♪ ♪ ♪ ♪ ♪ ♪ >>> COMING UP, WE'RE CONNECTING >>> COMING UP, WE'RE CONNECTING YOU WITH THE YEATIVITY AND YOU WITH THE YEATIVITY AND CULTURE IN YOUR COMMUNITY, CULTURE IN YOUR COMMUNITY, INCLUDING HOW CULTURAL HUB IN INCLUDING HOW CULTURAL HUB IN THE PAPER CITY IS REIMAGING ITS THE PAPER CITY IS REIMAGING ITS PLACE IN THE POST-PANDEMIC AGE.

PLACE IN THE POST-PANDEMIC AGE.

>> KIND OF HOPING TO GET THE >> KIND OF HOPING TO GET THE FEELING THAT WHEN PEOPLE COME FEELING THAT WHEN PEOPLE COME HERE, THEY WOULD FEEL LIKE IT HERE, THEY WOULD FEEL LIKE IT WAS ALWAYS HERE.

WAS ALWAYS HERE.

>>> EXPLORE THE POWER OF HAIR AS >>> EXPLORE THE POWER OF HAIR AS A SYMBOL OF CULTURE AND IDENTITY A SYMBOL OF CULTURE AND IDENTITY IN BLACK AND INDIGENOUS IN BLACK AND INDIGENOUS COMMUNITIES.

COMMUNITIES.

>> '60S AND '70S LOOKING AT THE >> '60S AND '70S LOOKING AT THE AFRO, THAT WAS A STATEMENT AFRO, THAT WAS A STATEMENT ABOUT, HEY, THIS IS OUR NATURAL ABOUT, HEY, THIS IS OUR NATURAL STATE OF HAIR AND I'M GOING TO STATE OF HAIR AND I'M GOING TO GROW IT OUT SO THAT YOU CAN SEE GROW IT OUT SO THAT YOU CAN SEE IT.

IT.

YOU CAN'T DENY THAT I'M HERE.

YOU CAN'T DENY THAT I'M HERE.

>> AND MEET AN ARTIST WHO >> AND MEET AN ARTIST WHO CHANNELED HIS GRIEF INTO A CHANNELED HIS GRIEF INTO A PASSION FOR CRAFTING STUNNING PASSION FOR CRAFTING STUNNING WORKS OF STAINED GLASS.

WORKS OF STAINED GLASS.

>> WHEN YOU'RE SITTING WITH >> WHEN YOU'RE SITTING WITH YOURSELF, ALL OF THE WORRIES OF YOURSELF, ALL OF THE WORRIES OF THE DAY DISAPPEAR.

THE DAY DISAPPEAR.

AND YOU GET FOCUSED ON WHAT AND YOU GET FOCUSED ON WHAT YOU'RE DOING.

YOU'RE DOING.

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

"CONNECTING POINT."

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

CONTRIBUTING VIEWERS.

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

COMMUNITY.

I'M ZYDALIS BAUER.

I'M ZYDALIS BAUER.

EVERY WEEK WE EXPLORE ALL THAT EVERY WEEK WE EXPLORE ALL THAT THE REGION HAS TO OFFER, AND THE REGION HAS TO OFFER, AND TODAY WE'RE COMING TO YOU FROM TODAY WE'RE COMING TO YOU FROM MAIN STREET IN WILBRAHAM, MAIN STREET IN WILBRAHAM, MASSACHUSETTS.

MASSACHUSETTS.

THIS QUAINT TOWN CENTER IS ONE THIS QUAINT TOWN CENTER IS ONE OF THE LARGEST DESIGNATED OF THE LARGEST DESIGNATED HISTORICAL AREAS IN THE HISTORICAL AREAS IN THE CONSIDER, AND IT'S HOME TO THE CONSIDER, AND IT'S HOME TO THE OLDEST METHODIST MEETING HOUSE OLDEST METHODIST MEETING HOUSE IN NEW ENGLAND, HISTORIC HOUSES IN NEW ENGLAND, HISTORIC HOUSES DATING BACK TO THE 17 30S.

DATING BACK TO THE 17 30S.

AND THE PRESTIGIOUS WILBRAHAM AND THE PRESTIGIOUS WILBRAHAM AND MONSON ACADEMY.

AND MONSON ACADEMY.

BUT OUR FIRST STORY TAKES TO US BUT OUR FIRST STORY TAKES TO US A CREATIVE CENTER IN HOLYOKE.

A CREATIVE CENTER IN HOLYOKE.

KRUTA STARTED GATEWAY CITY ARTS KRUTA STARTED GATEWAY CITY ARTS OVER A DECADE AGO, BUYING THE OVER A DECADE AGO, BUYING THE 19TH CENTURY MILL BUILDING IN 19TH CENTURY MILL BUILDING IN HOLYOKE AS A SPACE TO CREATE ART HOLYOKE AS A SPACE TO CREATE ART AND TEACH CLASSES.

AND TEACH CLASSES.

DURING THE PANDEMIC THEY WERE DURING THE PANDEMIC THEY WERE TEMPORARILY -- FORCED TO TEMPORARILY -- FORCED TO TEMPORARILY SURER GCA AND LAY TEMPORARILY SURER GCA AND LAY OFF THEIR ENTIRE 40-PERSON OFF THEIR ENTIRE 40-PERSON STAFF.

STAFF.

WITH THE VENUE OPEN TO THE WITH THE VENUE OPEN TO THE PUBLIC AGAIN, THE PAIR ARE PUBLIC AGAIN, THE PAIR ARE REIMAGINING WHAT THE CREATIVITY REIMAGINING WHAT THE CREATIVITY ART SPACE CAN BE.

ART SPACE CAN BE.

PRODUCER DAVE FRASER STOPPED BY PRODUCER DAVE FRASER STOPPED BY RACE STREET AND BRINGS US THE RACE STREET AND BRINGS US THE STORY.

STORY.

♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ >> ON A RECENT SUNDAY AFTERNOON, >> ON A RECENT SUNDAY AFTERNOON, PETERE PERFORMED WITH HIS -- PETERE PERFORMED WITH HIS -- PETER BLANCHETTE PERFORMED.

PETER BLANCHETTE PERFORMED.

SIMULTANEOUSLY, VENDORS WERE SET SIMULTANEOUSLY, VENDORS WERE SET UP IN THE THRARNL OPEN SPACE UP IN THE THRARNL OPEN SPACE AREA, SELLING THEIR WAR-TO-THE AREA, SELLING THEIR WAR-TO-THE PUBLIC.

PUBLIC.

IN -- WARES TO THE PUBLIC.

IN -- WARES TO THE PUBLIC.

FOLKS WERE ENJUROR BRUNCH WITH A FOLKS WERE ENJUROR BRUNCH WITH A CZECHOSLOVAKIA-AMERICAN FARE CZECHOSLOVAKIA-AMERICAN FARE THIS.

THIS.

WAS THE VIBE THAT OWNERS LORI WAS THE VIBE THAT OWNERS LORI DIVINE HUDSON AND HAVE I TECH DIVINE HUDSON AND HAVE I TECH YUTEA HAD ENVISIONED WHEN YUTEA HAD ENVISIONED WHEN THEY -- HAVE I -- VIT WRECK HO THEY -- HAVE I -- VIT WRECK HO KRUTA.

KRUTA.

>> PEOPLE DON'T HAVE ANY MORE >> PEOPLE DON'T HAVE ANY MORE EXCUSES NOT TO DO ANYTHING.

EXCUSES NOT TO DO ANYTHING.

AND I THINK WE APPRECIATED AND I THINK WE APPRECIATED THAT -- ACCOMPLISHED THAT THAT -- ACCOMPLISHED THAT BEFORE -- BEFORE THE PANDEMIC.

BEFORE -- BEFORE THE PANDEMIC.

>> THE PANDEMIC PUT A HALT ON >> THE PANDEMIC PUT A HALT ON ALL THE MOMENTUM THE TWO HAD ALL THE MOMENTUM THE TWO HAD BUILT.

BUILT.

AND THIS CULTURAL HUB ON RACE AND THIS CULTURAL HUB ON RACE STREET IN HOLYOKE ALMOST CLOSED STREET IN HOLYOKE ALMOST CLOSED FOREVER.

FOREVER.

>> AT THAT TIME WE HAD 40 PEOPLE >> AT THAT TIME WE HAD 40 PEOPLE ON OUR PAYROLL.

ON OUR PAYROLL.

A LOT OF LOCALS.

A LOT OF LOCALS.

BUT WE CLOSED.

BUT WE CLOSED.

AND WE STAYED CLOSED FOR 16 AND WE STAYED CLOSED FOR 16 MONTHS.

MONTHS.

WE WERE FACED WITH SHOULD WE, WE WERE FACED WITH SHOULD WE, 14-7B89 WE RE-OPEN.

14-7B89 WE RE-OPEN.

-- SHOULDN'T WE RE-OPEN.

-- SHOULDN'T WE RE-OPEN.

WE HAD A HUGE OUTPOURING WHEN WE WE HAD A HUGE OUTPOURING WHEN WE SAID WE WERE CLOSING.

SAID WE WERE CLOSING.

PEOPLE WERE LIKE, NO, YOU CAN'T PEOPLE WERE LIKE, NO, YOU CAN'T DO THAT.

DO THAT.

80S YOU'RE FAVORITE -- IT'S OUR 80S YOU'RE FAVORITE -- IT'S OUR FAVORITE PLACE I.S WAS FAVORITE PLACE I.S WAS HEARTWARMING AND WE DECIDED TO HEARTWARMING AND WE DECIDED TO TRY IT GIN AND TRY TO MAKE IT -- TRY IT GIN AND TRY TO MAKE IT -- AGAIN AND TRY TO MAKE IT WORK.

AGAIN AND TRY TO MAKE IT WORK.

>> WHEN THE TWO FIRST SAW THIS >> WHEN THE TWO FIRST SAW THIS OLD MILL BUILDING BACK IN 2012, OLD MILL BUILDING BACK IN 2012, IT STILL HAD SOME GLIMMERS OF IT STILL HAD SOME GLIMMERS OF ITS PAST AS THE JUDD PAP EVER ITS PAST AS THE JUDD PAP EVER COMPANY.

COMPANY.

IT HAS -- PAPER COMPANY.

IT HAS -- PAPER COMPANY.

IT'S BEEN A LABOR OF LOVE TO IT'S BEEN A LABOR OF LOVE TO TRANSITION THIS INTO WHAT THEY TRANSITION THIS INTO WHAT THEY CALL A SWISS ARMY KNIFE OF ARTS CALL A SWISS ARMY KNIFE OF ARTS AND CULTURE, A PLACE THAT AND CULTURE, A PLACE THAT INSPIRES, EDUCATES, AND ANIMATES INSPIRES, EDUCATES, AND ANIMATES THOSE WHO WANT TO EXPLORE THEIR THOSE WHO WANT TO EXPLORE THEIR CRAFT.

CRAFT.

>> THE VISION HAS EVOLVED A LOT >> THE VISION HAS EVOLVED A LOT OVER THE YEARS.

OVER THE YEARS.

FROM ART AND COMMUNITY WORK TO FROM ART AND COMMUNITY WORK TO MUSIC, MUSIC BECAME A BIG PART MUSIC, MUSIC BECAME A BIG PART OF IT.

OF IT.

AND THEN BECAUSE WE'RE IN HOME AND THEN BECAUSE WE'RE IN HOME YOKE, WE -- HOLYOKE, WE NEEDED YOKE, WE -- HOLYOKE, WE NEEDED THIS TO BE A DESTINATION.

THIS TO BE A DESTINATION.

WE GOT A LIQUOR LICENSE.

WE GOT A LIQUOR LICENSE.

IF WE GOT THE LIQUOR LICENSE, IT IF WE GOT THE LIQUOR LICENSE, IT MEANT WE HAD TO HAVE FOOD.

MEANT WE HAD TO HAVE FOOD.

SO THEN WE STARTED VENTURING SO THEN WE STARTED VENTURING INTO FOOD AND RESTAURANTS AND INTO FOOD AND RESTAURANTS AND IT'S EVOLVED OVER THE 10 YEARS.

IT'S EVOLVED OVER THE 10 YEARS.

>> THIS IS SOME OF MY ARTWORK >> THIS IS SOME OF MY ARTWORK THAT -- THAT -- >> MUCH OF THAT EVOLUTION WAS >> MUCH OF THAT EVOLUTION WAS DONE BY DIVINE -- DEVINE'S DONE BY DIVINE -- DEVINE'S PARTNER.

PARTNER.

HE WAS TRAINED IN THE OLD WORLD HE WAS TRAINED IN THE OLD WORLD TECHNIQUES OF FINE AND TECHNIQUES OF FINE AND DECORATIVE ARTS IN THE CZECH DECORATIVE ARTS IN THE CZECH REPUBLIC AND GERMANY.

REPUBLIC AND GERMANY.

HE SAYS HE WAS DRAWN TO THE HE SAYS HE WAS DRAWN TO THE ARCHITECTURE OF HOLYOKE WHEN HE ARCHITECTURE OF HOLYOKE WHEN HE DECIDED TO MOVE HERE.

DECIDED TO MOVE HERE.

>> IN URINE WHERE EVERY BIG CITY >> IN URINE WHERE EVERY BIG CITY HAD FACTORIES AND BECAUSE IT WAS HAD FACTORIES AND BECAUSE IT WAS THE SAME TIME PERIOD, THE THE SAME TIME PERIOD, THE BUILDING WERE ACTUALLY THE SAME BUILDING WERE ACTUALLY THE SAME ACTURE.

ACTURE.

THEY WERE THE SAME -- THEY WERE THE SAME -- ARCHITECTURE.

ARCHITECTURE.

THEY WERE THE SAME AESTHETICS.

THEY WERE THE SAME AESTHETICS.

TO MOVING TO HOLYOKE FOR ME, IT TO MOVING TO HOLYOKE FOR ME, IT WAS LIKE, I'M HOME AGAIN.

WAS LIKE, I'M HOME AGAIN.

I JUST LOVE IT HERE.

I JUST LOVE IT HERE.

♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ >> THE DEVINE THEATER IS >> THE DEVINE THEATER IS DEDICATED TO THE MEMORY OF DEDICATED TO THE MEMORY OF LORI'S PARENTS, RITA AND HAL.

LORI'S PARENTS, RITA AND HAL.

BOTH LORI AND VITEK HAS INVOLVED BOTH LORI AND VITEK HAS INVOLVED IN DIFFERENT WAYS AND THE IN DIFFERENT WAYS AND THE THEATER AND A CULMINATION OF THEATER AND A CULMINATION OF THEIR ITS AND SKILLS.

THEIR ITS AND SKILLS.

>> AS YOU CAN SEE, THIS IS A >> AS YOU CAN SEE, THIS IS A LITTLE BIT OF THE SKILLS THAT I LITTLE BIT OF THE SKILLS THAT I COULD UTILIZE THAT I BROUGHT COULD UTILIZE THAT I BROUGHT WITH ME FROM EUROPE.

WITH ME FROM EUROPE.

DESIGNING THE STAGE AND DOING DESIGNING THE STAGE AND DOING THE FAUX FINISHES AND MURALS.

THE FAUX FINISHES AND MURALS.

SO THE AESTHETIC OF THIS ROOM SO THE AESTHETIC OF THIS ROOM IS, KIND OF HOPING TO -- TO GET IS, KIND OF HOPING TO -- TO GET THE FEELING THAT WHEN PEOPLE THE FEELING THAT WHEN PEOPLE COME HERE, THEY WOULD FEEL LIKE COME HERE, THEY WOULD FEEL LIKE IT WAS ALWAYS HERE.

IT WAS ALWAYS HERE.

>> ON THE OTHER SIDE OF THE >> ON THE OTHER SIDE OF THE COMPLEX, PAST THE ART GALLERY COMPLEX, PAST THE ART GALLERY AND BISTRO, IS THE CONCERT HALL AND BISTRO, IS THE CONCERT HALL WITH A CAPACITY OF 500 PEOPLE.

WITH A CAPACITY OF 500 PEOPLE.

SOMEWHERE IN THE FUTURE, THE SOMEWHERE IN THE FUTURE, THE COUPLE IMAGES THE JERRY -- COUPLE IMAGES THE JERRY -- IMAGINES THE VARIOUS COMPONENT IMAGINES THE VARIOUS COMPONENT AS INDEPENDENT EMPLOYEE-OWNED AS INDEPENDENT EMPLOYEE-OWNED ENTERPRISES.

ENTERPRISES.

FOR NOW IT'S ONE STEP AT A TIME FOR NOW IT'S ONE STEP AT A TIME AFTER BEING ONE STEP AWAY FROM AFTER BEING ONE STEP AWAY FROM GIVING UP.

GIVING UP.

>> IT'S A WONDERFUL PLACE.

>> IT'S A WONDERFUL PLACE.

AND IT'S CHANGED AND PEOPLE NEED AND IT'S CHANGED AND PEOPLE NEED TO GIVE IT A CHANCE.

TO GIVE IT A CHANCE.

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

THERE.

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

FEATURES AND CONTENT.

MEET PETERE, GET -- PETE MEET PETERE, GET -- PETE BLANCHETTE, GUITARIST, COMPOSER, BLANCHETTE, GUITARIST, COMPOSER, AND INVENTOR OF THE 11-STRING AND INVENTOR OF THE 11-STRING ARCHGUITAR WHO RECENT PERFORMED ARCHGUITAR WHO RECENT PERFORMED AT THE REIMAGINED GATEWAY CITY AT THE REIMAGINED GATEWAY CITY ARTS.

ARTS.

>> IT HAS 11 STRINGS BECAUSE >> IT HAS 11 STRINGS BECAUSE WHEN I DESIGNED IT AND HAD IT WHEN I DESIGNED IT AND HAD IT BUILT, WALTER ASKED ME, OKAY, BUILT, WALTER ASKED ME, OKAY, YOU WANT MORE STRINGS THAN THE YOU WANT MORE STRINGS THAN THE GUITAR.

GUITAR.

HOW MANY, KID.

HOW MANY, KID.

AND BEAK 19 YEARS OLD -- BEING AND BEAK 19 YEARS OLD -- BEING 19 YEARS OLD AND HAVING A LITTLE 19 YEARS OLD AND HAVING A LITTLE BIT OF AT TOOD, I -- ALTITUDE, I BIT OF AT TOOD, I -- ALTITUDE, I GUESS, I SAID, WELL, MAKE IT 11, GUESS, I SAID, WELL, MAKE IT 11, THEN.

THEN.

>> YOU CAN FIND THAT DIGITAL >> YOU CAN FIND THAT DIGITAL EXCLUSIVE ONLINE RIGHT NOW AT EXCLUSIVE ONLINE RIGHT NOW AT NEPM.ORG/CONNECTINGPOINT.

NEPM.ORG/CONNECTINGPOINT.

>>> THROUGHOUT HISTORY AND >>> THROUGHOUT HISTORY AND ACROSS DIFFERENT CULTURES, ACROSS DIFFERENT CULTURES, HAITIAN STYLES HAVE BEEN USED AS HAITIAN STYLES HAVE BEEN USED AS A SYMBOL -- HAIRSTYLES HAVE BEEN A SYMBOL -- HAIRSTYLES HAVE BEEN USED AS A SYMBOL OF CULTURE USED AS A SYMBOL OF CULTURE EXPRESSION, IDENTITY, AND EVEN EXPRESSION, IDENTITY, AND EVEN REDISCUSSANCE.

REDISCUSSANCE.

JUSTIN BEATTY COMES FROM A MIXED JUSTIN BEATTY COMES FROM A MIXED BACKGROUND OF NATIVE AMERICAN BACKGROUND OF NATIVE AMERICAN AND AFRICAN-AMERICAN HERITAGE.

AND AFRICAN-AMERICAN HERITAGE.

HE JOINED ME FOR A CONVERSATION HE JOINED ME FOR A CONVERSATION ABOUT THE HISTORY AND CULTURAL ABOUT THE HISTORY AND CULTURAL SIGNIFICANCE OF SEVERAL SIGNIFICANCE OF SEVERAL HAIRSTYLES AND THE INTERSECTIONS HAIRSTYLES AND THE INTERSECTIONS THAT EXIST BETWEEN INDIGENOUS THAT EXIST BETWEEN INDIGENOUS AND BLACK CUL TIEWRTS.

AND BLACK CUL TIEWRTS.

-- CULTURES.

-- CULTURES.

>> HAIR IS PROBABLY ONE OF THE >> HAIR IS PROBABLY ONE OF THE FIRST FORMS OF ART WITHIN A FIRST FORMS OF ART WITHIN A GIVEN CULTURE.

GIVEN CULTURE.

FOLKS WANTED TO FIND WAYS TO FOLKS WANTED TO FIND WAYS TO SIGNIFY THAT THEY WERE PARTS OF SIGNIFY THAT THEY WERE PARTS OF A PARTICULAR GROUP.

A PARTICULAR GROUP.

FOLKS WANTED TO BE TO BE ABLE TO FOLKS WANTED TO BE TO BE ABLE TO STAND OUT WITHIN THAT GROUP.

STAND OUT WITHIN THAT GROUP.

IT WAS USED AS AN IDENTIFIER, IT WAS USED AS AN IDENTIFIER, YOU KNOW, GOING BACK TO PROBABLY YOU KNOW, GOING BACK TO PROBABLY SOME OF THE EARLIEST FORMATIONS SOME OF THE EARLIEST FORMATIONS OF GIVING CULTURES, WHEN YOU SEE OF GIVING CULTURES, WHEN YOU SEE ARTWORK FROM ANCIENT CULTURES, ARTWORK FROM ANCIENT CULTURES, INCLUDING EGYPTIANS, EVEN SOME INCLUDING EGYPTIANS, EVEN SOME OF THE STYLES IN CENTRAL AFRICA, OF THE STYLES IN CENTRAL AFRICA, YOU FIND THAT THERE ARE SPECIFIC YOU FIND THAT THERE ARE SPECIFIC ELEMENTS OF THEIR HAIR BEING ELEMENTS OF THEIR HAIR BEING DONE A CERTAIN WAY.

DONE A CERTAIN WAY.

AND IT'S LIKE, WHAT ARE AND IT'S LIKE, WHAT ARE CALLED -- BRAIDS THAT ARE CUT CALLED -- BRAIDS THAT ARE CUT TIGHTLY CURLED.

TIGHTLY CURLED.

YOU LOOK AT THINGS LIKE CORN YOU LOOK AT THINGS LIKE CORN ROWS AND EVEN HAIRSTYLES WERE ROWS AND EVEN HAIRSTYLES WERE USED IN SOME WAYS TO NOT ONLY USED IN SOME WAYS TO NOT ONLY SAY, HEY, I'M PART OF THIS SAY, HEY, I'M PART OF THIS PARTICULAR ETHNIC GROUP BUT ALSO PARTICULAR ETHNIC GROUP BUT ALSO IN SOME CASES STATUS OF THAT IN SOME CASES STATUS OF THAT GROUP.

GROUP.

YOU WERE ALLOWED TO WEAR YOUR YOU WERE ALLOWED TO WEAR YOUR HAIR A CERTAIN WAY IF YOU WERE A HAIR A CERTAIN WAY IF YOU WERE A WARRIOR OR A WESTERN WHO WAS WARRIOR OR A WESTERN WHO WAS RESPONSIBLE FOR MEDICINE -- RESPONSIBLE FOR MEDICINE -- PERSON WHO WAS RESPONSIBLE FOR PERSON WHO WAS RESPONSIBLE FOR MEDICINE OR A MATRON.

MEDICINE OR A MATRON.

ALL OF THESE THINGS GO BACK TO ALL OF THESE THINGS GO BACK TO SOME OF THE ERB8EST -- EARLIEST SOME OF THE ERB8EST -- EARLIEST STAGES OF COMMUNITY AND CULTURE.

STAGES OF COMMUNITY AND CULTURE.

>> I KNOW I WAS READING ALSO >> I KNOW I WAS READING ALSO THAT DURING ENSLAVEMENT IN THAT DURING ENSLAVEMENT IN AMERICA, A LOT OF THOSE WHO WERE AMERICA, A LOT OF THOSE WHO WERE IN -- ENSLAVED COMMUNICATED IN -- ENSLAVED COMMUNICATED THINGS THROUGH THEIR CORN ROWS.

THINGS THROUGH THEIR CORN ROWS.

SO REALLY PIQUED MY IT ON HOW SO REALLY PIQUED MY IT ON HOW CAN HAIR -- WHAT KIND OF CAN HAIR -- WHAT KIND OF INFORMATION CAN HAIR CONVEY BOTH INFORMATION CAN HAIR CONVEY BOTH WITHIN THE CULTURE AND WITHIN THE CULTURE AND EXTERNALLY?

EXTERNALLY?

>> WELL, IT CAN DO A LOT OF >> WELL, IT CAN DO A LOT OF THINGS, RIGHT?

THINGS, RIGHT?

AS I SAID, IT CAN GO A -- CAN BE AS I SAID, IT CAN GO A -- CAN BE A A SIG ANY FEWER OF YOUR STATUS A A SIG ANY FEWER OF YOUR STATUS IF PEOPLE ARE AWARE OF YOUR IF PEOPLE ARE AWARE OF YOUR CULTURAL.

CULTURAL.

CORN ROWS WERE USED IN SOME CORN ROWS WERE USED IN SOME CASES TO READ MAPS, TO SAY, CASES TO READ MAPS, TO SAY, FOLLOW THIS PATH.

FOLLOW THIS PATH.

THINGS WERE USED LIKE CORN ROWS THINGS WERE USED LIKE CORN ROWS WERE USED TO HIDE RICE AND WERE USED TO HIDE RICE AND SEEDS, INFORMATION.

SEEDS, INFORMATION.

IN TERMS OF NOTES OR PARTICULAR IN TERMS OF NOTES OR PARTICULAR ELEMENTS OF A COMMUNITY, ELEMENTS OF A COMMUNITY, SOMEBODY WOULD SAY I HAVE THIS SOMEBODY WOULD SAY I HAVE THIS THING, THAT MEANS THAT I'M PART THING, THAT MEANS THAT I'M PART OF THIS COMMUNITY.

OF THIS COMMUNITY.

IT'S PRETTY WELL DOCUMENTED FACT IT'S PRETTY WELL DOCUMENTED FACT THAT IT WAS SOMETHING THAT WAS THAT IT WAS SOMETHING THAT WAS NECESSARY -- SOMETHING THAT WAS NECESSARY -- SOMETHING THAT WAS NECESSARY BECAME A MEANTIME OF NECESSARY BECAME A MEANTIME OF SURVIVAL AND PROTECTION.

SURVIVAL AND PROTECTION.

TO USE YOUR HAIR AS A MEANS OF TO USE YOUR HAIR AS A MEANS OF SURVIVAL AND SECURITY.

SURVIVAL AND SECURITY.

>> IT SEEMS THAT WITHIN THE >> IT SEEMS THAT WITHIN THE BLACK COMMUNITY, HAIR HAS ALWAYS BLACK COMMUNITY, HAIR HAS ALWAYS PLAYED A REALLY IMPORTANT PART, PLAYED A REALLY IMPORTANT PART, FROM AFROS TO CORN ROWS, FROM AFROS TO CORN ROWS, DEADLOCKS TO BRAIDS.

DEADLOCKS TO BRAIDS.

HOW HAVE WE SEEN BLACK HAIR HOW HAVE WE SEEN BLACK HAIR REFLECT BLACK HISTORY THROUGHOUT REFLECT BLACK HISTORY THROUGHOUT THE YEARS?

THE YEARS?

>> IN THE '70, '60S, LOOK AT THE >> IN THE '70, '60S, LOOK AT THE AFRO, THAT WAS A STATEMENT AFRO, THAT WAS A STATEMENT ABOUT, HEY, THIS IS OUR NATURAL ABOUT, HEY, THIS IS OUR NATURAL STATE OF HAIR.

STATE OF HAIR.

WE DON'T NEED TO DO ANYTHING TO WE DON'T NEED TO DO ANYTHING TO IT.

IT.

AND I'M GONNA GROW IT OUT SO AND I'M GONNA GROW IT OUT SO THAT YOU CAN SEE IT.

THAT YOU CAN SEE IT.

YOU CAN'T DENY THAT I'M HERE.

YOU CAN'T DENY THAT I'M HERE.

YOU KNOW, IT WAS A -- ENTITY OF YOU KNOW, IT WAS A -- ENTITY OF INVISIBILITY IN THE '50S, WHERE INVISIBILITY IN THE '50S, WHERE PEOPLE WEREN'T SEEN AS, YOU PEOPLE WEREN'T SEEN AS, YOU KNOW, PEOPLE.

KNOW, PEOPLE.

AND IN THE '40S.

AND IN THE '40S.

AND HOW WE HAD THE LOOK TO AND HOW WE HAD THE LOOK TO SURVIVE GOING BEFORE THAT, YOU SURVIVE GOING BEFORE THAT, YOU KNOW.

KNOW.

THE THINGS THAT BLACK FOLKS DID THE THINGS THAT BLACK FOLKS DID TO THEIR HAIR TO BE ABLE TO TO THEIR HAIR TO BE ABLE TO OPERATE IN SOCIETY.

OPERATE IN SOCIETY.

PRESSING THEIR HAIR, USING LYE, PRESSING THEIR HAIR, USING LYE, PERMS, ALL THESE THINGS.

PERMS, ALL THESE THINGS.

AND THEN IN THE '70S, '60S AND AND THEN IN THE '70S, '60S AND '70S WHEN WE STARTED TO TAKE '70S WHEN WE STARTED TO TAKE OWNERSHIP, WE STARTED TO LOOK OWNERSHIP, WE STARTED TO LOOK BACK TO WHAT WAS GOING ON BACK TO WHAT WAS GOING ON PREVIOUSLY IN AFRICA.

PREVIOUSLY IN AFRICA.

WHAT WOULD THE THINGS WE WEREN'T WHAT WOULD THE THINGS WE WEREN'T ALLOWED TO DO AND WE STARTED TO ALLOWED TO DO AND WE STARTED TO EXPRESS OURSELVES IN THOSE WAYS.

EXPRESS OURSELVES IN THOSE WAYS.

SO GOING INTO DREADLOCKS, AFROS, SO GOING INTO DREADLOCKS, AFROS, EVEN FADES OF CERTAIN KINDS.

EVEN FADES OF CERTAIN KINDS.

THAT WAS A WAY TO SAY, HEY, THAT WAS A WAY TO SAY, HEY, WE'RE STILL HERE AND WE'RE STILL WE'RE STILL HERE AND WE'RE STILL CONNECTED TO OUR BLACKNESS, TO CONNECTED TO OUR BLACKNESS, TO OUR CULTURES THAT WE DEVELOPED OUR CULTURES THAT WE DEVELOPED HERE, BECAUSE WE DIDN'T HERE, BECAUSE WE DIDN'T NECESSARILY HAVE ACCESS FULLY TO NECESSARILY HAVE ACCESS FULLY TO OUR INDIVIDUAL CULTURES BASED IN OUR INDIVIDUAL CULTURES BASED IN AFRICA.

AFRICA.

NOW YOU'RE STARTING TO SEE VERY NOW YOU'RE STARTING TO SEE VERY INTRICATE BRAIDING PEANDERSES -- INTRICATE BRAIDING PEANDERSES -- PATTERNS.

PATTERNS.

PEOPLE ARE USING COLOR.

PEOPLE ARE USING COLOR.

PEOPLE ARE USING ACCESSORIES IN PEOPLE ARE USING ACCESSORIES IN THE HAIR.

THE HAIR.

YOU KNOW, WHERE THE BEADS ARE YOU KNOW, WHERE THE BEADS ARE ENTWINED AND BRAIDED INTO THE ENTWINED AND BRAIDED INTO THE HAIR AND NOT JUST ON THE END.

HAIR AND NOT JUST ON THE END.

HAIR IN FASHION SHOWS.

HAIR IN FASHION SHOWS.

PEOPLE ARE REALLY PUSHING THE PEOPLE ARE REALLY PUSHING THE LIMITS OF WHAT YOU CAN DO WITH LIMITS OF WHAT YOU CAN DO WITH HAIR.

HAIR.

ALL OF THAT STILL HOLDS TO THE ALL OF THAT STILL HOLDS TO THE AESTHETIC THAT IS ACCEPTED BY AESTHETIC THAT IS ACCEPTED BY PLEXADERM COMMUNITY, RIGHT?

PLEXADERM COMMUNITY, RIGHT?

BECAUSE -- PARTICULAR COMMUNITY, BECAUSE -- PARTICULAR COMMUNITY, RIGHT?

RIGHT?

BECAUSE THAT'S WHERE IT COMES BECAUSE THAT'S WHERE IT COMES FROM.

FROM.

WHAT IS ACCEPTABLE IS DETERMINED WHAT IS ACCEPTABLE IS DETERMINED BY CULTURE AND BY ACCESSIBILITY BY CULTURE AND BY ACCESSIBILITY TO CULTURE.

TO CULTURE.

WHEN YOU TEACH SOMETHING THAT'S WHEN YOU TEACH SOMETHING THAT'S KIND OF OUTSIDE OF THAT, I'M NOT KIND OF OUTSIDE OF THAT, I'M NOT SO SURE, WHEN YOU SEE STUFF SO SURE, WHEN YOU SEE STUFF THAT'S PART OF IT, IT'S GROWN THAT'S PART OF IT, IT'S GROWN OUT OF ALL OF THIS TIME AND OUT OF ALL OF THIS TIME AND EVOLVING OVER TIME.

EVOLVING OVER TIME.

>> AND I WANT TO EXPAND ON THAT.

>> AND I WANT TO EXPAND ON THAT.

BECAUSE IT'S REALLY FASCINATING BECAUSE IT'S REALLY FASCINATING AND INTEREST.

AND INTEREST.

YOU KNOW, IN THE PAST SEVERAL YOU KNOW, IN THE PAST SEVERAL YEARS, WE'VE SEEN THIS COUNTRY YEARS, WE'VE SEEN THIS COUNTRY HAVE A RACIAL RECKONING AND I HAVE A RACIAL RECKONING AND I THINK THERE'S ALSO BEEN SOME THINK THERE'S ALSO BEEN SOME INCREASED ATTENTION ON HAIR INCREASED ATTENTION ON HAIR DISCRIMINATION.

DISCRIMINATION.

BUT YOU TOUCHED ON IT A LITTLE BUT YOU TOUCHED ON IT A LITTLE BIT.

BIT.

HOW HAVE PROFESSIONAL AND SOCIAL HOW HAVE PROFESSIONAL AND SOCIAL SITUATIONS AFFECTED CULTURAL SITUATIONS AFFECTED CULTURAL HAIRSTYLES IN THE PEOPLE WHO HAIRSTYLES IN THE PEOPLE WHO WEAR THEM?

WEAR THEM?

HOW HAVE WE SEEN THAT PLAY OUT?

HOW HAVE WE SEEN THAT PLAY OUT?

>> YOU HAVE PEOPLE WHO SAY I >> YOU HAVE PEOPLE WHO SAY I HAVE TO CONFORM TO HAVE A JOB HAVE TO CONFORM TO HAVE A JOB AND TAKE CARE OF MY FAMILY.

AND TAKE CARE OF MY FAMILY.

THAT'S A STANDARD.

THAT'S A STANDARD.

WHAT IS ACCEPTED AS PROFESSIONAL WHAT IS ACCEPTED AS PROFESSIONAL WASN'T NECESSARILY DEVELOPED WASN'T NECESSARILY DEVELOPED WITH OUR CULTURES IN MIND.

WITH OUR CULTURES IN MIND.

BUT THEN YOU HAVE THE OPPOSITE BUT THEN YOU HAVE THE OPPOSITE OF THAT WHERE IT'S NOT A MATTER OF THAT WHERE IT'S NOT A MATTER OF THE PROFESSIONALISM ITSELF AS OF THE PROFESSIONALISM ITSELF AS MUCH AS IT'S A MATTER OF SAYING MUCH AS IT'S A MATTER OF SAYING IT'S WHO I AM.

IT'S WHO I AM.

AND I SHOULD BE ALLOWED TO BE AND I SHOULD BE ALLOWED TO BE WHO I AM IN EVERY CONTEXT, WHO I AM IN EVERY CONTEXT, WHETHER IT'S IN THE WORK SPACE, WHETHER IT'S IN THE WORK SPACE, IN HOME SPACE, RECREATIONAL IN HOME SPACE, RECREATIONAL SPACE.

SPACE.

THAT SHOULD NOT DICTATE WHAT I'M THAT SHOULD NOT DICTATE WHAT I'M ALLOWED TO DO.

ALLOWED TO DO.

>> AND AS WE'VE JUST DISCUSSED >> AND AS WE'VE JUST DISCUSSED IN THIS CONVERSATION, HAIR IN THIS CONVERSATION, HAIR REALLY IS MORE THAN JUST HAIR.

REALLY IS MORE THAN JUST HAIR.

SO WHAT WOULD YOU WANT PEOPLE TO SO WHAT WOULD YOU WANT PEOPLE TO KNOW AND UNDERSTAND ABOUT THIS KNOW AND UNDERSTAND ABOUT THIS CULTURAL ART FORK?

CULTURAL ART FORK?

>> -- ART FORM?

>> -- ART FORM?

>> I THINK IT'S IMPORTANT TO >> I THINK IT'S IMPORTANT TO UNDERSTAND THAT IT'S SOMETHING UNDERSTAND THAT IT'S SOMETHING THAT MOST PEOPLE HAVE.

THAT MOST PEOPLE HAVE.

IS THERE A DIFFERENCE IN IS THERE A DIFFERENCE IN HAIRSTYLES, HAIR TYPES, HAIR HAIRSTYLES, HAIR TYPES, HAIR COLOR?

COLOR?

ABSOLUTELY.

ABSOLUTELY.

BUT IT'S SOMETHING THAT BUT IT'S SOMETHING THAT IDENTIFIES US AS HUMAN.

IDENTIFIES US AS HUMAN.

AND SO WHEN WE CAN START TO HAVE AND SO WHEN WE CAN START TO HAVE THOSE CONVERSATIONS, WHERE YOU THOSE CONVERSATIONS, WHERE YOU SEE SOMETHING LIKE THAT, MAN, SEE SOMETHING LIKE THAT, MAN, THAT'S COOL.

THAT'S COOL.

I WISH GUY DO THAT WITH MY HAIR, I WISH GUY DO THAT WITH MY HAIR, THAT IS SOMETHING THAT WE CAN THAT IS SOMETHING THAT WE CAN STAND AND HAVE THE CONVERSATIONS STAND AND HAVE THE CONVERSATIONS AROUND.

AROUND.

RIGHTS SOMETHING THAT MOST OF RIGHTS SOMETHING THAT MOST OF US -- IT'S SOMETHING THAT MOST US -- IT'S SOMETHING THAT MOST OF US HAVE OR MAYBE YOU HAVE OF US HAVE OR MAYBE YOU HAVE ALOPECIA.

ALOPECIA.

MAYBE I CUT MY HAIR IN HONOR OF MAYBE I CUT MY HAIR IN HONOR OF A FAMILY MEMBER THAT'S PASSING A FAMILY MEMBER THAT'S PASSING YEARS AGO BECAUSE THAT'S A YEARS AGO BECAUSE THAT'S A CULTURAL THING.

CULTURAL THING.

WE CAN FIND WAYS TO CONNECT.

WE CAN FIND WAYS TO CONNECT.

WE CAN FIND WAYS TO EXPERIENCE WE CAN FIND WAYS TO EXPERIENCE BEING HUMAN OUTSIDE OF BEING HUMAN OUTSIDE OF OURSELVES.

OURSELVES.

AND HAIR, ALTHOUGH MAYBE AN AND HAIR, ALTHOUGH MAYBE AN UNLIKELY AND UNEXPECTED WAY TO UNLIKELY AND UNEXPECTED WAY TO DO THAT, IT IS STILL A WAY TO DO DO THAT, IT IS STILL A WAY TO DO THAT.

THAT.

♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ >>> AFTER GREGORY DREW'S MOTHER >>> AFTER GREGORY DREW'S MOTHER PASSED AWAY IN 2015, THE RETIREE PASSED AWAY IN 2015, THE RETIREE ENROLLED IN A STAINED GLASS ENROLLED IN A STAINED GLASS CLASS IN WILLIAMSBURG AS A WAY CLASS IN WILLIAMSBURG AS A WAY TO CHANNEL HIS GRIEF.

TO CHANNEL HIS GRIEF.

HIS PASSION GREW FROM THAT HIS PASSION GREW FROM THAT INITIAL CLASS, AND DREW FOUND A INITIAL CLASS, AND DREW FOUND A SECOND ACT CREATING COUNTLESS SECOND ACT CREATING COUNTLESS WORKS OF STAINED GLASS ART.

WORKS OF STAINED GLASS ART.

"CONNECTING POINT'S" BRIAN "CONNECTING POINT'S" BRIAN SULLIVAN SPENT THE DAY WITH DREW SULLIVAN SPENT THE DAY WITH DREW IN HIS STUDIO TO BRING US THIS IN HIS STUDIO TO BRING US THIS NEXT STORY.

NEXT STORY.

>> IT'S MIDMORNING AND GREGORY >> IT'S MIDMORNING AND GREGORY IS MAKING HIS WAY INTO WHAT IS IS MAKING HIS WAY INTO WHAT IS KNOWN AS KISS MY GLASS STUDIO 1.

KNOWN AS KISS MY GLASS STUDIO 1.

IF THERE WAS AN ADULT VERSION OF IF THERE WAS AN ADULT VERSION OF A PLAY ROOM OR TOY BOX THAT SO A PLAY ROOM OR TOY BOX THAT SO MANY OF US HAD AS CHILDREN, FOR MANY OF US HAD AS CHILDREN, FOR DREW, THIS MIGHT BE IT.

DREW, THIS MIGHT BE IT.

REQUEST SEEMINGLY EVERY TOOL AND REQUEST SEEMINGLY EVERY TOOL AND PIECE OF MATERIAL NEEDED TO PIECE OF MATERIAL NEEDED TO PRODUCE STAINED GLASS ART AT HIS PRODUCE STAINED GLASS ART AT HIS DISPOSAL, THERE IS MORE THAN DISPOSAL, THERE IS MORE THAN JUST A PLAY ROOM.

JUST A PLAY ROOM.

IT'S A FORT THREAT OF -- IT'S A FORT THREAT OF -- FORTRESS OF SOLITUDE.

FORTRESS OF SOLITUDE.

>> YOU FIND WHEN YOU'RE SITTING >> YOU FIND WHEN YOU'RE SITTING WITH YOURSELF, ALL OF THE WITH YOURSELF, ALL OF THE WORRIES OF THE DAY DISAPPEAR.

WORRIES OF THE DAY DISAPPEAR.

AND YOU GET FOCUSED ON WHAT AND YOU GET FOCUSED ON WHAT YOU'RE DOING.

YOU'RE DOING.

THAT OPENS UP YOUR MIND FOR THAT OPENS UP YOUR MIND FOR DIFFERENT CREATIVE THOUGHTS TO DIFFERENT CREATIVE THOUGHTS TO JUST PENETRATE YOUR HEAD.

JUST PENETRATE YOUR HEAD.

>> DREW HAS ONLY BEEN PRACTICING >> DREW HAS ONLY BEEN PRACTICING HIS CRAFT FOR A LITTLE MORE THAN HIS CRAFT FOR A LITTLE MORE THAN SIX YEARS.

SIX YEARS.

BUT TO LOOK AROUND HIS HOUSE, BUT TO LOOK AROUND HIS HOUSE, IT'S EASY TO THINK THAT THIS HAS IT'S EASY TO THINK THAT THIS HAS BEEN A LIFELONG PURSUIT.

BEEN A LIFELONG PURSUIT.

ONE MAY EVEN WONDER WHY THERE'S ONE MAY EVEN WONDER WHY THERE'S SO MUCH OF IT HERE.

SO MUCH OF IT HERE.

PIECES LIKE THESE WOULD VERY PIECES LIKE THESE WOULD VERY LIKELY BE SOUGHT AFTER BY MANY LIKELY BE SOUGHT AFTER BY MANY PEOPLE WHO WOULD PAY A PRETTY PEOPLE WHO WOULD PAY A PRETTY PENNY TO HAVE THEM IN THEIR PENNY TO HAVE THEM IN THEIR HOMES.

HOMES.

TURNS OUT, THEY'VE ALL GOT TURNS OUT, THEY'VE ALL GOT SENTIMENTAL VALUE.

SENTIMENTAL VALUE.

>> IF YOU HAVE A PIECE THAT HAS >> IF YOU HAVE A PIECE THAT HAS 150 PIECES IN IT, YOU CAN PICK 150 PIECES IN IT, YOU CAN PICK UP EACH PIECE AND SPEND AS MUCH UP EACH PIECE AND SPEND AS MUCH AS 20 MINUTES ON ONE PIECE OF AS 20 MINUTES ON ONE PIECE OF GLASS.

GLASS.

WITHIN A DIFFERENT PHASES, WITHIN A DIFFERENT PHASES, CUTTING, GRINDING, FOILING, CUTTING, GRINDING, FOILING, SADDERRING.

SADDERRING.

-- SOLDERING.

-- SOLDERING.

SO YOU GET AN ATTACHMENT TO IT SO YOU GET AN ATTACHMENT TO IT ALMOST LIKE A CHILD.

ALMOST LIKE A CHILD.

YOU GROW WITH THAT PIECE AND YOU YOU GROW WITH THAT PIECE AND YOU NEVER WANT IT -- YOU NEVER WANT NEVER WANT IT -- YOU NEVER WANT TO PART FROM IT.

TO PART FROM IT.

SO THAT'S WHAT HAPPENED TO ME.

SO THAT'S WHAT HAPPENED TO ME.

I MAKE PIECES AND I JUST LIKE I MAKE PIECES AND I JUST LIKE HOLDING ON TO THEM.

HOLDING ON TO THEM.

>> WE SHOULD MENTION THAT MANY >> WE SHOULD MENTION THAT MANY OF THESE PIECES CAN TAKE MONTHS OF THESE PIECES CAN TAKE MONTHS TO PRODUCE, WHICH IS FINE DURING TO PRODUCE, WHICH IS FINE DURING THE FINAL COUPLE OF DAYS THAT IS THE FINAL COUPLE OF DAYS THAT IS BEING -- IT'S BEING MADE.

BEING -- IT'S BEING MADE.

BUT EVEN ARTISTS NEED SOME BUT EVEN ARTISTS NEED SOME INSTANT GRATIFICATION WHEN THEIR INSTANT GRATIFICATION WHEN THEIR PROJECTS THEM FEELING EVERY DAY PROJECTS THEM FEELING EVERY DAY IS ANOTHER DAY OF UNFINISHED IS ANOTHER DAY OF UNFINISHED BUSINESS.

BUSINESS.

GREGORY CAME UP WITH AN ANSWER.

GREGORY CAME UP WITH AN ANSWER.

STAINED GLASS BOW TIES.

STAINED GLASS BOW TIES.

THEY ONLY TAKE A COUPLE OF DAYS THEY ONLY TAKE A COUPLE OF DAYS TO MAKE AND THEY SERVE A TO MAKE AND THEY SERVE A FUNCTIONAL PURPOSE.

FUNCTIONAL PURPOSE.

>> IF YOU ARE LOOK AT THEM, YOU >> IF YOU ARE LOOK AT THEM, YOU MIGHT THINK THEY'RE SOMETHING MIGHT THINK THEY'RE SOMETHING THAT IS -- THEY'RE DECORATIVE.

THAT IS -- THEY'RE DECORATIVE.

BUT I TAKE THE TIME TO PUT A BUT I TAKE THE TIME TO PUT A BAND ON THEM.

BAND ON THEM.

YOU COULD ACTUALLY WEAR THEM.

YOU COULD ACTUALLY WEAR THEM.

I PERSONALLY WEAR ONE TO CHURCH I PERSONALLY WEAR ONE TO CHURCH EVERY SUNDAY.

EVERY SUNDAY.

I DON'T WEAR A CLOTH BOW TIES I DON'T WEAR A CLOTH BOW TIES THAT I USED TO TIE MYSELF.

THAT I USED TO TIE MYSELF.

NOW I PUT ON A GLASS BOW TIE NOW I PUT ON A GLASS BOW TIE EVERY SUNDAY.

EVERY SUNDAY.

>> THE WORK THAT DREW DOES NOW >> THE WORK THAT DREW DOES NOW IS A FAR CRY FROM WHAT HE DID AS IS A FAR CRY FROM WHAT HE DID AS FOR 34 YEARS.

FOR 34 YEARS.

BUT THE LOCATION NEVER CHANGED.

BUT THE LOCATION NEVER CHANGED.

HE'S STILL RIGHT HERE IN THE HE'S STILL RIGHT HERE IN THE CITY OF SPRINGFIELD WHERE HE WAS CITY OF SPRINGFIELD WHERE HE WAS BORN AND RAISED.

BORN AND RAISED.

NOW IN A NEIGHBORHOOD THAT'S NOW IN A NEIGHBORHOOD THAT'S ONLY A STONE'S THROW FROM FREP.

ONLY A STONE'S THROW FROM FREP.

-- FOREST PARK.

-- FOREST PARK.

MOST OF GREGORY'S NEIGHBORS MOST OF GREGORY'S NEIGHBORS PROBABLY HAVE NO IDEA THE TYPE PROBABLY HAVE NO IDEA THE TYPE OF ARTWORK THAT HE PRODUCES IN OF ARTWORK THAT HE PRODUCES IN HIS STUDIO AND THAT'S JUST FINE HIS STUDIO AND THAT'S JUST FINE BY HIM.

BY HIM.

HIS UNDER THE RADAR EXISTENCE HIS UNDER THE RADAR EXISTENCE ALLOWS HIM TO KEEP DOING HIS ART ALLOWS HIM TO KEEP DOING HIS ART FOR FUN SO THAT IT NEVER FEELS FOR FUN SO THAT IT NEVER FEELS LIKE WORK.

LIKE WORK.

>> WHEN I INITIALLY CAME UP WITH >> WHEN I INITIALLY CAME UP WITH THE NAME, KISS MY GLASS STUD YO THE NAME, KISS MY GLASS STUD YO 1.

1.

-- STUDIO 1, THE STUDIO 1 WAS -- STUDIO 1, THE STUDIO 1 WAS ADDED BECAUSE I THOUGHT THERE ADDED BECAUSE I THOUGHT THERE MIGHT BE A STUDIO TWO AND A MIGHT BE A STUDIO TWO AND A STUDIO THREE AND FOUR.

STUDIO THREE AND FOUR.

BUT I'M REALLY DOING IT FOR FUN BUT I'M REALLY DOING IT FOR FUN AND FOR PEOPLE WHO REALLY AND FOR PEOPLE WHO REALLY APPRECIATE SOMEONE.

APPRECIATE SOMEONE.

IF I SEE SOMEONE REALLY IF I SEE SOMEONE REALLY APPRECIATE SOMETHING, AND REALLY APPRECIATE SOMETHING, AND REALLY ARE INTO IT, I'M MOSH ANXIOUS TO ARE INTO IT, I'M MOSH ANXIOUS TO WANT -- MORE ANXIOUS TO WANT TO WANT -- MORE ANXIOUS TO WANT TO DO SOMETHING FOR THEM BECAUSE I DO SOMETHING FOR THEM BECAUSE I KNOW THEY APPRECIATE IT AND LIKE KNOW THEY APPRECIATE IT AND LIKE IT LIKE I DO.

IT LIKE I DO.

BUT DOWN THE ROAD, I DON'T WANT BUT DOWN THE ROAD, I DON'T WANT TO REALLY DO MUCH MORE THAN WHAT TO REALLY DO MUCH MORE THAN WHAT I'M DOING NOW.

I'M DOING NOW.

I JUST WANT TO PUTT ALONG THE I JUST WANT TO PUTT ALONG THE WAY I'M GOING.

WAY I'M GOING.

♪ ♪ ♪ ♪ >>> AND FOR MORE ON THE PEOPLE, >>> AND FOR MORE ON THE PEOPLE, STORIES, AND ISSUES THAT SHAPE STORIES, AND ISSUES THAT SHAPE THE BLACK EXPERIENCE IN WESTERN THE BLACK EXPERIENCE IN WESTERN NEW ENGLAND, BE SURE TO VISIT NEW ENGLAND, BE SURE TO VISIT NEPM.ORG/CONNECTINGPOINT FOR OUR NEPM.ORG/CONNECTINGPOINT FOR OUR BLACK HISTORY MONTH COLLECTION.

BLACK HISTORY MONTH COLLECTION.

>>> THE FIRE SIDE PROGRAM HAS >>> THE FIRE SIDE PROGRAM HAS PROVIDED POETRY WORN SHOPS FOR PROVIDED POETRY WORN SHOPS FOR CHILDREN AND ADULTS IN CHILDREN AND ADULTS IN PHILADELPHIA SINCE -- 50 PHILADELPHIA SINCE -- 50 SINCE -- PITTSFIELD SINCE 2017.

SINCE -- PITTSFIELD SINCE 2017.

THE PROGRAM, MASTHEADS, THE PROGRAM, MASTHEADS, PITTSFIELD PUBLIC SCHOOLS, WEST PITTSFIELD PUBLIC SCHOOLS, WEST SIDE LEGENDS, AND OTHER LOCAL SIDE LEGENDS, AND OTHER LOCAL ORGANIZATIONS, AIMS TO BRING THE ORGANIZATIONS, AIMS TO BRING THE COMMUNITY TOGETHER THROUGH COMMUNITY TOGETHER THROUGH POETRY.

POETRY.

I SPOKE TO ORGANIZERS TO LEARN I SPOKE TO ORGANIZERS TO LEARN MORE.

MORE.

>> IT'S AN -- THEY'RE NOT TWO >> IT'S AN -- THEY'RE NOT TWO SEPARATE FREAMENTS.

SEPARATE FREAMENTS.

FIRESIDE IS THE NAME WE USE TO FIRESIDE IS THE NAME WE USE TO YOUR OUR -- FOR OUR STUDENT YOUR OUR -- FOR OUR STUDENT POETRY PROGRAMMING THAT'S POETRY PROGRAMMING THAT'S EMBEDDED IN THE UMBRELLA OF THE <u>%-úL</u> THINKING AROUND THE MASTHEADS WAS TO REALLY HAD SHOWER LOVE WAS TO REALLY HAD SHOWER LOVE AND ATTENTION ON TO PIVOT AND AND ATTENTION ON TO PIVOT AND TO -- PITTSFIELD AND TO SAY THIS TO -- PITTSFIELD AND TO SAY THIS IS A PLACE WHERE REALLY IS A PLACE WHERE REALLY SIGNIFICANT DEVELOPMENTS IN SIGNIFICANT DEVELOPMENTS IN AMERICAN WRITING HAVE TAKEN AMERICAN WRITING HAVE TAKEN PLACE, FROM MOBY DICK BEING PLACE, FROM MOBY DICK BEING WRITTEN IN PIVOTED, HAWTHORNE, WRITTEN IN PIVOTED, HAWTHORNE, THOREAU, JAMES VANDER, EDITH THOREAU, JAMES VANDER, EDITH WHARTON.

WHARTON.

ALL THESE REALLY SIGNIFICANT ALL THESE REALLY SIGNIFICANT LITERARY FIGURES WHO WROTE IN LITERARY FIGURES WHO WROTE IN AND AROUND THIS AREA.

AND AROUND THIS AREA.

AND KIND OF AT THE BEGINNING OF AND KIND OF AT THE BEGINNING OF THIS PROJECT, BUT WE WANTED -- THIS PROJECT, BUT WE WANTED -- WHAT WE WANTED TO DO WAS TO LET WHAT WE WANTED TO DO WAS TO LET PITTSFIELD AND BERKSHIRE PITTSFIELD AND BERKSHIRE RESIDENTS KNOW THAT THIS IS A RESIDENTS KNOW THAT THIS IS A PART OF THEIR HERITAGE THAT MAY PART OF THEIR HERITAGE THAT MAY NOT BE VISIBLE IN THEIR EVERYDAY NOT BE VISIBLE IN THEIR EVERYDAY EXPERIENCE OF THE CITY, BUT BY EXPERIENCE OF THE CITY, BUT BY ACTUALLY BUILDING FIVE LITTLE ACTUALLY BUILDING FIVE LITTLE STRUCTURES THAT REPRESENT THIS STRUCTURES THAT REPRESENT THIS HISTORY.

HISTORY.

THE GOAL WAS TO CREATE KIND OF THE GOAL WAS TO CREATE KIND OF PHYSICAL LANDMARKS THAT PEOPLE PHYSICAL LANDMARKS THAT PEOPLE COULD SEE AND BE REMINDED OF COULD SEE AND BE REMINDED OF THESE WRITERS AND THEN ALSO USE THESE WRITERS AND THEN ALSO USE THOSE SPACES AND THE ASSOCIATED THOSE SPACES AND THE ASSOCIATED PROGRAMMING TO INVITE PITTSFIELD PROGRAMMING TO INVITE PITTSFIELD RESIDENTS TO BECOME PART OF IT.

RESIDENTS TO BECOME PART OF IT.

SO WE FOUND IT ACTUALLY WORKING SO WE FOUND IT ACTUALLY WORKING WITH RESIDENT POETRY HAS BEEN WITH RESIDENT POETRY HAS BEEN REALLY A POWERFUL CATALYST TO REALLY A POWERFUL CATALYST TO GET PEOPLE ACROSS THE CITY TO GET PEOPLE ACROSS THE CITY TO UNDERSTAND OUR RELATIONSHIP TO UNDERSTAND OUR RELATIONSHIP TO PLACES IN A NEW WAY.

PLACES IN A NEW WAY.

>> AND YOU ALL WORK WITH A LARGE >> AND YOU ALL WORK WITH A LARGE AGE RANGE.

AGE RANGE.

YOU START WITH ELEMENTARY YOU START WITH ELEMENTARY STUDENTS AND WORK ALL THE WAY UP STUDENTS AND WORK ALL THE WAY UP TO ADULTS.

TO ADULTS.

TELL ME MORE ABOUT HOW THOSE TELL ME MORE ABOUT HOW THOSE WORKSHOPS AND WORKING WITH THE WORKSHOPS AND WORKING WITH THE RESIDENTS, HOW DOES THAT GO?

RESIDENTS, HOW DOES THAT GO?

WHAT DOES THAT LOOK LIKE?

WHAT DOES THAT LOOK LIKE?

>> THERE ARE ELEMENTARY SCHOOL >> THERE ARE ELEMENTARY SCHOOL STUDENTS.

STUDENTS.

WE DO SEMESTER-LONG POETRY WE DO SEMESTER-LONG POETRY WORKSHOPS.

WORKSHOPS.

SO THE STUDENTS GET A FULL SO THE STUDENTS GET A FULL COURSE WHERE THEY'RE WRITING FOR COURSE WHERE THEY'RE WRITING FOR AN HOUR EVERY WEEK.

AN HOUR EVERY WEEK.

AND THEN AT THE END WE DO -- WE AND THEN AT THE END WE DO -- WE CREATED A STUDENT ANTHOLOGY OF CREATED A STUDENT ANTHOLOGY OF WORK.

WORK.

AND THEN WE ALWAYS PAIR EVERY AND THEN WE ALWAYS PAIR EVERY WORKSHOP WITH A DESIGN PROJECT.

WORKSHOP WITH A DESIGN PROJECT.

SO THAT NOT ONLY ARE STUDENTS SO THAT NOT ONLY ARE STUDENTS WRITING AND ACCESSING THIS WRITING AND ACCESSING THIS LITERARY HISTORY, BUT THEN THEIR LITERARY HISTORY, BUT THEN THEIR WORDS ARE PUT OUT INTO THE CITY WORDS ARE PUT OUT INTO THE CITY WHERE EVERYONE CAN SEE THEM AND WHERE EVERYONE CAN SEE THEM AND WHERE THE STUDENTS REQUEST FEEL WHERE THE STUDENTS REQUEST FEEL EMPOWERED -- CAN FEEL UMPOWERED EMPOWERED -- CAN FEEL UMPOWERED AND THE CITY CAN FEEL EMPOWERED AND THE CITY CAN FEEL EMPOWERED AND CONNECTED.

AND CONNECTED.

>> I LOVE THAT THE POETRY IS NOT >> I LOVE THAT THE POETRY IS NOT JUST SHARED WITHIN THE WORK IN JUST SHARED WITHIN THE WORK IN THE -- GROUP AND THEWORK SHOP.

THE -- GROUP AND THEWORK SHOP.

IT'S CITYWIDE.

IT'S CITYWIDE.

AND ANOTHER FEATURE ABOUT THESE AND ANOTHER FEATURE ABOUT THESE WORKSHOPS AND PROGRAMS IS THE WORKSHOPS AND PROGRAMS IS THE HAT HOUSE.

HAT HOUSE.

SO CAN YOU SHARE MORE ABOUT WHAT SO CAN YOU SHARE MORE ABOUT WHAT THE HAT HOUSE IS AND HOW IT THE HAT HOUSE IS AND HOW IT BEGAN?

BEGAN?

>> WHEN WE WERE DEVELOPING >> WHEN WE WERE DEVELOPING OUR -- PLAY CITY PARK, WE HAD OUR -- PLAY CITY PARK, WE HAD GOTTEN NOTICE THAT THE KIDS WERE GOTTEN NOTICE THAT THE KIDS WERE NOW SITTING ON THE BENCHES THAT NOW SITTING ON THE BENCHES THAT WE HAD PLACED THERE THIS SUMMER.

WE HAD PLACED THERE THIS SUMMER.

AND SO IT GOT US TO THINKING AND SO IT GOT US TO THINKING ABOUT ENGAGING THE YOUNG FOLKS ABOUT ENGAGING THE YOUNG FOLKS WHEN THEY COME THERE AND WAIT IN WHEN THEY COME THERE AND WAIT IN THE PARK.

THE PARK.

WE WERE TALKING ABOUT NEIGHBOR WE WERE TALKING ABOUT NEIGHBOR SOME GREAT MURALS, SOME SOME GREAT MURALS, SOME INSPIRATIONS, AND I SUGGESTED, INSPIRATIONS, AND I SUGGESTED, YOU KNOW, ONCE IT GETS A LITTLE YOU KNOW, ONCE IT GETS A LITTLE COLDER, THAT WE HAVE SOME TYPE COLDER, THAT WE HAVE SOME TYPE OF A BOX FOR THEM, IF THEY OF A BOX FOR THEM, IF THEY FORGET THEIR MITTENS AND THEY'RE FORGET THEIR MITTENS AND THEY'RE STANDING THERE AT THE BUS STOP, STANDING THERE AT THE BUS STOP, BECAUSE, YOU KNOW, WESTERN MASS BECAUSE, YOU KNOW, WESTERN MASS IS KNOWN FOR VERY, VERY COLD IS KNOWN FOR VERY, VERY COLD DAYS.

DAYS.

I WANT TO SAY IT HAS BEEN A JOY I WANT TO SAY IT HAS BEEN A JOY TO WATCH EVERYONE IN THE TO WATCH EVERYONE IN THE NEIGHBORHOOD AND IN PITTSFIELD NEIGHBORHOOD AND IN PITTSFIELD DROPPING THINGS OFF.

DROPPING THINGS OFF.

SOCKS AND GLOVES AND THEY'RE SOCKS AND GLOVES AND THEY'RE SAYING IT'S GOING TO BE COLD.

SAYING IT'S GOING TO BE COLD.

WE NEED TO REFILL IT.

WE NEED TO REFILL IT.

SO THE WHOLE COMMUNITY REALLY SO THE WHOLE COMMUNITY REALLY HAS RALLIED TO MAKE SURE THAT HAS RALLIED TO MAKE SURE THAT THE BOX STAYS FULL.

THE BOX STAYS FULL.

AND YOU KNOW, WE HAD WORRIED AND YOU KNOW, WE HAD WORRIED ABOUT SOMEBODY COMING AND TAKING ABOUT SOMEBODY COMING AND TAKING ALL OF THEM.

ALL OF THEM.

AND THEY HAVE NOT.

AND THEY HAVE NOT.

THEY HAVE BEEN RESPECTFUL.

THEY HAVE BEEN RESPECTFUL.

AND SO IT'S REALLY BRINGING A AND SO IT'S REALLY BRINGING A LOT OF PRIDE BACK TO THE LOT OF PRIDE BACK TO THE COMMUNITY.

COMMUNITY.

>> AND THE ITEMS IN THE HAT >> AND THE ITEMS IN THE HAT HOUSE, ARE UNIQUE IN ITSELF.

HOUSE, ARE UNIQUE IN ITSELF.

I KNOW THAT THERE'S A NICE I KNOW THAT THERE'S A NICE LITTLE TOUCH TO SOME OF THE HATS LITTLE TOUCH TO SOME OF THE HATS THAT ARE BEING OFFERED.

THAT ARE BEING OFFERED.

SARAH, CAN YOU TELL ME MORE SARAH, CAN YOU TELL ME MORE ABOUT WHAT YOU CAN SEE ON THE ABOUT WHAT YOU CAN SEE ON THE HATS?

HATS?

>> ON EVERY HAT THERE'S A LINE >> ON EVERY HAT THERE'S A LINE OF STUDENT POETRY.

OF STUDENT POETRY.

WE TOOK EXCERPTS FROM POEM THAT WE TOOK EXCERPTS FROM POEM THAT IS THEY WROTE THIS FALL AND WE IS THEY WROTE THIS FALL AND WE WORKED WITH A LOCAL COMPANY WORKED WITH A LOCAL COMPANY CALLED ELEGANT STITCHES TO HAVE CALLED ELEGANT STITCHES TO HAVE THE LINES OF STUDENT POETRY THE LINES OF STUDENT POETRY EMBROIDERED ON THE HATS.

EMBROIDERED ON THE HATS.

>> DO YOU WANT TO SHARE SOME OF >> DO YOU WANT TO SHARE SOME OF THOSE LINES WITH US?

THOSE LINES WITH US?

>> THERE ARE 26 STUDENTS IN OUR >> THERE ARE 26 STUDENTS IN OUR FALL WORKSHOP AND EVERY STUDENT FALL WORKSHOP AND EVERY STUDENT HAS A LINE OF POETRY ON IT -- ON HAS A LINE OF POETRY ON IT -- ON THE HAT.

THE HAT.

ON MANY HATS.

ON MANY HATS.

SOME SAY, I'M A SMALL BIRD BUT I SOME SAY, I'M A SMALL BIRD BUT I FEEL HUGE.

FEEL HUGE.

IF YOU CAN'T SLEIGH, I WILL SHOW IF YOU CAN'T SLEIGH, I WILL SHOW YOU.

YOU.

>> I THINK THERE WAS ONE I SAW >> I THINK THERE WAS ONE I SAW THAT WHEN I'M SAD, I READ.

THAT WHEN I'M SAD, I READ.

>> WHEN I'M SAD I READ.

>> WHEN I'M SAD I READ.

>> I LOVE THAT ONE.

>> I LOVE THAT ONE.

>> YIS.

>> YIS.

I DID GOOD THINGS TODAY.

I DID GOOD THINGS TODAY.

>> SO SWEET.

>> SO SWEET.

>> THERE'S ONE THAT SAYS, I WISH >> THERE'S ONE THAT SAYS, I WISH TO GO HOME NOW.

TO GO HOME NOW.

[LAUGHTER] [LAUGHTER] >> WE CAN ALL RELATE TO THAT >> WE CAN ALL RELATE TO THAT ONE, RIGHT?

ONE, RIGHT?

>> YEAH.

>> YEAH.

>> YES.

>> YES.

THEY'RE SO RELATABLE.

THEY'RE SO RELATABLE.

AND THEY'RE A LITTLE SO AND THEY'RE A LITTLE SO SURPRISING.

SURPRISING.

YOU JUST -- YOU YOU CAN'T YOU JUST -- YOU YOU CAN'T IMAGINE -- YOU COULD NEVER IMAGINE -- YOU COULD NEVER IMAGINE WRITING SUCH A THING, IMAGINE WRITING SUCH A THING, BUT WHEN YOU HAVE ALL OF THIS -- BUT WHEN YOU HAVE ALL OF THIS -- THESE COLLECTED VOICES TOGETHER, THESE COLLECTED VOICES TOGETHER, IT'S JUST -- IT'S REALLY IT'S JUST -- IT'S REALLY MAGICAL.

MAGICAL.

AND THEN WE ALSO INCLUDE THE AND THEN WE ALSO INCLUDE THE ANTHOLOGIES IN THE HAT HOUSE, ANTHOLOGIES IN THE HAT HOUSE, TOO.

TOO.

SO PEOPLE CAN READ THE LINES OF SO PEOPLE CAN READ THE LINES OF POETRY ON THE HAT AND THEN GO POETRY ON THE HAT AND THEN GO FIND THE POEM WHERE THEY FIND THE POEM WHERE THEY ORIGINATED AND THAT'S JUST ALSO ORIGINATED AND THAT'S JUST ALSO SO SPECIAL.

SO SPECIAL.

LIKE THE POEM THAT I DID GOOD LIKE THE POEM THAT I DID GOOD THINGS TODAY, CAME FROM.

THINGS TODAY, CAME FROM.

IT WAS JUST A WHOLE -- JUST SORT IT WAS JUST A WHOLE -- JUST SORT OF ENCAPSULATED THE HUMAN OF ENCAPSULATED THE HUMAN EXPERIENCE.

EXPERIENCE.

WELL, SOMETIMES I'M HAPPY AND WELL, SOMETIMES I'M HAPPY AND SOMETIMES I'M SAD.

SOMETIMES I'M SAD.

AND I WAS -- YOU KNOW, I WAS AND I WAS -- YOU KNOW, I WAS HAVING THIS HARD TIME BUT I HAVING THIS HARD TIME BUT I STILL DID GOOD THINGS TODAY.

STILL DID GOOD THINGS TODAY.

AND IT'S JUST LIKE -- IT'S JUST AND IT'S JUST LIKE -- IT'S JUST SO UPLIFTING.

SO UPLIFTING.

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

EDITION OF "CONNECTING POINT."

REMEMBER, YOU CAN ALWAYS FIND REMEMBER, YOU CAN ALWAYS FIND ALL OF THE STORIES THAT YOU SAW ALL OF THE STORIES THAT YOU SAW IN THIS EPISODE, AS WELL AS IN THIS EPISODE, AS WELL AS EXCLUSIVE FEATURES, DIGITAL-ONLY EXCLUSIVE FEATURES, DIGITAL-ONLY CONTENT, AND SO MUCH MORE ONLINE CONTENT, AND SO MUCH MORE ONLINE ANYTIME AT ANYTIME AT NEPM.ORG/CONNECTINGPOINT.

NEPM.ORG/CONNECTINGPOINT.

SOME OUR THANKS TO THE TOWN OF SOME OUR THANKS TO THE TOWN OF WILBRAHAM FOR HOSTING US TODAY.

WILBRAHAM FOR HOSTING US TODAY.

AND PLEASE BE SURE TO JOIN US AND PLEASE BE SURE TO JOIN US AGAIN EVERY WEEK RIGHT HERE FOR AGAIN EVERY WEEK RIGHT HERE FOR MORE STORIES OF THE CREATIVITY, MORE STORIES OF THE CREATIVITY, CULTURE, AND COMMUNITY TO MAKE CULTURE, AND COMMUNITY TO MAKE US WESTERN NEW ENGLAND.

US WESTERN NEW ENGLAND.

I'M ZYDALIS BAUER.

I'M ZYDALIS BAUER.

THANKS FOR WATCHING AND TAKE THANKS FOR WATCHING AND TAKE CARE.

CARE.

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

♪ ♪ ♪ ♪