I HAD A CONCERN ABOUT DOING SOMETHING THAT I THOUGHT WAS GOING TO BE STRIDENT AND FORCEFUL FOR THIS EXHIBITION.

>> BUT THE WHIMSICAL SIDE OF THIS IS A WONDERFUL BOOK CREATED BY MARCY OUT OF WALLPAPER SAMPLES FROM THE 1950s.

A LOT OF WHICH INCORPORATED IMAGES OF FARMING.

BARNS AND SO FORTH AND FORMING AND COWS THAT WOULD GO INTO CHILDREN'S BEDROOMS.

THERE IS ALSO ANOTHER FUN PIECE OF A FARMING MAILBOX.

AND THAT WAS RESHAPED INTO THE FORM OF A WHALE, AND INSIDE THE WHALE, IF YOU OPEN IT UP, THE DOOR OF THE MAILBOX, INSIDE OF 150 VERMONT COWS, WHICH IS WHAT A BLUE WHALE WOULD WEIGH.

>> AS I TEACH THE HISTORY AS WELL AS THE STUDIO ART I BEGAN TO THINK OF THE STORIES ABOUT COWS.

IN MYTHOLOGY, COWS OF GODDESSES AND WOMEN WHO RETURNED, WERE TURNED INTO COWS, AND THE GROUP STARTED COMING UP WITH ALL KINDS OF STORIES ABOUT COWS.

AND SO THAT BECAME ONE OF THE THEMES SO WE HAVE SOME STORIES WHICH ARE TRUE AND WHICH ARE FROM HISTORY, AND A COUPLE WHICH WE INVENTED FOR FUN.

LIKE THE TROJAN COW.

INSTEAD OF THE TROJAN HORSE.

AND THE MANGER, WHICH IS THE CENTRAL COMPONENT OF THE EXHIBITION, WAS A KEY ELEMENT FOR ALL OF THE ARTISTS, ESSENTIALLY, AN EMPTY BARN WITH SHADOWS OF COWS REMAINING.

THERE ARE COWS DISAPPEARING INTO THE SIDES OF THE BARN AND COWS THAT ARE SINKING DOWN INTO THE FLOOR, AND THIS, AGAIN, WAS A COLLABORATIVE EFFORT.

THE COWS WERE DESIGNED BY ONE ARTIST, SHE MET WITH ANOTHER FIVE ARTISTS AND THEY SPENT THREE OR FOUR AFTERNOONS CREATING THE COWS OUT OF BOXES, STYROFOAM AND COVERING THEM TO GET THE EFFECT THAT THEY WANTED IF FOR THAT COMPONENT.

>> THE COMMITMENT THAT TURNED OUT TO BE NEEDED, TO MAKING THE SHOW, WENT WAY BEYOND WHAT ANY OF US THOUGHT IT WOULD BE, AND I THINK THAT IT WAS, IN A WAY, AN EDUCATIONAL EXPERIENCE FOR ALL THE ARTISTS BECAUSE WE WENT OUT INTO THE FARMS AND INTERVIEWED THE FARMERS, AND READ BOOKS ABOUT COWS SO THAT WE WOULD HAVE THE RIGHT RESOURCES TO MAKE THET DID WHAT ART OUGHT TO DO FOR THE ARTIST, AS WELL AS FOR THE PUBLIC.

THAT IS TO SAY THAT YOU LEARN FROM YOUR OWN WORK.

>> THERE WERE 11 ARTISTS WHO COLLABORATED ON THIS, AND 350 PEOPLE SHOWED UP TO THE OPENING.

I HAVE NEVER SEEN THAT MANY PEOPLE AT AN OPENING IN VERMONT.

AND EVERYONE WAS EXCITED BY IT, AND A LOT OF PEOPLE BEAUTIFULLY WORE THEIR MASKS TO BECOME PART OF THE HERD, YOU KNOW, TO SHOW SUPPORT FOR THE COW, AND THEY ATE UP EVERYTHING AND DID EVERYTHING AND THEY LOOKED AT EVERYTHING, AND THEY READ EVERYTHING AND WE GOT LETTERS FROM FARMERS TELLING US THAT WE DID NOT MAKE THE EARS RIGHT ON THE COWS, TELLING US WHAT WE SHOULD HAVE KNOWN, WE WERE DUMB CITY SLICKERS.

A LOT OF PEOPLE WERE DEEPLY INVOLVED AND COMMITTED AND FELT REALLY GOOD ABOUT WHAT WE HAD DONE.

THE VERMONT LAND TRUST WAS PRESENT AT THE SHOW, AND THEY MADE A STATEMENT, TOO, BECAUSE WE ARE DONATING OUR PROCEEDS TO THE LAND TRUST TO TRY TO PRESERVE FARMLANDS IN THE STATE.

>> THE CONCEPT OF THE COW IS GOING TO CONTINUE FOR ONE MORE YEAR, AND IT WOULD BE CONTINUING ONTO A SMALLER BASIS THROUGH THE SCHOOL SYSTEM.

AND SOMETHING THAT WAS VERY IMPORTANT TO ME AS CURATOR WAS THAT THE MESSAGE NOT STOP IN THE GALLERY SPACE BUT GO TO A MORE PUBLIC FORUM, AND PARTICULARLY, TO THE CHILDREN, SO THAT THE CHILDREN COULD ALSO BE URGED TO THINK ABOUT VERMONT LAND USE, COULD BE URGED TO THINK ABOUT WHAT HAPPENS WHEN A NEIGHBORING FAMILY FARM DISAPPEARS AND NO MORE COWS ARE IN THE FIELDS, AND WHAT THAT WILL MEAN TO THEM AS ADULTS WHEN THE LAND IS CONDOMINIUM OR DEVELOPED IN SOME WAY.

AND SO WE ARE GOING TO BE WORKING WITH 4-H, WITH THE EXTENSION SERVICE, WITH THE GRANGE SERVICE, AND WITH LOCAL FARMERS WHO WILL OPEN THEIR FARMS FOR COWS, FOR THE CHILDREN, AND TO GO THROUGH, AND ALSO GOING TO BE ENCOURAGING THE CHILDREN TO CREATE THEIR OWN COW ART.

AND WE'RE HOPING THAT PIECES FROM THE FIRST SCHOOL THAT THE EXHIBITION VISITS WILL GO WITH THE EXHIBITION TO THE SECOND SCHOOL AND GENERATE MORE INTEREST IN THAT WAY.

♪ ♪ WHY NOT TAKE ALL OF ME ♪ [LAUGHTER] >> IN THIS ERA OF HIGH-SPEED ELECTRONIC COMMUNICATION AND INSTANTLY ACCESSIBLE PERSONAL ENTERTAINMENT, IT'S HARD TO BELIEVE THAT NOT TOO LONG AGO THE HUMAN VOICE, LIVE AND IN PERSON WAS A PRINCIPLE MEANS OF SHARING IDEAS AND INFORMATION.

IT WAS THE SPOKEN WORD IN THE FORM OF OUR COUNTRY'S GREAT TRADITIONS THAT MOST INDELIBLY MARKED THE FOREBEARERS AND CREATED SOMETHING WE CALL THE AMERICAN SPIRIT.

EVERY REGION CLAIMS ITS SHARE OF GREAT STORYTELLERS AND POETS, INDIVIDUALS WHO MANAGED TO CAPTURE IN SPOKEN FORM THE ESSENTIAL QUALITIES OF THEIR HOMELAND AND ITS INHABITANTS.

THE GOOD ONES KNOW HOW TO RAISE A SMILE AND EVEN A FEW EYEBROWS, BUT THE REALLY GREAT ONES, ARTISTS LIKE VERMONT'S OWN MACK PARKER DRAW FROM A SENSE OF COMPASSION TO PRODUCE IMAGES OF HIGH SOCIAL RELEVANCE.

WIDELY KNOWN AS THE VOICE OF VERMONT, MACK BEGAN GIVING HIS WRITINGS A VOICE 2.5 YEARS AGO, SINCE THEN HE'S BEEN IN GREAT DEMAND AT FOLK FESTIVALS, BANQUETS AND CONCERTS THROUGHOUT THE NORTHERN TIER, AND GIVEN THE NATURE OF THE FEATURE WE ASKED MACK FOR A POEM THAT CONVEYS HIS IMPRESSIONS ON THE ISSUE OF FAMILY FARMING.

HERE HE IS WITH A PIECE CALLED, CHANGES.

>> CHANGES.

WHERE THE SNOW BLOWS DRIFTS BY THIS FENCE LINE IT, ONCE FELL SOFTLY ON TALL, WHITE PINES.

TROUT ONCE SWAM HERE AND DEER CAME BY A TRAIL.

NOW THE POND HAS BEEN SWALLOWED BY YEARS OF CATTAIL.

THIS PATH USED TO BE A ROAD DOES THERE IS A STONE FOUNDATION.

SOMEONE FARMED THIS PLACE WITH DETERMINATION.

THAT BIG MAPLE'S DEAD AND THERE AIN'T NO SAP, BUT 50 YEARS AGO IT HAD TAKEN FIVE TAPS.

WHEN YOU ARE BORN INTO THIS WORLD, WHAT SUS WHAT YOU KNOW IT SEEMS LIKE IT HAS ALWAYS BEEN LIKE THERE, AND IT WON'T NEVER GO.

OUT IN THE FRONT YARD, PURPLE, LILAC, ALWAYS BLOOM, AND THE OLD ELM TREE CAST A SHADOW ACROSS THE ROOM.

BUT YOU LIVE ON THIS LAND, AND THE OLDER YOU GET YOU CAN FEEL IT IN YOUR BONES.

AIN'T THROUGH CHANGING YET.

WE CANNOT ALWAYS SEE WHAT IS COMING UP, THAT'S SOMETHING OF A MYSTERY.

BUT WE'VE BEEN WATCHING CHANGES COME AND GO.

ALL THROUGHOUT OUR HISTORY.

THESE WOODS WAS ONCE AS WILD AS ANY ON THE EARTH.

NATIVES ROAMED AND HUNTED AND DIDN'T WONDER ABOUT ITS WORTH.

THE RIVERS RAN IN SHADOWS AND FROM THE HIGHEST VIEW THE TREES WENT ON FOREVER, THAT'S ALL THIS REGION KNEW.

AND THEN SETTLERS CAME TO STAKE THEIR CLAIM BESIDE THESE BROOKS AND LAKES.

DON'T CARE HOW HARD YOU HAVE TO WORK.

YOU JUST DO WHAT IT TAKES.

WE CUT DOWN THE PINES AND TURNED THESE HILLS INTO GRASS.

WE BURNED TALL OAKS AND MAPLES AND SOLD POTASH.

AND THEN THE RAIN RUN OFF THEM HILLS AND MADE THE RIVERS DEEP.

AND EVERYBODY AROUND HERE RAISED MARINO SHEEP.

EVERY LITTLE DIRT ROAD HAD ITS VERY OWN SCHOOL.

PEOPLE WAS SELF SUFFICIENT, AT LEAST THAT WAS THE RULE.

THEN THE YOUNG ONES MOVED AWAY, AND THE HOUSES BURNED.

BOTH SPRUCE AND POPEL START TO RETURN.

A ROAD THAT USED TO HAVE AT LEAST A DOZEN HOMES MIGHT FIND ONE LITTLE FARM STANDING ALL ALONE.

AND THEN THE FAMILY DAIRY FARMS, THEY HAD THEIR GLORY DAY.

MORE COWS THAN PEOPLE, WE USED TO LIKE TO SAY.

AND WE MILKED THEM ALL BY HAND AND WE LUGGED THEM HEAVY PAILS.

CHORES TWICE A DAY, EVERY DAY, NEVER FAILED.

AND THEN STAINLESS STEEL MILKERS AND BIG, BUCKLE TANKS, Y YOU GET TO BUY LOTS OF GRAIN AND BORROW FROM THE BANKS, AND WE GOT GREAT BIG TRACTORS WITH MUSIC IN THE CAB.

SEND YOUR SOIL UP TO BURLINGTON, GET IT TESTED IN THE LAB.

BUT THE MORE YOU SPEND, THE LESS THEY PAY, AND IT LOOKS LIKE EVEN MORE BIG CHANGES ARE ON THE WAY.

THE BUSINESS AND THE FARMING IS LOOKING PRETTY BLEAK.

AND SOME FOLKS JUST GET TIRED WORKING SEVEN DAYS A WEEK.

OUR FIELDS ARE GROWING BRUSH KNOW BENEATH THESE DYING ELMS.

THIS WORLD SEEMS SO CONFUSING, YOU CAN GET OVERWHELMED.

MY CLOSEST NEIGHBOR MABEL, SHE STANDS ALL DAY WITHOUT A WORD.

WATCHING SOME GUY SHE DOES NOT KNOW AUCTION OFF HER HERD.

THEY ARE GOING TO BUILD SOME CONDOS THERE TO ACCOMMODATE THE SKIERS.

BUT THAT FIELD HAS BEEN GROWING HAY NOW FOR 150 YEARS.

MABEL ALWAYS HAS CHASED HER COW UP THROUGH THE MORNING DEW, BUT NOW IT'S WORTH A QUARTER MILLION, JUST BECAUSE IT'S GOT A VIEW.

MABEL'S YOUNGER BROTHER, DAVE, HE'S A FOREMAN ON THAT JOB.

HE DON'T LIKE THE GUY WHOSE BUILDING, SAYS HE'S A STUCKUP SNOB.

DAVE, HE ONCE SHOT A BUCK RIGHT IN THAT FIELD, THE BIGGEST ONE THAT HE'S BOASTED, BUT MABEL FEELS OFF LIMITS NOW, THE NEW OWNERS GOT IT POSTED.

AND ALL AROUND THIS WORLD IT SEEMS WE'RE IN SOME STUPID WAR, BUT THERE AIN'T NO MONEY, SO WE'RE TOLD, FOR FARMERS OR THE POOR.

IT'S FOR DEFENSE, THAT'S WHAT THEY SAY.

WE HAVE TO KEEP ON SPENDING.

WELL, I DON'T KNOW, BUT I GOT TO ASK, JUST WHO ARE WE DEFENDING?

VERMONTERS ALWAYS FIND A WAY TO LIVE HERE PRETTY GOOD, WHETHER WORKING IN THE FIELDS OR WORKING IN THE WOODS.

THIS LAND HAS ALWAYS GIVEN WOOD TO HEAT OUR WINTER HOMES, AND EVERY SPRINGTIME COMES THE SUN TO WARM OUR WORKING BONES.

IF IT'S SMART, WELL, WE AIN'T SCARED.

THE CHANGE, A LIFELONG COURSE.

NO WAY IN HELL I'D EVER TRADE MY TRACTOR FOR A HORSE.

CALL US STUBBORN, IF YOU WANT.

BUT WE DO GET TO HAVE A REASON WHY.

SOMETIMES CHANGE COMES SLOW, LIKE THE WOODS.

OR FASTER, LIKE THE SKY.

BUT TODAY WELL, I WORK, FIXING FENCE.

ONE THING I KNOW FOR SURE, SOME CHANGE DON'T MAKE SENSE.

NOW I KNOW AS GOOD AS ANYONE WE GOT TO HAVE SOME GIVE AND TAKE.

BUT THERE AIN'T NO REASON GOOD ENOUGH FOR DUMPING SEWAGE IN THE LAKE.

THERE AIN'T NO PRICE THAT CAN BE PUT ON STOPPING ACID RAIN.

NO PIECE OF LIFE TO SACRIFICE FOR ANY SHORT-TERM GAME.

WE CAN'T LET MEN LEAD LIVES WITHOUT THEIR HEARTS OR WOMEN BE DEMEANED.

WE CAN'T LET OUR KIDS FACE FEAR ALONE.

FOR OUR PARENTS DIE UNSEEN.

FOR AS WE LOOK AHEAD TO PLAN OUR LIVES AND CROPS FOR FUTURE YEARS, SOME THINGS WILL LEAVE BEHIND TO RUST, MOST CHANGES BRING SOME TEARS.

BUT WE KNOW, TOO, WHERE WE WON'T BUDGET, WHERE WE WILL TAKE OUR STAND.

WE WILL STAKE OUR LIVES ON WHAT'S MOST REAL, OUR PEOPLE AND THIS LAND.

>> FOR MORE CLASSIC PROGRAMS, VISIT VERMONTPBS.ORG/FROMTHEARCHIVES.