[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:21.11,0:00:24.02,Default,,0000,0000,0000,,[ YINKA SHONIBARE ] Odile and Odette\Nis based on Swan Lake.
Dialogue: 0,0:00:24.76,0:00:28.70,Default,,0000,0000,0000,,The white swan is trying\Nto get married to the prince.
Dialogue: 0,0:00:28.96,0:00:33.36,Default,,0000,0000,0000,,And the black swan\Nis the magician's daughter,
Dialogue: 0,0:00:33.36,0:00:37.35,Default,,0000,0000,0000,,who is trying to take\Nthe place of the white swan.
Dialogue: 0,0:00:42.64,0:00:46.80,Default,,0000,0000,0000,,What i've done with\N"Odile and Odette"
Dialogue: 0,0:00:46.80,0:00:51.26,Default,,0000,0000,0000,,is to blur the boundaries\Nbetween the baddie and the good one.
Dialogue: 0,0:00:51.26,0:00:54.72,Default,,0000,0000,0000,,I've made them into one person.
Dialogue: 0,0:00:56.07,0:00:58.68,Default,,0000,0000,0000,,They are one, but they're different.
Dialogue: 0,0:00:58.68,0:01:01.98,Default,,0000,0000,0000,,And that's kind of what that film is about.
Dialogue: 0,0:01:03.52,0:01:10.95,Default,,0000,0000,0000,,I've always enjoyed using beauty and seduction\Nas a way of engaging people with the work.
Dialogue: 0,0:01:13.68,0:01:19.34,Default,,0000,0000,0000,,My figures actually are of mixed race.\NThey're neither White nor Black,
Dialogue: 0,0:01:19.60,0:01:22.76,Default,,0000,0000,0000,,and they don't have\Nany kind of facial features
Dialogue: 0,0:01:22.76,0:01:25.23,Default,,0000,0000,0000,,that would make you\Nidentify them racially.
Dialogue: 0,0:01:26.56,0:01:33.20,Default,,0000,0000,0000,,It's also a device that manages\Nto make the pieces post-racial.
Dialogue: 0,0:01:40.72,0:01:44.20,Default,,0000,0000,0000,,It's also a joke about\Nthe French Revolution,
Dialogue: 0,0:01:44.20,0:01:47.34,Default,,0000,0000,0000,,when the aristocracy\Nhad their heads guillotined.
Dialogue: 0,0:01:54.72,0:01:58.68,Default,,0000,0000,0000,,I'm very fascinated by class\Nin my work.
Dialogue: 0,0:01:58.80,0:02:05.20,Default,,0000,0000,0000,,And I like the idea\Nof parodying or mimicking
Dialogue: 0,0:02:05.20,0:02:07.22,Default,,0000,0000,0000,,the notion of class.
Dialogue: 0,0:02:07.86,0:02:13.26,Default,,0000,0000,0000,,My lineage within the Nigerian context\Nis quite aristocratic.
Dialogue: 0,0:02:16.44,0:02:21.42,Default,,0000,0000,0000,,My great-great-grandfather\Nwas a Nigerian chief.
Dialogue: 0,0:02:22.04,0:02:24.08,Default,,0000,0000,0000,,My father is a lawyer.
Dialogue: 0,0:02:24.08,0:02:29.07,Default,,0000,0000,0000,,So I grew up, really, in a fairly affluent situation.
Dialogue: 0,0:02:29.88,0:02:32.29,Default,,0000,0000,0000,,Because I didn't grow up
Dialogue: 0,0:02:32.80,0:02:37.32,Default,,0000,0000,0000,,feeling inferior to anyone,\Nyou know, so I couldn't quite
Dialogue: 0,0:02:37.32,0:02:41.48,Default,,0000,0000,0000,,understand the hierarchy of race\Nin this country,
Dialogue: 0,0:02:41.48,0:02:43.92,Default,,0000,0000,0000,,because it was somewhat\Nsort of alien to me.
Dialogue: 0,0:02:50.72,0:02:53.56,Default,,0000,0000,0000,,Although the fabrics\Nare associated with Africa,
Dialogue: 0,0:02:53.56,0:02:56.80,Default,,0000,0000,0000,,they have their origins\Nin Indonesia.
Dialogue: 0,0:02:56.80,0:02:59.78,Default,,0000,0000,0000,,The Dutch started to produce the fabrics
Dialogue: 0,0:03:00.32,0:03:02.92,Default,,0000,0000,0000,,industrially\Nfor the Indonesian markets,
Dialogue: 0,0:03:02.92,0:03:05.96,Default,,0000,0000,0000,,I guess, towards the end\Nof the 19th century.
Dialogue: 0,0:03:05.96,0:03:10.15,Default,,0000,0000,0000,,The industrially produced\Nversions are not so popular in Indonesia.
Dialogue: 0,0:03:10.15,0:03:12.24,Default,,0000,0000,0000,,So they tried West Africa.
Dialogue: 0,0:03:13.76,0:03:18.70,Default,,0000,0000,0000,,I like the fact that the fabrics\Nare multilayered.
Dialogue: 0,0:03:20.48,0:03:24.43,Default,,0000,0000,0000,,They have this interesting\Nhistory that goes back to Indonesia.
Dialogue: 0,0:03:26.07,0:03:27.56,Default,,0000,0000,0000,,And then they're appropriated
Dialogue: 0,0:03:27.56,0:03:31.69,Default,,0000,0000,0000,,by Africa and now represent\NAfrican identities.
Dialogue: 0,0:03:34.61,0:03:37.34,Default,,0000,0000,0000,,Things are not always \Nwhat they seem.
Dialogue: 0,0:03:37.91,0:03:40.24,Default,,0000,0000,0000,,And, you know, so—
Dialogue: 0,0:03:40.24,0:03:44.25,Default,,0000,0000,0000,,and I sort of enjoy working—\Nworking with that.
Dialogue: 0,0:04:01.76,0:04:05.00,Default,,0000,0000,0000,,Did you just see the front of "The Economist"?
Dialogue: 0,0:04:05.50,0:04:07.25,Default,,0000,0000,0000,,"World on the edge".
Dialogue: 0,0:04:09.48,0:04:15.00,Default,,0000,0000,0000,,I'm interested in the architects\Nof the present economic disaster.
Dialogue: 0,0:04:15.85,0:04:16.77,Default,,0000,0000,0000,,So um...
Dialogue: 0,0:04:17.67,0:04:22.53,Default,,0000,0000,0000,,And so I wanna dedicate a \Ndrawing to Ben Bernanke
Dialogue: 0,0:04:23.51,0:04:25.15,Default,,0000,0000,0000,,and Paulson
Dialogue: 0,0:04:26.06,0:04:28.13,Default,,0000,0000,0000,,and Milton Friedman.
Dialogue: 0,0:04:31.00,0:04:34.12,Default,,0000,0000,0000,,The drawings actually\Nalso started as a result
Dialogue: 0,0:04:34.12,0:04:36.73,Default,,0000,0000,0000,,of issues around climate change.
Dialogue: 0,0:04:38.23,0:04:43.28,Default,,0000,0000,0000,,Climate really is more for me about the zeitgeist,\Nyou know, trying to capture
Dialogue: 0,0:04:43.28,0:04:45.43,Default,,0000,0000,0000,,the climate of the moment.
Dialogue: 0,0:04:45.43,0:04:51.44,Default,,0000,0000,0000,,There are times when I do really kind of objective things.\NI take things out of magazines
Dialogue: 0,0:04:51.44,0:04:53.01,Default,,0000,0000,0000,,or newspapers.
Dialogue: 0,0:04:54.15,0:04:57.85,Default,,0000,0000,0000,,But then I do intuitive things\Nalongside that.
Dialogue: 0,0:05:04.24,0:05:09.59,Default,,0000,0000,0000,,Well, this is my return to \Ndrawing in 12 years.
Dialogue: 0,0:05:12.96,0:05:18.18,Default,,0000,0000,0000,,'Cause a lot of my work to date\Nis in mainly painting, sculpture,
Dialogue: 0,0:05:18.52,0:05:21.56,Default,,0000,0000,0000,,photography,\Nand film.
Dialogue: 0,0:05:21.56,0:05:25.84,Default,,0000,0000,0000,,I kind of wanted to go back\Nto basics, just do some more
Dialogue: 0,0:05:25.84,0:05:27.29,Default,,0000,0000,0000,,intimate things.
Dialogue: 0,0:05:29.64,0:05:33.93,Default,,0000,0000,0000,,I've decided to use flowers\Nas the starting point.
Dialogue: 0,0:05:36.64,0:05:41.17,Default,,0000,0000,0000,,And then against the financial\Nside,
Dialogue: 0,0:05:41.65,0:05:45.00,Default,,0000,0000,0000,,literally just use pages from \Nthe "Financial Times".
Dialogue: 0,0:05:46.14,0:05:49.55,Default,,0000,0000,0000,,Those are cut out\Ninto flower shapes.
Dialogue: 0,0:05:51.85,0:05:55.92,Default,,0000,0000,0000,,And then those are combined\Nwith the fabrics,
Dialogue: 0,0:05:55.92,0:05:57.88,Default,,0000,0000,0000,,the batik that I use in my work.
Dialogue: 0,0:05:58.97,0:06:01.51,Default,,0000,0000,0000,,Those are also cut into flowers.
Dialogue: 0,0:06:01.51,0:06:05.39,Default,,0000,0000,0000,,So it's a juxtaposition, if you like,
Dialogue: 0,0:06:05.39,0:06:07.94,Default,,0000,0000,0000,,of nature and culture
Dialogue: 0,0:06:09.00,0:06:16.02,Default,,0000,0000,0000,,and just trying to see if the drawings can become\Nmore than the contents.
Dialogue: 0,0:06:21.76,0:06:26.40,Default,,0000,0000,0000,,It would be nice to have more \N"Financial Times" flowers,
Dialogue: 0,0:06:26.40,0:06:28.15,Default,,0000,0000,0000,,but like different sizes,
Dialogue: 0,0:06:28.15,0:06:30.28,Default,,0000,0000,0000,,maybe like you did in there.
Dialogue: 0,0:06:30.76,0:06:31.96,Default,,0000,0000,0000,,- Okay.\N- You know?
Dialogue: 0,0:06:31.96,0:06:34.67,Default,,0000,0000,0000,,[ both chuckle ]
Dialogue: 0,0:06:40.25,0:06:41.96,Default,,0000,0000,0000,,- People often ask me,
Dialogue: 0,0:06:41.96,0:06:44.68,Default,,0000,0000,0000,,you know how much work \Ndoes Yinka actually do?
Dialogue: 0,0:06:44.68,0:06:48.60,Default,,0000,0000,0000,,He's quite a conceptual artist\NAnd for, you know, centuries,
Dialogue: 0,0:06:48.60,0:06:51.12,Default,,0000,0000,0000,,people haven't always\Nmade their own work, physically.
Dialogue: 0,0:06:51.12,0:06:54.28,Default,,0000,0000,0000,,There always have been teams of \Npeople that work on them.
Dialogue: 0,0:06:55.60,0:06:59.40,Default,,0000,0000,0000,,Working with Yinka,\Nit's quite a creative process.
Dialogue: 0,0:07:00.92,0:07:04.96,Default,,0000,0000,0000,,To be able to adapt the \Nideas that he has
Dialogue: 0,0:07:04.96,0:07:07.91,Default,,0000,0000,0000,,and insert your own ideas.\NAnd he allows for that.
Dialogue: 0,0:07:18.76,0:07:23.86,Default,,0000,0000,0000,,The show in Sydney was the first \Nretrospective of its kind.
Dialogue: 0,0:07:24.60,0:07:27.44,Default,,0000,0000,0000,,It was a survey of 12 years\Nof Yinka's work.
Dialogue: 0,0:07:27.44,0:07:29.44,Default,,0000,0000,0000,,So it was really interesting\Nto see all these works
Dialogue: 0,0:07:29.44,0:07:31.56,Default,,0000,0000,0000,,side by side that had never been\Npulled together
Dialogue: 0,0:07:31.56,0:07:33.31,Default,,0000,0000,0000,,for many, many years.
Dialogue: 0,0:07:33.31,0:07:38.16,Default,,0000,0000,0000,,and really interesting to take a look at the works\Nfrom today's context
Dialogue: 0,0:07:38.16,0:07:40.27,Default,,0000,0000,0000,,and where the work today\Nis going.
Dialogue: 0,0:07:41.03,0:07:43.93,Default,,0000,0000,0000,,[ indistinct background chatter ]
Dialogue: 0,0:07:45.24,0:07:47.68,Default,,0000,0000,0000,,- "Black Gold" is about oil.
Dialogue: 0,0:07:47.68,0:07:51.16,Default,,0000,0000,0000,,Literally like a sort of oil \Nsplash on the wall.
Dialogue: 0,0:07:53.02,0:07:57.64,Default,,0000,0000,0000,,I was thinking about\Noil being black gold,
Dialogue: 0,0:07:57.64,0:08:00.64,Default,,0000,0000,0000,,because it's becoming\Na rare commodity.
Dialogue: 0,0:08:01.00,0:08:06.04,Default,,0000,0000,0000,,I was also thinking particularly\Nabout the oil in Nigeria.
Dialogue: 0,0:08:08.68,0:08:13.00,Default,,0000,0000,0000,,Western companies have just\Ntotally destroyed
Dialogue: 0,0:08:13.00,0:08:15.54,Default,,0000,0000,0000,,the flora and fauna\Nof the area,
Dialogue: 0,0:08:15.54,0:08:19.64,Default,,0000,0000,0000,,and the rivers\Nare full of oil, gunk,
Dialogue: 0,0:08:19.64,0:08:22.52,Default,,0000,0000,0000,,and it's just too sad,\Nyou know?
Dialogue: 0,0:08:22.52,0:08:23.85,Default,,0000,0000,0000,,It's just horrible.
Dialogue: 0,0:08:26.58,0:08:32.28,Default,,0000,0000,0000,,"Scramble for Africa" is based on a \Nconference that was held in Berlin
Dialogue: 0,0:08:32.28,0:08:35.24,Default,,0000,0000,0000,,in 1884 to 1885.
Dialogue: 0,0:08:36.07,0:08:42.92,Default,,0000,0000,0000,,The European countries came together to divide up\Nafrica to decide who would have
Dialogue: 0,0:08:42.92,0:08:44.97,Default,,0000,0000,0000,,which trading area.
Dialogue: 0,0:08:45.25,0:08:49.96,Default,,0000,0000,0000,,And so I re-imagined it with these brainless men\Nsitting around the table,
Dialogue: 0,0:08:49.96,0:08:51.52,Default,,0000,0000,0000,,literally brainless.
Dialogue: 0,0:08:51.88,0:08:57.75,Default,,0000,0000,0000,,And they're having this meeting\Nand deciding the fate of Africa.
Dialogue: 0,0:09:07.04,0:09:10.56,Default,,0000,0000,0000,,When i was 19,\NI got a virus in my spine,
Dialogue: 0,0:09:10.56,0:09:13.28,Default,,0000,0000,0000,,which left me\Ncompletely paralyzed.
Dialogue: 0,0:09:13.40,0:09:16.26,Default,,0000,0000,0000,,I've been gradually\Nrecovering from that.
Dialogue: 0,0:09:18.54,0:09:19.70,Default,,0000,0000,0000,,- Yeah, we good with that?
Dialogue: 0,0:09:19.70,0:09:20.85,Default,,0000,0000,0000,,- Do you want to get rid of it?
Dialogue: 0,0:09:21.77,0:09:27.32,Default,,0000,0000,0000,,"Dorian Gray" is probably the point at which I first
Dialogue: 0,0:09:27.32,0:09:30.62,Default,,0000,0000,0000,,talked about the ideas\Nof disability in my work.
Dialogue: 0,0:09:34.78,0:09:39.30,Default,,0000,0000,0000,,I put myself in the series \Nas Dorian Gray.
Dialogue: 0,0:09:40.60,0:09:43.61,Default,,0000,0000,0000,,I was thinking more about\Nmy own mortality.
Dialogue: 0,0:09:46.36,0:09:50.32,Default,,0000,0000,0000,,And my own internal conflicts
Dialogue: 0,0:09:50.32,0:09:54.02,Default,,0000,0000,0000,,with various kind of moral issues, personal issues.
Dialogue: 0,0:09:56.96,0:09:59.62,Default,,0000,0000,0000,,And the difficulty of living \Nwith my own body.
Dialogue: 0,0:10:01.90,0:10:05.55,Default,,0000,0000,0000,,Difficulty in relation to my own kind \Nof vanity as well.
Dialogue: 0,0:10:06.76,0:10:08.72,Default,,0000,0000,0000,,When i wanted to work\Nwith photography,
Dialogue: 0,0:10:08.72,0:10:11.62,Default,,0000,0000,0000,,it was obvious that i would use myself\Nbecause,
Dialogue: 0,0:10:12.89,0:10:17.48,Default,,0000,0000,0000,,you know, unfortunately, I am concerned\Nwith myself or, you know—
Dialogue: 0,0:10:17.48,0:10:20.36,Default,,0000,0000,0000,,I'm kind of self-obsessed,\Nlike most artists.
Dialogue: 0,0:10:20.36,0:10:25.04,Default,,0000,0000,0000,,And you know, so naturally,\NI started working with myself
Dialogue: 0,0:10:25.04,0:10:30.12,Default,,0000,0000,0000,,and using my own body\Nto sort of express
Dialogue: 0,0:10:30.12,0:10:31.84,Default,,0000,0000,0000,,what i'm trying to express.
Dialogue: 0,0:10:33.69,0:10:37.41,Default,,0000,0000,0000,,I did "Diary of a Victorian Dandy".
Dialogue: 0,0:10:38.78,0:10:43.03,Default,,0000,0000,0000,,That piece is loosely based on \NHogarth's "A Rake's Progress"
Dialogue: 0,0:10:43.03,0:10:47.47,Default,,0000,0000,0000,,It's really about complicity \Nwith excess.
Dialogue: 0,0:10:49.04,0:10:51.08,Default,,0000,0000,0000,,Power creates excess.
Dialogue: 0,0:10:52.00,0:10:58.66,Default,,0000,0000,0000,,And what's my relation to excess,\Nand how do I play with that?
Dialogue: 0,0:11:01.76,0:11:06.08,Default,,0000,0000,0000,,Of course, I could choose\Nto point a finger at it,
Dialogue: 0,0:11:06.08,0:11:11.32,Default,,0000,0000,0000,,but, you know, I also actually\Nwould like to have the trappings
Dialogue: 0,0:11:11.32,0:11:12.76,Default,,0000,0000,0000,,of wealth myself,
Dialogue: 0,0:11:12.76,0:11:15.12,Default,,0000,0000,0000,,even though I may be\Ncriticizing it.
Dialogue: 0,0:11:16.80,0:11:17.73,Default,,0000,0000,0000,,- Do you know what I mean?
Dialogue: 0,0:11:17.73,0:11:20.36,Default,,0000,0000,0000,,So you have to get that feeling,\Ngive the feeling
Dialogue: 0,0:11:20.36,0:11:23.06,Default,,0000,0000,0000,,that there is light\Ncoming from outside.
Dialogue: 0,0:11:23.58,0:11:24.84,Default,,0000,0000,0000,,- Right.
Dialogue: 0,0:11:24.84,0:11:28.51,Default,,0000,0000,0000,,- Seeing the early pieces, I can see the journey\Nthat I've made to arrive
Dialogue: 0,0:11:28.51,0:11:31.00,Default,,0000,0000,0000,,at the later pieces.
Dialogue: 0,0:11:33.16,0:11:40.00,Default,,0000,0000,0000,,And it starts to become clearer how I \Nactually moved from painting to costumes.
Dialogue: 0,0:11:41.83,0:11:44.65,Default,,0000,0000,0000,,And then to photography.
Dialogue: 0,0:11:53.36,0:11:55.60,Default,,0000,0000,0000,,And then to moving image.
Dialogue: 0,0:11:56.17,0:12:00.51,Default,,0000,0000,0000,,You know it seems kind of logical how that would happen.
Dialogue: 0,0:12:02.15,0:12:06.20,Default,,0000,0000,0000,,"Un Ballo in Maschera" was one of the \Nmost exhausting things
Dialogue: 0,0:12:06.20,0:12:08.48,Default,,0000,0000,0000,,I've ever done\Nin my life.
Dialogue: 0,0:12:08.48,0:12:11.45,Default,,0000,0000,0000,,I had to learn fast.\NIt was my first film.
Dialogue: 0,0:12:14.28,0:12:20.00,Default,,0000,0000,0000,,I had to go from auditioning the dancers to designing the costumes,\N
Dialogue: 0,0:12:20.28,0:12:23.40,Default,,0000,0000,0000,,to doing the storyboards for the film.
Dialogue: 0,0:12:23.86,0:12:26.95,Default,,0000,0000,0000,,Then working with a cinematographer.
Dialogue: 0,0:12:26.95,0:12:29.66,Default,,0000,0000,0000,,I mean, I didn't even know what Steadicam was.
Dialogue: 0,0:12:29.66,0:12:30.70,Default,,0000,0000,0000,,I found out.
Dialogue: 0,0:12:31.88,0:12:33.84,Default,,0000,0000,0000,,And I worked with a choreographer
Dialogue: 0,0:12:33.84,0:12:37.04,Default,,0000,0000,0000,,called Lisa Toren who is Swedish.
Dialogue: 0,0:12:45.04,0:12:51.70,Default,,0000,0000,0000,,The Swedish King Gustav III was fighting wars in Russia
Dialogue: 0,0:12:51.70,0:12:55.86,Default,,0000,0000,0000,,and Denmark and his people were starving.
Dialogue: 0,0:12:56.43,0:12:59.52,Default,,0000,0000,0000,,He loved the lavish lifestyle
Dialogue: 0,0:12:59.52,0:13:02.94,Default,,0000,0000,0000,,And he had this fondness \Nfor masked balls.
Dialogue: 0,0:13:03.90,0:13:08.18,Default,,0000,0000,0000,,There was a plot to kill \Nhim at the ball.
Dialogue: 0,0:13:11.45,0:13:13.45,Default,,0000,0000,0000,,[ gunshot fires ]
Dialogue: 0,0:13:14.40,0:13:18.68,Default,,0000,0000,0000,,I always imagined I was a very \Nstrong political republican.
Dialogue: 0,0:13:19.06,0:13:23.03,Default,,0000,0000,0000,,Republican is anti-monarchy in Europe
Dialogue: 0,0:13:23.03,0:13:25.14,Default,,0000,0000,0000,,so it means that you don't
Dialogue: 0,0:13:25.14,0:13:29.59,Default,,0000,0000,0000,,like the hereditary system\Nof kings and queens.
Dialogue: 0,0:13:33.00,0:13:36.96,Default,,0000,0000,0000,,Member of the Order of the British Empire\Nis an award of merit
Dialogue: 0,0:13:36.96,0:13:41.16,Default,,0000,0000,0000,,given for services\Nto any discipline, really,
Dialogue: 0,0:13:41.16,0:13:43.32,Default,,0000,0000,0000,,you know, from science to
Dialogue: 0,0:13:43.32,0:13:46.88,Default,,0000,0000,0000,,engineering, to charities, to the arts,
Dialogue: 0,0:13:46.88,0:13:51.57,Default,,0000,0000,0000,,and I was given this award\Nfor services to the arts.
Dialogue: 0,0:13:54.92,0:14:02.15,Default,,0000,0000,0000,,What I find ironic about it is that actually my work\Nall along has been a critique of empire.
Dialogue: 0,0:14:06.40,0:14:11.44,Default,,0000,0000,0000,,So my artist's name now is \NYinka Shonibare MBE,
Dialogue: 0,0:14:11.44,0:14:14.65,Default,,0000,0000,0000,,so Member of the Order \Nof the British Empire.
Dialogue: 0,0:14:15.80,0:14:18.60,Default,,0000,0000,0000,,[ chuckles ]
Dialogue: 0,0:14:39.19,0:14:43.30,Default,,0000,0000,0000,,[ ANNOUNCER ] To learn more about \NArt21: “Art in the Twenty-First Century"
Dialogue: 0,0:14:43.30,0:14:45.30,Default,,0000,0000,0000,,and its educational resources,
Dialogue: 0,0:14:45.49,0:14:48.79,Default,,0000,0000,0000,,please visit us online at: \NPBS.org
Dialogue: 0,0:14:52.50,0:14:58.11,Default,,0000,0000,0000,,Art21: “Art in the Twenty-First Century” \Nis available on Blu-Ray and DVD.
Dialogue: 0,0:14:58.23,0:15:00.29,Default,,0000,0000,0000,,The companion book is also available.
Dialogue: 0,0:15:00.29,0:15:03.53,Default,,0000,0000,0000,,To order, visit us online at: shopPBS.org
Dialogue: 0,0:15:03.53,0:15:08.23,Default,,0000,0000,0000,,or call PBS Home Video at: \N1-800-PLAY-PBS