>> male announcer: THIS PROGRAM HAS BEEN MADE POSSIBLE IN PART BY A GRANT FROM THE NATIONAL EDUCATIONAL TELECOMMUNICATIONS ASSOCIATION AND THE CORPORATION FOR PUBLIC BROADCASTING.

>> man singing: >> man singing: ♪ 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 O ♪ 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 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.

♪ ♪ >> IS THIS YOURS?

IS THIS Y'ALL'S?

>> Randy: I THINK THAT'S MINE.

>> GOD, GOD.

>> DID I GIVE IT TO YOU SOMEWHERE?

>> NO, IT FELL OFF THE VAN.

THE WAY THAT THING BOUNCED TOO.

>> I MEANT TO DO THAT.

>> AND I SAW IT WHEN IT HIT, AND I SAID, "THAT'S A MOBILE PHONE."

>> IT WAS A MOBILE PHONE.

>> I THINK IT STILL IS.

>> YOU BEEN CALLING-- MAKING PHONE CALLS.

>> YEAH, I MADE A FEW CALLS.

I JUST CALLED NEW YORK, AND I CALLED SAN FRANCISCO, AND ONCE HAWAII.

WHAT ARE YOU GUYS DOING?

>> Don: DEAR T.V.

MAILBAG, WHAT ARE WE DOING ANYWAY?

HI, DON THE CAMERA GUY HERE, FAR FROM HOME AND MORE THAN EVER DEPENDING ON THE KINDNESS OF STRANGERS.

>> Randy: THANK YOU, BILL.

I'M RANDY.

>> Bill: RANDY?

>> Mike: I'M MIKE MURPHY.

>> Bill: GLAD TO KNOW YOU, MIKE.

>> Mike: NICE TO MEET YOU.

DON THE CAMERA GUY.

>> Bill: PLEASURE KNOWING YOU ALL.

>> Mike: THANK YOU.

>> WELL, HAVE A SAFE TRIP, AND DON'T LOSE YOUR PHONE ANYMORE.

>> Mike: THAT'S VERY KIND OF YOU; THANK YOU.

>> Don: THAT'S HIS JOB.

PRIOR TO ITS PREMATURE EJECTION, THIS PHONE WAS IN CONTACT WITH KOSCIUSKO, NOT A FORMER SOVIET OFFICIAL BUT A SMALL TOWN DOWN THE ROAD WITH THE KIND OF ATTRACTION THESE PRODUCERS SWEAR WE HAVE TO SEE.

WE HAVE TO SEE IT BECAUSE THAT'S OUR MISSION: GETTING OFF THE INTERSTATE TO FIND SELF-TAUGHT OR VISIONARY ARTISTS-- ARMED WITH OUR OWN DUBIOUS CREATION, THE WORLD'S LARGEST BALL OF VIDEOTAPE, AND IN THIS CASE, THE BARBECUE SANDWICH REQUESTED BY THE ARTIST HERSELF.

>> Mike: RIGHT, THERE IT IS.

>> Randy: ALL RIGHT.

>> Don: I'D BEEN TOLD WE WERE LOOKING FOR THE SHOE LADY, BUT CLEARLY, IN THIS YARD, FOOTWEAR IS JUST THE BEGINNING.

>> Mike: YOU'VE BEEN PAINTING, TOO, HAVEN'T YOU?

>> L.V.

: YOU KNOW, THEY TEASE ME.

THEY SAY, "THAT CRANK MAN WILL BE GLAD TO SEE YOU."

SO I'LL BE GLAD TO SEE HIM TOO.

>> Mike: WHAT GOT YOU STARTED?

>> L.V.

: WELL, I DIDN'T HAVE ANYTHING TO DO, AND I WAS THINKING EVERYBODY WEARS SHOES AND PUT THEM IN THE GARBAGE.

SO I DECIDED I'D GET THEM OUT OF THE GARBAGE AND PAINT THEM AND START PUTTING THEM ON STICKS.

SO THEY'LL SAY, "WHAT THAT MEAN?

WHAT THAT MEAN WITH THE STICKS, THE SHOES ON THE STICKS?"

I SAID, "IT MEANS THAT YOU PUT YOURS IN THE GARBAGE CAN; I PUT MINE ON STICKS."

AND YOU'D BE SURPRISED AT HOW MANY STICKS IN THAT YARD.

THEY COME FROM GERMANY, POOR GARDENERS, VIRGINIA BEACH, VIRGINIA, AND WASHINGTON, D.C.

THEY COME A LONG WAY TO SEE THIS.

SEE, ALL THE ARTISTS IN THIS TOWN, THEY DON'T DO THIS.

AND WHAT THEY DO, I DON'T DO THAT.

BUT THE MOST IMPORTANT PART, THEY HAD TO GO TO SCHOOL.

>> YOU DIDN'T.

>> MMM-MM.

>> THERE'S A HAIR DRYER.

>> UH-HUH.

>> A MAILBOX.

[L.V.

laughs] >> EGG CARTONS RIGHT HERE.

>> I SAW THOSE EGG CARTONS.

THOSE ARE NICE.

>> BUT Y'ALL THROW Y'ALL'S AWAY, DON'T YOU?

SEE, LIKE, THE T.V.

OVER YONDER?

>> YEAH, I SEE THAT T.V.

THAT'S BEAUTIFUL.

>> SEE, YOU GET THEM OFF THE ROAD WHERE THEY-- WE BE BETTER OFF WE LOOK AT THEM DECORATED LIKE THAT THAN WITH ALL THE JUNK WHAT'S ON IT.

>> Randy: "YOU ARE WELCOME TO BE FAIR."

>> L.V.

: RIGHT.

THAT'S THE WAY THE IMAGINATION WORKS.

>> EASIER TO GET AROUND YOUR HOUSE A LITTLE BIT, BACK BEFORE YOUR IMAGINATION TOOK HOLD?

>> YES, BECAUSE-- THAT'S ACTUALLY WHY I STARTED SELLING IT.

YOU CAN SIT DOWN OVER THERE; YOU CAN SIT DOWN RIGHT OVER THERE.

THIS IS THE THING I USE ON B.B.

KING.

IT'S JUST--I USE MY IMAGINATION ON B.B.

KING.

>> EVERY PIECE IS DIFFERENT, ISN'T IT?

>> OH, YEAH.

I DON'T DECORATE NO TWO ALIKE.

THIS IS WHERE I COOK, Y'ALL.

>> Randy: YEAH, SO WHEN DID YOU COOK LAST IN HERE?

>> L.V: I COOKED SOME BACON.

SEE, YOU KNOW, IN A PLACE LIKE THIS, YOU HAVE TO KNOW YOUR WAY AROUND.

PEOPLE THERE SAY, "HOW COME YOU DON'T PAINT THE COMMODE?"

YOU KNOW WHAT I TELL THEM?

TOILET WASN'T WHAT I NEED.

>> Randy: THERE YOU GO.

WELL, I'M SPEECHLESS.

IS THAT A BAR OF SOAP?

>> UH-HUH.

>> NOW, YOU DON'T USE THAT BAR OF SOAP.

>> NO, BUT I'M JUST SHOWING YOU WHAT UNUSUAL ARTISTS DO.

SOMEBODY SAID, "WELL, YOU LOOK UNUSUAL."

YOU KNOW WHAT I SAID?

"THANK YOU."

THAT WHAT YOU DO THEN.

>> [Randy imitating Elvis] THANK YOU VERY MUCH.

>> L.V.

: UH-HUH.

SOME PEOPLE CALL IT JUNK.

I DON'T LIKE THAT, BUT I HAVE GOT USED TO IT.

SOME PEOPLE CALL IT ART.

SOME PEOPLE CALL IT, "I NEVER SEEN NOTHING LIKE IT."

YOU KNOW WHAT I SAID?

I SAID, "I HAVEN'T SAW ANYTHING LIKE IT EITHER."

>> Don: NOW, L.V.

FIGURES, IF NOTHING ELSE, HANDS THIS UN-IDLE SHOULD HELP KEEP THE DEVIL AT A DISTANCE.

>> Randy: DO YOU SEE ANYTHING IN YOUR SIZE?

>> Don: IF THAT APPLIES TO CAMERA GUYS AS WELL, I'LL BE A PARAGON OF VIRTUE, BECAUSE NO SOONER DID WE LEAVE THIS FOUR SYLLABLE TOWN THAN WE BOLTED TO YET ANOTHER IN YET ANOTHER STATE.

TUSCALOOSA IS THE PLACE TO FIND YVONNE WELLS.

WHEN SHE'S NOT TEACHING, PARAMEDICING, FUNERAL DIRECTING OR WORKING FOR HER CHURCH, YVONNE'S BEEN FINDING FAME AS A QUILTER...

THOUGH THESE ARE PROBABLY NOT THE KIND OF QUILTS YOUR GRANDMA MADE.

>> I USE FISHING LINE.

I USE UPHOLSTERY FABRIC.

I USE TACKS, A BURLAP SACK.

>> Mike: RIGHT.

>> ANYTHING THAT I CAN SEW THAT TELLS MY STORY.

WHEN I FIRST STARTED SHOWING MY WORK, PEOPLE WOULD CRINGE, BECAUSE THEY SAID, "SOMETHING IS DEFINITELY WRONG HERE."

[laughs] AND HAVE--I HAVE HAD OFFERS TO BE TAUGHT HOW TO QUILT AND WHAT FABRICS TO USE, AND I HAVE ALWAYS IGNORED THEM.

THIS FIGURE HERE--THIS LARGE, ENORMOUS FIGURE HERE-- IS MARTIN LUTHER KING.

AND THESE ARE THE EVENTS THAT HAPPENED DURING THE CIVIL RIGHTS MOVEMENT AND SOME PRIOR AND AFTER THE CIVIL RIGHTS MOVEMENT.

SOMETIMES MY INTERPRETATION OF AN EVENT DOES NOT MATCH WHAT HAS HAPPENED, BUT I'M A VISIONARY ARTIST, AND I SEE THINGS MAYBE A LITTLE BIT DIFFERENTLY.

THIS IS CALLED THE WHOLE ARM OF GOD, AND THE MATERIAL THAT I USED IS INMATES' TROUSERS.

AND I JUST CUT THEM OUT AND MAKE THE PANTS AND HIS ARMS OUT OF THAT.

AND THIS IS UPHOLSTERY FABRIC, I BELIEVE, HERE.

AND MY HUSBAND SAID, "I'M AFRAID TO PUT SOMETHING DOWN, BECAUSE THE NEXT THING I KNOW, YOU'LL HAVE IT INTO A QUILT."

THIS IS CALLED MISS LIBERTY UP CLOSE AND PERSONAL, BECAUSE SHE'S OUT THERE ON ISLAND AND THERE'S WATER AROUND.

SO SURFER YOU DO IN WATER.

AND THIS IS THE STATUE OF LIBERTY ALSO, AND SHE'S HOLDING UP THE LIBERTY BELL.

>> Mike: YEAH, I SEE THE CRACK.

>> Yvonne: SEE THE CRACK IN IT?

SEE THE CRACK IN IT?

DISNEYLAND IS MAGICAL, SO THAT'S KIND OF MAGICAL TO SEE THE WAND IN HIS HAND AND THE FALLING STARS HERE.

AND THAT'S ELVIS PRESLEY.

>> Randy: I WAS GOING TO SAY WE HAVE MR. KING AND "THE KING" HERE.

>> Yvonne: HE WAS A VERY FLAMBOYANT GUY.

>> Mike: YEAH.

>> Yvonne: SO HE'S WEARING A LOT OF-- >> Randy: THE BROCADE.

>> Yvonne: BROCADE AND A LOT OF PRIZZLE.

AND HE WAS JUST A GREAT GUY.

>> SO DAYTIME, WE DO FOLLOW A LOT OF GUIDELINES, AND THEN NIGHTTIME, WE JUST-- >> I COME BACK AND JUST BE FREE.

THIS IS KIND OF THERAPEUTIC ALSO.

>> Mike: WHEN DO YOU SLEEP?

>> I GOT UP THIS MORNING AT 3:00.

SO I DON'T SLEEP VERY MUCH, BECAUSE I DON'T-- I'M ALWAYS SEEING THINGS.

AND WHEN I SEE IT, I HAVE TO MOVE AND DO IT.

I JUST LOVE WHEN PEOPLE COME OVER, SO THAT I CAN GET A CHANCE TO SEE THEM AGAIN, BECAUSE I'M WORKING ON THE FLOOR.

AND WHEN SOMEBODY PICKS IT UP, I CAN SEE THE BEAUTY IN IT, AND I SAY, "HMM!

DID I REALLY DO THAT?

DID I REALLY DO THAT?"

>> Don: YVONNE MAY RECONSIDER THAT VISITOR THING AFTER THESE GUYS ARE THROUGH.

>> Mike: CAN WE BORROW THREE OF THESE FOR THE MOTEL?

>> Don: T.V.

WEASELS INDEED.

>> Mike: I THINK I'D SLEEP A LOT BETTER UNDER THIS THAN THAT MOTEL BLANKET.

>> Yvonne: I BET YOU WOULD.

>> Don: THEN AGAIN, SHE DOES HAVE THE NINE IRON.

>> Randy: WE'RE ALL STILL ALIVE.

>> Don: IT'S A BEAUTIFUL ALABAMA MORNING, AND I MUST COMMEND RANDY ON DODGING THE LARGE NUMBER OF MOBILE HOMES BEING MOBILE ALREADY TODAY.

THIS HIGHWAY OF MODULAR HOUSING RUNS THROUGH BANKSTON, ONCE A TOWN OF ROADSIDE RENOWN THANKS TO B.F. PERKINS AND HIS HARTLINE CHURCH OF GOD.

BUT HE'S GONE NOW, IT'S IN DISREPAIR, AND WE'RE RUNNING LATE ANYWAY, MEANING IT'S ON TO FAYETTE, WHERE UNLESS HE'S JUST TOO BUSY GETTING READY FOR ANOTHER BIG FESTIVAL, WE'LL GET TO PEEK IN ON JIMMY LEE SUDDUTH-- AND HIS LITTLE DOG TOO.

>> Jimmy Lee: I JUST DON'T KNOW.

>> Don: THE DOCTOR TOLD JIMMY TO CUT BACK ON HIS HARMONICA PLAYING, BUT INSIDE THE STUDIO, HE'S BEEN AS BUSY AS EVER MIXING DIRT, SUGAR, AND A LITTLE HOUSE PAINT TO KEEP CREATING MORE OF THESE MOST ORIGINAL PIECES.

>> Jimmy Lee: I CAN'T REMEMBER.

[laughs] NO, I CAN'T.

I CAN'T REMEMBER.

I STARTED WHEN I WAS THREE YEARS OLD, STARTED PAINTING.

I STARTED DOIN' IT WHEN I WAS THREE YEARS OLD.

THAT'S ON BOARD; IT'S ON WOOD.

I USE MUD.

FEEL THAT MUD.

>> Mike: YEAH.

>> Jimmy Lee: YOU CAN RUB IT; YOU CAN WALK ON IT.

IT'S JUST LIKE BRICK.

YOU SEAL YOUR HOUSE WITH IT.

THAT'S YOUR MUD; THAT'S THE WAY YOUR MUD LOOKS.

>> Randy: I LIKE THAT ONE A LOT.

>> THAT'S WHAT THAT ONE IS, A ROOSTER THAT.

THAT'S A TURKEY IN THE HAY, YOU HEAR ABOUT TURKEY IN THE HAY?

TURKEY--THAT'S HIS EYES.

LOOK AT HIS EYES.

[gobbling] [Mike laughing] >> Randy: WHAT IS THAT?

>> THIS IS TOTO.

COME ON, PEOPLE, HERE, TOTO, ONE OF THE FAVORITE DOGS OF THE WORLD.

AND HE'S BURIED OVER THERE ON THE HILL.

I GOT ANOTHER TOTO OUT THERE.

>> Mike: BUT ALABAMA DIRT: THAT'S GOOD DIRT FOR PAINTING.

>> Jimmy Lee: ONLY ALABAMA DIRT, EVERY BIT.

I DON'T THINK THEY GOT NONE OF THIS OUT OF STATE.

MIX WATER WITH THE SUGAR.

PUT IN THE SUGAR.

PUT ABOUT A CUP FULL OF SUGAR.

YOU SEE THIS RIGHT IN HERE AND MIX IT UP.

BUT YOU GOT TO KEEP IT WET, SO-- THAT'S SWEET; THAT'S SWEET.

SEE THAT?

>> Mike: YEAH.

[Jimmy Lee laughs] JUST ONE CALORIE.

[laughing] >> YEAH, NOW, BEAT IT.

>> Randy: TH ARTIST THING'S A PRETTY GOOD DEAL, ISN'T IT?

>> Jimmy Lee: WHAT YOU TALKING ABOUT?

LOOK AT THAT.

RIGHT THERE, LOOK AT THAT.

OOH, SHUT MY MOUTH.

>> Randy: LOOK AT THAT EXPRESSION ON YOUR FACE.

>> THAT'S ME PLAYING MY HARMONICA.

>> Don: AS A SMALL TOKEN OF OUR APPRECIATION, WE PRESENTED JIMMY WITH THIS DECORATIVE PAINT RAG, GUARANTEED TO SOAK UP DIRT AND SODA WITH A MINIMUM OF MUSS AND FUSS.

>> ♪ O GOD, OH DAY.

♪ ♪ >> Don: WHILE THIS JITNEY JUNGLE THING DOES REMAIN A SOUTHERN ENIGMA TO US, THERE IS ONE THING WE DO KNOW, AND THAT IS GROTTOS.

WE'VE BEEN TOLD THAT ONE OF THE MORE AMAZING TO BE FOUND ANYWHERE CAN BE FOUND IN NEARBY CULLMAN, OR CAN IT?

>> Mike: ONE MILE EAST OF CULLMAN ON HIGHWAY 278.

>> Randy: ARE WE EAST OR WEST?

NO, WE WERE WEST.

BUT THE SIGN SAYS-- >> Mike: WHICH WAY TO THE GROTTO?

GROTTO THAT WAY?

THE GROTTO'S THAT WAY?

>> Don: THE GREAT THING ABOUT GROTTOS IS THAT NO TWO WE'VE FOUND ARE QUITE ALIKE.

AND THAT WOULD SEEM TO APPLY TO AVE MARIA, BUILT OVER ALMOST 50 YEARS BY ONE BROTHER JOSEPH INTO THE SIDE OF A HILL HERE ON THE GROUNDS OF ST. BERNARD.

>> Monroe: HE WAS 13 IN 1892.

HE WAS ONE OF THE FIRST STUDENTS THAT WAS ENROLLED IN SCHOOL HERE.

HE WAS TINY, HE WAS HUNCHBACKED, HE WAS FIVE FEET, WEIGHED ABOUT 90 POUNDS.

BROTHER JOSEPH WAS IN CHARGE OF THE POWER PLANT HERE TOO.

HE SHOVELED COAL IN THE BOILERS 18 HOURS A DAY, 7 DAYS A WEEK.

SO THE GROTTO WAS BUILT IN HIS SPARE TIME.

>> Mike: THERE IS NO SPARE TIME IF YOU'RE WORKING 18 HOURS A DAY, 7 DAYS A WEEK.

>> THAT'S TRUE.

THE OLDEST THING THAT I'VE EVER FOUND IN THAT BUILDING WAS ABOUT 1910.

AND HE JUST, YOU KNOW, AS LONG AS--IN HIS SPARE TIME, HE JUST KEPT ON WORKING THROUGH 1958.

THE FIRST THING WAS A "THANK YOU" PLAQUE THAT WAS JUST SOLDERED.

HE MADE IT IN APPRECIATION FOR THE PEOPLE THAT GAVE HIM HIS MATERIALS AND EVERYTHING.

HE USED BEADS, COSTUME JEWELRY, MARBLES, SHELLS, ANYTHING.

FLOATS OUT OF THE BACKS OF COMMODES, STUFF LIKE THAT.

COLD CREAM JARS.

REALLY OUT OF JUNK, YOU KNOW.

JUST-- >> Mike: YEAH, WELL, OTHER PEOPLE'S JUNK.

>> Monroe: YEAH, OTHER PEOPLE'S JUNK.

SOMEBODY SAID BROTHER JOE WAS RECYCLING IN THE EARLY 1900s.

>> RIGHT, HE WAS WELL AHEAD OF HIS TIME.

>> YEAH.

>> THAT'S A TOILET BOWL FLOAT.

>> THAT'S RIGHT.

>> I KNOW WHAT THAT IS.

>> Randy: MIKE WITH A CORRECT I.D.

AGAIN.

>> Mike: I KNOW WHAT THAT IS.

I ALMOST HAD A CAREER IN THAT KIND OF WORK.

>> Monroe: I'LL SHOW YOU A FEW THINGS DOWN THROUGH-- WE'LL GO THROUGH-- THE TEACHERS USED TO COLLECT MARBLES, YOU KNOW, THE KIDS IN SCHOOL, ESPECIALLY THE NUNS.

THEY CATCH THE KIDS PLAYING FOR KEEPS, YOU KNOW, THEY'D TAKE YOUR MARBLES AWAY.

SO THEN BROTHER JOE WOUND UP WITH THE MARBLES.

THIS IS ST. MARGARET'S CHURCH AND CASTLE UP ON THE HILL, THERE.

THROUGH HERE ARE ST. BERNARD BUILDINGS HERE ON THE CAMPUS.

LIKE THIS IS THEIR LIBRARY, HERE, AT ST. BERNARD.

>> Randy: THERE IS THE POWER HOUSE.

THAT'S WHAT HE KNEW WELL.

>> Monroe: THAT LITTLE RED ONE'S THE POWER HOUSE.

THAT'S WHERE HE OPERATED, AND THAT'S WHERE ALL THE LITTLE MINIATURES WAS BUILT AND BROUGHT DOWN.

HIS WORK BENCH WAS 1/3 OF A POOL TABLE.

IT WAS A PIECE OF SLATE OUT OF A REGULAR POOL TABLE.

THIS LITTLE SECTION ALL THE WAY THROUGH HERE IS, LIKE, MISSIONS AND THINGS, FLORIDA AND PAULO, CALIFORNIA, SAN JUAN CAPISTRANO, WHERE THE SWALLOWS COME EVERY YEAR.

>> Mike: THESE ARE FAMOUS, SOME OF THESE, YEAH.

>> Monroe: REALLY, NOTHING HE BUILT IN HERE WAS BUILT TO SCALE.

HE TRIED, YOU KNOW, TO BUILD AND SOLDER EXACTLY LIKE WHAT HE HAD TO GO BY, LIKE THE POSTCARD.

HE SET A LITTLE POSTCARD UP THERE, AND HE'D LOOK AT IT AND WORK FROM THE POSTCARD.

HE'S NEVER ACTUALLY VISITED ANY OF THESE PLACES.

>> Randy: THAT'S NOT MUCH TO WORK FROM.

>> Monroe: NO, THAT'S NOT MUCH TO WORK FROM.

>> THAT'S HOW WE MAKE T.V.

SHOWS, BUT-- >> SOMETIMES HE HAD A PRETTY DECENT PICTURE, LIKE AN 8x10 OR SOMETHING LIKE THAT, BUT THAT'S IT, YOU KNOW.

HE DID A GREAT JOB ON THIS.

THIS IS ST. PETER'S.

MAYBE AT NIGHT IN THE SCIENCE LAB HERE AT THE SCHOOL, HE WOULD GO TO THE GARBAGE CANS AT NIGHT AND GET ALL THE OLD TEST TUBES.

HE'D POUR THEM FULL OF CONCRETE, AND THEN HE'D BREAK THE GLASS OFF OF THEM.

>> Mike: OH, OKAY.

>> Monroe: HE'D MAKE THESE LITTLE ROUND COLUMNS THIS WAY.

THIS IS A GROTTO.

>> HE'S BUILT HIS OWN STALAGMITES.

>> UH-HUH.

THIS WAS FINISHED IN 1934.

ALL THIS IS THE HOLY LAND SITE.

>> Randy: YEAH, YEAH.

>> THAT'S THE CHURCH AND GETHSAMENE UP ON TOP.

BETHLEHEM DOWN HERE, RACHEL'S TOMB.

YOU'VE GOT THE CRUCIFICTION UP ON THE HILL HERE.

THOSE LITTLE COLUMNS RIGHT IN THE BACK YONDER?

THAT'S OLD TUBES OUT OF A GRAFANOLA.

>> Randy: GRAFANOLA?

>> Monroe: GRAFANOLA.

>> GRAFANOLA?

>> YEAH.

>> Mike: I HAD THAT FOR BREAKFAST.

>> Randy: I MEAN, I'VE SEEN JUST SECTIONS OF THIS, I GUESS.

I HAD NO IDEA.

DON, PICTURE OF THE WHOLE THING?

>> Don: UUH... >> Monroe: YOU CAN'T GET A PICTURE OF THE WHOLE THING.

YOU JUST DO IT IN BITS AND PIECES.

>> Mike: YEAH.

>> Monroe: YOU CAN GO THROUGH HERE 20 TIMES AND SEE SOMETHING THAT YOU MISSED.

YOU KNOW, YOU CAN'T SEE IT ALL BY JUST WALKING THROUGH.

>> BUT I BET HE MUST HAVE LOVED THIS, THOUGH.

>> YEAH, HE LOVED HIS WORK.

HE HAD TO, TO STAY AT IT 50 YEARS WITH NO PAY.

>> Don: SOMEHOW, AFTER SEEING ALL THAT BROTHER JOSEPH MANAGED TO ACCOMPLISH, I DON'T SUPPOSE MY SORE SHOULDER WILL CARRY MUCH WEIGHT WITH THOSE TWO PRODUCERS, WHO ARE ALREADY GETTING GIDDY ABOUT OUR NEXT SCHEDULED STOP.

THAT WOULD BE BIRMINGHAM, WHERE ANOTHER WORLD'S LARGEST AWAITS US.

AND APPARENTLY, THE CAST-IRON VULCAN WHO LOOMS LARGE ON THE SKYLINE TAKES FULL ADVANTAGE OF THOSE SOUTHERLY BREEZES.

>> Mike: BIG OLD CHEEKS.

>> Randy: FOR THE BIKERS.

THIS GUY HAS A PURPOSE TOO: TRAFFIC SAFETY MONITOR FOR BIRMINGHAM.

EVERY TIME SOMEONE BUYS IT IN A CAR WRECK, HIS BOMB POP LIGHTS UP.

>> NOW, IS THAT OUT OF GREEK MYTHOLOGY, OR-- >> STRAIGHT OUT OF IT.

>> 'CAUSE I'M NOT TOO GOOD WITH THAT GREEK MYTHOLOGY STUFF.

I SMELL SOMETHING FUNNY.

>> Don: NOW, I SUPPOSE YOU'D GET USED TO MOON OVER BIRMINGHAM IF YOU LIVED HERE LONG ENOUGH, AND LONNIE HOLLEY LIVED HERE ALL HIS LIFE UNTIL THE AIRPORT NEEDED HIS LAND TO EXPAND, FORCING HIM TO UPROOT HIS ART ENVIRONMENT AND MOVE DOWN TO HARPERSVILLE.

HIS CAREER IN ART BEGAN WITH TOMBSTONES, A PILE OF WHICH SO AMAZED A FIREFIGHTER FIGHTING A FIRE THAT LONNIE ENDED UP ON THE EVENING NEWS AND HAS BEEN MAKING NEWS EVER SINCE.

>> Lonnie: THIS IS WHAT I DO; THAT'S WOOD, AND PAINTING IS MY CONCERN.

I JUST LOVE PAINTING.

BUT THESE WERE SOME THAT WAS RECENTLY ON AN EXHIBIT IN A GALLERY.

THIS IS KIND OF LIKE A TEARDROP FROM THAT ONE EYE.

WHAT I'M SAYING, THAT WHEN IT SPLATTERS, WHICH WAY DO IT SPLATTER?

EVERYTHING CATCHES MY ATTENTION.

AND WHEN I GET TO PAINTING, I DON'T WANT TO DO ANYTHING ELSE BUT PAINT.

WHEN I DO SCULPTURING, I PREFER TO JUST KEEP MY MIND ON SCULPTURING.

AND WHEN I DO THE YARD OR GO OUT IN THAT YARD, I WANT TO BE OUT IN THE YARD.

I DO PIECES LIKE THIS DOOR RIGHT HERE.

THIS DOOR IS A PIECE THAT I LAID DOWN, AND IT'S CALLED KICKING THE DOOR DOWN.

IT'S JUST CALLED ANOTHER WAY, ANOTHER WAY.

>> Mike: ONE OF YOUR SANDSTONE PIECES.

>> Lonnie: YEAH, THAT'S A SANDSTONE PIECE.

I STARTED MAKING BABY TOMBSTONES OUT OF IT FOR A LONG TIME, AND THEN MY PIECES THERE WENT TO THE MUSEUM.

ALL THESE PIECES HERE, THEY MOSTLY CAME FROM THE OLD PLACE.

IT WASN'T A KIND OF ART THAT YOU COULD TEAR DOWN.

IT WAS AN ENVIRONMENT THAT HAD BEEN PUT TOGETHER OVER, WHAT-- NEXT YEAR, IT WOULD BE 20 YEARS.

I WOULD BECOME A VETERAN ON A JOB; IF I HAD A JOB, I COULD RETIRE.

BUT I CAN'T RETIRE HERE.

SEE THE EYE, THE NOSE, THE TOP LIP, THE BOTTOM LIP THERE, AND THEN YOUR CHIN COME HERE.

AND THEN THERE'S A WOMAN'S FACE.

IT SEEMS LIKE SHE HAVE A HEADDRESS ON.

DO YOU SEE THIS BIG OL' HUNK OF IRON?

BUT DO YOU SEE THIS IRON?

>> Mike: YEAH.

>> Randy: AND IT'S BIG.

>> Lonnie: YEAH.

>> AND IT'S-- LOOKS ALMOST LIKE STYROFOAM.

>> IT IS STYROFOAM.

THAT'S A FUTURISTIC ANTENNA, IN A SENSE.

AND I WAS THINKING, YOU GUESS THE MATERIAL.

>> Randy: IT'S LIKE PIPE CLEANER.

>> Lonnie: NO.

>> Randy: BIG PIPE CLEANER.

>> Mike: IT'S LIKE--IT'S COIL FOR AIR CONDITIONERS.

>> Lonnie: ALL RIGHT, THEN.

LOOK AT THAT.

HE'S UP ON HIS MATERIALS.

HE'S UP ON HIS MATERIAL.

YEAH, THAT'S A RED ANT BED.

AND YOU WANT TO BE CAREFUL NOT TO PUT YOUR FEET IN THERE AND LEAVE IT ALONE.

>> Mike: SPEAKING OF MATERIALS, I'M UP ON THOSE MATERIALS TOO.

>> Lonnie: YEAH, YOU HAVE TO WATCH THOSE.

>> Don: LEAVE IT TO A WEASEL TO RECOGNIZE ANOTHER KIND OF PEST BUT FAIL TO NOTICE THAT IT'S GETTING A LITTLE TOO DARK OUT HERE TO DO THIS T.V.

THING.

SO I THINK I'LL L L L L L L L L MY MATERIALS AND GIVE IT A REST TILL MORNING.

NOW, IF YOU MAKE THE MISTAKE OF WATCHING THESE SHOWS OFTEN, YOU MIGHT BY NOW BE WONDERING, "WHERE IS THAT BIG BALL OF TAPE THOSE GUYS CARRY AROUND?"

>> Randy: EAT SOME OATS, MIKE.

DON?

SOME JUICE?

>> Don: HOPEFULLY, THIS WILL TAKE CARE OF THAT.

>> Randy: IT DOESN'T GET ANY BETTER THAN THIS.

>> Mike: YEAH.

>> Randy: REALLY, I PROMISE.

>> Don: AND MORE IMPORTANTLY, SINCE I'M WONDERING AS WELL, WHEN ARE WE GOING TO PLAY SOME CATCH?

THE BOYS JUST KEEP SAYING, "WAIT TILL WE GET TO THE BIG LOAF OF BREAD IN MONTGOMERY," SO I GUESS THIS DOESN'T COUNT.

FIRST, I'M TOLD, WE HAVE A STOP TO MAKE IN ROCKFORD, A ONE-STOPLIGHT TOWN WITH TWO GRASSROOTS ART PLAYERS MAKING THEIR PLAY ON OPPOSITE SIDES OF MAIN STREET.

>> Charlie: WHEN I DON'T KNOW WHAT TO DO, I DO FISH.

ACTUALLY, I'M ON A SECRET MISSION, BUT I CAN'T DISCLOSE THAT TO THE MEDIA.

BUT, YOU KNOW, AND I JUST SIGN MY ARTWORK REALLY BIG AND BOLD ON THE FRONT, "CHARLIE," DON'T PUT THE LAST NAME ON IT OR ANYTHING LIKE THAT.

AND WE DO HAVE ABOUT ABOUT TEN OTHER ARTISTS' WORK IN THE SHOP TO KIND OF ROUND IT OUT AND-- NOW, I'M KIND OF DUMB AT THESE THINGS, SO YOU Y'ALL ARE GOING TO HAVE TO LEAD ME, SO TO SPEAK.

>> Mike: OKAY, HERE.

TAKE MY HAND.

[laughing] >> NO.

HERE'S A FISH ON TIN.

THIS ONE'S-- I DON'T NAME ANY OF THEM.

THIS ONE'S CALLED CHEAP SUNGLASSES.

>> Randy: BUT YOU DON'T NAME THEM.

>> HUBCAPS, OF COURSE.

THEY'RE SOME OF THE FIRST THINGS I PAINTED, THAT AND CUT-OUT FISH.

THE OLD ONES ARE KIND OF HARD TO FIND, BUT THE NEW ONES HAVE TOO MUCH DECOR TO PAINT ON THEM.

HERE WE HAVE A TIN FIN FISH.

UH-OH.

THE HORNY LEAFISH.

I WENT THROUGH AN ANGEL PHASE.

AND I DO A LITTLE BIT OF FURNITURE.

HERE'S A TABLE, COFFEE TABLE.

>> Randy: I DRINK A LOT OF COFFEE.

>> DID YOU CATCH THIS CLOSE BY?

>> Charlie: HUH?

YEAH, ON A FRIDAY NIGHT, REALLY LATE.

>> Mike: OVER THERE IN JACK DANIELS POND?

>> Charlie: WE HAVE THIS INFLUX OF ARMADILLOS AROUND HERE THAT HAVE JUST REALLY GOTTEN THICK.

SO WHEN THEY'RE DIGGIN' UP YOUR ROSES--OR YOUR CRABGRASS OR WHATEVER-- YOU PUT THE DILLER FRILLER MACHINE OVER THEIR BURROW, AND THEN YOU PLAY THE THEME TO JAWS.

[blowing in rhythm] AND THEN I'D SAY, "WHAT'S THE ARMADILLO'S WORST ENEMY?"

OF COURSE, A SCHOOLBUS.

BUT WE SEE THE REVENGE ASPECT.

[laughter] IT'S CALLED GODDILLER, NOT GOZZILLER.

[blowing] A LOT OF PEOPLE FROM TOWN DON'T UNDERSTAND.

THEY'RE COMING HERE, AND THEY REFER TO ARTISTS AS LIKE, "IS THAT YOUR COMPETITION?"

WELL, IN ARTWORK, YOU KNOW, WHAT SOMEONE LIKES IS SO DIVERSE AND IN A LITTLE ALLEYWAY PLACE LIKE THIS, I PERSONALLY FEEL THAT THE MORE THERE IS TO SEE, THE MORE PEOPLE WILL COME.

THEN ONE OF THESE DAYS, WE'LL BE THE DESTINATION INSTEAD OF A PASS-THROUGH POINT.

>> Randy: AND ALL THIS STUFF HAS HAPPENED IN THE LAST SIX YEARS.

>> Artis: UH-HUH.

>> WHAT DID YOU DO BEFORE THEN?

>> I WAS ROOFING, AND I HAD A BIT OF THE ROOFING AND SIDING.

I BOUGHT THESE CHAIRS, AND THEY WAS TORE UP.

I REDONE THEM, PUT SEATS IN THEM, PAINTED THEM.

THIS HERE IS A BACKBONE OFF OF A COW.

I MADE THE HEAD OUT OF IT.

I MADE THE HORNS OUT OF THESE LITTLE CUPS, GOT THREAD ON THEM.

THAT'S A LOWDER NUT.

>> EXCUSE ME?

>> [laughs] YOU KNOW WHAT A LOWDER NUT IS?

PINE OUT OF THE WOODS.

I LIKE TO DO IT, BECAUSE IF I GET INTO IT, SOMETIMES I WORK TILL MIDNIGHT.

AT NIGHT, I CAN LAY UP AND LOOK AT THE LOFT, AND I CAN SEE ALL KINDS OF HEADS, FACES, AND EVERYTHING, AND IT GIVES ME WORRY SOMETIMES.

THIS ONE RIGHT HERE'S ONE OF THEM.

IT HAS BIG EYES AND A BIG FACE.

>> Randy: THIS GUY LOOKS SCARY TO ME.

>> Artis: YEAH, NOW, HE'S GOT-- OLD JUG HEAD.

THIS IS OLD PLATE HEAD.

THIS IS OLD CRAZY HORN, I CALL HIM.

I MADE HIM A GOOD WHILE BACK.

SEE, I CAN PUT THAT MAN ON HIM, OR I CAN BEND HIM OVER AND LET HIM PRAY IF HE WANTS TO, YOU KNOW.

>> Randy: ARE YOU A DEAL-MAKING KIND OF GUY?

>> YEAH, YEAH, YEAH, I TRY TO.

IF I CAN MAKE MY MONEY BACK, I'M HAPPY, YOU KNOW WHAT I MEAN?

>> Don: ARTIS WANTS YOU TO KNOW HE DOESN'T JUST WORK INSIDE THE HOUSE; HE WORKS ON THE HOUSE AS WELL.

AND NO, NONE OF THAT SIDING HE SOLD LOOKS QUITE LIKE WHAT YOU'RE SEEING HERE.

>> Mike: SEE, PEOPLE CAN LEARN FROM OUR PROGRAM.

DON'T PARK ON THE ANTHILLS.

>> Don: NO EXTRA CHARGE FOR THE SCIENCE LESSON, AND I HAVE JUST TWO WORDS LEFT TO SAY: PLAY BALL.

THIS IS DON THE CAMERA GUY, SIGNING OFF.

Captioning provided by KCPT Television.

Captioning byCaptionMax www.captionmax.com >> Don: WE GOT THIS BREAD.

WISH WE HAD A "BATTER."

>> Randy: AND YOU THOUGHT THIS SHOW WAS GOING TO END WITHOUT ANY CATCH.

>> WELL, FOR "BREADER" OR FOR WORSE.

PROBABLY HAD A LOT OF FOLK ART "SANDWICHED" BETWEEN THE OPEN AND THE CREDITS HERE.

DON'T BACK UP TOO MUCH.

YOU'LL BACK RIGHT OUT OF THE CREDITS.

ON THREE, ROTATE TO POSITIONS.

>> I THINK I SEE THE BEST BOY.

>> NOKONA?

WHERE?

>> RIGHT THERE-- WHAT'S THAT?

AUNT JUDY.

>> AUNT JUDY?

I WISH I WORE MY LOAFERS.

[Don humming opening theme] >> ♪ DA-DUN-DA-DUN, ♪ ♪ DA-DUN-DA-DUN ♪ ♪ DA, DA, DA-DA-DA.

♪ >> OKAY, THAT'S PROBABLY ABOUT ENOUGH BRILLIANCE, DON'T YOU THINK?

>> male announcer: THIS PROGRAM HAS BEEN MADE POSSIBLE IN PART BY A GRANT FROM THE NATIONAL EDUCATIONAL TELECOMMUNICATIONS ASSOCIATION AND THE CORPORATION