>> FUNDING FOR THE PRODUCTION OF "LOUISVILLE LIFE" IS MADE POSSIBLE IN PART BY BROWN FOREMAN.

PRODUCER AND MARKETER OF PREMIUM ADULT BEVERAGES.

HEADQUARTERED IN LOUISVILLE AND SELLING ITS BRANDS IN 135 COUNTRIES4áy5 ACROSS THE GLOBE.

BROWN FOREMAN, PROUD KENTUCKY CITIZEN SINCE 1870, AND BY KET VIEWERS LIKE YOU.

THANK YOU.

y█ >> WELCOME TO "LOUISVILLE LIFE" KET'S WEEKLY MAGAZINE SHOW ]LOT9 STREET STUDIO.

SINCE THE LATE 1960s, A SMALL INDUSTRY HAS BEEN QUIETLY/f6á GROWING IN NEW ALBANY, INDIANA, EVOLVING INTO THE LARGEST PUBLISHER OF JAZZ EDUCATION MATERIALS IN THE WORLD.

WHAT CONTRIBUTED TO THE SUCCESS?

THE PLAY-ALONG RECORD, PIONEERED BY RENOWNED JAZZ EDUCATOR, JAMIE AEBERSOLD.

LISTEN AND WATCH.

>> ONE, TWO, ONE, TWO, THREE, FOUR.

>> THE PLAY-ALONGS HAVE REALLY INFLUENCED JAZZ AND JAZZ MUSICIANS PRIMARILY BECAUSE OF THE FACT THAT RHYTHM SECTIONS WERE NOT AVAILABLE.

IF SOMEONE LIKE MYSELF WANTED TO LEARN HOW TO PLAY LIKE CHARLIE PARKER, IT'S NOT LIKE THERE WERE RHYTHM SECTIONS AROUND THAT I COULD PRACTICE WITH AND LEARN HOW TO AND SO WHAT JAMIE DID IS HE GAVE PEOPLE ACCESS TO PROFESSIONAL, HIGH QUALITY RHYTHM SECTIONS WHERE YOU CAN PLAY WHENEVER YOU FELT LIKE IT.

YOU DIDN'T HAVE TO CALL THE SESSION TOGETHER, AND IT JUST REALLY TOOK OFF.

A REAL SHIFT IN THINKING AND PRACTICING FOR THE WORLD.

>> THE IDEA CAME FROM THE FACT THAT I DIDN'T HAVE ANYBODY TO PRACTICE WITH AND I HAD A COUPLE THAT COME WITH "DOWNBEAT MAGAZINE" AND HE THEY HAD OLD TUNES ON THEM AND I WOULD PUT THEM ON AND PLAY ALONG WITH IT.

AND I THINK ONE OF THEM ACTUALLY HAD A BOOK THAT CAME WITH IT.

I THOUGHT IT MIGHT BE NICE TO EXPAND ON IT, AND DO THE BEEFLIGHT'íyC█ BLUES AND DO IT THREE OR FOUR MINUTES AND NOT HAVE ANYBODY ELSE SOLOING.

I MADE A RECORD AND IF I DON'T PUT A BOOKLET WITH IT AND THERE'S PEOPLE BUYING THE LP EXPECTING SOMEBODY TO BE SOLOING AND THERE IS NOBODY SOLOING, AND THEY'RE GOING TO WANT THEIR MONEY BACK AND THEY WILL BE UPSET.

I LABORED WITH THE BOOK FOR A LONG TIME.

I THINK IT WAS IN THE '60s WHEN I STARTED WITH THE PLAY-ALONG CONCEPT AND I DID ANOTHER ONE AND ANOTHER ONE AND WE'RE UP TO 133.

>> ONE, TWO -- ONE, TWO, THREE, FOUR.

♪♪ >> WHAT A JAZZ PLAY-ALONG IS BASICALLY A RECORDING THAT HAS A BACKGROUND ON IT, USUALLY PIANO, BASS AND DRUM TRIO.

THEY'RE PLAYING A CHORDAL BACKGROUND AND NO MELODY AND THE BOOK HAS A CORRESPONDING MELODY OR LESSON PLAN THAT THE MUSICIAN CAN PLAY ALONG RECORDEDBKxÑ TO TRACK ON THE RECORDING.

>> RIGHT OFF THE BAT, I SAID LET'S PUT THE DRUMS AND CRIPPLE BALANCES ON THE RIGHT CHANNEL AND THE BASS ON THE LEFT CHANNEL.

IF THE STUDENT IS A BASS PLAYER, HE CAN TURN THE BASS CHANNEL OFF AND PRACTICE HIS BASS LINES WITH THE PIANO PLAYER AND THE DRUMMER.

IF THE A 350EIAN KNOW PLAYER BUYS THE PLAY-ALONG, HE CAN PUT THE PIANO CHANNEL OFF AND WE CAME UP WITH THE BALANCE CONCEPT AND WE MAINTAINED THAT THE WHOLE TIME.

THE AUDIENCE IS VERY SURPRISING.

GARY LARSON ORDERED SOMETHING LAST WEEK.

AND HE'S BOUGHT FROM US BEFORE.

THERE'S A LETTER DOWNSTAIRS FROM DUDLEY MOORE, FOR INSTANCE.

SERVE RENSON USED TO BUY THEM AND HERB ALPERT AND JAZZ MUSICIANS USE THEM TO PRACTICE AND WARM UP.

JAVE SANBORN BECAUSE THEY CAN'T SNAP THEIR FINGER TO FROM A RHYTHM SECTION IN THE DEN AND LIVING ROOM TO PRACTICE WITH AND THE RECORDS AND CDs CAN PUT THEM ON AND TURN THE VOLUME UP TO 10 IF YOUR WIFE IS NOT THERE AND HAVE FUN.

♪♪ >> WE'RE A LOT OF DIFFERENT BUSINESSES, ACTUALLY.

WE'RE A PUBLISHER.

WE RUN A WORKSHOP, SUMMER JAZZ WORKSHOP IN THE SUMMERTIME.

WE HAVE A RETAIL DIVISION.

WE DO A CATALOG.

WE PRINT A CATALOG AND MAIL IT OUT.

WE'RE AN E-TAILER.

THERE'S REALLY NOT MUCH WE DON'T DO AS FAR AS PUBLISHING BOOK AND CD DISTRIBUTION.

ALL OF OUR CUSTOMERS, I SUPPOSE, ARE MUSICIANS WHO ARE INTERESTED IN JAZZ AND THAT GOES FROM COT TOMORROW TO THE TOP.

I MEAN, ANY KID WHO HAS EVER PLAYED IN ANY JAZZ BAND IN THE WORLD, HAS HEARD THE NAME JAMIE AEBERSOLD.

IN FACT, I AM SURE THAT JAMIE IS MORE FAMOUS TO MOST KIDS THAN GEORGE GERSHWIN.

THEY WILL HAVE HEARD JAMIE AEBERSOLD THAN GEORGE GERSHWIN.

YOU THIS IS WORLDWIDE.

YOU CAN GO ANYWHERE IN EUROPE OR THE PACIFIC RIM AND IF YOU SEE A GUY PLAYING JAZZ, HE KNOWS JAMIE AEBERSOLD AND HE IS FAMOUS FOR THE PLAY-ALONGS.

AND HE HAS USED THE PLAY-ALONGS.

OUR CUSTOMER IS THE EIGHT-YEAR-OLD KID WHOSE GRANDFATHER PRACTICES WITH HIM AND PLAYS WITH HIM ON UP TO MULTIGRAMMY AWARD WINNERS.

IT'S PRETTY AMAZING JUST HOW FAR R THE PLAY-ALONGS HAVE GOTTEN INTO THE JAZZ CULTURE.

>> SO, I WAS TRYING TO PUT THE EMPHASIS ALWAYS -- ALWAYS TRIED TO PUT THE EMFA SIGS ON THE INDIVIDUAL AND THEIR ABILITY TO SOLO AND LET THEM MAKE MUSIC THEMSELVES THAT COMES FROM THEMSELVES.

AND THAT'S CALLED IMPROVISATION.

THAT'S CALLED JAZZ.

>> HE HAS BEEN MORE THAN A MENTOR.

THE TRUST HE HAS PLACED IN ME TO RUN HIS BUSINESS FOR HIM SO HE COULD PURSUE MORE ALTRUISTICERSUIT.

HE HAS BEEN GENEROUS TO MUSIC SCHOOLS AND A LOT OF DIFFERENT PEOPLE AND ORGANIZATIONS AND CAUSES.

AND I THINK ANYONE WHO HAS EVER MET JAMIE, FEELS LUCKY TO HAVE DONE SO.R AW >> MUSIC IS A MARVELOUS THING THAT BRINGS PEOPLE TOGETHER.

I THINK THE ACT AND ART OF IMPROVISING MAKES PEOPLE FEEL GOOD ABOUT THEMSELVES.

THERE'S REALLY NO SECRET OR MYSTERY.

YOU JUST HAVE TO GIVE IT A TRY.

>> NOW, IN ITS 20TH SEASON, JAZZFEST, PRESENTEDED BY THE JAMIE AEBERSOLD JAZZ STUDIES PROGRAM AT THE U OF L SCHOOL OF MUSIC IS FEBRUARY 22nd THROUGH THE 24TH.

ART LOVERS RECENTLY MARKED THE 50TH ANNIVERSARY OF THE STUDIO ART GLASS MOVEMENT.

AMONG ITS EARLIEST AND FERVENT COLLECTORS, LEONARD AND ADEL WHITE, LONGTIME LOUISVILLIANS WHOSE HOME SHOWCASES THE ART AND IS INSPIRATION FOR THE LUT BER BOOKS BUB LICK AGENTS, THE APTLY NAMED "LEIGHT HOUSE."

>> YOU WILL SEE PLENTY OF ART AND LIGHT IN THIS NEARLY 50-YEAR-OLD EAST JEFFERSON COUNT HOME.

THE WINDOW FILLED ANGULAR ART COLLECTION.

HERE'S THE IRONY, THERE'S NO WHICH CAME FIRST, THE CHICKEN OR THE EGG ARGUMENT EAR.

>> WHEN WE PLANNED AND BUILT THE HOUSE, WE DID NOT HAVE ANY GLASS BECAUSE THE FIRST PIECE OF CONTEMPORARY GLASS WAS IN '68 WHEN WE MOVED IN HERE.

AND SO, ALL OF THE GLASS ON THE WINDOWS AND THE WHITE WALLS HAVE NOTHING TO DO WITH GLASS COLLECTION BECAUSE WE DID NOT KNOW, YOU KNOW, WHAT WAS GOING TO BE IN HERE.

>> I THINK THE HOUSE LENDS ITSELF TO THIS TYPE OF ART VERY WELL, BUT THAT WAS NOT OUR INITIAL DESIRE.

INITIAL DESIRE WAS THE HOUSE RATHER THAN COLLECTION.

>> IN THE HOUSE NOW, OF DECADES OF DEDICATED ACQUISITION.

THE LEIGHTS, WHOSE ART INTEREST STARTED WITH CERAMICS AND PAINTING VEERED INTO STUDIO ART GLASS IN THE EARLY DAYS OF THE MOVEMENT.

FORMER SPEED DIRECTOR, PETER MOREN SAYS WHEN IT COMES TO COLLECTING, THE LEIGHTS ARE ALWAYS AHEAD OF THE CURVE.

>> LEONARD AND ADEL HAVE ALWAYS BEEN VERY ADVENTUROUS IN COLLECTING.

THEY BUY AHEAD OF THE BROAD MARKET TASTE AND THEY ARE INTERESTED IN NEW VISUAL INFORMATION AND THEY'RE INTERESTED IN PURSUING THINGS THAT OTHER PEOPLE HAVE NOT NECESSARILYERSUED.

>> MOREN AND PHOTOGRAPHER, TED WASSEN COLLABORATED ON THIS BUTLER BOOKS VOLUME, "THE LEIGHT HOUSE."

WATSON CAME TO THE HOUSE AS A NEW FRIEND AND AS A PHOTO JOURNALIST, HE QUICKLY RECOGNIZED THAT THE DESIGN NEEDED DOCUMENTATION.

>> THERE IS NOTHING THAT LACKS DESIGN IN THIS HOUSE.

AND I WAS JUST STUNNED BY THE WHOLE THING.

AND AT THE END OF SEEING THE HOUSE, I SAID TO LEONARD, IN THIS VERY ROOM THAT WE'RE STANDING RIGHT NOW, I SAID, LEONARD, HAVE YOU DOCUMENTED YOUR HOUSE?

AND HE SAID, WELL, WHAT DO YOU MEAN?

I SAID, WELL, YOU HAVE CREATED A HOME MUSEUM AND I REALIZE THAT THE PIECES OF ART THAT YOU HAVE ALL PROBABLY BEEN DOCUMENTED AS INDIVIDUAL PIECE, BUT HAS YOUR CREATION BEEN DOCUMENTED?

>> THE DOCUMENTATION HATCHED THE BOOK, VIEWED AS A LEGACY BY THE LEIGHTS BUT ASK HOW THEY SEE THE ART THEY OWN, YOU WON'T HEAR THE TERM NESTEGG?

>> OH, NO.

NO, NO, NO, NO.

>> NO, WE ONLY -- WE ONLY HAD THE THINGS APPRAISED BECAUSE WE NEEDED TO TO GIVE IT -- FOR THE GIFT TO THE MUSEUM.

OTHERWISE, WE HAVE NEVER LOOKED INTO -- WE JUST ASSUMED, EVEN THOUGH THINGS WE HAVEN'T HAD APPRAISED, THAT VALUE HAS GONE UP TREMENDOUSLY AND WE HAVE NEVER THOUGHT OF IT -- >> NEVER SOLD ANYTHING OR PLAN TO.

>> AND IT'S JUST A WAY OF LIFE FOR US.

>> AND AFTER THEIR LIVE, THE ART WILL GO TO THE SPEED, A DONATION TO BE HOUSED IN ITS OWN GALLERY SPACE.

>> I THINK THIS COLLECTION IS REALLY IMPORTANT FOR LOUISVILLE, AND I THINK IT WILL BE REALLY IMPORTANT AS A BOASTING POINT FOR THE SPEED ART MUSEUM, IN ITS GLORIOUS NEW BUILDING.

>> WELL, THEIR PATRONAGE MEANS THAT LOUISVILLE AND THE SPEED WILL, IN MY ESTIMATION, HAVE ONE IN THIS COUNTRY, IN THIS MEDIUM.

>> WE NEVER BUY ANYTHING UNLESS WE BOTH AGREE, AND IN GENERAL, OUR TASTES ARE VERY CONGRUENT.

WE GENERALLY LIKE THE SAME THINGS.

VISITING THE ARTISTS AT WORK, MEETING THEM ADDS TO YOUR EXPERTISE IN A WAY, IN AN IMPORTANT WAY.

>> IF YOU CAN JUST SORT OF BROADENS OUR -- THE INTERESTS AND THE APPRECIATION.

WE WOULD LOVE -- WE PLAN VACATIONS, FOR INSTANCE, SOMETIMES, DEPENDING ON WHERE A CERTAIN ARTIST IS LIVING.

WE WENT TO FRANCE TO VISIT AN ARTIST AND OF COURSE, DIDN'T JUST VISIT HIM AND HIS -- WHERE HE LIVED, AND THEN WE ALSO WENT TO SWEDEN, AND VISITED AN ARTIST.

WE WENT TO -- WE WENT TO PRAGUE AND VISITED MANY ARTISTS.

>> PAGING THROUGH THE BOOK, ANYONE CAN VISIT WITH THE LEIGHTS, AND THEIR COLLECTION.

GETTING TO KNOW LEONARD AND ADEL IS THE DIVIDEND THE BOOK PROVIDED TED WATSON.

>> I'M 65 AND I FIND THAT THE PEOPLE THAT I'M LOOKING AT RIGHT NOW ARE THE PEOPLE THAT ARE VITAL ARE IN THEIR 80s AND IN LEONARD'S CASE, 90.

I LOOK AT THESE PEOPLE AND I SAY, THAT'S HOW I WANT TO BE WHEN I GREW F$█ >> LIGHT SHIFTS IN THE LEIGHT HOUSE THROUGHOUT THE DAY AND CHANGING SEASON, ILLUMINATING AND ANIMATING THE ART, WHICH GIVES LIFE NOT ONLY TO THE WALLS BUT TO ITS COLLECTORS.

>> BECAUSE WE'RE NO LONGER YOUNG, BUT WE STILL KNOW A LOT OF YOUNG PEOPLE, AND I THINK THAT -- OUR COLLECTION OF GLASS HAS BEEN VERY IMPORTANT IN OUR SOCIAL$]D-█ ATMOSPHERE.

IT'S WORKED;<úH OUT VERY WELL F US.

>> WE CAN NEVER HAVE PREDICTED WHERE IT ALL WOULD GO, OR HOW IT WOULD END, YOU KNOW, THAT WE WOULD BE SORT OF ELDER STATESMEN, SORT OF, YOU KNOW, AND YES, SO WE -- WE REALLY ENJOYED WHAT THE GLASS HAS GIVEN TO US AS WELL AS WHAT WE HAVE GIVEN.

>> PETER MOREN, YOU SAY IN THE PIECE, IS SPEAKING ABOUT THE 50TH ANNIVERSARY OF STUDIO ART GLASS, AS PART OF THE UNIVERSITY OF LOUISVILLE LUNCHEON LECTURE SERIES.

MOREN'S TALK WILLr$v÷ TAKE PLEA SEPTEMBER 2nd.

>>> HE HAS BEEN THE EXECUTIVE CORRECTOR OF THE MUHAMMAD ALI SINCE THE 1960s BUT HAS HAD A CONNECTION WITH THE NAMESAKE SINCE 1975.

WELCOME, DONALD LASSERE AND WE'RE GOING TO ASK YOU TO TELL US ABOUT YOUR SISTER AND HER CONNECTION WITH THE GREATEST.

>> THAT IS A FUNNY STORY.

WHEN MY SISTER WAS NINE YEARS OLD, WE WERE LIVING IN SPRINGFIELD, ILLINOIS, AND MY SISTER, TO LET HER TELL IT, SHE HAD GOTTEN HIT BY A BALL.

THEY WERE PLAYING DODGEBALL AT SCHOOL AND SHE HAD GOTTEN HIT IN THE EYE AND SHE WAS PICKED UP BY MY MOTHER AND THE CHAMP WAS COMING TO TOWN.

SHE WENT OUT TO THE PARADE SITE, AND WHEN SHE SAW THE CHAMP, THE CHAMP SAW HER, SHE SAID SHE LOOKED LIKE A HOMELESS CHILD.

SHE HAD A PATCH OVER ONE EYE AND TO LET HER TELL IT, HER HAIR WAS A MESS AND WAS ALL OVER THE PLACE.

AND THE CHAMP CAME UP AND KISSED HER, PICKED HER UP, KISSED HER, HUGGED HER, AND MY MOTHER SAYS, MY SISTER WOULDN'T WATCH -- WASH HER CHEEK FOR THREE DAYS, AT LEAST.

IT WASn<8ó SUCH AN EXCITING EXPERIENCE FOR HER.

>> CENTER OPEN IN 2005, AND IT HAS FACED SOME FLATTENED ATTENDANCE.

>> YES.

>> REVENUE AND LOWER REVENUE FIGURES.

WHAT DO YOU ATTRIBUTE THAT TO?

>> WELL, AS I LEARNED ABOUT THE CENTER, WHEN I GOT HERE, I STARTED, YOU KNOW, OUT BY GOING TO THE COMMUNITY LEADERS AND PEOPLE IN THE COMMUNITY TO FIND WHY, YOU KNOW, THE PERCEPTION OF THE CENTER WASN'T WHAT IT SHOULD BE.

AND WHAT I DISCOVERED IS THAT THE CENTER REALLY DID NOT DO A LOT OF OUTREACH TO THE COMMUNITY OF LOUISVILLE ITSELF.

I THINK WHAT WE NEED TO DOdIod█ ADD MORE VALUE TO THE CITY ITSELF.

CREATE PROGRAMS THAT IMPACT THE CITY.

SO, PART OF OUR STRATEGY AT THE CENTER IS WHAT WE CALL A CONCENTRIC CIRCLE APPROACH.

WHERE WE WILL DO OUR PROGRAMS HERE IN THE CITY OF LOUISVILLE FIRST.

RIGHT?

WE'LL MAKE IMPACT HERE FIRST.

AND ONCE WE START DOING THAT, AND BECOME MORE ENGAGED WITH THE COMMUNITY, I'M SURE ATTENDANCE IS GOING TO RISE.

THAT'S PART ONE.

PART TWO, IS WE REALLY ARE GOING TO START DOING MORE OUTREACH jM█ NATIONALLY.

PART OF IT IS IN MARKETING ISSUE AND AWARENESS ISSUE.

AS I SAID, I'M A HUGE FAN AND I DIDN'T KNOW THE CENTER WAS HERE IN LOUISVILLE.

FROM A MARKETING PERSPECTIVE, WE NEED TO DO A LOT MORE IN MAKING PEOPLE AWARE THAT THE"]eñ CENTE HERE IN LOUISVILLE.

THIRD PART OF THAT ISh#ú WE NEEO MARKET THE CITY OF LOUISVILLE A LOT BETTER.

THIS IS A TREMENDOUS PLACE, AND A LOT OF PEOPLE OUTSIDE OF KENTUCKY AND OUTSIDE OF LOUISVILLE DON'T KNOW WHAT A TREMENDOUS PLACE LOUISVILLE IS, AND HOW MUCH FUN YOU CAN HAVE HERE BY VISITING HERE.

>> AS YOU HAVE LEARNED FROM LIVING HERE.

>> AS I HAVE LEARNED, ABSOLUTELY.

>> WHAT KIND OF THINGS ARE YOU AND YOUR STAFF WORKING ON SPECIFICALLY RIGHT NOW TO START REVIVING THIS ATTENDANCE?

>> OKAY.

WE'RE GOING TO START BY MAKING THE MUSEUM MORE FAMILY-FRIENDLY, AND QUITE FRANKLY, ADDING A FUN FACTOR TOqPF/█ IT.

WE'RE DOING THINGS INSIDE THE CENTER, FOR EXAMPLE, WITH OUR TEMPORARY EXHIBIT SPACE.

THIS SPRING AND SUMMER FORKS EXAMPLE, WE'RE GOING TO HAVE AN EXHIBIT CALLED GLOBAL SHOES AND GLOBAL SHOES IS GOING TO BE FUN FOR KIDS AND FAMILY, BECAUSE WHAT IT WILL DO IS IT WILL SHOW SHOES FROM ALL AROUND THE WORLD, AND GET KIDS INTERESTED IN DIFFERENT CULTURES, AND SOME OF THE SHOES THAT KIDS ACTUALLY WILL BE ABLE TO TRY ON AND PLAY WITH AND THAT'S A LOT OF FUN.

SO, WE'RE GOING TO DO THINGS LIKE THAT TO MAKE -- TO UP OUR FUN FACTOR.

THEN, WE'RE GOING TO IMPLEMENT PROGRAMS TO ACTUALLY MAKE AN IMPACT IN THE COMMUNITIES THAT WEJN&f█ ARE GOING TO BE SERVING.

OUR KEY PROGRAM AREAS ARE EDUCATION.

SO, WE'RE GOING TO BE DOING THINGS WITH THE THIRD GRADE READING GRAP FOR EXAMPLE.

GLOBAL CITIZENSHIP AND WE HAVE A GLOBAL CITIZENSHIP SCHOLARSHIP FUND THAT WE LAUNCHED AND GOT APPLICATIONS FROM 67 COUNTRIES.

>> HMM.d;f >> RIGHT?

>> WOW.

>> THAT WAS COOL.

GENDER EQUALITY.

WE HAVE A DAUGHTERS OF GREATNESx SERIES AND WE'RE ñhG TO EXPAND THAT AND WE HAVE A CATCH--ALL PROGRAM CALLED GENERATION ALI, WHICH IS DESIGNED TO GET YOUTH ENGAGED WITH MUHAMMAD'S SIX CORE PRINCIPLES WITH THE MUHAMMAD ALI CENTER, OKAY, AND HUMID ALI'S LEGACY.

>> TELL ME ABOUT THE REBRANDING OF THE CENTER, AND HOW YOU'RE TAKE TAKING MA MARKETING APPROACH AND CHANGING IT.

>> WELL, THE REBRAND WAS GREAT.

IN THAT WHAT WE WANTED TO DO WAS MAKE PEOPLE AWARE THAT THE MUSEUM AND THE CENTER ITSELF WASN'T A BOXING MUSEUM.

AND THAT WAS IMPORTANT.

SO, WHAT WE DID WITH OUR REBRAND IS WE SOFTENED THE IMAGE OF THE WEBSITE ITSELF.

WE USED A MORE STATELY IMAGE OF MUHAMMAD, BECAUSE AS YOU KNOW, HE TRANSCENDED BOXING.

>> MM-HMM.

>> HE IS REALLY A GREAT HUMANITARIAN.

SO, WE WANTED TO SHOW HIM AS BEING A HUMANITARIAN AS OPPOSED TO BEING A BOXER.

AND WE SORT OF MADE A CONSCIOUS DECISION THAT WE WANT TO TARGET FEMALES, TO COME TO THE CENTER.

YOU'RE LOOKING LIKE THAT'S AN INTERESTING -- >> IT IS.

I MEAN, YOU WOULD THINK MALES WOULD BE THE NATURAL DRAW.

>> RIGHT.

>> SO, YOU TARGET FEMALES HOW?

>> WELL, ACTUALLY, WHEN YOU THINK ABOUT IT, AND MAYBE IT'S LIKE THIS IN YOUR HOUSEHOLD.

MEN DON'T GENERALLY PLAN THE FAMILY OUTS.

>> HMM.

>> I KNOW I DON'T.

IT TAKES A LOT TO+Ñ5ú GET ME OFE COUCH FROM WATCHING FOOTBALL AND BASKETBALL AND WHEN WE WANT TO DO SOMETHING IN OUR HOUSE, I'M USUALLY ASK MY WIFE WHAT ARE WE GOING TO DO?

RIGHT.

>> SO, IT WAS IMPORTANT FROM A MARKETING PERSPECTIVE THAT WE BECAME MUCH MORE APPEALING TO WOMEN.

SO, THE TEAM, WE DECIDED, CONSCIOUSLY, WE'RE GOING TO DO THAT, BECAUSEhB8 THE MUSEUM ANE CENTER ITSELF, THE PHYSICAL SPACE REALLY IS A LOT OF FUN TO COME AND VISIT, AND IT'S A GREAT LEARNING EXPERIENCE FOR KIDS.

RIGHT?

AND IT DOES APPEAL TO MEN, OF COURSE, BECAUSE MUHAMMAD WAS A BOXER, BUT WE KNOW IF, FOR EXAMPLE, SOMEBODY WERE PLANNING A TRIP TO LOUISVILLE, THE WOMAN'S GOING TO PLAN THE ITINERARY.

SO, WE WANT HER TO GET IN AND SEE WHAT FUN STUFF THERE IS TO DO THERE.

>> VERY GOOD.

THANK YOU FOR KMING TO SHARE ALL THAT'S GOING ON IN THE MUHAMMAD ALI CENTER.

THANK YOU.

>> APPRECIATE IT, CANDICE.

>> DETAILS IN THE WATERFRONT IND █ MUSEUM COLLECS DEVELOPMENT OPERATION CALLED "AN UNCOMMON COMMONS.

"CHECK IT OUT THIS EXCERPT.

@█@██ >> PARKS ARE SUSTAINABLE INFRASTRUCTURE OF THE CITIES AND THE GREAT█vá█ CITIES OF THE WOR HAVE GREAT PARKS.

THIS PARK, WITH ITS WONDERFUL LOCATION RIGHT ON THE RIVER, THERE'S DIFFICULTIES IN HAVING IT HAPPEN BUT IT'S A TREASURE FOR THE CITY BECAUSE IT WILL BE HERE Qp HOWEVER LONG THAT TURNS OUT TO BE.

>> WHEN GEORGE ROGERS CLARK BEGAN TO ENVISION A COMMUNITY HERE IN 1780, HE HAD A REALLY INTERESTING IDEA.

HE SAW THE ENTIRE WATER IF FRONT WATERFRONT AS REMAINING PUBLIC PROPERTY, ESSENTIALLY REMAINING A TOWN COMMONS.

>> AS LIE THE OF THINGS GO IN GOVERNMENT, THEY RAN OUT OF MONEY AND THEY SOLD THE BEST PROPERTY IN THE WHOLE CITY, WHICH WOULD HAVE BEEN THE COMMONS.

>> I HAVETdy BEEN HERE ABOUT 40 YEARS, AND I CAME HERE HOW LOUISVILLE HAD FORGOTTEN ABOUT THE OHIO RIVER.

LITERALLY TURNED ITS BACK ON THE E. O'RIVER.

THERE WAS REFINERIES AND STEEL SCRAP MILL AND IT WAS A MESS.

>> BIG SALT PILES AND FERTILIZER PILES.

>> ASPHALT TERMINALS AND ABANDON HOUSES.

>> A BAILING OPERATION WHERE CARS WOULD COME IN AND THEY WOULD SCHMOOSH THEM INTO LITTLE CUBES.

>> IT WAS 85 ACRES OF NASTY.

>> WHEN YOU WOULD COME IN FROMZ INDIANA, YOUR FIRST IMPRESSION OF KENTUCKY IN LOUISVILLE WAS DREADFUL.

>> AND IT GAVE AN IMAGE OF THE TOWN THAT JUST WAS NOT PROGRESSIVE.

IT WAS NOT FORWARD THINKING.

HERE YOU HAVE THE POWERFUL RIVER, AND YOU'RE TREATING IT LIKE IT'S UNIMPORTANT.

AND -- IT WAS A LONG TIME BEFORE WE STARTED BEING ABLE TO REALIZE WHAT THE POTENTIAL OF THIS WATERFRONT COULD BE.

>> OVER THE YEAR, THERE WERE A LOT OF DIFFERENT EFFORTS WHERE PEOPLE TRIED TO REGENERATE THE CITY'S WATERFRONT.

ALMOST ALL OF THEM FAILED UNTIL THE WATERFRONT DEVELOPMENT CORPORATION GOT STARTED.

>> AND THE AUTHORITY TO SET UP A WATERFRONT DEVELOPMENT CORPORATION, THERE IS NO MENTION OF THE WORD PARK.

THE PARK CAME ABOUT THROUGH PUBLIC FORUMS.

>> LITERALLY, THOSE PUBLIC FORUMS DEFINED THE SCOPE OF THE PROJECT.

>> 9 OUT OF 10 PEOPLE WANTED GREEN SPACE.

A FEW PEOPLE SAID THEY WANTED A FLEA-MARKET OR THEY WANTED MORE RESTAURANTS, BUT BASICALLY MOST PEOPLE SAID, GREEN, GREEN, GREEN.

>> AND THEY WANTED A COMMON GATHERING SPACE.

>> AND THAT'S WHAT WE DID.

THEY SAID, I WANT TO WALK HERE.

I WANT TO BIKE HERE AND I WANT TO PICNIC HERE.

AND I'M NOT SURE THEY UNDERSTOOD IN THEIR WILDEST DREAM EXACTLY ♪♪AT THIS WAS GOING TO BEC >> I BELIEVE THAT THE WATERFRONT PARK IS ACTUALLY WHAT CREATED THE RENAISSANCE OF THE DOWNTOWN.

>> WHEN WE STARTED THIS PROJECT IN THE DOWNTOWN WATERFRONT AREA, THERE WERE ABOUT 500 PEOPLE EMPLOYED IN THAT EXACT SAME FOOTPRINT TODAY, WE HAVE CLOSE TO 7,000 PEOPLE EMPLOYED.

>> THE RIPPLE EFFECT HAS BEEN TREMENDOUS.

ALL THE RESTAURANTS AND THE LOFTS AND -- >> IT'S BEEN A PACKAGE.

I THINK THE YOUNG CENTER, CERTAINLY, THE ONE IS DOWNTOWN BECAUSE OF THE PARKS.

THE BASEBALL FIELD BECAUSE OF THE PARKS.

>> ANYTHING THAT MAKES THE CITY MORE LIVABLE, HELPS US TO ATTRACT THE YOUNG, BRIGHT INNOVATIVE CREATIVEom"w█ PEOPLE THE CITY.

>> SO, THIS IS A TREMENDOUS CATALYST FOR THAT.

>> I HAVE LIVED HERE AROUND 40 YEARS AND I WAITED MOST OF THAT TIME IS SOMETHING THAT YOU GO OVER THE BIG FORD BRIDGE IT WAS THE BRIDGE TO NOWHERE.

IT WAS UP ACROSS THE RIVER AND YOU COULDN'T GET TO IT FROM EITHER END, A MYSTERY BRIDGE.

>> THE ABANDONED RAILROAD BRIDGE WAS BUILT IN THE 1800s AND BY THE BIG FOUR RAILROAD BRIDGE.

IT WAS CREATED TO BE A PEDESTRIAN LINKAGE BETWEEN KENTUCKY AND INDIANA AND IT'S PROBABLY THE MOST ANTICIPATED PIECE OF THE PARK.

>> I TELL YOU WHAT, THAT IS GOING TO BE THE SITE OF MANY MARRIAGE PROPOSALS.

THEsNYPñ MID OF THE BRIDGE AS TN IS SETTING.

DROPPING TO THE KNEE.

IT'S GOING TO BE AWESOME.

>> THE BIG FOUR BRIDGE IS THE LAST COMPONENT AND IT'S PHASE THREE OF PARK.

WHAT WE DID WAS TO BUILD PHASE ONE, WHICH WAS IN THE CLOSE DOWNTOWN AREA, WE JUMPED OVER THIS AND BUILT PHASE TWO, AT THE FAR END OF THE PARK, LEAVING A HOLE IN THE MIDDLE.

>> SO, AS A RESULT OF HAVING THE BOOK-ENDS DEVELOPED, THERE WAS NO OTHER OPTION, BUT TO FINISH THE WHOLE PROJECT.

>> I THOUGHT THAT WAS VERY INGENIOUS OF HIM TO BUILD THE PARK IN THAT MANNER.

!ña >> MY FAVORITE PART OF THE PARK -- IS REALLY NOT A PART OF THE PARK.

MY FAVORITE PART OF THE PARK IS THE USERS OF THE PARK.

>> I LOVE WATCHING THE KIDS IN THE PLAYGROUND.

THEY JUST HAVE A GREAT BIG SMILE ON THEIR FACE.

>> ONE DAY, I WAS COMING INTO THE PARK, AND THERE WAS A YOUNG MAN AND HE HAD A -- OH, I DON'T KNOW, A THREE OR FOUR-YEAR-OLD CHILD SITTING ON HIS SHOULDERS.

BAWLING.

JUST THIS GUY -- THIS KID WAS LETTING LOOSE AND THE MAN LOOKED UP AT ME, AND HE SAID, THAT'S THE PROBLEM WITH THIS PLACE.

YOU HATE TO LEAVE IT.

AND IT JUST STRUCK ME, THAT'S A REALLY GOOD PROBLEM.

>> TO GO FROM WHAT IT WAS, TO WHAT IT IS, I WOULD SAY WAS QUITE AN ACCOMPLISHMENT.

:ç IT WAS AMAZING.

OF COURSE, DAVID KAREM HAD A LOT TO DO WITH IT.

>> AN UNCOMMON COMMONS WAS PRODUCED AND DIRECTEDpH LOUISVILLE FILMMAKER, PETER BIC.

LOUISVILLE LIFE FEATURED PETER IN A 2010 PROFILE FOLLOWING THE CARBON NATION.

DOCUME YOU CAN CHECK OUT A FULL LENGTH VERSION OF THE WATERFRONT PARK PIECE THROUGH A LINK ON OUR FACEBOOK PAGE.

WE HOPE THAT YOU WILL=]< "LIKE" US GET UPDATES ON FUTURE SHOWS.

THANK YOU FOR TAKING THE TIME TO WATCH LOUISVILLE LIFE.

NY HAVE DESIGNED AND OUTFITTED MANY OF LOUISVILLE'S FINER HOMES.

NEXT TIME, LEARN MORE ABOUT BITNER'S, THE AREAS'S LEADING INTERIOR DESIGN FIRM WHOSE MEET DR. LAQUANDRA, THE HEALTH AND WELLNESS DIRECTER.

█ BACK TO 1854. y THE OPPOSITE OF GOOD HEALTH, WE TAKE ON YOU THE ZOMBIE WALK.

SEE YOU THEN.