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{\an1}♪♪
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{\an1}>> A museum with an ambitious
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{\an1}mission -- telling the story of
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{\an1}New York City.
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{\an1}>> There's nothing like this in
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{\an1}the entire city.
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{\an1}>> It's a very big mandate, yes.
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{\an1}>> As the Museum of the City of
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{\an1}New York approaches its
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{\an1}centennial, its team of
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{\an1}world-class curators,
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{\an1}historians, and tech innovators
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{\an1}put together something magical.
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{\an1}>> The idea is to make history
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{\an1}come alive.
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{\an1}>> It's challenging.
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{\an1}>> Daunting.
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{\an1}It was very daunting.
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{\an1}>> It's huge.
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{\an1}>> Go behind the scenes of a new
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{\an1}permanent exhibit, telling the
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{\an1}sweeping and complex story of a
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{\an1}great city.
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{\an1}Next, in "Treasures of
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{\an1}New York," Museum of the City of
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{\an1}New York.
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{\an1}This program is made possible by
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{\an1}the Jerome L. Greene Foundation.
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{\an1}From its perch near the top of
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{\an1}Museum Mile, on 5th Avenue and
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{\an1}103rd Street, the Museum of the
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{\an1}City of New York has maintained
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{\an1}a single goal since its founding
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{\an1}in 1923.
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{\an1}>> This museum is dedicated to
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{\an1}displaying and celebrating
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{\an1}New York City's past, present,
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{\an1}and future.
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{\an1}>> The museum originally
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{\an1}operated in Gracie Mansion.
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{\an1}An early exhibit on old New York
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{\an1}was such a smash success that
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{\an1}founders sought a new home.
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{\an1}Architect Joseph Friedlander
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{\an1}created the grand neo-Georgian
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{\an1}building where the museum is
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{\an1}still housed today.
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{\an7}>> We're on city land and we
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{\an7}were designed, always, to be a
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{\an7}museum.
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{\an7}And we have been the only museum
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{\an7}who's inhabited this space.
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{\an7}>> The museum hosts a collection
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{\an7}of 750,000 objects, photographs,
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{\an7}and works of art notably
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{\an7}the 19th century
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{\an7}Stettheimer Dollhouse, that
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{\an7}brings to life New York's
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{\an7}Gilded Age in miniature,
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{\an7}valuable artifacts from the
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{\an7}city's police and fire
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{\an7}departments, and 3,000
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{\an7}lithographs by Currier and Ives.
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{\an7}>> The museum is such an
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{\an7}important portal to the history
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{\an7}of New York for so many people,
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{\an7}from school kids to tourists to
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{\an7}long-term residents of New York.
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{\an7}>> The museum's commitment is
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{\an7}to look at the past, present,
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{\an7}and future of the city and to
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{\an7}see that continuing dialogue
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{\an7}between the past and the
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{\an7}present.
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{\an7}>> Its world-class team of
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{\an7}curators has tackled a wide
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{\an7}variety if subject matter.
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{\an7}>> Everything from baseball to
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{\an7}environmental history, from
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{\an7}architecture to paintings.
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{\an7}>> Starting in 2005,
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{\an7}Susan Henshaw Jones, who led the
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{\an7}museum as its director for
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{\an7}12 years, began planning for
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{\an7}something broader, bigger.
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{\an7}The first step?
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{\an7}A complete renovation of the
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{\an7}historic building.
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{\an7}>> It was worked on inch by
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{\an7}inch, floor by floor.
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{\an1}Space was reconfigured, a
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{\an1}gallery space was added, with
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{\an1}the vision that there would be
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{\an1}some kind of a permanent, core
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{\an1}exhibition about the history of
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{\an1}the city.
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{\an1}>> A team led by then-director
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{\an1}Henshaw Jones and, later, by her
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{\an1}successor, Whitney Donhauser,
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{\an1}would reimagine the whole
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{\an1}museum, weaving together
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{\an1}elements of the massive
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{\an1}collection and many past
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{\an1}displays into an
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{\an1}8,000-square-foot exhibit
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{\an1}occupying the museum's entire
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{\an1}ground floor.
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{\an1}>> The goal of
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{\an1}"New York at Its Core," is to
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{\an1}present 400 years of
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{\an1}New York City history, starting
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{\an1}from when it was a thriving
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{\an1}Dutch village to when it became
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{\an1}the capital of the world, and to
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{\an1}even show the present-day, as
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{\an1}well as contemplating the
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{\an1}future.
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{\an1}>> Creating the three-gallery
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{\an1}"New York at Its Core" exhibit
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{\an1}would be a painstaking five-year
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{\an1}challenge.
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{\an1}>> How do you boil down the
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{\an1}whole history of New York?
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{\an1}>> To help answer that question,
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{\an1}the exhibit's lead curators,
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{\an1}Sarah Henry and Hilary Ballon,
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{\an1}were joined by a team of
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{\an1}scholars, history and
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{\an1}urban-affairs experts from top
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{\an1}universities in and out of the
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{\an1}city.
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{\an1}Working with museum staff, the
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{\an1}scholars integrated their own
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{\an1}original research with the
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{\an1}museum's vast collections to
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{\an1}develop a narrative of New York.
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{\an1}>> It was an enormous task.
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{\an7}And it was enormous because
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{\an7}everything you say could be told
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{\an7}a different way.
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{\an7}>> It's a problem that we always
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{\an7}have as historians.
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{\an7}It's very difficult to cram it
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{\an7}all in.
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{\an7}So it's a constant process of
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{\an7}selection.
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{\an7}>> The important point at the
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{\an7}beginning was to try to develop
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{\an7}themes.
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{\an7}>> Themes that could stretch
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{\an7}across several centuries.
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{\an1}♪♪
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{\an1}>> The scholars came up with
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{\an1}four themes essential to
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{\an1}New York City through its four
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{\an1}centuries -- money...
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{\an1}>> New York started its history
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{\an1}as a for-profit enterprise by
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{\an1}the Dutch West India Company,
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{\an1}and from the beginning, it was a
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{\an1}money town.
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{\an1}>> ...density...
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{\an1}>> There's so many people
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{\an1}pivoting around each other.
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{\an1}They all want their piece of the
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{\an1}pie.
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{\an1}Some get it, some don't.
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{\an1}>> ...diversity...
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{\an1}>> Diversity has existed in this
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{\an1}city from the very beginning,
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{\an1}and that it is a powerful driver
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{\an1}for the city and helps us change
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{\an1}and move and make advancements.
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{\an1}>> ...and creativity.
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{\an1}>> That improvisation that
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{\an1}happens amongst people who are
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{\an1}of different backgrounds and
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{\an1}cultures.
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{\an1}>> The relevance of these
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{\an1}characteristics to modern
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{\an1}New York is obvious.
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{\an1}But the new exhibit aims to step
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{\an1}back in time to show the role
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{\an1}they played in the city's
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{\an1}evolution.
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{\an1}Take diversity.
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{\an1}The 1,500 people who made
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{\an1}New Amsterdam their home in 1664
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{\an1}spoke a total of 18 languages.
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{\an1}And density?
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{\an1}New York was jam-packed from the
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{\an1}start, bringing epidemics and
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{\an1}fires, but also spurring
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{\an1}innovation -- New York's classic
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{\an1}grid of streets and avenues, our
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{\an1}massive aqueduct system, and our
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{\an1}world-class parks.
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{\an1}The team would build on these
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{\an1}four core concepts in the
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{\an1}exhibit's two historical
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{\an1}sections -- Gallery 1,
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{\an1}stretching from Dutch settlers's
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{\an1}arrival in New York to the turn
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{\an1}of the 20th century, and
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{\an1}Gallery 2, taking the story from
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{\an1}1898 all the way to the present
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{\an1}day.
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{\an1}The third gallery would be a
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{\an1}high-tech interactive space
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{\an1}encouraging visitors to imagine
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{\an1}New York's future.
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{\an1}>> You're also trying to figure
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{\an1}out how you get that story to
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{\an1}visitors, how you make it
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{\an1}accessible to them.
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{\an7}>> We've all worked together,
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{\an7}but that didn't mean we always
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{\an7}agreed on everything.
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{\an7}>> There were things we
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{\an7}consistently disagreed about,
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{\an7}and they all had to do with this
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{\an7}question of balance -- balance
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{\an7}between what's going on in
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{\an7}Staten Island and what's going
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{\an7}on in Midtown, balance between
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{\an7}what's going on for mainstream
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{\an7}urban politicians and what's
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{\an7}going on for our community
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{\an7}groups.
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{\an1}>> One area of consensus did
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{\an1}emerge quickly.
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{\an1}Like a book or movie,
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{\an1}"New York at Its Core" should be
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{\an1}character-driven, an exhibit
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{\an1}about the people of New York.
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{\an1}They selected 75 New Yorkers.
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{\an1}Some are familiar, like
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{\an1}Peter Stuyvesant, who led and
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{\an1}expanded the city in its Dutch
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{\an1}colonial days, but fought to
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{\an1}keep out Jews, Quakers, and
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{\an1}other so-called heretics, and
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{\an1}Alexander Hamilton, founding
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{\an1}father and current rock star,
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{\an1}the driving force behind the
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{\an1}Bank of New York, who united
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{\an1}former Revolutionary War foes to
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{\an1}support the endeavor.
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{\an1}>> So much of the history that
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{\an1}many of us have been researching
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{\an1}over the past decades are the
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{\an1}stories that have not been told,
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{\an1}the groups of people that have
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{\an1}kind of been left to the margins
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00:07:57,610 --> 00:07:58,611
{\an1}and sides.
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00:07:58,611 --> 00:08:00,179
{\an7}>> Like a slave, his name
257
00:08:00,179 --> 00:08:02,215
{\an7}unknown, who escaped his owners,
258
00:08:02,215 --> 00:08:04,650
{\an7}the Livingston family...
259
00:08:04,650 --> 00:08:05,751
{\an7}>> The New York and New Jersey
260
00:08:05,751 --> 00:08:08,154
{\an7}newspapers were filled with
261
00:08:08,154 --> 00:08:10,089
{\an7}advertisements for fugitive
262
00:08:10,089 --> 00:08:11,090
{\an7}slaves.
263
00:08:11,090 --> 00:08:12,091
{\an7}And, so, Livingston's Runaway
264
00:08:12,091 --> 00:08:13,659
{\an7}Slave stands in for, you know,
265
00:08:13,659 --> 00:08:16,229
{\an7}the hundreds and thousands of
266
00:08:16,229 --> 00:08:17,697
{\an7}voiceless, faceless, and
267
00:08:17,697 --> 00:08:20,032
{\an7}somewhat nameless people who
268
00:08:20,032 --> 00:08:21,534
{\an7}were, in fact, the basis of the
269
00:08:21,534 --> 00:08:23,169
{\an7}economy in New York.
270
00:08:23,169 --> 00:08:25,605
{\an7}>> ...Felix Varela, a Cuban
271
00:08:25,605 --> 00:08:27,073
{\an7}priest who ministered to Irish
272
00:08:27,073 --> 00:08:28,574
{\an7}New Yorkers...
273
00:08:28,574 --> 00:08:29,876
{\an7}>> Felix Varela went to school
274
00:08:29,876 --> 00:08:31,878
{\an7}in Cuba, entered the priesthood,
275
00:08:31,878 --> 00:08:33,880
{\an7}and when he arrived in New York,
276
00:08:33,880 --> 00:08:36,048
{\an7}he ended up as this Cuban priest
277
00:08:36,048 --> 00:08:38,050
{\an7}ministering to the newly
278
00:08:38,050 --> 00:08:40,987
{\an7}arriving Irish immigrants, who
279
00:08:40,987 --> 00:08:44,690
{\an7}were fleeing poverty back home.
280
00:08:44,690 --> 00:08:46,259
{\an7}>> ...Helen Jewett, a
281
00:08:46,259 --> 00:08:47,727
{\an7}prostitute, whose murder
282
00:08:47,727 --> 00:08:48,794
{\an7}bolstered the newspaper
283
00:08:48,794 --> 00:08:49,996
{\an7}industry.
284
00:08:49,996 --> 00:08:51,631
{\an7}>> Helen Jewett -- she was a
285
00:08:51,631 --> 00:08:53,833
{\an7}famous prostitute, who gained
286
00:08:53,833 --> 00:08:55,868
{\an7}real notoriety after her death,
287
00:08:55,868 --> 00:08:57,303
{\an7}because she was murdered in a
288
00:08:57,303 --> 00:08:59,038
{\an7}sensational crime.
289
00:08:59,038 --> 00:09:03,776
{\an7}And within a space of less than
290
00:09:03,776 --> 00:09:06,212
{\an7}five years, the circulation of
291
00:09:06,212 --> 00:09:07,713
{\an7}the New York City papers more
292
00:09:07,713 --> 00:09:09,615
{\an7}than quadrupled.
293
00:09:09,615 --> 00:09:11,984
{\an7}>> ...Emily Roebling, an
294
00:09:11,984 --> 00:09:13,119
{\an7}overlooked builder of the
295
00:09:13,119 --> 00:09:14,854
{\an7}Brooklyn Bridge...
296
00:09:14,854 --> 00:09:16,355
{\an7}>> We're used to hearing about
297
00:09:16,355 --> 00:09:17,356
{\an7}the Brooklyn Bridge from the
298
00:09:17,356 --> 00:09:18,791
{\an7}point of view of John Roebling,
299
00:09:18,791 --> 00:09:19,926
{\an7}Washington Roebling.
300
00:09:19,926 --> 00:09:20,927
{\an7}The figure here is
301
00:09:20,927 --> 00:09:22,094
{\an7}Emily Roebling.
302
00:09:22,094 --> 00:09:24,797
{\an7}She takes over when her husband
303
00:09:24,797 --> 00:09:26,132
{\an7}becomes ill.
304
00:09:26,132 --> 00:09:27,934
{\an7}She becomes fairly expert at
305
00:09:27,934 --> 00:09:29,969
{\an7}doing many of the things that he
306
00:09:29,969 --> 00:09:31,237
{\an7}did as an engineer for the
307
00:09:31,237 --> 00:09:33,873
{\an7}bridge, this massive bridge that
308
00:09:33,873 --> 00:09:35,207
{\an7}captures our imagination even
309
00:09:35,207 --> 00:09:37,310
{\an7}today.
310
00:09:37,310 --> 00:09:39,211
{\an7}>> ...Wong Chin Foo, a founder
311
00:09:39,211 --> 00:09:41,647
{\an7}of the Chinese-American press...
312
00:09:41,647 --> 00:09:43,616
{\an7}>> Wong Chin Foo was an early
313
00:09:43,616 --> 00:09:45,117
{\an7}spokesman for New York's
314
00:09:45,117 --> 00:09:46,719
{\an7}Chinatown.
315
00:09:46,719 --> 00:09:48,721
{\an7}This population was facing a lot
316
00:09:48,721 --> 00:09:50,723
{\an7}of discrimination because of the
317
00:09:50,723 --> 00:09:52,725
{\an7}perception that they were taking
318
00:09:52,725 --> 00:09:53,726
{\an7}away jobs or undercutting.
319
00:09:53,726 --> 00:09:54,727
{\an7}And so Wong Chin Foo started
320
00:09:54,727 --> 00:09:56,028
{\an7}publishing his own newspaper.
321
00:09:56,028 --> 00:09:57,263
{\an7}He gave speeches.
322
00:09:57,263 --> 00:09:59,765
{\an7}And he really took on the
323
00:09:59,765 --> 00:10:01,367
{\an7}stereotypes that were being
324
00:10:01,367 --> 00:10:05,271
{\an7}lobbed at the Chinese community.
325
00:10:05,271 --> 00:10:07,640
{\an7}>> ...and Philip Payton, a key
326
00:10:07,640 --> 00:10:09,642
{\an7}force for developing a thriving,
327
00:10:09,642 --> 00:10:11,410
{\an7}diverse neighborhood.
328
00:10:11,410 --> 00:10:12,812
{\an7}>> Philip Payton was an
329
00:10:12,812 --> 00:10:14,380
{\an7}African-American Realtor, who
330
00:10:14,380 --> 00:10:16,682
{\an7}developed much of Harlem for
331
00:10:16,682 --> 00:10:18,784
{\an7}African-Americans in the early
332
00:10:18,784 --> 00:10:21,220
{\an7}20th century.
333
00:10:21,220 --> 00:10:22,221
{\an7}>> Along with the human
334
00:10:22,221 --> 00:10:23,723
{\an7}characters, the team chose
335
00:10:23,723 --> 00:10:25,224
{\an7}animals which helped shape city
336
00:10:25,224 --> 00:10:27,760
{\an7}history, like oysters, a cheap
337
00:10:27,760 --> 00:10:29,829
{\an7}source of food with shells which
338
00:10:29,829 --> 00:10:31,230
{\an7}could be burned down for lime
339
00:10:31,230 --> 00:10:33,899
{\an7}and construction, and pigs, once
340
00:10:33,899 --> 00:10:35,167
{\an7}used to eat garbage on the
341
00:10:35,167 --> 00:10:36,302
{\an7}streets.
342
00:10:36,302 --> 00:10:37,303
{\an1}>> We think urban.
343
00:10:37,303 --> 00:10:38,304
{\an1}We didn't think that there
344
00:10:38,304 --> 00:10:39,305
{\an1}should be livestock running
345
00:10:39,305 --> 00:10:40,306
{\an1}around on the street.
346
00:10:40,306 --> 00:10:41,307
{\an1}And it may be surprising that
347
00:10:41,307 --> 00:10:42,308
{\an1}they were.
348
00:10:42,308 --> 00:10:44,777
{\an1}>> As the exhibit's characters
349
00:10:44,777 --> 00:10:46,312
{\an1}and concepts begin to take
350
00:10:46,312 --> 00:10:47,747
{\an1}shape, a separate team of
351
00:10:47,747 --> 00:10:49,749
{\an1}specialists research an array of
352
00:10:49,749 --> 00:10:52,251
{\an1}objects for display, some from
353
00:10:52,251 --> 00:10:53,319
{\an1}the museum's extensive
354
00:10:53,319 --> 00:10:55,755
{\an1}collection, others tracked down
355
00:10:55,755 --> 00:10:58,157
{\an1}from around the world, like a
356
00:10:58,157 --> 00:10:59,792
{\an1}sculpted club carved by
357
00:10:59,792 --> 00:11:01,794
{\an1}New York's original inhabitants,
358
00:11:01,794 --> 00:11:03,863
{\an1}the Lenape Indian tribe...
359
00:11:03,863 --> 00:11:05,831
{\an1}>> I'm charmed by the Lenape
360
00:11:05,831 --> 00:11:07,299
{\an1}club we are borrowing from
361
00:11:07,299 --> 00:11:09,035
{\an1}Sweden and will be returning to
362
00:11:09,035 --> 00:11:10,836
{\an1}New York for its first time.
363
00:11:10,836 --> 00:11:12,972
{\an1}>> It's an incredibly eloquent
364
00:11:12,972 --> 00:11:14,040
{\an1}object.
365
00:11:14,040 --> 00:11:15,041
{\an1}>> ...pottery and other
366
00:11:15,041 --> 00:11:16,308
{\an1}artifacts from Seneca Village,
367
00:11:16,308 --> 00:11:18,411
{\an1}a community of freed slaves, who
368
00:11:18,411 --> 00:11:19,779
{\an1}once lived in what is now
369
00:11:19,779 --> 00:11:21,213
{\an1}Central Park...
370
00:11:21,213 --> 00:11:22,214
{\an1}>> Artifacts from
371
00:11:22,214 --> 00:11:24,216
{\an1}Seneca Village, the 19th century
372
00:11:24,216 --> 00:11:25,284
{\an1}settlement of the free black
373
00:11:25,284 --> 00:11:26,485
{\an1}community, a real anchor of the
374
00:11:26,485 --> 00:11:27,787
{\an1}free black community, with
375
00:11:27,787 --> 00:11:29,355
{\an1}schools and churches in
376
00:11:29,355 --> 00:11:30,456
{\an1}New York City in the
377
00:11:30,456 --> 00:11:32,158
{\an1}19th century, which was
378
00:11:32,158 --> 00:11:34,860
{\an1}destroyed to make Central Park.
379
00:11:34,860 --> 00:11:36,862
{\an1}>> ...accessories which belonged
380
00:11:36,862 --> 00:11:38,764
{\an1}to William "Boss" Tweed, the
381
00:11:38,764 --> 00:11:39,832
{\an1}notorious politician who
382
00:11:39,832 --> 00:11:41,067
{\an1}controlled city hall in the
383
00:11:41,067 --> 00:11:43,035
{\an1}mid-19th century.
384
00:11:43,035 --> 00:11:45,004
{\an1}>> Boss Tweed's walking stick
385
00:11:45,004 --> 00:11:49,341
{\an1}with a gold-headed tiger as its
386
00:11:49,341 --> 00:11:50,342
{\an1}handle.
387
00:11:50,342 --> 00:11:51,877
{\an1}>> William "Boss" Tweed sort of
388
00:11:51,877 --> 00:11:53,779
{\an1}captures a moment in New York
389
00:11:53,779 --> 00:11:55,881
{\an1}history and allows you to sort
390
00:11:55,881 --> 00:11:58,384
{\an1}of look into the creation of the
391
00:11:58,384 --> 00:12:00,986
{\an1}rise of the political machines
392
00:12:00,986 --> 00:12:02,988
{\an1}of the 19th century.
393
00:12:02,988 --> 00:12:04,423
{\an1}>> ...and a beer mug decorated
394
00:12:04,423 --> 00:12:06,358
{\an1}with intolerant messages,
395
00:12:06,358 --> 00:12:07,793
{\an1}connecting the past to the
396
00:12:07,793 --> 00:12:09,095
{\an1}present.
397
00:12:09,095 --> 00:12:10,362
{\an1}>> It had phrases on it and
398
00:12:10,362 --> 00:12:14,166
{\an1}images that were anti-Catholic.
399
00:12:14,166 --> 00:12:17,036
{\an1}In that period and for a good
400
00:12:17,036 --> 00:12:19,905
{\an1}century beyond, Catholics were
401
00:12:19,905 --> 00:12:21,841
{\an1}the feared religion.
402
00:12:21,841 --> 00:12:24,443
{\an1}It immediately put me in the
403
00:12:24,443 --> 00:12:26,846
{\an1}context of thinking about the
404
00:12:26,846 --> 00:12:29,081
{\an1}campaign against Muslim in the
405
00:12:29,081 --> 00:12:30,382
{\an1}contemporary world.
406
00:12:30,382 --> 00:12:32,818
{\an1}>> There's a question of whether
407
00:12:32,818 --> 00:12:33,853
{\an1}it's after-hours.
408
00:12:33,853 --> 00:12:35,020
{\an1}>> The museum is known for its
409
00:12:35,020 --> 00:12:36,422
{\an1}experienced curators and
410
00:12:36,422 --> 00:12:38,090
{\an1}researchers, who assemble such
411
00:12:38,090 --> 00:12:39,391
{\an1}objects.
412
00:12:39,391 --> 00:12:41,060
{\an1}The ambitious "Core" exhibit
413
00:12:41,060 --> 00:12:43,129
{\an1}requires an expanded team.
414
00:12:43,129 --> 00:12:45,531
{\an1}>> We have A.V. integrators,
415
00:12:45,531 --> 00:12:47,533
{\an1}computer interactive designers,
416
00:12:47,533 --> 00:12:50,035
{\an1}people who are designing maps,
417
00:12:50,035 --> 00:12:51,437
{\an1}animators who are dealing with
418
00:12:51,437 --> 00:12:52,805
{\an1}the computer games.
419
00:12:52,805 --> 00:12:53,906
{\an1}>> People who specialize in
420
00:12:53,906 --> 00:12:56,442
{\an1}handling objects and conserving
421
00:12:56,442 --> 00:12:57,877
{\an1}objects.
422
00:12:57,877 --> 00:12:59,879
{\an1}>> Specialists like sculptor and
423
00:12:59,879 --> 00:13:01,881
{\an1}conservator Chris Piazza.
424
00:13:01,881 --> 00:13:03,115
{\an1}In her workshop in a Brooklyn
425
00:13:03,115 --> 00:13:04,917
{\an1}carriage house, Piazza is
426
00:13:04,917 --> 00:13:06,252
{\an1}restoring some of the museum's
427
00:13:06,252 --> 00:13:09,054
{\an1}most precious objects, like this
428
00:13:09,054 --> 00:13:11,524
{\an1}miniature chandelier once eyed
429
00:13:11,524 --> 00:13:13,292
{\an1}by Audrey Hepburn in that
430
00:13:13,292 --> 00:13:14,927
{\an1}classic opening scene of
431
00:13:14,927 --> 00:13:17,897
{\an1}"Breakfast at Tiffany's."
432
00:13:17,897 --> 00:13:18,898
{\an7}>> Oh, it's marvelous.
433
00:13:18,898 --> 00:13:20,199
{\an7}You know, I get the sense that
434
00:13:20,199 --> 00:13:22,101
{\an7}I'm really helping this dear
435
00:13:22,101 --> 00:13:23,335
{\an7}little thing come back.
436
00:13:23,335 --> 00:13:25,337
{\an1}It's been in storage for many
437
00:13:25,337 --> 00:13:26,338
{\an1}years.
438
00:13:26,338 --> 00:13:29,542
{\an1}It has some breaks in the wire.
439
00:13:29,542 --> 00:13:30,943
{\an1}It needs very much to be
440
00:13:30,943 --> 00:13:32,978
{\an1}cleaned.
441
00:13:32,978 --> 00:13:34,980
{\an1}>> Using a Q-TIP dipped in water
442
00:13:34,980 --> 00:13:36,882
{\an1}and mild detergent, Piazza will
443
00:13:36,882 --> 00:13:39,084
{\an1}spend days delicately buffing
444
00:13:39,084 --> 00:13:42,054
{\an1}the piece, crystal by crystal.
445
00:13:42,054 --> 00:13:44,056
{\an1}And she'll research materials to
446
00:13:44,056 --> 00:13:45,057
{\an1}find the closest possible
447
00:13:45,057 --> 00:13:46,559
{\an1}replacements for crystals that
448
00:13:46,559 --> 00:13:47,560
{\an1}have gone missing over the
449
00:13:47,560 --> 00:13:50,162
{\an1}years.
450
00:13:50,162 --> 00:13:52,431
{\an1}>> Well, my job is to make it
451
00:13:52,431 --> 00:13:54,633
{\an1}look as good as it can look for
452
00:13:54,633 --> 00:13:57,136
{\an1}the exhibition -- not to
453
00:13:57,136 --> 00:13:59,872
{\an1}disguise its age, not to alter
454
00:13:59,872 --> 00:14:03,209
{\an1}it in any way, but to repair
455
00:14:03,209 --> 00:14:06,045
{\an1}anything that really critically
456
00:14:06,045 --> 00:14:08,113
{\an1}needs to be repaired.
457
00:14:08,113 --> 00:14:09,882
{\an1}>> It might sound tedious, but
458
00:14:09,882 --> 00:14:11,417
{\an1}for Piazza, this work is a
459
00:14:11,417 --> 00:14:14,153
{\an1}calling and a privilege.
460
00:14:14,153 --> 00:14:15,321
{\an1}>> There's an extraordinary
461
00:14:15,321 --> 00:14:19,325
{\an1}power that inanimate objects
462
00:14:19,325 --> 00:14:20,359
{\an1}have.
463
00:14:20,359 --> 00:14:22,328
{\an1}This little chandelier sums up
464
00:14:22,328 --> 00:14:24,430
{\an1}so much about mid-century
465
00:14:24,430 --> 00:14:25,431
{\an1}New York.
466
00:14:25,431 --> 00:14:27,132
{\an1}It sums up its glamour and its
467
00:14:27,132 --> 00:14:29,935
{\an1}beauty, 5th Avenue, the center
468
00:14:29,935 --> 00:14:32,504
{\an1}of Manhattan, whimsy, the
469
00:14:32,504 --> 00:14:34,139
{\an1}burgeoning art world at that
470
00:14:34,139 --> 00:14:37,376
{\an1}time, the post-war enthusiasm.
471
00:14:37,376 --> 00:14:38,644
{\an1}There's something about this
472
00:14:38,644 --> 00:14:40,646
{\an1}little thing that, when you look
473
00:14:40,646 --> 00:14:43,616
{\an1}at it, it's just so surprisingly
474
00:14:43,616 --> 00:14:45,484
{\an1}hopeful.
475
00:14:45,484 --> 00:14:47,019
{\an1}>> While dusting off relics of
476
00:14:47,019 --> 00:14:49,221
{\an1}the city's past, the museum also
477
00:14:49,221 --> 00:14:51,123
{\an1}looks to the future,
478
00:14:51,123 --> 00:14:52,324
{\an1}incorporating cutting-edge
479
00:14:52,324 --> 00:14:56,028
{\an1}technology into the exhibits.
480
00:14:56,028 --> 00:14:57,396
{\an1}A team of digital innovators
481
00:14:57,396 --> 00:14:58,397
{\an1}from the design group
482
00:14:58,397 --> 00:15:00,366
{\an1}Local Projects develops these
483
00:15:00,366 --> 00:15:02,534
{\an1}new high-tech elements.
484
00:15:02,534 --> 00:15:03,535
{\an7}>> So, one of the more amazing
485
00:15:03,535 --> 00:15:05,004
{\an7}parts of this is that it
486
00:15:05,004 --> 00:15:06,005
{\an7}operates much more like a
487
00:15:06,005 --> 00:15:07,373
{\an7}website than a static museum
488
00:15:07,373 --> 00:15:08,374
{\an7}exhibit.
489
00:15:08,374 --> 00:15:10,309
{\an1}We have this big wall, right?
490
00:15:10,309 --> 00:15:12,311
{\an1}>> Forget old-fashioned museums,
491
00:15:12,311 --> 00:15:13,479
{\an1}where you're roped off from the
492
00:15:13,479 --> 00:15:14,546
{\an1}action.
493
00:15:14,546 --> 00:15:16,181
{\an1}Local Projects' touch screens
494
00:15:16,181 --> 00:15:17,716
{\an1}will allow museum-goers to
495
00:15:17,716 --> 00:15:19,051
{\an1}interact with the stories
496
00:15:19,051 --> 00:15:20,119
{\an1}directly.
497
00:15:20,119 --> 00:15:22,121
{\an1}>> So, all of the materials that
498
00:15:22,121 --> 00:15:23,122
{\an1}are actually inside of here,
499
00:15:23,122 --> 00:15:25,424
{\an1}from these images to some of the
500
00:15:25,424 --> 00:15:27,326
{\an1}maps and some of the slide
501
00:15:27,326 --> 00:15:28,661
{\an1}shows -- these are all
502
00:15:28,661 --> 00:15:30,162
{\an1}dynamically generated by the
503
00:15:30,162 --> 00:15:31,163
{\an1}curators.
504
00:15:31,163 --> 00:15:33,165
{\an1}>> Designers with the futuristic
505
00:15:33,165 --> 00:15:34,199
{\an1}sensibility would prove
506
00:15:34,199 --> 00:15:36,168
{\an1}especially useful in creating
507
00:15:36,168 --> 00:15:37,202
{\an1}Gallery 3 of
508
00:15:37,202 --> 00:15:39,238
{\an1}"New York at Its Core," the
509
00:15:39,238 --> 00:15:41,373
{\an1}Future City Lab.
510
00:15:41,373 --> 00:15:42,675
{\an1}It's a high-tech, interactive
511
00:15:42,675 --> 00:15:44,343
{\an1}space where visitors can dream
512
00:15:44,343 --> 00:15:46,378
{\an1}up their own cityscapes and see
513
00:15:46,378 --> 00:15:48,180
{\an1}them come to life on a colossal
514
00:15:48,180 --> 00:15:49,248
{\an1}screen.
515
00:15:49,248 --> 00:15:51,350
{\an7}>> The Future City Lab, which is
516
00:15:51,350 --> 00:15:53,986
{\an7}kind of an unprecedented
517
00:15:53,986 --> 00:15:57,156
{\an7}exhibition in any city museum,
518
00:15:57,156 --> 00:15:59,158
{\an7}to really think about, "How does
519
00:15:59,158 --> 00:16:01,160
{\an7}the city face the big challenges
520
00:16:01,160 --> 00:16:03,128
{\an7}over the next generation or
521
00:16:03,128 --> 00:16:05,164
{\an7}so?", is so telling about the
522
00:16:05,164 --> 00:16:06,465
{\an7}ambition of the museum.
523
00:16:06,465 --> 00:16:08,400
{\an1}This is the Future City.
524
00:16:08,400 --> 00:16:09,601
{\an1}>> The ambition?
525
00:16:09,601 --> 00:16:11,103
{\an1}Inspiring visitors to help
526
00:16:11,103 --> 00:16:12,604
{\an1}create solutions to challenges
527
00:16:12,604 --> 00:16:13,739
{\an1}facing the city through the
528
00:16:13,739 --> 00:16:15,407
{\an1}21st century.
529
00:16:15,407 --> 00:16:16,575
{\an1}>> Palm trees have come to
530
00:16:16,575 --> 00:16:20,045
{\an1}New York because of climate
531
00:16:20,045 --> 00:16:21,313
{\an1}change.
532
00:16:21,313 --> 00:16:22,314
{\an1}>> Just like the city it
533
00:16:22,314 --> 00:16:24,116
{\an1}represents, the museum is
534
00:16:24,116 --> 00:16:26,151
{\an1}ever-evolving.
535
00:16:26,151 --> 00:16:27,686
{\an1}The Future City Lab -- and all
536
00:16:27,686 --> 00:16:29,288
{\an1}of New York at its core --
537
00:16:29,288 --> 00:16:31,090
{\an1}expands on themes introduced in
538
00:16:31,090 --> 00:16:33,492
{\an1}previous favorite exhibits, like
539
00:16:33,492 --> 00:16:35,761
{\an1}"Robert Moses' New York" and
540
00:16:35,761 --> 00:16:36,762
{\an1}"The Greatest Grid."
541
00:16:36,762 --> 00:16:38,564
{\an1}>> So, welcome to the Museum of
542
00:16:38,564 --> 00:16:41,233
{\an1}the City of New York.
543
00:16:41,233 --> 00:16:42,534
{\an1}>> As part of reimagining the
544
00:16:42,534 --> 00:16:44,570
{\an1}museum's role in the city, its
545
00:16:44,570 --> 00:16:46,071
{\an1}event schedule has been ramped
546
00:16:46,071 --> 00:16:48,707
{\an1}up, like this presentation where
547
00:16:48,707 --> 00:16:50,409
{\an1}an acclaimed soprano sang from
548
00:16:50,409 --> 00:16:52,544
{\an1}an Italian opera that inspired
549
00:16:52,544 --> 00:16:54,480
{\an1}Walt Whitman's poetry...
550
00:16:54,480 --> 00:16:59,084
{\an1}>> [ Singing in Italian ]
551
00:16:59,084 --> 00:17:00,452
{\an1}>> Walt, come on up.
552
00:17:00,452 --> 00:17:02,454
{\an1}>> ...boosted by some commentary
553
00:17:02,454 --> 00:17:03,455
{\an1}from Whitman himself.
554
00:17:03,455 --> 00:17:05,524
{\an1}>> It must have been about 1829
555
00:17:05,524 --> 00:17:07,092
{\an1}or '30 that I went with my
556
00:17:07,092 --> 00:17:08,827
{\an1}father and mother to hear
557
00:17:08,827 --> 00:17:11,830
{\an1}Elias Hicks preach in a ballroom
558
00:17:11,830 --> 00:17:13,465
{\an1}in Brooklyn Heights.
559
00:17:13,465 --> 00:17:15,567
{\an1}>> And the museum has started a
560
00:17:15,567 --> 00:17:16,835
{\an1}new summer tradition called
561
00:17:16,835 --> 00:17:18,504
{\an1}Uptown Bounce.
562
00:17:18,504 --> 00:17:20,839
{\an7}>> We have up to 1,500 people
563
00:17:20,839 --> 00:17:23,542
{\an7}dancing on our terrace, going
564
00:17:23,542 --> 00:17:24,676
{\an7}through our galleries.
565
00:17:24,676 --> 00:17:26,178
{\an7}We really open the door to our
566
00:17:26,178 --> 00:17:27,179
{\an7}communities.
567
00:17:27,179 --> 00:17:28,180
{\an7}And it's really just a vibrant,
568
00:17:28,180 --> 00:17:29,181
{\an7}fun party.
569
00:17:29,181 --> 00:17:31,316
{\an7}>> It's what the Museum of the
570
00:17:31,316 --> 00:17:33,786
{\an7}City of New York does so well --
571
00:17:33,786 --> 00:17:34,787
{\an7}making an institution of
572
00:17:34,787 --> 00:17:37,256
{\an7}learning accessible and fun.
573
00:17:37,256 --> 00:17:38,590
{\an7}Another priority?
574
00:17:38,590 --> 00:17:39,758
{\an7}Connecting the new, permanent
575
00:17:39,758 --> 00:17:41,760
{\an7}exhibit with a host of special
576
00:17:41,760 --> 00:17:43,729
{\an7}short-term offerings.
577
00:17:43,729 --> 00:17:44,730
{\an7}>> When you think of the
578
00:17:44,730 --> 00:17:47,299
{\an7}exhibitions that are up right
579
00:17:47,299 --> 00:17:49,835
{\an7}now, 100th anniversary of the
580
00:17:49,835 --> 00:17:52,571
{\an7}zoning resolution -- that's all
581
00:17:52,571 --> 00:17:53,639
{\an7}about density.
582
00:17:53,639 --> 00:17:56,375
{\an7}When you think about creativity
583
00:17:56,375 --> 00:17:58,477
{\an7}and diversity, think about
584
00:17:58,477 --> 00:17:59,645
{\an7}"Gay Gotham."
585
00:17:59,645 --> 00:18:00,813
{\an7}>> The vibrant "Gay Gotham"
586
00:18:00,813 --> 00:18:03,482
{\an7}exhibit, showing how the LGBTQ
587
00:18:03,482 --> 00:18:05,217
{\an7}community both shaped and was
588
00:18:05,217 --> 00:18:06,852
{\an7}shaped by the city's history,
589
00:18:06,852 --> 00:18:08,187
{\an7}was timed to coincide
590
00:18:08,187 --> 00:18:11,190
{\an7}with the opening of
591
00:18:11,190 --> 00:18:12,758
{\an7}"New York at Its Core."
592
00:18:12,758 --> 00:18:14,760
{\an7}Each display and video screen in
593
00:18:14,760 --> 00:18:15,828
{\an7}the new exhibit has been
594
00:18:15,828 --> 00:18:17,129
{\an7}carefully orchestrated.
595
00:18:17,129 --> 00:18:19,498
{\an7}But as curators count down to
596
00:18:19,498 --> 00:18:21,366
{\an7}the opening, there's still room
597
00:18:21,366 --> 00:18:23,535
{\an7}for unexpected delights.
598
00:18:23,535 --> 00:18:25,537
{\an7}>> One of my favorite moments of
599
00:18:25,537 --> 00:18:27,539
{\an7}working on an exhibition is when
600
00:18:27,539 --> 00:18:29,508
{\an7}the objects start to arrive.
601
00:18:29,508 --> 00:18:31,443
{\an1}We've seen them together on our
602
00:18:31,443 --> 00:18:33,745
{\an1}spreadsheets and on the
603
00:18:33,745 --> 00:18:36,315
{\an1}renderings of our gallery
604
00:18:36,315 --> 00:18:38,317
{\an1}spaces, but we've never seem
605
00:18:38,317 --> 00:18:40,152
{\an1}them physically together until
606
00:18:40,152 --> 00:18:41,887
{\an1}those boxes start to arrive.
607
00:18:41,887 --> 00:18:46,358
{\an1}>> Just four weeks before
608
00:18:46,358 --> 00:18:47,659
{\an1}"New York at Its Core's" start
609
00:18:47,659 --> 00:18:49,328
{\an1}date, one of the exhibit's most
610
00:18:49,328 --> 00:18:51,330
{\an1}prized artifacts is wheeled into
611
00:18:51,330 --> 00:18:55,701
{\an1}Gallery 1 -- the 17th century
612
00:18:55,701 --> 00:18:57,703
{\an1}wooden club carved by the Lenape
613
00:18:57,703 --> 00:18:59,605
{\an1}Indians, Manhattan's original
614
00:18:59,605 --> 00:19:00,606
{\an1}inhabitants.
615
00:19:00,606 --> 00:19:01,607
{\an1}>> After you.
616
00:19:01,607 --> 00:19:02,608
{\an1}>> Yes, please.
617
00:19:02,608 --> 00:19:03,609
{\an1}Oh, man. There it is.
618
00:19:03,609 --> 00:19:04,610
{\an1}>> It is so cool.
619
00:19:04,610 --> 00:19:05,611
{\an1}>> Hi.
620
00:19:05,611 --> 00:19:06,612
{\an1}That inlay, I --
621
00:19:06,612 --> 00:19:07,613
{\an1}>> The inlay is fascinating.
622
00:19:07,613 --> 00:19:08,614
{\an1}>> Yeah.
623
00:19:08,614 --> 00:19:09,615
{\an1}>> Really...
624
00:19:09,615 --> 00:19:10,616
{\an1}And then there's the foot of
625
00:19:10,616 --> 00:19:11,617
{\an1}the --
626
00:19:11,617 --> 00:19:12,618
{\an1}>> Oh, see, that I never knew
627
00:19:12,618 --> 00:19:13,619
{\an1}was -- Oh, my God.
628
00:19:13,619 --> 00:19:14,620
{\an1}It's almost like seeing a
629
00:19:14,620 --> 00:19:15,621
{\an1}celebrity, who you know their
630
00:19:15,621 --> 00:19:16,622
{\an1}picture, but you've never seen
631
00:19:16,622 --> 00:19:17,623
{\an1}them in the flesh and then they
632
00:19:17,623 --> 00:19:18,624
{\an1}arrive.
633
00:19:18,624 --> 00:19:21,193
{\an1}>> For the curators, this
634
00:19:21,193 --> 00:19:23,195
{\an1}celebrity sighting is a reminder
635
00:19:23,195 --> 00:19:25,197
{\an1}of the power of precious objects
636
00:19:25,197 --> 00:19:26,231
{\an1}to spark new perspectives on
637
00:19:26,231 --> 00:19:27,232
{\an1}history.
638
00:19:27,232 --> 00:19:28,500
{\an1}>> We always talk about
639
00:19:28,500 --> 00:19:29,968
{\an1}Henry Hudson discovering the
640
00:19:29,968 --> 00:19:30,969
{\an1}Indians.
641
00:19:30,969 --> 00:19:31,970
{\an7}Well, the Lenapes, just as
642
00:19:31,970 --> 00:19:34,406
{\an7}surely, discovered Henry Hudson
643
00:19:34,406 --> 00:19:39,444
{\an7}when they looked out one day,
644
00:19:39,444 --> 00:19:44,449
{\an7}fine day, in September of 1609
645
00:19:44,449 --> 00:19:49,488
{\an7}and saw this thing, which, in
646
00:19:49,488 --> 00:19:52,457
{\an7}their later recorded lore, is
647
00:19:52,457 --> 00:19:54,426
{\an7}described as a huge house
648
00:19:54,426 --> 00:19:55,427
{\an7}floating towards them.
649
00:19:55,427 --> 00:19:57,629
{\an1}And it's got people in it.
650
00:19:57,629 --> 00:19:59,631
{\an1}>> That floating house, actually
651
00:19:59,631 --> 00:20:00,632
{\an1}a Dutch ship, called the
652
00:20:00,632 --> 00:20:02,267
{\an1}Half Moon,
653
00:20:02,267 --> 00:20:03,969
will be represented
654
00:20:03,969 --> 00:20:05,237
{\an1}detailed replica.
655
00:20:05,237 --> 00:20:09,408
{\an1}It's just one of more than
656
00:20:09,408 --> 00:20:11,910
{\an1}450 artifacts to be displayed,
657
00:20:11,910 --> 00:20:13,545
{\an1}pieces that, just like the
658
00:20:13,545 --> 00:20:14,846
{\an1}Stettheimer Dollhouse and
659
00:20:14,846 --> 00:20:16,682
{\an1}Currier and Ives lithographs,
660
00:20:16,682 --> 00:20:20,352
{\an1}can be seen nowhere else.
661
00:20:20,352 --> 00:20:21,820
{\an1}Museum leaders are confident
662
00:20:21,820 --> 00:20:22,888
{\an1}they've designed something
663
00:20:22,888 --> 00:20:24,356
{\an1}spectacular.
664
00:20:24,356 --> 00:20:26,491
{\an1}>> Oh, this was an
665
00:20:26,491 --> 00:20:27,993
{\an1}all-hands-on-deck project for
666
00:20:27,993 --> 00:20:30,329
{\an1}everybody at the museum.
667
00:20:30,329 --> 00:20:32,864
{\an1}Everybody knew we had this
668
00:20:32,864 --> 00:20:35,634
{\an1}future that we were building
669
00:20:35,634 --> 00:20:37,769
{\an1}towards and everybody worked
670
00:20:37,769 --> 00:20:40,939
{\an1}very hard on it every single
671
00:20:40,939 --> 00:20:41,940
{\an1}day.
672
00:20:41,940 --> 00:20:42,975
{\an1}>> All to create the right mix
673
00:20:42,975 --> 00:20:45,043
{\an1}of materials, characters, and
674
00:20:45,043 --> 00:20:47,846
{\an1}text to reflect the sustained,
675
00:20:47,846 --> 00:20:49,715
{\an1}frenetic energy that has always
676
00:20:49,715 --> 00:20:51,750
{\an1}been at New York's core.
677
00:20:51,750 --> 00:20:53,819
{\an1}>> You cannot sit still in this
678
00:20:53,819 --> 00:20:54,820
{\an1}city.
679
00:20:54,820 --> 00:20:55,821
{\an1}You do not stop for lunch.
680
00:20:55,821 --> 00:20:57,623
{\an1}You do not look people in the
681
00:20:57,623 --> 00:20:58,690
{\an1}eye in the street.
682
00:20:58,690 --> 00:21:00,792
{\an7}You move on and you don't stop.
683
00:21:00,792 --> 00:21:01,860
{\an7}>> The fact that people don't
684
00:21:01,860 --> 00:21:03,562
{\an7}stop at traffic lights when
685
00:21:03,562 --> 00:21:04,563
{\an7}they're walking.
686
00:21:04,563 --> 00:21:06,565
{\an7}>> Even if they're on bikes, not
687
00:21:06,565 --> 00:21:07,733
{\an7}wearing bike helmets.
688
00:21:07,733 --> 00:21:09,501
{\an7}>> I find I do it, too.
689
00:21:09,501 --> 00:21:10,736
{\an7}I mean, I -- And I said, "What
690
00:21:10,736 --> 00:21:11,737
{\an7}am I doing?"
691
00:21:11,737 --> 00:21:13,505
{\an7}I'm following the buzz.
692
00:21:13,505 --> 00:21:15,507
{\an7}>> My European friends say, "Oh,
693
00:21:15,507 --> 00:21:16,508
{\an7}you're arguing all the time."
694
00:21:16,508 --> 00:21:17,509
{\an7}I said, "I'm not arguing.
695
00:21:17,509 --> 00:21:18,510
{\an7}That's a conversation in
696
00:21:18,510 --> 00:21:19,511
{\an7}New York."
697
00:21:19,511 --> 00:21:20,512
{\an7}>> There's that quote by
698
00:21:20,512 --> 00:21:22,514
{\an7}John Adams about how New Yorkers
699
00:21:22,514 --> 00:21:24,516
{\an7}don't stop moving, and they talk
700
00:21:24,516 --> 00:21:25,717
{\an7}loudly altogether, all at once.
701
00:21:25,717 --> 00:21:26,752
{\an7}>> As we do now.
702
00:21:26,752 --> 00:21:29,554
{\an7}We're all trying to talk.
703
00:21:29,554 --> 00:21:31,323
{\an7}>> Adams said, of New Yorkers,
704
00:21:31,323 --> 00:21:32,424
{\an7}"If they ask you a question,
705
00:21:32,424 --> 00:21:34,426
{\an7}before you can utter three words
706
00:21:34,426 --> 00:21:35,661
{\an7}of your answer, they will break
707
00:21:35,661 --> 00:21:37,362
{\an7}out upon you again and talk
708
00:21:37,362 --> 00:21:39,731
{\an7}away."
709
00:21:39,731 --> 00:21:40,732
{\an7}>> When people walk through the
710
00:21:40,732 --> 00:21:41,967
{\an7}exhibit, you know, it's not
711
00:21:41,967 --> 00:21:43,001
{\an7}gonna be John Adams they're
712
00:21:43,001 --> 00:21:44,536
{\an7}hearing, but there is, in fact,
713
00:21:44,536 --> 00:21:46,104
{\an7}a kind of image of New York and
714
00:21:46,104 --> 00:21:47,773
{\an7}a stereotype of the New Yorker,
715
00:21:47,773 --> 00:21:50,575
{\an7}which is not unfair, which shows
716
00:21:50,575 --> 00:21:52,678
{\an7}up and actually is one of the
717
00:21:52,678 --> 00:21:55,514
{\an7}threads that carries throughout.
718
00:21:55,514 --> 00:21:56,548
{\an7}>> As the construction and
719
00:21:56,548 --> 00:21:57,849
{\an7}cleaning crews do their final
720
00:21:57,849 --> 00:21:59,785
{\an7}buffs and polishes, the whole
721
00:21:59,785 --> 00:22:01,019
{\an7}exhibit team brims with
722
00:22:01,019 --> 00:22:03,722
{\an7}excitement...and just a little
723
00:22:03,722 --> 00:22:05,490
{\an7}trepidation.
724
00:22:05,490 --> 00:22:06,491
{\an7}>> It's just one of those
725
00:22:06,491 --> 00:22:07,793
{\an7}moments as you're about to face
726
00:22:07,793 --> 00:22:08,860
{\an7}the finish line, where you
727
00:22:08,860 --> 00:22:12,064
{\an7}think, "Gosh, I wish I had one
728
00:22:12,064 --> 00:22:15,467
{\an7}more week, you know, to get it
729
00:22:15,467 --> 00:22:16,468
{\an7}done."
730
00:22:16,468 --> 00:22:17,803
{\an7}>> Finally, five years after
731
00:22:17,803 --> 00:22:19,137
{\an7}preparations for the exhibit
732
00:22:19,137 --> 00:22:21,873
{\an7}began and 93 years after the
733
00:22:21,873 --> 00:22:25,977
{\an7}museum was founded,
734
00:22:25,977 --> 00:22:31,049
{\an7}"New York at Its Core" is ready.
735
00:22:31,049 --> 00:22:32,050
{\an7}[ Cheers and applause ]
736
00:22:32,050 --> 00:22:33,618
{\an7}>> At long last, New York, like
737
00:22:33,618 --> 00:22:35,787
{\an7}so many other world cities, has
738
00:22:35,787 --> 00:22:38,023
{\an7}a major exhibition about itself.
739
00:22:38,023 --> 00:22:39,758
{\an7}>> The holy grail for all who
740
00:22:39,758 --> 00:22:41,026
{\an7}are interested in understanding
741
00:22:41,026 --> 00:22:42,427
{\an7}the rich history of
742
00:22:42,427 --> 00:22:43,428
{\an7}New York City.
743
00:22:43,428 --> 00:22:44,863
{\an7}>> And I think kids who read
744
00:22:44,863 --> 00:22:46,898
{\an7}history in a book think that
745
00:22:46,898 --> 00:22:47,899
{\an7}it's dead.
746
00:22:47,899 --> 00:22:48,900
{\an7}It's not real.
747
00:22:48,900 --> 00:22:49,901
{\an7}It's not alive.
748
00:22:49,901 --> 00:22:51,570
{\an7}When you come to a museum, you
749
00:22:51,570 --> 00:22:52,871
{\an7}understand that history's about
750
00:22:52,871 --> 00:22:53,872
{\an7}people.
751
00:22:53,872 --> 00:22:54,873
{\an1}>> We think this will be the
752
00:22:54,873 --> 00:22:56,775
{\an1}hottest ticket in town.
753
00:22:56,775 --> 00:22:58,477
{\an1}>> And with that, the
754
00:22:58,477 --> 00:23:00,078
{\an1}"New York at Its Core" exhibit,
755
00:23:00,078 --> 00:23:01,446
{\an1}the new centerpiece of the
756
00:23:01,446 --> 00:23:02,748
{\an1}Museum of the City of New York,
757
00:23:02,748 --> 00:23:05,016
{\an1}opens to the public.
758
00:23:05,016 --> 00:23:06,651
{\an1}Both locals and tourists from
759
00:23:06,651 --> 00:23:09,154
{\an1}far and wide begin to stream in.
760
00:23:09,154 --> 00:23:10,655
{\an1}>> We really want our visitors
761
00:23:10,655 --> 00:23:11,656
{\an1}who come to see
762
00:23:11,656 --> 00:23:13,658
{\an1}"New York at Its Core" to deepen
763
00:23:13,658 --> 00:23:15,660
{\an1}their understanding of New York.
764
00:23:15,660 --> 00:23:16,661
{\an1}It's a celebration, but it's
765
00:23:16,661 --> 00:23:18,497
{\an1}also really an investigation
766
00:23:18,497 --> 00:23:20,832
{\an1}about that undefinable thing --
767
00:23:20,832 --> 00:23:24,169
{\an1}what makes New York New York?
768
00:23:24,169 --> 00:23:26,705
{\an1}>> And when immigrants came to
769
00:23:26,705 --> 00:23:29,641
{\an1}this country, did they see the
770
00:23:29,641 --> 00:23:31,977
{\an1}Statue of Liberty welcoming them
771
00:23:31,977 --> 00:23:34,513
{\an1}to a new world?
772
00:23:34,513 --> 00:23:35,514
{\an1}>> Yeah.
773
00:23:35,514 --> 00:23:36,515
{\an1}>> Yes.
774
00:23:36,515 --> 00:23:37,516
{\an7}>> I think that that's the
775
00:23:37,516 --> 00:23:39,518
{\an7}purpose of museums -- to give us
776
00:23:39,518 --> 00:23:41,620
{\an7}an opportunity to go and find
777
00:23:41,620 --> 00:23:43,989
{\an7}things about ourselves through
778
00:23:43,989 --> 00:23:47,025
{\an7}carefully chosen and displayed
779
00:23:47,025 --> 00:23:48,860
{\an7}objects that belong to all of
780
00:23:48,860 --> 00:23:49,861
{\an7}us.
781
00:23:49,861 --> 00:23:50,862
{\an1}>> Who's this artist, Kaia?
782
00:23:50,862 --> 00:23:51,863
{\an1}>> Oh, yeah.
783
00:23:51,863 --> 00:23:53,698
{\an1}>> Who is that?
784
00:23:53,698 --> 00:23:55,066
{\an1}>> Jackson Pollock.
785
00:23:55,066 --> 00:23:57,035
{\an1}>> Yes. Jackson Pollock.
786
00:23:57,035 --> 00:23:59,137
{\an1}>> Just as curators hoped, the
787
00:23:59,137 --> 00:24:00,872
{\an1}objects they worked so hard to
788
00:24:00,872 --> 00:24:02,507
{\an1}gather are bringing New York's
789
00:24:02,507 --> 00:24:04,476
{\an1}story to life.
790
00:24:04,476 --> 00:24:05,477
{\an1}>> So, in school, I'm learning
791
00:24:05,477 --> 00:24:06,912
{\an1}about Boss Tweed, and they
792
00:24:06,912 --> 00:24:08,780
{\an1}showed his cane, his cuffs.
793
00:24:08,780 --> 00:24:09,781
{\an1}It's kind of, like, something
794
00:24:09,781 --> 00:24:10,782
{\an1}that I'm interested in, so it
795
00:24:10,782 --> 00:24:11,850
{\an1}kind of intrigued me a little
796
00:24:11,850 --> 00:24:12,851
{\an1}more to see it.
797
00:24:12,851 --> 00:24:13,852
{\an1}So it's, like -- It's good that
798
00:24:13,852 --> 00:24:15,253
{\an1}I finally got to see, like, how
799
00:24:15,253 --> 00:24:16,955
{\an1}his lifestyle actually was.
800
00:24:16,955 --> 00:24:18,623
{\an1}>> It's kind of interesting how
801
00:24:18,623 --> 00:24:20,592
{\an1}they were able to save that
802
00:24:20,592 --> 00:24:21,593
{\an1}online.
803
00:24:21,593 --> 00:24:22,928
{\an1}>> I really love this.
804
00:24:22,928 --> 00:24:24,029
{\an1}It keeps you moving.
805
00:24:24,029 --> 00:24:25,697
{\an1}You keep moving from one place
806
00:24:25,697 --> 00:24:26,698
{\an1}to the other.
807
00:24:26,698 --> 00:24:28,900
{\an1}And I love this over here with
808
00:24:28,900 --> 00:24:29,901
{\an1}the swipe thing.
809
00:24:29,901 --> 00:24:30,902
{\an1}That's great.
810
00:24:30,902 --> 00:24:32,037
{\an1}>> The power of interactive
811
00:24:32,037 --> 00:24:33,572
{\an1}video is most clear in the
812
00:24:33,572 --> 00:24:36,975
{\an1}Future City Lab, where the giant
813
00:24:36,975 --> 00:24:38,577
{\an1}installation allowing visitors
814
00:24:38,577 --> 00:24:40,579
{\an1}to design their own New York, is
815
00:24:40,579 --> 00:24:41,613
{\an1}a runaway hit.
816
00:24:41,613 --> 00:24:43,114
{\an1}>> Do you think families also
817
00:24:43,114 --> 00:24:44,115
{\an1}would enjoy farm-to-table
818
00:24:44,115 --> 00:24:45,116
{\an1}restaurants?
819
00:24:45,116 --> 00:24:46,117
{\an1}>> Yeah.
820
00:24:46,117 --> 00:24:47,719
{\an1}>> They grow their own
821
00:24:47,719 --> 00:24:48,720
{\an1}vegetables.
822
00:24:48,720 --> 00:24:50,055
{\an1}>> Where do you want to put it?
823
00:24:50,055 --> 00:24:51,756
{\an1}>> Every kid is familiar with
824
00:24:51,756 --> 00:24:53,758
{\an1}iPads, and it's just giving them
825
00:24:53,758 --> 00:24:56,094
{\an1}a sense of what you can actually
826
00:24:56,094 --> 00:24:57,095
{\an1}do, other than video games.
827
00:24:57,095 --> 00:24:59,965
{\an1}So, we've come here many times,
828
00:24:59,965 --> 00:25:01,666
{\an1}but this is the freshest it's
829
00:25:01,666 --> 00:25:03,001
{\an1}ever felt and the most engaging
830
00:25:03,001 --> 00:25:04,002
{\an1}for our kids.
831
00:25:04,002 --> 00:25:05,570
{\an1}>> As it approaches its
832
00:25:05,570 --> 00:25:07,205
{\an1}centennial, the Museum of the
833
00:25:07,205 --> 00:25:08,974
{\an1}City of New York has developed
834
00:25:08,974 --> 00:25:10,175
{\an1}into one of the city's most
835
00:25:10,175 --> 00:25:13,545
{\an1}vibrant cultural institutions.
836
00:25:13,545 --> 00:25:14,546
{\an1}And with the
837
00:25:14,546 --> 00:25:15,847
{\an1}"New York at Its Core" exhibit,
838
00:25:15,847 --> 00:25:17,682
{\an1}the museum inspires visitors to
839
00:25:17,682 --> 00:25:19,117
{\an1}reconnect to the city's storied
840
00:25:19,117 --> 00:25:24,155
{\an1}past and envision its future.
841
00:25:24,155 --> 00:25:25,323
{\an1}>> Visitors will change their
842
00:25:25,323 --> 00:25:26,892
{\an1}perception of the city.
843
00:25:26,892 --> 00:25:28,159
{\an1}>> I hope, for visitors, the
844
00:25:28,159 --> 00:25:29,995
{\an1}exhibit is challenging.
845
00:25:29,995 --> 00:25:31,129
{\an1}I hope it it challenges them to
846
00:25:31,129 --> 00:25:32,130
{\an1}think about New York
847
00:25:32,130 --> 00:25:33,164
{\an1}differently, to think about
848
00:25:33,164 --> 00:25:34,299
{\an1}their own place in New York
849
00:25:34,299 --> 00:25:35,834
{\an1}history differently, and to
850
00:25:35,834 --> 00:25:38,003
{\an1}think about museums differently.
851
00:25:38,003 --> 00:25:40,005
{\an1}>> I hope that our visitors will
852
00:25:40,005 --> 00:25:42,607
{\an1}come away with a sense of their
853
00:25:42,607 --> 00:25:45,043
{\an1}responsibility and opportunity
854
00:25:45,043 --> 00:25:46,311
{\an1}to shape the present and the
855
00:25:46,311 --> 00:25:47,312
{\an1}future.
856
00:25:47,312 --> 00:25:48,580
{\an1}>> History matters.
857
00:25:48,580 --> 00:25:50,815
{\an1}History is something that's not
858
00:25:50,815 --> 00:25:53,652
{\an1}just in a dry, dusty textbook
859
00:25:53,652 --> 00:25:55,854
{\an1}full of boring facts, but
860
00:25:55,854 --> 00:25:57,856
{\an1}history lives, in that there are
861
00:25:57,856 --> 00:25:59,824
{\an1}histories to everything.
862
00:25:59,824 --> 00:26:03,828
{\an1}I want them coming out thinking,
863
00:26:03,828 --> 00:26:05,864
{\an1}"I love New York."
864
00:26:05,864 --> 00:26:06,865
{\an1}>> This program was made
865
00:26:06,865 --> 00:26:12,871
{\an1}possible by the
866
00:26:12,871 --> 00:26:12,871
{\an1}Jerome L. Greene Foundation.
61600
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