WLIW Arts Beat


WLIW Arts Beat - March 2, 2020

In this edition of WLIW Arts Beat, a photographer reflects on his career; an exhibit features artifacts from the Apollo 11 lunar mission; freelance artists foster community development through media; and a young girl celebrates her Mexican heritage through traditional folklore dances.

AIRED: March 02, 2020 | 0:26:39



>> In this edition of

"WLIW Arts Beat"...

>> The three P's of photography.

>> The most important thing

about wanting to become

a photojournalist is you've got

to have total dedication.

>> An exhibit celebrating

man's lunar love affair.

>> We couldn't have hoped to

reach the moon without

Copernicus showing us how the

solar system works, for Newton

explaining the laws of gravity

and planetary orbits, or

Galileo's observations of the

lunar surface through a

telescope for the first time.

>> Creating change through


>> We're exploring workforce

development, housing, food,

access, and health care

and, really, it's just an

opportunity for us to be able to

engage with the community and

take the idea of a content

channel a next step further

to figure out, you know, how can

we take the content that we

create and have it impact people

at a very local level?

>> And sharing cultural

heritage through folklore dance.

>> This is the hat we had to


It's called a sombrero.

And then a rebozo.

Then, if you wanted, you could

wear bracelets and gold


The suit -- I don't know

what it's called, but...

and then the skirt.

>> It's all ahead on this

edition of "WLIW Arts Beat."

Funding for "WLIW Arts Beat" was

made possible by viewers like


Thank you.

>> Welcome to WLIW Arts Beat.

I'm Diane Masciale.

For Ian Wright,

a fantastic photograph is all

about the three P's -- patience,

politeness, and perseverance.

We spent a day with the

Reno, Nevada-based photographer

who has taken pictures of

Johnny Cash, Ella Fitzgerald,

Mick Jagger, and the Beatles,

just to name a few.


[ Camera shutter clicks ]

>> My Name is Ian Wright.

I was born in northeast of

England in 1945, and I'm in my

58th year as a photojournalist.

The mentor that I had was

Arthur Soakell, my former


He actually put himself forward

with his knowledge of

photography and said, "Is there

anybody in the class that would

like me to teach them


And I put my hand up, and I was

the only one.

It was the best decision

I ever made in my whole life,

because he took this young

14-year-old kid and showed him

all the tricks of the trade.

And I started work the last week

of December of 1960,

and they decided at

The Northern Echo

in Darlington that they were

going to have a new editor who

was coming in to revamp the

paper, Sir Harold Evans, who is

voted the greatest editor of the

last century.

He was my second mentor.


Harry said to me later in years,

he said to me, you know,


Oh, by the way, John Lennon

gave me that nickname.

He said, "You know, Wrighty,

I heard it coming.

I said, "What did you hear?"

He said, "The '60s revolution.

I heard it coming."

The baby boomers had boomed,

And there were 25 million of

them -- 20 million in America,

5 million in Great Britain --

and he realized they had to have

a voice, and his first-ever

supplement was

"The Teenage Special."

He wanted coverage of everything

that was happening in our area.

And so he was the chronicler,

and he asked me to be the

illustrator at 16.

I got the job at that newspaper

as a junior darkroom boy.

My duties were to wash the

floor, make the chemicals,

make the tea, file the


Literally, I was a runner.

I'd go with senior photographers

on assignments and run back with

the plates, develop them and

print, and so on and so on.

That's how it all began.

All the other photographers

that Harry had acquired

inherited atThe Northern Echo

were all World War II age.

>> They had no idea who

The Beatles were, and so he

said, "Do you want to do it?"

I always put my hand up,

you know.

I've never put my hand down,

I always said yes.

He said that, "I can't

give you any extra money,

can't give me overtime.

You won't get any time off,

and you can't have any expenses.

Do you still want to do it?"


So that was how I started.

But the thing was,

I was far too young to drive,

so I had to go on my bike.

You know, and I had a huge plate

camera, and inside the bag --

it weighed probably about

35 pounds.

And inside of there

were 14 plate, glass negatives.

That's what I had to carry.

And also inside was a flash

as big as a Bentley headlight,

so I had to strap that all to

the frame of my bike, and I was

out in all weathers

photographing this revolution,

this '60s revolution.

We were there at the beginning.

My first-ever portrait for

"The Teenage Special," I went

and photographed this

Ms. Ella Fitzgerald.

Over the years, I've just been

so lucky with the assignments

I've been given.

I went and photographed every


I've done them all.

I learn never be in awe of any

of them because they are looking

at you as a professional, and

they expect you to be

professional, and if you are,

they will sit down, buy you a

drink, and they'll talk your

hind legs off because they love


But if you go in with an LP

cover and say, "Oh, can I have

your autograph, please?

I think your last LP

was absolutely fantastic."

You've had it. You've lost them.


So I met the Beatles for the

first time February 9th, 1963.

There couldn't have been more

than 200 people in that theater

that night.

It was a snowstorm in

Sunderland County,

Durham, England.

I heard this sound. It went --

♪ Wow, wow, wow

♪ Wow, wow, wow, wow

♪ Wow, wow, wow, wow


♪ Love, love me do

♪ You know I love you

So I pulled everything off the

bike, ran around the front

into the auditorium, took this

picture, and that was the

beginning of the revolution.

And according to the

National Portrait Gallery in

London, the picture I took of

them onstage is the

earliest-known photograph

of the Beatles live onstage.


Many of the Beatles' pictures

I have

never saw the light of day

because they weren't famous,

which is quite remarkable.

I had a whole series of

photographs, portraits of them,

their reactions backstage the

night that JFK was assassinated.

Again, the only photographer

there, November 22nd, 1963.

Not one of those photographs

ever saw the light of day

until they were published in my

book, which came out in 2008.

In all of those assignments, or

whatever you want to call them,

I never went to work.

I never worked a day in my life.


For me, it was --

It was just absolute passion.

I look upon the fact that my

still photographs are a

historical record of things

that happened during all of

those decades that I worked.

I never saw it as art.

I saw it as a craft,

I saw it as a profession,

and I realized what you had

to do to beat all the others.

Sometimes there's

20 other photographers there,

and you had to get something


It was all about


It's all about being


I never went out as, say,

a graphic art photographer

would do and go out and create

something like a Picasso would.

I never did that.

I was --

I was a boots-on-the-ground

photographer and always have


And I wouldn't change anything

for a golden cow.

No. Never.

Enjoyed every minute of it,

and I still am.



>> And now the artist quote

of the week...

In 1969, NASA made history

when it sent the first manned

crew to the moon as part of the

Apollo 11 lunar mission.

50 years later, artifacts from

that expedition are part of an

exhibit titled

"Small Steps, Giant Leaps."

>> That's one small step for

man, one giant leap for mankind.

>> On July 20th, 1969,

Neil Armstrong became the first

man ever to set foot on the


There seems to be no difficulty

in moving around, as we


It's even perhaps easier than

the simulations of 1/6 G that we

performed in the various

simulations on the ground.

>> If you think about what

Apollo 11 achieved, that it

lifted human beings off the

surface of Earth and got them

safely to the moon, hundreds of

thousands of miles away,

that's an amazing achievement.

>> John Overholt is the curator

of this exhibition celebrating

the 50th anniversary of the

Apollo 11 lunar mission,

appropriately titled

"Small Steps, Giant Leaps."

>> I think people are hungry

for an idea of an achievement

that is greater than any one

individual, something that's

meaningful as a society.

>> Yeah.

Reading you loud and clear.

How's it going?

>> Roger.

The EVA is progressing


I believe they are setting up

the flag now.

>> The records, memorabilia, and

even tools of that achievement

are all on view here.

In an age when space technology

was in its infancy, the

astronauts mapped the stars by

literally holding up this chart

on the moon.

>> Unlike any star chart before,

it needs to show the position

of the earth because, for the

first time people were using it,

not standing on the earth.

>> The moon we see here is a

pretty dusty place.

>> There's a Velcro patch on the

back that still has a little bit

of moon dust trapped in it from

when it was used on the lunar


>> But curiosity surrounding

the moon has existed as long

as humans have longed to fly.

And here at the

Houghton Library, Overholt has

chronicled mankind's lunar

fascinations as far back as the

13th century.

>> We couldn't have hoped to

reach the moon without

Copernicus showing us how the

solar system works, or Newton

explaining the laws of gravity

and planetary orbits, or

Galileo's observations of the

lunar surface through a

telescope for the first time.

>> Alongside the scientific, the

fantastical -- fictional works

from the greats like

Jules Verne, author of

"From the Earth to the Moon,"

and "Cyrano de Bergerac,"

who imagined a lunar society

that sees Earth as its moon.

>> The moon has historically

been a really inspiring site

to spark the imagination, and

many writers have set

alternative worlds on the moon

as a way of commenting on

earthly society.

>> That curiosity would lay the

groundwork for man's first

attempts to leave Earth,

from the Wright brothers to

rocketry, the exhibition

highlights a history of flight

through original and

one-of-a-kind scientific


>> We see a couple of pages from

the flight plan that the

astronauts consulted every step

of the way through the mission,

this checklist that has a

handwritten note,

"Go to descent."

That's the moment they were

ready to land on the moon.

>> Rocket, you're a go.

You're a go to continue power


You're a go to continue power


>> I think, most remarkably of

all is this little sketch that

Neil Armstrong made for his

father to explain the mechanics

of the propulsion system on the

Eagle lunar module.

That's an amazingly intimate

connection to the history of

this mission.

>> In my head, I think about

them sitting in the kitchen,

perhaps at home in Ohio at his

desk, like, "How does that work

again?" and him just, like,

whipping out a piece of paper.

>> Ann Marie Eze is the

Director of Programming

at the Houghton Library.

For her, it's the little details

that make this history come

alive, like this transcript of

communications between

Mission Control and the

astronauts as they landed on the

moon for the first time.

>> Tranquility Base here.

The Eagle has landed.

>> At very bottom of it,

Buzz Aldrin wrote afterwards,

"Well, you know, I spoke the

first words spoken on the moon,"

because, you know,

Neil Armstrong's the one who

goes down in history for first

setting foot on the moon, and

he's like, "Hey, what about me?"

>> Of course, Armstrong was the

one to make headlines,

especially in Ohio, in his

hometown newspaper.

>> And it just says

"Neil Steps on the Moon."

Of course, everyone knew who

Neil was, and it has a

photograph of his parents who

are looking very happy and

extremely relieved, as well.

>> It's an intimate look at the

pioneers throughout history who

helped put mankind among the



>> Now here's a look at this

month's fun fact...

>> In Albany, New York, a group

of freelance artists has joined

together to form a support

system seeking to bridge the gap

between creativity, community

development, and business.

Here's the story.


>> The business of

CollectivEffort is community

building, and so what we call

it, it's the place "where is

cool created."

We're artists who also believe

very, very dearly in building

community, and so what we've

been able to do was be able to

work directly with our

community, and that's like


That's, like, the business

community, the lower-income

income community.

That's the, you know, fresh out

of college community.

We kind of like intersected all

of them.

And so we were like, "All right,

you know, how do we bridge the

gap between all these things?"

We all think, really, that's,

like, what the world needs,

like, more of, you know,

collaboration blocks, everybody.

CollectivEffort, as a whole,

we do marketing, media

production, and mentoring

through our co-working space,

and we have our own plans for

content channels and stuff

for original content directly

from us, as well as servicing

our marketing clients, as well.


Generally, you know, most

companies, when you think of,

like, doing marketing, you know,

you think about doing work with

like Nike, Puma, Under Armour --

all of which, like, we've worked

with in the past, just

producing, you know, video

shorts for, you know, some of

the designers that they hire and

things like that.

But we're trying to figure out,

how do you take corporate-level

content and marketing and apply

it to the community level?


Today, we're in

Electric City Barn located in

Schenectady, New York.

We're setting up for a shoot for

a content channel that we're

creating for the capitol region

called Let's Talk About Life.

We're exploring workforce

development, housing, food

access, and health care,

and, really, it's just an

opportunity for us to be able to

engage with the community and

take the idea of a content

channel a next step further

to figure out, you know, how can

we take the content that we

create and have it impact

people, like, it a very local


CollectivEffort, AKA,

"The Collective" --

It really started, like --

I left school and then found out

Jamel Mosely was around.

He was in my same program at

RPI, and it kind of just, like,

happened like, you know,

by the grace of the university.

Someone was like, "Oh, you

should go talk to Jamel," and

then I just, like, literally

just went over his house and sat

and watched him video edit

as he was starting his

entrepreneurial journey.

And that kind of just let me

know, it was like, "Oh, wow.


So it is possible, like this

thing that like my dad's telling

me to do all my life, just like

start a business," I was

like, "That's totally possible


Fast-forward a couple of years,

you know, Jamel, myself,

and DeSean Moore Moore, who is

our Director of Marketing,

we all kind of just worked


We all were in the same school

together, same program.

We just started working


We met Jessica Coles and

Berta Singleton, and they're

just like bursts of energy and


They started doing just, like,

group working sessions, you

know, mostly with Jamel, and

then I started coming around.

We'd, you know, just have fun

and do some work together,

post stuff on social media,

and people would just, like,

ask to join and that birthed

Power Breakfast.


Power Breakfast Club is a

professional development

community that we built

just about two years --

a little bit over two years now,

and that's solely based off of

us just wanting to work together

and be around people that,

you know, had similar beliefs

and kind of, like, lifestyle,

and where we're trying to go in

life and trying to create a

support system for it.

>> Our mantra and our ethos is

"Do something," and with

"Do something," it's just like

start something.

It's like a lot of people have

these ideas, and they're just

brilliant, but they just don't

have that push to to really

get out there and just take that

first step.

>> We found the opportunity

to work out of the

African-American Cultural Center

from Power Breakfast.

It turned out to be a really

great opportunity for us to,

one, really, like, lay some

roots in an area that really

needs a lot of love, and, you

know, we just know that,

you know, pretty much, like,

you know, areas that are kind of

downtrodden don't get enough

attention because they don't,

you know, contribute to like,

you know, the profitability of

the city.

And so we were like, that's like

our whole game, is, like, you

know, trying to build areas.

So we were just like, you know,

"Let's do it."


We walked in here and everything

was brown, it didn't have any

electrical work done.

You know, the roof was all

messed up and kind of sinking


And so, yeah, we were just like,

you know, "Let's make an

investment into, like, making

this thing work."

And it is our pilot, so we're

not going to be here for

forever, but what we do want to

do is make a lasting impression.

The third floor is gonna be our

co-working space.

Again, it's designed

specifically for creatives.

The fourth floor gonna be our

production area.

We've been lucky enough to get

some grant funding.

We're investing in good, like,

intermediate-level video and

audio equipment that's really

easy to use to make available to

our members.

We're here right on the corner

of Madison and South Pearl.

We're an earshot away from

Times Union Center.

We're right off the highway.

We're easily accessible, and we

really want to teach our

community how to speak for


>> We're gonna work out of here.

We're gonna figure it out.

We're gonna build some people,

and, hopefully, you know, by the

time we're ready to leave, we've

made enough impact in this area

and telling the stories of this

area's past, plus where we're

trying to go in the future.

>> Do something.


To learn more,

visit the website.


And here's a look at this week's

art history...



Dance is a powerful tool that

can help bridge generational

divides and connect young people

to a wealth of cultural


In Columbus, Ohio, a young girl

celebrates her Mexican heritage

through traditional folklore


Take a look.

>> [ Speaking Spanish ]


>> [ Speaking Spanish ]

>> My mom told me stories

that she wanted to dance she was

little, and that she danced the

song, a dance, and she was

happy while she danced.


>> When I was younger, it was

very rewarding to be on the

stage and to be in front of

thousands of people, and, like,

I used to get, like, so much

confidence and energy from that.

And, most recently, I find it

rewarding, like transferring all

that to my students.

The sparkle that they have in

their eye before they go on the

stage and, like, the butterflies

they get in their stomach is,

like, what I used to have as a


And I am just so excited that

I'm able to pass it on to the

next generation of students,

that sort of experience.

It's very unique and not very



>> [ Speaking Spanish ]


>> This is the hat we have to


It's called a sombrero.

And then a rebozo.

Then, if you wanted, you could

wear bracelets and gold


The suit -- I don't know

what it's called, but...

and then the skirt.

And the shoes.

We're supposed to bring the

braids, like this.



>> [ Speaking Spanish ]

>> As a second-generation

Mexican-American, you know,

I think it's important to

connect to our cultures, make

sure it doesn't get lost.

So it's one of the greatest ways

to do that and to really educate

the greater community about how

diverse and unique each part of

Latin America is.


>> It's just discovering.

We're discovering it.

My mom wants me to keep going,

dancing, and grow up like

Ms. Patino.


>> [ Speaking Spanish ]


>> That wraps it up for this

edition of "WLIW Arts Beat."

We'd like to hear what you


So like us on Facebook, join the

conversation on Twitter, and

visit our web page for features

and to watch episodes of the


We hope to see you next time.

I'm Diane Masciale.

Thank you for watching

"WLIW Arts Beat."

Funding for "WLIW Arts Beat"

was made possible by viewers

like you.

Thank you.













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