provided by the Bank of Albuquerque.

Funding for COLORES was provided in part by Frederick Hammersley Foundation... New Mexico PBS Great Southwestern Arts & Education Endowment Fund at the Albuquerque Community Foundation New Mexico Arts, a division of the Department of Cultural Affairs with supplemental funding by the New Mexico CARES Act and by the National Endowment for the Arts.

...and Viewers Like You.

THIS TIME, ON COLORES!

FROM PAGE TO STAGE LOOKS AT THE CREATIVE FORCES INVOLVED WITH BRINGING TO LIFE THE SANTA FE OPERA'S WORLD PREMIERE OF THE LORD OF CRIES.

IN THIS EPISODE, ACADEMY AWARD WINNING COMPOSER JOHN CORIGLIANO AND LIBRETTIST MARK ADAMO REVEAL THEIR INSPIRATION AND CREATIVE PROCESS.

MUSIC GAVE VIOLINIST CAL MORRIS STRENGTH WHILE BATTLING CANCER.

REJECTING LABELS, BRENDEN SPIVEY PAINTS WITH INTENTION AND INTUITION.

HALL-OF-FAME MASTER PINSTRIPER JIM "DAUBER" FARR TRANSFORMS CARS INTO ONE-OF-A-KIND CUSTOM RIDES.

IT'S ALL AHEAD ON COLORES!

COMPOSING THE SCORE AND WRITING THE LIBRETTO.

>>Mark Adamo: The recording was the first time that John and I heard the piece.

You begin to hear a world, the emotional world, the sonic world, how the words and the music are coming >>Anthony Ross Costanzo, countertenor: His temple.

How you profane it.

Before you built these marble towers.

Before you raised these iron gates.

Before this crimson glass, this gilded plaster, this temple was a moonlit glade, sacred to my Master.

>>Adamo: When I'm starting opera the first question that I ask is "Why do we need this now?

Why are we in the theater hearing this story?

What is it telling us that we need to hear, or we still need to hear, or we need to hear again because we keep forgetting it?"

It didn't begin with investigating It began with investigating the issue.

The "Lord of Cries" is Dionysus and is Dracula, but really is the voice that says "You need to look within.

I'm here and if you don't give me space, I will devour you."

>>John Corigliano: One of the things I love to do is work with very primitive sounds.

So of course this particular opera fascinated me, because it is very primitive.

It's going back to the ancient Greek gods.

Pagan sacrifices.

And all sorts of things.

The way we did it is Mark wrote his libretto and I had input into it and then I wrote my music, which only took 10 years.

Um, in those 10 years, I got to know the characters and the situations really well.

The way it starts is the composer has got to figure out, number one, the kind of language he's using, number two, the kind of characters that he is building, and with actual notes.

In this piece something rather wonderful happened because of the very nature of the title of "The Bacchae".

Johan Sebastian Bach used to take his name, B_A_C_H, and he would use the German letterings for those.

B is really the pitch B flat, A is right here, A.

C is here and, H is B natural.

So the "BACCHAE " chord that I devised, starting from the bottom and spelling the name up is, starting the low B flats, (plays notes in the chord on piano) then the A, then the C, then the C, then the B, and then the A, and finally the E. And they all sound together and it's quite a terrifying chord.

And it was a way of getting material.

Harmonic material.

Chords.

>>Adamo: One of the things that was really thrilling about reading the novel after having read the play was, you kept thinking, Stoker must even subconsciously have had "The Bacchae" in the back of his head.

Because what else makes sense of the fact that Dracula casts no reflection?

You know, that was something that I just thought, "well that's the history of you know monster, lore it's not really important."

You read "The Bacchae" and you realize, of course he doesn't cast a reflection.

He is a reflection, you know.

Of course he doesn't have a reflection in the mirror.

He is our reflection.

And I thought, "Well that..." .

Now, you get the difference between the novel, which kind of belongs to the history of and tragedy, you know, because it gets to something deeper psychologically.

And so the Stoker started me there, the Euripides took me further, and then both of them led to that that question, which we are still dealing with.

>>Corigliano: It's a long road.

I mean.

if I showed you all the hundreds of pages of this, you're just hard to believe.

But it's the only way I can make something that pulls together, that really uses its materials, that builds.

>>Costanzo: Before your sculpted Mother Eve... >>Corigliano: Mark Adamo is a terrific architect with words.

And he's given me arias that have returns and new sections and all that.

And then I have to build the whole opera so that it has a real climax.

So that has real tension, real release.

>>Costanzo: They were rites of frenzy, rites of ecstasy, rites of hunger, rites of heat.

They weren't gentle, they weren't tender.

>>Adamo: The kind of heightened emotion that opera presents seems to me actually emotion at its proper size.

I get to say "Who are we?

How does who we are sound?

How can we make sense of the life that we're living now?"

Even as we look at other sources that have tried to address that same question, we need to integrate those into a new drama, a new art form that tries to tell the truth about who we are.

And that's, you know, that's the thing I love the most about getting to do what I do.

You know, I get to ask these questions.

A HEALING JOURNEY.

>>Am I gonna to make it or not?

When you're looking at death in it's face and you're so scared and... >>And the way that hours become so precious.

I was like, I don't care if they're horrible hours, I just want hours.

>>Cancer it changes you in a way that I think a lot of people don't get or can't even understand.

The world to me just, is music.

At 13, I got interested in the violin, it came naturally and I feel like I just so quickly fell in love with it and I'm not great with words and just communication, but like, like music is just how I express myself.

It was literally about a month of that, on and off nauseousness and after more testing, We started coming back with, it looks like it could be a blood cancer, that was a huge blow, it was something we never expected.

>> Cancer is absolute war.

Yeah.

>>I can't even go there, I won't let that happen, I gotta be there for them.

When I immediately started doing chemotherapy, I responded really, really well, but they were still like, to fix the real problem we really think you need to do a transplant.

>>And someone who has a potentially terminal diagnosis, it's that one shot.

>>It made me feel honestly so grateful to be able to have the opportunity to give him a prosperous life with his family and his kids.

>>The transplant, that was way, way harder than I could ever imagine.

>>Somebody so strong and just rolled up into this bald, hairless, gray human being, it was so sad to watch him disintegrate like that.

>> Subsequently he had additional complications associated with the transplant that were not run of the mill complications.

>> The pain was so bad, I didn't know how I was gonna get through the next 10 minutes and much less an hour or day so... >> Is he dying right now?

If he is, what would I regret not doing?

And I was like, we need the kids here, we need to get to be together.

>> I didn't pick my violin up for like two months I was like, I couldn't, but I would hear this song, just so much music in my head.

I just sat down at my keyboard for the first time and just wrote this whole song, I feel like there's so much that's gonna come out and already has, from this journey.

Really one of the best days of my life, being able to hug their little... Feel their little arms just wrapped around me and wrap my arms around them and be back together.

>> Caleb had made an announcement that he was going back to the docks and we dropped everything and we were like, this is something we're absolutely not gonna miss.

> But just to go back after that, coming that close to not making it and there was hundreds of people there and so to get to that day and just see so much love and so much support put out and it was...

It's hard to describe with words.

>> That's like everything, I mean that's the reason that people undergo this horrible experience of transplant and the complications that occur post-transplant, it's to live their lives again.

>> I really got that miracle that so many people hope for and pray for and long for.

A MESSAGE WITHOUT WORDS.

I've never really given myself, like a label.

A lot of people say that I paint with joy.

Energy.

So -- those who know me know that I can be very energetic, and I think a lot of that personality comes out in some of the colors that I use, shapes that I use.

There's never gonna be anything overly dull or dramatic.

I like action.

So you'll see large swipes, bright colors, texture.

So that's kind of how I -- I view my work.

[scratching] So I'm a big fan of abstract -- which is kind of ironic 'cause that's what I do.

It was more about the -- I didn't like the literal interpretation necessarily of, like, skylines or barns and trees.

I liked being able to have my own vision of what the art piece meant because I think abstract painters paint with intention, but we also paint with intuition, so I found it really, kind of fascinating just to see, like what -- what do I see going into the piece versus what they said that they saw.

2017, I was looking for something a little more productive to do as far as stress relief.

You know, I used to run and lift -- and not that that's not productive.

It just takes a lot of time and dedication.

But I wanted something a little more, so I think for me -- looking at artwork was always kind of therapeutic, so I wanted to give that a shot and not being trained to do this was kind of -- it was This is the Hayley Gallery.

For me, this place is very homey, and what I like about it is I can find everything that I want.

So, if I'm looking for abstract art -- if I'm looking for glass, I'm able to find that here.

So -- it's not just a gallery to me.

It's, like a home.

So, I will have rotations of art work in, so I typically will have between three to five pieces at a time, in.

This one is called, "Rise Up."

So this kind of all goes back to -- umm, some of the movements that we were going through, social unrest and all of that stuff, so I wanted to give something.

If you look at the tones of browns and earth tones.

So it's -- it's kind of, pushing you a certain direction without necessarily taking you all the way there.

We wanted to kind of get involved in the whole Black Lives Matter movement.

-- not necessarily through protest and those means, but how can we use our artistic voices to make a very strongly stated message without saying words.

And -- the two murals we did, the first one was at the Ohio Theatre, and it was a compilation of fields of flowers and young children that were black, and she was picking flowers, and the young boy had a paintbrush.

And then I came in as the artistic, abstract sky of shapes and color.

And will came in with the cityscape, and it just -- I think it was a really great fusion of all of our talents together because normally you would not have an abstract painter, mixed with two more traditionally trained artists.

But I think that to me -- that's what made the work so powerful.

>> Spencer, that's awfully close, buddy.

So, Spencer is my double doodle.

High five?

Yes!

He's another reason that I do a lot of the things that I do.

You get all the treats.

I get joy out of seeing him enjoy things in life, and it's the money that comes in from art sales helps put him into daycare, pays for his vet bills that are so expensive, and just overall, just everyday things for him.

Like, "that's my buddy."

Can you lay flat?

He just -- he brings me joy, and I think, having more joy in my life - I think has also probably helped my art work transcend.

You don't see how handsome you are.

I think another thing that kind of drove me to want to become a painter was being told that painters are born this way.

Artists are born artists, and they're artists their entire That for me, was a personal challenge.

So, not only was I wanting to, like -- get out there and paint and find a way to relax.

I wanted to prove somebody wrong.

And -- it's been a hit so far so, I was right.

You don't know what you're capable of until you do it, and I live my life that way.

And I want to get out there -- and just try it.

THE FIRST ARTIST IN THE DRAG RACING HALL OF FAME.

When I was a preteen there was a point where I quit buying comic books and started buying car magazines, I was fascinated by the designs and eventually I found a magazine that showed Dean Jeffries doing some pinstriping on an old car and he had a striping brush in his hand.

I got on my bike, peddled down to the Sherwin Williams store, back wall had striping brushes.

so I bought the smallest brush that would fit my hand.

And it helped me learn how to do skinny lines.

I'm Jim "Dauber" Farr.

I'm a pinstriper, gilder, commercial artist, graphic happy to be here.

There was an occasion when I was at the Art Museum viewing the show "Women of Egypt" and at the end of show there were two caskets encased in Plexiglas and there was pinstriping on these caskets.

I knelt down to look at them and I couldn't resist drawing my hand across the plastic, imagining what that wood would have felt like with the brush in my hand.

And when I drew the brush back like that, there was a thunder boomer overhead and the lights went out.

I had my hand there and I looked up at my friends who were standing there and I took my hand away and for some reason the lights came back on.

And it just sort of seemed to be somewhat karmic if you take my drift.

Dauber came into my life when I was working in my partner's shop, Bill Roell, over in Covington.

We worked together for almost 10 years.

And there was a guy from the west side of town who came in and was watching me letter.

And the lighting was very inadequate and I kept wiping paint off on my shirt, because I couldn't get it the way I wanted it on the car.

And this gentleman was standing there looking at me doing that and he says, "This guy daubs more than he paints, we ought to call him Dauber."

Within a week the concrete had dried and I had no choice in the matter.

I actually am pinstriping in gold leaf and not too many people do that.

You mix a sizing, a glue which is commonly known as a sizing, and you mix glue and usually some color with that so you have an image of what you're actually putting down.

And you let it dry a certain amount of time, depending on the weather and the thunder and lightning and also the humidity and whatnot.

And once it's ready, it's ready.

And if you don't pay attention to the clock you can find yourself having wasted some time and possibly material.

And it's entertaining sometimes, but also challenging.

You've got to pay attention to detail, simple as that.

Gold leaf it has a tradition and a history that goes back centuries, literally centuries.

The Egyptians were doing it and possibly further back than that.

It was -- it came into vogue again during the Renaissance, actually prior to the Renaissance and so forth subsequently in churches and things of that nature.

Began being used on picture frames and things like that.

I don't know of maybe I know of maybe five or six other stripers nationally that do pinstriping in gold leaf on the streets.

There may be more, but I'm not aware of it.

Where do I get inspiration from?

Everywhere.

I'm blessed with the powers of observation.

I try to be receptive and I try to pay attention to things.

I also try to do things for instance that have not been I try to give people more than they expect simply because I have been doing it this long and if not now, then when?

There was a very humbling experience in 2006 for me and for Bill.

He was contacted and was told that the National Hot-Rodding Association was going to nominate him for induction in the Drag Racing Hall of Fame.

He said, "I won't do it unless you also incorporate Dauber in that."

And it was a humbling thing standing up in front of a bunch of people in a crowd situation, thanking them.

It didn't make a lot of sense to me until I realized there were no other artists in the Drag Racing Hall of Fame at that point.

And it was a humbling situation and still is.

I've done a quite a wide variety of work for folks including The Museum Center, The Fire Museum, multiple radio stations, the Cincinnati Zoo.

Clients involving racecars, hotrods and motorcycles all over town.

Everything you see around and behind me and everything that I do is original and it is hand done.

I do not use a computer for my art.

I do not do anything in vinyl.

Everything I do is done the original way, the right way, I like the smell of paint.

I like the feel of brushes in my hands.

I want to do it right or not at all.

Pinstriping is sort of a Zen thing for me.

You've got to be in a good frame of mind.

I do yoga, I do meditation twice a day and it gives me a good frame of mind, it keeps me calm.

You can't do pinstriping without having brush control.

You don't have brush control unless you've got some control up here and in here.

It's logical.

I tend to look at a naked panel and I can imagine, you know, things growing out like a blooming flower and God willing, it will bloom wherever the brush is pulled up.

My grandmother was the first one to encourage me to do art.

Art is not as easy as it might seem.

There are a lot of people that figure that you just put a coin in a slot and out pops art.

It doesn't work that way.

You've got to think, you've got to be versatile, you've got to be diverse, you've got to be qualitative.

You've got to be all of those things and you better know how to market yourself too, to a certain extent.

I am grateful to have work.

I'm grateful to be doing art.

Art for me is a long-term deal.

I am very grateful to be able to work with young artists, young stripers and so forth, because there was no one around to teach me anything.

I am completely self-taught.

And I'm frequently asked, "Don't you think that's a dying art?"

Uh, no, I think thanks to the Internet and the web there are probably more people pinstriping world worldwide than any other time in history.

TO VIEW THIS AND OTHER COLORES PROGRAMS GO TO: New Mexico PBS dot org and look for COLORES under What We Do and Local Productions.

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"UNTIL NEXT WEEK, THANK YOU FOR WATCHING."

Funding for "From Page to Stage: The Lord of Cries" series provided by the Bank of Albuquerque.

Funding for COLORES was provided in part by Frederick Hammersley Foundation New Mexico PBS Great Southwestern Arts & Education Endowment Fund at the Albuquerque Community Foundation New Mexico Arts, a division of the Department of Cultural Affairs with supplemental funding by the New Mexico CARES Act and by the National Endowment for the Arts.

...and Viewers Like You.

(CLOSED CAPTIONING BY KNME-TV)