(male announcer) PRODUCTION FUNDING FOR RARE VISIONS AND ROADSIDE REVELATIONS HAS BEEN PROVIDED BY... (male announcer) THE DE BRUCE COMPANIES, PROUD TO SERVE AGRICULTURAL COMMUNITIES THROUGHOUT THE MIDWEST WITH HIGH-SPEED GRAIN HANDLING FACILITIES, FERTILIZER, AND FEED INGREDIENT DISTRIBUTION TERMINALS.

(male announcer) AND BY FRED & LOU HARTWIG, GENEROUS SUPPORTERS OF KCPT AND PUBLIC TELEVISION, URGING YOU TO BECOME A MEMBER TODAY.

(man) ♪ 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 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'S 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.

♪ (Don) "DEAR TV MAILBAG, WHICH WAY TO THE LOBBY?"

HI, DON THE CAMERA GUY HERE, DOING HALLWAY DUTY ON MY WAY TO ANOTHER DAY IN SEARCH OF GREAT GRASSROOTS ART AND OFFBEAT ATTRACTIONS.

NEXT.

[grunts] CAREFUL WITH THOSE-- CAREFUL WITH THOSE... (Don) HARD TO BELIEVE, BUT THOSE TWO BAGGAGE HANDLERS ARE MY PRODUCERS.

AND TODAY THEY'VE PRODUCED A FIRST STOP THAT'S NOT FAR AT ALL, JUST A FEW MILES OUTSIDE SAN ANGELO WHERE ANOTHER "DON" AWAITS US, DONALD KEENEY, THAT THIS.

TRAINED AS A PAINTER, HE DID A TURN IN THE SERVICE, A STINT AT SEARS, AND THEN BEGAN CARVING HIS MESSAGE IN MESQUITE, A MESSAGE, AT TIMES, EXPRESSED IN MONUMENTAL FORM, AS YOU'LL SOON SEE.

(Donald) WHEN I FIRST STARTED DOING WOODWORKING, I DID EVERYTHING IMAGINABLE.

LIKE, MOST PEOPLE DO EXPERIMENTATION AND SO FORTH.

AND I GUESS SOMEWHERE IN THE EARLY '90s, I DID A FEW CROSSES FOR A NUN.

PROBABLY FOUR OR FIVE MONTHS LATER, SHE WANTED ANOTHER HANDFUL, AND THEN I DID ANOTHER HANDFUL, AND THEN, ALL OF A SUDDEN, I SAID, "WELL, MAYBE I'LL JUST GO AHEAD AND TRY TO DO THAT FOR A WHILE."

AND SO IT JUST KIND OF SNOWBALLED FROM THERE.

I DROPPED ALL OTHER KIND OF PRODUCTION OTHER THAN BIBLICAL.

ACTUALLY, THE BIG PIECES CAME FIRST.

A LOT OF THOUGHT-- THERE'S A WEALTH OF INFORMATION IN THE BIBLE.

YOU CAN JUST GO FOREVER.

THE BOOK OF GENESIS-- YOU COULD WORK IN THE BOOK OF GENESIS TEN LIFETIMES AND NEVER COVER THE SUBJECT MATTER.

PRIMARILY, ALL MY WORK IS BAND SAW.

YOU GET A LOT OF CIRCULAR AND CURVING MOTIONS.

I TRY TO DESIGN THINGS WHERE IT LOOKS LIKE IT'S FLUID OR HAS SOME KIND OF MOTION TO IT EVEN THOUGH IT'S REALLY JUST AN INNATE OBJECT.

AND THIS JUST DEPICTS THE BOOK OF REVELATION.

THERE'S A LOT OF VERSES OUT OF THE BOOK OF REVELATIONS.

I HAD THIS DESIGNED WITH SEVEN LAYERS AT FIRST.

THESE ARE SOME OF THE DIFFERENT TIME PERIODS IN ANTIQUITY.

THE FOUR BEASTS SURROUND THE THRONE.

THEY'RE UP HERE DEPICTED ON THESE FOUR CORNERS.

MOST OF THE TIMES, I'LL DO THE PROSE PART BEFORE I DO THE ACTUAL SCULPTURE PIECE.

(Mike) THIS IS WHAT YOU'RE TALKING ABOUT?

(Donald) RIGHT, RIGHT.

ALL THIS WAS CUT AND EVERYTHING AND DESIGNED OUT IN MY SHOP AREA, AND THEN EVERY SCULPTURE PIECE WE'LL SEE TODAY WAS PUT TOGETHER OR ASSEMBLED ON THE COFFEE TABLE DOWNSTAIRS IN THE LIVING ROOM, SO IT'S SEEN A LOT OF ACTIVITY NOW.

I'M TRYING TO PICTURE YOU MOVING THESE.

HOW DO YOU MOVE 'EM?

AND I LOST ONE OF THE HANDLES THE OTHER DAY DOING SOMETHING.

LET ME PULL THIS OUT AND SHOW YOU.

EACH HANDLE GOES IN EACH SIDE, AND THEN-- FROM HERE UP, THIS IS ONE PIECE.

I MEAN, THIS IS PRETTY HEAVY.

I DON'T KNOW HOW MUCH.

PROBABLY 250.

200, 300 POUNDS.

YEAH.

(Donald) AND I WENT AHEAD AND EVOLVED INTO SOME CLOCKWORK-TYPE THINGS.

[gears clicking] (Don) I'M THINKING DA VINCI MACHINE--DRAWINGS AND STUFF WHEN I SEE SOME OF THIS.

I KIND OF REMINDS ME OF THOSE, YOU KNOW.

DID YOU STUDY THOSE KINDS OF THINGS?

(Donald) NOT REALLY.

THAT'S JUST REALLY A CONGLOMERATE OR A CONGREGATION, SO TO SPEAK, OF JUST A LOT OF DIFFERENT PIECES.

SOMETHING LIKE THIS IS SUCH A FREEFORM DEAL.

THERE'S A BASIC DESIGN, BUT YOU CAN'T DESIGN-- YOU DON'T DESIGN EVERY PIECE.

YOU DON'T DRAW SOMETHING LIKE THAT OUT.

YOU JUST START, AND THEN YOU START BALANCING AND CREATING AS YOU GO.

THIS PIECE COULD'VE GONE FOREVER.

I MEAN, INSTEAD BEING-- WHEN IT'S ELEVATED UP, INSTEAD BEING 6 FOOT, IT COULD BE 10 OR 12.

(Mike) HOW DO YOU KNOW WHEN IT'S DONE?

(Donald) I JUST GET THE FEELING IT'S DONE.

EITHER WORE COMPLETE OUT.

NO, PRETTY WELL, I KNOW.

I PRETTY WELL HAVE IN MIND HOW BIG A PIECE IS GONNA BE BEFORE I GET STARTED.

I DON'T KNOW.

YOU JUST GOT TO WANT TO DO IT, AND I WANTED TO DO THIS.

RELIGION OR A BIBLICAL SUBJECT MATTER TO ME, IT JUST HAS VALUE THAT YOU DON'T GET ANYTHING ELSE IN WOODWORKING.

I'M NOT SAYING ANYTHING AGAINST ANY OTHER KIND OF WORK.

LIKE I SAY, I'VE DONE A LOT OF IT.

BUT THERE'S JUST NOT THAT INHERENT VALUE THAT YOU GET OUT OF DOING BIBLICAL WORK.

(Randy) YOU KNOW, DON, YOU'VE GOT CELESTIAL RAYS COMING DOWN FROM THAT LIGHT ABOVE YOUR HEAD.

THAT'S A GOOD DEAL.

I NEED ALL THE HELP I CAN GET.

[laughter] I'LL TAKE IT.

(Don) DONALD DOES HAVE ALL TEN DIGITS WHICH HE USED TO BID US ADIEU AS WE BEGIN THE DRIVE EVEN DEEPER INTO THE LONE STAR STATE, OUT WHERE GAS AND OIL AND THE HUNT FOR 'EM ACCOUNTS FOR MOST OF THE ACTION.

AFTER SOME NAPPIN', I AWOKE TO FIND WE'D EMERGED IN IRAAN, THAT'S IRAAN WITH TWO "A"s AFTER IRA AND ANN WHO FOUNDED THE TOWN.

BUT WE'RE HERE FOR THE "OOPS," ALLEY AND OOOLA.

COMIC STRIP FANS OF A CERTAIN AGE, YOUR FLASHBACK IS READY.

(Mike) THIS IS DINNY THE DINOSAUR, ALLEY OOP'S PET, SEEN IN DAILY NEWSPAPER COMIC STRIP.

(Randy) I LIKED ALLEY OOP.

DON LIKED ALLEY OOP.

(Don) OH, I LIKED ALLEY OOP.

YOU LIKED THIS CARTOON?

(Don) I REMEMBER READING IT IN THE DETROIT FREE PRESS.

IT WAS VERY BIG.

I DON'T REMEMBER IT AT ALL, SO...

THERE'S THE MAN HIMSELF.

FOR THOSE WHO LIVED AND BREATHED ALLEY OOP'S ADVENTURES, MIKE, THIS IS A MECCA.

I GUESS IT LOOKS LIKE THE CARTOON CHARACTER, RIGHT?

I MEAN... WHAT WERE YOU DOING?

HAVING NEVER SEEN THE CARTOON CHARACTER.

(Don) I DON'T THINK WE COULD HAVE HAD THE FLINTSTONES WITHOUT ALLEY OOP.

DO YOU?

I MEAN, HE PAVED THE WAY.

NOW, THERE'S A GOOD REASON TO HAVE HAD ALLEY OOP.

WELL, AND WE WOULDN'T HAVE HAD THAT SONG ALLEY OOP BY THE ARGYLES.

♪ THERE'S A MAN IN THE FUNNY PAPER ♪ ♪ EVERYBODY BUT MIKE KNOWS ♪ ♪ ALLEY OOP OOP ♪ BASKETBALL WOULDN'T BE THE SAME WITHOUT... (Mike) AL LEY OOP.

ALLEY OOP.

I REST MY CASE.

SHOULD WE BE HERE OR SHOULDN'T WE?

WHOO!

(Don) GUESS THERE'S YOUR ANSWER.

THOUGH CROWDS ARE SPARSE, PHOTO OPS ABOUND... [laughter] THE KIND THAT TV WEASELS CANNOT RESIST, NO MATTER HOW STUPID OR SPINALLY STRAINING.

(Mike) GET 'ER UP THERE.

(Don) SO WITH OUR WORLD RECORD HOLDER BACK IN THE VAN, WE RESUME THE DRIVE TO FORT STOCKTON IN SEARCH OF A BIRD THAT'S LOST ITS CROWN.

[imitating Road Runner] I'M TALKING ABOUT PAISANO PETE, ONCE A WORLD'S LARGEST BUT NOW JUST THE ROAD RUNNER UP.

SECOND PLACE.

THIS IS A SECOND PLACE BIRD.

THERE'S ACTUALLY A BIGGER ROAD RUNNER NOW.

WHERE IS THAT ONE?

(Randy) MEXICO.

(Mike) MEXICO?

(Randy) NEW MEXICO.

(Mike) NEW MEXICO.

[imitating Road Runner] (Don) LAS CRUCES MAY HAVE TOPPED HIM, BUT PETE'S STILL THE PRIDE OF FORT STOCKTON.

BIG IS, OF COURSE, A WAY OF LIFE IN TEXAS.

IN FACT, BIG BEND NATIONAL PARK IS JUST DOWN THE WAY, BUT THAT'S NOT WHERE WE'RE GOING.

MARFA, MY DEAR, IS OUR NEXT DESTINATION.

[speaks indistinctly] (Don) ART AND DESIGN HAVE TURNED THIS TOWN AROUND.

THERE'S PLENTY OF PLACES TO EAT AND DRINK, SHOP AND SPEND MONEY, NONE OF WHICH, I MIGHT ADD, ARE WE DOING.

IN FACT, NUMISMATIST THAT I AM, IT SEEMED LIKE A GOOD TIME TO INSPECT SOME CHANGE, WHEN ALL OF SUDDEN WHERE YOU'D LEAST EXPECT TO FIND IT, THE GLINT OF RETAIL CAUGHT OUR EYE.

(Randy) PRADA.

WHAT DOES PRADA REALLY MEAN?

(Mike) I HAVE NO-- I THINK IT MEANS FOOL.

[laughs] IT'S ITALIAN FOR FOOL.

(Don) STEP BACK INTO THE LIGHT AND YOU'LL BE IN THE STORE.

THAT'S ALL YOU-- IT'S A TRICK.

OOH, IT IS.

IT'S LIKE-- IT'S LIKE, "COULD I SEE THAT IN AN 11?"

I BET THEY DO A BRISK BUSINESS OUT HERE.

I BET THEY DO.

'CAUSE IF YOU'RE A ONE-LEGGED WOMAN WITH A FASHION EYE...

HERE'S WHAT I'VE ENJOYED.

EVERYBODY'S LEAVING THEIR CARDS.

EVERYBODY WHO VISITS LEAVES THEIR CARD WITH A LITTLE ROCK.

SEE, THESE ARE ALL, YOU KNOW-- THIS IS GARTH CLARK GALLERY OUT OF NEW YORK.

YEAH, THESE ARE FAMOUS PEOPLE WHO STOP HERE.

(Randy) AND THEN THERE'S US.

(Mike) AND THEN THERE'S US.

CAN I TAKE THE CORNER SPOT?

YOU CAN TAKE ANY SPOT YOU'D LIKE.

I'M GOING WITH THIS CORNER.

(Don) WELL, YOU KNOW WHAT THEY SAY: LOCATION, LOCATION, LOCATION.

AND HOW 'BOUT THAT SUNSET?

SEE YA IN VAN HORN.

[horse chuffing] NOW, AS MANY MILES AS WE RACK UP, A FLIGHT-PHOBIC GUY NAMED MADDEN DOES EVEN MORE, AND FOR MEXICAN FOOD ALONG I-10, HE'S PICKED CHUY'S.

THAT'S COOL, BUT SO IS THIS JUST DOWN THE STREET, AND AT THE MOMENT, UNATTENDED.

WE'LL TRY TO LEARN MORE, BUT WE'RE DUE AT THE OTHER END OF TOWN.

RAN HORN IS SWEEPING UP FOR US AT HIS VAN HORN VAN GOGH GALLERY.

SOME EXPLANATION IS IN ORDER.

I WOULD REALLY SAY THAT VAN GOGH IS PROBABLY THE MOST POPULAR ARTIST IN THE WORLD.

I'M NOT SAYING HE'S THE BEST.

(Randy) "VAN GAWK."

HAVE WE BEEN SAYING IT WRONG?

IT'S DUTCH, AND THE "G-H" HAS SORT OF THAT CLEARING YOUR THROAT SOUND.

(Randy) YOU TALK LIKE A TEXAN, SO...

I AM DEFINITELY A TEXAN.

I LIVED IN MINNESOTA FOR 15 YEARS, AND THE WHOLE TIME I WAS THERE, PEOPLE WERE ALWAYS, "WHERE ARE YOU FROM?"

I DID GIVE IT A LOT OF THOUGHT BEFORE COMING HERE.

I COULD'VE LOCATED IN MARFA OR ALPINE, FORT DAVIS-- A LOT MORE ARTSY TOWNS-- BUT VAN HORN HAS THE FREEWAY.

I'VE NEVER TAKEN AN ART LESSON IN MY LIFE, AND I LET HIM SORT OF BE MY TEACHER AND MENTOR.

AND ONCE IN WHILE, I HAVE SOMEWHAT OF AN ORIGINAL IDEA.

HOW DID I EVEN GET INTO THIS?

WE HAD BOUGHT A LARGE CHURCH BUILDING IN SUPERIOR.

AND THERE WAS 12-FOOT SCAFFOLDING.

16-FOOT LADDER ON THE SCAFFOLDING.

WELL, THE SCAFFOLDING WENT THAT WAY.

I WENT THAT WAY ON MY HEAD.

AND I WAS IN THE HOSPITAL FOR A DAY.

I WAS KNOCKED OUT, AND I THOUGHT I WAS GONNA BE PARALYZED FOR THE REST OF MY LIFE, BUT I WAS OUT OF THE HOSPITAL THE NEXT DAY.

BUT IT MADE ME STEP BACK.

AND IN THE MALL OF AMERICA, THERE'S A GALLERY DEVOTED TO REPRODUCTIONS OF, YOU KNOW, ART MASTERPIECES.

I SAID, "AH, I CAN DO THAT."

AND I SAY I'VE NEVER HAD AN ART LESSON, BUT I DID WATCH BOB ROSS ON TV, AND I SAW, YOU KNOW, THE TECHNIQUES AND STUFF.

BUT I DON'T WANT TO DO ANYTHING YOU CAN DO IN 30 MINUTES.

I DON'T WANT TO BE JUST CRANKING 'EM OUT, YOU KNOW, LIKE A MACHINE.

YOU KNOW, I WANT SOMETHING THAT'S A CHALLENGE.

LIKE, HERE'S A TRIBUTE, OR A PAINTING, BASED ON THE MOVIE TITANIC.

UH, MINNESOTA-- SORT OF A FLAVOR.

MY DADDY WAS IN THE OIL FIELD BUSINESS, AND I HAVE A PAINTING OF HIM DOING HIS WELL SERVICING OUT IN THE OIL FIELD.

THIS GUY WAS JUST A COWBOY.

HE KNEW ABOUT THIS HOLE WHERE ALL THESE BATS CAME OUT OF, AND HE'S THE ONE THAT HELPED EXPLORE IT AND MAKE POPULAR THE CARLSBAD CAVERN.

THIS WAS JIM WHITE.

AND THIS IS SORT OF A SUPERSIZED STARRY NIGHT.

BUT THIS IS A TAKEOFF ON STARRY NIGHT.

AND THAT GIVES AN EXAMPLE OF ME TRYING TO PLAY.

BUT HERE IS VINCENT IN HIS STRAW HAT, AND HERE ARE SUNFLOWERS, ANOTHER SELF-PORTRAIT OF HIM.

HERE'S WHERE HE CUT HIS EAR OFF.

AND THAT'S WHAT I REALLY LOVE ABOUT DEALING WITH VINCENT'S ART.

I LOVE SEEING HOW MUCH I CAN PUT INTO A PAINTING, WORKING HIS STUFF INTO IT.

(Mike) I ENJOYED THE CAMEL AUTOPSY, JO E CAMEL AUTOPSY BACK THERE.

(Ran) THAT WAS ONE OF MY EARLY PIECES.

THAT'S BASED ON A GOOD OLD REMBRANDT BUT THE AUTOPSY OF DR. TULIP.

AND I LOVE-- WHEN I'M BACK WORKING, I LOVE TO HEAR PEOPLE LAUGH.

AND THAT'S-- TO ME, THAT'S THE-- REALLY, THE GREAT THING ABOUT US HUMANS: WE CAN LAUGH.

IT'S FUNNY.

PEOPLE COME IN-- AND I DON'T ASK THEM; I DON'T TWIST THEIR ARM-- AND THEY SAY, "THIS IS THE NEATEST PLACE.

AND THERE'S NOT ANOTHER SHOP LIKE IT."

YOU KNOW, I DON'T KNOW IF THESE ARE COMPLIMENTS OR DIGS, BUT I SAY, "HEY, WONDERFUL," YOU KNOW.

IT'S A PLACE THEY'LL DEFINITELY REMEMBER.

(Don) THANKS AGAIN TO I-10, RAN'S MADE SALES TO THE LIKES OF DWIGHT YOAKAM AND OTHER CELEBS.

HE'S HAD HIS 15 MINUTES OF FAME ON RADIO AND TV, BUT HE'S NEVER SEEN ANYTHING QUITE LIKE OUR BIG BALL OF TAPE...

THE WORLD'S LARGEST OR NOT?

(Don) A PRIME CANDIDATE FOR THAT VAN GOGH TOUCH, OR WE'D LIKE HIM TO THINK.

AS FOR THAT RECYCLE-RAMA ON THE WEST END OF TOWN, WE'RE DRAWING BLANKS.

BUT WE HAVE FOUND PATRICIA, A CIVIC BOOSTER PAR EXCELLENCE WILLING TO PASS UP LUNCH TO PASS A FEW FACTS ABOUT FANCY JUNK.

IT'S RUN BY JOY SCOTT AND HER HUSBAND GERALD SCOTT.

JOY IS A SCHOOLTEACHER HERE, SO SHE'S AT SCHOOL RIGHT NOW.

HER HUSBAND'S A FANTASTIC SCULPTOR.

I BELIEVE HE WAS A GEOLOGIST OUT HERE IN THE BEGINNING.

HE'S RETIRED.

HE TAKES FOUND OBJECTS, AND THEN-- IT'S LIKE RECYCLING-- AND MAKES THINGS LIKE DINOSAURS, GIANT ANTS, WHICH WE HAVE DOWN AT OUR CONVENTION CENTER RIGHT NOW BECAUSE WE'RE ABOUT TO START AN ART SHOW THIS WEEK.

AND HE'S GOT ALL KINDS OF JUST ODDS AND ENDS, YOU KNOW, OF SCULPTURES.

YOU'D HAVE TO DO DOWN THERE AND TAKE PICTURES.

ARE WE ROLLING?

NOBODY WENT LIKE THIS.

(Mike) OH, WE DON'T-- WE DON'T DO IT LIKE THAT.

(Randy) SHOW ME THAT AGAIN, BECAUSE MAYBE THAT'S WHAT WE'LL DO FROM NOW ON.

HOW'S THAT GO?

CAMERA, ROLL 'EM.

(Don) DAZED AND DUSTY WITH A NEW TV TRICK TO TRY, WE NOTICED THAT JUST A FEW MILES FROM VAN HORN IT'S AN HOUR EARLIER, SO WE HEADED FOR THE HILLS, THE GUADALUPES, TO BE PRECISE, THE HIGHEST POINT IN TEXAS FOR SOME OUTDOOR RECREATION.

YOU KNOW, GETTING TO PLAY CATCH HERE IN FRONT OF THE BIG PEAK, I--IT'S TOO AMAZING.

(Don) WELL, THIS WOULD BE-- IF YOU WERE IN A BASEBALL GAME, THIS WOULD A GOOD PLACE FOR MOUNTING A COMEBACK, WOULDN'T IT?

(Randy) STRONG WIND BLOWING OUT TO RIGHT.

YEAH, WE WANT TO THROW ACCURATE IF WE CAN BECAUSE THESE CHOLLAS...

I THINK THAT'S NEW MEXICO OVER YOUR RIGHT SHOULDER THERE, MIKEY.

WE WERE JUST ABOUT RIGHT THERE.

THE BORDER'S UP HERE.

WE JUST CHANGED TIME ZONES BACK DOWN THE ROAD.

I FEEL LIKE I COULD PLAY ANOTHER HOUR, HOW ABOUT YOU?

(Don) CHOLLAS AND SNAKES ASIDE, IT'S PRETTY MUCH OUR USUAL IRRITATING GAME, UNTIL JUST LIKE THAT, AS THEY SAY, THE PLOT BEGINS TO THICKEN.

[laughter] IT'S MIKE MURPHY, BOY DETECTIVE.

SO ALL OF SUDDEN, WE'VE GONE FROM RADAR GUNS TO THE REAL THING, AND IT'S KIND OF CREEPY.

BUT THE AUTHORITIES HAVE BEEN SUMMONED, THE EVIDENCE BAGGED, AND WE'RE ON OUR WAY ACROSS SOME SALT FLATS AND ON TO THE TOWN WHERE WE'LL BED DOWN, THE ONE OLD MARTY ROBBINS IMMORTALIZED IN SONG.

LOOK AT ALL THOSE LIGHTS.

[desolate wind blows] WELL, DAYLIGHT'S NOT QUITE AS KIND TO EL PASO, BUT THE BOYS SAY WHAT WE'RE ABOUT TO SEE IS REALLY SWEET AND THAT WE MAY NEED SOME HELP WITH TRANSLATION.

GOOD THING WE FOUND HER, THE LOVELY, TALENTED, AND BILINGUAL ADAIR MARGO WHO'LL BE OUR GUIDE AT SEÑOR LOYA'S CASA DE AZUCAR, A JAW-DROPPING SPECTACLE IN WHITE JUST OFF A RAMP OF HIGHWAY 54.

(Randy) WOW.

[Adair speaking Spanish] WELL, I STARTED MORE OR LESS 26 YEARS AGO.

THE FIRST THINGS I DID IS RIGHT THERE-- YOU KNOW, THE FIRST ART-- AND SINCE THAT DATE, I FELT INSPIRATION TO DO MORE AND MORE.

(Adair) HE WORKED FOR LEVI FOR 26 YEARS.

(Mike) CAME HOME FROM THE PLANT AND CAME HERE AND WORKED AND PUT IN ANOTHER SIX OR EIGHT HOURS HERE EVERY DAY?

(Rufino) YEAH.

SOMETIMES I WORKED EIGHT HOURS EACH DAY.

SOMETIMES SATURDAY, SUNDAYS.

(Randy) THIS IS WORK.

THIS IS HARD STUFF.

(Rufino) YEAH, IT'S HARD WORK, BUT I DID IT WITH LOVE, TOO MUCH LOVE.

I STARTED WITH CEMENT BLOCK.

THESE LITTLE BALLS, I DID EACH ONE WITH MY HANDS.

AND THEN I TOUCH THEM RIGHT THERE.

(Randy) ALL OF THEM ALL ALONG THE WALLS ARE ALL DONE BY HAND?

(Rufino) ALL... (Adair) DONE BY HAND.

(Mike) AND THEN PAINTED.

I MEAN, HE'S TAKEN-- THIS IS NOT AN EASY PAINT JOB.

[Rufino speaking Spanish] (Adair) HE SAID HE PUT THE COLORS TO BREAK UP THE MONOTONY OF THE-- [Rufino speaking Spanish] (Adair) YEAH, AND THAT'S WHY HE ALSO PUT THESE SPIRES TO ADD A LITTLE BIT MORE COLOR.

[Rufino speaking Spanish] (Adair) THE BLUE IS THE SHADOW OF WHITE.

[Rufino speaking Spanish] (Adair) FROM FAR AWAY, IT LOOKS MORE WHITE.

PERO COMO UN SOMBRA.

(Rufino) SI, COMO UN SOMBRA.

(Adair) LIKE A SHADOW-- SO IT GIVES IT MORE DEPTH.

[Rufino speaking Spanish] (Adair) YEAH, AND HE CUT ALL THESE FLOWERS WITH SCISSORS.

ESE DE COCA COLA?

[Rufino speaking Spanish] THIS IS THE TOP OF THE BEERS THAT'S HE'S DRANK IN COOLING HIMSELF OFF AND RELAXING.

AND THESE-- THOSE LITTLE MARKINGS... YEAH.

CAME FROM WHAT?

[Adair speaking Spanish] I'M ASKING HIM, "WHAT DID HE TELL ME WHEN I ASKED HIM HOW HE MADE THIS DESIGN?"

[Rufino speaking Spanish] HE SAID WHEN THE CEMENT WAS FRESH, HE GOT A CHICKEN AND PUT THE CHICKEN'S FEET IN THE CIRCLE MADE BY THE BUTTER TUB.

(Randy) BIG CHICKEN?

LITTLE CHICKEN?

WHATEVER YOU HAD?

A LITTLE CHICKEN.

A LITTLE CHICKEN.

(Mike) WOW.

THAT'S MAGNIFICENT.

(Adair) YEAH.

(Mike) BUT IT'S ALL IN HIS HEAD TOO.

I MEAN, THERE'S NO TRAINING HERE TO DO THIS KIND OF WORK.

THERE'S NO-- YOU KNOW, HE MADE FABRIC, OR HE CUT JEANS.

(Adair) IN ART HISTORY, THERE'S A TERM CALLED HORROR VACUI, OR A FEAR OF EMPTY PLACES, WHERE YOU JUST COVER UP EVERY SPOT, AND HE HAS.

HE'S JUST COVERED UP EVERY SPOT WITH BEAUTY.

[Rufino speaking Spanish] (Adair) HE DID ALL OF IT FOR THE GLORY OF GOD.

(Rufino) CASA DE AZUCAR.

[Adair speaking Spanish] [Rufino speaking Spanish] (Adair) HIS NEIGHBOR SAID IT LOOKED LIKE A WEDDING CAKE, SO HE PUT "HOUSE OF SUGAR."

HE'S ALWAYS SAID HOW HE'S INTERESTED IN THE BEAUTIFICATION OF EL PASO AND FOR PEOPLE TO ALWAYS MAKE THE MOST OF WHAT THEY HAVE AND MAKE THEIR HOUSES BEAUTIFUL.

AND THERE'S A LITTLE MESSAGE DOWN HERE ON THE CORNER.

(Rufino) I PUT THAT BECAUSE I WANT ALL EL PASO TO DO SOMETHING LIKE THIS ONE.

(Adair) IT'S LIKE A GIFT.

(Rufino) YEAH, IT IS A GIFT FOR ALL EL PASO PEOPLE.

(Adair) COMO SE DICE ESTE: "GOOSE BUMPS"?

CARNE DE GALLINA.

CARNE, MEAT OF THE CHICKEN.

SO YOU GIVE ME CHICKEN MEAT, GOOSEBUMPS.

[laughter] (Don) SOME THINGS DO GET LOST IN TRANSLATION, BUT TRULY, THE HOUSE OF SUGAR SPEAKS FOR ITSELF.

PLUS, IT'S GOT EASY ACCESS TO THE FREEWAY THAT ZIPS US BACK INTO THE HEART OF TOWN.

RANDY WANTS TO DUCK INTO THE PLAZA TO SOAK UP SOME OLD EL PASO LORE, UNLESS THE SIGN SAYS IT'S ONE OF THE MANY THINGS YOU CAN'T DO HERE.

(Mike) SO WHAT KIND OF A PARK IS THIS IF IT'S NOT A PARK PARK?

(Randy) WELL, IT'S A PARK WHERE ALLIGATORS ONCE ROAMED.

THIS PARK USED TO HAVE GATORS IN IT.

CAN YOU BELIEVE THAT?

IN EL PASO?

(Mike) BU T THE KEY WORD THERE IS "U SED TO," RIGHT?

I MEAN, THERE ARE NO GATORS ANYMORE, 'CAUSE YOU KNOW HOW I FEEL ABOUT GATORS.

(Randy) FROM THE 1830s TO THE 1960s, THERE WERE GATORS IN THE POND HERE IN THIS PARK.

AND HUMANE AND PROBABLY DRUNK GENTLEMEN WOULD SNATCH THE GATORS FROM THE POND, WRAP THEM IN COFFEE SACKS, AND HAUL THEM BACK TO THE SALOON, SO THEY'D STAY WARM FOR THE NIGHT AND THEN BRING THEM BACK EACH DAY.

(Mike) YOU GOT TO LOVE A TOWN WHERE THE PEOPLE TAKE GOOD CARE OF THE GATORS.

(Randy) WELL, THEY TOOK THE GATORS AWAY AND INSTEAD LEFT A STATUE.

(Mike) WELL, IT'S A-- OKAY, IT'S A STATUE.

IT LOOKS LIKE FIGHTIN' GATORS.

(Randy) FIGHTIN' OR SOMETHING.

[laughter] HEY, IT'S ACTUALLY NOT SO WINDY FOR A MINUTE.

GET SOME SHOTS WHILE IT'S NOT WINDY.

IT DIED.

THEY KNEW WE WERE COMING.

(Don) OKAY, I'LL DO IT, THOUGH I'M SURE I'M BREAKING MORE RULES, BUT I CALL LOOPHOLE.

WITHOUT WATER, IS IT REALLY A FOUNTAIN?

AND SPEAKING OF WATER, OUR VEHICLE'S BEEN NEEDING A WASH FOR DAYS, AND TODAY IT'S GONNA GET ONE AT THE VERY SAME TIME AND PLACE THAT LUNCH IS SERVED.

IT'S THE H&H.

IT'S FAMOUS.

(Don) YUP, THIS CAR WASH/CAFE COMBO IS UNLIKE ANYTHING WE'VE SEEN BEFORE.

FEELS LIKE A CAR WASH. LOOKS LIKE A CAR WASH. OH, I DON'T KNOW IF THEY'RE GONNA HAVE ROOM FOR US OR NOT.

TAKE A LOOK.

(Mike) WE'LL SIT AT THE END OF THE COUNTER.

(Maynard) SO ORIGINALLY, IT WAS A SNACK BAR.

THEN WHEN MY BROTHER KENNY, THAT I'M HAVING TO REPLACE, HE WANTED TO TAKE OVER, AND HE'S THE REASON THAT'S WHAT IT IS.

(Mike) WH AT AM I GETTING BY THE WAY?

(Randy) YOU'RE GETTING A BOWL OF CHICKEN-- (Maynard) KENNY'S KIND OF SHY, AND I'M A BIG LOUDMOUTH, AND I DON'T REALLY CARE, AND I GET FIRED UP.

HE'S VERY STRONG ABOUT TWO THINGS.

NUMBER ONE: CLEANLINESS.

NUMBER TWO: QUALITY.

MY BROTHER DOESN'T RUN THAT PLACE TO MAKE A PROFIT, [laughs] 'CAUSE HE BUYS THE BEST THERE IS, AND HE DOESN'T CHISEL.

THIS IS GREAT.

WANT TO TRY SOME?

CAN I TRY YOURS?

MAYBE.

(Randy) WHAT ARE YOU GONNA DO TO OUR CAR?

I MEAN, HOW GOOD A WASH ARE WE GONNA GET?

(Maynard) AS GOOD AS WE KNOW HOW TO GIVE.

[Randy laughs] (Maynard) CHATO.

(Randy) ANYTHING SPECIAL, I GUESS, IS KIND OF WHAT I'M GETTING AT.

(Maynard) NO.

WE'RE VERY SIMPLE.

WE'VE BEEN DOING IT THE SAME WAY AS YOU SEE.

IT'S ALL LABOR INTENSE.

(Randy) HOW LONG HAVE YOU DONE IT?

(Maynard) WE'LL BE 50 YEARS IN OCTOBER.

(Mike) WE'VE GOT THE WORLD'S BIGGEST BALL OF VIDEOTAPE.

WE'RE GONNA WANT TO SHOW THAT.

(Randy) HAS ANYONE BROUGHT ONE OF THOSE IN TO BE WASHED?

WE MIGHT NEED IT TO BE BUFFED A LITTLE.

WHAT'S THAT?

WORLD'S LARGEST BALL OF VIDEOTAPE.

OH, REALLY?

WE GOT IT RIGHT THERE IN THE VAN.

UNLESS SOMEONE IN EL PASO HAS A BIGGER ONE.

ARE YOU IMPRESSED, MAYNARD, OR WHAT?

[laughs] NOT REALLY.

LOOKS LIKE A LOT OF OLD FILM THAT YOU ALL SCREWED UP ON.

[laughs] (Don) HE'S RIGHT ABOUT THAT, BUT OUR BALL'S GETTING BUFFED, SO WHAT'S NOT TO LIKE?

BEING CLEANED AND SOMEWHAT CAFFEINED, THIS IS DUSTY-- I MEAN, DON THE CAMERA GUY SIGNING OFF.

(Mike) BEAUTIFUL JOB.

BEAUTIFUL.

(Randy) AND THE BALL LOOKS GOOD TOO.

IT ALL LOOKS GOOD.

(female announcer) DVDs, T-SHIRTS, AND A COMPANION BOOK FOR THIS SERIES ARE AVAILABLE BY CALLING: TO LEARN MORE ABOUT THE SITES AND ARTISTS FEATURED ON THIS EPISODE AND TO GET MORE INFORMATION ABOUT THE SHOW, GO TO RAREVISIONSROADTRIP.COM.

Captioning byCaptionMax www.captionmax.com WHOO!

I TELL YA, FOR EARLY IN THE SEASON, THAT PRODUCER UP THERE'S GOT QUITE AN ARM.

(Don) GET UP TO THE TOP THERE AND SLIDE DOWN.

OKAY.

OH, MAN.

[laughs] (Ran) HAPPINESS IS A THING THAT YOU ARE AND HAVE.

IT'S NOT SOMETHING-- "OH, I'LL BE HAPPY WHEN THIS--" YOU'RE EITHER HAPPY, OR YOU'RE NOT.

AND THERE'S EITHER HAPPY PEOPLE OR SAD PEOPLE, AND I CHOOSE TO BE ONE OF THE HAPPY PEOPLE.

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(male announcer) AND BY FRED & LOU HARTWIG, GENEROUS SUPPORTERS OF KCPT AND PUBLIC TELEVISION, URGING YOU TO BECOME A MEMBER TODAY.