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{\an8}♪♪♪
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{\an8}♪♪♪
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{\an1}-♪ O'er the land of the free ♪
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♪ And the home ♪
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♪ Of the brave ♪
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{\an1}-The John F. Kennedy Center
for the Performing Arts
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honoring Alvin Ailey.
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{\an7}-Alvin Ailey has a passion
for movement
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{\an8}that reveals
the meaning of things.
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His is a choreography
of the heart,
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{\an1}drawing a whole new public
to modern dance.
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Alvin Ailey is Black,
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and he's universal,
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the very spirit
that has made him
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{\an1}a pied piper of modern dance,
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{\an1}and that's his genius.
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{\an1}-♪ Run on for a long time ♪
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{\an1}♪ Run on for a long time ♪
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{\an1}♪ Let me tell you God Almighty
gonna cut you down ♪
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{\an1}♪ Go 'n' tell that rider ♪
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♪ Midnight rider ♪
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{\an1}♪ Gambler, rambler, backbiter ♪
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{\an1}♪ Tell him God Almighty
gonna cut him down ♪
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♪ One of these days,
just mark my words ♪
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♪ Think your neighbor
has gone to work ♪
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{\an1}♪ Walk up, knock on the door ♪
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{\an1}♪ That's all, brother,
you'll knock no more ♪
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{\an1}♪ Go tell that rider ♪
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♪ Midnight rider ♪
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{\an1}♪ Gambler, rambler, backbiter ♪
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{\an1}♪ Tell him God Almighty
gonna cut him down ♪
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{\an8}♪♪♪
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[ Laughter ]
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{\an1}-Rehearsal now beginning.
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{\an1}[ Indistinct conversations ]
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-Hello!
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Come on down!
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{\an8}So, we're embarking
on a longer work
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{\an7}that delves into aspects
of Mr. Ailey's life
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{\an7}with the great story-teller,
Mr. Rennie Harris.
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{\an7}[ Cheers and applause ]
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{\an7}-Hey, what's happenin'?
So, yeah.
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{\an7}We're gon' do something.
We're gon' create...
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{\an1}Whatever it is, it gotta
be good, you know, so...
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{\an1}Alright, so Mina and Mille
gonna start showing you guys
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some of the movement
and what have you, yeah?
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Okay, alright, cool.
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{\an1}-Gonna start with irk and jerk.
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-6, 7, 8,
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{\an1}it goes uh, huh, ha, ha, yeah,
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{\an1}you're pulling that weight
over to the left, left
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{\an1}and then right, right.
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{\an1}5, 6, 7, 8, huh, huh, ha, ha,
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{\an7}5, 6, 7, 8, huh, huh, ha, ha.
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{\an7}One more time and 7, 8, go...
- Robert Battle just called me
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{\an7}out of the blue and said,
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{\an1}"I want you to come do a piece
about Mr. Ailey
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{\an1}for the 60th anniversary
of the company."
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{\an1}-7, 8, go off the floor.
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{\an1}Ha, ha, ha, ah, ah, ha, ha,
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go [Scatting]
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6, 7, and 8.
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And step tap,
step tap, step tap.
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{\an1}Ha, ah, ah, ah, ah, ah,
ah, ah, ah, ah.
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Yeah, yes.
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{\an1}-The history of Ailey?
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{\an8}It's off the scale.
You know what I mean?
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{\an7}How do you present something...
It's 60 years.
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{\an1}-I always felt that dance
was a natural part
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{\an1}of what I wanted to express,
that what I can do with my body
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was a part,
a very important part, of me
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and a way to release
some of those things in myself
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{\an7}that I had been looking for.
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{\an8}-There he is.
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{\an1}-♪ Where you gonna run to? ♪
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♪ All on that day ♪
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- ♪ Run ♪
- ♪ Run ♪
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-♪ Run to the rock,
rock, won't you hide me? ♪
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♪ Run to the rock ♪
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{\an1}-Dope. Let's play that again.
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[ Keyboard clacks ]
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-I'm Alvin Ailey.
I'm a choreographer.
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I create movement,
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{\an8}and I'm searching
for truth in movement.
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{\an7}-I just sit there and watch
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{\an7}to find out what made Mr. Ailey,
Mr. Ailey.
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-I've choreographed
many times now...
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4, 5, 1, 2.
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4, 5, loose fingers.
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{\an8}♪♪♪
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{\an1}Show what's in your hand, yes.
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{\an8}♪♪♪
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Good!
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Head accent thing,
pom, pom, yes,
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4, 5.
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{\an1}-Sunday, January 17, 1988.
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{\an1}Talking with Alvin Ailey.
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{\an8}♪♪♪
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Do you feel as though
you had to sacrifice anything
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to stay in dance?
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-Everything.
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{\an1}Dance, it's an enormous
sacrifice.
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{\an1}I mean, it's a physical
sacrifice. Dancing hurts.
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{\an1}You don't make that much money.
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{\an1}I mean, touring 6 months
out of the year is disastrous
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on any kind
of personal relations.
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{\an1}It's a tough thing, you know,
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{\an1}you have to be possessed
to do dance.
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{\an8}♪♪♪
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{\an1}I came to New York City in 1954.
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{\an8}♪♪♪
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{\an1}I was a lithe and springy 24,
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who loved to dance.
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{\an8}♪♪♪
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{\an1}It was a catch-as-catch-can
dancer's life.
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{\an1}Everybody that I could
ever dreamed of was here
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in New York City,
and when I got here,
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I immediately jumped
into classes with all of them.
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{\an8}♪♪♪
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{\an1}I studied with Martha Graham,
Charles Weidman, and Hanya Holm.
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{\an8}♪♪♪
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{\an1}But I was the usual rebel.
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{\an8}♪♪♪
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{\an1}And I had my own ideas.
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{\an8}♪♪♪
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{\an1}I had these creative fires
bubbling inside.
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{\an8}♪♪♪
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Dark, deep things,
beautiful things inside me
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that I'd always
been trying to get out.
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My blood memories.
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[ Children laughing ]
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{\an1}The memories of my parents,
uncles, and aunts.
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{\an1}Blues and gospel songs
that I knew from Texas.
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{\an8}♪♪♪
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{\an1}I was born in the Depression.
1931.
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Tough times.
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Rural country.
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{\an8}♪♪♪
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{\an8}♪♪♪
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{\an8}♪♪♪
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{\an8}♪♪♪
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{\an1}-♪ Listen, here, folks,
gonna sing a little song ♪
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♪ Don't get mad,
we don't mean no harm ♪
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♪ You know
it's tight like that ♪
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[ Scatting ]
♪ Oh, it's tight like that ♪
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[ Scatting ]
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{\an1}♪ You had me talkin' to you ♪
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{\an1}♪ I mean it's tight like that ♪
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{\an1}♪ Had me talkin' to you ♪
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{\an1}♪ I mean it's tight like that ♪
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{\an1}♪ I went to see my gal
up across the hall ♪
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♪ Found another mule
kicking in my stall ♪
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{\an7}♪ Oh, it's tight like that ♪
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♪ When she whip it,
it's too bad Jim ♪
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♪ You know
it's tight like that ♪
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{\an1}♪ I mean it's tight like that ♪
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{\an7}♪ At the bom bom diddly,
got to carry me into town ♪
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♪ You know
it's tight like that ♪
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[ Scatting ]
♪ Oh, it's tight like that ♪
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{\an8}♪♪♪
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{\an8}-♪ I cried ♪
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{\an8}-So I made...
It was called "Blues Suite."
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{\an7}-♪ Rolled down my cheeks ♪
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{\an8}♪♪♪
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♪ Yes, I cried ♪
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{\an1}♪ Tear rolled down my cheeks ♪
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{\an8}♪♪♪
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{\an1}♪ I had to remind my baby ♪
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{\an8}♪♪♪
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♪ What a sweet woman
you used to be ♪
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{\an8}♪♪♪
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"Blues Suite"
is a reflection of that time.
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{\an1}The problems, but the romance,
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{\an1}that we as a Black people
have made something fantastic,
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{\an1}the fact that Black people
get through.
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-♪ Yes, I cried ♪
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♪ Till a tear
rolled down my cheeks ♪
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{\an8}♪♪♪
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{\an1}♪ I had to remind my baby ♪
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♪ What a sweet woman
you used to be ♪
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{\an8}♪♪♪
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-4, 5, 6, 7, 8,
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{\an1}and 2, 2, 3, 4, 5, 6, 7, 8,
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and 3, 2, 3, 4, 5, 6, 7, 8,
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and 4, 2, 3, 4, 5, 6, 7, 8.
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{\an1}-Okay, let's try this group
and this group here,
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{\an1}and still do what you do,
alright,
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5, 6, 7, 8 and...
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{\an1}-2, 3, 4, 5, 6, 8, and 1.
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{\an1}-Mr. Ailey talked about
blood memories.
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{\an1}What his parents went through,
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his parents' parents
went through,
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{\an1}what his folk went through.
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{\an1}And that was a major key for me.
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-6, 7, 8, and.
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-2, 3, 4.
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-Memory.
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That was the anchor.
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-4, 6, 8, and 1, 2,
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4, 6, 8, and 1.
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{\an8}♪♪♪
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00:14:01,466 --> 00:14:06,333
{\an1}-♪ It don't mean a thing
if you ain't got that swing ♪
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00:14:06,366 --> 00:14:10,766
{\an8}♪♪♪
204
00:14:10,800 --> 00:14:13,400
{\an1}-I moved to Los Angeles
when I was 12
205
00:14:13,433 --> 00:14:17,233
at the beginning
of World War II.
206
00:14:17,266 --> 00:14:21,733
When I was 14,
I discovered the theater,
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00:14:21,766 --> 00:14:24,966
where I first saw
the Ballet Russe de Monte-Carlo.
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{\an8}♪♪♪
209
00:14:35,633 --> 00:14:38,200
{\an1}And here was a new world.
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{\an8}♪♪♪
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{\an1}It became my ritual then
to come downtown.
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{\an8}♪♪♪
213
00:14:51,500 --> 00:14:54,133
And I saw everything
that came along.
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00:14:54,166 --> 00:14:56,633
{\an8}♪♪♪
215
00:14:56,666 --> 00:14:58,800
{\an1}But there was nobody Black,
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00:14:58,833 --> 00:15:02,200
{\an1}nobody to model oneself after.
217
00:15:02,233 --> 00:15:10,233
{\an8}♪♪♪
218
00:15:12,766 --> 00:15:16,866
And then one day,
I saw Katherine Dunham.
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00:15:16,900 --> 00:15:24,900
{\an8}♪♪♪
220
00:15:28,100 --> 00:15:31,433
{\an1}-[ Shouting indistinctly ]
221
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-I couldn't believe
that here are Black people
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00:15:34,400 --> 00:15:36,800
{\an1}on a legitimate stage.
223
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{\an8}♪♪♪
224
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I was just taken
into another realm.
225
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{\an8}♪♪♪
226
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Here was this
unbelievable creature.
227
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{\an8}♪♪♪
228
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And male dancers
who were just superb.
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{\an8}♪♪♪
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{\an1}The jumps, the agility,
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00:16:00,700 --> 00:16:04,466
{\an1}the sensuality of what they did
blew me away.
232
00:16:04,500 --> 00:16:07,700
{\an8}♪♪♪
233
00:16:07,733 --> 00:16:10,333
And the material.
234
00:16:10,366 --> 00:16:12,733
What she was doing
was Afro-Caribbean.
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{\an1}It was blues. It was spirituals.
236
00:16:15,833 --> 00:16:19,433
And it touched
something Texas in me.
237
00:16:19,466 --> 00:16:27,466
{\an8}♪♪♪
238
00:16:31,866 --> 00:16:36,000
{\an1}Dance had started to pull at me.
239
00:16:36,033 --> 00:16:39,233
{\an1}I remember bouncing around
on the grass
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and making up steps.
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{\an8}♪♪♪
242
00:16:45,633 --> 00:16:47,166
{\an1}But my gym teacher decided
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00:16:47,200 --> 00:16:49,866
that I should be
on the football team.
244
00:16:49,900 --> 00:16:52,066
{\an1}So he made me a right tackle.
245
00:16:52,100 --> 00:16:56,033
{\an1}And I said, "Coach, you know,
I have these people running
246
00:16:56,066 --> 00:16:57,433
and knocking me down.
247
00:16:57,466 --> 00:17:00,166
{\an1}This is not gonna work."
248
00:17:00,200 --> 00:17:03,366
{\an1}He said, "What's wrong with you?
You some kind of sissy?"
249
00:17:03,400 --> 00:17:05,233
{\an1}and I wanted to say, "Yes!"
250
00:17:05,266 --> 00:17:07,033
[ Laughs ]
251
00:17:07,066 --> 00:17:12,066
{\an8}♪♪♪
252
00:17:12,100 --> 00:17:15,900
-I saw Alvin
in the gymnastics class.
253
00:17:15,933 --> 00:17:17,833
{\an7}They had free exercises,
you know.
254
00:17:17,866 --> 00:17:19,900
{\an7}It was all slow-motion.
255
00:17:19,933 --> 00:17:22,133
{\an7}It was more like dancing,
actually.
256
00:17:22,166 --> 00:17:25,133
{\an8}And he was beautiful.
257
00:17:25,166 --> 00:17:29,666
{\an7}But he didn't dare let anybody
know he wanted to be a dancer,
258
00:17:29,700 --> 00:17:32,800
{\an7}because he would be teased
or humiliated.
259
00:17:32,833 --> 00:17:35,200
{\an8}♪♪♪
260
00:17:35,233 --> 00:17:37,433
{\an8}But I told him,
"You ought to be a dancer."
261
00:17:37,466 --> 00:17:40,100
{\an8}♪♪♪
262
00:17:40,133 --> 00:17:43,000
-Alvin was this kid
who was handsome.
263
00:17:43,033 --> 00:17:45,100
He was charismatic.
264
00:17:45,133 --> 00:17:49,166
{\an1}We became fast friends.
265
00:17:49,200 --> 00:17:52,200
{\an1}We went to parties together.
266
00:17:52,233 --> 00:17:55,200
We were always
in each other's company.
267
00:17:55,233 --> 00:17:57,566
{\an8}♪♪♪
268
00:17:57,600 --> 00:18:02,633
{\an1}And then realizing that we both
had an interest in dance.
269
00:18:02,666 --> 00:18:04,766
{\an8}♪♪♪
270
00:18:04,800 --> 00:18:09,966
{\an7}That propelled me to follow him
to the Horton school
271
00:18:10,000 --> 00:18:12,166
{\an7}to watch his class with Carmen.
272
00:18:12,200 --> 00:18:15,633
{\an1}And you walked through
those doors,
273
00:18:15,666 --> 00:18:18,500
{\an1}it's like you were going
into a different world.
274
00:18:18,533 --> 00:18:26,500
{\an8}♪♪♪
275
00:18:43,233 --> 00:18:49,900
{\an8}♪♪♪
276
00:18:59,633 --> 00:19:07,633
{\an8}♪♪♪
277
00:19:34,000 --> 00:19:36,733
{\an1}-Lester induced us to search.
278
00:19:36,766 --> 00:19:40,100
And Alvin did.
279
00:19:40,133 --> 00:19:43,633
{\an1}He went to his resources.
280
00:19:43,666 --> 00:19:45,833
{\an1}He drew on his experiences.
281
00:19:45,866 --> 00:19:48,500
{\an1}And that was his beginning.
282
00:19:48,533 --> 00:19:54,533
{\an8}♪♪♪
283
00:19:54,566 --> 00:19:57,033
{\an1}-♪ Go, I gotta let it go ♪
284
00:19:57,066 --> 00:20:04,866
{\an8}♪♪♪
285
00:20:04,900 --> 00:20:08,400
-I see the dancer
as the physical historian.
286
00:20:08,433 --> 00:20:10,766
{\an1}The dancer holds the information
from the past,
287
00:20:10,800 --> 00:20:12,600
{\an1}the present, and the future.
288
00:20:12,633 --> 00:20:15,100
{\an8}♪♪♪
289
00:20:15,133 --> 00:20:18,733
{\an1}Why a particular movement
was relevant or important,
290
00:20:18,766 --> 00:20:21,200
why it was valued
in my community.
291
00:20:21,233 --> 00:20:23,500
{\an8}♪♪♪
292
00:20:23,533 --> 00:20:25,766
{\an1}-♪ Go, I gotta let it go ♪
293
00:20:25,800 --> 00:20:32,566
{\an8}♪♪♪
294
00:20:32,600 --> 00:20:35,400
{\an1}♪ Go, I gotta let it go ♪
295
00:20:35,433 --> 00:20:38,766
{\an1}-They have this information
stored in their body.
296
00:20:38,800 --> 00:20:46,800
{\an8}♪♪♪
297
00:20:54,200 --> 00:20:59,133
{\an1}-When the Lord gets ready,
child, you got to move.
298
00:20:59,166 --> 00:21:02,100
{\an1}When the Lord gets ready,
299
00:21:02,133 --> 00:21:07,200
You got to move.
You got to move.
300
00:21:07,233 --> 00:21:09,133
♪♪♪
301
00:21:09,166 --> 00:21:11,633
-Every Sunday,
we were at church.
302
00:21:11,666 --> 00:21:13,700
{\an8}♪♪♪
303
00:21:13,733 --> 00:21:16,300
{\an1}Praise God to the almighty.
304
00:21:16,333 --> 00:21:21,466
{\an8}♪♪♪
305
00:21:21,500 --> 00:21:24,333
{\an1}Our beautiful Black songs
from the churches.
306
00:21:24,366 --> 00:21:25,700
{\an1}The joy of these people,
307
00:21:25,733 --> 00:21:28,433
{\an1}of my aunts and uncles
exploding in the church
308
00:21:28,466 --> 00:21:32,666
is something
that was always with me.
309
00:21:32,700 --> 00:21:34,100
I remember there was
310
00:21:34,133 --> 00:21:36,666
this procession
of people all in white.
311
00:21:36,700 --> 00:21:40,366
{\an8}♪♪♪
312
00:21:40,400 --> 00:21:42,033
{\an1}They sang "Wade in the Water."
313
00:21:42,066 --> 00:21:50,066
{\an1}-♪ Wade in the water ♪
314
00:21:51,733 --> 00:21:54,000
{\an1}-I came up with a piece,
315
00:21:54,033 --> 00:21:56,433
an evening-long saga
316
00:21:56,466 --> 00:21:58,733
{\an1}of the Black experience.
317
00:22:02,766 --> 00:22:06,366
-♪ I've been 'buked ♪
318
00:22:06,400 --> 00:22:12,266
{\an7}♪ And I've been scorned ♪
319
00:22:12,300 --> 00:22:17,100
{\an7}♪ Yes, I've been 'buked
320
00:22:17,133 --> 00:22:20,466
{\an1}♪ And I've been scorned ♪
321
00:22:20,500 --> 00:22:27,133
♪ Children ♪
322
00:22:27,166 --> 00:22:30,633
♪ I've been 'buked ♪
323
00:22:30,666 --> 00:22:38,666
{\an1}♪ And I've been scorned ♪
324
00:22:39,366 --> 00:22:44,033
{\an1}♪ I've been talked about ♪
325
00:22:44,066 --> 00:22:51,266
{\an1}♪ Show's you're born ♪
326
00:22:51,300 --> 00:22:56,166
{\an1}♪ There is trouble all
over this world ♪
327
00:22:56,200 --> 00:23:01,100
{\an1}♪ Yes, there is trouble
all over this world ♪
328
00:23:01,133 --> 00:23:09,133
♪ Children ♪
329
00:23:10,200 --> 00:23:13,700
♪ I've been 'buked ♪
330
00:23:13,733 --> 00:23:21,733
{\an1}♪ And I've been scorned ♪
331
00:23:25,066 --> 00:23:30,900
{\an1}♪ I've been talked about ♪
332
00:23:30,933 --> 00:23:36,666
♪ Show's you're ♪
333
00:23:36,700 --> 00:23:44,700
♪ Born ♪
334
00:23:44,766 --> 00:23:49,233
-I was moved to tears
seeing "Revelations."
335
00:23:49,266 --> 00:23:51,333
{\an7}I was studying ballet.
336
00:23:51,366 --> 00:23:55,500
{\an7}I was studying modern...
Modern dance,
337
00:23:55,533 --> 00:24:00,033
and this was more of
338
00:24:00,066 --> 00:24:03,500
{\an1}a reenactment of life.
339
00:24:03,533 --> 00:24:11,300
{\an1}-♪ Oh, fix me, Jesus ♪
340
00:24:11,333 --> 00:24:19,333
♪ Oh, fix me, Jesus ♪
341
00:24:19,400 --> 00:24:26,933
♪ Oh, fix me, God ♪
342
00:24:26,966 --> 00:24:34,833
{\an1}♪ Fix me, Jesus, fix me ♪
343
00:24:34,866 --> 00:24:36,200
-♪ Fix me ♪
344
00:24:36,233 --> 00:24:40,633
{\an8}-Here was something
where these were human beings,
345
00:24:40,666 --> 00:24:42,966
{\an8}and they were dancing
with joy and passion
346
00:24:43,000 --> 00:24:44,900
and anger and sorrow.
347
00:24:44,933 --> 00:24:48,666
{\an1}I thought to myself, "Wow,
this is what I want to do."
348
00:24:48,700 --> 00:24:52,800
-♪ Oh, sinner man ♪
349
00:24:52,833 --> 00:24:56,500
{\an1}♪ Where you gonna run to? ♪
350
00:24:56,533 --> 00:25:00,633
♪ All on that day ♪
351
00:25:00,666 --> 00:25:03,900
- ♪ Run ♪
- ♪ Run ♪
352
00:25:03,933 --> 00:25:07,266
-♪ Run to the rock,
rock, won't you hide me? ♪
353
00:25:07,300 --> 00:25:10,733
{\an1}♪ Run to the rock, rock,
won't you hide me? ♪
354
00:25:10,766 --> 00:25:14,400
♪ Run to the rock,
rock, won't you hide me? ♪
355
00:25:14,433 --> 00:25:16,866
♪ All on that day ♪
356
00:25:16,900 --> 00:25:19,100
- ♪ Run ♪
- ♪ Run, run, run ♪
357
00:25:19,133 --> 00:25:22,400
{\an1}-♪ The Lord said, sinner man,
the rock will be melting ♪
358
00:25:22,433 --> 00:25:25,766
{\an1}♪ The Lord said, sinner
man, the rock will be melting ♪
359
00:25:25,800 --> 00:25:26,966
{\an1}♪ The Lord said, sinner man ♪
360
00:25:27,000 --> 00:25:30,033
-Alvin entertained
my thoughts and dreams
361
00:25:30,066 --> 00:25:35,500
{\an8}that a Black boy
could actually dance.
362
00:25:35,533 --> 00:25:39,566
{\an8}♪♪♪
363
00:25:39,600 --> 00:25:43,066
-♪ Wade in the water,
wade in the water ♪
364
00:25:43,100 --> 00:25:46,566
{\an1}-♪ Wade in the water ♪
365
00:25:46,600 --> 00:25:50,033
{\an1}♪ Wade in the water, children ♪
366
00:25:50,066 --> 00:25:53,533
♪ Wade in the water ♪
367
00:25:53,566 --> 00:25:55,800
♪ God's a-gonna
trouble the water ♪
368
00:25:55,833 --> 00:25:57,166
{\an1}-♪ Why don't you wade ♪
369
00:25:57,200 --> 00:25:58,566
{\an1}-♪ Wade in the water ♪
370
00:25:58,600 --> 00:26:03,900
-All the familiarity
of my African-American-ness
371
00:26:03,933 --> 00:26:08,500
was all identified
in "Revelations."
372
00:26:08,533 --> 00:26:13,000
{\an1}The narrative of church,
that was important to me.
373
00:26:13,033 --> 00:26:16,600
{\an8}But what took me away
was the prowess
374
00:26:16,633 --> 00:26:18,466
{\an8}and the technique
and the fluidity
375
00:26:18,500 --> 00:26:24,800
{\an7}and the excellence in the dance
that I saw, in the dance.
376
00:26:24,833 --> 00:26:27,466
{\an8}That was the miracle.
377
00:26:27,500 --> 00:26:29,966
{\an1}-♪ Trouble the water ♪
378
00:26:30,000 --> 00:26:33,366
♪ God is gonna
trouble the water ♪
379
00:26:33,400 --> 00:26:37,533
{\an1}♪ God is gonna trouble
the water ♪
380
00:26:37,566 --> 00:26:39,933
{\an1}-That really was the beginning
of the company.
381
00:26:39,966 --> 00:26:46,400
-♪ The water ♪
382
00:26:59,700 --> 00:27:03,166
{\an1}-I came to New York to be in
a ballet called "The Four Marys"
383
00:27:03,200 --> 00:27:06,366
with the American
Ballet Theater.
384
00:27:06,400 --> 00:27:14,000
{\an8}♪♪♪
385
00:27:14,033 --> 00:27:17,000
It was a wonderful
place to be in,
386
00:27:17,033 --> 00:27:19,800
{\an1}but when "The Four Marys"
was over,
387
00:27:19,833 --> 00:27:21,800
{\an1}there were no more positions.
388
00:27:21,833 --> 00:27:25,966
{\an1}You were very specially
a guest artist there.
389
00:27:26,000 --> 00:27:28,500
{\an1}You know, you could move into
this neighborhood for a minute,
390
00:27:28,533 --> 00:27:32,933
{\an1}but after you finish doing
your gig, please move out.
391
00:27:32,966 --> 00:27:38,033
{\an1}But what was coming next,
I did not know.
392
00:27:38,066 --> 00:27:41,600
{\an8}♪♪♪
393
00:27:41,633 --> 00:27:44,866
{\an1}-I was sitting on the steps
watching an audition.
394
00:27:44,900 --> 00:27:50,166
{\an1}And Judi was one of many girls
doing these bar exercises.
395
00:27:50,200 --> 00:27:51,766
{\an1}I couldn't help but notice her.
396
00:27:51,800 --> 00:27:55,533
{\an1}The length of the legs,
the feet, that back,
397
00:27:55,566 --> 00:27:57,666
{\an1}those arms, that head.
398
00:27:57,700 --> 00:28:01,100
{\an1}I said "Oh, my God. She's here!"
399
00:28:01,133 --> 00:28:08,433
{\an8}♪♪♪
400
00:28:08,466 --> 00:28:11,200
{\an1}-I failed that audition
so miserably.
401
00:28:11,233 --> 00:28:13,600
I was so terrible.
402
00:28:13,633 --> 00:28:15,400
{\an1}And I ran up these steps,
403
00:28:15,433 --> 00:28:16,909
and there was a man
sitting on the steps
404
00:28:16,933 --> 00:28:18,533
who I didn't even see
who it was.
405
00:28:18,566 --> 00:28:19,933
It was Alvin Ailey.
406
00:28:19,966 --> 00:28:21,566
{\an1}And he called me and asked me
407
00:28:21,600 --> 00:28:25,033
{\an1}to join the Alvin Ailey
American Dance Theater. Boom.
408
00:28:25,066 --> 00:28:26,366
That was it.
409
00:28:26,400 --> 00:28:29,700
{\an1}-And 1, 2, 3, 4, 1, 2, 3, 4
410
00:28:29,733 --> 00:28:34,300
1, 2, 3, 1, 2, 3,
1, 2, 1, 2.1.
411
00:28:34,333 --> 00:28:36,833
{\an1}1, 2, 3, 1, 2, 3, 1, 2, 1, 2.
412
00:28:36,866 --> 00:28:39,133
{\an8}♪♪♪
413
00:28:39,166 --> 00:28:42,766
{\an1}-Dancing with Alvin was hard.
414
00:28:42,800 --> 00:28:47,100
{\an1}-3, 4, 1, 2, 3, 1, 2, 3,
1, 2, 1, 2, 1.
415
00:28:47,133 --> 00:28:49,000
- Wait.
- Aah!
416
00:28:49,033 --> 00:28:51,166
- [ Laughs ]
- [ Speaks indistinctly ]
417
00:28:51,200 --> 00:28:53,200
-Yeah, yeah.
418
00:28:53,233 --> 00:28:55,366
{\an1}Count 18 and then stop.
419
00:28:55,400 --> 00:28:57,533
{\an1}-He would give you that look.
420
00:28:57,566 --> 00:29:00,300
{\an1}"You were wrong. You did wrong."
421
00:29:00,333 --> 00:29:01,900
This is the look.
422
00:29:01,933 --> 00:29:04,033
[ Chuckles ]
423
00:29:04,066 --> 00:29:07,433
And that was Alvin.
424
00:29:07,466 --> 00:29:10,166
{\an8}♪♪♪
425
00:29:10,200 --> 00:29:12,966
-He would say things
famously like,
426
00:29:13,000 --> 00:29:16,533
{\an1}"Would you do my choreography?"
427
00:29:16,566 --> 00:29:20,700
But he was also
terribly encouraging.
428
00:29:20,733 --> 00:29:23,000
{\an1}The exchanges that all of us had
429
00:29:23,033 --> 00:29:28,166
{\an1}were full of large embraces.
430
00:29:28,200 --> 00:29:31,033
{\an1}If he was talking to you
from 50 feet away,
431
00:29:31,066 --> 00:29:32,966
{\an1}you would feel that embrace.
432
00:29:33,000 --> 00:29:34,500
{\an1}You would feel that comfort
433
00:29:34,533 --> 00:29:38,533
{\an7}in knowing that you could make
an absolute fool of yourself,
434
00:29:38,566 --> 00:29:41,533
{\an7}you know? You would feel safe
435
00:29:41,566 --> 00:29:44,833
{\an7}to extend yourself enough
436
00:29:44,866 --> 00:29:47,233
{\an7}so that you felt free.
437
00:29:47,266 --> 00:29:49,366
-Right.
438
00:29:49,400 --> 00:29:53,133
{\an1}I'm sorry, to your left.
439
00:29:53,166 --> 00:29:56,833
{\an1}I love the idea of people
coming and working together.
440
00:29:56,866 --> 00:29:58,833
{\an8}♪♪♪
441
00:29:58,866 --> 00:30:01,600
I love the idea
of the discipline.
442
00:30:01,633 --> 00:30:03,933
{\an8}♪♪♪
443
00:30:03,966 --> 00:30:06,866
{\an1}Open but very quickly.
444
00:30:06,900 --> 00:30:09,766
{\an8}♪♪♪
445
00:30:09,800 --> 00:30:12,533
{\an1}You and I, as choreographers,
start with an empty space
446
00:30:12,566 --> 00:30:13,666
and a body or two,
447
00:30:13,700 --> 00:30:17,400
{\an1}and we say "Carve this space."
448
00:30:17,433 --> 00:30:20,633
{\an1}I love creating something
where there was nothing before.
449
00:30:20,666 --> 00:30:28,666
{\an8}♪♪♪
450
00:30:31,300 --> 00:30:35,966
-♪ I've been low,
I've been high ♪
451
00:30:36,000 --> 00:30:40,533
{\an1}♪ I've been sold all my lies ♪
452
00:30:40,566 --> 00:30:45,233
♪ I've got nothing
left to pray ♪
453
00:30:45,266 --> 00:30:48,533
{\an1}♪ I've got nothing left to say ♪
454
00:30:48,566 --> 00:30:54,166
{\an1}-As choreographers, we are
the ones that are reaching out.
455
00:30:54,200 --> 00:30:55,200
Mr. Ailey,
456
00:30:55,233 --> 00:30:57,333
he used to train
moving through spaces
457
00:30:57,366 --> 00:31:02,366
{\an1}and shifting geographies
and people.
458
00:31:02,400 --> 00:31:06,233
{\an1}And we needed that bullet train.
459
00:31:06,266 --> 00:31:08,733
-♪ I'm a black man
in a white world ♪
460
00:31:08,766 --> 00:31:11,033
♪ I'm a black man in
a white world ♪
461
00:31:11,066 --> 00:31:13,300
♪ I'm a black man
in a white world ♪
462
00:31:13,333 --> 00:31:15,666
♪ I'm a black man in
a white world ♪
463
00:31:15,700 --> 00:31:18,066
♪ I'm a black man
in a white world ♪
464
00:31:18,100 --> 00:31:20,233
♪ I'm a black man in
a white world ♪
465
00:31:20,266 --> 00:31:22,900
♪ I'm a black man
in a white world ♪
466
00:31:22,933 --> 00:31:24,609
{\an1}-I wanted to do a kind of dance
that could be done
467
00:31:24,633 --> 00:31:27,500
{\an1}for the man on the streets,
the people.
468
00:31:27,533 --> 00:31:29,066
{\an1}I wanted to show Black people
469
00:31:29,100 --> 00:31:31,533
{\an1}that they could come down
to these concert halls,
470
00:31:31,566 --> 00:31:35,833
{\an1}that it was part of their
culture being done there,
471
00:31:35,866 --> 00:31:37,633
{\an1}and that it was universal.
472
00:31:39,866 --> 00:31:47,866
{\an8}♪♪♪
473
00:31:48,866 --> 00:31:51,966
{\an1}-The upcoming major, major event
474
00:31:52,000 --> 00:31:55,200
{\an7}was like a seven- or nine-week
tour of one-nighters
475
00:31:55,233 --> 00:31:57,866
{\an7}throughout the United States,
476
00:31:57,900 --> 00:32:02,700
{\an8}and Alvin was in
a frenzied state.
477
00:32:02,733 --> 00:32:06,966
{\an7}-A friend of mine recommended me
as a stage manager to Alvin.
478
00:32:07,000 --> 00:32:09,800
{\an8}And I said,
"How much do they pay?"
479
00:32:09,833 --> 00:32:12,766
{\an8}And she said,
"Oh, they don't have any money."
480
00:32:12,800 --> 00:32:15,833
I said, "Okay, well,
you know, I'll volunteer
481
00:32:15,866 --> 00:32:19,533
and see how it goes."
482
00:32:19,566 --> 00:32:25,366
{\an1}And right after that, all of us,
including Alvin, were on a bus.
483
00:32:25,400 --> 00:32:26,700
-One bus.
484
00:32:26,733 --> 00:32:31,766
Costumes, lighting,
everything, one bus.
485
00:32:31,800 --> 00:32:34,466
-The ladder was down
the center isle.
486
00:32:34,500 --> 00:32:37,266
{\an1}The stools for "Revelations"
were underneath.
487
00:32:37,300 --> 00:32:39,833
{\an1}-The luggage, fans, everything.
488
00:32:39,866 --> 00:32:42,700
{\an1}We travelled 6, 7 hours a day.
489
00:32:42,733 --> 00:32:47,600
-And you were doing
a state a night.
490
00:32:47,633 --> 00:32:50,000
And you drive up,
and you get there,
491
00:32:50,033 --> 00:32:52,366
{\an1}and you jump off and rehearse.
492
00:32:52,400 --> 00:32:58,533
{\an8}♪♪♪
493
00:32:58,566 --> 00:33:03,533
{\an1}-Perform, find some place to eat
after the performance.
494
00:33:03,566 --> 00:33:06,300
-This was before
fast food, really, you know?
495
00:33:06,333 --> 00:33:09,633
We were like,
"Truck stops, there we go."
496
00:33:09,666 --> 00:33:13,000
-Go to bed, get up
the next morning.
497
00:33:13,033 --> 00:33:16,000
{\an1}Same thing all over again
in another town.
498
00:33:16,033 --> 00:33:23,066
{\an8}♪♪♪
499
00:33:23,100 --> 00:33:25,600
{\an8}[ Applause ]
500
00:33:25,633 --> 00:33:29,500
{\an8}♪♪♪
501
00:33:29,533 --> 00:33:33,800
{\an7}-As a multiracial company,
502
00:33:33,833 --> 00:33:36,933
{\an8}I was very concerned
about the treatment
503
00:33:36,966 --> 00:33:41,133
{\an7}arriving at a hotel or motel.
504
00:33:41,166 --> 00:33:43,366
{\an8}I don't want to hear
anything about,
505
00:33:43,400 --> 00:33:46,300
{\an7}"We don't have any rooms."
506
00:33:46,333 --> 00:33:49,533
{\an8}-One time in
Kirksville, Missouri,
507
00:33:49,566 --> 00:33:56,233
{\an8}this hotel was
absolutely dreadful.
508
00:33:56,266 --> 00:33:58,666
After the performance
the next day,
509
00:33:58,700 --> 00:34:01,233
{\an1}we passed a Holiday Inn.
510
00:34:01,266 --> 00:34:05,333
I'm wondering,
"Why weren't we in that hotel?"
511
00:34:05,366 --> 00:34:08,033
{\an8}♪♪♪
512
00:34:08,066 --> 00:34:10,466
{\an1}-I sent pictures and reviews
513
00:34:10,500 --> 00:34:12,833
to the hotels
where the company's going
514
00:34:12,866 --> 00:34:16,766
{\an1}so it won't be a surprise
when they get there.
515
00:34:16,800 --> 00:34:19,866
I didn't want them
to have to go through that.
516
00:34:19,900 --> 00:34:26,800
{\an8}♪♪♪
517
00:34:26,833 --> 00:34:29,400
-It was whirlwind.
518
00:34:29,433 --> 00:34:31,833
{\an1}And the tours came in.
519
00:34:31,866 --> 00:34:34,200
{\an1}[ Man announcing in French ]
520
00:34:34,233 --> 00:34:36,866
European tours.
521
00:34:36,900 --> 00:34:39,400
Paris.
522
00:34:39,433 --> 00:34:40,866
London after that.
523
00:34:40,900 --> 00:34:43,566
{\an1}-This is our first performance
anyway with a new group.
524
00:34:43,600 --> 00:34:45,000
-Are you nervous?
525
00:34:45,033 --> 00:34:46,500
{\an1}-Uh... Well, of course not.
526
00:34:46,533 --> 00:34:47,666
[ Laughs ]
527
00:34:47,700 --> 00:34:50,766
[ Man speaking
foreign language ]
528
00:34:50,800 --> 00:34:53,266
{\an1}-In the studio with me,
I have Alvin Ailey,
529
00:34:53,300 --> 00:34:55,966
the artistic director
of the American Dance Theater.
530
00:34:56,000 --> 00:34:57,276
-Thank you very much.
It's nice to be here.
531
00:34:57,300 --> 00:34:59,866
{\an8}-The Alvin Ailey
American Dance Theater
532
00:34:59,900 --> 00:35:02,000
{\an7}is one of the most important
533
00:35:02,033 --> 00:35:04,300
{\an1}contemporary dance companies
in the world.
534
00:35:04,333 --> 00:35:07,000
[ Applause ]
535
00:35:07,033 --> 00:35:10,000
{\an1}-People were just, "Oh, my God!"
536
00:35:10,033 --> 00:35:13,233
They'd never seen
anything like it.
537
00:35:13,266 --> 00:35:15,466
{\an1}They loved the company.
538
00:35:15,500 --> 00:35:18,366
They really did.
539
00:35:18,400 --> 00:35:23,066
{\an1}In Stuttgart, Germany, they
wouldn't let us off the stage.
540
00:35:23,100 --> 00:35:26,533
{\an1}We had to do 80-something bows.
541
00:35:26,566 --> 00:35:29,333
{\an1}I'd never seen people stand up,
542
00:35:29,366 --> 00:35:32,000
take their shoes off,
and hit the wall.
543
00:35:32,033 --> 00:35:35,466
{\an1}They were going to stay there
all night if possible.
544
00:35:37,033 --> 00:35:42,000
{\an8}♪♪♪
545
00:35:42,033 --> 00:35:43,400
{\an1}-They were wonderful times,
546
00:35:43,433 --> 00:35:47,466
because we were
kind of a family.
547
00:35:47,500 --> 00:35:51,000
{\an8}♪♪♪
548
00:35:51,033 --> 00:35:54,733
-We all loved Alvin.
549
00:35:54,766 --> 00:35:58,000
{\an1}But we weren't around Alvin
during the day.
550
00:35:58,033 --> 00:36:00,200
{\an8}♪♪♪
551
00:36:00,233 --> 00:36:06,000
{\an1}It was like Alvin was here,
the company was here.
552
00:36:06,033 --> 00:36:08,300
{\an8}♪♪♪
553
00:36:08,333 --> 00:36:11,166
{\an1}Something was happening
with him.
554
00:36:11,200 --> 00:36:13,333
{\an8}♪♪♪
555
00:36:13,366 --> 00:36:15,933
{\an1}-One time, I came up onstage,
556
00:36:15,966 --> 00:36:18,300
{\an1}and Alvin came up onstage,
557
00:36:18,333 --> 00:36:19,933
and he grabbed me,
558
00:36:19,966 --> 00:36:23,233
and he rolled up
into the curtain.
559
00:36:23,266 --> 00:36:24,900
The curtain was...
We rolled up...
560
00:36:24,933 --> 00:36:27,966
{\an1}I said "Alvin, what are do...
What is wrong with you?
561
00:36:28,000 --> 00:36:32,800
{\an1}What is wrong with you?"
He said, "I don't know.
562
00:36:32,833 --> 00:36:35,700
I don't know."
563
00:36:35,733 --> 00:36:40,866
{\an1}It's like another person
inside the person.
564
00:36:40,900 --> 00:36:45,600
It wasn't the Alvin
that we see all the time.
565
00:36:45,633 --> 00:36:48,266
-He needed a person
that he could talk to,
566
00:36:48,300 --> 00:36:52,200
{\an1}a partner or a someone.
567
00:36:52,233 --> 00:36:56,033
{\an1}Alvin did not have that.
568
00:36:56,066 --> 00:36:59,766
{\an1}-He would have relationships
but intermittent.
569
00:36:59,800 --> 00:37:02,100
{\an8}♪♪♪
570
00:37:02,133 --> 00:37:07,600
{\an1}That kind of one-on-one
relationship, he didn't have,
571
00:37:07,633 --> 00:37:10,500
{\an1}except with his mother.
572
00:37:10,533 --> 00:37:15,666
{\an1}I was an only child also,
the same as Alvin.
573
00:37:15,700 --> 00:37:18,033
So I understood that.
574
00:37:18,066 --> 00:37:21,066
{\an8}♪♪♪
575
00:37:21,100 --> 00:37:25,966
{\an1}My relationship was always
with the company,
576
00:37:26,000 --> 00:37:27,433
{\an1}with the Ailey company.
577
00:37:27,466 --> 00:37:31,900
{\an1}That became family to me,
578
00:37:31,933 --> 00:37:34,333
as it was to Alvin.
579
00:37:34,366 --> 00:37:42,366
{\an8}♪♪♪
580
00:37:50,866 --> 00:37:55,833
He had this idea
and this vision.
581
00:37:55,866 --> 00:37:59,900
{\an1}Alvin was driven to work.
582
00:37:59,933 --> 00:38:07,933
{\an8}♪♪♪
583
00:38:09,566 --> 00:38:12,800
{\an8}-♪ There is a house ♪
584
00:38:29,400 --> 00:38:33,900
{\an1}♪ It's been the ruin ♪
585
00:38:33,933 --> 00:38:38,533
{\an1}[ Crowds chanting indistinctly ]
♪ Of many a girl ♪
586
00:38:38,566 --> 00:38:42,466
{\an1}♪ And God, I know I'm one ♪
587
00:38:42,500 --> 00:38:45,900
{\an1}-We didn't have to go out
on the street and protest.
588
00:38:45,933 --> 00:38:48,233
{\an1}Our protest was on the stage.
589
00:38:48,266 --> 00:38:53,866
-♪ If had listened ♪
590
00:38:53,900 --> 00:38:59,100
♪ What my mama said ♪
591
00:38:59,133 --> 00:39:02,600
{\an1}♪ I'd be at home today ♪
592
00:39:02,633 --> 00:39:04,866
{\an1}-This was Alvin's part.
593
00:39:04,900 --> 00:39:08,100
{\an1}This was what he took up
as his crusade.
594
00:39:08,133 --> 00:39:11,833
-♪ But being young ♪
595
00:39:11,866 --> 00:39:14,833
♪ And foolish ♪
596
00:39:14,866 --> 00:39:16,833
{\an8}♪♪♪
597
00:39:16,866 --> 00:39:20,166
{\an1}-This was our march to freedom.
598
00:39:20,200 --> 00:39:28,200
-♪ New Orleans ♪
599
00:39:32,566 --> 00:39:40,566
{\an8}♪♪♪
600
00:39:45,300 --> 00:39:48,966
{\an1}-The death of Fred Hampton.
601
00:39:49,000 --> 00:39:52,533
The police had just
broken into his apartment
602
00:39:52,566 --> 00:39:56,366
{\an1}in the middle of the night
and shot him point-blank range.
603
00:39:56,400 --> 00:39:58,366
{\an8}♪♪♪
604
00:39:58,400 --> 00:39:59,842
{\an1}-There was a photograph
in the newspaper
605
00:39:59,866 --> 00:40:04,333
{\an1}of this young, Black man
in this tiny room like a rat
606
00:40:04,366 --> 00:40:07,066
{\an1}with all these police holes
around him.
607
00:40:07,100 --> 00:40:09,766
{\an8}♪♪♪
608
00:40:09,800 --> 00:40:12,142
{\an1}-I mean, I can't get over that.
I'm a Black man living in this,
609
00:40:12,166 --> 00:40:14,966
you know what I mean?
610
00:40:15,000 --> 00:40:18,200
- "Masekela" came from
a very deep feeling
611
00:40:18,233 --> 00:40:21,500
{\an1}of, you know, rage and anger,
about the situation.
612
00:40:21,533 --> 00:40:23,066
-Nice.
613
00:40:23,100 --> 00:40:25,400
{\an8}♪♪♪
614
00:40:25,433 --> 00:40:27,900
{\an1}Nice. Stop the music, would you?
615
00:40:27,933 --> 00:40:29,066
Yeah.
[ Music stops ]
616
00:40:29,100 --> 00:40:31,966
Now let's try the...
617
00:40:32,000 --> 00:40:36,900
{\an1}I want to feel like you're in
jail, like you're behind bars.
618
00:40:36,933 --> 00:40:39,800
{\an1}And I want to feel all the anger
and the cutting.
619
00:40:39,833 --> 00:40:41,766
I want to feel like
you're being pressed down
620
00:40:41,800 --> 00:40:43,166
{\an1}when you take the arabesque.
621
00:40:43,200 --> 00:40:47,000
{\an1}I want to feel a sense
of cursing at the outside world.
622
00:40:47,033 --> 00:40:49,666
Let's try it again.
623
00:40:49,700 --> 00:40:51,009
Now you just go
through on the floor!
624
00:40:51,033 --> 00:40:52,733
It's... Yes.
625
00:40:52,766 --> 00:41:00,766
{\an8}♪♪♪
626
00:41:09,633 --> 00:41:12,566
{\an7}-Choreography was his catharsis.
627
00:41:12,600 --> 00:41:14,733
{\an7}And a lot of times I felt
628
00:41:14,766 --> 00:41:18,566
{\an7}that even the woman in
the black dress was really him.
629
00:41:18,600 --> 00:41:26,600
{\an8}♪♪♪
630
00:41:38,000 --> 00:41:44,833
{\an1}-The character he created on me
dies in the arms of the patron.
631
00:41:44,866 --> 00:41:49,033
{\an1}And Alvin's saying, "Thank you,
ladies and gentlemen."
632
00:41:49,066 --> 00:41:51,900
{\an1}There was deadly silence.
633
00:41:51,933 --> 00:41:53,566
-Thank you.
634
00:41:53,600 --> 00:41:57,000
Thank you very much,
ladies and gentlemen.
635
00:41:57,033 --> 00:41:58,600
Thank you.
636
00:41:58,633 --> 00:42:04,133
Thank you very much,
ladies and gentlemen.
637
00:42:04,166 --> 00:42:06,066
Thank you.
638
00:42:06,100 --> 00:42:10,933
Thank you very much,
ladies and gentlemen.
639
00:42:10,966 --> 00:42:13,600
Thank you.
640
00:42:13,633 --> 00:42:18,666
Thank you very much,
ladies and gentlemen.
641
00:42:18,700 --> 00:42:21,133
Thank you.
642
00:42:21,166 --> 00:42:25,766
Thank you very much,
ladies and gentlemen.
643
00:42:28,600 --> 00:42:30,866
{\an1}-[Bleep] it, you know?
644
00:42:30,900 --> 00:42:34,833
{\an1}You came here to be entertained.
645
00:42:34,866 --> 00:42:38,333
{\an1}But I have to tell my truth.
646
00:42:38,366 --> 00:42:42,733
{\an8}♪♪♪
647
00:42:42,766 --> 00:42:45,166
-Shh.
648
00:42:45,200 --> 00:42:53,200
{\an8}♪♪♪
649
00:43:30,966 --> 00:43:34,000
{\an1}-To me, it's not back then.
650
00:43:34,033 --> 00:43:37,166
{\an1}Everything I'm talking about
is actually happening today.
651
00:43:37,200 --> 00:43:44,833
{\an8}♪♪♪
652
00:43:44,866 --> 00:43:48,333
{\an1}I'm still feeling the same way,
as anyone would feel
653
00:43:48,366 --> 00:43:51,733
{\an1}if you felt like you were
unwanted as a culture.
654
00:43:51,766 --> 00:43:59,766
{\an8}♪♪♪
655
00:44:31,400 --> 00:44:37,066
{\an8}♪♪♪
656
00:44:47,966 --> 00:44:55,966
{\an8}♪♪♪
657
00:45:03,500 --> 00:45:08,800
{\an8}♪♪♪
658
00:45:08,833 --> 00:45:10,976
{\an1}-Did Mama have something to do
with your going into dance,
659
00:45:11,000 --> 00:45:12,166
{\an1}or did she support this?
660
00:45:12,200 --> 00:45:13,933
-When the dance bug
bit me, she said,
661
00:45:13,966 --> 00:45:15,766
"You go and do
whatever you want to do."
662
00:45:15,800 --> 00:45:17,166
{\an1}-You enjoy seeing his company?
663
00:45:17,200 --> 00:45:20,233
{\an1}-Oh, boy, it's the biggest
thrill of my life.
664
00:45:20,266 --> 00:45:22,433
{\an1}And he still has farther to go,
665
00:45:22,466 --> 00:45:26,100
so that's why
he's just keeping on.
666
00:45:26,133 --> 00:45:34,133
{\an8}♪♪♪
667
00:45:36,566 --> 00:45:41,500
{\an1}-Mrs. Cooper worked in
somebody's house, cleaning,
668
00:45:41,533 --> 00:45:45,333
{\an7}and decided to go to Los Angeles
to make life for him.
669
00:45:45,366 --> 00:45:48,500
{\an8}You know, that...
Alvin knows that.
670
00:45:48,533 --> 00:45:56,533
{\an8}♪♪♪
671
00:45:59,333 --> 00:46:03,466
-♪ Been on a train ♪
672
00:46:03,500 --> 00:46:06,333
{\an1}-The Black women who would
encourage you...
673
00:46:06,366 --> 00:46:08,833
-♪ The whistle blow ♪
674
00:46:08,866 --> 00:46:10,700
{\an1}-...who would be there always...
675
00:46:10,733 --> 00:46:13,800
{\an1}-♪ Been on a train north ♪
676
00:46:13,833 --> 00:46:17,400
{\an1}-...who were so supportive,
I mean, that you could not fail.
677
00:46:17,433 --> 00:46:23,100
{\an8}-♪ The whistle blow ♪
678
00:46:23,133 --> 00:46:25,400
{\an8}♪ I saw a man ♪
679
00:46:25,433 --> 00:46:30,600
{\an8}♪♪♪
680
00:46:30,633 --> 00:46:32,466
{\an1}-I'd get these images.
681
00:46:32,500 --> 00:46:34,700
{\an8}♪♪♪
682
00:46:34,733 --> 00:46:40,800
-♪ Die slow ♪
683
00:46:40,833 --> 00:46:44,333
{\an1}-He would say things like,
"You're scrubbing floors."
684
00:46:44,366 --> 00:46:46,633
{\an8}♪♪♪
685
00:46:46,666 --> 00:46:51,633
{\an1}"You're attending a baby.
You're a queen."
686
00:46:51,666 --> 00:46:57,966
{\an1}-♪ And I'm never gonna
be the same ♪
687
00:46:58,000 --> 00:47:01,700
{\an8}♪♪♪
688
00:47:01,733 --> 00:47:04,400
-I had no inclination
that this was dedicated
689
00:47:04,433 --> 00:47:07,333
to all Black women,
especially our mothers,
690
00:47:07,366 --> 00:47:10,333
and that this was
a birthday gift to his mom.
691
00:47:10,366 --> 00:47:14,166
-♪ Home ♪
692
00:47:14,200 --> 00:47:19,533
-But you could hear
the importance in the music.
693
00:47:19,566 --> 00:47:27,566
{\an1}-♪ Gonna soothe my pain ♪
694
00:47:29,433 --> 00:47:31,133
{\an1}-The angst in her voice.
695
00:47:31,166 --> 00:47:35,166
-♪ No ♪
696
00:47:35,200 --> 00:47:38,033
♪ No ♪
697
00:47:38,066 --> 00:47:39,900
♪ Damn you, mister ♪
698
00:47:39,933 --> 00:47:44,100
♪ And I dragged him
out the door ♪
699
00:47:44,133 --> 00:47:46,700
♪ No, no ♪
700
00:47:46,733 --> 00:47:50,200
♪ Damn you, mister,
and I dragged him out the door ♪
701
00:47:50,233 --> 00:47:54,133
-And you just survive
inside of what he's giving you
702
00:47:54,166 --> 00:47:56,133
and what the music
is telling you,
703
00:47:56,166 --> 00:47:59,200
you know?
You live in those moments.
704
00:47:59,233 --> 00:48:03,600
{\an8}♪♪♪
705
00:48:03,633 --> 00:48:08,333
♪ I suspect
there's a train going north ♪
706
00:48:08,366 --> 00:48:12,866
♪ In a month or two ♪
707
00:48:12,900 --> 00:48:16,500
♪ I still hear
his words he said ♪
708
00:48:16,533 --> 00:48:22,500
{\an1}-Identity was a strong message.
709
00:48:22,533 --> 00:48:27,833
Being able to say
through the choreography,
710
00:48:27,866 --> 00:48:30,400
"I am,"
711
00:48:30,433 --> 00:48:35,333
{\an1}was a very, very important theme
712
00:48:35,366 --> 00:48:39,600
{\an1}that ran through the dances.
713
00:48:39,633 --> 00:48:42,200
"I am."
714
00:48:42,233 --> 00:48:43,866
{\an1}-♪ There's nothing left
to say or do ♪
715
00:48:43,900 --> 00:48:48,633
{\an1}-Stand in your own being
no matter what.
716
00:48:48,666 --> 00:48:50,833
It's very important
to have that,
717
00:48:50,866 --> 00:48:55,200
{\an1}because it transcends dance,
718
00:48:55,233 --> 00:48:58,066
{\an1}and it opens the person
719
00:48:58,100 --> 00:49:02,366
{\an8}to a new realization
or consciousness
720
00:49:02,400 --> 00:49:05,266
{\an8}of who they are
721
00:49:05,300 --> 00:49:09,066
{\an7}and how to be who they are.
722
00:49:09,100 --> 00:49:17,100
{\an8}♪♪♪
723
00:49:24,266 --> 00:49:27,466
-♪ I wanna go where
the north wind blows ♪
724
00:49:27,500 --> 00:49:31,833
{\an1}-♪ Wind blows, wind blows ♪
725
00:49:31,866 --> 00:49:36,166
{\an1}-That whole last section,
I didn't know how I did it.
726
00:49:36,200 --> 00:49:38,166
{\an1}'Cause I couldn't feel anything
from here down.
727
00:49:38,200 --> 00:49:39,900
{\an1}I mean, it was like okay,
728
00:49:39,933 --> 00:49:42,300
{\an1}I know there's something there
holding me up
729
00:49:42,333 --> 00:49:44,100
{\an1}and just plow on through.
730
00:49:44,133 --> 00:49:46,400
{\an1}-♪ Ain't no time to be afraid ♪
731
00:49:46,433 --> 00:49:51,233
{\an1}-♪ Yeah, yeah, mother,
save your child ♪
732
00:49:51,266 --> 00:49:52,933
-And when it comes
to that last step,
733
00:49:52,966 --> 00:49:55,666
you dig down in there
like you have never dug before.
734
00:49:55,700 --> 00:49:59,300
{\an1}-♪ In the sky, in the sky ♪
735
00:49:59,333 --> 00:50:05,866
{\an8}♪♪♪
736
00:50:05,900 --> 00:50:09,066
-♪ I want the clouds
over my head ♪
737
00:50:09,100 --> 00:50:12,733
{\an1}-♪ Over my head, over my head ♪
738
00:50:12,766 --> 00:50:16,766
-♪ I don't want
no store-bought bed, yeah ♪
739
00:50:16,800 --> 00:50:19,700
-♪ Store-bought bed,
store-bought bed ♪
740
00:50:19,733 --> 00:50:24,533
{\an1}-No matter what others
may think of you...
741
00:50:24,566 --> 00:50:27,333
-♪ Till I'm dead,
till I'm dead ♪
742
00:50:27,366 --> 00:50:28,700
{\an1}-...this is who you are.
743
00:50:28,733 --> 00:50:32,100
{\an1}-♪ Mother, mother, mother,
mother, save your child ♪
744
00:50:32,133 --> 00:50:34,200
{\an1}-How important is that to you
745
00:50:34,233 --> 00:50:37,933
to be able to say
through your movement,
746
00:50:37,966 --> 00:50:42,266
{\an1}through your being, "I am."
747
00:50:42,300 --> 00:50:45,100
{\an1}[ Cheers and applause ]
748
00:50:47,133 --> 00:50:49,600
Thunderous applause.
749
00:50:49,633 --> 00:50:53,133
{\an1}Alvin stood right next to me.
750
00:50:53,166 --> 00:50:54,776
{\an1}The curtain had been down
for a little bit,
751
00:50:54,800 --> 00:50:57,733
and people
were still applauding.
752
00:50:57,766 --> 00:51:00,500
{\an1}I'm, like, dripping in sweat,
753
00:51:00,533 --> 00:51:04,700
{\an1}I'm going, like, "Oh, wow, phew,
got through that one."
754
00:51:04,733 --> 00:51:09,500
{\an1}And he says to me, "Now what?"
755
00:51:09,533 --> 00:51:13,866
Like what is
he going
to do next.
756
00:51:13,900 --> 00:51:15,566
What next?
757
00:51:15,600 --> 00:51:23,600
{\an8}♪♪♪
758
00:51:42,333 --> 00:51:45,433
{\an8}-You have the anxiety
of creating.
759
00:51:45,466 --> 00:51:51,333
{\an8}You have the euphoria
of a creation being successful.
760
00:51:51,366 --> 00:51:55,433
{\an8}♪♪♪
761
00:51:55,466 --> 00:51:59,633
{\an8}Alvin, I think
he took on too much.
762
00:51:59,666 --> 00:52:02,500
{\an7}-Some say the Alvin Ailey
American Dance Theater
763
00:52:02,533 --> 00:52:05,466
{\an7}is the most innovative
dance company in the world.
764
00:52:05,500 --> 00:52:08,133
{\an7}Its popularity and dazzling
performances
765
00:52:08,166 --> 00:52:10,833
have been experienced
by 10 million people,
766
00:52:10,866 --> 00:52:15,400
{\an1}43 states, 44 countries,
on 6 continents.
767
00:52:15,433 --> 00:52:17,933
{\an1}Our guest is the world
renowned choreographer
768
00:52:17,966 --> 00:52:20,033
and artistic director
Alvin Ailey.
769
00:52:20,066 --> 00:52:21,200
{\an1}Good to have you here.
770
00:52:21,233 --> 00:52:22,676
-Thank you, Dennis.
It's nice to be here.
771
00:52:22,700 --> 00:52:25,166
{\an1}[ Speaking foreign language ]
772
00:52:25,200 --> 00:52:26,566
-Alvin Ailey,
773
00:52:26,600 --> 00:52:29,400
{\an1}director of the Alvin Ailey
American Dance Theater,
774
00:52:29,433 --> 00:52:32,000
who has just returned
from a very successful tour
775
00:52:32,033 --> 00:52:33,166
in the Soviet Union.
776
00:52:33,200 --> 00:52:36,366
-We are adding
Mr. Ailey's piece.
777
00:52:36,400 --> 00:52:41,600
{\an1}-Every fall, every springtime,
every season,
778
00:52:41,633 --> 00:52:46,466
{\an1}there you are, at the mill,
grinding it out.
779
00:52:46,500 --> 00:52:49,066
{\an8}♪♪♪
780
00:52:49,100 --> 00:52:52,333
{\an7}-The problem is that if you're a
Black anything in this country,
781
00:52:52,366 --> 00:52:55,533
{\an7}people want to put you
into a bag.
782
00:52:55,566 --> 00:52:58,133
{\an7}People sometimes say, "Well, you
know, why is he doing that now?
783
00:52:58,166 --> 00:53:01,033
{\an1}Why can't he stick to the blues
and to the spirituals?"
784
00:53:01,066 --> 00:53:04,333
{\an1}I'm also a 20th century
American, and I respond to Bach
785
00:53:04,366 --> 00:53:05,866
{\an8}and Ellington
and Benjamin Britten
786
00:53:05,900 --> 00:53:08,833
{\an8}and Samuel Barber,
and why shouldn't I?
787
00:53:08,866 --> 00:53:11,100
{\an8}♪♪♪
788
00:53:11,133 --> 00:53:14,700
{\an7}So I don't like to be pinned
down as a choreographer.
789
00:53:14,733 --> 00:53:22,566
{\an8}♪♪♪
790
00:53:22,600 --> 00:53:28,566
-Oftentimes, isolated
Black creators are used.
791
00:53:28,600 --> 00:53:31,900
{\an1}Everybody used him as, "See?
792
00:53:31,933 --> 00:53:34,766
This is the progress
we're making.
793
00:53:34,800 --> 00:53:37,433
{\an1}See? We're not racist.
794
00:53:37,466 --> 00:53:39,366
We have Alvin Ailey."
795
00:53:39,400 --> 00:53:47,400
{\an8}♪♪♪
796
00:53:48,600 --> 00:53:49,942
{\an8}-When you were making
"Revelations,"
797
00:53:49,966 --> 00:53:51,833
{\an7}did you know that you'd be
doing it forever?
798
00:53:51,866 --> 00:53:53,733
{\an8}-[ Chuckling ] No.
799
00:53:53,766 --> 00:53:55,200
-Does it bother you?
800
00:53:55,233 --> 00:53:57,300
-In a way, it does,
isn't that strange?
801
00:53:57,333 --> 00:54:00,666
{\an1}Maybe I can't... Every time
I see "Revelations" now,
802
00:54:00,700 --> 00:54:03,333
{\an1}after all these years,
man, since 1960...
803
00:54:03,366 --> 00:54:05,733
{\an1}I mean, I saw it in Atlanta
the other night, and everybody
804
00:54:05,766 --> 00:54:09,666
{\an1}had come to see "Revelations,"
and it still worked.
805
00:54:09,700 --> 00:54:12,700
{\an8}♪♪♪
806
00:54:12,733 --> 00:54:17,866
{\an1}-They wanted something that
they could feel uplifted by.
807
00:54:17,900 --> 00:54:20,200
{\an7}What about the troubled artist,
808
00:54:20,233 --> 00:54:23,400
{\an8}who is oftentimes
turned in and barbed,
809
00:54:23,433 --> 00:54:28,566
{\an8}who is confused
and looking for form?
810
00:54:28,600 --> 00:54:30,600
Looking for form.
811
00:54:30,633 --> 00:54:38,633
{\an8}♪♪♪
812
00:54:45,800 --> 00:54:48,333
{\an1}-Let's go to the ballet.
813
00:54:48,366 --> 00:54:50,333
{\an8}♪♪♪
814
00:54:50,366 --> 00:54:55,533
{\an1}-You have this creature,
this wounded animal.
815
00:54:55,566 --> 00:54:56,933
{\an1}She's angry at herself.
816
00:54:56,966 --> 00:55:00,433
She's angry probably
at her creative forces...
817
00:55:00,466 --> 00:55:02,900
{\an1}like all creatives, not doing
exactly with herself
818
00:55:02,933 --> 00:55:04,100
{\an1}what she wanted to do.
819
00:55:04,133 --> 00:55:06,933
{\an1}She's angry at the world
that allowed this thing
820
00:55:06,966 --> 00:55:08,566
to happen to her,
whatever it is.
821
00:55:08,600 --> 00:55:10,866
{\an1}She's angry at the weakness
in herself.
822
00:55:10,900 --> 00:55:13,166
{\an8}♪♪♪
823
00:55:13,200 --> 00:55:18,733
{\an1}-This was a very vulnerable
thing to witness.
824
00:55:18,766 --> 00:55:23,333
{\an1}But I saw him really trying
to go in search of, I believe,
825
00:55:23,366 --> 00:55:25,933
what had probably
made him a choreographer.
826
00:55:25,966 --> 00:55:28,533
He wanted a poetry.
827
00:55:28,566 --> 00:55:32,566
{\an8}♪♪♪
828
00:55:32,600 --> 00:55:36,733
{\an7}-Creation is a very long
and lonely place,
829
00:55:36,766 --> 00:55:41,266
{\an8}lonely in the fact
that nobody can help you.
830
00:55:41,300 --> 00:55:43,300
{\an8}♪♪♪
831
00:55:43,333 --> 00:55:45,666
He was possessed,
832
00:55:45,700 --> 00:55:49,366
{\an1}and he had to serve that god.
833
00:55:49,400 --> 00:55:57,400
{\an8}♪♪♪
834
00:55:59,200 --> 00:56:01,433
{\an1}-Alvin was very private.
835
00:56:01,466 --> 00:56:03,800
{\an8}♪♪♪
836
00:56:03,833 --> 00:56:05,233
{\an1}I worked with him long time,
837
00:56:05,266 --> 00:56:10,500
and he invited me
to his house only once.
838
00:56:10,533 --> 00:56:16,066
{\an1}He wanted to open up the door
for me to more close to him.
839
00:56:16,100 --> 00:56:20,866
Somehow I feel
I wanted him to be up,
840
00:56:20,900 --> 00:56:23,300
{\an1}to put on a pedestal, you know.
841
00:56:23,333 --> 00:56:25,133
I mean, I wanted him
to be there.
842
00:56:25,166 --> 00:56:27,833
{\an1}It's not here with me.
843
00:56:27,866 --> 00:56:31,366
{\an8}♪♪♪
844
00:56:31,400 --> 00:56:35,466
-Sometimes your name
becomes bigger than yourself.
845
00:56:35,500 --> 00:56:37,666
{\an8}"Alvin Ailey."
846
00:56:37,700 --> 00:56:41,300
{\an7}Do you really know who that is
or what it is?
847
00:56:41,333 --> 00:56:44,866
{\an8}♪♪♪
848
00:56:44,900 --> 00:56:47,433
You see a name,
but I don't see a man.
849
00:56:47,466 --> 00:56:55,466
{\an8}♪♪♪
850
00:58:33,100 --> 00:58:39,533
{\an8}♪♪♪
851
00:59:12,533 --> 00:59:20,533
{\an8}♪♪♪
852
00:59:32,400 --> 00:59:38,166
{\an8}♪♪♪
853
00:59:38,200 --> 00:59:40,666
-He was working
at a feverish pitch.
854
00:59:40,700 --> 00:59:44,133
{\an1}This stream of consciousness.
855
00:59:44,166 --> 00:59:47,166
{\an8}♪♪♪
856
00:59:47,200 --> 00:59:50,933
{\an1}He was totally immersed.
857
00:59:50,966 --> 00:59:58,966
{\an8}♪♪♪
858
01:00:04,400 --> 01:00:05,666
{\an8}-I...
859
01:00:09,333 --> 01:00:14,666
{\an8}♪♪♪
860
01:00:17,633 --> 01:00:25,633
{\an8}♪♪♪
861
01:01:17,233 --> 01:01:25,233
{\an8}♪♪♪
862
01:01:38,000 --> 01:01:42,966
{\an8}♪♪♪
863
01:01:55,333 --> 01:02:03,333
{\an8}♪♪♪
864
01:02:17,366 --> 01:02:22,833
{\an8}♪♪♪
865
01:02:39,633 --> 01:02:43,200
{\an8}-He was exhausted
from trying to meet
866
01:02:43,233 --> 01:02:46,800
{\an7}the demands of the board,
the community, everything.
867
01:02:46,833 --> 01:02:48,766
{\an1}"Oh, do another ballet.
Oh, do this.
868
01:02:48,800 --> 01:02:50,966
Oh, do that."
869
01:02:51,000 --> 01:02:53,133
[ Heartbeat ]
870
01:02:53,166 --> 01:02:56,233
{\an1}-He talked to me at times
about the company
871
01:02:56,266 --> 01:03:02,400
{\an1}not being the Alvin Ailey
American Dance Theater.
872
01:03:02,433 --> 01:03:05,733
It could be
the American Dance Theater.
873
01:03:05,766 --> 01:03:08,466
{\an1}And I remember saying to him,
"What are you talking about?
874
01:03:08,500 --> 01:03:10,466
Where are
you going?"
875
01:03:22,133 --> 01:03:30,133
{\an8}♪♪♪
876
01:03:55,633 --> 01:03:57,933
{\an1}-One day, my telephone rang.
877
01:03:57,966 --> 01:04:02,766
{\an1}A voice said, "You know,
Alvin is running around,
878
01:04:02,800 --> 01:04:04,100
{\an1}throwing things around,
879
01:04:04,133 --> 01:04:07,966
{\an1}and everybody has cleared
out of the office."
880
01:04:08,000 --> 01:04:11,566
{\an8}♪♪♪
881
01:04:11,600 --> 01:04:14,533
{\an1}Alvin pushed the door open.
882
01:04:14,566 --> 01:04:18,200
He just looked at me,
883
01:04:18,233 --> 01:04:22,633
{\an1}a look that I had never seen
from him before.
884
01:04:22,666 --> 01:04:26,500
I said, "Alvin,
885
01:04:26,533 --> 01:04:30,866
{\an1}what do you want me to do?"
886
01:04:30,900 --> 01:04:33,200
So he said,
887
01:04:33,233 --> 01:04:37,066
"All I want you to do
is take care of the company."
888
01:04:37,100 --> 01:04:42,300
{\an1}So I said, "Well, I am always
889
01:04:42,333 --> 01:04:45,333
{\an1}going to do just that.
890
01:04:45,366 --> 01:04:48,900
{\an1}You don't have to worry
about it."
891
01:04:48,933 --> 01:04:50,933
Then he disappeared.
892
01:04:50,966 --> 01:04:54,266
{\an8}♪♪♪
893
01:04:54,300 --> 01:04:56,866
Alvin's not well.
894
01:04:56,900 --> 01:05:03,466
{\an8}♪♪♪
895
01:05:03,500 --> 01:05:05,600
[ Siren wails ]
896
01:05:05,633 --> 01:05:08,800
{\an8}♪♪♪
897
01:05:46,733 --> 01:05:54,733
{\an8}♪♪♪
898
01:05:56,333 --> 01:06:00,933
{\an1}-I believe that there is always
something, one's gift,
899
01:06:00,966 --> 01:06:06,833
{\an1}one's genius, separates one from
his colleagues, his community.
900
01:06:06,866 --> 01:06:09,333
I believe that he had
that demon,
901
01:06:09,366 --> 01:06:12,933
{\an1}that demon that says that,
"If I have gotten this far,
902
01:06:12,966 --> 01:06:18,200
{\an1}it's because I have pulled
one over on somebody
903
01:06:18,233 --> 01:06:23,600
{\an1}and that, any day now,
I'm going to be found out."
904
01:06:23,633 --> 01:06:26,566
{\an1}I think it's kind of something
like a self-loathing
905
01:06:26,600 --> 01:06:30,400
that comes with
not feeling worthy,
906
01:06:30,433 --> 01:06:31,866
{\an1}even though you've proven it.
907
01:06:31,900 --> 01:06:33,533
{\an1}If you look at "Revelations,"
908
01:06:33,566 --> 01:06:37,100
{\an1}it's one of the great dances
of the 20th century.
909
01:06:37,133 --> 01:06:41,700
{\an8}♪♪♪
910
01:06:41,733 --> 01:06:43,866
-Who could love him,
911
01:06:43,900 --> 01:06:48,033
or were they loving
what he represented...
912
01:06:48,066 --> 01:06:51,000
His gift, his fame,
what-have-you?
913
01:06:51,033 --> 01:06:59,033
{\an8}♪♪♪
914
01:07:00,533 --> 01:07:03,300
Who could love him?
915
01:07:03,933 --> 01:07:11,933
{\an8}♪♪♪
916
01:08:07,566 --> 01:08:11,466
{\an8}♪♪♪
917
01:08:11,500 --> 01:08:13,700
{\an1}-He made a nice duet for me.
918
01:08:13,733 --> 01:08:15,700
{\an8}♪♪♪
919
01:08:15,733 --> 01:08:18,366
It was so much fun.
920
01:08:18,400 --> 01:08:21,600
I think he discovered
a different way.
921
01:08:21,633 --> 01:08:23,166
{\an8}It's not new Alvin,
922
01:08:23,200 --> 01:08:27,966
{\an8}but something like
winter passed, you know?
923
01:08:28,000 --> 01:08:29,700
Took off the jacket.
924
01:08:29,733 --> 01:08:31,933
{\an8}♪♪♪
925
01:08:31,966 --> 01:08:34,066
-See, if I had known
about this television thing,
926
01:08:34,100 --> 01:08:35,933
{\an1}I would have done my hair
like yours, Rodney.
927
01:08:35,966 --> 01:08:37,066
[ Laughter ]
928
01:08:37,100 --> 01:08:38,800
{\an1}Would've been up till 5:00
in the morning
929
01:08:38,833 --> 01:08:40,133
twisting and turning.
930
01:08:40,166 --> 01:08:41,709
{\an1}-Well, I just wash it.
I don't do anything to it.
931
01:08:41,733 --> 01:08:43,900
{\an1}-You don't do anything to it?
And you did it yourself?
932
01:08:43,933 --> 01:08:45,609
-I don't do anything.
I just don't comb it.
933
01:08:45,633 --> 01:08:47,042
-No, but, I mean,
how did it get that way?
934
01:08:47,066 --> 01:08:48,266
-I just...
935
01:08:48,300 --> 01:08:49,933
- You twisted it?
- No.
936
01:08:49,966 --> 01:08:53,200
{\an1}-Rodney, now, no, no, no.
937
01:08:53,233 --> 01:08:54,966
You're among friends.
938
01:08:55,000 --> 01:09:00,433
{\an8}♪♪♪
939
01:09:00,466 --> 01:09:03,866
{\an1}-It was a sense of renewal.
940
01:09:03,900 --> 01:09:09,133
{\an1}The only direction to go
is forward into the future.
941
01:09:09,166 --> 01:09:16,000
{\an8}♪♪♪
942
01:09:16,033 --> 01:09:19,633
{\an1}-What are the aims and goals
of the American Dance Theater?
943
01:09:19,666 --> 01:09:22,266
{\an1}-To provide a place of beauty
and excitement,
944
01:09:22,300 --> 01:09:25,233
{\an1}a place for other choreographers
to experiment,
945
01:09:25,266 --> 01:09:27,933
to provide a place
where people can come
946
01:09:27,966 --> 01:09:29,833
{\an1}and feel like they can
add themselves
947
01:09:29,866 --> 01:09:32,800
{\an1}and then reap the benefits
of what they put in.
948
01:09:32,833 --> 01:09:35,066
{\an8}♪♪♪
949
01:09:35,100 --> 01:09:38,700
{\an1}I want it to be easier
than it was for me.
950
01:09:38,733 --> 01:09:44,066
{\an8}♪♪♪
951
01:09:44,100 --> 01:09:46,800
{\an7}-I had been invited to come
and make a work
952
01:09:46,833 --> 01:09:50,500
{\an1}for the Ailey Company.
953
01:09:50,533 --> 01:09:54,666
{\an1}Around this time, Arnie Zane,
my companion, and I
954
01:09:54,700 --> 01:09:57,400
{\an1}were already on the cover
of
Dance Magazine.
955
01:09:57,433 --> 01:10:00,633
{\an1}Many people were saying
we were the flavor of the month
956
01:10:00,666 --> 01:10:04,966
of the downtown
avant-garde dance.
957
01:10:05,000 --> 01:10:07,966
{\an7}More than anything, I think
he wanted to stay in touch
958
01:10:08,000 --> 01:10:10,300
{\an8}with new developments
in the field,
959
01:10:10,333 --> 01:10:13,800
{\an7}and I'm proud to say he took me
seriously in that regard.
960
01:10:16,933 --> 01:10:20,300
{\an1}-I remember him coming in
and seeing the roughhousing,
961
01:10:20,333 --> 01:10:23,533
gestural language
of "Fever Swamp"
962
01:10:23,566 --> 01:10:25,066
and him saying to me
963
01:10:25,100 --> 01:10:27,366
{\an1}something that moves me
very much right now...
964
01:10:27,400 --> 01:10:30,533
He said,
"Don't hurt my boys, Bill.
965
01:10:30,566 --> 01:10:33,933
Don't hurt my boys."
966
01:10:33,966 --> 01:10:37,600
When he said boys,
it meant that he loved them.
967
01:10:37,633 --> 01:10:41,400
{\an1}He loved them because he was
no longer lonely,
968
01:10:41,433 --> 01:10:44,166
{\an1}and he had actually been given
the wherewithal
969
01:10:44,200 --> 01:10:49,533
{\an8}to open up this field
to people like himself.
970
01:10:49,566 --> 01:10:51,366
{\an8}"My boys."
971
01:10:51,400 --> 01:10:53,533
{\an7}[ Indistinct conversations ]
972
01:10:53,566 --> 01:10:55,466
{\an1}-Let's have you here, Michael.
973
01:10:55,500 --> 01:10:58,766
You here.
You're facing this way.
974
01:10:58,800 --> 01:11:02,533
{\an1}Jackie, bring you here, okay.
975
01:11:02,566 --> 01:11:06,033
So, here's the deal.
You guys are blades of grass.
976
01:11:06,066 --> 01:11:08,333
You're Black folk
who have been murdered.
977
01:11:08,366 --> 01:11:09,966
{\an1}You become part of the soil,
978
01:11:10,000 --> 01:11:12,400
{\an1}and then the gatherers come
and step over you,
979
01:11:12,433 --> 01:11:14,933
and they start
gathering the souls, right?
980
01:11:14,966 --> 01:11:18,566
Gathering them back
so they can regenerate.
981
01:11:18,600 --> 01:11:20,633
Got me? Alright,
so that's what's happening.
982
01:11:20,666 --> 01:11:23,766
{\an1}So... And so this is slow...
983
01:11:23,800 --> 01:11:27,400
Right, right.
984
01:11:27,433 --> 01:11:29,733
Resurrection.
985
01:11:29,766 --> 01:11:34,166
{\an1}Every time a dancer walks in,
986
01:11:34,200 --> 01:11:37,833
{\an1}there's another piece of him
being resurrected.
987
01:11:37,866 --> 01:11:39,833
{\an8}♪♪♪
988
01:11:39,866 --> 01:11:43,633
{\an1}Mr. Ailey was just watching
this whole cycle happening
989
01:11:43,666 --> 01:11:46,700
and helping to guide
and helping to push through.
990
01:11:47,400 --> 01:11:55,400
{\an8}♪♪♪
991
01:12:17,400 --> 01:12:21,433
-I was walking across
57th Street,
992
01:12:21,466 --> 01:12:24,200
and I saw Alvin.
993
01:12:24,233 --> 01:12:28,566
I said, "Hi, Alvin.
How's everything?"
994
01:12:28,600 --> 01:12:30,300
{\an1}He said, "It's alright,
it's alright."
995
01:12:30,333 --> 01:12:33,200
But he didn't speak
about anything.
996
01:12:33,233 --> 01:12:36,933
{\an1}It was like, that's all.
I said, "Well, okay.
997
01:12:36,966 --> 01:12:38,466
I hope to see you.
998
01:12:38,500 --> 01:12:41,400
{\an1}I'll come to the season,"
like that.
999
01:12:43,466 --> 01:12:47,166
{\an1}He just looked thinner to me
and a little drawn.
1000
01:12:47,200 --> 01:12:52,733
He wasn't reacting
in a way that I was used to.
1001
01:12:56,166 --> 01:12:59,833
-People's appearances
were changing.
1002
01:12:59,866 --> 01:13:02,600
{\an1}They were getting thinner,
1003
01:13:02,633 --> 01:13:04,966
and...
1004
01:13:07,600 --> 01:13:11,133
{\an1}And they were dying around you.
1005
01:13:11,166 --> 01:13:14,700
And I guess
all you could hope for...
1006
01:13:14,733 --> 01:13:17,400
That it wasn't you.
1007
01:13:21,066 --> 01:13:27,566
{\an1}And you prayed that it wasn't
anybody close to you.
1008
01:13:30,866 --> 01:13:35,966
{\an8}♪♪♪
1009
01:13:36,000 --> 01:13:41,000
{\an1}-Alvin wanted me to meet him
at this restaurant.
1010
01:13:41,033 --> 01:13:44,466
{\an7}We were picking over stuff,
you know, this food
1011
01:13:44,500 --> 01:13:47,600
{\an8}that I wasn't eating,
that he wasn't eating.
1012
01:13:47,633 --> 01:13:50,366
Both of us knew
what we were there for.
1013
01:13:50,400 --> 01:13:53,633
{\an8}♪♪♪
1014
01:13:53,666 --> 01:13:56,400
{\an1}But he had to declare it anyway.
1015
01:13:56,433 --> 01:13:59,666
He said, "Would you
take over the company?"
1016
01:13:59,700 --> 01:14:07,700
{\an8}♪♪♪
1017
01:14:08,466 --> 01:14:12,800
{\an1}I had been told ahead of time
that he was very ill.
1018
01:14:12,833 --> 01:14:15,666
{\an8}♪♪♪
1019
01:14:15,700 --> 01:14:20,133
{\an1}At that time, people were
retreating from saying anything
1020
01:14:20,166 --> 01:14:23,466
{\an1}about AIDS-related illnesses.
1021
01:14:23,500 --> 01:14:28,000
{\an8}♪♪♪
1022
01:14:28,033 --> 01:14:30,900
{\an1}-There were probably people
he would imagine
1023
01:14:30,933 --> 01:14:33,033
{\an1}they would react disfavorably
1024
01:14:33,066 --> 01:14:38,200
{\an1}to having "this guilty disease."
1025
01:14:38,233 --> 01:14:42,033
This disease is,
in some people's minds,
1026
01:14:42,066 --> 01:14:44,400
{\an1}"You get what you deserve.
1027
01:14:44,433 --> 01:14:46,300
And we have loved you
all these years
1028
01:14:46,333 --> 01:14:49,600
{\an1}and given you this platform
to go out and do that dancing,
1029
01:14:49,633 --> 01:14:52,300
and then,
look at your dirty life."
1030
01:14:52,333 --> 01:14:55,433
{\an1}And as we used to hear
when I was as a child,
1031
01:14:55,466 --> 01:14:58,566
{\an1}"What's done in the dark
will come to the light."
1032
01:14:58,600 --> 01:15:02,566
{\an1}And I'm purposely taking on
the voice of a Southern Baptist,
1033
01:15:02,600 --> 01:15:04,200
because I'm sure,
1034
01:15:04,233 --> 01:15:07,000
be that his mother,
be that many people around him,
1035
01:15:07,033 --> 01:15:10,833
{\an1}there was this feeling
that, as I say,
1036
01:15:10,866 --> 01:15:12,866
{\an1}men are men on the Ailey stage
1037
01:15:12,900 --> 01:15:14,800
and women are women
on the Ailey stage,
1038
01:15:14,833 --> 01:15:17,266
{\an1}and they are exemplary,
1039
01:15:17,300 --> 01:15:21,133
{\an1}and they are the survivors
of racism and slavery,
1040
01:15:21,166 --> 01:15:23,100
{\an1}and they are beautiful,
and they are strong,
1041
01:15:23,133 --> 01:15:25,733
{\an1}and they will live forever
and leap higher and higher,
1042
01:15:25,766 --> 01:15:28,266
and you're telling me
that they have sex?
1043
01:15:28,300 --> 01:15:32,066
And they have sex
that could kill them?
1044
01:15:32,100 --> 01:15:34,966
Are you telling me
Mr. Ailey himself?
1045
01:15:35,000 --> 01:15:37,666
Oh, that's too much.
That's too much.
1046
01:15:37,700 --> 01:15:40,266
We have to edit that
out of the history.
1047
01:15:40,300 --> 01:15:45,533
And he participated
in the editing of it.
1048
01:15:45,566 --> 01:15:47,266
He was alone.
1049
01:15:47,300 --> 01:15:50,866
{\an1}What community of gay people
was he with
1050
01:15:50,900 --> 01:15:54,133
{\an1}that could say, "Alvin,
this is happening to us"?
1051
01:15:54,166 --> 01:15:58,933
{\an8}♪♪♪
1052
01:15:58,966 --> 01:16:04,466
-When he got ill,
they put a couch in the studio.
1053
01:16:04,500 --> 01:16:06,333
{\an1}He wasn't really working
with us anymore.
1054
01:16:06,366 --> 01:16:09,100
He couldn't.
But he wanted to be around us.
1055
01:16:09,133 --> 01:16:12,666
{\an7}So as opposed to laying at home,
he would just lay on the couch.
1056
01:16:12,700 --> 01:16:16,366
{\an7}He would just kind of lounge
around and just be with us.
1057
01:16:16,400 --> 01:16:19,933
{\an8}♪♪♪
1058
01:16:19,966 --> 01:16:23,800
{\an1}There's a denial that you want
to have about your friend.
1059
01:16:23,833 --> 01:16:26,733
{\an1}You always want to think
there could be a miracle.
1060
01:16:26,766 --> 01:16:29,733
{\an1}'Cause miracles do happen.
1061
01:16:29,766 --> 01:16:32,066
{\an1}Some people do get better.
1062
01:16:32,100 --> 01:16:35,166
People do heal.
1063
01:16:35,200 --> 01:16:37,066
So it is possible.
1064
01:16:37,100 --> 01:16:39,066
{\an8}♪♪♪
1065
01:16:39,100 --> 01:16:41,666
It could happen.
He could pull through this.
1066
01:16:41,700 --> 01:16:43,600
Miracles do happen.
1067
01:16:43,633 --> 01:16:46,133
{\an8}♪♪♪
1068
01:16:46,166 --> 01:16:47,400
{\an1}-Hey, Alvin, what's up?
1069
01:16:47,433 --> 01:16:49,109
{\an1}Now, listen here. You gotta
hurry up and get better.
1070
01:16:49,133 --> 01:16:52,300
{\an1}I'm waitin' on you, because,
you know, I'm trying to do this,
1071
01:16:52,333 --> 01:16:53,900
{\an1}but I need to be inspired.
1072
01:16:53,933 --> 01:16:56,000
{\an1}I need your inspiration,
brother.
1073
01:16:56,033 --> 01:16:58,433
{\an1}You got to get out here,
you understand what I'm saying?
1074
01:16:58,466 --> 01:17:01,666
-Hi! We miss you!
1075
01:17:01,700 --> 01:17:04,433
{\an1}Hope you're feeling better!
1076
01:17:04,466 --> 01:17:06,566
{\an7}-We want you to get better
so you can come back
1077
01:17:06,600 --> 01:17:08,233
{\an7}and reprimand us again.
1078
01:17:08,266 --> 01:17:09,500
{\an8}[ Laughs ]
1079
01:17:09,533 --> 01:17:11,900
{\an1}[ Cheers and applause ]
1080
01:17:11,933 --> 01:17:15,766
{\an8}♪♪♪
1081
01:17:15,800 --> 01:17:17,933
-[ Laughing ]
1082
01:17:17,966 --> 01:17:25,966
{\an8}♪♪♪
1083
01:17:32,200 --> 01:17:38,833
{\an1}-I remember we were opening
on December the 3rd, I think.
1084
01:17:38,866 --> 01:17:42,333
{\an1}And Alvin died on the 1st.
1085
01:17:42,366 --> 01:17:43,766
{\an1}And I thought, "Oh, God.
1086
01:17:43,800 --> 01:17:47,666
I wish he'd been able
to come to this opening."
1087
01:17:47,700 --> 01:17:49,333
But we put on a...
1088
01:17:53,300 --> 01:17:55,066
Oh.
1089
01:17:57,933 --> 01:18:00,200
{\an1}But I called George Faison.
1090
01:18:00,233 --> 01:18:02,400
I said, "George..."
1091
01:18:02,433 --> 01:18:04,266
[ Sighs ]
1092
01:18:08,066 --> 01:18:09,466
{\an1}It moved me a great deal.
1093
01:18:09,500 --> 01:18:13,200
I said,
"We've got to celebrate Alvin."
1094
01:18:13,233 --> 01:18:18,166
And he put together
a wonderful performance.
1095
01:18:18,200 --> 01:18:23,600
And at the end,
after "Revelations" and bows,
1096
01:18:23,633 --> 01:18:26,566
all of a sudden,
1097
01:18:26,600 --> 01:18:29,233
I had let down
a big picture of Alvin.
1098
01:18:29,266 --> 01:18:31,200
It was absolute quiet
in the theater.
1099
01:18:31,233 --> 01:18:37,333
{\an1}[ Voice breaking ] And
the entire theater rose at once
1100
01:18:37,366 --> 01:18:42,033
{\an1}and just quietly stood there.
1101
01:18:42,066 --> 01:18:46,200
And the dancers
had been given flowers,
1102
01:18:46,233 --> 01:18:47,966
and they all turned
1103
01:18:48,000 --> 01:18:54,133
and put them
in front of Alvin's picture.
1104
01:18:54,166 --> 01:18:56,700
And we brought
the curtain down...
1105
01:18:59,633 --> 01:19:01,733
with a performance
the next night.
1106
01:19:01,766 --> 01:19:03,166
We kept going.
1107
01:19:03,200 --> 01:19:04,866
[ Chuckles ]
1108
01:19:04,900 --> 01:19:12,900
{\an8}♪♪♪
1109
01:20:08,500 --> 01:20:11,000
{\an1}-[ Echoing ] Mr. Ailey?
1110
01:20:11,033 --> 01:20:14,900
{\an8}♪♪♪
1111
01:20:14,933 --> 01:20:17,666
Mr. Ailey!
1112
01:20:24,600 --> 01:20:28,000
{\an1}-You see in films that people do
[Breathes deeply]
1113
01:20:28,033 --> 01:20:30,166
And there's this
dramatic death rattle,
1114
01:20:30,200 --> 01:20:32,966
You know, it's like
[Exhales shakily] like this.
1115
01:20:33,000 --> 01:20:37,666
Alvin breathed in
and never breathed out.
1116
01:20:39,033 --> 01:20:41,166
That was it.
1117
01:20:41,200 --> 01:20:43,300
We're his breath out.
1118
01:20:43,333 --> 01:20:46,900
{\an1}We are his breath out. We are.
1119
01:20:46,933 --> 01:20:49,533
Yeah? So that's what
we're floating on.
1120
01:20:49,566 --> 01:20:53,500
{\an1}That's what we're living on,
that [Exhales deeply]
1121
01:20:53,533 --> 01:20:55,433
-♪ Alive ♪
1122
01:20:55,466 --> 01:20:57,600
♪ I know he is ♪
1123
01:20:57,633 --> 01:21:01,100
{\an8}♪♪♪
1124
01:21:01,133 --> 01:21:03,100
♪ Alive ♪
1125
01:21:03,133 --> 01:21:08,533
{\an8}♪♪♪
1126
01:21:08,566 --> 01:21:11,266
-♪ He is risen ♪
1127
01:21:11,300 --> 01:21:19,300
{\an8}♪♪♪
1128
01:21:27,266 --> 01:21:34,666
♪ He's alive ♪
1129
01:21:34,700 --> 01:21:37,966
{\an8}♪♪♪
1130
01:21:38,000 --> 01:21:41,133
{\an1}♪ Alive, alive, alive, alive ♪
1131
01:21:41,166 --> 01:21:47,133
♪ Alive, alive,
alive, alive, alive ♪
1132
01:21:47,166 --> 01:21:49,000
{\an8}♪♪♪
1133
01:21:49,033 --> 01:21:50,833
- ♪ Hallelujah ♪
- ♪ Hallelujah ♪
1134
01:21:50,866 --> 01:21:52,666
- ♪ Hallelujah ♪
- ♪ I am free ♪
1135
01:21:52,700 --> 01:21:54,366
- ♪ I am free ♪
- ♪ Free indeed ♪
1136
01:21:54,400 --> 01:21:55,633
-♪ Oh, free indeed ♪
1137
01:21:55,666 --> 01:21:57,433
- ♪ Hallelujah ♪
- ♪ Oh, hallelujah ♪
1138
01:21:57,466 --> 01:21:59,500
- ♪ Hallelujah ♪
- ♪ Hallelujah ♪
1139
01:21:59,533 --> 01:22:03,433
-♪ It's a new life
for me, yeah ♪
1140
01:22:03,466 --> 01:22:06,366
{\an1}♪ It's a new life for me, yeah ♪
1141
01:22:06,400 --> 01:22:10,900
♪ It's a new dawn,
it's a new day ♪
1142
01:22:10,933 --> 01:22:14,100
{\an1}♪ It's a new life for me, yeah ♪
1143
01:22:14,133 --> 01:22:16,800
♪ It's a new dawn,
it's a new day ♪
1144
01:22:16,833 --> 01:22:20,466
{\an1}♪ It's a new life for me ♪
1145
01:22:20,500 --> 01:22:22,200
♪ Ooh ♪
1146
01:22:24,966 --> 01:22:32,966
{\an8}♪♪♪
1147
01:23:01,233 --> 01:23:07,433
{\an7}-♪ If you know, if you know,
if you know he's alive ♪
1148
01:23:07,466 --> 01:23:11,100
{\an8}♪ I can feel it,
yes, I know it ♪
1149
01:23:11,133 --> 01:23:14,966
{\an8}♪ Can you feel it?
Yes, I feel it ♪
1150
01:23:15,000 --> 01:23:18,966
{\an8}♪ He's alive, yeah ♪