A conversation with Clive Gillinson, Executive and Artistic Director of Carnegie Hall, about the upcoming city-wide “Migrations” festival and the role of the concert hall in the 21st century. A visit to Bowne & Co. Stationers and Bowne Printers at the South Street Seaport Museum for a conversation with Master Printer Robert Warner.

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> COMING UP ON NYC ARTS, A CONVERSATION WITH CLIVE GILLISEN.

EXECUTIVE AND ARTISTIC DIRECTOR OF CARNEGIE HALL ABOUT THE UPCOMING CITYWIDE MIGRATIONS FESTIVAL.

AND THE ROLE OF THE CONCERT HALL IN THE 21st CENTURY.

WHAT ARE THE THREE STRANDS OF MIGRATIONS YOU'LL BE EXPLORING.

THE SCORCH IRISH, THEN THE SECOND IS THE RUSSIAN JEWISH, ROUGHLY 1891 TO 1924.

AND THE AFRICAN-AMERICAN GREAT MAY MIGRATION FROM THE 1917 TO THE '70s.

I SAW A LITTLE SIGN BY THE DOOR AND IT SAID VOLUNTEER, I VOLUNTEERED, ONE DAY A WEEK, I WAS SO ENGAGED I CAME IN TWO DAYS A WEEK, THREE DAYS A WEEK.

> FUNDING FOR 'NYC ARTS' IS MADE POSSIBLE BY ROSALIND P.

WALTER, JODI AND JOHN ARNHOLD.

KATE W.

CASSIDY FOUNDATION.

THE LEWIS SONNY TURNER FUND FOR DANCE.

ELISE JAFFE AND JEFFREY BROWN.

ESTATE OF CECILE FOX.

GENE DUBINSKY APPLETON ESTATE.

ELLEN AND JAMES S.

MARCUS.

EL ROY 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.

FIRST REPUBLIC BANK PRESENTS FIRST THINGS FIRST.

AT FIRST REPUBLIC BANK FIRST REFERS TO OUR FIRST PRIORITY.

THE CLIENTS WHO WALK-THROUGH OUR DOORS.

THE FIRST STEP, RECOGNIZE THAT EVERY CLIENT IS AN INDIVIDUAL WITH UNIQUE NEEDS.

BE A BANK WHOSE CURRENCY IS SERVICE, IN THE FORM OF PERSONAL BANKING.

THIS WAS FIRST REPUBLIC'S VERY FIRST MISSION.

AND BY SWANG AUCTION GALLERIES.

WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS, WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY.

WHETHER YOU'RE A LIFELONG COLLECTOR OR FIRST TIME BUYER, INFORMATION AT SWANGALLERIES.COM.

♪♪

> GOOD EVENING AND WELCOME TO NYC ARTS, I'M PAULA ZAHN AT THE TISCH WNET STUDIOS AT LINCOLN CENTER.

TONIGHT WE'LL MEET A MAJOR FIGURE IN THE CULTURAL LANDSCAPE OF NEW YORK CITY.

EXECUTIVE AND ARTISTIC DIRECTOR OF CARNEGIE HALL.

FROM THE TIME THE HALL OPENED IN 1891 IT'S SET THE STANDARD FOR MUSICAL EXCELLENCE.

THE OPPORTUNITY TO APPEAR ON ITS STAGES HAS BEEN A MARK OF ACHIEVEMENT FOR THE WORLD'S FINEST PERFORMING ARTISTS.

A GRADUATE OF THE ROYAL ACADEMY OF MUSIC, GIMLETSON IS AN AWARD WINNING CELLIST.

HE BROUGHT A WEALTH OF EXPERIENCE TO CARNEGIE HALL.

UNDER HIS LEADERSHIP SINCE 2005, THE HALL HAS EMBARKED UPON MANY BOLD NEW DIRECTIONS IN ITS CONCERT AND EDUCATION PROGRAMMING.

THIS INCLUDES CREATING LARGE SCALE MULTICULTURAL FESTIVALS ACROSS THE CITY AND PARTNERING WITH MANY OF THE CITY'S GREATEST CULTURAL INSTITUTIONS.

SOME OF THE PAST FESTIVALS HAVE INCLUDED VIENNA, CITY OF DREAMS.

MUSIC AND ARTS FROM THE VENETIAN REPUBLIC.

THE '60s, THE YEARS THAT CHANGED AMERICA.

THIS YEAR'S FESTIVAL IS CALLED MIGRATIONS, THE MAKING OF AMERICA.

IT BEGINS ON MARCH 9th WITH EVENTS RUNNING CITYWIDE THROUGH MAY.

WITH CONCERTS BY LEADING ARTISTS AT CARNEGIE HALL ALONG WITH ACTIVITIES ALONG WITH MORE THAN 75 PARTNER INSTITUTIONS, THE FESTIVAL WILL EXPLORE THE JOURNEYS OF PEOPLE WHO HELPED SHAPE AND INFLUENCE THE EVOLUTION OF AMERICAN CULTURE.

I RECENTLY SPOKE WITH CLIVE ABOUT THE MIGRATION'S FESTIVAL AS WELL AS HIS THOUGHTS ON THE ROLE OF THE CONCERT HALL IN THE 21st CENTURY.

♪♪

GREAT TO HAVE YOU WITH US, CLIVE, WELCOME.

GREAT TO SEE YOU AGAIN, I UNDERSTAND YOU PLAYED AT CARNEGIE HALL RECENTLY.

I DID, AND IT WAS SUCH A PRIVILEGE.

YOU KNOW WHAT IT'S LIKE, BECAUSE YOU SPEND TIME IN THAT HALL.

TO BE PART OF AN ENSEMBLE AND HEAR THE ACOUSTICS IN THAT WONDERFUL HALL.

THERE'S NOTHING LIKE IT.

ALMOST EVERY TIME SOMEONE PERFORMS, YOU KNOW, THE GREATEST ARTISTS IN THE WORLD COMING THERE, THAT IS WHAT THEY SAY, SO YOU'RE IN GOOD COMPANY.

INTIMIDATING COMPANY, I MIGHT ADD.

YOU CAME TO YOUR JOB WITH A DISTINCTION OF BEING AN ACCOMPLISHED CELLIST.

AND THAT IS RELATIVELY RARE FOR ANYONE RUNNING A MAJOR CULTURAL INSTITUTION TODAY.

AND I'M WONDERING WHAT IMPACT THAT HAD ON HOW YOU APPROACHED YOUR CAREER AND HOW YOU APPROACH YOUR JOB TODAY.

I THINK THE LAST THING IN THE WORLD I EVER WANTED TO BE WAS A MANAGER.

I WANTED TO BE A MUSICIAN, AND THE ONLY REASON I GOT INTO IT WAS TOTALLY BY MISTAKE, THE LONDON SYMPHONY ORCHESTRA GOT INTO TERRIBLE FINANCIAL TROUBLE, THE MANAGER WAS SACKED, THEY THOUGHT THEY WOULD GET A PLAYER TO GO IN TEMPORALLY.

I DON'T KNOW IF I WAS LAUGHED OUT OF THE ROOM OR WHATEVER IT WAS, FOR WHATEVER REASON, IT ENDED UP BEING ME.

I DIDN'T SLEEP A MINUTE AT NIGHT, IT WAS TURMOIL IN MY HEAD.

JUST CREATING THIS NEW SKILL SET?

AND TRYING TO LEARN EVERYTHING ABOUT AN ORGANIZATION AND TRY TO SAVE IT.

BIT BY BIT WE GOT ON TOP OF THE PROBLEMS.

SECONDLY, I BEGAN TO ENJOY IT.

EVEN THOUGH YOUR CELLO IS TAKING A BACK SEAT TO THE WORK YOU'RE DOING TODAY I'M CURIOUS, HOW DID YOUR CELLO IMPACT YOUR THOUGHT PROCESS.

BEING A MUSICIAN IS -- WILL HAVE A HUGE IMPACT.

WHEN I WENT IN AND STARTED MANAGING, I KNEW NOTHING.

THE ONE THING I REALIZED I DID KNOW, I KNEW ALL ABOUT MUSIC, GOING TO TALK TO CONDUCTORS AND SOLOISTS AND TRYING TO INVOLVE THEM IN THE ORCHESTRA AND THE FUTURE OF THE ORCHESTRA, I COULD TALK THEIR LANGUAGE AS ONE OF THEM.

WHAT WOULD YOU SAY IS THE HARDEST THING ABOUT YOUR JOB TODAY?

THERE'S LOTS OF THINGS THAT ARE HARD.

DOING SUCH A MULTIPLICITY OF THINGS.

I HAVE TO SPEND A LOT OF TIME RAISING MONEY, TALKING TO ARTISTS, RUNNING A BUSINESS IN EVERY WAY.

ENGAGING WITH ALL THE EDUCATION WORK WE DO.

TRYING TO DEVELOP NEW IDEAS.

BECAUSE WE CAN NEVER STANDSTILL.

I THINK CARNEGIE HALL CAN DO MORE TO TRANSFORM PEOPLE'S LIVES THAN ANY OTHER MUSIC INSTITUTION IN THE WORLD.

IT'S THE REASON I LEFT MY COUNTRY TO COME HERE.

AND WE'VE TRANSFORMED IT IN THE LAST 13 1/2 YEARS, IT'S A COMPLETELY DIFFERENT ORGANIZATION.

SO SHOULD WE BE IN ANOTHER 13 1/2 YEARS.

IT'S ALWAYS THAT FEELING OF HOW DOES ONE FULFILL THE POTENTIAL OF THIS UNIQUE AND ABSOLUTELY EXTRAORDINARY PLACE?

ONE OF THE WAYS YOU'VE ATTEMPTED TO DO THAT IS THROUGH THE FESTIVALS YOU'VE HELPED CREATE.

YOU'RE COMING UP ON THE 11th FESTIVAL DURING YOUR TENURE?

I HAVE TO SET BACK A TINY BIT, WHY DID WE CREATE FESTIVALS.

WHEN I ARRIVED, CARNEGIE HALL WAS IN GREAT SHAPE, IT WAS QUITE SINGULAR, JUST REALLY EXTRAORDINARY CONCERTS, BUT INDIVIDUAL CONCERTS.

WITH NOTHING LINKED?

YEAH.

AND I FELT WE SHOULD TRY TO CREATE JOURNEYS OF EXPLORATION FOR OUR AUDIENCES.

YOU STIMULATED CURIOSITY.

THE ARTS BECAME PART OF A LEARNING EXPERIENCE.

I CAME UP WITH THIS IDEA OF US DOING THESE INTERNATIONAL FESTIVALS AND NOW WE'VE DONE LOTS OF THINGS, WE'VE DONE VIENNA, CHINA, JAPAN, THE VENETIAN REPUBLIC.

SOUTH AFRICA.

WE'VE DONE A LOT OF DIFFERENT SUBJECTS AND LAST YEAR THE '60s IN AMERICA, THIS YEAR IS MIGRATIONS.

WE'RE LOOKING AT THREE DIFFERENT ELEMENTS OURSELVES, AT CARNEGIE HALL, BUT WE HAVE PARTNERS ALL OVER THE CITY, THE POINT ABOUT THE FESTIVALS WAS NOT JUST TO BE ABOUT MUSIC, BUT TO CREATE A CONTEXT WHICH WOULD HAVE FILM, DANCE, THEATER, LITERATURE.

PEOPLE WOULD EXPLORE OUTSIDE THEIR COMFORT ZONE, AND WE WORK WITH THE GREATEST INSTITUTIONS IN THE CITY THAT WAY.

WE WANTED TO LOOK AT WHAT IS IT THAT HAS MADE AMERICAN CULTURE.

WHAT REFLECTING ON MIGRATION DOES, IT REQUIRES US TO SIT IN THE FULLNESS OF THE PAIN OF THAT EXPERIENCE IN ORDER TO REALLY APPRECIATE THE BEAUTIFUL THINGS THAT EMERGE FROM IT.

THE IMPORTANT THING IS TO CONNECT THE DOTS.

TO LOOK AT OUR HISTORY, WHICH IS A CULTURAL HISTORY UNLIKE ANY OTHER NATION.

WHAT ARE THE THREE STRANDS OF MIGRATIONS THAT YOU'LL BE EXPLORING?

THE THREE STRANDS ARE THE SCOTT IRISH, WHICH WAS 18th, 19th CENTURY.

LED TO BLUE GRASS, COUNTRY MUSIC.

A LOT OF DIFFERENT SORTS OF MUSIC.

WE HAVE A HUGE EVENT TO OPEN THE FESTIVAL, WHICH WE'LL BE EXPLORING ALL OF THOSE SORTS OF MUSIC.

THEN THE SECOND STRAND IS THE RUSSIAN JEWISH, WHICH IS ROUGHLY 1881 TO 1924 WHICH LED TO A HUGE AMOUNT OF BROADWAY AND HOLLYWOOD.

AND A LOT OF IT CAME OUT OF THE YIDDISH THEATER.

IT ALL IN THE END MORPHED INTO WHAT BECAME A CENTRAL PART OF AMERICAN MUSIC.

THE THIRD IS THE AFRICAN-AMERICAN, THE GREAT MIGRATION FROM 1917 TO THE '70s, FROM THE SOUTH UP TO THE NORTH AND THE INDUSTRIALIZED CITIES OF THE NORTH AND NORTHWEST.

WHICH LED TO HARLEM JAZZ AND SO MUCH ELSE.

INTELLECTUALLY THESE MUST BE SO MUCH FUN TO CREATE.

AND TO DECIDE WHICH MUSICIANS AND ARTISTS TO BRING INTO THE FOLD.

WHAT WE'RE TRYING TO DO IS ASK QUESTIONS, OFFER PEOPLE OPPORTUNITIES TO TAKE JOURNEYS WHICH ARE FASCINATING AND COMPELLING.

AND I SEE FESTIVALS AS THE BEGINNING OF THE JOURNEY.

I HOPE THAT ONCE PEOPLE EXPERIENCE PART OF MY GRAGSS, THAT IT'S SOMETHING THEY'LL THINK ABOUT FOR THE REST OF THEIR LIFE, AND THEY'LL BE LOOKING AT WHAT ALL THE KEKS ARE, AND WHAT ARE THE ROOTS OF AMERICAN CULTURE.

AT THE CORE OF WHAT YOU'RE REALLY DOING IS EDUCATING PEOPLE, I KNOW YOU HAVE LONG BELIEVED THAT CARNEGIE HALL WILL NOT ENDURE UNLESS EDUCATION IS A KEY COMPONENT OF WHAT YOU'RE DOING, AND THE WORK HAS TO BE TAKEN OUT OF THE HALLS THERE.

HELP US UNDERSTAND WHAT YOU'RE DOING TO TAKE THE MAGIC OF CARNEGIE HALL OUTSIDE TO THE STREETS?

MAYBE CARNEGIE HALL, I THINK IT PROBABLY WOULD, IT'S A GREAT INSTITUTION AND THE GREAT ARTISTS WILL ALWAYS WANT TO PERFORM THERE.

MY VIEW IS ALWAYS THE OTHER WAY AROUND WHICH IS AROUND SERVICE.

WHAT IS OUR ROLE IN SOCIETY.

WHAT IS OUR RESPONSIBILITY TO THE SOCIETY IN WHICH WE LIVE.

AND THAT IS THE REASON I BELIEVE IN EDUCATION SO PASSIONATELY, I THINK EVERYBODY DESERVES THE OPPORTUNITY TO HAVE ACCESS TO GREAT MUSIC.

AND NOW WE DO A VAST EDUCATION PROGRAM, WE'VE BUILT IT OVER THE LAST 12, 13 YEARS TO REACH NEARLY 600, 000 PEOPLE A YEAR.

MOST OF THEM KIDS WHO WOULDN'T OTHERWISE HAVE THE CHANCE TO ENGAGE IN MUSIC.

THIS IS GOING TO GROW AND GROW.

WHAT HAS BEEN THE RESPONSE?

LET'S TALK ABOUT LINK UP FOR EXAMPLE, A PROGRAM WHERE YOU GO DIRECTLY INTO CLASSROOMS.

LINK UP IS FOR ELEMENTARY SCHOOLKIDS, IT REPRESENTS A LOT OF OUR PHILOSOPHY, WE CREATED THIS FOR ELEMENTARY SCHOOLKIDS IN NEW YORK, AND WE HAVE FOUR DIFFERENT YEARLY PROJECTS SO THEY CAN KEEP LEARNING FOR AN EXTENDED PERIOD, THROUGHOUT THE YEAR, THE KIDS ARE LEARNING ABOUT THE RUDIMENTS OF MUSIC, SONGS, BUT ALL THE TIME THEY'RE ALSO PARTICIPANTS, AND THE MAIN THING AS WELL WITH ALL OUR EDUCATION WORK, WE NEVER TELL THEM THIS IS CLASSICAL MUSIC, THIS IS JAZZ, THIS IS WORLD MUSIC, OR HIP-HOP OR WHATEVER.

WE JUST WANT TO INVOLVE PEOPLE IN GREAT MUSIC.

IT'S BEEN AN AMAZING TIME JUST TEACHING MY STUDENTS AND GETTING TO SEE THE JOY ON THEIR FACES WHEN THEY ARE GETTING TO KNOW THIS GREAT MUSIC.

WE GIVE IT AWAY TO 140 ORCHESTRAS AROUND AMERICA, AND NOW A FEW AROUND THE WORLD AS WELL.

BY GIVING IT AWAY AND LEVERAGING IT, IT MEANS WE'RE NOW AS AN ORGANIZATION HELPING OTHERS TO SUCCEED ALL AROUND THE COUNTRY.

IN TERMS OF ENGAGING WITH THEIR COMMUNITIES AND THE KIDS IN THEIR AREA.

THE NEXT STRAND THAT WE DO IS NURTURING THE FINEST TALENT.

AND WE'VE DONE A LOT OF DIFFERENT THINGS, I THINK PROBABLY THE ONE THAT IS NOW THE MOST FAMOUS IS, WE CREATED THE NATIONAL YOUTH ORCHESTRA OF AMERICA, ABOUT SIX YEARS AGO, THAT'S BRINGING TOGETHER THE MOST BRILLIANT YOUNG MUSICIANS IN THE COUNTRY.

EVERY ONE OF THE AUDITIONS, IT'S INCREDIBLY COMPETITIVE.

WE WORK WITH A GREAT CONDUCTOR, THEY PREPARE FOR TWO WEEKS AND GO TO A DIFFERENT PART OF THE WORLD AS YOUTH AMBASSADORS FOR THEIR COUNTRY.

I THINK THE MOST SPECIAL PART ABOUT MUSIC IS THE FACT THAT IT BRINGS EVERYONE FROM DIFFERENT BACKGROUNDS TOGETHER.

IT'S US FROM THE U.S.

WITH TAIWANESE MUSICIANS, BEING ABLE TO BOND AND BE TOGETHER FOR A CENTRAL CAUSE IS REALLY SPECIAL.

♪♪

SO WE STARTED THAT, AND THEN WE REALIZED VERY QUICKLY THAT THERE'S A LOT OF KIDS THAT HAVE THE TALENT BUT HAVEN'T HAD THE OPPORTUNITY OF ACCESS TO THE BEST TEACHING, SO WE CREATED SOMETHING CALLED MIO 2 WHICH IS A YOUNGER ORCHESTRA.

WITH THOSE WE WANTED TO GO OUT AND SEEK THE KIDS WHO GOT THE TALENT THAT HAVEN'T HAD THE CHANCES.

WE ENDED UP IN THE FIRST YEAR, WHICH WAS 2, 2 1/2 YEARS AGO, WITH AN ORCHESTRA THAT WAS ALMOST 50% BLACK AND LATINO, 50% ASIAN AND CAUCASIAN, IT TRANSFORMED THE PATHWAY FOR KIDS WHO HAVEN'T HAD CHANCES.

SO NOW THOSE KIDS, A LOT OF THOSE KIDS ARE GETTING INTO THE NATIONAL YOUTH ORCHESTRA, THEY'LL GET INTO AMERICAN MUSIC COLLEGES AND THEY'LL BECOME PART OF THE PROFESSION.

IT WILL BE A DIFFERENT SPAN OF WHAT AMERICA REPRESENTS.

WE'VE JUST CREATED NATIONAL YOUTH ORCHESTRA JAZZ, IT MEANS WE'RE REALLY TRAVERSING THE WORLD WITH THESE GREAT ORGANIZATIONS AND THERE'S LOTS OF OTHER THINGS WE DO FOR TALENT AS WELL.

SO IT'S REALLY LAUDABLE THAT YOU ARE HELPING PROVIDE THESE OPPORTUNITIES FOR CHILDREN WHO WOULDN'T ORDINARILY HAVE ACCESS TO THE KIND OF TRAINING THEY'RE GETTING THROUGH CARNEGIE HALL, HOW DOES IT COME BACK TO ENHANCE CARNEGIE HALL AND ITS MISSION?

WELL, I MEAN, IT'S A REALLY INTERESTING QUESTION, BECAUSE I REMEMBER WHEN I FIRST ARRIVED AT CARNEGIE HALL, ALMOST EVERY SINGLE MEETING SOMEONE WOULD SAY AT SOME POINT, WHAT'S BEST FOR CARNEGIE HALL?

WHAT DO WE GET OUT OF THIS?

I ALWAYS SAID, IT'S NOT THE RIGHT QUESTION, THERE'S ONLY ONE QUESTION WE SHOULD BE ASKING.

HOW DO WE USE MUSIC TO TRANSFORM PEOPLE'S LIVES.

IF WE CAN ANSWER THAT IN THE RIGHT WAY, THAT'S WHAT'S RIGHT FOR CARNEGIE HALL.

OUR WHOLE PHILOSOPHY HAS SWITCHED THE OTHER WAY AROUND, WHICH IS ABOUT HOW DO WE SERVE PEOPLE IN THIS COUNTRY.

AND AROUND THE WORLD MORE AND MORE.

HOW DO WE USE MUSIC TO CHANGE LIVES.

WE WISH YOU CONTINUED GOOD LUCK WITH EVERYTHING THAT YOU'RE TRYING TO CREATE AT CARNEGIE HALL.

AND WE HOPE YOU CONTINUE TO BRING IN A LOT OF NEW AUDIENCE WITH YOUR FESTIVAL THAT STARTS MARCH 9th.

THANK YOU SO MUCH, PAULA, IT'S WONDERFUL TO TALK TO SOMEONE ABOUT THE THINGS THAT MATTER.

I APPRECIATE THAT.

IT'S A PRIVILEGE TO BE A PART OF YOUR WORLD.

♪♪

> NYC ARTS ISN'T JUST AVAILABLE ON THURSDAYS, CAN YOU ALSO FIND IT ON THE WEB.

PLEASE VISIT OUR WEBSITE AT NYC-ARTS.ORG.

WHERE YOU CAN WATCH CLIPS AND LEARN MORE ABOUT INSTITUTIONS AND EVENTS FEATURED ON THIS SHOW.

> ONE OF NEW YORK CITY'S MOST DISTINCT HISTORICAL DISTRICTS IS THE SOUTH STREET SEAPORT, ALONG THE EAST RIVER NEXT TO THE FINANCIAL DISTRICT.

A WALK PAST THE HISTORIC SHIPS AND THROUGH PRESERVE 19th CENTURY ARCHITECTURE GIVE VISITORS A SENSE OF THE NEW YORK OF CENTURIES PAST.

THE HISTORY OF THIS AREA IS DOCUMENTED BY THE SOUTH STREET SEAPORT MUSEUM.

IN ADDITION TO THE MUSEUM BUILDING AND SHIPS, TWO OF THE MOST INTERESTING SPACES ARE THE PRINT SHOPS, LOCATED ON WATER STREET, A MUSEUM SHOP AND HISTORICAL PRINTING PRESS.

WHILE BOUND PRINTERS FUNCTION AS A CUSTOM PRINT SHOP AND A SITE FOR EDUCATIONAL WORKSHOPS.

WE SPOKE WITH ROBERT WARNER, THE MASTER PRINTER ABOUT THIS ONE OF A KIND LOCATION.

♪♪

IN 1995 I WAS BUYING A FRIEND A BIRTHDAY GIFT.

IT WAS MY FIRST VISIT TO THE COMPANY.

I SAW A SIGN THAT SAID VOLUNTEER.

I DID, I VOLUNTEERED, I CAME IN ONE DAY A WEEK, I WAS SO ENGAGED, I CAME IN TWO DAYS A WEEK, THREE DAYS A WEEK.

I SAID, WHY DON'T I APPRENTICE, I WAS 39 YEARS OLD, I HAD NO PRINT MAKING EXPERIENCE AT ALL.

NOW, 21 YEARS LATER, I'M THE MASTER PRINTER.

BOUND & COMPANY IS NEW YORK'S LONGEST RUNNING SHOP OPERATING UNDER THE SAME NAME IN THE CITY OF NEW YORK.

THE HISTORY OF BOUND & COMPANY STATIONERS BEGINS IN 1775 ON PEARL STREET.

BOUND PRINTED FINANCIAL DOCUMENTS IN THE VERY BEGINNING.

WALL STREET BEING IN CLOSE PROXIMITY, THEY PRINTED FOR THE DISTRICT, NEW YORK HAS ITS BEGINNINGS AT THE SEAPORT.

AT ONE TIME THERE WERE AS MANY AS 100 PUBLISHERS AND PRINTERS.

SOUTH STREET SEAPORT MUSEUM PARTNERS WITH BOUND & COMPANY TO OPEN THE SHOP YOU SEE TODAY.

WE EXPANDED TO BOUND PRINTERS WHICH IS A CUSTOM SHOP NEXT DOOR.

IT'S ABOUT 1875, WE USE ALL MANUALLY OPERATED PRESSES.

JUST FROM THE MOMENT FAMILIES WALK-THROUGH THE DOOR, THEY ACKNOWLEDGE THE FACT THAT IT'S INDUSTRY.

THEY CAN SMELL THE SOLVENT OF THE INK.

AT LAST COUNT WE HAD 1290 DIFFERENT TYPEFACES, MANY OF THEM WERE HAND CARVED.

THE TYPE IS STORED INSIDE OF A CASE, IT'S REFERRED TO A CALIFORNIA JOB CASE, AND THEY'RE INSIDE OF A CABINET, THERE ARE DRAWERS WHICH PULL OUT, YOU WOULD SET THEM ON AN INCLINE FOR A SETTING TYPE, USING A COMPOSING STICK AND SET ONE LETTER AT A TIME.

BECAUSE OF THE AGE OF THE COLLECTION AND THE TYPE THAT EXISTS, BOTH THE GRAIN OF THE WOOD AND THE NICK THROUGHOUT THE YEARS, THERE'S OFTEN TIMES A DING OR A NICK.

EACH LETTER IS A BODY OF TYPE UNTO ITSELF.

OFTEN TIMES PEOPLE SAY HOW MANY PRINTERS DO YOU HAVE?

WELL, THERE ARE FOUR OF US, TWO WOMEN AND TWO MEN PRINTING.

NO, THOSE MACHINES.

I EXPLAIN THE PERSON OPERATING A PRESS IS A PRINTER IN THE 19th CENTURY.

HOW OLD IS YOUR OLDEST PRINTER, I'M 59 YEARS OLD.

PRESSES IN THIS SHOP DATE TO 1813 TO 1901 AS PATENT DATES, IT'S AN ENTIRE CENTURY OF PRESSES.

YOU INCLUDE HOBBY PRESSES, THERE'S WELL OVER 21 PRESSES IN THE COLLECTION.

THIS PRESS, THE GOLDING JOBBER NEEDS TO BE TREAD ELLED WITH ONE FOOT AND STANDING ON THE OTHER FOOT.

IT'S A BIT LIKE A CHOREOGRAPHED DANCE, BECAUSE YOU HAVE TO BALANCE YOURSELF WHEN YOU'RE PRINTING AND FEEDING PAPER WITH ONE HAND, RETRIEVING WITH THE OTHER.

I ALWAYS THINK OF IT LIKE DANCING WITH A CIRCUS BEAR.

IF YOU PUT YOUR HAND IN THE WRONG PLACE, YOU COULD BE BITTEN.

THESE PRESSES HAVE NO SAFETY ON THEM.

YOU HAVE TO PUT YOUR HAND IN AT THE RIGHT TIME AND TAKE IT OUT AT THE RIGHT TIME.

IT'S A BIT OF A DANCE.

A BEAUTIFUL DANCE, I THINK.

DURING THE DAY, I'M SHOP KEEPER IN THE COUNTER IN THE FRONT OF THE SHOP.

AT NIGHT I'LL GO TO PRESS AND PRINT IN ADDITION OF 100 OR 200.

BECAUSE OF THE LAYOUT OF THE SHOP, THERE'S A BACK WINDOW, AND OFTEN TIMES THE PUBLIC CAN WATCH LETTER PRESS PRINTING IN THE EVENING.

1975 --

WORKSHOPS ARE IMPORTANT IN THAT THE PUBLIC CAN BOTH SUPPORT THE MUSEUM AS WELL AS BEING SUPPORTED BY THE KNOWLEDGE OF THE PROCESS THEY ASSEMBLED SOMETHING WITH THEIR HAND AND THEY MADE THE PRESS OPERATE THE IMPRESSION, IT'S A GREAT GIFT TO THE PUBLIC TO HAVE WORKSHOPS.

AND IT'S A GREAT GIFT FOR THE MUSEUM, WE'RE NOT JUST EXISTING IN A BUBBLE, WE'RE WORKING WITH A COMMUNITY OF PEOPLE.

SO IT'S A GREAT PLEASURE AND HONOR TO CONTINUE IN INDUSTRY THAT SPANS WELL OVER 200 YEARS.

IT'S A HISTORY WORTH PRESERVING.

THIS IS WHERE NEW YORK BEGINS.

> HELLO, I'M RAFAEL PI RAMON, WELCOME TO LINCOLN CENTER.

THE CHAMBER MUSIC SOCIETY OF LINCOLN CENTER PRESENTS WINTER FESTIVAL, RUSSIAN PANORAMA.

IT DESCRIBES A TURBULENT LANDSCAPE OF RUSSIA.

FROM THE GLORIOUS OUTPOURING OF THE AGE OF THE CZAR'S AND THE RUSSIAN EMPIRE, TO THE AUDACIOUSLY CREATED PERIOD BETWEEN THE WARS TO THE POST WAR YEARS OF THE SOVIET ERA AND BEYOND.

FOR COMPLETE DETAILS, VISIT CHAMBER MUSIC SOCIETY.ORG.

FOR EVEN MORE INFORMATION ABOUT EVENTS AT LINCOLN CENTER, YOU CAN VISIT THEIR WEBSITE AT LINCOLN CENTER.ORG.

> I HOPE YOU'VE ENJOYED OUR PROGRAM, THIS EVENING.

I'M PAULA ZAHN AT THE TISCH WNET STUDIOS AT LINCOLN CENTER, THANKS FOR JOINING US, GOOD NIGHT.

> NEXT WEEK ON NYC ARTS.

A PROFILE OF BALLET HISPANICO AMERICA'S PREMIERE ORGANIZATION, REPRESENTING LATINA DANCE.

THE MISSION IS TO BRING TOGETHER INDIVIDUALS AND COMMUNITIES TO CELEBRATE, SHARE, EXPLORE THE JOYS, THE HERITAGE OF LATINO CULTURES.

AND A VISIT TO THE WHITNEY MUSEUM OF AMERICAN ART.

FOR A LOOK AT THE LANDMARK EXHIBITION, ANDY WARHOL FROM A TO B AND BACK AGAIN.

THIS EXHIBITION REALLY LOOKS AT HIS CAREER WITH EXAMPLES FROM REALLY EVERY ASPECT OF HIS PRODUCTION.

OF COURSE, PAINTING, SCULPTURE, PRINTS, DRAWINGS, PHOTOGRAPHY, ALSO, HIS FORAYS INTO PUBLISHING.

TO ENJOY MORE OF YOUR FAVORITE SEGMENTS ON NYC ARTS, VISIT OUR WEBSITE AT NYC-ARTS.ORG.

♪♪

LEN ASHD, WHAT A PRIVILEGE TO BE ABLE TO SIT DOWN AND TALK WITH YOU.

I LOVE BEING HERE TOO, PAULA.

WHERE ARE WE?

WE'RE AT A MOMENT TO TAKE NOTHING FOR GRANTED.

IT'S A PLEASURE TO BE WITH THE CURATOR OF THE EXHIBITION OF HOPE.

♪♪

> FUNDING FOR 'NYC ARTS' IS

> FUNDING FOR 'NYC ARTS' IS MADE POSSIBLE BY ROSALIND P.

WALTER, JODI AND JOHN ARNHOLD.

KATE W.

CASSIDY FOUNDATION.

THE LEWIS SONNY TURNER FUND FOR DANCE.

ELISE JAFFE AND JEFFREY BROWN.

ESTATE OF CECILE FOX.

GENE DUBINSKY APPLETON ESTATE.

ELLEN AND JAMES S.

MARCUS.

EL ROY AND TERRY KRUMHOLZ FOUNDATION.

AND THE MILTON AND SALLY AVERY ARTS 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.

FIRST REPUBLIC BANK PRESENTS FIRST THINGS FIRST, AT FIRST REPUBLIC BANK, FIRST REFERS TO OUR FIRST PRIORITY.

THE CLIENTS WHO WALK-THROUGH OUR DOORS.

THE FIRST STEP.

RECOGNIZE THAT EVERY CLIENT IS AROUND INDIVIDUAL, WITH UNIQUE NEEDS.

FIRST DECREE, BE A BANK WHOSE CURRENCY IS SERVICE.

IN THE FORM OF PERSONAL BANKING.

THIS WAS FIRST REPUBLIC'S MISSION FROM OUR VERY FIRST DAY.

IT'S STILL THE FIRST THING ON OUR MINDS.

AND BY SWAN AUCTION GALLERIES.

SWAN AUCTION GALLERIES, WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS, OFFERING VINTAGE BOOKS AND FINE ARTS SINCE 1941, WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY.

WHETHER YOU'RE A LIFELONG COLLECTOR OR FIRST TIME BUYER, OR LOOKING TO SELL, INFORMATION