thumbnail of Heart of the City; No. 1; 1994-02-23
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<v TV Announcer>Major funding for Heart of the City was provided by the Surdna foundation. <v TV Announcer>Additional support was provided by Con Edison, the steam, natural gas, <v TV Announcer>and electricity millions depend on every day. <v TV Announcer>Con Edison, for more than a century, energizing New York City, Westchester <v TV Announcer>County, and beyond. <v Laurie Scott>We got our volunteers by calling friends who wanted to work with kids, <v Laurie Scott>were looking for something other than their job to turn them on. <v John Romero>1989, there were 5000 people live in the subway. <v John Romero>In that same year, 79 had died on the subway. <v John Romero>Homeless people hit by trains, electrocuted. <v John Romero>And in 4 short years, we've been able to bring that number down to less than a thousand. <v Louis Garden Acosta>If they learn anything when they graduate and they will all graduate <v Louis Garden Acosta>in 4 years, they will know that they are power. <v Speaker>[piano music] <v Speaker>When I heard about a barge, I knew having seen the shape of them,
<v Speaker>I knew it was perfect for chamber music. <v Speaker>[intoduction music plays] <v John Kennedy>Welcome to the premiere of Heart of the City. <v John Kennedy>Hello, I'm John Kennedy. <v John Kennedy>There are few places on Earth more fascinating, exciting, or glamorous <v John Kennedy>than New York City. But what's really unique about New York are its neighborhoods. <v John Kennedy>From the narrow streets of Chinatown to the sidewalks of the South Bronx, <v John Kennedy>in every community in this city, there are local heroes, unsung heroes. <v John Kennedy>You may even know some of them. There are people who are making a difference in their
<v John Kennedy>communities and making New York a safer, friendlier, and better place <v John Kennedy>to live. In the next 6 shows, you'll meet them. <v John Kennedy>They're truly the heart of the city. <v John Kennedy>Laurie Scott was a successful young professional. <v John Kennedy>At 26 years old, she had a career, a Manhattan apartment, and could enjoy <v John Kennedy>the best that New York had to offer. <v John Kennedy>Something was missing. So along with Sheldon Talman and some other <v John Kennedy>young professionals, she created the S-Team, a program to help <v John Kennedy>homeless kids build self-esteem. <v John Kennedy>And along the way, they learned the kids had something to give to them. <v Laurie Scott>I was in advertising and it just wasn't working for me. <v Laurie Scott>I wasn't into the selling aspect. <v Laurie Scott>I started thinking what would make me jump out of bed in the morning? <v Laurie Scott>And what really turns me on is working with kids.
<v Sheldon Talman>I met Laurie through a friend. She was a copywriter and I was an art director. <v Sheldon Talman>I wanted to look at her portfolio. And one night I was over our apartment and we were <v Sheldon Talman>talking about this self-esteem program she wanted to do for kids. <v Sheldon Talman>I really wanted to get into something just like this. <v Sheldon Talman>So we formed uh a union. <v Speaker>[Laurie and Sheldon greet kids in background] <v Sheldon Talman>Basically it's S-Team, if you say it fast enough, it's esteem. <v Sheldon Talman>And um I liked it because of the word team in there, because the volunteers <v Sheldon Talman>become a group of uh teammates that work with a group of kids who <v Sheldon Talman>all become teammates. [background chatter] <v Laurie Scott>We're down in Crown Heights working with kids at St. John's Family Center. <v Laurie Scott>We were looking at different organizations, Y camps, um all different after <v Laurie Scott>school programs, and it really was a flip of a coin that we ended <v Laurie Scott>up working in homeless shelters. If we're going to start working on self-esteem and <v Laurie Scott>working with children, what better place than to work with kids whose main
<v Laurie Scott>things that are going on in our lives are fear and anger? <v Laurie Scott>Are they going to have food on the table? And where are they going to be living? <v Kid 1>They would call me stupid because I was in a shelter and they would- <v Kid 1>when I come home, they would pull my hair. <v Kid 1>I didn't even bother to go pl- just go on a see-saw with them. <v Kid 1>Or nothin' like that. I would just sit on a bench with my mother and watch <v Kid 1>all the- all the other kids play. <v Laurie Scott>What I found when I went to the shelters, I had a lot of stereotypes in my head about <v Laurie Scott>what homeless people were like. And what I was blown away by was how much these mothers <v Laurie Scott>care. <v Mother 1>I don't think she really understood what she was going through. <v Laurie Scott>And you're going to paste on the outside of the bag, the things that people know about <v Laurie Scott>you. And you're gonna put on the inside of the bag, the things that people don't <v Laurie Scott>know about you. <v Kid 2>What I like about this picture is that um the little girl is huggin' her mother and her <v Kid 2>father. <v Speaker>[applause] <v Mother 1>She opened up a lot and she really surprised me.
<v Mother 1>I think of herself also. <v Laurie Scott>We ready to rock and roll? <v Speaker>[kids cheer] <v Sheldon Talman>Yes, see, we put together as a series of 8 modules. <v Sheldon Talman>Every module that we create has to make them more <v Sheldon Talman>introspective, get them to do any kind of arts and crafts, cutting, pasting, drawing. <v Sheldon Talman>And at the same time, we sneak in the back door with a little self-esteem and self-worth. <v Laurie Scott>I'll show you some of the activity books. I am very surprised at how little instruction <v Laurie Scott>they give. They leave so much up to the teacher. <v Laurie Scott>I think it's irresponsible. <v Sheldon Talman>And working with Laurie on this project, we were starting to find a lot of you know, <v Sheldon Talman>you can't- you can't do this program without a degree. <v Sheldon Talman>And we started realizing that nobody can tell us that we can't do anything. <v Laurie Scott>Today is the bag exercise. How many of you guys have done this before? <v Laurie Scott>Can I just see a show of hands? <v Laurie Scott>We got our volunteers by calling friends who wanted to work with kids, <v Laurie Scott>were looking for something other than our job to turn them on. <v Speaker>["Bizarre Love Triangle" by New Order plays] <v Sheldon Talman>From the beginning, everything's been coming out of our pockets. <v Sheldon Talman>We pay for our own tokens.
<v Sheldon Talman>We were paying for all the food. <v Nancy Peck>I'm Nancy Peck and I'm a mother and a student. <v Mitchell>Hi, I'm Mitchell. I'm a government employee. <v Deborah Teal>Hi, I'm Deborah Teal and I'm a freelance writer. <v Deborah Teal>I was in a wheelchair for part of this summer and to come here and work with the kids <v Deborah Teal>got me out of myself, made me forget all of my physical troubles. <v Deborah Teal>And that was wonderful. The time that I showed up in the wheelchair, the kids loved it. <v Deborah Teal>They were doing wheelies with me around the room. <v Speaker>[background chatter] <v Jim>I recently retired after working 34 and a half happy years at the chemical bank. <v Jim>And I also did some volunteer work. <v Jim>But the volunteer work I was doing was at a local hospital over on the east side and I <v Jim>found out it was very sad, like when I left, some days I would go back <v Jim>to see someone that I had brought a book to and the pers- the bed <v Jim>would be empty, and have such an empty feeling. <v Jim>When I come over here with the S-Team and see these kids smiling and <v Jim>jumping up to say, Hey, Jim, would you give me a piggyback ride?
<v Jim>I said, Yeah, I'll give you a piggyback ride. That's something I can't buy. <v Jim>Tonight with ?inaudible?, it was really a challenge. <v Jim>I said to myself, I gotta see if I can make this guy talk with me. <v Jim>You're doing a great job. You're a regular artist. That's good. <v Mother 2>He would go in, you know, and just sit like in the back in a corner, like he's <v Mother 2>real shy, so he wouldn't, you know, really play with the other kids too much. <v Mother 2>But now, as you can see, as y'all saw today, that he started <v Mother 2>playing and he even got up and really surprised me that he got up and he <v Mother 2>spoke because he really doesn't do it. <v Sheldon Talman>Here comes the secret. <v Sheldon Talman>And you want to be a cop. Our first police officer. <v Jim>I may come back here in 25 years with ?inaudible? <v Jim>And I may see ?inaudible? talking to some young guy about, don't be bashful, you know, <v Jim>come on, speak up, you know? So I think it goes around into a nice circle.
<v Laurie Scott>Every time we go to work with the kids, it's like, is it going to work? <v Laurie Scott>Sometimes we find out right away that it works. <v Laurie Scott>Sometimes we find out months later, we may find out 10 years from now. <v Sheldon Talman>If I don't feel that the kids got it, I get a little depressed for a while and then <v Sheldon Talman>we start to uh get the feedback. <v Sheldon Talman>And then I realized kids were getting it, you know, that makes- that really makes it <v Sheldon Talman>worthwhile. <v Kid 1>When I went to the S-Team, we went um- we went on a lot of trips. <v Kid 1>I had something to do. <v Kid 1>I was- um I just- <v Kid 1>I just felt more better in my- in my- in my- in my heart, I just felt <v Kid 1>better. <v Laurie Scott>Hey Annika. <v Annika>Hey Laurie, how you doin'? <v Laurie Scott>I have the TVC boards for ya. <v Laurie Scott>This program is my life. <v Laurie Scott>I'm working on this enough so this can be my career. <v Laurie Scott>This isn't how I felt about advertising. <v Laurie Scott>Just every second is worth it.
<v John Kennedy>For more information about the S-Team, you can call 2 1 2 7 1 7 <v John Kennedy>1 2 7 6. <v John Kennedy>There are 90000 homeless in New York City. <v John Kennedy>We pass them every day on the streets and there are countless others that we never see <v John Kennedy>because they live underground. <v John Kennedy>Transit cop John Romero heads the homeless outreach division of the New York City <v John Kennedy>Transit Police. And every day he meets homeless New Yorkers who call <v John Kennedy>that strange subterranean world of the subway tunnels home. <v Speaker>[ominous background music plays]
<v John Romero>My name is Lieutenant John Romero with the New York City Transit Police. <v John Romero>I'm the commanding ?officer? of the homeless outreach unit. <v John Romero>This tunnel area right now that we're going through is about a 3-block distance <v John Romero>underground between the Broadway Lafayette and the Second Avenue station. <v Subway Worker>When you walk in, just hug the wall. <v John Romero>In 1989, there were 5000 people living in Subway. <v John Romero>In the same year, 79 had died on the subway. <v John Romero>Homeless people hit by trains, electrocuted. <v John Romero>Some died of natural causes. <v John Romero>In 4 short years, we've been able to bring that number down to less than a thousand <v John Romero>number of people on the system and the number of people have died down to 44. <v John Romero>So we are making progress. <v John Romero>Hey, Dennis, how you been? What's goin' on? <v John Romero>I mean, you know, you can't keep living like this [Dennis speaking in background] in 32 <v John Romero>years of age catching up to you. <v John Romero>So why don't you let us try taking you somewhere we can get some help. <v John Romero>Dennis has been down here off and on for years, but had yet to accept services. <v John Romero>But some point we're hoping uh that he will and uhwe brought people down <v John Romero>here, professional people to talk to him.
<v John Romero>We're just hoping that one day it just clicks where he realizes he needs help. <v John Romero>When we talk about the homeless in the subways ?we oughtta? <v John Romero>understand who we're talking about. We're talking about a population, predominately <v John Romero>males, whose ages run from 20 to 45. <v John Romero>We're talking about a population who 80 percent fall into what we call ?mica? <v John Romero>category: they're mentally ill or chemical abusers or both. <v John Romero>So it's not a case of where we're dealing with a population that because of domestic or <v John Romero>economic reasons, have found themselves temporarily homeless and are calling the subways <v John Romero>a- a residence. We're dealing with a population with some serious problems. <v John Romero>Gary ?inaudible? <v John Romero>Gary has been livin' here off and on for about 4 years in this emergency exit. <v John Romero>As I indicated earlier, we had to evacuate a train and get people out <v John Romero>through here, but all the obstruction that Gary has here, it can make for <v John Romero>a tragedy. <v John Romero>No one can tell me that living down here under these conditions is better than living
<v John Romero>in a shelter. It's not. I'm not saying that shelters are perfect. <v John Romero>What I am saying is shelters have rules. <v John Romero>And these people, by their own choice, have elected not to follow rules. <v John Romero>That's why they're here. <v Transit Policeman 1>Okay, we got 2 people here, who obviously been down in the tunnel for a while. <v Transit Policeman 2>Wake up transit police! <v Speaker>[train screeches] <v Transit Policeman 2>Transit police, how are you doing? <v Transit Policeman 1>As you can see, the train's just a few feet away. <v Transit Policeman 1>We're gonna try and ask them if they want to go to a shelter. <v John Romero>If you shut your lights off for a second, you'll get an idea of what it's like down here. <v John Romero>We're here with our protective vest and flashlights and gloves and masks, <v John Romero>yet people are walkin' around here in total darkness without any kind of light, oblivious <v John Romero>to the dangers of the third rail that's within a matter of inches from where they're <v John Romero>walkin'. <v Bus Driver>Why don't you take a ride? We've got the bus up there, we'll give you somethin' to eat, we'll <v Bus Driver>give you a bed for tonight. <v Homeless Man 1>No! <v Bus Driver>Aren't you cold? <v Homeless Man 1>No. <v Bus Driver>We're asking people on the trains that are apparently homeless if they'd like to go to <v Bus Driver>the shelter tonight. If somebody does accept shelter off us, we'll transport them
<v Bus Driver>upstairs to our bus. <v Bus Driver>We'll give them something to eat on the bus, while they're waiting, and then we'll take <v Bus Driver>them up to Bellevue Shelter where they can get a bed for the night. <v Bus Driver>I'll take ya up to the bus, alright? <v Homeless Man 1>Wasn't for them I'd still be downstairs somewhere. And uh they- they also rescue <v Homeless Man 1>me out of snow, out of rain, out of ice. <v Homeless Man 1>Stuff like that. They're lifesavers. <v Homeless Outreach Unit Official>Excuse me sir. How you doing? <v Homeless Outreach Unit Official>Transit police. You alright tonight? Huh? <v Homeless Outreach Unit Official>How would you like to go to shelter tonight? <v Homeless Outreach Unit Official>I've been with the homeless average unit on March it'll be 3 years. <v Homeless Outreach Unit Official>And it's a good unit. Most of the people out here are black. <v Homeless Outreach Unit Official>Most of the homeless people are black. And me as a black man, it's- it's hard. <v Homeless Outreach Unit Official>I try to do what I can. There are times I- you know, I go home and you just think about <v Homeless Outreach Unit Official>them, looking at all my people and they're homeless, you <v Homeless Outreach Unit Official>know, and it's- it gets a little rough. <v Homeless Outreach Unit Official>That's why, you know, I try to talk to- you know, you talk to 'em- most of these people, <v Homeless Outreach Unit Official>a lot of people think they're crazy.
<v Homeless Outreach Unit Official>They're not really crazy, per se, but, you know, down on their luck, drugs, alcohol, <v Homeless Outreach Unit Official>whatever. [background chatter] And um- <v Homeless Outreach Unit Official>it's just- it gets a little rough. <v John Romero>Do me a favor. Put the uh put the bottle away, that alright? <v Speaker>[background chatter of workers talking with the men] <v Homeless Man 2>I can't throw it away, it cost me too much and then it's my last money. <v John Romero>But you can't drink it here. You alright? <v Homeless Man 3>You can't just throw people out in the cold. I mean, um, the whole idea of <v Homeless Man 3>somebody not having a place to sleep. <v Homeless Man 3>You can't sleep on the sidewalk, you can't sleep in the park. <v Homeless Man 3>Can't sleep on private property. <v Homeless Man 3>I mean, if you don't have- you got to sleep. <v Homeless Man 3>I mean, your body is going to shut down after a while regardless. <v John Romero>It's not a police problem. However, the police had to address it. <v John Romero>It's not conventional police work. <v John Romero>But when you really sit down and think about what is police work, police work is helping <v John Romero>people. And that's what we do here. <v Homeless Man 3>It's not like this is going to- it's going to change. <v Homeless Man 3>You wake up tomorrow, you've got the same problems.
<v Homeless Man 3>Now, right now, tonight, I appreciate it. <v John Romero>Take care y'all. <v Homeless Men>We will. <v John Kennedy>We all remember high school: a blackboard up front, rows of seats, and a buzzer <v John Kennedy>that rang at the beginning and end of every period. <v John Kennedy>But there are other creative ways to design a school. <v John Kennedy>We learned that when we visited the El Puente Academy of Peace and Justice, part <v John Kennedy>of the board of ed's alternative high school program, located in the middle of ethnically <v John Kennedy>diverse Williamsburg, Brooklyn. <v Frances Lucerna>Here at the El Puente Academy, the whole thrust of the curriculum <v Frances Lucerna>is community development, and a very big part of the learning
<v Frances Lucerna>process is community service. <v Speaker 2>The health fair was important because some families don't got enough money to buy shots, <v Speaker 2>you know, some shots cost you 50 to a hundred dollars. <v Speaker 2>They have a chance to come here and get free shots for their child. <v Speaker 2>They don't want their child gettin' sick. <v Mom 1>No she's not allergic to anything. <v Volunteer 1>The same thing to every child, write the same thing? <v Mom 1>Yeah. <v Mom 2>I think it's great. Since the fact that um, since she's always sick, <v Mom 2>this is an opportunity for her, she's well now [baby babbles] and it's free. <v Mom 2>It's just come in and they'll send you, no appointment or anything, so it's good. <v Hector Calderon>I believe that the philosophy of the school is about developing leadership <v Hector Calderon>for social change. And that young people right now can create those changes not only <v Hector Calderon>within themselves, but within their community. <v Hector Calderon>The individual transformation is the first key to social transformation. <v Student 1>I feel it's important because we should get involved with the community. <v Student 1>I mean, you live in it, right? <v City Worker>The students of El Puente are taking care of the environment right here in their
<v City Worker>own neighborhood. They're all aware of the great rain forest, but they're <v City Worker>only 4000 miles away. <v City Worker>Here in the city of New York, we have our own rainforest where the trees are becoming <v City Worker>?inaudible? <v Frances Lucerna>I think we have a great opportunity, particularly in this neighborhood of Williamsburg. <v Frances Lucerna>This community of Williamsburg, to really be able to proactively <v Frances Lucerna>practice and experience and explore the issues of peace and <v Frances Lucerna>social justice. <v Delia Montalvo>I think that we believe in is that everyone here in the school is both teacher and <v Delia Montalvo>student. <v Delia Montalvo>So you know how viruses live in your body? <v Student 2>Yeah, they take over-. <v Delia Montalvo>You know, like for example, the HIV virus? <v Student 2>The T- T- cells. <v Student 3>T-cells. <v Student 2>They survive inside the T-cells, ?inaudible?. <v Delia Montalvo>Since we're learning from each other, we felt that it would be more appropriate to call <v Delia Montalvo>ourselves facilitators. <v Delia Montalvo>Name 1 reason why parents do not get their <v Delia Montalvo>children vaccinated. <v Student 1>'Cause they don't have enough money. <v Student 1>They like to call facilitators, because they see us like friends, like real friends here.
<v Student 1>And I want to be just like them, 4 years from now, when I work here. <v Student 1>I mean, I love this place. <v Hector Calderon>The Day of the Dead, Dia De Los Muertos, is a way of bridging <v Hector Calderon>the past with the present, a way of bridging the old traditions <v Hector Calderon>of our ancestors with- with the way we're living right now. <v Hector Calderon>It's also- it's a way of commemorate the memories of those who have passed away. <v Hector Calderon>Making that transformation from the old school systems to now has been very challenging, <v Hector Calderon>to say the least. I see young people are here that in other schools are considered losers <v Hector Calderon>or problem kids, so whatever the term- the popular term goes around. <v Hector Calderon>So why you gonna celebrate something that's already dead? <v Hector Calderon>Their spirits are alive [students talk in background] that this the body, it's always <v Hector Calderon>only physical, but their spirits never really die. <v Hector Calderon>I've seen some amazing, amazing transformations because we really focus on the individual <v Hector Calderon>and talking to them as human beings. <v Hector Calderon>And here they really have a home and they have a place. <v Hector Calderon>They see themselves having potential and moving on in different- in directions in their <v Hector Calderon>little possible.
<v Frances Lucerna>Louis Garden Acosta is the founder and the visionary behind El Puente. <v Louis Garden Acosta>Remember, we're going to communities where they don't speak English, where all they know <v Louis Garden Acosta>about us is what the television tells them. <v Frances Lucerna>He is the master bridge maker. <v Frances Lucerna>Um he brought people together like myself from the community and said, we can come <v Frances Lucerna>together. We have what it takes. <v Frances Lucerna>We have all the resources we need to make the change for young people. <v Frances Lucerna>He had the vision of a place that was safe, a place where you could grow <v Frances Lucerna>in body, mind, spirit and affect the community. <v Frances Lucerna>And he's made that vision happen. <v Louis Garden Acosta>If they learn anything when they graduate and they will all graduate <v Louis Garden Acosta>in 4 years, they will know that they are a power. <v Louis Garden Acosta>They can come together with others, people that- whose languages maybe they don't <v Louis Garden Acosta>understand, whose cultures they- they perhaps don't totally understand <v Louis Garden Acosta>but they can come together as human beings and make the changes for all of us. <v Louis Garden Acosta>That they will understand.
<v Student 1>So, you know, I think anyone is going to hear about El Puente. <v Student 1>That's what I'm hoping for. There would be new people coming in and it would be all over <v Student 1>the news everywhere and they would have more El Puentes nationwide. <v Speaker>["We Are Family" by Sister Sledge plays] <v John Kennedy>For more information about the El Puente Academy for Peace and Justice, you can call <v John Kennedy>7 1 8 5 9 9 2 8 9 5. <v John Kennedy>New York Harbor is one of the finest in the world. <v John Kennedy>It made New York the commercial and financial power it is today, but <v John Kennedy>it's the last place you'd expect to hear great classical music. <v John Kennedy>However, a retired musician named Olga Bloom had a dream. <v John Kennedy>With sacrifice and hard work, she turned that dream into a unique <v John Kennedy>New York cultural institution. <v Speaker>[barge honking] <v Speaker>[classical music plays]
<v John Kennedy>Moored in the East River in the shadow of the Brooklyn Bridge, which towers overhead. <v John Kennedy>It seems small, even humble. <v John Kennedy>Were it not for a card wooden sign, "Barge Music Limited," passers-by <v John Kennedy>might not even notice the deceptively plain white barge. <v John Kennedy>Inside this once old coffee barge, the cherry wood-paneled walls <v John Kennedy>encompass world-renowned musicians and the dream and determination of <v John Kennedy>Olga Bloom. <v Olga Bloom>I had been a musician all my life. <v Olga Bloom>Most of the time I was furious, except when <v Olga Bloom>I was in proximity to natural beauty, <v Olga Bloom>which sort of brought me back to sanity. <v Olga Bloom>We produce hordes of stunning <v Olga Bloom>artists, year after year. They come out in waves. <v Olga Bloom>But the school system and the scholarship system has no relevance <v Olga Bloom>to the real world. And so having chewed on
<v Olga Bloom>that bone for many, many years, I uh I <v Olga Bloom>determined that a scattering of many small places <v Olga Bloom>would be a useful addition to the whole world at large. <v Olga Bloom>When I heard about a barge, I knew having seen the shape of them, <v Olga Bloom>I knew it was perfect for chamber music. <v John Kennedy>After retiring, Olga mortgaged her home to buy the barge and began renovating <v John Kennedy>it with her own hands. <v Olga Bloom>Here you see a juxtaposition of my love of nature <v Olga Bloom>in the river stretch of sky and the <v Olga Bloom>music, of course, which our artists bring to us. <v Olga Bloom>I'm enormously aided uh by a troop of volunteers <v Olga Bloom>who are simply the greatest people: school teachers <v Olga Bloom>with scientific or literary skills, <v Olga Bloom>all sorts of people.
<v Volunteer 2>It's 15, for students and senior citizens all the time, and it's 23 on Sundays and 20 on <v Volunteer 2>Thursdays. <v Ik-Hwan Bae>Olga and I both feel very strongly that this should not remain a <v Ik-Hwan Bae>elite people's hobby. <v John Kennedy>Ik-Hwan Bae was already an established violinist when he came aboard as Olga's artistic <v John Kennedy>director 9 years ago. <v Ik-Hwan Bae>Olga is always here, very solid, rock-solid, making sure everything works <v Ik-Hwan Bae>smoothly. <v Speaker>[violin plays] <v Olga Bloom>If I don't see that the musicians are nurtured, then <v Olga Bloom>I'm betraying my trust. <v Speaker>[chamber music plays] <v Performer 1>This is actually how chair music was written. <v Performer 1>It was intended for a hall of this size.
<v Olga Bloom>The performers tell me it's unique in the world. <v Olga Bloom>We give more concerts than anyone, twice a week, all year. <v Olga Bloom>You know, it's an incredible amount of performances. <v Speaker>[chamber music continues] <v Olga Bloom>When you played chamber music, you must be terribly aware of what your <v Olga Bloom>companions are doing. <v Olga Bloom>Regardless of how outstandingly they could play it, they are considering
<v Olga Bloom>whether or not it's appropriate so that the other person can be <v Olga Bloom>heard. <v Olga Bloom>This kind of unselfish consideration and performance <v Olga Bloom>is truly remarkable. <v Olga Bloom>[music continues] I think it's the epitome of civilized behavior. <v Olga Bloom>That's what I've come to appreciate. <v Olga Bloom>[music continues] <v John Kennedy>For more information about Barge Music, you can call 7 1 8 6 2 4
<v John Kennedy>4 0 6 1. <v John Kennedy>We've just met some remarkable New Yorkers who've had an impact on our communities <v John Kennedy>and changed the lives of the many people that they've met. <v John Kennedy>We found unsung heroes in every burrow in this city. <v John Kennedy>And you'll meet more of them when you join us here next week at Heart of the City. <v John Kennedy>I'm John Kennedy. <v John Kennedy>If you want to learn more about other organizations where you can volunteer, you can call <v John Kennedy>the Mayor's Voluntary Action Center at 2 1 2 7 <v John Kennedy>8 8 7 5 5 0, or New York Cares <v John Kennedy>at 2 1 2 2 2 8 5 thousand. <v Speaker>[music plays]
Heart of the City
Episode Number
No. 1
Producing Organization
WNYC-TV (Television station : New York, N.Y.)
Contributing Organization
The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia (Athens, Georgia)
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Episode Description
The programs and individuals highlighted in this program were Laurie Scott and Sheldon Talman, founders of the S-Team program for homeless youth; John Romero and Homeless Outreach Unit of the New York City Transit Police; the educators and founders of El Puente Academy for Peace and Justice; and Olga Bloom, founder of Barge Music Limited.
Series Description
"HEART OF THE CITY is a 6-part half-hour series focusing on local heroes, individuals and organizations dedicated to making a difference in New York City. The series profiles the people who unselfishly, and usually unnoticed, demonstrate their concern for others. By acknowledging these silent heroes, the series aims to inspire viewers to undertake similar activities in their neighborhood. "At the end of each segment, the phone number of the organization profiled is listed so that viewers may either get additional information or volunteer their services. Additionally, phone numbers for both the Mayor's Voluntary Action Center and New York Cares are provided for viewers who may wish to volunteer and haven't yet found an area of interest. "In addition to the broadcast, an award ceremony was held at the Con Edison headquarters where John F. Kennedy Jr., series host, acknowledged the efforts of the individuals profiled in the series. Each local hero was presented with an award of public service from the City of New York signed by Mayor Rudolph Guiliani. "Response to the series: Reviews to the series are included in the press kit. The organizations profiled, as well as the Mayor's Voluntary Action Center and New York Cares, received hundreds of calls from people wishing to volunteer their time or services, make monetary or in-kind contributions and/or request information. In addition, the organizations have been using tapes of their segments for public relations and fundraising purposes, thus ensuring an afterlife use of the series. WNYC received over 100 calls requesting information about the organizations and about future and repeat broadcasts, and continues to receive letters and literature with suggestions of individuals and organizations to profile in [future episodes]. WNYC is currently fundraising to [produce] an additional 13 half-hour series."--1994 Peabody Awards entry form.
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Producing Organization: WNYC-TV (Television station : New York, N.Y.)
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The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia
Identifier: cpb-aacip-463c9ca8856 (Filename)
Format: U-matic
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Chicago: “Heart of the City; No. 1; 1994-02-23,” 1994-03-23, The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed June 28, 2022,
MLA: “Heart of the City; No. 1; 1994-02-23.” 1994-03-23. The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. June 28, 2022. <>.
APA: Heart of the City; No. 1; 1994-02-23. Boston, MA: The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from