FREDERICK HAMMERSLEY FOUNDATION... ...AND VIEWERS LIKE YOU THIS TIME, ON COLORES!

LOOKING AT THE WORLD THROUGH A 360 DEGREE LENS, GUS FOSTER SHARES HIS EXTRAORDINARY EXPERIENCE OF PHOTOGRAPHING MOUNTAIN PEAKS.

THE PFISTER HOTEL ARTIST-IN-RESIDENCE PROGRAM IS A PLACE OF DISCOVERY FOR BOTH ARTIST AND AUDIENCE.

JOHN PALMORE SAYS DO WHAT YOU LOVE AND HE LOVES THE BLUES.

FROM CABIN BOY TO SHIP CAPTAIN TO BEER BREWER, "CAPTAIN PABST" CREATED A MILWAUKEE LANDMARK.

IT'S ALL AHEAD ON COLORES!

A PANORAMIC VIEW.

GUS FOSTER: ON THE TOP OF A MOUNTAIN YOU CAN SEE, ON A GOOD DAY, A HUNDRED MILES IN ANY DIRECTION.

IF YOU DO THE MATH, THAT'S SOMETHING LIKE A 30,000 SQUARE MILE LANDSCAPE.

THAT'S A LOT.

IT'S, IT'S VERY SPECIAL.

BEING IN ANY WILDERNESS, UH, BUT ESPECIALLY BEING IN A WILDERNESS THAT'S ON TOP OF A MOUNTAIN.

EVERY VIEW IS UNIQUE.

THE GEOLOGY IS UNIQUE.

THE WEATHER IS UNIQUE.

THE TIME OF DAY IS UNIQUE.

THE CLOUDS ARE UNIQUE.

THE CAMERA SHOOTS 360 DEGREES NO MATTER WHERE I'M STANDING.

I DON'T TRY TO, YOU KNOW, PLACE IT THIS WAY OR PLACE THAT WAY, OR LOOK UP OR LOOK DOWN TO FRAME THE SHOT, BECAUSE, THE FRAME INCLUDES EVERYTHING.

AND THE CHOICE IS MADE BY THE SUMMIT OF THE MOUNTAIN.

A FEW YEARS AGO, NOW 20 ROUGHLY, I CLIMBED A MOUNTAIN CALLED TRUCHAS PEAK IN THE PECOS WILDERNESS HERE IN NEW MEXICO.

IT'S ONE OF THE HIGHEST POINTS IN NEW MEXICO.

IT'S OVER 13 000 FEET.

IT'S A SMALL SUMMIT AND SO YOU CAN SEE GREAT DISTANCES.

WHEN I DESCENDED, I CAME DOWN A DIFFERENT WAY THAN I WENT UP.

AND I CAME UPON A GROUP OF ABOUT 50 BIGHORN SHEEP.

AND, I'D USED ALL MY FILM ON THE TOP OF THE MOUNTAIN.

I HAD MORE IN MY IN MY PACK.

SO, I HAD TO SIT DOWN.

I PUT MY, THIS ENORMOUS CAMERA INTO A CHANGING BAG AND UNLOADED THE FILM THAT I HAD JUST SHOT.

UNLOADED A NEW SPOOL AND PUT THAT IN.

THIS, OH, THAT TAKES ABOUT A HALF AN HOUR.

I HAVE MY HANDS IN THIS CHANGING BAG BECAUSE IT'S TOTALLY PITCH, PITCH BLACK.

AND WHILE I'M DOING THAT ONE OF THE EWES CAME UP AND STARTED EATING THE SHIRT OFF MY BACK.

BECAUSE, NOT SO MUCH BECAUSE SHE LIKED ME, BUT THE SALT.

AND SO, I WAS, I WAS A REAL TASTY MORSEL AND I COULDN'T, I WAS TRAPPED.

I COULDN'T GO ANYWHERE.

MY CLIMBING PARTNERS WERE IN STITCHES.

AND THE ELAPSED TIME, THERE WAS PROBABLY AN HOUR WENT BY FROM THE INITIAL SIGHTING OF THESE ANIMALS UNTIL I GOT THE PHOTOGRAPH.

AND THERE ARE 50 ANIMALS ARE VISIBLE IN IT.

I'VE TRIED TO LOCATE THESE PLACES THAT ARE SPECIAL ON THE PLANET THAT HAVEN'T BEEN MARKED BY MAN'S PRESENCE.

I DON'T HAVE, I'M NOT ANTI-HUMAN.

BUT I THINK IF THERE'S A CONTRAST BETWEEN YOU KNOW THIS IS NOT BROADWAY IN NEW YORK CITY.

IT'S NOT CENTRAL AVENUE IN ALBUQUERQUE.

THERE ARE NO PEOPLE AROUND.

THERE'S NO, THERE'S NO BUILDINGS.

THERE'S NO ROADS.

THERE'S NO SIGN OF HABITATION.

THERE'S NO TRAILS.

THERE'S NOT A DAMN THING.

EXCEPT LIFE.

BEING ON TOP OF THESE MOUNTAINTOPS MAKES ME FEEL VERY SMALL.

AND IT'S NOT JUST ME.

MANKIND IS INSIGNIFICANT.

WE ONLY HAVE THE ONE PLANET AND THESE PLACES ARE SPECIAL BECAUSE MANKIND HAVEN'T GOTTEN THERE YET.

AN OPPORTUNITY TO EXPLORE.

>>REGINALD BAYLOR: ARTISTS GENERALLY RELY ON PRODUCTS.

BUT WHAT ARTISTS ARE DOING WITH THE PFISTER RESIDENCY PROGRAM IS THAT THEY'RE PROVIDING A SERVICE, A PROFESSIONAL SERVICE.

THEIR PRODUCT IS WHAT THEY BRING ALONG WITH THE EXPERIENCE.

FOR THE LAST 10 YEARS, THE HISTORIC PFISTER HOTEL HAS TRANSFORMED THEIR LOBBY STUDIO INTO AN ARTISTIC EXPERIENCE FOR ALL WHO WANDER IN.

>>REGINALD BAYLOR: BEING IN THE PFISTER HOTEL, IT'S JUST A BEAUTIFUL PLACE.

AS AN ARTIST, I FELT WELCOME AND IT FELT THAT EVERYONE ON THE PFISTER FAMILY TREATED US LIKE GUESTS.

AS THE VERY FIRST PFISTER ARTIST IN RESIDENCE IN 2009, MILWAUKEE NATIVE REGINALD BAYLOR PAINTED WORKS INSPIRED BY THE HOTEL'S VICTORIAN ART COLLECTION WITH HIS UNIQUE STYLE OF COLOR AND LINES.

AS TIME HAS PASSED, >>REGINALD BAYLOR: THE WORK HAS CHANGED, AND I PRODUCE ALL MY WORK DIGITALLY NOW.

I DO NO LONGER HAND-PAINT ARTWORK.

TO ME IT'S THE SAME ACT OF BEING ARTISTIC.

IT'S JUST THE MATERIALS ARE DIFFERENT.

THE RESULT OF BEING IN THE PROGRAM, I THINK, ELEVATED MY LEVEL OF PROFESSIONALISM AS AN ARTIST WHEN IT COMES TO STAYING WITH MY ART, AND THEN WHAT EXPERIENCE AM I PROVIDING.

IN 2010, PORTRAIT ARTIST KATIE MUSOLFF WAS INSPIRED BY THE PFISTER'S EMPLOYEES, ESPECIALLY RENOWNED CONCERT PIANIST DR. JEFFREY HOLLANDER.

SINCE COMPLETING HER RESIDENCY, MUSOLFF HAS EVOLVED HER PAINTING STYLE TO FOCUS ON LOCAL FLORA AND FAUNA.

HER DETAILED WATERCOLORS ARE STUDIES OF THE PLANTS AND ANIMALS SHE OBSERVES NEAR HER STODDARD, WISCONSIN HOME.

PAINTER SHELBY KEEFE TOOK OVER THE ARTIST'S STUDIO IN 2011.

>>SHELBY KEEFE: WHAT INTRIGUED ME ABOUT HAVING MY RESIDENCY AT THE PFISTER WAS THAT IT WAS DOWNTOWN, AND THAT WAS MY FAVORITE SUBJECT MATTER IS PAINTING DOWNTOWN, URBAN LANDSCAPE SCENES.

THE ARTIST-IN-RESIDENCY PROGRAM REALLY OPENED UP MY CAREER AS AN ARTIST HERE IN MILWAUKEE.

SO MANY PEOPLE WALK THROUGH THE PFISTER AND THEY'RE SO INTRIGUED BY WHAT'S GOING ON IN THAT LITTLE ROOM THERE.

THEY WANTED TO SEE HOW YOU DID WHAT YOU DID, THEY MAY WANT IT SO BAD THAT THEY HAVE A PAINTING OR WHATEVER IT IS THAT YOU MAKE.

AND SO I'VE BEEN DOING CUSTOM WORK FROM PEOPLE WHO REMEMBER MEETING ME AT THE PFISTER.

IN 2012, SUSTAINABLE FIBER ARTIST TIMOTHY WESTBROOK TRANSFORMED THE STUDIO INTO AN ECO-CONSCIOUS FASHION HOUSE, COMBINING VICTORIAN-ERA WEAVING AND SEWING TECHNIQUES WITH DISPOSABLE MATERIALS LIKE PLASTIC BAGS AND CASSETTE TAPES.

>>TIMOTHY WESTBROOK: WHILE I WAS THE ARTIST IN RESIDENCE AT THE PFISTER, THIS WAS THE FIRST PIECE THAT I CREATED THERE.

THIS IS WOOL WITH THE CASSETTE TAPE, AND BECAUSE IT WAS THE FIRST PIECE AND IT WAS A SAMPLE DRESS, I WORKED WITH ALL DEMO TAPES.

SINCE HIS RESIDENCY, WESTBROOK COMPETED ON THE REALITY SHOW "PROJECT RUNWAY", AND MOVED TO NEW YORK CITY.

HE IS THE FOUNDER OF T-L BROOKE, A SUSTAINABLE FASHION LINE OF CLOTHING CREATED BY REPURPOSING DISCARDED UMBRELLAS.

IN 2013, ARTIST STEPHANIE BARENZ FOCUSED HER RESIDENCY ON THE STORIES OF THE PEOPLE WHO TRAVELED AND STAYED AT THE HOTEL.

SHE ALSO COLLABORATED WITH THE PFISTER'S NARRATOR MOLLY SNYDER TO CREATE A BOOK ABOUT THEIR SHARED EXPERIENCES.

TODAY, BARENZ LIVES AND WORKS IN SHANGHAI, CHINA, TEACHING ART AND CREATING ARTWORKS ABOUT ENCOUNTERS IN HER NEW LOCATIONS IN A NEW SERIES TITLED "THE TRANSIENT PAUSE".

MULTI-MEDIA ARTIST NIKI JOHNSON SPENT HER 2014 RESIDENCY CREATING SCULPTURES SHAPED LIKE VICTORIAN BATHTUBS AND DECORATED WITH ILLUSTRATIONS FROM FAIRY TALES.

>>NIKI JOHNSON: PEOPLE COME INTO MY SPACE AND LOOK AT THESE CHILD-SIZED BATHTUBS THAT I WAS MAKING AND THE CONVERSATION WOULD GO SOMETHING LIKE, "OH, SO THESE AREN'T FUNCTIONAL THOUGH".

AND THIS IS THE POINT WHERE I GOT TO ANSWER, "BUT THEY DO FUNCTION BECAUSE IT GETS YOU TO THINK ABOUT THE WAY THAT WE UNDERSTAND OUR WORLD THROUGH THIS VICTORIAN LENS EVEN TODAY".

THE PFISTER WAS AN EXCELLENT TRAINING GROUND FOR KNOWING HOW TO REMAIN PRESENT WITH PEOPLE WHO ARE IN THE MOMENT OF EXPERIENCING SOMETHING FOR THE FIRST TIME.

NIKI JOHNSON IS CURRENTLY CREATING THOUGHT-PROVOKING, EXPRESSIVE ART MADE FROM UNCONVENTIONAL MATERIALS LIKE AN AR-15 ASSAULT RIFLE AND METAL FENCING.

IN 2015, TODD MROZINSKI PAINTED SILHOUETTES OF THE PEOPLE AND PLACES OF THE PFISTER.

>>TODD MROZINSKI: TO BE IN THAT SPACE, AND TO NEVER REALLY KNOW WHO WAS GOING TO WALK INTO THE STUDIO.

PEOPLE COMING IN AND INTERACTING WITH ME, ME GIVING THEM MY FULL ATTENTION AND IF THEY WERE INTERESTED ENOUGH, SOMETIMES I'D ASK THEM "WOULD YOU LIKE TO BE PART OF THE SERIES".

BUT IT WAS ALL ABOUT THE EXPERIENCE OF COMING INTO THE STUDIO AND HAVING THIS NEW EXPERIENCE IN TRANSFORMING THEIR ORDINARY DAY INTO SOMETHING EXTRAORDINARY.

MROZINSKI CONTINUES TO CREATE ART IN MILWAUKEE.

HE STILL WORKS WITH LIGHT AND SHADOWS, BUT HAS SHIFTED HIS FOCUS TO CAPTURING NATURE IN THE PRESENT MOMENT.

ABSTRACT PAINTER PAMELA ANDERSON COVERED HER STUDIO WALLS IN BRIGHT COLORS DURING HER RESIDENCY IN 2016.

>>PAMELA ANDERSON: IT GAVE WONDERFUL NEW LAYERS TO THE WORK THAT I WAS DOING.

EVERYTHING AFFECTED MY PRACTICE WHILE I WAS IN THAT PROGRAM.

MY TIME IN THE ARTISTS' RESIDENCY PROGRAM WAS I REALIZED AT THE END OF THE PROGRAM HOW MUCH STRONGER I HAD BECOME AND I FELT MORE RELAXED AND FOUND IT EASIER TO TALK ABOUT MY WORK.

IT'S AN OPPORTUNITY OF A LIFETIME.

PAMELA ANDERSON CONTINUES TO PAINT AND IS NOW ALSO CREATING SCULPTURES.

2017 ARTIST IN RESIDENCE MARGARET MUZA TRANSPORTED VISITORS BACK TO THE 1800S TO CREATE HER TIN TYPE PHOTOS.

>>MARGARET MUZA: THE PFISTER IS ONE OF MY FAVORITE BUILDINGS IN DOWNTOWN MILWAUKEE.

I LOVE HISTORY AND I LOVE OLD THINGS.

THAT'S WHAT DREW ME TO DO THE TYPE OF PHOTOGRAPHY I DO, AND SO I JUST FELT SO HONORED THAT I GOT TO CALL THAT HOME FOR A YEAR.

MARGARET MUZA NOW TAKES HER CAMERAS OUTDOORS AND ON THE ROAD TO CREATE HER LATEST WET-PLATE PHOTOS.

NIKI JOHNSON: I DEFINITELY WILL FOREVER BE THANKFUL FOR HOW ADVENTUROUS AND TRUSTING THE PROGRAM WAS WITH ME AND MY VISION FOR MY WORK.

LOVING THE BLUES.

- I DO LOVE THE BLUES.

IT'S ANOTHER ONE OF THOSE GENRES THAT JUST TOUCHES EVERYBODY.

IF YOU WANNA DANCE, THERE'S SOME BLUES FOR THAT.

IF YOU WANNA FEEL SAD AND CRY ON YOUR BEER, THERE'S A BLUES FOR THAT.

IF YOU'RE IN LOVE, THERE'S BLUES FOR THAT.

ALL OF THE MUSIC GENRES HAVE A ELEMENT OF THE BLUES IN IT.

MY NAME IS JOHN PALMORE I'M AND A PROFESSIONAL MUSICIAN.

I GREW UP IN A LITTLE SMALL CALLED MAYLENE, ALABAMA.

IN JUNIOR HIGH SCHOOL, SOME GUY PUT UP A PAIR OF DRUM STICKS IN HAND, SO I BECAME A DRUMMER.

MY LAST YEAR IN HIGH SCHOOL, I BECAME A TROMBONE PLAYER, GOT LUCKY, GOT A PARTIAL SCHOLARSHIP TO A SMALL SCHOOL OUTSIDE OF BIRMINGHAM CALLED MILES COLLEGE.

I ENDED UP TAKING ORCHESTRATION AND ARRANGING, WHICH MEANT YOU HAD TO LEARN TO PLAY THE PIANO OR THE GUITAR.

AND BEING ON SCHOLARSHIP, I COULDN'T DROP THE CLASS, SO THERE I WAS, TRYING TO FIGURE OUT HOW TO PLAY PIANO.

I LEARNED TO PLAY BY EAR, SO I JUST PLAYED EVERYTHING I HEARD ON THE RADIO.

AFTER I GOT OUT OF THE ARMY IN '69, I GOT IN A HOUSE BAND AND EVERY WEEKEND, THIS CLUB WOULD HAVE DIFFERENT ARTISTS COME IN AND YOU HAD TO LEARN THEIR MUSIC AND PLAY FOR THEM.

THE DRIFTERS CAME THROUGH THERE.

THE DRIFTERS WAS A HIT MAKING GROUP OUT OF THE LATE 50S AND THROUGH THE 60S.

LATER ON, I GOT A CALL FROM BILL PINKNEY WHO WAS THE LEADER OF THE DRIFTERS AT THAT TIME.

HE SAYS "HEY BOY, YOU WANNA GO OUT ON THE ROAD?"

I SAID, WHAT?

HE SAID "IT'S BILL PINKNEY, I'M WITH THE DRIFTERS.

"YOU READY TO GO OUT ON THE ROAD?"

I SAID YEAH.

I WAS ON TOUR WITH THE DRIFTERS FOR ABOUT 13 YEARS AND WE PLAYED VEGAS A LOT.

I LEFT THE DRIFTERS IN '89 AND I THOUGHT I WAS GONNA BE LIVING IN VEGAS, BUT I WAS GETTING MORE GIGS IN RENO, SO I MOVED TO RENO.

AT THAT TIME, I WASN'T A VOCALIST, SO I CALLED MY BROTHER TO JOIN ME 'CAUSE HE COULD PLAY AND SING ANYTHING.

SO WE PLAYED TOGETHER AS THE PALMORE BROTHERS.

WE WE'RE LIKE MATINEE IDOLS IN THIS TOWN FROM LIKE '91 TILL THE LATE 90S.

MY BROTHER GOT SICK AND PASSED AWAY AND HE WAS THE BASS PLAYER AND THE LEAD SINGER, SO I HAD TO DO A LOT OF THE SINGING MYSELF.

WHEN THE PALMORE REMIX BAND CAME UP, I HAD TO REMIX EVERYTHING, SO I CREATED A WAY I CALLED THE SEQUENCING.

IF I HEAR A SONG I WANNA DO, FIRST OF ALL, I LISTEN IT AND I WRITE A CHORD CHART AND THEN, AFTER WRITING THE CHORD CHART, I FIGURE THE TIMING, ALL THAT, SET ALL THE UP.

I PLAY THE DRUMS ON THE KEYBOARD.

I MIX THAT, MAKE SURE I GOT ALL THE PARTS OF A DRUM KIT HAPPENING AND THEN I WILL PLAY THE PIANO ALONG WITH IT.

THEN I'LL ADD THE BASS, THEN I'LL ADD THE GUITAR.

THEN I'LL ADD THE HORNS AND THE STRINGS AND I'LL MIX IT TO MAKE IT SOUND LIKE A BAND.

TAKE THESE ARMS I'LL NEVER UE THEM KEYBOARD IS MY BABY, BUT I LOVE THE ORGAN THAN ANY OTHER KEYBOARD BECAUSE THE ORGAN IS SUCH A BIG SOUND.

I PLAY FOR THE SECOND BAPTIST CHURCH.

THE SERVICE THERE IS LIKE ELECTRIC.

THE FEELING THAT GOSPEL MUSIC GIVES, YOU CAN'T GET THAT IN ANY OTHER KIND OF MUSIC.

I'VE BEEN SO BUSY THAT I RARELY HAVE TWO DAYS IN A ROW OFF.

HE'S LEAVING I WORK WITH PAT ESTHER, WHO'S A PHENOMENAL FEMALE VOCALIST.

WE HAVE A DUO CALLED THE VELVET DUO.

OF COURSE I PLAY A LOT OF FACILITIES BY MYSELF.

GET YOUR KICKS ON ROUTE 66 I PLAY TWO OR THREE ASSISTED LIVING PLACES A WEEK.

I PLAY FOR PEOPLE WHO THEY SAY HAVE DEMENTIA OR ALZHEIMER'S AND YOU PLAY A SONG THAT MAYBE FROM 1947 OR SOMETHING AND THEY SING ALL THE WORDS ALONG WITH YOU.

OH, THAT IS SO JOYFUL TO SEE THAT THE MUSIC TOUCHES THOSE PEOPLE, MEANS EVERYTHING TO ME, 'CAUSE NO MATTER HOW WELL YOU PLAY OR SINGING, IF IT DOESN'T TOUCH ANYBODY, YOU MIGHT AS WELL NOT DO IT.

THANK YOU VERY MUCH.

IF YOU DO SOMETHING YOU LOVE, YOU NEVER WORK A DAY IN YOUR LIFE.

I HAVEN'T WORKED A DAY SINCE 1969.

A TIME CAPSULE OF THE GILDED AGE.

>>PAMELA WILLIAMS-LIME: THE PABST MANSION IS AN LOCATED IN MILWAUKEE, WISCONSIN, THAT REPRESENTS A LOT OF THE DIFFERENT PIECES OF HISTORY THAT SPEAK TO THE CITY OF MILWAUKEE.

IT IS THE STORY OF GERMAN IMMIGRANTS WHO STARTED AN ENTREPRENEURIAL BEER BUSINESS AND HOW THAT CONTRIBUTED TO THE LANDSCAPE OF MILWAUKEE DURING ITS FORMATIVE YEARS.

>>JOHN C. EASTBERG: CAPTAIN PABST EMIGRATES FROM GERMANY WHEN HE WAS 12 YEARS OLD, 1848.

EVENTUALLY HE BECAME A GREAT LAKES STEAMSHIP CABIN BOY AND THEN ROSE TO THE RANK OF CAPTAIN BY THE AGE OF 21.

SO THAT'S WHY WE HAVE THE NAME CAPTAIN PABST.

WHEN HE WAS PLYING THE WATERS OF LAKE MICHIGAN THAT APPARENTLY HE MET HIS FUTURE FATHER-IN-LAW PHILLIP BEST, WHO OWNED A SMALL BREWERY IN MILWAUKEE AND PHILLIP BEST WAS TRAVELING WITH HIS YOUNG DAUGHTER MARIA BEST.

THEY MET AND HAD A 2-YEAR COURTSHIP AND WERE MARRIED IN HE INVESTED HALF OF HIS FORTUNE INTO HIS FATHER-IN-LAW'S BREWING COMPANY AND PURCHASED A HALF INTEREST IN THE PHILLIP BEST BREWING COMPANY FOR $21,000, WHICH DOESN'T SEEM LIKE A LOT OF MONEY TODAY BUT IN THOSE DAYS THAT WAS A SIGNIFICANT SUM.

THAT REALLY FIRMLY MADE MILWAUKEE HIS HOME BASE, AND HE COMMITTED HIMSELF TO THE LIFE OF A BREWER.

BY THE 1880S, THEY PRETTY MUCH HAD NATIONAL DISTRIBUTION AND SO IN 1889, THEY CHANGED THE NAME FROM BEST TO PABST.

THE YEAR THAT THE NAME IS CHANGED FROM BEST BREWING COMPANY TO PABST BREWING COMPANY, YOU START SEEING CAPTAIN PABST DOING A NUMBER OF DIFFERENT THINGS.

AND ONE OF THOSE IMPORTANT THINGS THAT HE DID WAS TO ENGAGE AN ARCHITECT TO BUILD A LARGE MANSION ON MILWAUKEE'S GRAND AVENUE, WHICH IS TODAY WEST WISCONSIN AVENUE.

BETWEEN 1890 AND 1892, THE HOUSE WAS BUILT.

THEY MOVED IN JULY OF 1892.

THE COST OF THE HOUSE WAS $254,000 AND JUST OVER 20,000 SQUARE FEET.

SO IT IS KNOWN AS KIND OF THE SECOND LARGEST HOME TO HAVE BEEN BUILT IN MILWAUKEE.

THE LARGEST WAS MRS. PABST'S SISTER'S HOUSE, WHICH WAS TWICE THE SIZE OF THIS HOME, WHICH IS REMARKABLE.

>>JODI RICH-BARTZ: THERE ARE ACTUALLY 5 LEVELS TO THE PABST MANSION.

THE FIRST, SECOND, AND THIRD FLOORS ARE WHAT THE FAMILY WOULD HAVE UTILIZED FOR ENTERTAINING AND THEIR LIVING SPACES.

THE REAR SIDE OR THE NORTH SIDE OF THE PABST MANSION WAS THE LIVING AND WORKING SPACES FOR THE STAFF HERE.

THOSE ARE THE LEVELS THAT THE GUESTS TODAY WILL SEE.

THEY'LL BE ABLE TO SEE THE MAIN AREAS THE PABSTS' WOULD HAVE ENTERTAINED IN, THEIR BEDROOMS, THEIR PRIVATE OFFICES AND STUDIES HERE AT THE HOUSE, AND THEN ALSO WHERE THE SERVANTS WOULD HAVE EATEN AND HELPED PREPARED THE FOOD FOR THE FAMILY.

SO THESE THREE PRINCIPAL ROOMS HERE ON THE FIRST FLOOR REALLY WHERE GUESTS WOULD HAVE SPENT A LOT OF TIME WITH FREDERICK AND MARIA PABST AT THE HOUSE.

MRS. PABST'S PARLOR OR THE LADIES' PARLOR IS THE MORE GENERAL TERM FOR IT, PROBABLY THE MOST FORMAL ROOM IN THE HOUSE, THE LEAST UTILIZED ACTUALLY.

IT WOULD HAVE BEEN JUST FOR THE LADIES.

MRS. PABST AND HER DAUGHTER DID NOT HAVE FORMAL JOBS BUT THEY DID HAVE A LOT OF ENTERTAINMENT TO DO HERE IN THE HOUSE.

WE'RE CURRENTLY SITTING IN THE MUSIC ROOM.

A LOT OF PEOPLE THINK THIS COULD HAVE DOUBLED AS A GENTLEMAN'S PARLOR BUT THE FAMILY UTILIZED THIS AS MOSTLY WHAT WE WOULD CALL A LIVING ROOM TODAY.

THE FAMILY CELEBRATED CHRISTMAS IN THIS ROOM.

THEY HAD A DAUGHTER THAT WAS MARRIED HERE IN 1897 IN THE MUSIC ROOM, AND THEN BOTH FREDERICK AND MARIA PABST'S FUNERALS WERE ALSO HELD HERE IN THIS SPACE.

JUST TO THE NORTH OF THE MUSIC ROOM HERE, THIS IS THE ONE SPOT IN THE HOME-THE DINING ROOM IS-WHERE THE FAMILY WOULD HAVE ENTERTAINED.

EVERYTHING AS FAR AS ENTERTAINING IN THE HOME IS GONNA BE FOOD CENTRIC FOR THE PABST FAMILY.

SECOND FLOOR, PROBABLY THE SECTION OF THE HOME THE FAMILY SPENT MOST OF THEIR TIME IN WHEN THEY DIDN'T HAVE GUESTS HERE.

YOU'RE GONNA FIND THE FOUR PRINCIPAL FAMILY MEMBERS WHO LIVED HERE WHAT WE CONSIDERED YEAR-ROUND OR FULL-TIME HAD THEIR BEDROOMS ON THE SECOND FLOOR.

SO A CENTRAL HALLWAY CALLED THE FOYER, AND THE BEDROOMS RADIATE OFF OF THIS.

>>JOHN C. EASTBERG: GUESTS WHO COME TO VISIT THE MANSION, THEY'RE HERE FOR MAYBE 10, 15 MINUTES AND THEY REALLY I THINK ARE STRUCK BY THE INTIMACY OF THE HOUSE.

AND THAT THIS REALLY IS KIND OF A FAMILY HOME RATHER THAN A VAST MANSION.

CAPTAIN PABST PASSES AWAY ON NEW YEAR'S DAY 1904.

HIS WIFE REMAIN HERE UNTIL HER DEATH IN 1906, AND IT'S EVENTUALLY PURCHASED BY THE ARCHDIOCESE OF MILWAUKEE.

AND SO FOR ALMOST 7 DECADES, ALMOST THROUGH THE ENTIRETY OF THE 20TH CENTURY, THIS WAS THE HOME OF 5 DIFFERENT ARCHBISHOPS.

IT'S ACTUALLY ONE OF THE THINGS THAT SAVED THE PABST MANSION IS THAT IT CONTINUED TO BE USED AS A PRIVATE RESIDENCE.

AND SO IN 1978, OUR ORGANIZATION WITH THE HELP OF 23 SAVINGS AND LOANS.

I ALWAYS THINK THAT'S KIND OF ONE OF THE BEST PARTS OF THE STORY IS THAT RAISING THE MONEY WAS REALLY DIFFICULT BUT 23 SAVINGS AND LOANS EACH WROTE A $10,000 MORTGAGE TO FINANCE THE PURCHASE OF THE HOUSE.

SO WE WERE ABLE TO DO THAT AND OPENED FORMALLY FOR TOURS IN MAY OF 1978.

WHEN GUESTS COME TO VISIT THE PABST MANSION TODAY, THEY'RE SEEING A VERY ACCURATE VIEW OF, YOU KNOW, WHAT THE HOUSE WAS ALL ABOUT IT THE 1890S.

WE'RE VERY FORTUNATE THAT THE PABST FAMILY COMMISSIONED MILWAUKEE SOCIETY PHOTOGRAPHER SIMON STEIN TO COME INTO THE HOUSE IN 1897 AND PHOTOGRAPH 2-3 VIEWS OF ALL THE PRINCIPAL ROOMS IN THE HOUSE.

THE PABST FAMILY HAS BEEN EXTRAORDINARILY GENEROUS IN LOANING AND DONATING ORIGINAL OBJECTS BACK TO THE HOUSE AND SO THE MANSION'S ACTUALLY REPOPULATED WITH ENTIRE ROOMS OF ORIGINAL FURNITURE AND THEN OBJECTS AND ARTWORK.

>>PAMELA WILLIAMS-LIME: WHEN YOU'RE WALKING THROUGH THE HOUSE, YOU EXPERIENCE SOME UNIQUE THINGS FROM OUR HISTORY THAT SET A PATH FOR WHERE WE ARE TODAY.

>>JOHN C. EASTBERG: IT'S A HOUSE BUILT BY MILWAUKEE ARCHITECTS FOR MILWAUKEE CLIENTS BY MILWAUKEE CRAFTSMEN, AND I THINK SHOWCASES MILWAUKEE AT ITS VERY BEST.

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