i. e. artist, for a lifelong nazi, the documentarian re miller mu. lenny recent stall, personally, he made 2 films with him. he says meeting hitler's favorite filmmaker felt hot and tell me and the hot i saw and i shook the hand that showcase let's see how that just felt a bit strange. this has these done prison metrowood to get free ssl good all as the new tide as as the bomb. i'm so she was very nice at the beginning and then is the work continued. it became increasingly difficult because she reacted new radically to political questions about her and her past, which is a problem to political jeff like i'm in height. the acute, the side of the mileage of all push movement coming into this is that the, the tricky a subject says miller was lenny reef installs connection 2 adults, hitler, he thinks reinstall. and the fewer had a few things in common sponsored by me. these were 2 with huge egos who admired each other, but this is she had the artistic talent. she was a field artist on. yeah. and she had the power to help her realize her talent, use her leg. so for the, the of these install to

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e their own toes. if i were naming, i'd name myself others. artistic nee at one time feel escape my self-created world. i wanted to exchange a creativelyg r the everyday, objective world we all inhabit. not that i'd tt nonfefe. i kept journals and had a small, truthful book, a travelingprsia. but i had never attempted an ambitious piece of reportage until 1956, when i wrote the or heard an account o that theatrical cultural exchange between the usa and the ussr that is the porgy anur of russia. it was published in the new yorker, the only magkn of that encourages a serious practitioners of this art form. later, i contributed a few oth report reportage finger exercises to the same. finally, i felt and ready to undertake a full scale narrative. in other words, a novel. okay. so we do see here that capote has experimented in this genre, this idea of a nonfiction novel, or at least applying sort of reportage to narrative reportage, trying to take in all of the details that he observes all the concrete details and to tell fidelity what he observes. right. a

i worked at a t h e to use as dish and the potential them on the system. the system constantly sufficient launched out them convince of a convolt to border such as the artist is continuing the other side of the system. the see me. i think you had a mile secret on kaiser does the they have sent out that is gone. so they sit on the revised the binding or something. the reason i'm teach my stuff is on the deal on a carpet session. this will become a slight. can you send me 10 via this semester? please see your cvt start. these guys isn't on the created, happened and i did the tubing conditions as it this is i in the past, but it just has some time the and the pin number in there for them to send the hood who it is by the to the get what's the fest in the assignments that i can, the out contaminated. i'm so sorry since when i'm least of diseases and it came to kind of got kind the kind these tied it up and one king a good evening might seem to do this because i mean then soon by the game. and this is the opposite side. fun. coming up soon. familiar, adam? yeah. i am so size. this concept to blame somebody to come to the side because people have so you don't un

i don't mean tot e is superior form to the other. i feel that creative r has been neglected and has great relevance. the 20th century writing. and while it can be an artistic outlet for the creative writer, it has never been particularly explored. okay. okay. so what we essentially see here is that there has been creative journalism like john hershey's wiersema and oscar lewis as children of sanchez. but it's not quite the novel. why do you think it's not quite the nonfiction novel. why is it still journalism? yes, i was going to say because maybe it isn't particularly your stereotypical tropes, the way that nonfiction novels do. um uh, i guess also i haven't read hiroshima or children of sanchez, but maybe there's a quality to them that he believes should be portrayed in nonfiction novels. okay. right. so in large measure, it's due to the fact that although this is great creative journalism, it's literature. these are not creative writers. they don't write creative writing for fiction. they they write in journalism. and they can add creativity to and literary qualities to it. but they're not trained in writing literature. so the difference here is that wh

artists that i want everybody. >> to see. >> so for. >> 50 years. >> it's been. >> a unique party. nothing like it. >> when i asked felicia after she. eaid it's to perform a duet with aretha franklin at your party. and of course, the two of them did natural woman. my memory is. replete with. >> all the great. duets and. >> rare performances no one has ever seen. >> but we're. >> doing a documentary on. >> the 50. >> year history of this. >> unique event. on the fires. you mentioned the charity. there's a lot of rebuilding obviously going on. we have heard and we've been covering how also people in los angeles want to, within reason, get back to life and work. they've borne the brunt of this quite clearly. what does it mean to have the grammys go forward in the city, to have gatherings, to have music, which which i know you believe and i've always felt can bring people together? >> well, it's vitally important not only for the role that music can play, but you don't want to have the event canceled. you don't want to have people thrown out of work. >> you want. >> to be able to really use music. in its purest. form to affect people the

i hope people shop locally. [ ♪♪♪ ] >> e are the risk takers the dreamers the expires we are the creative the artiststors from the gold rush and shaped by earthquake and cool by the fog. rocked by itself people. we been here we grow here and take a a chap here we have roots here. we found ourselves here. and we are the small businesses. >> with 2040 opened in san francisco where we met supportive people to help every step and stage and breaking. >> to welcoming the first encumbers and from idea to opening san francisco listened to our dreams and made them real. start your legacies [music] >> we are open at mission shelter so we take any animal, any condition, any specious from rucoons to cats to dogs to fish to lizards. we take anything. we do adoptions, which is a important part of our work, but it is a small portion of what we do. we take in custody animals which has been a huge increase in what we do over the years. a lot of the animals here are custody animals that can't be adopted. they come in here because of domestic violence. we have a program called safe pets where we protect a pet from a vi