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Welcome to the quiz show that takes you to the greatest | 0:00:07 | 0:00:10 | |
destinations on the globe and gives you the chance to go there. | 0:00:10 | 0:00:14 | |
And watching at home tonight, | 0:00:14 | 0:00:16 | |
you could win A Week In The World in New York. | 0:00:16 | 0:00:19 | |
This city is home to the Empire State Building, Times Square | 0:00:19 | 0:00:23 | |
and the Statue of Liberty. | 0:00:23 | 0:00:25 | |
Watch out for these six Big Apple locals - | 0:00:27 | 0:00:31 | |
they will be your quiz masters tonight. | 0:00:31 | 0:00:33 | |
So grab a pen and paper, write down the numbers of the right | 0:00:33 | 0:00:36 | |
answers and, at the end of the show, you could win a week in the world | 0:00:36 | 0:00:41 | |
in New York City. Details of how you can enter are coming up. | 0:00:41 | 0:00:45 | |
Ladies and gentlemen, you're listening to... | 0:00:52 | 0:00:54 | |
# WOR-FM New York... # | 0:00:54 | 0:00:59 | |
DJ: 'Oh, my God, I can't believe it's the last day of summer. | 0:01:00 | 0:01:03 | |
'Fall begins tomorrow. | 0:01:03 | 0:01:04 | |
'I'm walking around and, for the first time ever, I'm seeing sweaters | 0:01:04 | 0:01:07 | |
'and jackets and scarves everywhere. Welcome to the show. | 0:01:07 | 0:01:10 | |
'We got lots to talk about today. | 0:01:10 | 0:01:12 | |
'New York is the largest city in the United States, | 0:01:14 | 0:01:17 | |
'with a population of almost eight and a half million people, | 0:01:17 | 0:01:21 | |
'it's a melting pot for immigrants from all over the world, with | 0:01:21 | 0:01:24 | |
'as many as 800 languages spoken across the city. | 0:01:24 | 0:01:28 | |
'I'm heading off the beaten track and starting my trip in Harlem.' | 0:01:28 | 0:01:32 | |
Yeah! New York, baby! | 0:01:32 | 0:01:34 | |
CHEERING AND WHOOPING | 0:01:34 | 0:01:36 | |
'Harlem is in uptown Manhattan and it's been made famous over | 0:01:36 | 0:01:40 | |
'the years by Hollywood for all the wrong reasons, | 0:01:40 | 0:01:43 | |
'so I wanted to go and find out what life was really like | 0:01:43 | 0:01:46 | |
'on the famous 125th Street. | 0:01:46 | 0:01:49 | |
'The first thing I noticed was the village | 0:01:53 | 0:01:55 | |
'atmosphere in the heart of a big city. | 0:01:55 | 0:01:57 | |
'There was a real sense of community here - street vendors, | 0:01:57 | 0:02:00 | |
'families, just a really relaxed atmosphere. | 0:02:00 | 0:02:03 | |
'So who best to ask about Harlem than a stallholder?' | 0:02:03 | 0:02:06 | |
Tell me about the community. The Harlem community... | 0:02:06 | 0:02:10 | |
from Central Park on up, | 0:02:10 | 0:02:12 | |
it was a place where blacks began to migrate and focus on building up not | 0:02:12 | 0:02:16 | |
only a residential standpoint but also a business standpoint, | 0:02:16 | 0:02:19 | |
when a lot of segregation was going on back in the day. | 0:02:19 | 0:02:23 | |
And so, from there, you know, for the Harlem renaissance, | 0:02:23 | 0:02:26 | |
the cultural renaissance, a lot of poets, a lot of pastors, | 0:02:26 | 0:02:29 | |
from Malcolm X, Louis Farrakhan, | 0:02:29 | 0:02:31 | |
everybody always used to focus in here, in the Harlem community, to | 0:02:31 | 0:02:35 | |
try to turn it around and engage our people from a point of enrichment. | 0:02:35 | 0:02:40 | |
And I can see that the bean pot | 0:02:40 | 0:02:42 | |
was one of those things that was very popular. | 0:02:42 | 0:02:45 | |
Muhammad Ali and Malcolm X, right on 116th Street, used to love | 0:02:45 | 0:02:48 | |
this bean pot, eat it all the time. Really? Yes. Yes. | 0:02:48 | 0:02:51 | |
What's the book? Oh, this is the Holy Bible. | 0:02:54 | 0:02:56 | |
This is first in my life, the creator, God. | 0:02:56 | 0:03:00 | |
I'm a Hebrew, as you can see, I'm a Hebrew, | 0:03:00 | 0:03:03 | |
an Israelite Jew, chosen by the creator, God. | 0:03:03 | 0:03:07 | |
I hope you've made me look skinny. | 0:03:11 | 0:03:13 | |
Well, YOU gotta do that. I just record what I see. OK. | 0:03:13 | 0:03:17 | |
Hasaun, we've got one final task for you. | 0:03:20 | 0:03:22 | |
We need you to read a question for us. | 0:03:22 | 0:03:25 | |
Coming live from the Brother Soul original bean-pot stand, | 0:03:28 | 0:03:32 | |
we got a question for the viewers here at home. | 0:03:32 | 0:03:34 | |
The New York Public Library is the second-largest library in the US. | 0:03:34 | 0:03:37 | |
It was used in the film Ghostbusters. | 0:03:37 | 0:03:40 | |
What are the marble lions that recline outside | 0:03:40 | 0:03:43 | |
the New York Public Library? | 0:03:43 | 0:03:44 | |
Is it, one, Romulus and Remus, | 0:03:44 | 0:03:47 | |
two, Patience and Fortitude, | 0:03:47 | 0:03:50 | |
or three, Neyla and Rajan? | 0:03:50 | 0:03:52 | |
Remember, if you're playing along at home, to note down the number | 0:03:52 | 0:03:56 | |
that corresponds to what you think is the right answer. | 0:03:56 | 0:03:59 | |
You'll need these numbers in sequence to enter | 0:03:59 | 0:04:02 | |
the competition at the end of the show. | 0:04:02 | 0:04:04 | |
'Millions of New Yorkers use the transit system each weekday. | 0:04:09 | 0:04:14 | |
'I'm on my way to one of the most visited tourist sites in the city. | 0:04:14 | 0:04:17 | |
'Surprisingly, it's not the Empire State Building or | 0:04:18 | 0:04:22 | |
'the Statue of Liberty - it's a train station... | 0:04:22 | 0:04:25 | |
'Grand Central Terminal. | 0:04:25 | 0:04:27 | |
'Affectionately known as Grand Central Station, it is, in terms | 0:04:29 | 0:04:33 | |
'of the number of platforms, the largest train station in the world.' | 0:04:33 | 0:04:38 | |
So, you're the man with all the facts about this place. Well, yes. | 0:04:38 | 0:04:41 | |
I'm loaded up with facts, but, actually, it's | 0:04:41 | 0:04:43 | |
the place itself that has so many secrets and mysteries and oddities. | 0:04:43 | 0:04:48 | |
This 36,000-square-foot main concourse behind us. It's beautiful. | 0:04:48 | 0:04:52 | |
Well, you know, at one point it wasn't. | 0:04:52 | 0:04:53 | |
This place was once thick and black with dirt, | 0:04:53 | 0:04:56 | |
had 1,000 homeless people and was going to be torn down. | 0:04:56 | 0:04:59 | |
750,000 people coming through here, | 0:05:03 | 0:05:07 | |
the entire population of San Francisco. | 0:05:07 | 0:05:09 | |
750,000 a year? | 0:05:09 | 0:05:11 | |
A day. A day, coming through here. | 0:05:11 | 0:05:13 | |
And here's a little secret. All these people coming through here, | 0:05:17 | 0:05:20 | |
they don't realise that there is a jewel in plain view, | 0:05:20 | 0:05:24 | |
right here in the terminal, worth $10 to $20 million. | 0:05:24 | 0:05:27 | |
Clear off. Oh, it's true. | 0:05:27 | 0:05:29 | |
In fact, right down there at the information booth, every | 0:05:29 | 0:05:34 | |
face of that four-faced clock is made out of the precious jewel opal. | 0:05:34 | 0:05:39 | |
It has been valued at $10 to $20 million | 0:05:39 | 0:05:42 | |
and nobody has shoplifted that. | 0:05:42 | 0:05:44 | |
Shows you how honest New Yorkers are, right? | 0:05:44 | 0:05:46 | |
Few people know that within the 49 acres of this terminal | 0:05:49 | 0:05:54 | |
resides a secret train. | 0:05:54 | 0:05:56 | |
It was built at vast expense... | 0:05:56 | 0:05:58 | |
vast expense during the Great Depression. | 0:05:58 | 0:06:01 | |
They did this even though they knew no New York Central Railroad | 0:06:01 | 0:06:04 | |
customer was ever going to ride there. | 0:06:04 | 0:06:07 | |
Now, our president from 1933 to 1945 had polio. He couldn't walk. | 0:06:07 | 0:06:11 | |
And, believe it or not, most of the American | 0:06:11 | 0:06:13 | |
public had no idea their own president had polio. | 0:06:13 | 0:06:16 | |
It was kept from the public, kept from the press. No-one was to know. | 0:06:16 | 0:06:20 | |
So, when he would arrive in New York City, | 0:06:20 | 0:06:23 | |
on that train would be a train car that carried enclosed within it | 0:06:23 | 0:06:29 | |
the presidential limousine. | 0:06:29 | 0:06:31 | |
That train would come up to that secret platform, | 0:06:31 | 0:06:34 | |
a door would open up... Here? Yes. | 0:06:34 | 0:06:36 | |
The President would be driven off of that train car onto | 0:06:36 | 0:06:40 | |
the platform, directly onto an elevator that would lift him up, | 0:06:40 | 0:06:44 | |
directly up into the Waldorf Astoria, | 0:06:44 | 0:06:48 | |
where he'd be back out right into the grand ballroom sight unseen. | 0:06:48 | 0:06:52 | |
And his secret train car was left there, abandoned there, | 0:06:52 | 0:06:57 | |
and it still exists to this very day. | 0:06:57 | 0:06:59 | |
Dan, I will kiss you if you let me see that train. You know what? | 0:06:59 | 0:07:02 | |
I'll show it to you anyway, not to worry. | 0:07:02 | 0:07:05 | |
'Well, I didn't think the promise of a kiss would land me in one of the | 0:07:09 | 0:07:12 | |
'noisiest places in New York, but I have a feeling this'll be worth it.' | 0:07:12 | 0:07:17 | |
MACHINERY ROARS This train car on the top, | 0:07:17 | 0:07:20 | |
where there should be ridge vents, they're actually gun ports | 0:07:20 | 0:07:23 | |
so that they could fire out in case they were attacked. | 0:07:23 | 0:07:26 | |
The entire train car is armour-clad | 0:07:26 | 0:07:30 | |
and the suspension systems are unique. | 0:07:30 | 0:07:33 | |
Because of polio, | 0:07:33 | 0:07:35 | |
he couldn't take any rattling motion of that train. | 0:07:35 | 0:07:38 | |
He'd flop over. | 0:07:38 | 0:07:40 | |
It is incredible that we're looking at this now. | 0:07:40 | 0:07:43 | |
It's just kept exactly the way it was on the day it was left here. | 0:07:43 | 0:07:47 | |
Only in America! Yeah. | 0:07:47 | 0:07:49 | |
OK, everybody at home, here's your question. | 0:08:05 | 0:08:08 | |
Right, Grand Central Terminal covers 49 acres. | 0:08:08 | 0:08:12 | |
Within the 49 acres is a secret train especially built, | 0:08:12 | 0:08:16 | |
but for whom? | 0:08:16 | 0:08:18 | |
Was it, one, the Vanderbilt family, | 0:08:18 | 0:08:21 | |
two, special guests for the Waldorf Astoria, | 0:08:21 | 0:08:25 | |
or three, Franklin Delano Roosevelt, our president from 1933 to 1945? | 0:08:25 | 0:08:33 | |
Don't forget, if you're playing along at home tonight, | 0:08:35 | 0:08:37 | |
to write down the number of what you reckon is the correct answer. | 0:08:37 | 0:08:42 | |
You'll need this at the end of the show for your chance to win | 0:08:42 | 0:08:45 | |
a week in the world in New York. | 0:08:45 | 0:08:47 | |
'New York is one of the financial capitals of the world. | 0:08:53 | 0:08:56 | |
'At the charging bull, tourists take a rub of its bits for luck! | 0:08:57 | 0:09:02 | |
'And right next to it, | 0:09:02 | 0:09:04 | |
'I came across this guy with a little red carpet, and he was hoping | 0:09:04 | 0:09:08 | |
'his dreams can come true and he can make his fortune on Wall Street.' | 0:09:08 | 0:09:12 | |
Welcome to my not-so-red-carpet life, | 0:09:17 | 0:09:19 | |
where everyone is a celebrity because there's something to | 0:09:19 | 0:09:22 | |
be celebrated about each and every one of us. | 0:09:22 | 0:09:24 | |
Who was the last person you said "I love you" to? My daddy. Awww! | 0:09:24 | 0:09:28 | |
You don't look a day over... | 0:09:28 | 0:09:30 | |
59. Thank you! I like that! | 0:09:30 | 0:09:33 | |
What are you trying to achieve? | 0:09:33 | 0:09:35 | |
My dream is to become a red-carpet host | 0:09:35 | 0:09:38 | |
and host my own red-carpet specials. | 0:09:38 | 0:09:40 | |
And it's important to be famous to you, is it? | 0:09:40 | 0:09:43 | |
LAUGHS Yeah, why not? | 0:09:44 | 0:09:47 | |
Everyone wants to know that they matter. | 0:09:47 | 0:09:49 | |
Why do you think fame means you matter? | 0:09:49 | 0:09:53 | |
Cos that's dangerous. It is. That's why I worry about this place. | 0:09:53 | 0:09:56 | |
Everybody wants to be famous, everybody wants to be big, | 0:09:56 | 0:09:59 | |
everybody wants to be THE thing. I know. I got the bug. | 0:09:59 | 0:10:02 | |
I got it and I got it bad. | 0:10:02 | 0:10:04 | |
'Anything goes on the streets of this city, | 0:10:07 | 0:10:10 | |
'where it seems people are not afraid to express themselves.' | 0:10:10 | 0:10:14 | |
A special appearance by Rat Boy! Look at this! Oh, my God. | 0:10:15 | 0:10:20 | |
You're hardcore. | 0:10:20 | 0:10:21 | |
'This really is an eclectic mix of people from all walks of life.' | 0:10:23 | 0:10:28 | |
I've got to say, it's not too often I meet | 0:10:28 | 0:10:30 | |
people in the street that have got shoes like that... | 0:10:30 | 0:10:33 | |
..and dressed as elegantly as you! Is this typical New York? | 0:10:37 | 0:10:42 | |
Well, it's typical for me. I live fashion. I'm a shoe designer. | 0:10:42 | 0:10:46 | |
You know, it's how I express my creativity. And the thing, | 0:10:46 | 0:10:48 | |
of course, in New York, is that you can be yourself... | 0:10:48 | 0:10:51 | |
..where you're not going to be judged. Is that right, or not? | 0:10:52 | 0:10:55 | |
I mean, I think the perception is you could be totally out there | 0:10:55 | 0:10:58 | |
and people won't judge, | 0:10:58 | 0:11:00 | |
but I actually have to say that's not 100% true. | 0:11:00 | 0:11:03 | |
I do get a lot of looks, especially from women, | 0:11:03 | 0:11:06 | |
who are looking at me like, "How can you be walking in those shoes?" | 0:11:06 | 0:11:09 | |
It's like they're almost angry at me, like, | 0:11:09 | 0:11:12 | |
"How dare you wear a shoe that high!" | 0:11:12 | 0:11:14 | |
How much would a pair of shoes be? | 0:11:16 | 0:11:18 | |
Um, these, you know, they start, | 0:11:20 | 0:11:22 | |
like, opening price point is probably about $600. | 0:11:22 | 0:11:26 | |
And that's the bottom price? That's the bottom. | 0:11:26 | 0:11:29 | |
These are luxury positionings. Going up to what? | 0:11:29 | 0:11:31 | |
If you have Swarovski crystals, it could be upwards of, like, | 0:11:31 | 0:11:35 | |
1,200, 1,300. And people pay that? They do. | 0:11:35 | 0:11:39 | |
Performers, singers like Beyonce, Lady Gaga, you know, | 0:11:39 | 0:11:44 | |
Taylor Swift performing on stage wearing my shoes. | 0:11:44 | 0:11:47 | |
# Let's do it... # | 0:11:49 | 0:11:51 | |
'Next up, Times Square. | 0:11:53 | 0:11:55 | |
'Now, I'm bound to be able to find a sane quiz master here.' | 0:11:55 | 0:11:59 | |
I love your hair. Oh, thank you! That is large! | 0:11:59 | 0:12:03 | |
So, I'm still looking around here for ordinary New Yorkers to | 0:12:05 | 0:12:08 | |
be our hosts of our questions. | 0:12:08 | 0:12:10 | |
And remember, you'll have a chance, if you answer them, | 0:12:10 | 0:12:13 | |
to win a week in the world in this wonderful city. | 0:12:13 | 0:12:16 | |
'You never know who you'll run into in this place, like this guy. | 0:12:16 | 0:12:20 | |
'I know what you're thinking, my long-lost twin.' | 0:12:20 | 0:12:22 | |
Shout. In 1790... | 0:12:24 | 0:12:26 | |
Louder! 1790... 1796... | 0:12:26 | 0:12:30 | |
So, we're having difficulties | 0:12:30 | 0:12:31 | |
because we can't hear her read the question. | 0:12:31 | 0:12:33 | |
New York City was the capital... | 0:12:33 | 0:12:35 | |
Welcome to Times Square! YEAH! | 0:12:35 | 0:12:39 | |
That's what we need! | 0:12:39 | 0:12:41 | |
# Oh, say, can you see...? # | 0:12:41 | 0:12:45 | |
You're sacked, Liberty. OK, let me do it again. | 0:12:45 | 0:12:47 | |
Can you be as loud as her? | 0:12:47 | 0:12:49 | |
# By the dawn's early light...! # | 0:12:49 | 0:12:55 | |
'No shortage of entertainers, | 0:12:55 | 0:12:57 | |
'but I need to find someone to ask a question. | 0:12:57 | 0:13:00 | |
'Will we give it one more go?' | 0:13:00 | 0:13:01 | |
Good! Yes, good! | 0:13:01 | 0:13:04 | |
Yeah, it's a question. Will you read it out for us? | 0:13:04 | 0:13:09 | |
You speaking in Spanish? | 0:13:09 | 0:13:11 | |
Spanish?! | 0:13:11 | 0:13:12 | |
Here's your question. | 0:13:16 | 0:13:18 | |
The charging bull, here in the heart of Wall Street - | 0:13:18 | 0:13:21 | |
who was the guerrilla artist who designed it and placed it | 0:13:21 | 0:13:24 | |
in front of the New York stock exchange in the dead of night? | 0:13:24 | 0:13:27 | |
One, Saul Hernandez, | 0:13:27 | 0:13:30 | |
two, Arturo Di Modica, | 0:13:30 | 0:13:32 | |
three, Jason deCaires? | 0:13:32 | 0:13:36 | |
Don't forget what we need you to do tonight. | 0:13:36 | 0:13:37 | |
Write down the number of the right answer and keep it | 0:13:37 | 0:13:41 | |
until the end of the programme to be in with a chance of winning | 0:13:41 | 0:13:45 | |
a week in the world for two, here in New York. | 0:13:45 | 0:13:48 | |
'Away from the relentless pace of the city is | 0:13:53 | 0:13:57 | |
'Green-Wood Cemetery in Brooklyn, | 0:13:57 | 0:13:59 | |
'the final resting place of some of America's most famous residents.' | 0:13:59 | 0:14:05 | |
Wow, what a special place. | 0:14:05 | 0:14:06 | |
Beautiful, away from the hustle and, you know, | 0:14:06 | 0:14:10 | |
the madness of the rest of New York. | 0:14:10 | 0:14:13 | |
It really is a very special place in New York City. | 0:14:13 | 0:14:18 | |
And we are surrounded by urban Brooklyn, but yet you come in here | 0:14:18 | 0:14:24 | |
and, just a few paces in, you're in a totally different environment. | 0:14:24 | 0:14:29 | |
We have over half a million people buried here. A lot of famous people. | 0:14:30 | 0:14:36 | |
New York, Jeff, it's all about status, isn't it, | 0:14:36 | 0:14:39 | |
who has the biggest, who's the richest? | 0:14:39 | 0:14:41 | |
Does that work in death, as well? | 0:14:41 | 0:14:43 | |
Yes, it definitely does, and so the size of the obelisk or | 0:14:43 | 0:14:47 | |
the size of the tomb, and the location. | 0:14:47 | 0:14:50 | |
John Matthews - tell us about him. | 0:14:52 | 0:14:54 | |
Yes, he was the soda-fountain king. | 0:14:54 | 0:14:57 | |
He introduced carbonated drinks | 0:14:57 | 0:15:00 | |
and particularly flavours for his carbonated drinks. | 0:15:00 | 0:15:04 | |
We have a number of Irish immigrants who made it big in America. | 0:15:06 | 0:15:11 | |
John Mackay discovered the Comstock lode out in Nevada, silver, | 0:15:11 | 0:15:16 | |
and made millions and millions of dollars. | 0:15:16 | 0:15:18 | |
They wanted people to know as they went by their tomb years and | 0:15:18 | 0:15:23 | |
years later, and generations later, | 0:15:23 | 0:15:25 | |
that they had made it big in America. | 0:15:25 | 0:15:28 | |
Mackay's, in fact, is heated | 0:15:28 | 0:15:31 | |
and has electricity in it. Why?! | 0:15:31 | 0:15:34 | |
My theory is that they wanted it heated | 0:15:34 | 0:15:37 | |
so that priests would be that much more encouraged to come in there | 0:15:37 | 0:15:41 | |
and pray over their mortal remains. | 0:15:41 | 0:15:44 | |
Is it still heated to this day? | 0:15:44 | 0:15:46 | |
They do pay a gas bill every month. | 0:15:46 | 0:15:49 | |
So it's... | 0:15:49 | 0:15:51 | |
So... | 0:15:51 | 0:15:52 | |
STEPHEN LAUGHS | 0:15:52 | 0:15:54 | |
So they're paying a heating bill after they're dead. | 0:15:54 | 0:15:57 | |
Well, I'm not sure that the heat is active at this point, | 0:15:57 | 0:16:00 | |
but they have that possibility, certainly. | 0:16:00 | 0:16:03 | |
STEPHEN LAUGHS Sorry. Well, each to their own. | 0:16:03 | 0:16:07 | |
And, obviously, as I've been looking around here, | 0:16:07 | 0:16:10 | |
we've got some very famous brand names, as well. | 0:16:10 | 0:16:13 | |
It doesn't get more famous than Colgate, does it? Mm-hm. | 0:16:13 | 0:16:16 | |
Yes, and so we have quite a few brand names here. | 0:16:16 | 0:16:19 | |
What about your death? Are you going to live here when you die? | 0:16:21 | 0:16:24 | |
In a gas-heated... | 0:16:24 | 0:16:27 | |
I don't know about gas-heated, but I will be interred here, | 0:16:27 | 0:16:31 | |
right next to the Tiffanys up on the hill here. | 0:16:31 | 0:16:34 | |
Spend my eternity... | 0:16:36 | 0:16:38 | |
If there's a tourist that doesn't come and have a look at this, | 0:16:44 | 0:16:48 | |
and stays in Times Square and the Empire State, | 0:16:48 | 0:16:51 | |
they're missing an awful lot. No, no, I agree with you completely. | 0:16:51 | 0:16:54 | |
It really is a very special landscape. | 0:16:54 | 0:16:57 | |
I'm standing at Green-Wood in front of the largest tomb here, | 0:17:02 | 0:17:06 | |
and it's the Steinway family, of piano fame. | 0:17:06 | 0:17:10 | |
And the question for you today is... | 0:17:10 | 0:17:14 | |
how many spaces are there in the Steinway tomb for caskets? | 0:17:14 | 0:17:19 | |
Is it one - 32, | 0:17:19 | 0:17:22 | |
two - 256, | 0:17:22 | 0:17:25 | |
or three - 128? | 0:17:25 | 0:17:28 | |
Remember, if you're playing along at home, to note down the number | 0:17:28 | 0:17:31 | |
that corresponds to what you think is the right answer. | 0:17:31 | 0:17:35 | |
You'll need these numbers in sequence to enter | 0:17:35 | 0:17:37 | |
the competition at the end of the show. | 0:17:37 | 0:17:40 | |
MARCHING BAND PLAYS | 0:17:43 | 0:17:45 | |
'The San Gennaro festival is held in September each year | 0:17:47 | 0:17:51 | |
'on the historic Mulberry Street of Little Italy. | 0:17:51 | 0:17:54 | |
'It served as a first home in America for hundreds of thousands | 0:17:56 | 0:17:59 | |
'of Italian immigrants who came to New York to improve their lives.' | 0:17:59 | 0:18:03 | |
Who was Gennaro? A saint. He's a saint. | 0:18:07 | 0:18:10 | |
Patron saint of something. I forget exactly. | 0:18:12 | 0:18:15 | |
STEPHEN LAUGHS | 0:18:15 | 0:18:17 | |
We love him here. | 0:18:17 | 0:18:19 | |
'This 11-day event celebrates the martyrdom of San Gennaro, | 0:18:21 | 0:18:25 | |
'the patron saint of Naples. | 0:18:25 | 0:18:28 | |
'Each year, the saint's blood, held in Naples, is checked to see | 0:18:28 | 0:18:32 | |
'if it has liquefied. If it has, it'll be a great year. | 0:18:32 | 0:18:36 | |
'And if not, it doesn't look so good.' | 0:18:36 | 0:18:38 | |
When his blood's liquefied, | 0:18:39 | 0:18:41 | |
we have a peaceful year, as we do this year, | 0:18:41 | 0:18:44 | |
because his blood liquefied today. | 0:18:44 | 0:18:47 | |
And that is attested to by many people who look at it. | 0:18:47 | 0:18:52 | |
The year that it didn't liquefy, the volcano erupted. What year was that? | 0:18:52 | 0:18:56 | |
Oh, I... Please! OK. I'll get you the pamphlet! OK! | 0:18:56 | 0:19:00 | |
Oh, the best, everything over here. The best! | 0:19:07 | 0:19:10 | |
What's your name? Louise. | 0:19:12 | 0:19:14 | |
Louise. Tell us why this is so special, Louise. | 0:19:14 | 0:19:17 | |
Well, because this is the Red Mike Festival Band and my husband, | 0:19:17 | 0:19:21 | |
Red Mike, started this feast in 1929 when he arrived from Italy. | 0:19:21 | 0:19:25 | |
Your husband? Well, he's now deceased, so I took over. | 0:19:25 | 0:19:29 | |
Oh-ho! Can I walk with you a little bit? Sure! | 0:19:29 | 0:19:32 | |
Right, don't let me keep you back from the cymbals, now. | 0:19:32 | 0:19:36 | |
Have you ever walked on the 12th of July? | 0:19:36 | 0:19:39 | |
'Well, this NYPD cop was going to do one of two things - | 0:19:49 | 0:19:53 | |
'either arrest me or ask a question.' | 0:19:53 | 0:19:56 | |
STEPHEN LAUGHS | 0:19:57 | 0:19:58 | |
OK, everybody at home, here's your question. | 0:20:02 | 0:20:05 | |
New York has five main boroughs - Queens, Brooklyn, Manhattan, | 0:20:05 | 0:20:08 | |
Staten Island and the Bronx. | 0:20:08 | 0:20:10 | |
Which of them was known as Richmond up until 1975? | 0:20:10 | 0:20:14 | |
Was it, one, Queens, | 0:20:14 | 0:20:15 | |
or was it two, Staten Island, | 0:20:15 | 0:20:17 | |
or was it three, the Bronx? | 0:20:17 | 0:20:19 | |
Don't forget, if you're playing along at home, to | 0:20:19 | 0:20:21 | |
note down the number that you reckon corresponds to the right answer. | 0:20:21 | 0:20:26 | |
You'll need that, along with the others, to have a chance to | 0:20:26 | 0:20:29 | |
win a week in the world for two here in New York. | 0:20:29 | 0:20:33 | |
'Rising up from Ground Zero is Freedom Tower, | 0:20:34 | 0:20:38 | |
'standing proud on the New York skyline. | 0:20:38 | 0:20:41 | |
'66 floors up, Belfast artist and film-maker Marcus Robinson | 0:20:41 | 0:20:46 | |
'has dedicated his life documenting the rebuilding of the fallen towers. | 0:20:46 | 0:20:51 | |
'He invited me to chat to him in what has to be one of the most | 0:20:53 | 0:20:56 | |
'spectacular art studios on the planet. | 0:20:56 | 0:20:59 | |
'I've been here for the last ten years and I've been drawing, | 0:21:03 | 0:21:06 | |
'filming and painting the rebuilding of the World Trade Center.' | 0:21:06 | 0:21:10 | |
So, I came here with this dream of wanting to film | 0:21:10 | 0:21:13 | |
the whole of the rebuilding, all the way from beginning to | 0:21:13 | 0:21:15 | |
end, and at that time I hadn't realised it was going to take | 0:21:15 | 0:21:18 | |
more than 15 years. | 0:21:18 | 0:21:19 | |
And what inspired you, at that first moment, to come out here? | 0:21:19 | 0:21:23 | |
When the events of September 11th happened, I felt I had a sort of | 0:21:23 | 0:21:29 | |
calling because the events of 9/11 really became | 0:21:29 | 0:21:32 | |
part of the collective consciousness of the world. | 0:21:32 | 0:21:35 | |
Since that very first day when I came to film here, | 0:21:35 | 0:21:37 | |
so many people have helped and supported the project, | 0:21:37 | 0:21:40 | |
and I think it's because there's a genuine sense that making | 0:21:40 | 0:21:43 | |
a story that is a celebration of humanity | 0:21:43 | 0:21:46 | |
and a celebration of the diversity of New York City, | 0:21:46 | 0:21:49 | |
that that is an important story to be told. | 0:21:49 | 0:21:52 | |
It's a reminder of the tragedy, is it not? | 0:21:52 | 0:21:54 | |
Yeah, I mean, the tragedy, in a way, is always present, but what I wanted | 0:21:54 | 0:21:58 | |
to focus on was the incredible spirit of the people | 0:21:58 | 0:22:02 | |
who are here rebuilding the site. | 0:22:02 | 0:22:04 | |
'And I think one of the archetypal themes of New York City is | 0:22:04 | 0:22:08 | |
'the idea of the iron workers towering above the city, really up | 0:22:08 | 0:22:13 | |
'in the clouds, and I really wanted to be close to them | 0:22:13 | 0:22:16 | |
'and to try and capture something of that spirit. | 0:22:16 | 0:22:19 | |
'Every day, I take it as a blessing to be here.' | 0:22:19 | 0:22:21 | |
'New York is a city of extremes, a city where billionaires | 0:22:36 | 0:22:40 | |
'share the sidewalk with those down on their luck. | 0:22:40 | 0:22:43 | |
'Lahang dons his mask to become Life, a superhero dedicated | 0:22:51 | 0:22:56 | |
'to cycling the streets at night helping the less fortunate.' | 0:22:56 | 0:23:00 | |
This man is a good man. He comes down here, he helps out, you know, | 0:23:08 | 0:23:11 | |
gives us things like this, things that we need, and we appreciate it. | 0:23:11 | 0:23:16 | |
You know? And I'm not just saying that for some socks. | 0:23:16 | 0:23:22 | |
He comes down here from the heart and that's the beautiful thing. | 0:23:22 | 0:23:26 | |
Kind words, man. I appreciate the words. | 0:23:26 | 0:23:28 | |
We are live in New York City at Babycastles. | 0:23:28 | 0:23:31 | |
RAP MUSIC PLAYS | 0:23:31 | 0:23:33 | |
'I had no inclination whatsoever to meet this man, but Jamel is | 0:23:36 | 0:23:41 | |
'a local hip-hop artist and I was forced to go see him. | 0:23:41 | 0:23:44 | |
'He's actually a nice guy, and he's taken his life struggles | 0:23:44 | 0:23:47 | |
'and turned them into something positive. | 0:23:47 | 0:23:49 | |
'Tonight, he's invited us along to his album launch.' | 0:23:49 | 0:23:52 | |
The music embodies New York. | 0:23:55 | 0:23:57 | |
You can see me - I got the little B-boy character. | 0:23:57 | 0:24:00 | |
It's the voice of the voiceless, you know what I'm saying? | 0:24:00 | 0:24:03 | |
Like, coming from a place where, you know, no hope, | 0:24:03 | 0:24:06 | |
you know, poverty, you know what I'm saying? | 0:24:06 | 0:24:09 | |
Low education. Where you grew up, is that how people felt around you? | 0:24:09 | 0:24:13 | |
Yeah. No hope? Yeah. | 0:24:13 | 0:24:14 | |
And hip-hop was like a outlet for us to release that stress | 0:24:14 | 0:24:17 | |
and release that anger and release that pain, you know what I'm saying? | 0:24:17 | 0:24:20 | |
# We got that w-w-w... We got the dope-dope-dope... # | 0:24:20 | 0:24:25 | |
Where did you grow up? I grew up in Brooklyn, New York, | 0:24:26 | 0:24:29 | |
in a very rough time period in New York where, you know, | 0:24:29 | 0:24:32 | |
a lot of drugs plagued our neighbourhoods. | 0:24:32 | 0:24:36 | |
It was during the crack epidemic, | 0:24:36 | 0:24:38 | |
so a lot of things happened in those neighbourhoods | 0:24:38 | 0:24:40 | |
that ravaged all kinds of families, | 0:24:40 | 0:24:42 | |
and the thing that saved me was my music. | 0:24:42 | 0:24:45 | |
# We got that dope-dope-dope... What we got? What we got? | 0:24:45 | 0:24:48 | |
# Yeah!... # | 0:24:48 | 0:24:50 | |
'Right, so I still need to find my last quiz masters, | 0:24:53 | 0:24:57 | |
'so back to my favourite place - Harlem.' | 0:24:57 | 0:25:00 | |
We sell... | 0:25:00 | 0:25:01 | |
DVDs and CDs! Authentic! | 0:25:01 | 0:25:04 | |
Welcome to Hustle Man's. Hustle Man? They call you Hustle Man? Yes. | 0:25:04 | 0:25:09 | |
He's Hustle, I'm Flow. That's right. Yes. | 0:25:09 | 0:25:13 | |
People back home watching this, back home, | 0:25:13 | 0:25:15 | |
they've got a chance of winning a week here in New York. | 0:25:15 | 0:25:19 | |
So we need you to ask them a question. Sure! | 0:25:19 | 0:25:23 | |
But listen, if they come to New York for a week, | 0:25:23 | 0:25:25 | |
they have to come and spend some money here at the table. | 0:25:25 | 0:25:28 | |
STEPHEN LAUGHS | 0:25:28 | 0:25:30 | |
Open the envelope. | 0:25:30 | 0:25:31 | |
OK, here's the question. | 0:25:31 | 0:25:35 | |
He can't see it. He has cataracts. | 0:25:35 | 0:25:38 | |
Here comes the question. | 0:25:43 | 0:25:45 | |
The world-famous Apollo Theater in Harlem is noted for launching | 0:25:45 | 0:25:49 | |
the careers of many prominent African-American artists, | 0:25:49 | 0:25:52 | |
but who made their first debut at the age of 12? | 0:25:52 | 0:25:56 | |
Is it, one, Aretha Franklin... | 0:25:56 | 0:25:57 | |
..is it one... ..is it two, Stevie Wonder... | 0:25:57 | 0:26:00 | |
..is it three, Marvin Gaye? ..is it three, Marvin Gaye? | 0:26:00 | 0:26:03 | |
If you're playing along at home, you should now be noting | 0:26:06 | 0:26:09 | |
down the number that corresponds to what you reckon is your last answer, | 0:26:09 | 0:26:14 | |
and you should now have written down six numbers in total. | 0:26:14 | 0:26:18 | |
You get a hat, you get a hat, I get a hat, everybody get a hat. | 0:26:26 | 0:26:29 | |
'Now, I know you're looking at me on screen right now thinking, | 0:26:29 | 0:26:32 | |
' "How does he find those beautiful clothes?" | 0:26:32 | 0:26:34 | |
'But someone somewhere thought I needed a makeover.' | 0:26:34 | 0:26:38 | |
The Blues Brothers. Can you dance? Go ahead, get a pair of shades. | 0:26:38 | 0:26:42 | |
It's Sam, isn't it? Stephen. Stephen. | 0:26:42 | 0:26:44 | |
That's the Blues Brothers! | 0:26:48 | 0:26:50 | |
What about a dicky bow? | 0:26:50 | 0:26:52 | |
A colourful dicky bow. | 0:26:52 | 0:26:54 | |
A dicky bow. Do you not call these things dicky bows? | 0:26:54 | 0:26:57 | |
Dicky bow... That's what I call Terry sometimes! Dicky-Boo! | 0:26:57 | 0:27:01 | |
And I call you Action Momma. I bet you two do! | 0:27:01 | 0:27:04 | |
THEY LAUGH | 0:27:04 | 0:27:06 | |
I bet you didn't think you were doing this tonight, big boy. | 0:27:06 | 0:27:09 | |
You can call me Dicky. Dicky? Yeah. Or Daddy. | 0:27:09 | 0:27:14 | |
CHUCKLES I am not calling you Daddy. | 0:27:14 | 0:27:16 | |
That's what I'm talking about, right there. | 0:27:18 | 0:27:20 | |
That's hot. | 0:27:20 | 0:27:23 | |
Looks like you work on the meat stall of Tesco. | 0:27:23 | 0:27:25 | |
STEPHEN LAUGHS | 0:27:25 | 0:27:26 | |
It's the Penguin! Do you know how to tie a tie? I'm not the best at it. | 0:27:26 | 0:27:29 | |
I think I would like you to do it for me, Daddy. | 0:27:29 | 0:27:33 | |
See? They always end up calling me Daddy in the end. | 0:27:33 | 0:27:36 | |
I like the sweater with the tie with your shirt. It just becomes...born! | 0:27:36 | 0:27:41 | |
And you got your sexy back. | 0:27:41 | 0:27:43 | |
Throughout the show, | 0:27:49 | 0:27:51 | |
we've been asking you to note down the number that | 0:27:51 | 0:27:54 | |
corresponds to the correct answer of each question. | 0:27:54 | 0:27:58 | |
You should by now have six numbers. | 0:27:58 | 0:28:01 | |
Write those numbers down in the order they appeared on the show | 0:28:01 | 0:28:05 | |
and these will create the pass code | 0:28:05 | 0:28:08 | |
which you need to enter the competition. | 0:28:08 | 0:28:10 | |
123123 isn't the right answer, by the way! | 0:28:32 | 0:28:34 | |
BOTH: # I'm the naked cowboy Gotta do what you gotta do | 0:29:01 | 0:29:05 | |
# I'm the naked cowboy Keepin' it real for you | 0:29:05 | 0:29:10 | |
# I'm the naked cowboy Gotta do what you gotta do... # | 0:29:10 | 0:29:13 | |
On the back! | 0:29:13 | 0:29:14 | |
# I'm the naked cowboy Keepin' it real for you | 0:29:14 | 0:29:19 | |
# I'm the naked cowboy Gotta do what you gotta do | 0:29:19 | 0:29:24 | |
# I'm the naked cowboy Keepin' it real for you! # | 0:29:24 | 0:29:29 | |
Welcome to New York! | 0:29:29 | 0:29:31 | |
Hello, I'm Sima Kotecha, with your 90-second update. | 0:29:39 | 0:29:41 |