A look at “Art of Native America: The Charles and Valerie Diker Collection,” on view through October 6, 2019 at the Met Museum. Followed by a visit to the studio of artist Zaria Forman, who has gone to the ends of the Earth to create her large-scale chalk pastel drawings. Then we’ll meet Stiletta, an award-winning a cappella sextet that is part of the MTA’s Music Under New York program.

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♪♪

> COMING UP ON NYC ARTS, A LOOK AT THE EXTRAORDINARY EXHIBITION ART OF NATIVE AMERICA, THE CHARLES AND VALERIE DIKER COLLECTION.

NATIVE AMERICAN ART IS FOUNDATIONAL IT OUR CULTURAL HERITAGE.

EXHIBITIONS LIKE THIS ARE MEANT TO MOVE PEOPLE OUTSIDE OF THAT IDEA THAT ALL NATIVE PEOPLES ARE THE SAME HOMOGENOUS.

THEY WERE NOT AT ANY TIME AND THEY ARE CERTAINLY NOT TODAY.

AND A VISIT TO THE STUDIO OF ARTIST ZARIA FORMAN WHO HAS LITERALLY GONE TO THE ENDS OF THE EARTH TO CREATE HER LARGE SCALE CHALK PASTEL DRAWINGS.

AND THEN WE MEET STILETTA AN AWARD-WINNING ACAPELLA SEXTET WHICH IS PART OF THE MTA'S MUSIC UNDER NEW YORK PROGRAM.

FUNDING FOR NYC ARTS IS MADE POSSIBLE BY ROSALIND P. WALTER, THEYIA PETS CHECK IERVOLINO FOUNDATION.

THE LEWIS 'SONNY' TURNER FUND FOR DANCE.

JODI AND JOHN ARNOLD.

ELISSE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

HE WILL ROY AND TERRY KRUMHOLZ FOUNDATION, JEAN DUBINSKY APPLETON ESTATE.

THE MILTON AND SALARY AVERY ARTS FOUNDATION AND ELLEN AND JAMES S. MARCUS.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF THIRTEEN.

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.

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

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

IT'S STILL THE FIRST THING ON OUR MINDS.

♪♪

> GOOD EVENING AND WELCOME TO NYC ARTS.

I'M PAULA ZAHN AT THE TICH WNET STUDIOS AT LINCOLN CENTER.

WE BEGIN OUR PROGRAM WITH A VISIT TO THE METROPOLITAN MUSEUM OF ART, WHICH HAS LONG BENEFITTED FROM THE EXTRAORDINARY FORESIGHT OF INTREPID COLLECTORS.

TODAY, CHARLES AND VALERIE DIKER CONTINUE THIS TRADITION.

IN 2016 THEY PROMISED THEIR COLLECTION OF HISTORICAL NATIVE AMERICAN ARTWORK TO THE MET.

NOW ON VIEW IS ART OF NATIVE AMERICA: THE CHARLES AND VALERIE DIKER COLLECTION.

IN THIS LANDMARK STHOE, 116 OBJECTS REPRESENTING MORE THAN 50 AMERICAEN CULTURES ARE PRESENTED FOR THE FIRST TIME IN THE MET'S AMERICAN WING ITS PRESENCE HERE OFFER AS NEW INTERPRETATION OF AMERICAN HISTORY AND AN EXPANSION OF WHO IS INCLUDED IN ITS NARRATIVE.

IN EXHIBITION WAS CURATED BY GAYLORD TORRENCE OF THE NELSON ATKINS MUSEUM OF ART IN KANSAS CITY, IN COLLABORATION WITH NATIVE AMERICAN SCHOLARS AND CULTURAL LEADERS.

THE MOST IMPORTANT THING, INJURY, ABOUT THIS EXHIBITION, OTHER THAN THE CELEBRATION OF NATIVE AMERICAN ART AND THE ARTISTS THAT CREATED THESE WORKS, IS THE FACT THAT IT IS BEING SHOWN, THESE WORKS ARE BEING SHOWN IN THE AMERICAN WING, WHICH IS THE FIRST TIME IN THE HISTORY OF THIS MUSEUM SINCE THE WING OPENED IN 1924.

SO IT'S MOMENTOUS MOVEMENT IN TERMS OF RECOGNIZING NATIVE AMERICAN ART AS FOUNDATIONAL TO OUR CULTURAL HERITAGE.

EXHIBITIONS LIKE THIS ARE MEANT TO MOVE PEOPLE OUTSIDE OF THAT IDEA THAT ALL NATIVE PEOPLES ARE THE SAME, HOMOGENOUS.

THEY WERE NOT AT ANY TIME AND THEY'RE CERTAINLY NOT TODAY.

IT'S NOT CHRONOLOGICAL.

AND WE DID DECIDE TO LAY IT OUT BY GEEFRPG REGIONS.

THE PROBLEM WITH THAT IS THAT THESE CULTURE AREAS DID NOT HAVE FIRM BOUNDARIES.

WE ENDEAVORED IN THE GALLERY DESIGN TO KEEP THINGS OPEN AND PERMEABLE AND VISIBLE, SO THAT ALMOST ANYWHERE YOU STAND WITHIN THE GALLERIES, YOU'RE PERHAPS IN A CULTURELY RELATED AREA, BUT YOU'RE LOOKING INTO OTHER AREAS AS WELL, SUGGESTING A GREATER UNIVERSALITY.

MOST OF THE OBJECTS WERE CREATED WITHIN THE BACK DROP OF COLINIZATION, WHICH MAKES THE ACHIEVEMENT EVEN GREATER.

I FIND THE PAWNEE WAR CLUB TO BE ONE OF THE MOST ASTONISHING OBJECTS IN THE DIKER COLLECTION.

FIRST OF ALL, JUST AS SQUUMT YOU RECALL WORK IT'S SUBBLIEM IN TERMS PROPORTION ELEGANCE OF THE SHAPE.

IT'S A FUNCTIONAL WEAPON, CARRIED TO WAR.

BUT IT WAS ALSO AN IMPORTANT PIECE OF ARTISTIC EXPRESSION.

FOR THE OWNER, THIS CLUB WAS INVESTED WITH A GREAT DEAL OF SPIRITUAL POWER.

THE DESIGNS ON ONE SIDE CONSIST OF SOME ZIG-ZAGGING LINES AT THE TOP THEN A CIRCUMSTANCEWELL A CIRCLE WITH A SINGLE SHARP ZIG-ZAG LINE EMANATING FROM THAT THE FULL LENGTH OF CLUB.

THESE ARE GENERALLY KNOWN TO BE SYMBOLS OF POWER.

IT'S POSSIBLE THAT THE CIRCLE AND SINGLE LINE MAY REPRESENT THUNDER AND ONE STRIKE OF LIGHTNING.

ON THE OTHER SIDE I THINK IS THE MOST AMAZING DESIGN I'VE EVER SEEN ON A NATIVE AMERICAN WAR CLUB.

IT'S COVERED WITH STARS LIKE THE NIGHT SKY, INCLUDING THE CONSTELLATION PLEIADES.

WE BELIEVE THE CLUB COMES FROM THE PAWNEE BECAUSE THE STARS WERE TO IMPORTANT IN PAWNEE RELIGION.

YUP'IK MASKS ARE THE GROUP OF OBJECTS THIS ARE SOME OF THE MOST AMAZING IMAGES ONE CAN IMAGE.

THIS PARTICULAR MASK AND I WOULD SAY MOST YUP'IK MASK REPRESENT THE PREY ANIMALS THAT THE YUP'IK PEOPLE DEPENDED UPON FOR SURVIVAL.

THESE MASKS WERE WORN IN ANNUAL CEREMONIES IN THE DANCES.

THEY WERE INTENDED TO THANK THE ANIMALS THAT HAD GIVEN THEMSELVES IN THE PREVIOUS YEAR AND ENSURE THAT THERE WOULD BE A CONTINUOUS FLOW OF NEW LIFE IT'S OFTEN SAID THESE MASKS REPRESENT SOMETHING CALLED YUA, WHICH IS PROBABLY EASIEST TRANSLATED AS THE ONGOING SOUL.

WHEN YOU SEE AN IMAGE OF A FISH OR A SEAL OR A BIRD, IT DOESN'T REPRESENT SPECIFIC CREATURES.

IT REPRESENTS ALL OF THOSE OF THAT GENUS THAT HAVE EVER LIVED OR WILL LIVE IN THE FUTURE.

THE MASK IS TIMELESS IN THAT RESPECT AND IT PLACES THE YUP'IK PEOPLE IN A TIMELESS RELATION WITH ALL OF THE ANIMALS WITH WHOM THEY SHARE THE WORLD.

STANDING BEAR WAS A PARTICIPANT IN THE BATTLE OF THE LITTLE BIG HORN.

HE WAS 16 YEARS OLD AT THE TIME.

THAT WAS IN 1876.

IN THE 1880s, STANDING BEAR WENT TO EUROPE WITH BUFFALO BILL'S WILD WEST SHOW.

HE MET AN AUSTRIAN WOMAN, THEY FELL IN LOCH.

HE MARRIED HER, BROUGHT HER BACK TO PINE RIDGE RESERVATION.

AND STANDING BEAR BEGAN TO DEVELOP HIS ART.

HE BASICALLY TRIED TO BRING TOGETHER IN THIS PAINTING SIX REMEMBERED.

NOW THEY DIDN'T ALL HAPPEN AT THE SAME TIME, BUT WITHIN THE TRADITION OF WARRIOR ART, STANDING BEAR REPRESENTED THEM ALL AS THOUGH THEY WERE OCCURRING AT THE SAME TIME.

THERE ARE HORSES THAT ARE BEING RUN OFF, SEPARATED, LEAVING THE SOLDIERS ON FOOT.

THERE IS A DEPICTION OF A GROUP OF SOLDIERS THAT RAN DOWN FROM THE HILL AND WERE KILLED IN A IN A RAVINE.

ANOTHER GROUP MUCH SOLDIERS TRIED TO BREAK AWAY ON HORSEBACK RIDING BACK TO THE SOUTH.

THEY WERE OVERTAKEN AND KILLED.

AND THEN THERE'S THE FINAL BATTLE ON THE HILL INCLUDING THE DEPICTION OF CUSTER HIMSELF.

THEY ARE ALL GREAT KIND OF SWEEPING BATTLE NARRATIVES LIKE ONE WOULD EXPECT TO SEE IN THE GREAT BATTLE PAINTINGS AND TAP EVIDENTIARIES IN EUROPE, WHICH HE UNDOUBTEDLY SAW.

CARRIE BETHEL WAS A MASTER BASK MAKERER.

SHE WAS PROMINENT IN THE 1920s THIS PARTICULAR PIECE WAS HER FIRST ATTEMPT TO CREATE A BASKET OF THAT SCALE.

IT TOOK HER THREE YEARS.

MAYBE THE BEST WAY TO THINK ABOUT THE ACHIEVEMENT IN THAT BASKET IS TO THINK ABOUT IT FIRST IN RELATION TO THE MATERIALS, WHICH REQUIRED AN ENORMOUS BODY OF EXPERT KNOWLEDGE IN TERMS OF KNOWING WHICH PLANTS TO GATHER, HOW TO PREPARE THEM BEFORE THE BASKET WAS EVER BEGUN.

A BASKET OF THAT KIND IS CREATED USING A COIL TECHNIQUE WHICH BEGINS IN THE CENTER OF THE BOTTOM AND THEN STARTED UPWARD AND OUTWARD TO FORM THE SIDES OF THE OBJECT, AND THEN AT A CERTAIN POINT THE MIDPOINT, BEGAN TO CURVE INWARD TO REACH ITS FINAL FORM.

THERE WAS NO REVISION POSSIBLE.

SHE SIMPLY WOVE IT FROM THE BOTTOM UP.

AND WHEN YOU SEE THE PERFECTION IN THAT FORM, IN THE RELATIONSHIP OF THAT TWO-DIMENSIONAL DESIGN TO THE VOLUME METRIC SHAPE OF THE OBJECT AND ULTIMATELY THE KIND OF TENSION THAT THAT FORM HOLDS, THE ACHIEVEMENT IS VISIBLE AND AMAZING.

THE OBJECTIVE IN PRESENTING THESE OBJECTS IN THE WAY THAT WE'VE DONE IS TO RESPECT THEM AS WORKS OF ART, AS SOPHISTICATED AND BEAUTIFUL CREATIONS.

♪♪ ♪♪

> NEXT WE'LL MEET AN ARTIST WHO HAS JOURNEYED TO THE ENDS OF THE EARTH.

INSPIRED BY HER VISITS TO THE COASTS OF GREENLAND, THE MALDIVES AND ANTARCTICA.

ZARIA FORMAN CREATES LARGE-SCALE CHALK PASTEL DRAWINGS THAT CAPTURE MELTING ICE AND RISING SEAS.

IN 2016 NASA INVITED FORMAN TO PARTICIPATE IN THEIR OPERATION ICE BRIDGE KPIPGSS WHICH DOCUMENTED THE CHANGING ICE SKAP OF THE ARCTIC AND ANTARCTICA.

THE AERIAL PHOTOGRAPHS FORMAN SHOT ON FLIGHTS ABOVE GLACE YEARS AND ICEBERGS ARE THE INSPIRATION FOR HER LATEST SERIES OF DRAWINGS.

NYC ARTS SPOKE WITH THE ARTIST AT HER STUDIO IN BROOKLYN.

I GREW UP WITH AN ARTIST MOM, AND SHE WAS IN LOVE WITH THE MOST FAR OFF REMOTE LANDSCAPES SHE COULD POSSIBLY FIND AND VENTURE TO.

AND SO EVERY YEAR GROWING UP AS A CHILD WE WOULD TRAVEL TO THE REMOTE PLACES FOR AT LEAST A MONTH AT A TIME.

AND THAT'S WHAT INSTILLED IN ME A LOVE OF LANDSCAPE.

SO MY MOM AND I WERE PLANNING A TRIP TO GO TO GREENLAND IN 2011 TOGETHER, BUT MY MOM WAS DIAGNOSED WITH BRAIN CANCER AND PASSED AWAY BEFORE WE COULD TAKE THE TRIP TOGETHER.

I THOUGHT THAT WAS THE END OF MY TRAVELING DAYS.

I DIDN'T THINK I HAD IT IN ME TO PLAN THOSE KINDS OF EXISTINGS SHE DID.

I DECIDED TO DO IT IN HER HONOR.

SO I WAS SPREADING HER ASHES ALONG THE TRIP IN SEVERAL PLACES.

THAT WAS ALSO THE FIRST TIME I DREW ICE.

I HADN'T DRAWN ICE BEFORE THAT TRIP.

GREENLAND IS EPIC.

THE SUN IS AT A MUCH LOWER ANGLE, AND SO THE ICEBERGS WOULD BE LIT UP IN THE MOST DRAMATIC WAY AND THE FOG WOULD HOVER OVER THE HORIZON.

ESPECIALLY THE ICEBERG DRAWING I SEE THEM AS POR TRAITS.

BY THE TIME I'M FINISHED WITH A DRAWING OF AN ICEBERG IT'S LIKELY COMPLETELY MELTED OR LOOKS COMPLETELY DIFFERENT.

UNDERTAKING THAT TRIP I THINK IS WHAT GAVE ME CONFIDENCE TO CONTINUE.

STANDING NEXT TO A GLACIER, YOU FEEL SO TINY, AND COMING BACK FROM THESE PLACES AND WANTING TO REPRESENT THEM AS BEST AS I CAN AND TRYING TO GIVE THE VIEWER THAT EXPERIENCE OF WHAT IT'S LIKE TO STAND NEXT TO A GRACIER OR ICEBERG, THE ONLY WAY I FEEL LIKE I COULD COME AS CLOSE AS POSSIBLE TO THAT IS BY DRAWING AS BIG AS I POSSIBLY CAN.

SO WHEN I TRAVEL I TAKE THOUSANDS OF PHOTOGRAPHS ON-SITE, AND I TRY TO SOAK UP THE LANDSCAPE VISUALLY, NOT ALWAYS HAVING THE CAMERA RIGHT IN FRONT OF MY FACE AND THEN I GET BACK TO THE BACK TO THE STUDIO AND WORK FROM MY MEMORY OF THE EXPERIENCE AND AS WELL AS THE PHOTOGRAPHS TO MAKE THE LARGE-SCALE COMPOSITIONS.

AS I'M DRAWING, I'M RECALLING THE EXPERIENCE I HAD IN THAT MOMENT, YOU KNOW, ON THE ZODIAC LOOKING AT THE ICEBERG AND REMEMBERING THE LIGHT AND HOW THAT EXPERIENCE FELT.

SO I TRIED TO IMBUE THE COMPOSITION WITH AS MUCH MEMORY AS I CAN.

I WANT IT TO LOOK AT REALISTIC AS POSSIBLE SO THAT'S WHAT I USE THE PHOTOGRAPHS FOR UP CLOSE IT BECOMES VERY ABSTRACT.

I'M JUST LOOKING AT THE LINE AND FORM AND SHAPE AND COLOR.

I'VE JUST ALWAYS HAD AN OBSESSION WITH CHARCOAL AND SOFT PASTEL, JUST SOMETHING ABOUT THE MATERIAL I LOVE THE SIMPLICITY OF MAKING THE MARK ON THE PAPER AND THAT'S WHAT IT IS.

I CAN MOVE THE PIGMENT AROUND AND CHANGE THE WAY IT LOOKS.

BUT THERE IS NO OTHER FACTOR OTHER THAN JUST ME ON THE MATERIAL.

♪♪ I JUST GOT AN EMAIL ONE DAY, IT'S, THE MOST EXCITING EMAIL I EVER RECEIVED.

IT WAS YOU KNOW, SOMEONE SAYING, HEY, WOULD YOU LIKE TO COME AND FLY WITH US?

LOVE NASA.

NOT EXACTLY LIKE THAT.

BUT IN SO MANY WORDS THAT'S, LIKE, IT WAS VERY BRIEF AND HERE IS LIKE HERE'S MY NUMBER CALL ME DO YOU WANT TO COME FLY WITH US OVER THE ANTARCTICA IN THE SPRING.

I THOUGHT IT WAS A HOAX LITERALLY UP UNTIL THE DAY I LANDED AND MET THE SCIENCE TEAM AND HAD OUR FIRST SCIENCE MEETING AND I WAS LIKE, OKAY, THIS IS NASA.

IT'S EXTREMELY GRUELING WORK, ESPECIALLY THE ANTARCTICA FLIGHTS.

THEY'RE LIKE ON AVERAGE 10 TO 12 HOURS LONG EVERY SINGLE DAY.

IT'S LIKE YOU'RE FRYING ACROSS THE PLANET DAY AFTER DAY AFTER DAY.

IT'S SOME OF THE MOST IMPORTANT WORK THAT'S HAPPENING IN THE WORLD NOW BECAUSE THERE IS SO MUCH WE DON'T KNOW ABOUT HOW ICE MOVES AND MELTS.

AND I'VE BEEN TRAVELING TO ICY LANDSCAPES A LONG TIME NOW.

AND SO I, YOU KNOW, I FELT LIKE I HAD A FAIRLY DEEP UNDERSTANDING, JUST VISUALLY OF ICE.

BUT THIS WAS LIKE A WHOLE NEW BALL GAME AND A WHOLE NEW PERSPECTIVE.

AND SEEING IT FROM THAT PERSPECTIVE REALLY MADE ME REALIZE NOT ONLY THE SCALE OF THE ICE BUT THE SCALE OF THE GLOBAL CLIMATE CRISIS WE'RE IN THE MIDDLE OF.

IMIT'S JUST SO MUCH ICE.

YOU CAN REALLY SEE HOW LIKE, YEAH, IF THAT'S MELTING AT THE RAPID PACE IT'S MELTING AT OUR GLOBAL SEA LEVELS WILL RISE, AND THERE IS A LOT OF HORRIBLE CONSEQUENCES.

THIS ISES JAKOBSHAVN GLACIER IN GREENLAND.

IT DEPENDENCE DISPENSES THE MOST AMOUNT OF ICEBERGS INTO THE OCEAN OF ANY OTHER GLASER IN THE ANTARCTIC ARCTIC.

WE FLEW OVER IT FOR HOURS AND HOURS.

I TOOK THE PHOTOS FROM THE PLAIN.

SO IT'S AERIAL VIEW.

BUT IN BETWEEN THE RIDGES THERE IS PROBABLY 150 FEET.

THERE IS A WHOLE BATCH OF NEW COLORS IN THIS PIECE, SOME THAT ARE REALLY LIKE BRIGHT AND LUMINOUS.

IT'S ALSO PERSONAL FOR ME BECAUSE OF THE THE FJORD WHERE THIS ICEBERG DISPENSES ICE DIRECTLY INTO IS WHERE I SPREAD MY MOM'S ASHES.

I FEEL LIKE SHE IS PART OF THAT LANDSCAPE.

I'M TRYING TO PORTRAY THE BEAUTY IN THE PLACES THAT ARE AT THE FOREFRONT OF CLIMATE CHANGE, AND JUST GIVE A MOMENT IN TIME IN PEOPLE'S LIFE TO CONTEMPLATE IT, BECAUSE IT'S NOT ALWAYS PART OF OUR EVERYDAY LIFE.

I WANT PEOPLE TO UNDERSTAND IT.

I WANT PEOPLE TO BE MOVED BY IT, AND HAVE AN EMOTIONAL REACTION TO IT AND FALL IN LOVE WITH THE ICE AS I HAVE.

WHEN YOU LOVE SOMETHING, YOU WANT TO PROTECT IT.

IT WILL MAKE THEM THINK WELL WHAT I CAN DO TO HELP PROTECT THE AND PRESERVE THE LANDSCAPES THAT ARE CHANGING SO QUICKLY?

> MUSIC UNDER NEW YORK IS A CRITICAL PART OF MTA'S ARTS FOR TRANSIT PROGRAM.

IT BEGAN OVER 30 YEARS AGO AS A WAY TO WRI ART INTO EVERYDAY LIFE.

EVERY YEAR, THE MTA HOLDS AUDITIONS IN GRAND CENTRAL STATION TO CHOOSE THE NEXT BATCH OF NEW MUSICIANS.

THOSE SELECTED ARE GIVEN ACCESS TO THE BEST PERFORMANCE LOCATIONS THROUGHOUT THE SUBWAY SYSTEM.

WITH MORE THAN 350 GROUPS AND SOLOISTS COMBINED, YOU NEVER KNOW WHAT KIND OF MUSIC WILL GREET YOU ON YOUR COMMUTE.

TONIGHT, WE'LL INTRODUCE TO YOU STILETTA, AN AWARD-WINNING A CAPELLA SEXTET WHICH HAS BEEN PART OF THE MUSIC UNDER NEW YORK PROGRAM SINCE 2015.

WITH THE UNIQUE MUSICAL ARRANGEMENTS AND UNAND THE UNSNKABLE SOUND OF ONE OF THE WORLD'S BEST BEAT BOXER, THESE SINGERS WILL STOP NEW YOUR SINGERS WILL STOP NEW YOUR SINGERS WILL STOP NEW YOUR ♪♪ ♪♪

WHEN I MOVED TO NEW YORK CITY, I HAD THIS VISION THAT I WANTED THIS FIERCE, STRONG, FEM NINE GIRL GROUP THAT INCORPORATED BOTH AKA PELE MUSIC AND CHOREOGRAPHY AND DANCE.

THAT'S HOW I CAME UP WITH THE IDEA FOR STILETTA.

♪♪

I CAME UP WITH THE IDEA OF THE STILETTO HEEL WHICH IS EXTREMELY FEM NINE, OBVIOUSLY, AND ALSO A STILETTO IS A KNIFE.

SO IT'S BOTH FEMININE AND FIERCE.

THERE IS JUST SOME INCREDIBLE ART AND MUSIC AND CULTURE IN THE SUBWAY.

AND SOMETHING JUST MADE ME THINK, YOU KNOW I'VE GOT THAT FANTASTIC ACAPELLA GROUP.

I WONDER IF WE COULD DO SOMETHING LIKE THIS.

I WENT TO THE WEBSITE, FOUND THE APPLICATION AND SUBMITTED IT.

WE GOT ACCEPTED TO AUDITION.

THERE WAS A PANEL OF LIKE 30 JUDGES.

IT WAS WILD.

BUT I DON'T REGRET IT FOR A SECOND.

I THINK IT'S BEEN THE MOST AMAZING, REWARDING EXPERIENCE FOR US.

WE PERFORM PERFORM AT THE TIMES SQUARE HAD 2nd STREET STATION.

AND YOU GET TOURISTS, COMMUTERS AND CRAZY PEOPLE.

AND YOU GET EVERYBODY AND IT'S REALLY REALLY FUN, AND ALWAYS A TRIP.

PEOPLE WILL STOP AND THEY'LL STAND AND WATCH OUR ENTIRE SET, WHICH IS LIKE AN HOUR LONG.

HERE AT STILETTA NYC.

OUR MAIN GOAL NOT JUST IN THE MUSIC WE PICK BUT IN WHO WE ARE AS PEOPLE IS TO INSPIRE OUR AUDIENCES AND UPLIFT WOMEN AND EMPOWER WOMEN.

AND SO THE SONGS THAT REALLY JUDY CHOOSES ALL HAVE THAT KIND OF MESSAGE.

♪♪ I TRIED TO END THIS DAY ♪ ♪ BUT NOW THAT ♪ POWER MAKE IT --

WE HAVE AN ORIGINAL SONG CALLED 'GET PUMPED,' ABOUT BASICALLY GETTING UP AND DANCING AND JUST FEEL ABOUT GOOD ABOUT YOURSELF AND WEARING HIGH HEELS.

WHAT MAKES US DIFFERENT FROM MAYBE OTHER ACAPELLA GROUPS THAT ARE OUT THERE IS THE CORE OWE THAT WE DO, BUT ALSO OUR ARRANGEMENTS ARE VERY SPECIFIC TO OUR OWN SOUND MC BEATS IS A HUGE PART OF WHY WE SOUND THE WAY WE DO.

I AM THE VOCAL PERCUSSIONIST AND BEAT BOXER OF THE GROUP.

♪♪ 2012 WAS THE FIRST TIME I WENT TO THE WORLD CHAMPIONSHIPS SO AT THAT POINT I WAS BEAT BOXES A COUPLE YEARS.

AND I ENDED UP PLACING THIRD IN THE WORLD.

SHORTLY AFTER, JUDY FOUND ME, AND I STARTED DOING ACAPELLA AND THAT'S BEEN MY MAIN FOCUS SINCE THEN.

THANK YOU SO MUCH.

MY MAIN JOB IS TO KEEP TEMPO.

WITH MOST ACAPELLA GROUPS, THE BASS AND THE BP OR BEAT BOXER THEY WORK TOGETHER TO CREATE THE BEATS BECAUSE YOU NEED TO ADD A BASSY FEEL TO A LOT OF THE BEATS TO SOUND LIKE AN ELECTRONIC SYSTEM.

MY MAIN JOB IS TO SOUND COMPLETELY NON-HUMAN.

THERE'S A TIME WHERE PEOPLE WHEN WHICH WERE UNDOING OUR MUSIC UNDER YORK YORK THEY WERE LIKE UNPLUG THE RADIO.

AND STUFF LIKE THAT BECAUSE THEY THAELT THOUGHT WE HAD TRACKS UNDER US.

WE NEVER DO.

IT WAS ALWAYS LIVE AND IT'S ALWAYS ALL SIX OF US DOING IT.

IN THE PAST TWO YEARS SINCE WE STARTED PERFORMING IN MUNY WE'VE GOTTEN SO MUCH TIGHTER.

SO MANY HOURS OF SINGING TOGETHER IN THAT SUBWAY.

IT'S MADE OUR GROUP REALLY REALLY GROW ♪♪

IT SEEMS LIKE IN THAT MOMENT WHEN THE SIX OF US ARE FINALLY TOGETHER, IT'S LIKE, EVEN THOUGH THERE IS ALL THIS CHAOS AROUND AND YOU NEVER KNOW WHAT'S GOING TO HAPPEN AND NEVER KNOW WHAT YOU'RE GOING TO GET, IT'S LIKE OUR SENSE OF CALM.

BEING IN THE SUBWAY KIND OF FORCES YOU TO ACKNOWLEDGE WHAT'S IMMEDIATELY IN FRONT OF YOU.

♪♪ HELLO I'M RAFAEL PI ROMAIN.

WELCOME FROM LINCOLN CENTER FROM SEPTEMBER 27th THROUGH OCTOBER 13.

FILM AT LINCOLN CENTER PRESENTS THE 57th NEW YORK FILM FESTIVAL DESIGNATED TO AGNES VARDA.

THE MAIN SLATE SHOWCASING FILMS FROM 17 DIFFERENT COUNTRIES INCLUDING TITLES FROM CELEBRATED AUTEURS, EXTRAORDINARY WORKS FROM FRESH NEW TALENT AND CAPTIVATING FEATURES THAT EARNED ACCLAIM AT INTERNATIONAL FESTIVALS.

THIS YEAR'S POST-ER IS DESIGNED BY MAIN SLATE DIRECTOR PEDRO ALMODOVAR WHO IS PAIN AND GLORY MARKS HIS 11th APPEARANCE.

THE 17-DAY PROGRAM INCLUDINGS DOCUMENTLY AS AND SECTIONS FOCUSING ON REVIVALS, NEW FRONTIER OF THE MOVING IMAGE, IMMERSIVE STORYTELLING AND MORE.

FOR COMPLETE DETAILS PLEASE VISIT FILM LINC.ORG AND FOR MORE EVENTS AT LINCOLN CENTER VISIT THE LINGENING CENTER.ORG WEBSITE.

♪♪

THANKS FOR JOINING US THIS EVENING.

I'M PAULA ZAHN AT THE TICH WNET STUDIOS AT LINCOLN CENTER.

GOOD NIGHT.

NEXT WEEK ON NYC ARTS, A PROFILE OF PAYENIST HENRY KRAMER, WINNER OF THE 2019 AVERY FISHER CAREER GRANT AWARD.

RECEIVING THIS AVERY FISHER CAREER GRANT, MAKES ME FEEL LIKE I CAN REALLY BELIEVE IN MYSELF.

AND IT TRULY MOTIVATES ME TO BE THE BEST I CAN.

AND A VISIT TO THE ELDRIDGE STREET SYNAGOGUE, A NATIONAL HISTORIC LANDMARK ON THE LOWER EAST SIDE, AND HOME TO THE MUSEUM AT ELDRIDGE STREET.

IT IS THE SYMBOL OF JEWS COMING TO AMERICA AND BECOMING AMERICAN JEWS.

AND IT STANDS FOR THAT.

IT SYMBOLIZES THAT FOR ALL JEWS THROUGHOUT THE COUNTRY.

♪♪ ♪♪ ♪♪

> FUNDING FOR NYC ARTS IS MADE POSSIBLE BY ROSALIND P. WALTER, THEYA PETSIC IERVOLINO FOUNDATION, THE LEWIS 'SONNY' TURNER FUND FOR DANCE.

JODI AND JOHN ARNOLD.

ELISSE JAFFE AND JEFFREY BROWN, CHARLES AND VALERIE DIKER, HE WILL ROY AND TERRY KRUMHOLZ FOUNDATION, JEAN DUBINSKY APPLETON ESTATE, THE MILTON AND SALARY AVERY ARTS FOUNDATION, AND ELLEN AND JAMES S. MARCUS.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF THIRTEEN.

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.

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