(male announcer) PRODUCTION FUNDING FOR RARE VISIONS AND ROADSIDE REVELATIONS HAS BEEN PROVIDED, IN PART, BY SPRINT: COMMITTED TO THE COMMUNITY, CONNECTING YOU TO THE WORLD.

(man) ♪ WELCOME TO A SHOW ABOUT THINGS YOU CAN SEE ♪ ♪ WITHOUT GOING FAR, AND A LOT OF THEM ARE FREE.

♪ ♪ IF YOU THOUGHT THERE WAS NOTHING ♪ ♪ IN THE OLD HEARTLAND, ♪ ♪ YOU OUGHT TO HIT THE BLACKTOP ♪ ♪ WITH THESE FOOLS IN A VAN.

♪ ♪ LOOK OUT, THEY'RE DRIVING HARD, ♪ ♪ CHECKING OUT ART IN THEIR OWN BACKYARD.

♪ ♪ RANDY DOES THE STEERING SO HE WON'T HURL.

♪ ♪ MIKE'S GOT THE MAP, SUCH A MAN OF THE WORLD.

♪ ♪ THAT'S DON WITH THE CAMERA, ♪ ♪ KIND OF HEAVY ON HIS SHOULDER.

♪ ♪ AND THAT GIANT BALL OF TAPE, IT'S A WORLD RECORD HOLDER.

♪ ♪ LOOK OUT, THEY'RE DRIVING HARD, ♪ ♪ CHECKING OUT ART IN THEIR OWN BACKYARD.

♪ ♪ LOOK OUT, THEY'RE DRIVING HARD, ♪ ♪ CHECKING OUT THE WORLD IN THEIR OWN BACKYARD, ♪ ♪ CHECKING OUT THE WORLD IN THEIR OWN BACKYARD.

♪ ♪ I WAS GOING TO CHECK THE OIL, BUT I THINK THIS IS ONE OF THOSE ENGINES THAT DOESN'T NEED CHECKING 'CAUSE-- (Don) DOESN'T NEED CHECKING?

I CAN'T FIND THE OIL SPOUT.

NO, HERE IT IS.

I'M JUST KIDDING.

NOT BAD.

(Don) YEAH.

WELL, IS IT TIME FOR VIEWERS LIKE YOU TO PAY FOR A QUART OF OIL FOR US?

I THINK IT IS.

HAVE WE EVER PUT OIL IN A VAN BEFORE?

SHHHHHH.

ON ANY OF OUR-- SHHHHHHH.

(Don) DEAR TV MAILBAG, WHO NEEDS CLICK AND CLACK ANYWAY?

HI, DON THE CAMERA GUY HERE, REVEALING SOME TV WEASEL TIPS FOR A LONG AND PROSPEROUS ROAD TRIP RARE VISIONS STYLE.

I'VE NEVER SEEN VISCO OIL BEFORE.

VISCOUS.

I KNOW; WELL, IT'S FROM THE LATIN ROOT VISCU.

VISCU, KIDS, PAY ATTENTION.

SLIMY.

(Don) THAT SOUNDS LIKE A VISCOUS RUMOR.

IS THE ENGINE GONNA THANK US?

I THINK IT'S GONNA SMOKE A LITTLE.

YEAH.

IT IS IN SMOKIN' COUNTRY, YOU KNOW.

[squeaking] (Don) I'VE NEVER SEEN THAT WIPE-YOUR-SQUEEGEE-OFF TECHNIQUE.

OH, I LEARNED THAT ON THE STREETS OF NEW YORK.

[ice crunching] (Don) WELL, ROAD-READY OR NOT, HERE WE COME, HITTING THE BLACKTOP ONCE AGAIN, CAREENING AROUND SOME SCENIC SOUTHERN HILLSIDES IN SEARCH OF OUTSIDER ART AND OFFBEAT ATTRACTIONS.

HERE YOU GOT STONEWALL'S ARM IN ONE PLACE.

JUST UP HERE IS THE REST OF HIS BODY.

YEAH, YOU KNOW, I HEAR THEY PUT A MONUMENT OUT ON THAT FIELD TO HIS ARM.

(Don) BUT MAYBE WE'RE GETTING AHEAD OF OURSELVES.

THESE WINDY ROADS ARE WINDING US INTO THE BLUE RIDGE MOUNTAINS, AND HERE AT THE EDGE OF 'EM LIES FLOYD, A SMALL TOWN WHERE, FOR DECADES NOW, HILL FOLK AND HIPPIES HAVE LIVED HAPPILY SIDE BY SIDE AND WHERE CHARLEY COLEMAN HAS TRANSFORMED THE OLD MILL INTO A SHOWPLACE FOR OUR KIND OF ART.

(Charley) I CAME HERE TO GET AWAY FROM THE BUSTLING CROWDS MOSTLY, BUT I ALSO KNEW THAT FLOYD HAD A LOT OF ARTISTS AND PEOPLE LIKE THAT THAT MADE CRAFTS OUT IN THE HILLS AND THERE WASN'T A LOT OF GALLERIES AROUND, AND I LIKED THE BUILDING.

I SAW THIS BUILDING, AND IT'S MY 14th BUILDING TO HAVE TO RENOVATE, AND IT'S--TO ME, IT'S LIKE A BLANK CANVAS.

IT'S A GOOD PLACE TO DISPLAY THE KIND OF ART THAT I LIKE.

(Randy) WHAT KIND OF ART IS THAT?

(Charley) IT'S KIND OF PRIMITIVE, KIND OF HOMESPUN.

IT'S THE KIND OF ART PEOPLE DO WITHOUT ANY ART TRAINING.

AND THAT RELATES BACK TO MY PREVIOUS BACKGROUND IN PSYCHOLOGY WHERE I WORKED AS A COUNSELOR AND A THERAPIST.

I JUST LEARNED TO APPRECIATE WHAT PEOPLE ARE DOING KIND OF INTUITIVELY AS OPPOSED TO SOME OF THE PAINTINGS THAT I DID WHICH WERE KIND OF RIGID, REALISTIC, A LOT OF WORK, DIDN'T DO A THING TO ME.

THIS--THESE GOT SOME KIND OF SOUL IN THEM.

THIS GAL OVER HERE, VICTORIA, THAT DOES THESE USED TO HAVE HER OWN RESTAURANTS AND WAS A CHEF IN RESTAURANTS IN FLORIDA, AND SHE GOT MULTIPLE SCLEROSIS.

AT NIGHTS, WHEN SHE COULDN'T SLEEP BECAUSE OF THE PAIN FROM HER MULTIPLE SCLEROSIS, SHE WOULD, A LOT OF TIMES, LAY ON THE FLOOR AND PAINT THESE.

VAN HORN, TEXAS, THERE'S A GUY THAT CALLS HIMSELF RAN HORN, AND HE MOVED THERE.

HE WAS A PREACHER BEFORE, AND HE THINKS HE PAINTS IN THE STYLE OF VAN GOGH.

OVER THERE, ALICE, SHE'S LIVED IN A LITTLE GHOST TOWN OF TERLINGUA.

AS SHE PAINTED, AND SHE LOOKED OUT THE WINDOW, THAT'S WHAT SHE'D BE LOOKING AT.

SHE WAS ALSO A SINGER.

I'VE MET HER WHEN I WAS GOING DOWN THERE TO TERLINGUA TO THE CHILI COOK-OFF.

THESE ARE KIND OF TYPICAL OF DOWN HERE IN THE SOUTHERN AREA OF THE COUNTRY.

PEOPLE MAKE FACE JUGS.

(Randy) THIS IS NOT NORTH C-- OR VIRGINIA.

(Charley) NO, I PICKED THIS UP IN CUBA.

I GOT A CHANCE TO GO TO CUBA WITH A GROUP FROM VIRGINIA TECH.

I LIKE ART DONE BY PEOPLE WHO ARE-- THERE'S A STORY BEHIND IT.

THEY'RE UNREHEARSED.

THAT'S WHAT I LIKE ABOUT IT.

THEY'RE UNREHEARSED.

(Randy) I HAVEN'T NOTICED ANY CARS GO BY DURING THE TIME WE'VE BEEN HERE.

(Charley) OH, WE GET AT LEAST A COUPLE CARS A DAY GOING BY HERE.

(Randy) I GUESS I'M THINKING OF THAT OLD REAL ESTATE THING WHERE THEY SAY-- (Mike) "LOCATION, LOCATION, LOCATION."

(Charley) RIGHT, WELL, I THINK I WOULD BE BOTHERED IF I WAS, LIKE, REALLY BUSY ALL DAY WITH CUSTOMERS.

I'D MOVE ON TO FIND A SMALLER, MORE REMOTE PLACE.

OOH, I SEE THE FISHIES.

(Don) CHARLEY DOES HAVE A GLORIOUS VIEW OUT BACK, NOT TO MENTION TWO FLOORS FULL OF EVERYTHING FROM BLACK VELVET TO VINTAGE VINYL AND A COMFY COUCH TOO, BUT HUNGER IS NOW UPON ME, AND FLOYD, THANKS TO ITS COUNTERCULTURE CONTINGENT, CLAIMS THE BEST VEGETARIAN FOOD IN SOUTHERN VIRGINIA... OH, LET'S GO.

I'VE BEEN WAITING FOR THIS-- (Don) FIVE DAYS A WEEK, ONE OF WHICH THIS IS NOT.

CLOSED.

WEDNESDAY THROUGH SATURDAY LUNCH.

(Randy) AND THIS IS-- TUESDAY.

(Randy) UH-OH.

OH.

(Don) BITTER?

YOU BET.

BUT FINDING FOOD IN FLOYD IS NOT SO HARD TO DO, SO AFTER DOING IT, WE FOUND OURSELVES SKIMMING ALONG THE BEAUTIFUL BLUE RIDGE PARKWAY, WHICH PARTS PERIODICALLY FOR THE MOST PERPLEXING SCENIC OVERLOOKS WE'VE NEVER, WELL, SEEN.

I THINK THAT EXPLAINS IT.

POOR VIEW MOUNTAIN.

OH, THIS IS THE POOR VIEW.

NOT SUPPOSED TO SEE IT.

(Don) YES, IT IS PRETTY AS A PICTURE... (Mike) OH, MY GOD.

(Don) UNLESS YOU STOP TO TAKE ONE.

WELL, THEY LOST THE VIEW APPARENTLY.

I DON'T KNOW WHAT TO SAY.

(Don) BUT LUCKILY, I DO, SINCE, FOR ONCE, I'M ACTUALLY READY FOR WHAT COMES NEXT: A BRIEF STOP HERE IN ROANOKE IN THE SHADOW OF MILL MOUNTAIN.

DUE TO POOR HEALTH, DON EPPERLY'S MINIATURE GRACELAND HAS FALLEN ON HARD TIMES.

BUT ONCE NOT SO VERY LONG AGO, IT REIGNED AS THE UNDISPUTED CHAMPION OF ROCK AND ROLL YARD ART.

(Don Epperly) I BUILT ALL OF THIS.

I BUILT IT FOR MY WIFE.

BUT I'VE NEVER BEEN OUT THERE TO SEE WHERE HE LIVED, OR ANYTHING LIKE THAT.

I DID GO TO ONE OF HIS SHOWS, BUT I WAS KIND OF UP HIGH AND WATCHING THEM BINOCULARS, AND I DIDN'T GET TO LOOK TOO MUCH.

(Brian) YOU KNOW, IT'S--IT'S KIND OF LIKE FAMILY.

YOU KNOW, IT'S ALWAYS BEEN HERE AS LONG AS I HAVE.

IT'S KIND OF LIKE A YOUNGER BROTHER OR SOMETHING.

(Randy) AND MOM, WE SAID, IS REALLY KIND OF WHO'S BEHIND ALL THIS.

SHE'S THE ELVIS FREAK, YEAH.

I HOPE SHE DOESN'T SEE THAT.

(Randy) WHAT WAS THAT?

ELVIS FREAK.

(Don Epperly) WELL, I MADE IT MOSTLY FROM PHOTOGRAPHS.

SHE HAD A PICTURE OF EVERY CONCEIVABLE WAY YOU COULD SEE THE HOUSE, EVERY PART OF IT, EVERY--THE FRONT, THE BACK.

THIS OLD HOUSE UP HERE WAS HIS FATHER'S PLACE WHICH ADJOINED HIS.

(Randy) TO WHAT SCALE WOULD THIS BE?

WHO KNOWS?

I MEAN, THIS IS LITTLE COMPARED TO IT, I'M SURE.

WHO KNOWS WHAT THE SCALE WOULD BE?

BUT IT'S MINIATURE, NO DOUBT.

(Randy) BUT NOW, WASN'T THERE THE CIVIC CENTER TOO?

(Don Epperly) YEAH, I HAD THE CIVIC CENTER AT ONE TIME, AND IT DETERIORATED SO BADLY, WE JUST TOOK IT DOWN.

(Mike) DID THE LITTLE GUY FROM THE--FROM THE CITY MAKE YOU--COME AND MAKE YOU TEAR IT DOWN?

NO, NO, NO, NO, THEY AIN'T GOT NOBODY TO MAKE ME TEAR IT DOWN, BUT THEY MAY HAVE WANTED ME TO.

(Randy) IT SOUNDS LIKE YOU ACTUALLY REALLY ENJOYED THE WHOLE THING A LOT.

(Don Epperly) WELL, I DID, AND I--I HAD NO REGRETS OF DOING IT.

I HAD A GOOD TIME AND MET A LOT OF PEOPLE FROM EVERYWHERE.

(Brian) I'M KIND OF ASHAMED TO ADMIT IT, BUT I KIND OF LISTEN TO ELVIS MYSELF SOMETIMES.

I HAVE ALL THESE RAP CDs AND POP CDs, AND THEN AT THE VERY BOTTOM OF THE CASES, THERE'S FOUR ELVIS CDs.

(Don) NOW, THAT'S BETTER, BUT FOR TALKING BAD ABOUT HIS MAMA, WE SUGGESTED THE LAD SHOULD HELP US LOAD UP.

AND TRUST ME ON THIS, THE WORLD'S LARGEST BALL OF VIDEOTAPE IS NO MINIATURE.

[Randy imitating Elvis] THANK YOU VERY MUCH.

(Don) SOME THINGS ARE JUST HARD TO FIGURE.

CANOES AND BUILDINGS SHAPED LIKE COFFEEPOTS?

YOU WANT ME TO TAKE SOME MORE SHOTS ABOUT THE GROUNDS?

(Randy) YEAH.

(Don) WELL, ONE THING WE'VE DISCOVERED, WHEN THE GOING GETS TOUGH... (Mike) WHOA.

(Don) WE PLAY CATCH.

AND WHAT BETTER PLACE THAN DOWN HERE BY THE FAMOUS JAMES RIVER FOR RECREATING AND PONDERING THE PAST?

(Randy) HOW'S THE OLD PEG FEEL?

(Don) PRETTY GOOD.

NOW, WHAT ARM DID STONEWALL JACKSON THROW WITH?

(Mike) THE ONLY ONE HE HAD, I'M AFRAID.

(Randy) OH, DONNY, GO DEEP; GO DEEP; GO DEEP.

(Don) OKAY, KEN BURNS WE'RE NOT.

ALL I KNOW IS, RANDY'S GOT BOTH HANDS ON THE WHEEL FOR SOME SERIOUS DRIVING ACROSS THE STATE PAST JEFFERSON'S MONTICELLO ON OUR WAY TO LOUISA TO FIND JOHN ANDERSON.

NO, NOT THE ONE WHO RAN FOR PRESIDENT A WHILE BACK.

THIS ONE'S A WELDER WHOSE CARD CLAIMS HE MAKES SCULPTURES FROM THE HEART AND MIND.

THIS IS GONNA BE A HORSE.

IT'S GONNA BE A HORSE FACE.

MM-HMM.

[torch hissing] SEE, I STARTED IN WOOD YEARS AGO.

I JUST GOT AWAY FROM THE CHAIN SAW THING, YOU KNOW?

AND GOT DOING METAL, BECAUSE METAL, YOU CAN DO MORE.

YOU CAN MAKE BIGGER THINGS.

(Randy) HOW HEAVY ARE THESE?

(John) THIS--THIS LION HERE WEIGHS PROBABLY CLOSE TO 500-- 500 POUNDS.

THIS ONE'S A LITTLE LIGHTER HERE, YOU KNOW.

MM-HMM.

[torch hissing] (Randy) AND ALL THIS CAME OUT OF SOME ART CLASSES YOU HAD A LONG TIME AGO?

(John) NO, I NEVER WENT TO SCHOOL FOR ANYTHING.

GOD BASICALLY GAVE ME THE GIFT, YOU KNOW, AND THAT'S--THAT'S WHO GIVE ME MY IDEAS.

I LOOK AT THE CLOUDS OR LOOK AT A GRAIN OF WOOD, LOOK AT THE LEAVES, THE WAY THEY'RE BLOWING ON THE TREE, ANYTHING.

THAT'S BASICALLY HOW I GET IDEAS, YOU KNOW.

NOW, HOW DO YOU MAKE A MANE WHEN--WHEN YOU'VE NEVER DONE THAT BEFORE?

(John) WELL, THE FIRST THING--WHEN YOU MAKING A MANE LIKE THAT, THE FIRST THING YOU SAID, "DAMN, THAT'S A WHOLE LOT OF WORK I GOT TO PUT TOGETHER," YOU KNOW.

BUT ONCE YOU DO IT JUST STICK WITH IT.

STICK WITH IT UNTIL YOU START SEEING IT COME--FALL INTO PLACE, YOU KNOW?

[torch hissing] OWLS ARE DEEP.

THEY'RE NICE BIRDS TO BEGIN WITH, YOU KNOW.

AND I ALWAYS LIKED--WHEN I WAS DOING WOODWORK WITH A CHAIN SAW, I DID A LOT OF OWLS ANYWAY.

I JUST DECIDED TO DO OWLS WITH THE METAL, YOU KNOW.

WHAT'S THE METAL THAT THIS BEGAN WITH?

(John) OKAY, THAT WAS A OIL DRUM.

MM-HMM.

[torch hissing] MOST OF THE STUFF I GET IS JUNK, SOMETHING THAT PEOPLE THROW AWAY OR--OR WHAT HAVE YOU.

(Mike) WHEN YOU SEE AN OIL DRUM, DO YOU SAY, "OH, THAT'S A PRAYING MANTIS," OR-- [John chuckling] NO.

WHEN I SEE A OIL DRUM, I WANT TO KNOW WHETHER IT'S FREE OR NOT.

YOU KNOW?

[torch hissing] (Randy) IS IT RELAXING TO DO THESE KINDS OF THINGS FOR YOU?

(John) YEAH, ESPECIALLY AT NIGHT WHEN IT'S COOL.

I LOVE IT, YOU KNOW.

(Randy) DO THEY HAVE TO PULL YOU BACK IN TO GO TO BED?

NAH, NOT REALLY.

I TELL 'EM, LEAVE ME ALONE, AND THEY NORMALLY TAKE MY ADVICE.

[torch hissing] I HAVE TO MAKE TIME.

MOST OF THE TIME, I HAVE TO MAKE TIME FOR IT.

I HAVE TO SACRIFICE.

I'VE PUT A LOT OF SACRIFICE INTO THIS WORK.

I DON'T KNOW WHY.

I GUESS IT'S JUST IN ME, YOU KNOW, JUST A PART OF ME.

(Don) CLEARLY, WELDING BUILDS BETTER BODIES THAN TV WORK, THOUGH CARRYING THIS CAMERA IN THE HOT SUN MIGHT MAKE EVEN JOHN BREAK A SWEAT, WHICH IS WHY, AS SOON AS I FINISH DOCUMENTING SOME MORE BAD BACKING, I'M TAKING A BREAK, AT LEAST TILL POWHATAN... [horse snorting] WHERE ROBERT HOWELL'S YARD KEEPS FILLING UP WITH WORKS IN WOOD, AND ROBERT STILL RECALLS HOW IT ALL BEGAN.

(Robert) I WENT TO A HARDWARE STORE WITH MY BOSS MAN ONE DAY, MR. LARSON.

AND I SAW A WHIRLIGIG.

YOU SEE THEM WHIRLIGIGS THERE THAT ARE TURNING?

I SAW THAT WHIRLIGIG, AND I WAS LOOKING AT THAT WHIRLIGIG.

I WAS LOOKING AT THAT THING.

I WAS LOOKING AT IT.

I SAY, I WAS WAITING TILL I GET HOME.

I GONNA MAKE THAT WHIRLIGIG.

[growls] WHAT I BUILT-- FIRST THING I BUILT WAS A MAN ON A HORSE AND A HELICOPTER AND A DUCK.

[growls] THEN AFTER THAT, I BUILT A FLOWER GIRL.

USED TO SIT OUT HERE IN THE YARD.

THAT THING WAS PRETTY-- I GONNA MAKE ANOTHER ONE-- THAT THING WAS SOME KIND OF PRETTY, SO THE GIRL--AND SHE WAS HOLDING A UMBRELLA.

[growls] AND I BUILD THIS STUFF FOR MYSELF.

I AIN'T BUY IT FOR TO SELL NOBODY OR-- JUST LIKE YOU SEE IT IN THE YARD, YOU KNOW, AND PEOPLE COME, THEY'LL SAY, "NO, NO, JOJO, WE LIKE IT TOO."

OH, MAN, AND THEY LOVE THAT STUFF, MAN.

AND EVER SINCE THEN, THEY BE BUYING THAT STUFF, MAN.

AND I GOT STUFF ALL OVER THE WORLD EVERYWHERE.

I EVEN SOLD STUFF TO A LADY IN ENGLAND WHO I COULDN'T EVEN UNDER-- COULDN'T UNDERSTAND A WORD SHE SAID.

YOU TAKE A WHOLE LOT OF THIS STUFF, I KNOW I AIN'T GONNA SELL IT, BUT I GOT TO HAVE SOMETHING HERE THAT SOMEBODY DON'T WANT.

YOU KNOW WHAT I MEAN?

I GOT TO BUILD SOMETHING PEOPLE DON'T WANT BECAUSE I WANT TO LOOK AT IT MYSELF.

SEE, WHAT I DO, LIKE, IF SOMEBODY COME IN AND BUY A FISH, AND THEY WANT THAT FISH, I'LL SELL 'EM THAT FISH.

I DON'T SAY NOTHIN', BUT IF I WAKE UP IN THE MORNING, IF I FEELIN' GOOD, I BUILD THAT FISH BACK.

YOU SEE, I'M GONNA TELL YOU SOMETHING ELSE.

YOU CAN'T JUST PICK UP ANYTHING AND BUILD THAT THING.

YOU GOT TO HUNT THE MATERIALS TOO, YOU SEE.

SO I HUNT MATERIAL FOR THOSE.

I GO GET--AND BUILD IT OF 'EM.

THEN I GO GET THAT AND LAY IT UP THERE AND FINALLY GET GOIN' ON IT.

AND IF I BUILD THAT FISH IN A DAY, I WON'T PAINT IT THAT DAY.

NO, UNLESS I GET INTERESTED.

(Mike) WHERE DO THE IDEAS COME FROM?

RIGHT UP HERE.

I GOT WHEELS UP IN HERE TURNING.

YEAH, THEY AIN'T LIKE MOST PEOPLE, NOW.

THEY'RE TURNING FOR THE BEST TOO.

THEY AIN'T TURNING FOR THAT HATRED STUFF.

[chuckling] NO.

(Randy) WHAT'S THAT BACK THERE?

THAT'S WHAT THEY CALL A... A MORNING HORN.

YOU KNOW WHAT THAT IS, DON'T YOU?

THAT'S MUGLY UGGLE.

(Mike) MUGLY UGGLE.

(Robert) THAT'S MUGLY UGGLE.

(Mike) WHAT IS THIS WOOD?

(Robert) IT'S ALL KINDS OF WOOD.

I CAN'T NAME SOME OF THAT WOOD.

SEE THE OTHER ONE?

I DON'T EVEN KNOW WHAT THAT STUFF IS.

BUT IT'S JUST HARD AS ALL GET OUT, MAN.

(Don) A HARD WOOD.

(Robert) YEAH, IT'S HARD-- (Randy) HA RD-AS-ALL-GET-OUT WOOD.

YEAH, NOW, THAT'S SOME KIND OF ROOFING MATERIAL OR SOMETHING.

WHAT IS THAT?

IT'S TIN.

TIN?

YEAH.

(Robert) THAT'S A WHIRLI-- WHICH ONE YOU-- OH, THAT'S A WHIRLIGIG.

THAT'S A WHIRLIGIG OUT YONDER.

THAT'S A WHIRLIGIG OVER THERE.

AND HERE'S A WHIRLIGIG HERE.

I GOT ONE YONDER AND ONE OVER HERE.

(Mike) I DON'T THINK A WHIRLIGIG IS ACTUALLY A BIRD, IS IT?

(Robert) I'LL TELL YOU LIKE I TELL EVERYBODY ELSE: AFTER YOU BUY THIS STUFF, YOU CAN NAME IT AND DO WHATEVER YOU WANT WITH IT.

YOU CAN TURN AROUND AND EAT IT IF YOU WANT TO.

I DON'T CARE.

DIFFERENT PEOPLE TELL ME, SAID, "WELL, ROBERT, WHAT DO THEY DO WITH THAT STUFF?"

I JUST-- I DON'T CARE, DON'T KNOW.

AS LONG AS THEY WHEN-- THEY PAY ME WHEN THEY LEAVE HERE, I'LL AUTOGRAPH IT.

(Don) YES, VIRGINIA, MEETING ROBERT LEFT US RICHER FOR THE EXPERIENCE AND POORER FOR THE PURCHASES.

THE GOOD NEWS FOR MY ACHING SHOULDER IS THIS: AT LEAST FOR TODAY, THE END OF THE LANE MEANS THE END OF THE LINE.

[cow mooing] [Mike confidently] I'M READY.

[eagerly] I'M READY.

[nonchalantly] I'M READY, SURE.

(Randy) NOW GIVE ME UNCERTAIN, BUT THEN ONE OVER.

I'M READY?

I'M READY, YEAH.

(Don) LOOKS LIKE THE RARE VISIONS SCHOOL OF BAD ACTING IS IN SESSION, AND THESE GUYS COULDN'T CARE LESS.

MAYBE THEY'RE COLONIAL DUCKS SINCE THIS PLACE REVELS IN EARLY AMERICANA.

AND HOW'S THIS FOR IRONY?

WE'RE HERE TO SEE A THRONE, NOT JUST ANY THRONE, BUT A GENUINE JAW DROPPER WITH A REALLY LONG NAME, BUILT BY ONE JAMES HAMPTON IN A RENTED GARAGE IN WASHINGTON, D.C. (Jan) HE WAS A JANITOR FOR THE GOVERNMENT, AND SO HE'D WORK THERE UNTIL ABOUT MIDNIGHT.

THEN HE'D GO TO THE GARAGE.

HE'D WORK THERE.

HE'D GO BACK TO HIS ROOM TO SLEEP FOR A LITTLE BIT, DO HIS JOB, COME BACK TO THE GARAGE.

HE WAS PROBABLY INSPIRED BY SOME OF THE STOREFRONT MINISTRIES THAT WERE VERY COMMON, ESPECIALLY IN THE D.C. AREA IN THE AFRICAN-AMERICAN COMMUNITY.

AND THIS IS ALL BASED ON THE BOOK OF REVELATIONS.

AND THE MAIN PORTION OF IT, THE THRONE IN THE FAR BACK THAT SAYS, "FEAR NOT," IS JUST ONE OF THE PIECES, AND IT ALL BUILDS OFF OF THAT.

HE'S GOT A.D. AND B.C.

AND NEW TESTAMENT AND OLD TESTAMENT.

AND IT'S ALL VERY SYMMETRICAL AND VERY ORDERED.

HE USED STRAIGHT PINS.

VERY RARELY DID HE USE GLUE OR NAILS OR ANYTHING.

A LOT OF IT IS STRAIGHT PINS AND BRADS AND FOIL THAT HELD ITSELF TOGETHER.

THAT HE WORKED FOR THE GOVERNMENT ADMINISTRATION IS IMPORTANT BECAUSE THAT'S WHERE HE GOT A LOT OF HIS SUPPLIES.

A LOT OF THE THINGS ARE LIGHT BULB, BLOTTER PAPER, ACETATE.

HE WOULD GO AROUND ON THE STREETS, AND HE'D PICK UP CIGARETTE PAPERS AND THE FOIL THAT WAS AROUND WINE BOTTLES.

THOSE KINDS OF THINGS HE'D JUST GATHER.

IT'S KIND OF INTERESTING WHEN YOU TURN SOME OF THESE THINGS OVER, YOU FIND THINGS LIKE TIN FROM OLD BAND-AID BOXES THAT HAVE BEEN FLATTENED OUT AND USED FOR MORE SUPPORT.

THE--SOME OF THE LITTLE PIECES IN THERE ARE ACTUALLY JELLY GLASSES THAT, YOU KNOW, YOU GOT FREE WHEN YOU BOUGHT A TANK OF GAS OR WHATEVER.

(Randy) IS THERE A LANGUAGE THAT I HEAR THAT GOES WITH THIS?

(Jan) THERE'S PLAQUES ALONG THE EDGES.

SOME HAVE TO DO WITH THE APOSTLES AND SOME THE PROPHETS.

HE HAS A BOOK OF HIS OWN THAT'S HIS VERSION OF THE BOOK OF REVELATIONS THAT HE HAS WRITTEN IN HIS OWN LANGUAGE.

(Randy) AND THIS LANGUAGE HAS NEVER BEEN CODED BY THE GOVERNMENT EXPERTS?

(Jan) YEAH, NOBODY CAN DECIPHER IT.

HE STARTED IN ABOUT THE 1950s.

AND A FEW YEARS AFTER THAT, HE DID SHOW IT TO ONE OR TWO PEOPLE.

BUT THEN HE SEEMS NOT TO HAVE WANTED THAT BECAUSE HE REALLY WASN'T FINISHED YET, AND I DON'T THINK HE REALLY WANTED TO SHARE IT TOO MUCH UNTIL HE WAS DONE.

WE HAD ONE LADY COME THROUGH AND SAID, "SOMEBODY TOLD ME THERE'S A PIECE OF JUNK BACK THERE.

WHAT AM I LOOKING FOR?"

AND I SAID, "YOU GO BACK AND LOOK."

AND THEY CAME OUT VERY IMPRESSED.

AND MOST PEOPLE HAVE.

(Don) HAMPTON'S HANDIWORK WON'T BE HERE FOREVER, THOUGH.

IT'S ON LOAN FROM THE SMITHSONIAN, WHO WILL, SOMEDAY, BE CALLING IT BACK HOME.

IN THE MEANTIME, THOUGH, IT'S AN EXTRA GOOD REASON TO VISIT THIS FINE FOLK ART FACILITY AND STAY AWHILE IF YOU CAN, WHICH WE CAN'T BECAUSE, ONCE AGAIN, WE'RE DRIVING LIKE MAD, OVER BRIDGES AND THROUGH TUNNELS INTO THE TRAFFIC NIGHTMARE KNOWN AS VIRGINIA BEACH.

THIS, IT SEEMS, IS HOME BASE TO YET ANOTHER SELF-TAUGHT ARTIST, A PAINTER WHOSE COLORFUL, COMPLEX, YELLOW-SUBMARINEY PIECES DO SEEM DISTINCTLY DIFFERENT.

(Melissa) I DON'T REALLY KNOW WHAT EXACTLY I'M DOING, BUT THE PIECES-- YOU KNOW, YOU JUST START SOMEWHERE.

AND IT'S NOT--IT'S ACTUALLY KIND OF DIFFICULT TO FIGURE OUT WHAT TO PUT IN THERE.

IT'S KIND OF FRAGMENTED, I GUESS, AND DOESN'T NECESSARILY-- NOT EVERYTHING CONNECTS, MAYBE SOMETIMES.

KANSAS CITY WAS STARTED IN THE MIDDLE.

AND SOMETIMES, THOUGH, IT STARTS ON A SIDE-- ONE SIDE OR THE OTHER SIDE-- AND THEN JUST-- IT'S DRAWN OUT FIRST WITH, LIKE, SOMETHING LIKE THIS.

(Mike) A SHARPIE?

THIS AND THEN WATERCOLOR FILLED IN AND THEN OUTLINED IN BLACK WATERCOLOR WITH A THIN BRUSH.

AND THAT'S ALL I EVER WORK WITH.

I CAN'T REMEMBER WHICH PER-- WHICH CHARACTER OR WHAT CAME FIRST, BUT PROBABLY THIS OR THAT, AND THEN YOU DRAW IT.

AND THEN MAYBE YOU DRAW A FEW MORE THINGS, AND THEN YOU--YOU PAINT IT.

AND IT DOES KIND OF DRIVE YOU A LITTLE WACKY.

THERE'S A NUMBER OF PIECES THAT HAVE TOMBS, CATACOMBS.

A LOT OF PIECES HAVE THAT IN THERE.

IT'S JUST AN IDEA.

(Mike) IS THERE SOME SYMBOLOGY ABOUT THE WATER OR-- (Melissa) I DON'T KNOW.

IT'S JUST--WATER IS ONE THING THAT'S EASY FOR ME TO PUT IN.

THERE'S SOME PIECES OUT THERE THAT HAVE THE--LIKE, A BODY THAT HAVE THESE ORGAN-LOOKING THINGS, LIKE PINK AND BEIGE, AND IT KIND OF LOOKS LIKE PORK CHOPS AND STUFF INSIDE.

THERE'S A LOT-- CROSSES COME IN SOMETIMES.

IT'S JUST AN-- IT'S JUST A CONCEPT.

SEE, I DON'T HAVE THE ABILITY TO, WELL, DRAW THINGS AS THEY--AS THEY ACTUALLY ARE.

IF I TRIED OR STUDIED, IT WOULD--IT WOULD NOT WORK OUT.

IT'S GOTTEN--THE WORK HAS GOTTEN SO THAT IF THERE'S TOO MUCH EMPTY SPACE, YOU KNOW, THEN IT-- IT DOESN'T SEEM RIGHT.

BUT AT THE SAME TIME, IF YOU PUT IN ALL THESE LITTLE SPACE THINGS OR MORE--MORE STUFF, AND THEN THE PIECE TAKES TOO LONG TO DO ALMOST.

I LIKE THE PRODUCT.

I MEAN, I LIKE THE OUTCOMES.

AND SO I'M NEVER REALLY UNHAPPY ABOUT THAT.

MAYBE--MAYBE THERE'S SOMETHING IN EVERY PIECE THAT I DON'T LIKE SO MUCH, BUT--BUT THE-- GENERALLY, I-- THAT'S WHY I KEEP ON WITH IT.

(Don) WE LEFT MELISSA TENDING TOMATOES IN HER OCEANSIDE GARDEN, THEN, LIKE THE YANKEES WE ARE, RETREATED NORTH, USING THOSE SAME BRIDGES AND TUNNELS AND DRIVING ALL THE WAY UP TO COLONIAL BEACH, DETERMINED TO FINISH THIS SHOW AT STYROFOAM SYBIL'S STYROTOWN, WHICH IS ALL WELL AND GOOD UNLESS YOU'RE THE ONE WHO'S TRYING TO TAKE PICTURES OF TINY THINGS IN THE DARK IN THE POURING RAIN.

THIS TAKES THE CAKE.

(Sybil) I THINK IT'S THE ONLY STYROFOAM TOWN IN THE WORLD.

AND THREE 60-MILE-AN-HOUR WINDS.

I HAD STYROFOAM PILED IN MY BATHTUB TO THE CEILING.

I HAD A LOT OF IT ON THE BACK DECK.

IT WAS ALL STYROFOAM, AND WHEN I FINALLY MADE THE LAST BUILDING, I HAD TO SAY, "NO MORE, PLEASE.

NO MORE STYROFOAM."

THEY HAVE-- (Mike) WHY DO THEY CALL YOU STYROFOAM BETTY?

SYBIL.

SYBIL.

SORRY.

I KNOW; I KNOW.

IT'S OKAY.

(Randy) SO YOU'RE--YOU'RE ACTUALLY DOCUMENTING COLONIAL BEACH.

THIS IS NOT JUST ANY OLD ASSORTMENT OF BUILDINGS.

THIS IS COLONIAL BEACH.

(Sybil) THAT'S--YES.

EVERY BUILDING IN HERE IS EITHER HERE NOW OR WAS HERE.

MOVE--MOVE, LAPPY.

LAPPY, MOVE.

(Mike) WELL, NOW, LOTS OF PEOPLE STOP BY HERE, RIGHT, SYBIL?

(Sybil) ABSOLUTELY.

(Mike) HOW MANY?

(Sybil) 794 TO DATE.

(Mike) TODAY?

TO DATE, D-A-T-E. (Mike) OH.

(Randy) SYBIL, YOU TOLD ME YOU'D TEACH OTHER PEOPLE HOW TO DO THIS.

(Sybil) YEAH, THAT'S WHY I WANTED THE WEBSITE.

NOT ONE PERSON IN OVER 3,000-SOMETHING HAVE ASKED ME HOW TO DO IT.

THEY JUST WANT TO KNOW WHERE I LIVE AND HOW OLD I AM.

[chuckling] (Don) I DON'T KNOW ABOUT HER, BUT I FEEL SOMEWHERE AROUND 110.

AT LEAST NOW I CAN FINALLY SAY FROM A TENT AT STYROFOAM SYBIL'S... (Sybil) NO, IT'S A GAZEBO.

(Don) FROM A GAZEBO ON THE EDGE OF THE POTOMAC, THIS IS DON THE CAMERA GUY SIGNING OFF.

(Mike) THIS IS A FIRST FOR US.

(female announcer) OWN A COPY OF THE COMPANION BOOK TO RARE VISIONS, COMPLETE WITH TIPS ON WHERE TO FIND FOOD, FUN, AND FASCINATING FOLKS.

IT'S JUST LIKE THE TV SHOW, ONLY IT DOESN'T MOVE.

FOR INFORMATION ABOUT THE ARTISTS, WACKY SIGHTS, AND HOW YOU CAN SEE THEM FOR YOURSELF, GO TO kcpt.org.

Captioning and audio description provided by the U.S. Department of Education.

Captioning and audio description byCaptionMax www.captionmax.com [metal clanging] (Randy) I LIKE THAT TECHNIQUE.

[confidently] I'M READY.

[eagerly] I'M READY.

[nonchalantly] I'M READY, SURE.

DON, CAN YOU MOVE THAT BACK FOR HIM?

CAN YOU PUT THAT BACK FOR HIM, DON?

THAT'S A GOOD SPOT FOR IT.

(male announcer) PRODUCTION FUNDING FOR RARE VISIONS AND ROADSIDE REVELATIONS HAS BEEN PROVIDED, IN PART, BY SPRINT: COMMITTED TO THE COMMUNITY, CONNECTING YOU TO THE WORLD.