>>> COMING UP, WE'RE CONNECTING WITH YOU THE CREATIVITY AND CULTURE IN YOUR COMMUNITY, INCLUDING A LOOK BACK AT THE LIFE AND LEGACY AFTER LEGENDARY BERKSHIRES FILMMAKER.

>> DOUG'S WHOLE BODY OF WORK WAS ABOUT IMMERSING THE AUDIENCE IN JUST A MORE PROFOUND EXPERIENCE OF FILM.

>>> WE'LL HEAD TO THE DRAWING TABLE WITH HARTFORD-BASED CARTOONIST JOE YOUNG.

>> IT'S SUPPOSED TO INVOKE CONVERSATION.

>> AND ADVANCING RACIAL SOLIDARITY AND EQUITY THROUGH A MUSICAL CELEBRATION OF BLACK HISTORY.

>> HOW DO YOU HARNESS THIS AS A -- AS A WAY TO OPEN DOORS THAT DON'T OPEN ON IRTHAT OWN.

>> JOIN US FOR THOSE STORIES AND MORE AS WE EXPLORE THE CREATORRIVITY, CULTURE, AND COMMUNITY THAT MAKE US WESTERN NEW ENGLAND, UP NEXT ON "CONNECTING POINT."

>>> SUPPORT FOR "CONNECTING POINT" IS PROVIDED BY OUR CONTRIBUTING VIEWERS.

¶ ¶ ¶ ¶ >>> WELCOME AND THANKS FOR JOINING US FOR "CONNECTING POINT," YOUR SOURCE FOR CREATIVITY, CULTURE, AND COMMUNITY.

I'M ZYDALIS BAUER.

WE GENDARY HOLLYWOOD SPECIAL EFFECTS WIZARD, FILMMAKER, AND INVENTOR DOUGLAS TRUMBULL PASSED ACIN FEBRUARY OF THIS YEAR.

-- PASSED AWAY IN FEBRUARY OF THIS YEAR.

HE WAS RESPONSIBLE FOR THE DAZZLING VISUALS IN SOME OF THE MOST CONNICK FILMS IN CINEMA HISTORY.

LATER IN HIS CAREER, HE TURNED TO CREATING EXPERIMENTAL RIDES LIKE THE BACK TO THE FUTURE SIMULATOR AT UNIVERSAL STUDIOS, DEVELOPING THEM RIGHT HERE IN WESTERN MASSACHUSETTS.

HE WAS WORKING ON CUTTING-EDGE IMMERSIVE CINEMA TECHNOLOGY RIGHT UP UNTIL HIS PASSING, AND EXECUTIVE PRODUCE TONY DUNNE TAKES A LOOK BACK AT HIS LIFE AND LEGACY THROUGH SOME OF HIS OWN WORDS AND REFLECTIONS FROM SOME OF THOSE WHO KNEW HIM.

>> DOUG'S WORK WAS ABOUT IMMERSING THE AUDIENCE IN A MOSH PROFOUND EXPERIENCE OF FILM.

>> WHAT HE CREATED IN THE SPECIAL EFFECTS WORLD, IT CHANGED FILM FOREVER FOR US.

WE LOOK AT FILM BECAUSE OF THE THINGS DOUG PUT IN PLACE.

>> NAME ONE MOVIE THAT HE'S DONE THAT HASN'T BEEN ELEVATED BY HIS WORK.

NOT JUST ELEVATED BUT MADE BECAUSE OF HIS WORK.

>> BY ANYONE'S MEASURE, OSCAR-WINNING MOTION PICTURE DIRECTOR AND VISUAL EFFECTS LEGEND DOUG -- DOUGLAS TRUMBULL WAS A GENIUS AND VISIONARY, AND ONE TO WHOM SCIENCE FICTION MOVIE LOVERS OWE A GREAT DEBT.

>> THERE WAS NOBODY THAT CREATED OUR VISION OF SPACE BETTER THAN DOUG TRUMBULL.

HE WAS THE MASTER AT WHAT SPACE LOOKS LIKE.

>> BUT FOR THE MAN RESPONSIBLE FOR THE MIND-BENDING VISUALS IN "2001, A SPACE ODYSSEY," FOR MAKING THE STAR SHIP ENTERPRISE FLY ON THE BIG SCREEN, AND FOR CREATING THE DYSTOPIAN FUTURE OF "BLADE RUNNER, REQUESTT SPECIAL EFFECTS WERE MERELY TOOLS IN SERVICE TO A GREATER CAUSE.

>> IT WASN'T JUST AS AN EFFECTS WORK.

HE BROUGHT STORY TO THE EFFECTS.

HE ALSO GAVE A LOT OF -- TO THE DIRECTORS ABOUT HOW HE FELT THE STORY SHOULD GO.

AND A LOT OF DIRECTORS LISTENED TO HIM.

>> DOUGLAS TRUMBULL PASSED AWAY ON FEBRUARY 7TH, 2022.

THOUGH HE CALLED THE BERKSHIRES HOME, HIS CAREER STARTED IN HOLLYWOOD, WITH A PASSION TO MAKE GOING TO THE MOVIES MORE THAN JUST VIEWING IMAGES ON A SCREEN.

>> MY INTEREST IS IN EXPERIENCE SHALL MOVIES, WHAT I CALL IMMERSIVE CINEMA.

SO IT'S A DIFFERENT WAY OF TELLING A STORY.

AND I GOT HOOKED ON IT LONG AGO AS A VERY YOUNG GUY WHEN I WAS WORKING ON "2001 A SPACE ODYSSEY" FOR STANLEY COULD YOU BRICK, SO THAT WAS MY INTRODUCTION.

IT LED TO A TRAFFICKER RESUME' BECAUSE BEING ASSOCIATED WITH THAT MOVIE AND SPECIAL EFFECTS WAS A CALLING CARD THAT WOULD GET ME INTO ANY STUDIO AND THAT LED TO "BLADERUNNER" AND CLOSE ENCOUNTERS OF THE THIRD KIND AND -- A LOT OF THOSE KIND OF MOVIES.

>> NOT SATISFIED WITH BRINGING OTHER'S VISIONS TO LIFE, HE SOON TURNED HIS OWN HAND TO DIRECTING.

BUT THE BUREAUCRACY OF THE ENTERTAINMENT BUSINESS LEFT A BITTER TASTE IN HIS MOUTH.

>> HE HAD BEEN IN HOLLYWOOD FOR MANY YEARS, DEVELOPED A HIGH FRAME RATE FILM TECHNIQUE, AND HAD DIRECTED TWO FILMS, SILENCE RUNNING AND BRAINSTORM.

AND HE WAS HOPING THAT THE STUDIOS WOULD DO THE FILMS AT A HIGHER FRAME RATE.

AND THEY WOULDN'T DO IT.

HE GOT FRUSTRATED AND MOVIE HERE TO THE BERKSHIRES.

>> AND I STARTED LOOKING FOR NOT FEATURED FILMS BECAUSE I WAS COMPLETELY BURNT OUT ON THE WHOLE THING.

>> AND IN 1989, STEVEN SPIELBERG WAS HIRED BY UNIVERSAL STUDIOS TO DO THE BAK TO THE FUTURE RIDE.

AND HE SAID THERE'S ONLY ONE PERSON ON THE PLANET TO DO IT AND IT'S DOUG TRUMBULL.

>> IT WAS A SIMULATION RIGHT AND I HAD DEVELOPED THE RIDE YEARS BEFORE AT PARAMOUNT.

AND THEY COULDN'T FIGURE OUT HOW TO MAKE IT WORK.

AND I SAID I'D DO IT.

I'D LOVE TO DO IT.

SO WE DID THE RIDE IN THE TEX -- ABOUT 20 MINUTES FROM HERE.

AND THAT WAS PROOF TO ME THAT WE COULD ACTUALLY DO WORLD-CLASS FILMMAKING IN A REMOTE LOCATION LIKE THIS.

>> HE WAS INCREDIBLE.

HIS GENEROSITY, PEOPLE TALK ABOUT I HAD 8 TIME, BUT I -- ALL THE TIME, BUT I WITNESSED IT WITH LITERALLY DOZENS OF FILM MAKE THERE'S WE WOULD BRING TO HIS PROPERTY.

HE WOULD SPEND TIME WITH HIM.

THEY COULD REACH OUT.

HE WAS 100% ABOUT THE NEXT GENERATION.

HE WAS 100% ABOUT BEING A MENTOR, BEING AN INSPIRATION, FOR FILMS AND FILMMAKERS.

>> YOU KNOW, I CAM HERE 30 YEARS AGO AND I MET MY HUSBAND.

I HAD TWO CHILDREN.

I CREATED ANOTHER COMPANY, MASS ILLUSION AFTER WORKING WITH HIM.

AND YOU KNOW, I TOLD HIM, MAYBE NOT ENOUGH, BUT I'M GRATEFUL BECAUSE MY LIFE AND MY CAREER ARE HERE BECAUSE OF HIM.

AND IT HAPPENED FOR ME AND SO MANY PEOPLE.

>> AND WHILE HIS IMPACT ON THE ART AND CRAFT OF FILMMAKING IS UNDENIABLE, HIS GREATEST LEGACY MIGHT JUST LIE IN THE PEOPLE THAT HE TOUCHED ALONG THE WAY.

>> TO ME AND MOST PEOPLE ON THE SET, HE WASN'T A TECHNICAL PERSON.

HE BROUGHT EVERYBODY TOGETHER AND -- HIS GLEAM IN HIS EYE WAS CONTAGIOUS.

EVERYONE WAS DRAWN TO IT AND WANTED TO MAKE IT WORK THE WAY HE SAW IT.

HE WAS A STORYTELLER MORE THAN ANYTHING ELSE.

>> HE TAUGHT US HOW TO THINK OUT OF THE BOX.

AND THAT WAS I THINK THE BIGGEST LESSON FROM DOUG, IS NOT TO DO WHAT'S ALREADY BEEN DONE, BUT TO FIGURE OUT WHAT'S NEXT AND WHAT'S GOING TO CREATE THAT SPIEMENT FOR -- EXCITEMENT FOR THE AUDIENCE.

DOUG LIVED UP HERE.

WE LIVE HERE BUT DOUG LIVED UP HERE AND HE WAS -- HE WAS YOU KNOW, HE WAS AN INCREDIBLE PERSON.

¶ ¶ ¶ ¶ >>> AND FOR MORE OF THE CINEMATIC WIZARDRY OF THE LATE OSCAR-WINNING FILM MAKER AND SPECIAL EFFECTS WIZARDS DOUGLAS TRUMBULL, LOG ON TO OUR WEB PAGE FOR A DIGITAL EXTRA AS HE DISCUSSES SOME OF THE INNOVATIVE, IMMERSIVE FILMMAKING TECHNIQUES THAT HE DEVELOPED AT HIS BIERKS STUD -- BERKSHIRES STUDIO.

>> I FOUND OUT -- I WAS SHOOTING 70 MILLIMETER FRAME AT 60 FRAMES, PUTTING IT ON GIANT SCREENS AT DOUBLE THE BRIGHTNESS.

EVERYBODY SAID IT'S LIKE THROORKS DID WITHOUT CLASS -- 3D WITHOUT GLASSES.

I FEEL THE MOVIE SCREEN WAS A WINDOW TO REALITY AND I WAS EXPLORING HOW TO MAKE A NEW KIND OF MOVIE EXPERIENCE.

>> YOU CAN FIND THAT DIGITAL EXTRA AND SO MUCH MORE ONLINE RIGHT NOW AT NEPM.ORG/CONNECTINGPOINT.

>>> WHEN CONNECTICUT NATIVE JOE YOUNG STRUGGLED IN SCHOOL AS A CHILD, HE FOUND THAT COMIC BOOKS OFFERED HIM A POSITIVE ESCAPE WHILE EDUCATING HIM ON TOPICS THAT HE COULD NOT PREVIOUSLY COMPRETEND.

YOUNG WAS THEN ABLE TO TURN THAT PASSION FOR DRAWING AND STORYTELLING INTO A CAREER, AND IS NOW AN AWARD WINNING CARTOONIST, FILMMAKER, PRODUCER, WRITER, AND TEACHING ARTIST.

I JOINED YOUNG AT HIS STUDIO IN EAST HARTFORD TO HEAR MORE ABOUT HIS STORY, HIS LATEST COMIC SERIES, AND HIS COLLABORATION WITH LEGENDARY MOTOWN ARTIST SMOKEY ROBINSON.

>> IT WAS THE CREATIVE ARTS THAT SAVED ME, SPECIFICALLY WRITING ACTUALLY.

AND THEN WHEN I START WRITING, I GOT INTO COMICS.

SO THAT WHOLE COMIC ART SPACE CHANGED ME, BECAUSE WHEN I WAS IN SCHOOL, I WAS A SLOW LEARNER.

AND KIDS MADE FUN OF ME.

I MADE FUN OF MYSELF.

AND I NAMED MYSELF THE FISHERMAN, BECAUSE ALL MY GRADES WERE BELOW SEA LEVEL.

BUT THROUGH COMICS I LEARNED ABOUT GEOGRAPHY, ABOUT CHARACTER, ABOUT SCIENCE.

AND SO A LOT OF MY WORK IS BASED ON COMICS AND FROM THAT, ONCE YOU LEARN HOW TO WRITE COMICS, YOU CAN WRITE SCRIPTS AND THEN I LEARNED HOW TO DRAW AT A LATER AGE.

BUT WRITING WAS MY FIRST INTRODUCTION TO ART.

>> COMIC ART SPECIFICALLY HAS BEEN ONE OF THE GREATEST INFLUENCES IN YOUR LIFE.

AND IT HAS REALLY LED TO YOUR SUCCESS.

BUT SPEAK TO ME ABOUT WHAT -- WHAT IS IT ABOUT THAT ART FORM SPECIFICALLY THAT YOU'RE FASHIONABLATE.

WHY WERE YOU ABLE TO CONNECT WITH COMIC ART?

>> GOOD QUESTION.

BECAUSE ART IS ENGAGING.

IT'S VISUALLY ATTRACTIVE.

IT'S FUN.

IT'S ENTERTAINING.

I REMEMBER GROWING UP, I LEARNED ABOUT GOVERNMENT, NOT THROUGH SOCIAL STUDIES CLASS.

IT WAS A SHOW CALLED "SCHOOL HOUSE ROCK."

I'M JUST A BILL -- AND SO AND EVEN NOW, FOR ME TO REACH KIDS, BECAUSE I DO A LOT OF WORKSHOPS.

I TEACH CARTOONING.

AND KIDS SEEM TO GRAVITATE TOWARDS IT.

AND CARTOON WORK.

AND IT'S JUST SOMETHING ABOUT COMIC -- I THINK I FOUND MY PURPOSE WHEN I DISCOVERED COMIC ART.

>> YEAH.

AND COMICS ALSO KIND OF PROVIDE CHILDREN WITH AN ESCAPE AND AL -- >> OH, YES.

>> INSPIRATION.

AND SO THAT BRINGS ME TO YOUR MOST RECENT COMIC SERIES, "KEMIT.

ASK THE TELL ME ABOUT THE SERIES, HOW IT'S UNIQUE TO YOUR OTHER CREATIONS, AND ALSO HOW IMPORTANT IS IT TO HAVE THIS REPRESENTATION, ESPECIALLY FOR CHILDREN OF COLOR AND DOCUMENTICS OR -- IN COMICS OR LITERATURE?

>> KEMIT IS CREATED DURING COVID.

HE TRAVELS THROUGH TIME.

HE'S BORN IN 177 WHEEN AND HE IS PICKED UP BY SLAVE CATCHERS AND GOING THROUGH A MENTAL PASSAGE.

HE COMES TO AMERICA.

IN 1776.

HE MEETS THE -- IT'S ALL FICTIONAL.

IN -- INVENTOR AND THEY CREATE A TIME MACHINE AND HE TRAVELS TO THE 21ST CENTURY.

TO TELL PEOPLE IN THE FUTURE IF YOU'RE GOING THROUGH A PROBLEM, YOU CAN OVERCOME IT.

LOOK WHAT PEOPLE DID IN THE PAST.

AND HE BRINGS THEM PACK AND HE SHOWS THEM -- BACK AND HE SHOWS THEM THROUGH BLACK HISTORY AND BLACK EXCELLENCE.

ANYBODY CAN DO ANYTHING.

>> AND WHAT DOES THIS DO FOR A CHILD'S CONFIDENCE WHEN THEY HAVE THIS REPRESENTATION IN A COMIC THAT THEY LOVE TO READ?

>> THEY SEE KEMIT.

HE GOES THROUGH CHALLENGES AND PROBLEMS AND ISSUES BUT HE ALL THE OVERCOMES IT BECAUSE OF GOOD CHARACTER.

BUT IT'S AN ESAME FOR THEM.

-- ESCAPE FOR THEM.

THEY CAN LIVE THROUGH KEMILT.

HE HAS THE NATURAL HAIR AND HE SPEAKS WITH AN AFRICAN ACCENT.

AND SO THEY CAN IDENTIFY WITH THIS CHARACTER.

AND HE CAN DANCE.

HE CAN BREAK DANCE.

AND THE PARENTS ENJOY HIM BECAUSE HE LOVES OLD SCHOOL MUSIC.

HIS FAVORITE MUSICIAN IS JAMES BROWNE!

>> SO KEMIT CAME OUT OF COACHED BUT SOMETHING ELSE THAT HAS COME OUT.

-- COVID, BUT SOMETHING ELSE THAT HAS COME OUT.

YOU'VE BEEN VERY BUSY.

YOU HAVE PRODUCED A SHORT ANIMATED FILM.

YOUR DEPICTION OF THE SMOKEY ROBINSON POEM, "BLACK AMERICA."

>> YES.

>> TELL ME ABOUT NOW AND WHY NOW IS THE PERFECT TIME TO RELEASE THIS ANIMATED FILM?

>> BECAUSE AFTER GEORGE FLOYD, RACE RELATIONS AND -- YOU KNOW, RACE IS SUCH AN ISSUE, YOU KNOW.

I MET SMOKEY AT A MUTUAL FRIEND OF OUR'S GOLF TOURNAMENT AND HE STARTED RECITING THIS POEM.

AND I SAID WOW, IT'S SO POWERFUL.

BUT I ALSO SAW SOME FOLKS MAY NOT LIKE WHAT HE'S SAYING IN THE POEM.

AND I SAID, I GOTTA DO THIS BECAUSE ART IS SPOATDZ TO PROVOKE CONVERSATION -- SUPPOSED TO PROVOKE CONVERSATION.

AND I AGREE A LOT OF STUFF THAT HE SAYS.

SOME THINGS -- YOU KNOW, I NEED SOME MORE CLARITY, BUT CREATE THIS THING AND ANIMATE WHAT HE'S TRYING TO SAY.

>> NOT APPRECIATED IF WHEN YOU SEE ME, YOU SAY, THERE GOES A MAN WHO SAID IT LOUD.

I'M BLACK.

I'M BLACK.

I'M A BLACK AMERICAN AND I'M PROUD.

BECAUSE I LOVE BEING AN AMERICAN.

>> AND AGAIN, THAT JUST TOOK OFF.

AND THAT WAS A DREAM COME TRUE TO WORK WITH AN ICON LIKE SMOKEY ROBINSON, YOU KNOW.

>> YOU WERE BORN IN HARTFORD BUT HAVE DEEP ROOTS IN SPRINGFIELD, MASSACHUSETTS, AS WELL.

WHAT ARE YOU MOST PROUD ABOUT BEING FROM THIS PART OF THE REGION?

>> IT'S JUST RICH WITH HISTORY, ARCHITECTURE, AND THE PEOPLE ARE SECOND TO NONE.

YOU COULD FIND A LITTLE BIT OF EVERYBODY IN NEW ENGLAND AND THEY'RE VERY CREATIVE IN NEW ENGLAND.

YANKEEAN INJIN NEWT.

THAT IS WHERE I'M AT.

EVEN THOUGH YOU COULD DO IT ANYWHERE IN THE WORLD, BECAUSE OF TECHNOLOGY, HARTFORD HAS BEEN GOOD, SPRINGFIELD HAS BEEN GOOD TO ME.

I'VE JUST BEEN BLESSED GEOGRAPHICALLY.

>>> EVERY WEEK "CONNECTING POINT" EXPLORES THE CREATIVITY, CULTURE, AND COMMUNITY THAT MAKE US WESTERN NEW ENGLAND, BUT IT DOESN'T STOP THERE.

YOU CAN FIND US ONLINE ANYTIME FOR EXCLUSIVE FEATURES AND CONTENT.

NATIONALLY ACCLAIMED CARTOONIST, FILMMAKER, PRODUCER, AND WRITER JOE YOUNG HAS EARNED A RECOGNITION THAT FEW OF US HAVE.

IN 1999 YOUNG BECAME A GUINNESS BOOK OF WORLD RECORDS HOLDER FOR CREATING THE LONGEST COMIC STRIP IN THE WORLD.

IN THIS WEEK'S DIGITAL EXCLUSIVE, HE SHARES THE STORY OF HOW THE COMMUNITY CAME OUT TO SUPPORT HIM IN HIS QUEST FOR THIS HONOR.

>> PEOPLE THOUGHT I WAS CRAZY.

SO THE CITY OF HARTFORD GAVE ME A WHOLE PARK, A WHOLE FACILITY.

THEY BUILT A BIG EASEL.

I CALLED ALL OF MY FRIENDS -- ALL OF MY FRIENDS.

THEY HAD 5,000 -- 2,000 TO OWL -- FROM ALL OVER ENGLAND TO PAINT ON THIS COMIC STRIP.

>> YOU CAN FIND THIS ON NEPM.ORG/CONNECTINGPOINT.

>>> FROM AN EARLY AGE, LAURA DREAMED OF BEING AN ARTIST AND WITH A CAREER IN MARKETING AND COMMUNICATIONS, SHE ALWAYS TRIED TO INCORPORATE VISUAL COMPONENTS INTO HER WORK.

SO WHEN SHE BEGAN TO WIND DOWN HER BUSINESS, SHE DECIDED TO GO BACK TO HER DREAM OF BEING A PAINTER.

TODAY SHE WORKS OUT OF HER STUDIO AT COTTAGE STREET IN EAST HAMPTON CREATING LARGE-SCALE PAINTINGS THAT FOCUS ON ATMOSPHERE AND HER INNER IMPRESSIONS OF THE LANDSCAPE.

PRODUCER DAVE FRASER VISITED HER THERE AND BRINGS US HER STORY.

>> I DON'T NECESSARILY HAVE A PLAN IN MIND.

SOMETIMES I HAVE A COLOR FEELING IN MIND.

AND I JUST LET SOMETHING EMERGE.

AT ONE POINT IN MY WORKING LIFE, I NOTICED THAT EVERYTHING I DID WAS GRAVITATING TOWARD THE VISUAL.

AND I THINK THAT WAS SOME KIND OF A SUBCONSCIOUS ATTEMPT TO STAYIFY MY DREAM.

-- SATISFY MY DREAM.

SOMETIMES I WAKE UP IN THE MORNING WITH COLORS ON MY MIND.

THEY MAY HAVE COME TO ME IN DREAMS.

THEY MAY HAVE COME TO ME FROM SOMETHING I SAW THE EVENING BEFORE.

OR THE DRIVE INTO THE STUDIO IN THE MORNING.

BETWEEN NORTH HAMPTON AND EASTHAMPTON IS ONLY 12 MINUTES, BUT THERE'S SOME BEAUTIFUL FIELDS AND WILD THINGS THAT I SOMETIMES SEE AND THE CHANGE OF THE SEASONS, I'M VERY IN TUNE TO THE COLORS AND THE TONES OF THE ATMOSPHERE, REALLY.

SO THAT CAN AFFECT WHAT HAPPENS WHEN I OPEN THE DOOR TO THE STUDIO.

AND I OPEN THE PAINTS AND I TYPICALLY WILL MIX A PALLET AND IT'S NOT ALWAYS THE SAME.

I THINK THAT IN TRADITIONAL WORKING STYLES, YOU'RE SUPPOSED TO LAY OUT YOUR PALATE IN A -- PALETTE IN A PARTICULAR ORDER.

I DON'T DO THAT.

I THINK I'M JUST UNSCHOOLED AND I'M A BIT REBELLIOUS.

SO I MIX THE COLORS THAT I LIKE THAT I WANT TO WORK WITH IN THAT PARTICULAR DAY.

AND I'LL PUT THE CANVAS ON THE EASEL AND I'LL JUST LET IT RIP.

I WAS HANDED SOME WHAT WE CALL CHIPPY BRUSHES AND YOU BUY THEM AT HARDWARE STORES AND THEY COST UNDER 2 FOR A VARIETY OF SIZES.

I CAME TO APPRECIATE THEM BECAUSE THEY'RE ROUGH AND THEY SHOW THE BRUSH STROKE AND TO ME THAT EQUATES WITH SOME KIND OF EMOTION AND SPONTANEITY.

AND I REALLY LIKE USING THEM.

PLUS I CAN THROW THEM AWAY.

I CAN WASH THEM ONCE OR TWICE AND THEN I CAN THROW THEM AWAY WITHOUT FEELING ANY GUILT.

I THINK THERE'S A CERTAIN KIND OF A MYSTERY IN THE PAINTINGS, GIVEN THAT THEY DON'T REPRESENT ACTUAL PLACES.

AND OFTEN I'M ASKED WHERE IS THAT PLACE.

AND I WILL SAY, IT IS NOT A PLACE.

IT'S A PLACE THAT YOU CAN DEFINE.

IT'S A PLACE THAT YOU CAN GO TO IF YOU SO WISH.

I COULD SAY THAT I'M HAVING THE TIME OF MY LIFE.

I'M VERY GRATEFUL.

I'M VERY EXCITED.

I FEEL HOPEFUL THAT I'LL HAVE A LOT OF TIME LEFT, BECAUSE I HAVE SO MANY IDEAS AND SO MANY THINGS I'D LIKE TO EXPLORE.

THIS IS A DREAM COME TRUE.

¶ ¶ ¶ ¶ >>> EARLIER THIS MONTH THE BLACK LEGACY PROJECT MADE ITS FORMAL DEBUT AFTER ITS INCEPTION LAST YEAR IN THE BERKSHIRES.

THE PROJECT, WHICH IS PRODUCED BY THE LOCAL NONPROFIT MUSIC IN COMMON, IS AN INNOVERITIVE, MUSICAL CELEBRATION OF BLACK HISTORY WITH THE GOAL OF ADVANCING RACIAL SOLIDARITY AND EQUITY.

THIS INITIATIVE WILL BE TRAVELING AND COLLABORATING WITH COMMUNITIES NATIONWIDE, BRINGING ARTISTS OF ALL BACKGROUNDS TOGETHER TO RECORD AND COMPOSE SONGS CENTRAL TO THE BLACK AMERICAN EXPERIENCE.

I SPOKE WITH CO-DIRECTORS TODD HOW THEY'RE MERGING THE PAST WITH THE PRESENT IN ORDER TO MOVE FORWARD.

>> WE WERE INSPIRED TO CREATE THIS IN 2020 IN THE HEIGHT OF THE KILLINGS OF GEORGE FLOYD, YOU A MOTHER'S DAY, AND BREE YONES.

AND -- BREONNA TAYLOR.

AND WE WANTED TO -- WHERE BLACK AMERICANS AND ALL AMERICANS COME TOGETHER AND ENGAGE IN INTERGENERATIONAL CONVERSATIONS, NOT JUST ABOUT RACIAL IN THE U.S., BUT WORKING IN SOLIDARITY TO WORK FORWARD THAT.

WAS THE INSPIRATION AND WE WILL GO TO A SPECIFIC COMMUNITY, FACILITATE ROUNDTABLE DISCUSSIONS, AND BRING BLACK AND WHITE COMMUNITY MEMBERS TOGETHER TO EXPLORE SONGS.

CENTERED AROUND THE BLACK AMERICAN EXPERIENCE AND EXPLORE HOW THEY STILL RELATE TO THE ISSUES TODAY.

AND THEN WE HAVE LOCAL BLACK AND WHITE ARTISTS CREATE PRESENT-DAY INTERPRETATIONS OF THOSE SONGS AS WELL AS ORIGINAL SONGS ABOUT HOW WE CAN MOVE FORWARD.

¶ RISE UP, RISE UP SPEAK UP, SPEAK UP ¶ ¶ STAND UP MUSIC CITY -- ¶ RISE UP, RISE UM ¶ >> YOU SID SOMETHING THAT -- YOU SAID SOMETHING THAT STOOD OUT TO ME.

WERE YOU TALKING ABOUT BLACK AND WHITE AMERICANS COMING TOGETHER, ALL AMERICANS, REALLY, YOU SAID.

SEALTHOUGH THE PROJECT -- SO ALTHOUGH THE PROJECT IS CALLED THE BLACK LEGACY PROJECT, YOU'RE BRINGING ALL PEOPLE TOGETHER.

WHY IS THAT SO CRUCIAL?

>> MAINLY BECAUSE WE'RE A MOSAIC OF SOCIETY IN THE UNITED STATES.

WE HAVE PEOPLE FROM ALL SORTS OF RACIAL ETHNIC CULTURAL, REGIONS BACKGROUNDS AND -- RELIGIOUS BACKGROUNDS.

AND WHILE THE CONTACT, AND I'M GOING -- CONFLICT, AND I'M GOING TO CALL IT A CONFLICT BECAUSE I THINK THAT'S THE APPROACH WE'RE TAKING TO BUILD SOLIDARITY, BELONGING, AND EQUITY, IS ROOTED HISTORICALLY IN BLACK AND WHITE.

IN 2022, IT'S REALLY THE COUNTRY AS A WHOLE, THAT I THINK NEEDS TO ADDRESS THIS.

>> NOW, THIS IS A MUSICAL CELEBRATION OF BLACK HISTORY AS YOU WERE SAYING.

WHY WAS MUSIC THE ART FORM CHOADZEN FOR THIS PROJECT -- CHOSEN FOR THIS PROJECT?

>> MUSIC IS A POWERFUL TOOL OF CONNECTION, EMPATHY.

AND THE EMPATHETIC AND -- AND CONNECTING ASPECTS.

MUSIC WE HAVE FOUND CAN BE A POWERFUL TOOL TO ENHANCE PEACE-BUILDING AND ENGAGE PEOPLE IN THE SAME TYPE OF PRACTICES THAT WE NEED TO HAVE ON BUILDING PEACE -- COLLABORATION, LISTENING TO ONE ANOTHER, RECOGNIZING OUR INTERDEPENDENCE IN WORKING TOGETHER.

BUT ALSO WE RECOGNIZED WHEN WE CONCEPTUALIZED THE PROJECT, THE SONGS THAT WERE WRITTEN BY BLACK AND WHITE ARTISTS ALIKE, WHETHER IT'S SONGS LIKE LIFT EVERY VOICE AND SING, WRITTEN BY JAMES JOHNSON, OR WHETHER SONGS WRITTEN BY WHITE FOLKS IN SOLIDARITY, LIKE THE HURRICANE, BY BOB DYLAN, THESE SONGS THAT SPOKE TO THE LEGACY AND REALITIES OF RACIAL CONFLICT AND VIOLENCE IN THE PAST.

THEY STILL RING TRUE TODAY.

AND THEY HAVE A SPECIAL PLACE IN FOLKS' HEARTS.

SO WE WANTED TO CREATE A SPACE FOR FOLKS TO REVISIT THESE SONGS, SEE HOW THEY RELATE TODAY, AND CREATE NEW SONGS FOR HOW WE CAN MOVE FORWARD.

>> SPEAKING TO THOSE SONGS THAT YOU'RE TALKING ABOUT, OVER THREE DOZEN LOCAL MUSICIANS CAME TOGETHER FOR THIS PROJECT, WHICH IS AMAZING.

AND SO YOU RECORDED SIX SONGS THAT ADDRESS THE THEME, HOPE AND HATEFUL WORLD.

AND FOUR OF THE SONGS WERE -- LIKE YOU WERE SAYING, SONGS THAT HAVE BEEN REVISITED ON PAST SONGS AND TWO ORIGINALS.

SO TELL ME ABOUT THAT PROCESS OF THE SONG SELECTION AND JUST KIND OF REIMAGINING AND REVISITING AND EXAMINING THESE SONGS.

>> ONE OF THE THINGS THAT WE DO IS CHOOSE SONGS THAT HAVE A DIRECT CONNECTION TO THE COMMUNITY THAT THE PROJECT AND IN.

AND THAT'S A LOT OF EXHAUSTIVE RESEARCH.

TREY PRIMARILY TAKES THE LEAD ON.

LOOKING AT WHAT SONGS, WHAT ARTISTS HAVE A CONNECT -- CONNECTION OR EVEN THEMES HAVE A CONNECTION TO THE LOCAL COMMUNITY.

>> I'M GLAD THAT YOU BROUGHT UP THAT CONNECTION THAT THE SONGS HAVE TO THE LOCAL HISTORY, BECAUSE THAT WAS SOMETHING THAT REALLY AMAZED ME WHEN I WAS READING ABOUT THE PROJECT.

ALL OF THOSE SELECTIONS, THE FOUR EXISTING SONGS, HAVE A TIE-IN TO THE BERKSHIRES SPECIFICALLY WITH BLACK HISTORY.

SO CAN YOU SHARE SOME OF THAT CONNECTION THAT THE SONGS HAVE TO THE AREA?

>> SO ONE OF THE SONGS WE CHOSE WAS "STRANGE FRUIT," WRITTEN BY -- BILLIE HOLIDAY PERFORMED A COUPLE OF TIMES IN THE BERKSHIRES.

AND ESPECIALLY IN THE LATER PART OF HER CAREER WHEN SHE WAS PERFORMING STRANGE FRUIT.

AND THEN STRANGE FRUIT WAS WRITTEN BY ABLE MIRPOOL WHO WAS FRIENDS AND ASSOCIATES WITH WB DEBOYS, LIKE AN ICONIC THOUGHT LEADER AND ADVOCATE FOR BLACK LEGACY.

AND HE WAS WORN AND RAISED IN GREAT BARRINGTON IN THE BERKSHIRES.

THAT WAS THE TIE THE STRANGE FRUIT HAS TO THE SOCK, THE BLACK LEGACY PROJECT AND THE BERKSHIRES.

WE ALSO HAD FOLKS CREATE AN ARTISTIC INTERPRETATION OF THE BOM, MY COUNTRY 'TIS OF THEE.

AND WE CHOSE LIFT EVERY VOICE AND SING, WHO WITH A TRAVEL TO THE BERKSHIRES TO DO SOME OF HIS MOST MEANINGFUL WRITINGS AND POETRY.

AND THEN WE SHALL OVERCOME, WE ALSO CHOSE AS A SONG TO EXPLORE, WHICH IS MADE POPULAR BY PETE SEEGER, WHO HAS CLOSE TIES WITH THE GUTHRIE FAMILY.

WOODY GUTHRIE, AND ARLO, WHOSE HOME IS IN THE BERKSHIRES.

>> IN RESPONSE TO YOUR FRIEND DANIEL PEARL W.H.O.

WAS ABDUCTED AND MURDERED IN PACKERS IN 2002.

YOU'VE DONE AMAZING WORK IN OVER 300 COMMUNITIES HELPING REPAIR THESE FRACTURES.

HOW DOES IT FEEL TO BE CARRYING ON THIS TYPE OF LEGACY WORK AND THEN HOW DOES IT FEEL TO BE PART OF IT AS WELL?

>> WOW.

THAT'S A GREAT QUESTION.

AND THANK YOU FOR THAT ACKNOWLEDGMENT.

AND YOU KNOW, I THINK THE WORK THAT WE'RE DOING WITH THE BLACK LEGACY PROJECT REALLY LIKE EVERYTHING THAT I THINK MUSIC IN COMMON HAS BEEN ENGAUGED IN IS -- ENGAGED IN IS HOW DO YOU HARNESS THE POWER OF MUSIC, THIS UNIVERSAL LANGUAGE, AS A WAY TO SORT OF OPEN DOORS THAT DON'T OPEN ON THEIR OWN.

I THINK THERE'S SUCH A DIRECT CORRELATION TO WHAT WE'RE DOING NOW AS MUCH AS THE WORK THAT WE'VE DONE IN INTERFAITH CONTACTS OR IN -- OVERSEAS IN THE MIDDLE EAST OR THE FAR EAST.

AND IT'S JUST AMAZING TO BE A PART OF IT AND IT'S AMAZING TO SEE IT GROW AND IT'S AMAZING TO HAVE NEW YOUNG LEADERS WHO START OUT AS PART PANTS IN OUR -- PARTICIPANTS IN OUR PROGRAMS COME TAKE THE REINS AND HELP LEAD IT.

¶ ¶ ¶ ¶ >> AND THAT DOES IT FOR THIS EDITION OF "CONNECTING POINT."

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I'M ZYDALIS BAUER.

THANKS FOR WATCHING AND HAVE A GOOD NIGHT.

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¶ ¶ MUSICSE