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00:00:05 0.52 |
Color bars - WNET30
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00:01:34 89.71 |
Title Slate: The Eleventh Hour #314 Newark Arts Center. Rec: 2/20/90 Dir: Andrew Wilk.
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00:01:52 108.11 |
Grants for the program by announcer . Charitable organizations overlay The Eleventh Hour graphic
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00:02:10 126.22 |
Show opener
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00:02:28 143.41 |
Host Robert Lipsyte in the studio sitting next to 4 small tv screens with depictions of modern art work. He talks about tonight's topic, and compares how "New York's Lincoln Center turned that section of the city from low rent to high class and how Newark, New Jersey wants to try that classical combination of culture and concrete in its own Renaissance."
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00:02:45 161.09 |
Host Robert Lipsyte welcomes viewers to the show and introduces himself. He announces tonight's topic and cuts to an off site segment on Newark's art renaissance and urban renewal.
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00:02:59 174.69 |
Wide shot tilt down and z'in on an industrial area of Newark New Jersey. Smoke stacks, railroad tracks and factory buildings are seen.
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00:03:09 184.72 |
z'out from black iron framed window, an modern art sculpture next to window, and view from window of a Newark street in an industrial area, smoke stack can be seen
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00:03:12 187.72 |
African American Artist, Willie Cole approaching large lime green metal doors on brick building, opens door and steps inside.
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00:03:18 193.47 |
Interior of Cole's art studio filled with all types of 'found' objects from the streets.
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00:03:28 204.04 |
Montage of various objects d'art created by Willie Cole and made by objects he found in the streets of Newark
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00:03:46 222.3 |
Artist Cole at work in his studio putting together various objects as he narrates about the mid '80's and all the galleries and artists in Newark at that time.
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00:04:15 251.28 |
Cole speaking with unseen interviewer in his gallery about a gallery in the 80's he had but lost the funding.
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00:04:23 258.39 |
Cole at work on his hands and knees creating a piece, putting metal objects together on a large white sheet and gradually making it look like something interesting.
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00:05:04 299.52 |
Cole's works hanging on a wall in his studio. He states his work and life as an artist is supported by New York not Newark.
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00:05:05 301.16 |
Pan of Newark, New Jersey POV the top of a building, the industrial area, and downtown skyscrapers
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00:05:21 317.03 |
Architectural rendering of a new vision for Newark complete with an opera house, concert hall, music and dance theaters and a children's theater.
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00:05:30 325.72 |
Lawrence Goldman, President of the NJ Center for the Performing Arts standing on the roof of a high rise in Newark and pointing out the potential site of the 200 million dollar performing arts center.
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00:05:34 330.08 |
Pan area of New Jersey around the river looking vaguely sparse, a large white vacant brick building, parking lots and cars, low lying structures, and what seems like a lot of space.
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00:05:56 351.48 |
Tilt down on construction area, large tractor moving dirt, a crane and workers are seen.
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00:06:05 360.49 |
Goldman continuing talking to unseen interview about potential construction of the new art center that would be woven into the fabric of Newark.
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00:06:10 365.29 |
Continuing pan of Newark over the area of the new arts district, the river winding through the city on a foggy day, industrial buildings.
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00:06:15 370.37 |
Artist rendering of a new arts center including many people gathered in the area.
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00:06:27 383.26 |
Pan out from the front entrance to the Newark Museum.
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00:06:32 387.49 |
Mary Sue Sweeney, Director Newark Museum speaking to unseen unknown interviewer from inside the museum about the economic and visibility impact of the proposed cultural arts center
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00:06:37 393.23 |
People walking around the only museum in Newark, looking at the paintings on the walls.
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00:06:45 400.65 |
Pan in on the current art show at the museum, "Against the Odds", artwork on the walls exhibited featuring all African American artists.
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00:06:52 407.73 |
Footage B&W of an unknown, male, African American artist painting in an industrial area in Newark, he's looking at a large span of bridge, freight trains, smoke stacks.
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00:06:55 410.96 |
Footage B&W a female (1920s-1930s), African American sculptor at work, carving a bust, using a real life model
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00:06:57 413.03 |
B&W historic footage, a tall well dressed white woman handing a check to a Black male wearing a suit seated in what looks like a gallery - paintings displayed on the walls besides him.
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00:07:00 415.79 |
Newspaper article with head shot photo of real estate Barron, William E. Harmon - a great philanthropist who supported the African American artists in the '20 and 30's.
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00:07:05 421.27 |
Pan out from three sculptures displayed in the museum. Mary Sue Sweeney standing next to sculptures and talking (to unseen interviewer) about how the proposed art center should have a commitment to the local community and to to art education.
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00:07:24 439.66 |
Close up on African American artist, Willie Cole, speaking with unseen unknown interviewer, wonders whether the proposed art center will support the African American art scene.
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00:07:51 466.55 |
Pan in over heart of Newark New Jersey, building with gold dome, high rises, to a ghetto, slum area of town.
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00:07:57 473.08 |
Poet and community activist, Amiri Baraka, seen walking down a ghetto street in Newark.
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00:08:04 479.54 |
Pan down from and old red brick apartment building shot through chain linked fence, front entrance boarded up, Baraka is seen walking briskly by.
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00:08:09 484.64 |
City street in older neighborhood in Newark, sign for Tessler & Sons Auto Body, Supermarket awning, cars parked and people (African American) hanging about (narration by Baraka).
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00:08:16 491.28 |
African American men hanging around an old abandoned brick building, chain link fence, tire and litter scattered about,.
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00:08:19 494.34 |
historic footage early 20th century Newark, historic building, vintage cars in traffic -scene of a vibrant city.
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00:08:22 498.28 |
B&W footage black jazz musicians including Charlie Parker performing (circa 1930's). - with Baraka narration.
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00:08:35 510.3 |
B&W footage hands playing piano
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00:08:41 517.22 |
Footage close up Charlie parker playing sax (most likely at the Silver Saddle)
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00:08:54 529.8 |
Amiri Baraka walking down littered street talking with unseen unknown interviewer about his hope of restoring and bringing back the cultural vitality to the entire city through the proposed cultural center (being built on the other side of town).
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00:09:11 547.06 |
Historic b&w footage circa early 1900's of a road crew - team of men swinging axe picks, doing road construction, using rakes to smooth the dirt. Vintage car is seen.
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00:09:20 555.37 |
Var of shots neighborhoods in Newark - black man walking down cobblestone street past dilapidated buildings, Lincoln Park area, older rundown neighborhood to more established downtown area with trees and red brick buildings
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00:09:31 566.36 |
Pan of the older 19th and early 20th century houses downtown Newark. Lipsyte narrates about the gentrification and renovation of these buildings in conjunction with the proposed cultural arts center
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00:09:43 579.08 |
Baraka on the street talking with unseen interviewer about the need for more of a mix between the general working class people and the arts. More low income housing is needed.
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00:09:58 594.13 |
Pan out from a reflection of a dead tree with birds nesting in a window to the Newark community School of the Arts building.
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00:10:07 602.64 |
Jazz bassist Chris White and unknown flutist - practicing at the Newark Community School of the Arts.
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00:10:19 614.62 |
Unknown African American man playing flute (student)
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00:10:28 623.87 |
Chris White, Newark Community School of the Arts speaking from his office (1980's style computer with hard drive on his desk) to unknown unseen interviewer.
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00:10:41 637.17 |
Lawrence Goldman speaking from a balcony overlooking the potential site of the cultural arts center and talking with unseen interviewer. He addresses the concerns from the people of Newark that the cultural center won't be for the "ordinary folk". He states the center is intended to be multiple-racial and cross-cultural.
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00:11:15 671.1 |
Cutaway to artist Willie Cole expressing his concerns "that people speak supportively in terms of things that involve the arts as a way to get attention and support and money, and when that thing comes to pass the artists are closed out".
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00:11:38 693.4 |
Back with Amiri Baraka walking briskly through ghetto area of town, stops, and turns then keeps walking. Lipsyte narrates.
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00:11:42 698.2 |
Run down area, brick building with red framed windows and door, broken down cart out front, some litter. Wide shot rest of same street, cobblestones and other older brick buildings, cars parked halfway on sidewalk.
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00:11:49 704.94 |
Wide shot of old brick church in Newark and pan across street to Amiri Baraka sitting on park bench. He talks with unseen interviewer and is optimistic about the cultural arts center especially that it would connect the two neighborhoods,
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00:12:23 738.43 |
Host Robert Lipsyte introduces and welcomes his first guest, Leon Denmark, Executive Director Newark Symphony Hall (currently the only cultural arts center in Newark), pan to Denmark.
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00:12:24 739.33 |
INTERVIEW - LEON DENMARK
Robert Lipsyte 12:20 Executive Director of Newark Symphony Hall. Currently the city's only Cultural Center. Welcome, as Robert Lipsyte 12:27 Symphony Hall is now going to be kind of in the middle now between this shorter million dollar Art Center in the Renaissance section, and a myriad of rockers community center in the poor neighborhood. What how do you fit into this? Leon Denmark 12:43 Well, I guess you could say physically, we might eventually end up in the middle. But I have to point out that both the New Jersey State Art Center and Mr. brockers Coast idea are still at the idea stages. And in fact, at present New York City Hall has has to take the lead actually in in developing a cultural aesthetic there in Newark, and providing a place for artists. Robert Lipsyte 13:12 But do you think that art really is going to make that kind of impact in Newark? I mean, we've done shows on on Newark, and we've seen that this is a city in dire need economically, certainly in terms of health care, and in a lot of ways. Leon Denmark 13:25 Well, I'm not so I wouldn't be so bold as to say that art can single handedly solve the problems of Newark or any other city like Newark. But I will say that the art in the prospering of performing arts centers like Newark Symphony Hall can play a significant role in revitalizing the City Robert Lipsyte 13:46 Now you, Symphony Hall has as played a role on on both ends of the spectrum, now from a Sly Stone to La Boheme other than you know, both are what What Does the city need? Leon Denmark 14:01 Well, the city needs a you know cultural institutions that, in my opinion, provide a a mix of, of artistic events for all the citizens of Newark. Being at New York Symphony Hall, I realized that a great part of my cultural programming has to address the fact that we're in Newark, and Newark is a city of largely African American and Hispanic American people. But at the same time, I have to realize that Newark sits in the middle of a very densely populated metropolitan area. And then if Symphony Hall or any other cultural institution in Newark is going to be successful, it not only has to serve as its closer constituency, but it has to serve as the wider constituents. Robert Lipsyte 14:50 But as Willie Cole in the tape piece we just saw, made the point that you move simply not while you were there, but Symphony Hall moved from James Brown to opera so In a sense, a decision was made? Leon Denmark 15:02 No, I don't think a conscious decision was made to do that. During that same period, from my understanding, and I've only been there a few months, or perhaps I don't have a complete understanding. From my understanding Symphony Hall suffered a great physical deterioration, and that in fact, the two of the organizations that were willing to stick it out, while the while Symphony Hall was on its way back, was a New Jersey State Opera, and the New Jersey symphony orchestra. I think even during that time, independent promoters did bring in popular artists, a perhaps they didn't dominate the scene as much as they did previously. Robert Lipsyte 15:44 We'll be talking more about such artistic decisions in a moment. Leon, Denmark and I will be back with John Lindsay and Harvey Lichtenstein after this brief intermission with Chris White, the jazz bassist you saw at the top of the show, playing with student Haven Claiborne's in one of his master classes in Newark. |
00:15:52 948.01 |
Host Lipsyte interrupts interview temporarily and cuts to brief segment with Jazz musician, Chris White and student, Hayden Claybourne
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00:16:08 963.52 |
cutaway to brief performance by White and Claybourne, White on standing bass, Claybourne on flute.
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00:17:13 1029.27 |
Back with Host Lipsyte, he introduces guests joining Leon Denmark - Harvey Lichtenstein, President Brooklyn Academy of Music and former Mayor John Lindsay, currently Chairman Lincoln Center Theater Company
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00:17:30 1045.9 |
Wide shot in studio, Robert Lipsyte sitting with Denmark, Lichtenstein and Lindsey
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00:17:31 1046.33 |
INTERVIEW
Robert Lipsyte 17:27 at Lincoln Center revitalized the west side and something like Lincoln Center can do it for Newark, is it that simple. John V. Lindsay 17:35 It takes a lot of work and a lot of money, but it can happen. Robert Lipsyte 17:38 what else what else needs to be done? I mean, art alone can't do it. John V. Lindsay 17:45 We were talking about a little bit earlier spirit, and caring, and love and concern for the arts, and for music and for drama and for everything. Robert Lipsyte 17:54 Yeah, you didn't mention the magic word money. Harvey Lichtenstein. Let's talk about money in terms of watching the neighborhood in Brooklyn, improve and get pricier as BAM became more popular and was more in the public, which came first? Harvey Lichtenstein 18:12 Well, we went through a couple of transformations at bam, really, because when I came there in 67, it was a better neighborhood. And it went down for a while around about us and we had to kind of sit there and carry the beacon forward and keep staying there and keep doing things. And gradually now it's turning around, it's turning around as New York is expanding as the artist community is expanding to Brooklyn, as housing in Manhattan is more difficult and people are moving out there. And it's expanding also as we begin to address certain issues which were not so prevalent maybe 10, 15 20 years ago Robert Lipsyte 18:48 such as Harvey Lichtenstein 18:50 such as issues relating to the international situations, the multicultural aspect of this country, issues that are now pressing themselves on cultural institutions and every other institution in this country. Robert Lipsyte 19:05 Leon, are there lessons for Newark, either in in the Lincoln Center or the Brooklyn Academy story. Leon Denmark 19:12 Well, Lincoln Center lesson perhaps is to for Newark Symphony Hall in the New Jersey Performing Arts Center and to always realize how valuable it is and will be to the development of the surrounding community. And I guess one of the lessons to also to be learned from that is to try to in the early stages, make sure that the performing arts center Newark Symphony halls Performing Arts Center in the New Jersey Performing Arts Center, share in that value. That's a lesson to be learned and from band we need to learn and always keep foremost in our mind that we have to constantly be relating to the community that surrounds us. Robert Lipsyte 19:57 But one of the problems Newark has is it law In the shadow of New York, Willie calls when we saw on the tape makes his money in New York, people go to New York, people live in New Jersey and play in the Philharmonic and act on your stages. But how is Newark going to get out from that shadow to have an identity of its own? Leon Denmark 20:19 Well, I mean, there are several things that have to be considered. Newark has up until now been in the shadow of New York, but it didn't really have to be. Newark has around it exclusive of New York, an audience potential audience of 4.5 million people. And then the programs that we initiated this year at New York Symphony Hall, most of our audience came from that populace, not from the New York populace. So we have to just be aware of that and understand that there's a strong possibility for us to create our own artistic identity. Also, there's such a abundance of quality art in this country. And in this area, that what we're discovering at Newark, Symphony Hall is that we can have a program of high quality that cannot be duplicated in New York City, simply because of the quantity that's available. So we can form our own artistic identity. And we have our own audience Robert Lipsyte 21:21 Lindsay It seems that a lot of landlords around Lincoln Center got rich, buildings went up property values went up, if there hadn't been that opportunity to make money, like a senator would probably would not have been built would it have? John V. Lindsay 21:37 Well, it was built, because of John D. Rockefeller, the third, that's the reason it was built. And, and he was the energy that that surrounded this whole thing. But I congratulate Newark, I congratulate Leon, on what he's been doing, I congratulate the Art Center. And I wish them all kinds of luck. Because I congratulate you to Harvey, on what you were doing in Brooklyn, Robert Lipsyte 21:58 you really kind of avoided my question, which really is that art itself doesn't exist in a vacuum. There have to be other interests, particularly real estate interests, that are going to have some reason for the area to be developed, to be made safe to be made a Mecca, as it were, for people to come in? John V. Lindsay 22:20 I think the proper answer to your question is that culture and art is good for cities, and good for real estate and good for, for safety. Very important to all the development of a city itself. Culture is at the heart of it. Harvey Lichtenstein 22:38 Let me answer that also and also refer to the question you asked Leon about being near New York City, cuz we're near New York City. I mean, one would say that Brooklyn is not part of the central part of the city Robert Lipsyte 22:51 more psychologically, you seem near than you are, even though you're really not Harvey Lichtenstein 22:54 maybe but I mean, there was one funny joke which, which was said when I first came to bam, which was that, oh, Martha Graham was in Brooklyn. Oh, wait till she gets to London. Okay, so by someone over Manhattan, right. So, it may be but to a lot of people, that barrier of the East River is a terrific barrier. I think it's um, and also, you know, the business about being tied to money and real estate and so on. I mean, there have been important cultural centers, the centers that exist in places which are, which you would not think they should exist. And, I mean, I know for instance, Peter Brooks Theatre in Paris, a brief dinner there Sadler's Wells Theatre in London, which is outside of the Central West End district. And a lot of that depends on the people that run them the energy, they drive their interest there. I mean, one of the things that Leon has to do with Symphony Hall is to give it its own character, not to just repeat what's happening across the river. That's what we had to do not to just repeat what's happening because the river across the river because even people that live close to us would rather go across the river, maybe then come to bam, even people from Booklyn Robert Lipsyte 23:57 one of the things with the $200 million Art Center in Newark, is that it is part of the revitalization of Newark, which also includes shopping centers, office buildings and homes, Leon Denmark 24:10 you know, be sure whenever you start to take the interest in a community that is required to say we're going to build a new performing arts center, or that we're going to renovate Symphony Hall, what it does is send a signal to all all sorts of sectors of a community that the powers that be people with resources are interested in this area, so it's more safe or safer for me to become interested in the area. So at Symphony Hall, for example, as we start to build our audiences, and there are two or 3000 people coming and going at Symphony Hall four and five nights a week. That's a signal to the business community, to people, families, looking for places believe that there is interest in this area, and it's safer for me to take an interest in the area Robert Lipsyte 25:06 Yeah, now a symphony hall is going to be at least supplanted or augmented by these, these two other facilities, and the constant thought of whether the energy should be in the kind of artistic museum, you know, opera, or more specific to what may seem to be the needs of the community of the moment. That's something that Harvey's wrestle with Harvey Lichtenstein 25:33 Well I think they're, they're, they're both of those issues, I think it has to deal with both of them. I mean, in order for there to be the establishment north, for there to be an alternative, there has to be the establishment. And I think to deal with what are commonly called the arts, I mean, whether it's symphony, or opera or theatre or whatever, you also have to have the counter arguments which which revitalize the arts, I mean, in a sense, we consider ourselves an alternative to the central city organizations that exist, the Lincoln centers, the Carnegie, Hall's, and so on. And I think maybe in a way, Leon might consider himself as an alternative to the big center that's going to be built on the other side of town, I think you need both of them. But nevertheless, whatever position you have, there still has to be the kind of imagination and energy that will give it life, you can have a dull, traditional center, and adult and a center or you can have something that's alive and interesting and challenging and imaginative on both ends of the stick. So I think that that's really the challenge for Newark as it is a challenge for any city Robert Lipsyte 26:35 the first thing is the art has to be good. Whatever it is Harvey Lichtenstein 26:39 it has to be good. It has to be interesting has to be put into context. It has to be mixed up in this world we're living in which is getting smaller and smaller and smaller and smaller. You have to really embrace all of that. And in this country, which is embracing so many more different cultures. You have to recognize that Robert Lipsyte 26:57 Harvey Lichtenstein, John Lindsay, Leon Denmark, thanks very much for being with us. |
00:27:02 1618.21 |
Interview concludes, Lipsyte thanks guests. He encourages viewers to write into the viewer forum.
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00:27:14 1630.08 |
Stamped envelope with Talkback address. Phone number overlay stack of letters and phone number overlay stack of letters and rotary dial phone speaker.
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00:27:32 1647.44 |
Host Lipsyte announces show and introduces himself. Show end.
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00:27:39 1654.73 |
Show credits.
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00:28:20 1695.68 |
Funding by announcer, charitable orgs overlay Eleventh Hour graphic.
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00:28:57 1732.36 |
Reel end
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