A selection of NYC-ARTS favorite segments that represent the richness of our arts community, including a visit to the Museum of Food and Drink located in Brooklyn, a profile of Martha Graham Dance Company, and a conversation with Ambassador William J. vanden Heuvel — the founder of the Franklin D. Roosevelt Four Freedoms Park — about FDR’s legacy and his indelible mark in history.

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> COMING UP ON 'NYC-ARTS.'

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WHAT WE WANT TO DO AT THE MUSEUM FOOD AND DRINK IS TAKE PEOPLE ON A LEARNING ADVENTURE THROUGH THE CULTURE, HISTORY AND SCIENCE OF FOOD AND DRINK.

MY JOURNEY IS A TAKE ON THE EDIPUS STORY.

IT IS AN EXAMPLE OF HOW MARTHA USED THE YOUTH ON STAGE.

WE HAD MANY PEOPLE.

WE HAVE SEEN PEOPLE WEEP LOOKING AT THE SCULPTURE.

FUNDING FOR NYC-ARTS IS MADE POSSIBLE BY ROSLYN P. WATER.

KATE W. CASSIDY FOUNDATION.

GIROVILINA FOUNDATION.

JODIE AND JOHN ARNHOLD.

ELLEN AND JAMES S MARCUS.

ELISE JAFFE AND JEFFREY BROWN.

THE MILTON AND SALLY AVERY ARTS FOUNDATION.

AND ELROY AND TERRY KRUMHOLZ FOUNDATION.

THIS PROGRAM IS SUPPORTED IN PART BY PUBLIC FUNDS FROM THE NEW YORK CITY DEPARTMENT OF CULTURE AFFAIRS IN PARTNERSHIP WITH THE CITY COUNCIL.

♪♪

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF 13.

NYC-ARTS IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

FLEXIBILITY.

COORDINATION.

EXCELLENCE.

FIRST REPUBLIC PRIVATE WEALTH MANAGEMENT, IT'S A PRIVILEGE TO SERVE YOU.

♪♪ ♪♪

GOOD EVENING AND WELCOME TO 'NYC-ARTS.'

WE ARE AT THE STUDIOS AT LINCOLN CENTER.

IT HAS BEEN MY PLEASURE ALONG WITH MY COLLEAGUE PAULA ZAHN TO BRING YOU THE BEST OF ARTS AND CULTURE IN THE TRI-STATE AREA, WHETHER IT IS MUSIC, DANCE, FILM, THEATER, VISUAL ARTS, CLASSIC OR CONTEMPORARY, WELL-KNOWN OR NEWLY DISCOVERED, NYC-ARTS HAS PROVIDED UNIQUE ACCESS TO THE PEOPLE AND PLACES THAT REPRESENT THE RICHNESS OF OUR ARTS COMMUNITY.

IN THIS PROGRAM WE WOULD LIKE TO SHARE WITH YOU SOME OF OUR FAVORITE SEGMENTS.

WE HOPE THEY ARE SOME OF YOUR FAVORITES AS WELL.

♪♪

> NEXT WE'LL VISIT THE MUSEUM OF FOOD AND DRINK IN WILLIAMSBURG, BROOKLYN.

THIS UNIQUE DESTINATION INVITES VISITORS TO EAT, DRINK AND THINK ABOUT FOOD.

THE MUSEUM'S DESIGN STUDIO AND GALLERY SPACE IS CALLED MOFAD LAB.

IT EXPLORES THE SCIENCE OF TASTE AND SMELL AS PART OF FOOD HISTORY.

THE CURRENT EXHIBIT, CHOW, MAKING THE CHINESE AMERICAN RESTAURANT TAKES A TRIP THROUGH THE CULINARY AND CULTURAL HISTORY OF ONE OF OUR COUNTRY'S MOST POPULAR CUISINES.

IT INCLUDES CHINESE MENUS DATING FROM 1910 TO THE PRESENT, A WORKING 1,500 POUND FORTUNE COOKING MACHINE AND A COOKING STATION THAT ALLOWS VISITORS TO BOTH SEE THE TECHNIQUES THAT PRODUCE SUCH DELICIOUS FLAVORS AND, OF COURSE, THEY GET TO TASTE SOME OF THE FOOD FOR THEMSELVES ALSO.

EXECUTIVE DIRECTOR PETER KIM WILL BE OUR GUIDE.

♪♪

WHAT WE WANT TO DO AT THE MUSEUM OF FOOD AND DRINK IS TAKE PEOPLE ON A LEARNING ADVENTURE THROUGH THE CULTURE, HISTORY AND SCIENCE OF FOOD AND DRINK.

WE CALL THIS MO FAD LAB BECAUSE IT IS BEST THOUGHT OF AS SOMETHING LIKE A TEST KITCHEN FOR THE MUSEUM.

IN A LOT OF WAYS WE'RE CREATING A NEW KIND OF MUSEUM THAT NOBODY HAS EVER SEEN BEFORE.

WE ARE WEAVING TOGETHER DIFFERENT DISCIPLINES.

WE ARE TELLING CULTURAL STORIES.

WE'RE PLACING IT IN THE CONTEXT OF HISTORY.

WE LOOK AT IT FROM AN ECONOMIC POINT OF VIEW.

WE ACTUALLY LOOK AT THE SCIENCE BEHIND FOOD AS WELL, AND IMPORTANTLY THE KINDS OF INTERACTIVES YOU SEE AT MO FAD ARE UNLIKE THE KINDS YOU WOULD SEE IN OTHER MUSEUMS.

EVEN BEFORE WE WERE IN THIS SPACE, OUR FIRST TRAVELING EXHIBIT WAS CALLED 'BOOM' THE POPPING GUN AND RISE OF CEREAL.

WE TOWED AROUND THE CITY THIS SENSATIONAL CEREAL PUFFING GUN AND EXPLODED CEREAL BEFORE PEOPLE'S EYES SO THEY COULD SEE HOW THE TECHNOLOGY WORKS.

WITH FLAVOR MAKING IT AND FAKING IT, WE TOLD THE STORY OF SCIENCE AND TECHNOLOGY, HOW FLAVOR WORKS.

THE SORT OF CRAZY SCIENCE THAT GOES ON IN YOUR HEAD WHENEVER YOU BITE INTO, SAY A STRAWBERRY.

IN A LOT OF WAYS FLAVOR IS ABOUT CHEMISTRY.

OUR NOSE AND OUR TONGUE, IN SOME WAYS ARE BEST THOUGHT OF AS CHEMICAL DETECTORS AND OUR BRAIN IS ASSEMBLING A PICTURE BASED ON THE SIGNALS IT RECEIVES.

WE CREATED THESE SMELL MACHINES WHERE YOU COULD PRESS BUTTONS AND COMBINE SMELLS TO CREATE COMPOUND SMELLS AND SHOW HOW FLAVOR COULD BE BIT PIECE BY PIECE.

WE ALSO INVENTEST TASTING TABLETS, WHICH WERE LITTLE PELLETS THAT COULD GET ACROSS THE FLAVOR OF VANILLA OR OTHER FLAVORS, AND THIS WAS A WAY TO GET PEOPLE TO COMPARE ARTIFICIAL VANILLA FLAVOR WITH WHOLE VANILLA BEANS AND SEE IF THEY COULD TELL THE DIFFERENCE.

THIS BASIS FOR FLAVOR LED TO THE RISE OF THE FLAVOR INDUSTRY.

THE FLAVOR INDUSTRY USED A VERY ADVANCED UNDERSTANDING OF FLAVOR TO ADJUST THE FLAVOR OF MUCH OF THE FOOD THAT WE EAT.

WHEN YOU GO TO A SUPERMARKET, YOU ARE LIKELY PURCHASING PRODUCTS THAT WERE ADJUSTED BY THE FLAVOR INDUSTRY.

FLAVOR MAKING IT AND FAKING IT WAS ABOUT SCIENCE, ABOUT TECHNOLOGY.

IT WAS ALSO ABOUT TO SERVE ALMOST A PHILOSOPHICAL QUESTION ABOUT WHAT NATURAL AND ARTIFICIAL REALLY MEANS.

WITH CHOW, MAKING THE CHINESE-AMERICAN RESTAURANT, WE WANTED TO TELL A CULTURAL STORY AND SHOW HOW FOOD RELATES TO OUR IDENTITY AND HOW IT RELATES TO HISTORY AND IMMIGRATION POLICY.

CHOW TELLS THE STORY BEHIND THE NEARLY 50,000 CHINESE-AMERICAN RESTAURANTS IN THE UNITED STATES, AND IT GOES BACK THROUGH THEIR NEARLY 170-YEAR HISTORY.

THERE ARE A LOT OF REASONS WHY CHINESE-AMERICAN FOOD BECAME SO WILDLY POPULAR.

THERE WERE THESE SORT OF 19th CENTURY HIPSTERS IN NEW YORK CITY WHO WERE GOING INTO IMMIGRANT NEIGHBORHOODS AND TRYING FOODS, AND THEY DEEMED THIS ONE DISH, CHOP SUEY, TO BE THE THING.

FROM THERE IT SORT OF BECAME A FAD IN NEW YORK CITY AND A NATIONWIDE OBSESSION.

THAT'S ONE FACTOR.

THE OTHER IS THE CHINESE EX CLUES ACT, THE CHINESE LEFT IN THE U.S.

THERE WAS AN OVERWHELMINGLY ANTI-CHINESE SENTIMENT IN THE U.S. AND THEY HAD TO START THEIR OWN BUSINESSES.

THE CHINESE THAT OPENED RESTAURANTS HAD TO SERVE FOOD THAT APPEALED TO NON-CHINESE DINERS.

SEE VENTUALLY THIS BLUEPRINT WAS CREATED OF TAKING ORIGINAL CHINESE DISHES AND CONFIGURING THEM FOR A MORE MAINSTREAM PALATE.

WE REALIZED THE STORY OF CHINESE-AMERICAN RESTAURANTS WAS A PERFECT EXAMPLE OF HOW IMMIGRANTS CONTRIBUTE TO THE AMERICAN CULINARY IDENTITY.

WE HAVE A FORTUNE COOKER MACHINE THAT IS ACTUALLY WORKING BEFORE PEOPLE'S EYES, AND YOU CAN SEE HOW FORTUNE COOKIES ARE MADE AND EAT FRESHLY-BAKED FORTUNE COOKIES RIGHT OFF THE CONVEYOR BELT.

WE HAVE A CULINARY STUDIO WHERE WE HAVE A CHEF WHO IS ACTUALLY DEMONSTRATING CHINESE CULINARY TECHNIQUE TO EVERY VILS TORE AND OFFERING A TASTING SO THEY CAN SEE THE DELICIOUS RESULTS.

THEY'RE ABLE TO TASTE THE DELICIOUS RESULTS.

WE REALIZED THAT THE EXPERIENCE OF ACTUALLY INTERACTING WITH FOOD AND DRINK WAS AN ESSENTIAL PART OF LEARNING ABOUT IT.

WE WANTED TO CREATE A MUSEUM WHERE YOU COULD REALLY SEE FOOD HOLISTICALLY AND LEARN ABOUT IT IN A MULTI-SENSORY AND INTERACTIVE WAY.

♪♪ ♪♪

> NEXT ON OUR PROGRAM WE'LL GO BEHIND THE SCENES WITH A TRULY GROUND BREAKING AND ORIGINAL DANCE COMPANY.

FOUNDED BY ONE OF THE MOST INFLUENTIAL ARTISTS OF THE 20th CENTURY, THE MARTHA GRAHAM DANCE COMPANY CELEBRATED ITS 90th ANNIVERSARY LAST SEASON.

TODAY IT CARRIES ON HER LEGACY, PERFORMING HER MASTER WORKS ALL OVER THE WORLD.

IT ALSO CONTINUES TO FOSTER HER INNOVATIVE SPIRIT, EMBRACING NEW WORKS BY ARTISTS WHO HAVE BEEN INSPIRED BY HER VISION.

♪♪

I START AS A DANCER WITH THE COMPANY IN 1972 AND I CAME BACK TO THE COMPANY AS ARTISTIC DIRECTOR.

MARTHA TAUGHT ME LIFE LESSONS AND THE SCENE THAT RUNS THROUGHOUT HER ENTIRE CAREER IS THE EMPOWERMENT OF THE INDIVIDUAL, BEING TRUE TO YOUR OWN UNIQUE POWER, THAT IT IS UNIQUE AND YOURS ALONE TO DEVELOP. FOR EXAMPLE, WHEN SHE DIRECTED US IN HER ROLES, IT DIDN'T CROSS HER MIND THAT WE MIGHT DANCE THE ROLE EXACTLY AS SHE HAD.

HAD A DIFFERENT DYNAMIC, A DIFFERENT PERSONAL AURA, AND SHE EXPECTED ME TO TAP THOSE THINGS, USE MY OWN UNIQUE QUALITIES AS POWERFULLY AS POSSIBLE.

MY ARTISTIC DIRECTOR JANET ELBERG HAS TAKEN THE APPROACH OF ALLOWING ME TO FIND MY WAY INTO A ROLE, TO CREATE MY OWN INTERPRETATION WITHIN THE CHOREOGRAPHY, WITHIN THE STRUCTURE, OF COURSE.

I DIDN'T KNOW MA MARTHA GRAHAM.

I DON'T HAVE THE PRESSURE OF WHAT THAT PERSONALITY MEANT TO ME, BUT I CAN WORK FROM THE PHILOSOPHY AND THE TEACHINGS AND THE TECHNIQUE OF THE WORK.

♪♪

MY JOURNEY IS MARTHA GRAHAM'S TAKE ON THE OEDIPUS STORY.

IT IS ONE OF THE GREATEST EXAMPLES OF HOW MARTHA REVOLUTIONIZED THE YOUTH OF TIME ON STAGE.

HER DANCE BEGINS WHERE THE PLAY ENDS.

JOCOSTA UNDERSTANDS THE TRUTH AND IS ABOUT TO END HER LIFE, AND THE DANCE TAKES PLACE AS IF WE SEE HER LIFE FLASHING BEFORE HER EYES.

WE TRAVEL BACK IN HER MEMORIES.

WE SEE HER MEETING OEDIPUS AS A YOUNG MAN, THEIR COURTSHIP, THEIR MARRIAGE, AND THE END OF THE BALLET IS WE RETURN TO THE ROPE AND SHE ENDS IT ALL.

STEPPING INTO JOCOSTA AND HER PSYCHE, WHAT IS SHE THINKING?

THAT IS A DIFFERENT QUESTION.

AS SHE GOES BACK IN TIME AND RELIVES HER BAD CHOICES WE REALIZE SHE IS AN INNOCENT IN THIS.

SHE HASN'T DONE ANYTHING WILLINGLY, BUT SHE HASN'T FOLLOWED HER INSTINCT.

SO ALL OF THOSE NUANCES THAT AS JOCOSTA ONE MUST PORTRAY FOR IF AUDIENCE AND INTRODUCE THAT, THE DANCER MUST EVOKE TO GET IT ACROSS, THAT IS A GREAT DRAMATIC CHALLENGE.

♪♪

JOCOSTA I THINK IS PROBABLY THE MOST COMPLEX ROLE, SO AS AN ACTRESS AND A DANCER, THE MANY DIFFERENT FACETS AND ELEMENTS THAT YOU CAN ADD INTO THAT ROLE, IT IS ENDLESS, IT IS INFINITE.

♪♪

I'LL DEFINITELY WILL BE TRYING TO FIND JOCOSTA BECAUSE I CAN NEVER BE LIKE MARTHA GRAHAM OR ANYBODY IN THE PAST WHO HAS DONE IT.

I WILL ADD A LITTLE BIT OF MY CULTURAL BACKGROUND INTO THAT ROLE.

IT IS A LITTLE BIT LIKE ASIAN OR EVEN LIKE CHINESE OR JAPANESE, GESTURE.

EMOTIONAL WISE IT IS ABOUT USING THE TECHNIQUE TO COMMUNICATE, TO BRING THE STORY, TO TALK WITH YOUR BODY, THAT'S THE MOST CHALLENGING PART FOR THE DANCER.

THE ELEMENTS OF THE GRAHAM TECHNIQUE HAVE REMAINED CONSTANT, THAT THE TORSO IS DRIVING THE MOVEMENT, THE TORSO BEING THE CENTER OF EMOTION IS ALSO SO INTIMATE AND DESCRIPTIVE OF THE EMOTIONAL JOURNEY.

THE FAMOUS MARTHA GRAHAM CON TRAC SHON AND RELEASE IS SO VISCERAL.

THE CONTRACTION IS A MOVEMENT IN SPACE.

IT IS A WAY TO MOVE THROUGH SPACE.

THAT TAKES EXTREME DEPTH OF MUSCLE CONTROL TO ACCESS AND ACHIEVE, SO THAT REALLY IS MOST DIFFICULT PART FOR ANY OF US.

WE HAVE TO TRAIN IN IT CONTINUOUSLY.

♪♪

GRAHAM'S WORK REQUIRES SORT OF THE PERFECT MARRIAGE OF THE PHYSICAL AND THE EMOTIONAL.

HER MOVEMENT IS DESIGNED HE TO REVEAL THE INNER LANDSCAPE AS SHE USED TO SAY, AND REALLY FINDING THAT BALANCE BETWEEN THE PHYSICALITY AND THE EMOTIONAL JOURNEY WITHOUT BEING MELODRAMATIC IS THE CONSTANT BATTLE.

THE HEART IS MARTHA GRAHAM TAKES THE SORT OF MEDEA.

PEOPLE THANK MEDEA, THAT ROLE IS AN EVIL ROLE, IT IS VIOLENT, IT IS DARK.

FOR ME, IT IS A WOMAN, IT IS HUMAN EMOTION THAT NATURALLY CAME OUT.

IF SOMEBODY HURTS YOU, SOMEBODY BETRAYS YOU, EVENTUALLY YOU WANT TO DO SOMETHING TO SPREAD YOUR ANGER BY REVENGE.

I ENJOY A LOT BECAUSE IT IS FOR ME THE WAY TO REALLY RELEASE MYSELF, THE SIDE THAT NEVER CAME OUT IN THE NORMAL LIFE.

♪♪

IN 1930, OF COURSE, WAS THE SHOT HEARD AROUND THE WORLD FOR MODERN DANCE, TO DO SOMETHING THAT WAS SO STARK, SO MODERNIST.

THERE'S NO DECORATION, THERE'S NO ESCAPISM.

IT IS REALLY THE THING ITSELF.

LA MENTATION IS ONE OF MY FAVORITE ROLE WORKS OF MARTHA.

IT IS ONE MINUTE, IT IS SHORT AND IT IS VERY HARD BECAUSE THE FABRIC IS RESISTANT.

IT IS LIKE STRETCHING YOUR SKIN.

YOU'RE TRYING TO BREAK THROUGH A CERTAIN PRESSURE TO RELIEVE THE SADNESS.

THE LAMENTATION VARIATIONS STARTED IN 2007.

WE ASKED YOUNG CHOREOGRAPHERS TO CREATE SHORT WORKS FOR THE COMPANY, INSPIRED BY A FILM OF MARTHA DANCING HER ICONIC SOLO LAMENTATION.

THE COMMISSIONING OF NEW WORK FOR THE COMPANY IS PART OF A MUCH LARGER INITIATIVE, FINDING NEW POINTS OF AUDIENCE ACCESS FOR THESE GRAHAM WORKS.

WITH NEW CHOREOGRAPHERS A DANCER LEARNS A TREMENDOUS AMOUNT ABOUT WHO THEY ARE.

I LEARNED A LOT ABOUT WHO I AM CREATIVELY.

THAT REALLY HELPED ME BRING THIS VITAL ENERGY TO MY REPERTOIRE WORK.

FOR ME APPELLATION SPRINGS IS MY FAVORITE WORK.

I WAS ABLE TO EVENTUALLY PLAY THE BRIDE.

AND PRIVILEGED POSSIBLE COACHED BY THE BRIDES AFTER MARTHA GRAHAM.

SO THERE'S WONDERFUL KNOWLEDGE I RECEIVED.

THERE'S BEAUTIFUL DANCERS COMING INTO THE WORK, AS IT SHOULD BE.

IT IS CYCLICAL.

THERE ARE MANY, MANY DIFFERENT WAYS TO APPRECIATE GRAHAM AND TO CONNECT WITH HER WORK, WHETHER IT IS THE GREEK MYTHS OR THE BIBLE OR WHETHER IT IS SIMPLY UNDERSTANDING THAT HER LANGUAGE, HER DANCE VOCABULARY WAS BORN OUT OF NATURAL HUMAN GESTURE.

SO IT IS VERY PERSONAL AND AN INTIMATE EXPERIENCE FOR AUDIENCES.

THEY RECOGNIZE HUMAN BEINGS ON THE STAGE.

♪♪ ♪♪

> FRANKLY D. ROOSEVELT WAS OUR 32nd PRESIDENT AND THE ONLY ONE TO BE ELECTED TO THREE CONSECUTIVE TERMS.

MANY OF THE BENEFITS WE ENJOY AS AMERICANS WE OWE TO FDR, SOCIAL SECURITY, OUR LABOR LAWS AND THE KNOWLEDGE THAT IF A BANK FAILS OUR SAVINGS WILL BE INTACT.

BUT WHAT MAY BE HIS GREATEST ACCOMPLISHMENT WAS TO ARTICULATE FOUR UNIVERSAL HUMAN RIGHTS KNOWN AS THE FOUR FREEDOMS.

THEY ARE, FREEDOM OF SPEECH, FREEDOM OF WORSHIP, FREEDOM FROM WANT AND FREEDOM FROM FEAR.

IN 2012, THE PARK ON THE SOORN TIP OF ROOSEVELT ISLAND WAS DEDICATED TO THESE IDEAL ALSO.

WE SPOKE WITH THE AMBASSADOR, THE FOUNDER OF THE FOUR FREEDOMS PARK, ABOUT FDR'S LEGACY AND MISS HIS INDELIBLE MARK IN HISTORY.

THIS NATION HAS PLACED ITS DESTINY IN THE HANDS AND HEADS AND HEARTS OF ITS MILLIONS OF FREE MEN AND WOMEN.

AFTER PRESIDENT ROOSEVELT'S DEATH IN 1945 THERE WAS A BROAD DISCUSSION BY MANY GROUPS ABOUT WHAT WOULD BE AN APPROPRIATE MEMORIAL TO OUR 32nd PRESIDENT WHO ALREADY WAS SEEN AS ONE OF OUR GREATEST.

MEMORIALS TAKE A LONG TIME TO WORK OUT.

I REMIND PEOPLE THAT THE LINCOLN MEMORIAL IN WASHINGTON WAS ONLY DEDICATED IN 1922.

LINCOLN DIED IN 1865, OF COURSE.

SO THE DEBATE WENT ON FOR A NUMBER OF YEARS.

THE PERSON WHO I WOULD THINK SHOULD BE DESIGNATED AS THE ONE WHO WAS DETERMINED TO MAKE IT HAPPEN WAS NELSON ROCKEFELLER.

AS GOVERNOR OF THE STATE, HE BEGAN AN URBAN DEVELOPMENT PROJECT ON WHAT WAS THEN CALLED WELFARE ISLAND IN THE EAST RIVER RIGHT ACROSS FROM THE UNITED NATIONS.

♪♪

HE HAD COME AS PRESIDENT OF THE UNITED STATES TO A COUNTRY WHERE THE FINANCIAL SYSTEM HAD BEEN DESTROYED, WHERE 25% UNEMPLOYMENT.

THERE WAS NO SOCIAL WELFARE, THERE WAS NO SOCIAL SECURITY.

I OFTEN THINK THAT WHEN HE CAME TO OFFICE IN MARCH 1933, THE BANKING SYSTEM WAS DEMOLISH.

THE FIRST THING HE DID WAS CLOSE THE BANKS, DECLARED A BANK HOLIDAY.

WITHIN TEN DAYS HE GAVE HIS FIRST FIRESIDE CHAT, WHICH WAS HIS WAY OF COMMUNICATING WITH AMERICA.

AFTER ALL, THERE IS AN ELEMENT IN THE READJUSTMENT OF OUR FINANCIAL SYSTEM, MORE IMPORTANT THAN CURRENCY, MORE IMPORTANT THAN GOAL, AND THAT IS THE CONFIDENCE OF THE PEOPLE THEMSELVES.

CONFIDENCE AND COURAGE ARE ESSENTIALS FOR SUCCESS IN CARRYING OUT OUR PLAN.

TOGETHER WE CANNOT FAIL.

ALMOST OVERNIGHT PEOPLE HAD CONFIDENCE IN HIM.

HIS VOICE COMMUNICATED THAT AND HIS ACTIONS ASSURED IT.

ROOSEVELT SAVED THE CAPITALIST SYSTEM, THE ENTREPRENEURIAL SYSTEM, AND WE WENT ON WITH LABOR, GIVING LABOR A VOICE IN THE WAGNER ACT, AND WENT ON THROUGH THE SOCIAL SECURITY SYSTEM.

HE ENDED CHILD LABOR IN THE UNITED STATES.

THE CCC, MY BROTHER WAS IN THAT.

THEY PLANTED OVER TWO BILLION TREES IN AMERICA TO STOP THE KIND OF STORMS THAT HAD SWEPT THROUGH THE MIDDLE WEST AND REMOVED THE TOPSOIL OF THE COUNTRY.

MORE THAN HALF OF THE INFRASTRUCTURE OF THE NATION TODAY WAS BIT IN THE NEW DEAL.

WORLD WAR I HAD BEEN A TERRIBLE DISASTER FOR MANY NATIONS AND MANY FAMILIES, AND IT WAS DIFFICULT TO UNDERSTAND AS YOU LOOK BACK WHAT THAT WAR HAD BEEN FOUGHT ABOUT, SO THAT AMERICA IN THE '30s WAS AN ISOLATIONIST COUNTRY.

IT WAS QUITE CONTENT, EVEN THOUGH IT HAD MAJOR ECONOMIC DISASTERS AND OTHER THINGS OF ITS OWN TO CONTEND WITH, IT WAS PREPARED TO LEAD ITS LIFE WITHOUT BEING INVOLVED IN THE PROBLEMS OF EUROPE, BUT THEN THE WAR CAME IN SEPTEMBER 1939 AND HITLER'S ARMIES PROVED TO BE THE MOST POWERFUL ARMIES IN THE HISTORY OF THE WORLD.

THE FOR FREEDOM SPEECH WAS GIVEN ON JANUARY 6th, 1941.

NOW, THAT WAS A VERY CRITICAL AND DIFFICULT TIME.

HITLER HAD CONQUERED EUROPE.

ONLY WINSTON CHURCHILL AND THE BRITISH STOOD AGAINST HIM.

AND SO HE SAID TO THE CONGRESS AND TO THE PEOPLE OF THE UNITED STATES AND SPECIFICALLY TO THE PEOPLE OF THE WORLD, THE WORLD THAT WE NEED TO CREATE TO PRESERVE PEACE AND SOCIAL JUSTICE IS A WORLD THAT HAS TO BE FOUNDED ON FOUR FREEDOMS.

THE FIRST IS FREEDOM OF SPEECH AND EXPRESSION EVERYWHERE IN THE WORLD.

THE SECOND IS FREEDOM OF EVERY PERSON TO WORSHIP GOD IN HIS OWN WAY, EVERYWHERE IN THE WORLD.

THE THIRD IS FREEDOM FROM WANT EVERYWHERE IN THE WORLD.

THE FOURTH IS FREEDOM FROM FEAR ANYWHERE IN THE WORLD.

[ APPLAUSE ] ♪♪

WE'VE HAD WELL OVER 600,000 PEOPLE COME TO THE FOUR FREEDOMS PARK.

I'VE SEEN PEOPLE WEEP AS THEY LOOK AT JOE DAVIDSON'S SCULPTURE OF FRANKLIN D. ROOSEVELT AS IT IS THERE.

I CAN'T TELL YOU HOW MANY PEOPLE HAVE TOLD MEL, STOPPED ME EVEN TO TALK ABOUT IT, THE SPIRITUAL DIMENSION OF THE FOUR FREEDOMS PARK.

I HOPE THAT THOSE WHO ARE THE AMBASSADORS OF THE UNITED NATIONS AND THOSE THAT COME TO THE UNITED NATIONS TO WORK EVERY DAY FROM THE SECRETARY GENERAL ON DOWN UNDERSTAND THEIR OBLIGATION TO CREATE THE WORLD THAT FRANKLIN ROOSEVELT WAS TALKING ABOUT.

HE ONCE SAID IN HIS SECOND INAUGURAL, 'DON'T JUDGE ME BY HOW MUCH I'VE DONE THAT HELPS THOSE WHO HAVE MUCH, JUDGE ME BY HOW MUCH I'VE HELPED THOSE WHO HAVE NEED.'

♪♪ ♪♪

> WE HOPE YOU'VE ENJOYED OUR PROGRAM THIS EVENING.

FROM THE WNET STUDIOS IN LINCOLN CENTER, SEE YOU NEXT TIME.

NEXT WEEK NYC-ARTS VISITS SOME OF OUR FAVORITE PEOPLE AND PLACES IN THE WORLDS OF ART AND CULTURE.

IS HOME TO THE ROCKEFELLER FAMILY.

WE HAVE FOUR GENERATIONS TO HAVE LIVED IN THIS HOME AND IT WAS CONSIDERED THE FAMILY SEAT.

WE RECENTLY REINSTALLED OUR AMERICAN GALLERIES WHICH SHOWCASE WORKS FROM THROUGHOUT THE AMERICAS, STARTING CIRCA BCE.

THIS IS ONE OF MY FAVORITE PAINTINGS OF MY WIFE AND DAUGHTER, ABSTRACT, THE VERTICALITY OF THE FIGURE WHICH GIVES YOU A SENSE OF HEIGHT AND MOVEMENT.

♪♪ ♪♪ ♪♪

> FUNDING FOR NYC-ARTS IS MADE POSSIBLE BY ROSALIND P. WATER IN MEMORY OF DINA MERRILL.

KATE W. CASSIDY FOUNDATION.

THEA GIRO FOUNDATION.

JEAN DUBINSKY APPLETON ESTATE.

JODIE AND JOHN ARNHOLD.

THE LOUIS SONNY TURNE FUND FOR DANCE.

ELISE JAFFE AND JEFFREY BROWN.

THE MILTON AND SALLY AVERY ARTS FOUNDATION.

AND ELROY AND TERRY KRUMHOLZ FOUNDATION.

THIS PROGRAM IS SUPPORTED IN PART BY PUBLIC FUNDS FROM THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS, IN PARTNERSHIP WITH THE CITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF 13.

'NYC-ARTS' IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

♪♪

FLEXIBILITY.

COORDINATION.

EXCELLENCE.

FIRST REPUBLIC PRIVATE WEALTH MANAGEMENT, IT'S A PRIVILEGE TO SERVE YOU.