GREG THE GROUP STARTED LIKE A DJ KIND OF BAND OR GROUP.

IT IS A TYPE MADE POPULAR IN MEXICO CITY.

IT IS SLOW, RHYTHMIC.

ONE DAY WHEN THEY WERE LOOKING FOR A SPOT, THEY LOOKED EVERYWHERE, BUT THEY CHOSE TO DO IT IN LINCOLN HEIGHTS BECAUSE THEY WANTED TO BRING LIFE INTO IT AND IDENTIFY IT.

THE CLUB ON THURSDAY NIGHT IS MOSTLY YOUNG ADULTS, CHIPSTERS THEY CALL THEM.

MORE THAN LIKELY THEY WERE BORN AND RAISED ON THE EAST SIDE.

THAT IS WHAT THEIR HERONS ARE GRANDPARENTS MOST LIKELY DID.

WHY NOT GET INTO IT AND EMBRACE IT AND LOVE IT?

>> I'VE ALWAYS LOVED IT SINCE I WAS A KID.

JUST IT HAS A REALLY GOOD GROOVE .

>> IT'S HAPPY MUSIC, MUSIC THAT YOU WANT TO DANCE.

THERE'S SOMETHING ABOUT THE RHYTHM ITSELF THAT MAKES YOU WANT TO MOVE AROUND A LITTLE BIT.

>> YOUR BODY FEELS IT BEFORE YOUR MIND DOES.

OTHER PEOPLE ENJOY IT THE SAME WAY.

>> MY FIRST EXPERIENCE WITH THE MUSIC, IT WAS LIKE A FAMILY PARTY, VERY FESTIVE ENVIRONMENT.

THE MUSIC KIND OF BRINGS THAT OUT OF PEOPLE AND MAKES THEM ENJOY THEMSELVES.

>> ANY KIND OF FRIEND OR BARBECUE, JUST KIND OF PLAYING IN THE BACKGROUND AND WHEN IT IS TIME TO DANCE, IT WILL BE PLAYING IN EVERYBODY MOVES ON THE DANCE FLOOR.

IT IS ALWAYS A FESTIVE ENVIRONMENT.

>> I STARTED OFF WITH THE ARE CAUTIONED INSTRUMENT.

IT IS THE CULTURAL PART.

>> WE FIRST KIND OF MET IN HIGH SCHOOL AND JUST HAVE BEEN FRIENDS CENTS.

I CAME BACK TO L.A.

AND WE JUST KIND OF ALL LINKED UP HERE.

WE ALL LIVED IN LONG BEACH, BUT WE ALL ENDED UP IN L.A.. WE WANT TO BE PART OF THAT.

THAT'S ONE OF THE REASONS THAT WE KIND OF STARTED THIS COLLECTIVE AND JUST KIND OF TRY TO BE A PART OF THE ART SCENE AND THE MUSIC SCENE IN GENERAL.

>> WE THOUGHT ABOUT STARTING OUR OWN PARTY.

>> IT'S LIKE LET'S START A PARTY OF OUR OWN.

WE STARTED LOOKING FOR A PLACE.

THAT WAS THE HARDEST PART WAS FINDING A VENUE TO HOST THIS PARTY.

>> WE ALREADY HAD AN IDEA ABOUT SCOPING OUT DIFFERENT PLACES THAT WE FEEL WOULD RESONATE WITH OUR VIBE.

WE STUMBLED ON THE OFFICE JUST DRIVING BY, LET'S GO IN AND HAVE A DRINK AND CHECK IT OUT.

>> IS VERY SPACIOUS, THEY HAVE A NICE DANCE'S FLOOR, IT WASN'T TOO BIG OR TOO SMALL, IT WAS JUST RIGHT.

♪ >> THERE'S NOT MUCH GOING ON, THERE IS A HIP-HOP CLUB.

THAT'S ONE OF THE ONLY THINGS GOING ON AROUND THIS PART OF TOWN.

I THINK LINCOLN HEIGHTS IS GOOD AND THAT IS PART OF THE IDENTITY ALREADY OF LINCOLN HEIGHTS.

WE'RE NOT BRINGING NECESSARILY SOMETHING -- YOU HEAR IT FROM -- WERE JUST BRINGING OUR GENERATION TO LISTEN TO IT.

I WOULD SAY MOST OF THE LATINOS OUT HERE PROBABLY HAVE THE SAME EXPERIENCE, SO WE WANT TO MAKE IT CURRENT.

♪ >> I FORGOT IT.

YOU'VE GOT TO HIT THE LITTLE -- ♪ >> I TRY TO COLLECT ANYTHING I SEE THAT I LIKE OR THAT LOOKS INTERESTING.

SOMETIMES IT'S ON THE COVER, SOMETIMES JUST BY THE YEAR.

I SAW THIS COVER AND I WAS LIKE MAN, THIS LOOKS COOL.

IT TURNS OUT IT HAS A COUPLE OF COOL TRACKS ON IT.

THERE ARE DIFFERENT STYLES, THERE IS TROPICAL, THERE IS PERU, THERE IS COLOMBIAN, WHICH IS ACCORDION DRIVEN.

ONE FROM MEXICO IS VERY HEAVY HEATING, HARD BASS.

THAT PARTICULAR TYPE IS MORE HIP-HOP.

WE ARE APPROPRIATING THE IMAGE OF HIP-HOP GUY WEARING THE GOLD CHAINS AND GLORIFYING THE HIP-HOP AESTHETIC.

>> THE PROCESS OF PUTTING TOGETHER A TRACK IS, I HAVE MY INSTRUMENTS HERE.

I HAVE THE ACCORDION, TO GET TOUR -- THE GUITAR AND THE BASS .

DISSECT SEPARATE -- SEPARATE THE MEN DIFFERENT CHANNELS.

AT THE VERY END I WILL PUT ALL THE TRACKS TOGETHER AND TWEAK THEM A LITTLE BIT.

I BEGIN TO TURN KNOBS AND JUST ADD A LITTLE BIT OF DELAY AND REVERB AND CREATED NEW VERSION.

THIS IS THE WHOLE TRACK TOGETHER NOW.

♪ >> IF THE PEOPLE ARE DANCING, THE TRACK IS REALLY GOOD, I THINK.

YOU PEOPLE ARE JUST STANDING AROUND, YOU GET A LITTLE BIT NERVOUS AND THINK IT IS NOT AS GOOD AS I THOUGHT IT WAS.

♪ ♪ ♪ >> I FIRST BECAME FAMILIAR WITH CAL EARTH AND I WAS EXCITED ABOUT THIS IDEA OF SUSTAINABLE ARCHITECTURE THAT IS BASED ON THESE VERY ANCIENT IDEAS OF STRUCK HER'S.

THEY ARE USING ESSENTIALLY DIRT FROM THE SURROUNDING AREA.

WHEN THEY HAVE THESE APPRENTICES COME IN, THEY REALLY STRESSED THAT THIS ISN'T DIRT, THIS IS EARTH.

WE ARE MADE OF THE SAME MATERIALS.

THIS IS ALL PART OF US.

AND TO RESPECT THIS EARTH.

WHEN YOU PUT THAT KIND OF EMPHASIS INTO THIS TYPE OF DESIGN, IT MAKES FOR A BETTER ENVIRONMENT TO LIVE IN.

THEY REALLY THINK ABOUT SUSTAINABILITY.

THEY ARE THINKING FAR INTO THE FUTURE WHEN RESOURCES HAVE BEEN DEPLETED, AND HOW TO ALSO MAKE A STRUCTURE THAT IS VERY AESTHETICALLY PLEASING.

THESE ARE BEAUTIFUL BUILDINGS.

THEY LOOK VERY ORGANIC.

THE WAY THEY ARE BUILT, THE STRUCTURE IS NOT CONTINUOUSLY FIGHTING TO PULL ITSELF APART.

IT'S REALLY SORT OF COMING INTO ITSELF.

I KEEP REFERENCING THE BEEHIVE, AND THIS IDEA OF A COMMUNAL TYPE OF BUILT ENVIRONMENT.

TO DO THESE, YOU REALLY NEED A GROUP OF PEOPLE TO HELP YOU PUT THESE TOGETHER.

IT'S ALMOST LIKE A BARNRAISING, BECAUSE YOU HAVE TO CREATE THESE ROUND STRUCTURES THAT LEAD INTO DOMES.

IT HELPS TO BUILD COMMUNITY AS THEY ARE BEING BUILT.

>> THE REASON MY FATHER CAME TO THIS INTO PLOT OF LAND TO FIGURE OUT WHAT KIND OF PLACE HE CAN START TO EXPERIMENT AND BUILD STRUCTURES THAT WILL HELP HUMANITY AND NATURE.

HE HAD NO MONEY ARE ANYTHING LIKE THAT.

HE SAID WHAT CAN WE DO THAT IS REALLY EXTENSIVE?

WE CAN BUILD A WHOLE.

>> HE BELIEVED THAT ARCHITECTURE -- WITH NOTHING BUT THE EARTH UNDER THEIR FEET.

THIS WAS HIS LIFE'S WORK.

HE SPENT EVERY DAY I HEAR IN THE DEV OR -- IN THE DESERT.

PEOPLE THOUGHT, WHAT IS THIS CRAZY MAN DOING?

>> HE GOT A LOT OF HIS INSPIRATION FROM CLASSICAL POETRY.

EARTH TURNS TO GOLD IN THE HANDS OF THE WISE.

EARTH IS OUR PRIMARY MATERIAL.

WE CAN GET THE EARTH TO BEHAVE IN A LOT OF DIFFERENT WAYS.

FIRE CAN BE SEEN AS THE SUN.

WE POSITION OUR BUILDING SO THE SUN HELPS HEAT IT WHEN WE NEED TO AND IT ALSO SHADES ITSELF.

AIR LEADS TO THE DRYING OF THE BUILDING.

WE INSIST THAT ALL OF OUR STUDENTS DEMONSTRATE RESPECT TO THE MEDIUM BY CALLING IT EARTH AND NOT JUST ADDRESSING IT AS DIRT.

IN A NUTSHELL, WE TELL PEOPLE TO BUILD YOUR HOUSE.

WE JUST TEACH PEOPLE THE BASIC SKILLS OF HOW TO TRANSFORM THAT EARTH FROM UNDER YOUR FEET TO OVER YOUR HEAD.

ORIGINALLY WHEN MY FATHER FIRST CAME HERE, THIS DESERT WAS COMPLETELY EMPTY.

THEN WHEN THE HOUSING BOOM HAPPENED, IT BECAME SURROUNDED BY THESE COOKIE-CUTTER HOMES.

I NEIGHBORS REALLY DON'T KNOW HOW TO THINK OF US ARE WHAT TO DO WITH US.

WE GET A LOT OF STAR WARS OR IT LOOKS LIKE HALLOWEEN OR HOBBIT HOUSES.

PEOPLE ASK, ARE YOU A COMMUNE?

ARE YOU A CULT?

WE ARE PASSIONATE ABOUT WHAT WE DO, BUT WE ARE NOT A CULT.

MY FATHER WAS A TRADITIONAL URBAN DEVELOPER, BUILDING SKYSCRAPERS, BUT HE WAS VERY UNHAPPY, SO HE LEFT THAT WORK.

HE REALIZED IT WASN'T SERVING HUMANITY OR THE EARTH.

MY FATHER'S PASSION WAS THE FACT THAT THERE'S OVER A BILLION PEOPLE IN THE WORLD WITHOUT ADEQUATE HOUSING.

THE SOLUTIONS MY DAD CAME UP WITH FOR HOW TO BUILD A HOME CHEAPLY.

WE BUILD ARCHES, CIRCLES, DOMES, FAULTS, AND THESE ARE ALL BUILT ON THE SAME COOPERATIVE RELATIONSHIP WITH GRAVITY, WHERE GRAVITY IS NOT SLOWLY PULLING YOUR BUILDING APART, BUT IT IS CONSISTENTLY PULLING YOUR BUILDING TOGETHER OVER TIME.

WE ARE PRESENTED WITH CHALLENGES IN DIFFERENT ENVIRONMENTS.

SO WE CONTINUE TO TEST AND TILL WE COME UP WITH A SOLUTION.

>> IT'S AMAZINGLY FLEXIBLE.

EVERY TIME WE GO TO ANOTHER COUNTRY TO DESIGN SOMETHING THERE, WE ALWAYS TAKE INTO CONSIDERATION LOCAL TRADITIONS, DIFFERENT KINDS OF WATERPROOFING ARE PLASTERING SO WE CAN ACCOMMODATE THE NEEDS OF THE PEOPLE WHO ARE GOING TO LIVE IN THE HOME.

>> THEY HAVE BEEN BUILT ALL OVER THE WORLD FROM AFRICA TO EUROPE TO ASIA.

>> THIS IS OUR MOTHER SHIP, OUR PLAYGROUND, IT'S WHERE WE GET TO EXPERIMENT.

WE DON'T KNOW WHAT IT IS THAT WE ARE GOING TO FIND LATER, WHICH IS EXCITING EXPERIMENTS WE ARE DOING TODAY.

>> THE FIRST TIME I CAME HERE IT WAS VERY SURREAL.

I HAD HEARD ABOUT IT AND READ ABOUT IT AND INTELLECTUALLY CONNECTED WITH IT, BUT TO ACTUALLY, TANGIBLY BE ABLE TO TOUCH THE BUILDINGS WAS A VERY MOVING EXPERIENCE.

HE WILL TEACH THE STUDENTS THAT HANDS ARE JUST AS MUCH TOOLS FOR RECEIVING INFORMATION AS OUR EYES, YEARS, OR NOSES.

THE ONLY WAY TO START WORKING IS BY PUTTING THEM IN THE EARTH.

>> WORKING WITH EARTH, IT'S REALLY FLEXIBLE MATERIAL.

YOU CAN REALLY SHAPE IT INTO WHATEVER YOU WANT.

I CAN DO EVERYTHING, I CAN MIX, I CAN LAY BAGS.

I CAN LAY THE BARB WIRE.

>> TRADITIONAL ARCHITECTS AND BUILDERS SOMETIMES ARE SKEPTICAL ABOUT THE WORK THEY DO, BECAUSE IT IS SO SIMPLE.

IT'S BELOW A LOT OF ENGINEERS TO BOTHER THEMSELVES WITH DIRT.

YOU CAN TAKE SOMEONE WHO MIGHT NOT EVEN BE COMFORTABLE CHANGING A LIGHTBULB IN THEIR OWN HOUSE, BUT AFTER SIX DAYS OF OUR INTENSIVE WORKSHOP, THEY CAN GO SOMEWHERE AND GET SOME UNSKILLED LABOR AND GUIDE THEM TOGETHER INTO BUILDING A SAFE SHELTER.

>> HELLO, EVERYONE.

WELCOME TO CAL-EARTH.

THANK YOU FOR JOINING US OUT HERE.

>> WE ARE VERY OPEN COMMUNITY.

I FATHER WOULD COME TO MY SECOND GRADE CLASS AND ASKED ALL THE CHILDREN TO GO TO THE BOARD AND SAY DRAW ME A HOUSE.

WE WOULD ALL GO AND DRAW A SQUARE BOX WITH A TRIANGLE ON TOP.

BECAUSE OF GROWING UP LIKE THAT, SO MUCH DEFORESTATION HAPPENED.

WHY NOT MAKE IT A CIRCLE?

LET'S ALL MAKE RAINBOW HOUSES.

LET'S ALL MAKE ARCHES.

>> THEY HAVE PEOPLE WHO COME LOCALLY AND THEY BRING THEIR FRIENDS AND NEIGHBORS TO SHOW THEM AND THEY SEE WHAT WE HAVE BEEN ABLE TO DO WITH JUST THE EARTH AND SOME SANDBAGS AND BARBED WIRE.

THEY ARE TRULY AMAZED AT THE POSSIBILITIES.

>> AFTER THE HOUSING BOOM, THERE WAS A BUST.

ALL THE NEW HOMES THAT WERE GOING FOR VERY HIGH PRICES DROPPED.

THE TYPE OF DEVELOPMENT THAT WAS DONE IS NOT VERY ENVIRONMENTAL OR RELEVANT TO THE DESERT CONTEXT.

NONE OF THE WOOD IS LOCAL TO THIS AREA IN THE SAME BUILDING INFLOW REQUIRES A LOT OF ENERGY USE.

SO HAVING THEM BE HERE RIGHT UP AGAINST OUR FENCE REALLY GIVES US THE OPPORTUNITY TO DRAW THESE COMPARISONS.

>> MY FATHER'S INITIAL FOCUS WAS ALWAYS BUILDING FOR THE POOR.

THIS HOUSE WE ARE IN RIGHT NOW IS CALLED EARTH ONE.

IT'S THE KIND OF HOUSE THAT FULFILLS THAT SUBURBAN DREAM.

THREE-BEDROOM HOUSE WITH A TWO-CAR GARAGE AND A FIREPLACE AND EVERYTHING LIKE THAT.

SIGNIFICANTLY LESS EXPENSIVE THAN BUILDING A TRADITIONAL STRUCTURE.

LITERALLY YOU GOING TO BUILD YOUR HOUSE FROM WHAT IS UNDERNEATH YOUR FEET.

FIXED THE BUILDING ENVELOPE IS MORE SUSTAINABLE.

IT WILL COST YOU LESS TO HEAT AND COOL AND MAINTAIN OVER ITS LIFETIME.

>> WE HAVE ENABLED TO CREATE PLANS THAT PASSED THE -- IT ALLOWS THEM TO BECOME MAINSTREAM AND AVAILABLE TO EVERYBODY.

>> EVERYONE DESERVES TO HAVE A SHELTER OVER THEIR HEAD.

THEY HAVE THE EARTH AROUND THEM AND THE LABOR AROUND THEM.

THEY JUST DON'T HAVE THE INFORMATION TO GET THE EARTH TO PROVIDE SHELTER FOR THEM.

EVERYDAY WE FIRE UP THE MIXER AND SHOVEL SOME EARTH AND JUST SLOWLY PURSUING OUR CRAFT, ONE SHOVEL AT A TIME.

>> WE ARE THE MARKET MAKEOVER.

WHAT WE'RE TRYING TO DO IS INTRODUCE QUALITY FRUITS AND VEGETABLES IN AREAS WHERE THEY DON'T HAVE THEM.

THERE IS AN ABUNDANCE OF SMALL STORES IN AREAS IN THE LACK OF LARGE COMPREHENSIVE GROCERY STORES.

IT IS NOT JUST AS PARTNERSHIP WITH THE STORE, IT'S A PARTNERSHIP WITH THE COMMUNITY.

IT'S A PARTNERSHIP WITH SCHOOLS, YOUTH, LOCAL ORGANIZATIONS TO TRANSFORM THE STORE AM A BUT MOST IMPORTANTLY TO TRANSFORM THE FOOD ENVIRONMENT.

OUR BACKGROUND IS FIRST AND FOREMOST AS VISUAL ARTISTS AND VISUAL THINKERS.

WHEN I SAY WE ARE BRINGING CREATIVITY TO THESE ISSUES, IT COMES FROM THAT.

ANY PROJECT THAT WE DO HAS A PARTICULAR LOOK AND FEEL THAT USES THOSE VISUAL STRATEGIES.

IT'S NO ACCIDENT THAT THEY WERE DOING POSTERS THAT LOOK VERY DIFFERENT THAN ANY KIND OF PUBLIC HEALTH CAMPAIGN THAT ANYONE ELSE DOES.

WHAT WE TAKE PRIDE IN IS THAT WE SHARE COMMENTS LIKE, I SAW YOU ON THAT POSTER DOWN THE BLOCK.

IT'S THE COMMUNITY REPRESENTING ITSELF.

THAT'S PART OF THE IDEA OF SOCIAL PRACTICES AND SOCIAL IN DAY -- ENGAGEMENT.

IT'S A LONG-TERM RELATIONSHIP WITH THE COMMUNITY, WHERE WE ARE INVOLVED WITH THE DIALOGUE.

WE ARE FACILITATING IT, BUT THE TERMS UNFOLD AS THE WORK UNFOLDS.

>> MY DAD USED TO WORK AT A FAST FOOD RESTAURANT AND I WOULD GET FAST FOOD FOR FREE ALL THE TIME.

I DON'T REMEMBER BEING TAUGHT ABOUT FOOD WHEN I WAS A KID, ABOUT VEGETABLES AND FRUIT.

I JUST ATE WHAT WAS GIVEN TO ME.

>> MY FAMILY HAS CANCER, LUNG DISEASE, OBESITY, DIABETES.

EATING HEALTHY IS A WAY TO START TO PREVENT THAT FOR THE YOUNGER GENERATION.

>> ONE OF THE PROBLEMS THAT WE HAVE WITH CORNER STORES AND WHAT WE CALL FOOD SWANS, THESE ARE GENERALLY URBAN COMMUNITIES, LOW INCOME COMMUNITIES THAT HAVE POOR ACCESS TO HEALTHY FRUITS AND VEGETABLES.

COMMON VENUE FOR PURCHASING FOOD IS THESE CORNER STORES.

THEY OFTEN TIMES DON'T OFFER LOTS OF FRUITS AND VEGETABLES OR ANY AT ALL.

WE WORK WITH THE STORE SO THEY NOT ONLY CAN SUPPLY FRUITS AND VEGETABLES FOR PURCHASING AND CONSUMPTION, BUT THEY CAN GET THEM AT LOW COST SO THE COMMUTE YOU CAN AFFORD THEM.

>> THE MARKET MAKEOVER'S ARE A COMPREHENSIVE APPROACH TO ADDRESSING HEALTHY FOOD ACCESS.

IT'S ABOUT WORKING WITH YOUNG PEOPLE TO BRING FRESH AND HEALTHY FOOD TO EXISTING CORNER MARKETS TO TRANSFORM IN SO THEY CAN OFFER HEALTHY FOODS.

>> I GOT INVOLVED WITH PUBLIC MATTERS ABOUT THREE YEARS NOW ALMOST.

>> THEY APPROACHED US DOING THIS PROJECT ABOUT THE MAKEOVERS.

THEY APPROACHED ME ABOUT THE POSSIBILITY OF HAVING A COURSE TO CONNECT THE WORK THAT PUBLIC MATTERS IS DOING.

WHAT THEY'RE DOING RIGHT NOW IS SOME OF THE SIGNAGE THAT'S GOING TO GO INSIDE ONE OF THE MARKETS.

IT SAYS FRESCO OR FRESH.

THAT'S GOING TO GO DIRECTLY ON TOP OF THE PRODUCE REFRIGERATION THAT'S GOING TO GO INSIDE THE MARKET.

THE IDEA BEHIND THIS IS THAT WHEN SOMEONE WALKS INTO THE MARKET YOU'RE GOING TO HAVE THIS BIG FRESCO SIGN, VERY COLORFUL THAT'S GOING TO JUMP OUT AT THOSE THAT WALK INTO THE MARKET.

>> WE HAD TO REORGANIZE THE WHOLE INSIDE BECAUSE WALKING IN, THERE WAS THIS BIG WALL OF CHIPS.

SO WE HAD TO GET RID OF THAT.

WE HAVE ALSO BEEN DECORATING THE OUTSIDE.

IT WAS VERY PLAIN BEFORE, AND WE WANT TO MAKE SURE YOU ACTUALLY NOTICE THE STORE.

IT IS NICE HAVING THEM COME UP TO YOU THANKING YOU BECAUSE THEY DON'T HAVE TO GO SO FAR TO GET FRUITS AND VEGETABLES.

>> I REMEMBER MY MOM, SHE USED TO GO TO TRADER JOE'S.

JUST TO GET SOME TYPE OF HEALTHIER FOOD.

NOW IT'S LIKE I NEED SOMETHING HEALTHIER AROUND HERE AND IT'S THE NEXT STOP OVER.

IT NEEDS TO BE WALKING DISTANCE.

>> IN ORDER FOR THESE MARKET MAKEOVER INTERVENTIONS TO WORK, THE CORNER STORE OR MARKET OWNER NICE TO SEE HIM OR HERSELF AS AN ASSET FOR THE COMMUNITY.

OTHERWISE THEY WILL JUST CONTINUE TO SELL LIQUOR AND LOTTERY TICKETS AND CIGARETTES.

IT BRINGS IN A LOT OF FOOT TRAFFIC, BUT IT DOESN'T MAKE THE COMMUNITY HEALTHY.

>> POSSIBLY IMPACTING THE COMMUNITY IN A WAY THAT WE DID NOT KNOW WAS POSSIBLE, TRYING SOMETHING NEW.

PUTTING FRUITS AND VEGETABLES IN THE FRONT.

IT SOUNDED LIKE A GREAT IDEA AND WE WENT FOR IT.

>> THE DIFFERENCE OF A LITTLE BIT OF -- MOVING THINGS AROUND, IT EVEN LOOKS LARGER.

PEOPLE HAVE BEEN ALREADY HEARD TO SING FRUITS AND VEGETABLES MORE THAN THEY DID BEFORE.

>> YOU WANT TO MAKE SURE THAT WE HELP PROMOTE THE STORE IN THE COMMUNITY SO THAT PEOPLE KNOW ABOUT IT.

OFTEN THE HARDEST THING IS THE TIMEOUT FOR THE TRANSFORMATION.

ALL THE ENERGY THAT GOES INTO TRANSFORMING THE STORE, YOU CANNOT JUST LEAVE IT ONCE IT'S DONE.

IF YOU BRING THE FRUITS AND VEGETABLES, IT DOESN'T NECESSARILY MEAN THAT PEOPLE WILL COME.

THEY NEED TO KNOW THAT IT'S HERE.

SO WE DO A FAIRLY EXPENSIVE EFFORT AT SOCIAL MARKETING TO MAKE SURE THAT COMMUNITY MEMBERS KNOW THAT THE STORE HAS BEEN TRANSFORMED.

IT OFFERS A WIDER RANGE OF OPTIONS FOR FAMILIES AND PARTICULARLY HEALTHIER OPTIONS.

>> THIS IS PART OF THE ONGOING SCIENCE, TO TRY TO UNDERSTAND WHAT IMPACT THE STORES ARE HAVING ON HEALTH BEHAVIORS.

WE ARE NOT QUITE DONE WITH THE DATA COLLECTION BUT WHAT WE HAVE BEEN OBSERVING EARLY ON FROM THE PRELIMINARY DATA IS THAT IT IS HAVING A CHANGE.

WE ARE SEEING CHANGES IN THE WAY PATRONS, THE PEOPLE WHO FREQUENT THE CORNER STORES AS WELL AS COMMUNITY RESIDENTS WHO MAY OR MAY NOT FREQUENT THE STORES, THAT THEY ARE STARTING TO CHANGE THEIR EATING BEHAVIORS AS RESULT OF WHAT IS BEING SOLD AND ALSO AS A RESULT OF THE SOCIAL MARKETING WE ARE DOING AS PART OF THE TRANSFORMATION.

>> WE MAKE SURE THAT WE ARE WORKING WITH YOUNG PEOPLE AND DEVELOPING LEADERSHIP FROM WITHIN THE COMMUNITY.

WE WANT TO MAKE SURE THAT WHEN THE FUNDING GOES AWAY, THERE IS A LASTING LEGACY OF GREATER CAPACITY FOR LEADERSHIP, CREATIVITY, AND SOCIAL JUSTICE.

♪ [CAPTIONS MADE POSSIBLE BY KCET TELEVISION] >> WE'RE LOOKING FOR AN ARTIST TO REPRESENT THE CITY OF RIVERSIDE.

SHE HAD TOLD ME ABOUT THIS PHOTOGRAPH BY JOE MCNALLY THAT WAS FEATURED IN NATIONAL GEOGRAPHIC.

WHAT YOU SEE IN THAT PHOTOGRAPH ARE THREE RUSSIAN CHILDREN, HALF NAKED, WEARING UNDERWEAR.

ON THE OTHER SIDE OF THEM IS A NURSE ADMINISTERING THIS ULTRAVIOLET LIGHT THAT.

-- THIS LIGHT BATH IS SUPPOSEDLY A WAY TO ENHANCE THEIR INTAKE OF VITAMIN D. SHE EXPLAINED TO ME, THIS IS THE REASON WHY I DID THIS EAST.

SHE THOUGHT THIS IS A WAY TO ENHANCE THEIR LIVES AND INCREASE THE INTAKE OF VITAMIN D. AT THE SAME TIME IT IS LIKE HER GIFT TO THE PARTICIPANTS WHO LOOK AT HER WORK.

>> I THINK IT LOOKS LIKE A TROPICAL FOREST.

IT REMINDS ME OF THAT GOOFY KID SHOW, "FERNGULLY."

>> IT IS BEAUTIFUL.

>> THE CUBE STANDS OUT FOR ME.

IT HAS THAT SENSE OF PROPORTION AND EQUAL SIDES, AND IT'S TRAPPING LIFE INSIDE.

>> THE CITY OF RIVERSIDE HAS THIS WEEK EVENT CALL THE FESTIVAL OF LIGHT.

WE THOUGHT IT WOULD BE INTERESTING TO PARTICIPATE, AND WE WILL BRING IN AN ARTIST AND HAVE THEM EXHIBIT THEIR WORK.

SPECIFICALLY AN ARTIST THAT DEALS WITH LIGHT.

>> I USE LIGHT AS A MEDIUM.

I ENJOYED THE EPHEMERAL QUALITY.

THE LIGHT DOESN'T LAST FOREVER.

IF I WALK INTO A ROOM IT GIVES A REALLY CALM FEELING TO IT.

IF I GO TO A ROOM PAINTED RED, IT KIND OF GIVES ME ENERGY.

IT DEFINITELY AFFECTS OUR MOOD AND EMOTIONS.

>> WERE NOT EVER REALLY SEEING A COLOR.

WE ARE SEEING THE RELATIVE AMOUNT THAT ARE RED, GREEN, AND BLUE COLUMNS ARE BEING EXCITED.

IF IT IS A BLUE LIGHT, IT WOULD HAVE TO EXCITE THE BLUE COLUMNS MORE THAN THE RED AND GREEN.

SO OUR BRAIN WILL INTERPRET THAT AS BLUE.

>> IT IS THE REFLECTION -- OF LIGHT AND HOW IT PLAYS WITH THE WORK.

SOMETHING ABOUT IT IS MAGICAL.

THAT YOU CANNOT REALLY TOUCH, BUT YOU CAN SEE IT.

YOU HAVE THESE REALLY SUBTLE BRUSH AND THEN YOU HAVE THESE OBJECTS THAT YOU THINK THAT YOU RECOGNIZE BUT YOU DON'T.

I WANTED TO MAKE IT SORT OF A BOX OF CURIOSITY, AND I LOVE THE SUGGESTIVENESS OF NATURE IN A FOGGY DAY.

YOU CANNOT REALLY TELL EXACTLY WHAT IT IS, BUT IT'S THERE, AND THAT OPENS THE IMAGINATION.

>> I SEE A COLORFUL HER.

>> ULTRAVIOLET IS INSPIRED BY THE COLOR PALETTE.

>> WE HAVE ASSOCIATED THE COLOR AND THE TIME OF DAY AND IT SORT OF A RELAXING FEELING THAT THE DAY IS ENDING.

THERE IS A PSYCHOLOGICAL ASSOCIATION WITH THAT MORE THAN THE COLOR ITSELF.

>> HOW CAN I TRANSFORM THAT EXPERIENCE THAT I HAD LOOKING AT THIS GORGEOUS SUNSET INTO THIS SPACE?

THAT IS MY CHALLENGE.

THE IDEA OF THE VOYEUR, YOU HAVE THIS HUGE THOROUGH FAIR RIDE OUTSIDE AND YOU HAVE THE OBSERVER LOOKING IN.

THAT OBSERVER ROLE BECOMES INTEGRAL TO HER WORK.

THEY BECOME PART OF THE PEACE.

THEY BECOME PARTICIPANTS IN HER INSTALLATION, AND THEY ARE ALSO PART OF THAT REFRACTION AND REFLECTION FROM ALL THESE WINDOWS.

>> EVERYTHING THAT THE VIEWER IS SURROUNDED BY, THE BUILDING, THE TREES, THE CROWD AND THE THOROUGH FAIR BEHIND YOU BECOMES PART OF THAT OBSERVATION AND BECOMES PART OF THAT PARTICIPATION.

♪ >> THIS INSTALLATION CONTINUES INSIDE AND IN THE BACK.

WE HAVE HERE A HUGE PORTAL REVEALED AS THE ELEMENT THAT CASTS ALL THE SHADOWS AND REFRACTIONS THAT YOU SEE FROM THE OUTSIDE.

OUTSIDE IT'S VERY QUIET AND SUGGESTIVE, SORT OF POETIC.

IN THE BACK IT IS VERY VIBRANT AND LIVING.

>> FOR ME, GLASS IS A CANVAS, AND NEON IS MY PEN.

EVERYTHING STARTS FROM GLASS FLOWING IN THE STUDIO.

THE MATERIALS ARE THERE.

THE MOLTEN GLASS IS THERE.

I SEE A LOT OF PHENOMENA.

SOMETHING THAT I FIND THAT REALLY INTERESTS ME.

THE CURIOSITY OF LIGHT AND HOW LIGHT SHINES THROUGH.

ALL THE MATERIAL STUDIES THAT I DO, THE THINGS I'M INTERESTED IN CAN FIT IN A BOX.

>> MANY CONTEMPORARY ARTIST THAT DEAL WITH NEON, I KNOW TRACY EMMONS WAS DOING NEON.

SHE IS USING IT NOT JUST AS TEXT BUT ALSO MATERIAL AND THE SUBJECT FOR HER PIECE.

>> YOU SEE ALL THE NEON SIGNS EVERYWHERE.

BUT HOW I USE IT IT GIVES A DIFFERENT WAY TO LOOK AT IT.

SORT OF SHIFTING PERCEPTIONS OF HOW TO LOOK AT INKS.

-- AT THINGS.

>> HER NEON HAS A WAY OF CALMING DOWN.

WHEN YOU LOOK AT THEM THEY ARE KIND OF LIKE ORNAMENTS, TOO.

THEY LET YOU CONTEMPLATE AND THEY ALLOW YOU TO ALSO JUST VIEW THEM FOR FACE VALUE.

>> IS A NARROW WAVELENGTH OF INTENSITY THAT TENDS TO BE VERY BRIGHT.

THERE ARE ANY NEVER -- NATURAL SOURCES OF SUCH A NARROW WAVELENGTH.

AS FOR ME IT OFFERS A SENSE OF RELAXATION OR CALMING AND PEACEFULNESS.

THE VIEWER COMES IN, THEY HAD A TERRIBLE DAY.

IF THAT PERSON CAN FEEL BETTER, THAT'S GREAT.

>> YOU SEE LIVE, FOREST, NATURE.

>> I SEE AN ELEPHANT, TREE, BUSH.

IT'S LIKE AN ELEPHANT EAR BUSH AND A BIG TREE.

>> IT IS INTRODUCING A LIVING PLANT, I GREW UP IN NOGGIN NO, JAPAN -- NOGANO, JAPAN.

MAYBE IT IS A LONGING FOR THAT SORT OF ENVIRONMENT I WAS IN.

WHEN I CAME HERE, I DID NOT SPEAK MUCH ENGLISH.

THE GLASS WAS DEFINITELY A WAY TO TELL A STORY ABOUT ME.

I WOULD GET TO KNOW PEOPLE, I WOULD GET TO KNOW MYSELF WELL.

>> OUR EYES ARE ACTUALLY HARDWIRED TO RELATIVELY LARGE PART OF OUR BRAIN.

IT'S PROBABLY HELPFUL TO BE VERY VISUAL.

>> I FEEL LIKE THERE MIGHT BE OF PARALLEL SIDE TO IT THAT SOMEBODY LIKE ME IS PUTTING THEIR HAND RIGHT ON IT.

>> GLASS MAKES A MULTIPLE.

>> CANDLE LIGHTS THAT WILL LAST FOREVER.

DAYLIGHT DOESN'T LAST FOREVER.

IT IS A SUBSTITUTE FOR THAT.

I CAN CAPTURE THE MOMENT FOR A LONG PERIOD OF TIME.

>> IT IS A CONTINUATION OF THE LEGACY OF CHICANO ART IN LOS ANGELES.

HIS WORK REFERENCES PAST ARTIST, BUT AT THE SAME TIME IT IS CREATING HIS OWN IDENTITY.

HE REFERENCES THE VIRGIN MARY FREQUENTLY IN HIS WORK.

IT IS A TYPE OF MURAL YOU WILL SEE IN A LOT OF DIFFERENT NEIGHBORHOODS ON THE SIDE OF A LOT OF DIFFERENT BUILDINGS IN L.A.. AT THE SAME TIME HE IS BOTH INCORPORATING SOMETHING THAT IS PART OF HIS MUSE AND PART OF HIS OWN NEIGHBORHOOD CULTURE, BUT IT'S ALSO SOMETHING THAT HITS A CHORD WITH A LOT OF OTHER PEOPLE IN THE CITY OF LOS ANGELES.

THAT IS KIND OF WHAT I REALLY APPRECIATE ABOUT HIS WORK.

HE HAS TAKEN A BUNCH OF DISPARATE SORT OF REFERENCES TO DIFFERENT ASPECTS OF LIFE IN LOS ANGELES AND PUT THEM TOGETHER WITH THESE BIG BEAUTIFUL, COLORFUL PIECES.

AND THERE ARE BOTANICALS.

HE USES THEM TO CREATE LETTERS AND THEMES TO MAKE THESE BIG ABSTRACT SORT OF PIECES THROUGH WHICH OTHERS SORT OF REFERENCES, A CAR, THE DODGER HAT, THE VIRGIN MARY, ALL COME TO LIFE.

>> WE ARE TODAY IN THE VINCENT PRICE MUSEUM ON THE CAMPUS OF L.A.

COLLEGE WHERE THEY ARE HAVING A SHOW OF GERMS, AMONG OTHERS.

HE IS A CHICANO ARTIST THAT I RECENTLY STARTED COLLECTING.

♪ >> WE ARE AT MY STUDIO HERE IN CHINATOWN.

I GO BY THE NAME GERMS.

WE WERE ALL HUNGRY AND DID NOT HAVE A LOT OF MONEY AT THE TIME.

I WOULD GO TO THE TRASHCAN AND PULL OUT A CUP, WASH IT IN THE RESTROOM.

I STARTED EDUCATING MYSELF IN ART AS AN ACADEMIC OR SICK.

I WANTED TO BE SOPHISTICATED.

I WANTED TO BE ABLE TO GO TO A COCKTAIL PARTY IN NEW YORK AND SAY THAT IS A LOVELY BLUE.

PICASSO -- BLUE PERIOD THE COSTA.

THAT IS WHEN I DISCOVERED THE CHICANO PAINTERS.

THEY WERE COMING FROM A DIFFERENT PERSPECTIVE WITH A DIFFERENT ENERGY, BEING INFLUENCED BY THEIR OWN AREA.

>> I WAS BORN AND RAISED IN SOUTH L.A.. I HAVE BEEN DOING ART MY WHOLE LIFE.

I JUST DO MY OWN THING.

I LIKE NOT BEING TIED DOWN TO JUST ANY GENRE.

>> CHICANOS ARE MEXICAN-AMERICANS WITH A DEFIANT ATTITUDE, THAT THEY STAND UP FOR THEIR RIGHTS AND THEY WILL NOT TAKE A SECONDARY CITIZENSHIP.

WHEN THEY FIRST STARTED BE CHICANO ART MOVEMENT IN THE LATE 60'S AND 70'S, IT WAS FROM THE CIVIL RIGHTS MOVEMENT.

>> CHICANO IS A TERM THAT IT ONE TIME HAD A STRONG POLITICAL ASSOCIATION.

>> AS TIME WENT BY, IT EXPANDED INTO THE PRIVATE CONCERNS OF THE INDIVIDUAL ARTISTS.

>> THAT GENRE SPEAKS TO SOUTHERN CALIFORNIA AND WHAT WE ARE AS A CULTURE.

ALMOST ALL OF US ARE OF TWO CULTURES.

>> WHEN YOU PUT ALL OF THIS TOGETHER, YOU GET A FLAVOR, FEELING OR TASTE OF WHAT IT IS TO SEE THE WORLD THROUGH CHICANO EYES.

WHEN THEY SEE IT, PEOPLE GO OH, I DIDN'T KNOW IT WAS GOING TO BE LIKE THIS.

I LIKE THIS.

>> ONE OF MY FAVORITE ARTISTS, THE CAVE DWELLER.

IT'S LIKE WHAT THEY DID OPENING IT UP FOR CHICANO ARTISTS.

>> THE FIRST CHICANO COLLABORATIVE WAS EXHIBITED IN THE EARLY 1970'S.

>> THEY WERE THE FIRST ONES TO SAY WE ARE JUST INC.

OF SCHOOL OF ART.

WE REPRESENT A DISTINCTIVE INFLUENCE, PERSONALITY, COMMUNITY, AN AESTHETIC AND WE ARE JUST AS GOOD AS ANYBODY ELSE, AND WE SHOULD BE TREATED THAT WAY.

>> I THINK IT WAS A HUGE INFLUENCE ON HIS GENERATION AND THE GENERATION BEFORE HIM ABOUT LOOKING AT HOW ARTISTS WHO HAVE MEXICAN-AMERICAN HERITAGE FIT INTO THE LARGER ART WORLD.

>> HE WOULD HOLD EVENTS, GROUPS OF ARTISTS WOULD COME TOGETHER AND DISCUSS THE GENRE, THE ART, WHAT IT MEANT TO BE AN ARTIST IN SOUTHERN CALIFORNIA.

JAIME TOLD ME THAT HE GOT A LOT OF ENCOURAGEMENT THAT HE COULD FOLLOW HIS PASSION AS AN ARTIST AND BE SUCCESSFUL.

>> IT WAS A KIND OF PASSING BETWEEN THE TWO GENERATIONS.

>> HE WAS ONE OF MY MENTORS.

HE TAUGHT ME A LOT.

HE JUST TAUGHT ME HOW TO COMPORT MYSELF AND HOW TO APPROACH THINGS AND START MAKING BETTER ARTWORK.

>> HIS TAKE ON EACH ECONO EXPERIENCE WAS THAT HE DIDN'T WANT TO PUT PEOPLE OFF.

-- ON THE CHICANO EXPERIENCE.

HIS ARTWORK IS ALWAYS REALLY CHEERFUL, BRIGHT, UPLIFTING.

HE WOULD BE 72 R 73 IF HE WERE ALIVE RIGHT NOW.

HE PASSED AWAY SEVERAL YEARS AGO.

>> HE HAD THIS ONE CAR THAT HE PAINTED.

IT WAS CALLED THE FAMILY CAR.

IT WAS LIKE THE LOW RIDER CAR AND IT WAS DONE WITH PIQUANT FEATHERS.

THE CAR WAS ACTUALLY LISTED ON EBAY UNDER HOT RODS FOR SALE.

NOW IT SITS BESIDE A POND SHOP.

THE SALESMAN SAID THE PAINT JOB IS KIND OF CRAZY BUT YOU COULD PAINT IT GREAT.

IT CLICKED AND I THOUGHT IT WAS THE CAR ON EBAY.

ALTHOUGH IT IS OUR FAMILY CAR, THIS IS REALLY OUR CULTURAL FAMILY CAR.

IT EMBODIES EVERYTHING THAT HE VALUED.

THE GRAPHICS OF THE CAR REALLY SPEAK TO YOU OF HIS ANCESTRY AS MEXICAN AND A MEXICAN-AMERICAN.

IT BROUGHT A LOT OF JOY TO MY HEART TO BE ABLE TO SAVE IT FOR HIM.

>> THIS PAINTING HERE IS A TRIBUTE TO THE GOO BY GERMS.

IT HAS TENTACLES THAT COME OUT OF IT AND THIS IS THE BLUE DOG RIGHT HERE.

IT HAS A SENSE OF HUMOR, YOU KNOW.

ART DOESN'T NECESSARILY HAVE TO BE TAKEN SERIOUSLY ALL THE TIME.

THAT IS AN AFFECTATION.

ART CAN MAKE YOU LAUGH A LOT.

>> SOMETHING SPECIAL FOR MAGU.

WHAT I FEEL WHEN I LOOK AT JAIME'S WORK, THERE'S AN INTERVIEW THAT COMES OFF OF IT.

I FIND IT VERY POSITIVE AND UPLIFTING.

>> IT IS VERY MODERN AND FUTURISTIC AT THE SAME TIME.

>> HIS WORK HAS BEEN COMPARED TO BASQUIAT.

>> IT HAS KEPT EVOLVING.

IT JUST EVOLVES ON ITS OWN.

>> HE IS EXTREMELY METHODICAL AND VERY DETAILED IN HIS PROCESS.

>> IT'S DONE IN A GERMS FASHION.

IT'S A GERM, YOU KNOW WHAT I MEAN?

IT'S NOT THE VIRGIN MARY.

>> I'M SERIOUS ABOUT MAKING MY ART, BUT THE HUMOR IS MORE OF A JOKE.

>> HIDDEN AMONGST THE TENTACLES, YOU CAN SEE HE SIGNED IT WITH HIS NAME GERMS ACROSS THE MIDDLE.

OBVIOUSLY HE IS A HUGE L.A.

DODGER FAN.

IF HE CAN PUT THAT LOGO IN THERE SOMEHOW, HE IS GOING TO DO IT.

>> HE HAS REALLY DEVELOPED HIS OWN DISTINCTIVE, LOWBROW ART, AND IT'S VERY HIGHBROW AND NOW.

>> A TRY TO COMBINE OLD THINGS TO MAKE IT NEW AGAIN.

>> HE IS SOMEBODY WHO REALLY DOES TAKE HIS CRAFT SERIOUSLY AND PURSUES IT IN A REALLY INTELLIGENT FASHION FOR A YOUNG ARTIST.

HE IS GOING ABOUT IT THE RIGHT WAY.

>> HE IS AN ARTIST WHO CAN FIT INTO SO MANY DIFFERENT CATEGORIES.

IT'S SOMETHING I THINK HE REALLY PROMOTES AN SORT OF PLAYS AROUND WITH.

HE KNOWS THAT HE CAN BE WITH THE ORIGINAL CHICANO ARTISTS.

IT GIVES HIM THE ABILITY TO RECRUIT THE NEXT GENERATION.

>> I WANT HIM TO KEEP GOING THROUGH PHASES.

YOU WANT THEM TO KEEP GOING AND LIVE FOREVER.

ALL ARTISTS WHO ARE REALLY GOOD.

>> I HAVE A 2.5 YEAR OLD AND A NINE MONTH OLD.

THEY ARE THE REASON WHY I KEEP WORKING.

I'M HAPPY DOING IT AND I WOULD LIKE TO KEEP DOING IT FOR THE REST OF MY LIFE.

>> ONE OF THE REASONS IT TOOK ME SO LONG TO REALLY START THINKING SERIOUSLY OF A CAREER, I HAVE ALWAYS LIKED WRITING AND RECORDING USING.

WHEN I WAS A KID, I STARTED WRITING SONGS.

I NEVER IMAGINED I WOULD BE ON STAGE.

AT FIRST I COULDN'T HANDLE IT.

I WOULD DO THREE SONGS IN MY SKIN WOULD START CRAWLING AND I WOULD LEAVE THE STAGE.

I STARTED WEARING A VEIL AND I WOULD FEEL INVISIBLE.

I REALIZED I NEED TO OVERCOME THAT.

FINALLY KIND OF SHOWING MY FEELINGS, NOT COVERING IT WITH SOMETHING.

THE WHAM HOLDING MYSELF AS A BIT UNCOMFORTABLE SO I TRIED TO PORTRAY THAT, OVERCOMING AND FIGHTING FOR SOMETHING.

I WAS TRYING TO FIGHT TO BE BRAVE AND BE A BETTER PERFORMER BECAUSE MUSIC IS MY JOB AND I LOVE WRITING MUSIC, BUT GETTING ON STAGE CAN BE LIKE PULLING TEETH.

♪ ♪ ♪