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tv   Here and Now  ABC  April 10, 2016 12:00pm-1:00pm EDT

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on "tiempo." >> "here and now" -- the program featuring the news and interests of the african-american community. here's your host, sandra bookman. >> coming up as we celebrate black history month, a conversation with dr. khalil gibran muhammad, as the schomburg center for research in black culture turns 90.
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preventing heart disease in the black community. later, a new play that uses humor to tackle the serious subject of caring for a parent with dementia. we're gonna hear from some of the stars of "dot." and three-time grammy award-winning jazz artist terri lyne carrington on her new album, featuring the late natalie cole's last recording of duke ellington's "come sunday." that's all ahead on "here and now." alright guys. i want to show you some cutting edge technology.
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push that tape in and hit play. this is a flip phone. have you seen these before? it's called a compact disc. oh. looks like we're getting a facsimile. what year is it to you? it's old. you'd rather use newer technology? definitely. well, i've got something to show you. this is the 2016 chevy volt. it uses extended range electric technology. the prius hybrid uses battery technology developed 15 years ago. chevy expects volt drivers to get over a thousand miles between fill ups. it's got every technology there is. the prius actually belongs on the table. >> we continue our celebration of black history month with a look at the schomburg center for research in black culture where historical artifacts have chronicled the black experience for nearly a century. the latest exhibit, "digging up the past: a history of the schomburg center," marks its 90th anniversary. and joining us today is dr. khalil gibran muhammad, the director of the schomburg. so nice to see you again. >> thank you so much for having me. >> so tell us about this -- this newest exhibit. it's sort of a continuation of
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so every now and then we have founder -- arturo alfonso schomburg, an afro-puerto rican, arrives in new york in 1891. this year happened to be extra special because it is our 90th anniversary. people often forget, too, that our 90th is also the 90th of the annual celebration of black history -- began in 1926 under the leadership of carter g. woodson. so for us being able to tell our origin story, to look at some of the early artifacts and books that arturo schomburg collected is a special occasion to really exist? why is cultural preservation so important?" >> well, honestly, i think that's a question that -- if you live in america that we're still -- we're still asking on a lot of levels. >> right. >> so, tell people why it is so important that -- that a -- at an institution like the schomburg exists when -- especially when we like to call
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society." >> well, i think we've moved past the mythos of being post-racial. you see, one of the things that history invites us to do is to see a reflection of ourselves. oftentimes -- and i think it's a human motivation -- we also are saturated with information, and we live in a kind of technocratic, innovative we're always thinking about "what's the next best thing?" >> mm-hmm. >> but we sacrifice our capacity to reflect deeply and also to see that a lot of the fundamental questions about justice, about liberty, about freedom, about who gets to participate, what matters, what do we remember, how do we tell stories -- those are questions that have animated every single generation of people across the millennia. so, in this case, schomburg's own voice, his own commitment to storytelling, reminds not
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larger culture that we're still struggling with the kind racial equality, the kind of legitimacy that black people's voices actually matter in our collective culture. >> and we're not -- and it's not just, obviously, us alone in that struggle. the other side has a difficult time, a lot times, deciding, you know, where those voices and where that history fits in in their own -- in their own history. one of the programs that the schomburg has started that i think is really interesting, in that it seems to me that you're really trying to pass the importance of that is this mentorship, the teen internship program that you're starting. tell us about that. >> sure. >> and why you think that's something that's important to undertake. >> so, we were fortunate to win a nearly three quarters of a million dollar, five-year grant from the matisee foundation called the teen curators program.
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it's partly an arts education program at the schomburg center where we have, arguably, the best collection in a public institution of african-american and african diasporic art. think? >> well, that's the whole collection, but in our art collection of paintings, of sculpture, we have a couple thousand items. but of those items, particularly the painting, it goes back to jacob lawrence's work, to romare bearden -- it's really the canon. so, what we want to do is we want to provide arts education. we want to also -- what we think is important is emphasize the importance of historical and cultural literacy. learn something about the context that the art itself engages. also learn how to express yourself through this art. and more particularly, what will it matter -- or i should say a different way -- how important is it that these young people of color will be able to go into careers in art museums and to help diversify the population of art historians and museum curators.
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work in this particular time. >> and the schomburg of course not just about history, but you're very much involved in the cultural conversation now. to that end, yesterday, hillary clinton... >> yes. >> ...was speaking at the schomburg. her message, a message directly to african-american voters of color. you know, what does that say about how central the schomburg is, you know, not only to black lives in harlem, but in the country? >> well, first of all, it is a community built into an important local neighborhood, so harlem matters. but the schomburg center has always been bigger than the neighborhood, because it has been a symbol of the voice of black to help, to shape the world. not for nothing, the very fight for the expansion of democracy and freedom in this country has helped to inspire what the globe looks like today. >> mh-hmm. >> so, to have hillary clinton
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for racial justice and equality in this country is also a long tradition and practice at the schomburg center -- from the soapbox preachers of the 1920s and the marcus garvey community, to the james baldwins and langston hugheses, to the malcolm xs in the 1960s -- all circulated in and out of the space that the schomburg center inhabits. so, if hillary clinton, as a presidential candidate, wants to talk about the future of black america, then she's in a place that's been fundamental to what we call the black public sphere. >> and of course the schomburg will continue to be fundamental. >> absolutely. >> well, we have to say that we have you here -- that you were going to be leaving the schomburg center. you're gonna be heading to harvard university. you know, talk to us a little bit about this next move for you. >> sure. well, first of all, i want to say that having been at the schomburg center for five years, we've gotten a lot done. and we've moved the schomburg center from a place that has always been really critical but maybe not as
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now we have 300,000-plus people coming through our doors. we have programs that are very much pitched to a wider audience, particularly of younger people. and we're under a $22 million renovation plan. so the schomburg's gonna be bigger and better and more exciting than ever for future generations. for me in particular, having accomplished that, i've learned a lot about how black civil society, or this black public sphere, the space that the schomburg inhabits needs to grow and move, even beyond what that building can do. and so i see this role going on to harvard. i'll be a tenured professor in the harvard kennedy school and a professor in the radcliffe institute. i'll take what i study and learn and help to educate but, at the same time, lift up the experiences of black people, lift up our cultural preservation, lift up the way we see the world, and put it squarely in a space that even president obama has drawn deeply from. you know, harvard makes a difference in the world and the people who move through that space. so for me to able to be in conversation with those folks and take what i've learned from
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its practices and its people, is a really important opportunity at this time. >> but in a sense, we're not really losing you. >> absolutely not. that's right. and i will be doing joint programing with the harvard kennedy school and the radcliffe institute and the schomburg center. i mean, it's part of who i am. i got a lot of mileage left in me. >> [ laughs ] >> and so the point is to bring the best of what i've learned at schomburg to the harvard kennedy school and to take what i learned there, those lessons and bring them back to the schomburg center. >> you know what? i want to circle back before i let you go, because you are -- you talked about doing a joint program at... >> sure. >> you are -- the schomburg is right now doing a series, a joint series with moma. >> that's right. >> talk to me about this. it's really an interesting issue about the intersection of, i guess, our history and race relations in this country. >> sure. well, see, we're at a really critical moment where institutions around this country have to move past what i call,
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identity politics in racial representation. we really are in a new moment where we got to dig deeper. so, when those young people across those campuses were saying, "we've got to take these symbols down of white supremacy or of our slave past," what they're really saying is, "we've got to change the institutional culture." so this partnership with moma is an opportunity for one of our most well-known and wealthiest and most significant cultural institutions in this city and, arguably, for the world and figure out a way to talk about equity in that space, to talk about the collections and the need for greater diversity of the artists represented in those collections and the collections themselves. and so we began that conversation with bryan stevenson, the anti-death-penalty lawyer in alabama, who is building a museum himself, turning to art and culture as a way to communicate the importance of our racial past and a history of violence and oppression that is very much part of the geographic landscape of this nation. so, that equity series began there, and we're gonna continue the series and talk about
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museums and in other places. >> and one more thing before i let you go -- you talked about the intersection of art and culture. recently a lot conversation about beyonc\'s performance at the super bowl. also conversation about a performance by... >> kendrick lamar. >> ...kendrick lamar at the grammys. isn't this what we would expect our artists to be doing? >> absolutely. you know when you have backlash and there's outrage, you've probably done something good. >> you hit a nerve. >> you hit a nerve. you've created tension. and we need a lot more tension in this moment. i mean, if we really are going to pick up where our young people have left off in terms of their commitment to different standards of policing, to de-carcerate this nation, then we can't just go back and put our white earbuds in our ears and tune out. we've got to make sure that those messages move across spaces.
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to kendrick lamar for lifting up those issues and putting them in the space of popular culture, because there's tremendous power in that space, as well. >> all right. khalil gibran muhammad -- always wonderful. you're welcome back any time, and best of luck to you at harvard. >> thank you very much, sandra. >> up next on "here and now", the annual unheard third poll, revealing the hardships of
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>> 8 out of 10 low-income new yorkers feel they are not getting ahead. in fact, a quarter of them see themselves losing ground. and if you're black and poor, you're even more likely to face increasing hardships like having to skip meals or falling behind on the rent. those are just some of the findings from the community service society's annual unheard third poll. joining us this afternoon is the president and c.e.o. of the community service society of new york, david jones, a longtime advocate for low-income new yorkers. welcome back. >> oh, thank you very much. >> nice to see you again. >> yes. pleasure. >> you know, this poll that you do every year...are you surprised by what you're hearing from people, or is it what you expect to hear, given what you're seeing?
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surprised of the depth of the problems people are reporting. i mean, this is richest city in the world. >> mm-hmm. >> and to hear these stories is -- you'd think this was in the developing world. but -- and you're talking about large numbers of people. this is about a third of new york's population. >> oh, yeah. >> yeah. >> they're working sometimes -- you know, jokes about how many jobs they're working. >> mm-hmm. >> but they're working very hard or many of them are elderly. many of them are kids. we have an enormous rate of poverty among little kids who can't defend themselves. >> mm-hmm. >> so we're more concerned, i think, about the fact that no one else is polling this population. this is a nation-- we use a national pollster. we've been doing it for more than 12 years. and they do a telephone poll with -- sampling cellphones now because we're coming up to date. >> [ laughs ] >> but people are very willing to talk about what's gone wrong. >> mm-hmm. what their fears are, what their
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>> and i think they still have hope and they still have objectives, but they are being driven down, many of them. some of them are actually losing ground, which i find hard to believe. >> and what do you hear -- why is that happening? why do they believe it's happening? >> well, i think they think that even if they work really hard, because of the wage levels that they have, that sometimes it really doesn't keep up with the cost of living in new york, particularly housing and food, you name it. i think everyone in your audience knows about this. so that they're working terribly hard, but the amounts of money they get for working 40, 50, 60 hours doesn't really cover their basic costs. >> and i know that some people feel like that increased minimum wage would certainly help them. >> the first, you know, suggestion is coming up to this $15 minimum wage, which has taken fire in new york and other parts of the country. and it would help. there's no question it would help. it's also access to college for their kids.
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>> they can't afford it. but the other thing that's obviously become a big dispute in the city is affordable housing. >> mm-hmm. and i know that -- we talk about affordable housing, you know, one of your pet projects is really -- public housing... >> yes. >> ...what it has become. what needs to be done to make it, in a lot of cases, even habitable anymore. >> and it's terrible, because 14, 15 years ago, our public housing was the best in the nation. and what i think you can't -- you know, because of the proportion of people in public housing, their median income is about $19,000, they're 44% african-american, 45% latino, and they're not considered a major political force. and for that reason, i think people ignored them. they took money away from public housing.
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in capital expenditure. that's why the roofs are leaking while mold is spreading all over the place, why hurricane sandy took the place apart, because we systematically have been removing money from this basically because they weren't considered important populations. >> is there any way to reverse this trend? what do you believe needs to be done to -- to try to start reversing it? >> yeah, i think -- there are little signs of hope. so, essentially, the mayor has committed $300 million towards capital expenditure. the governor has come up with $100 million. we're not quite satisfied with that. we did that, but he did come up with it. we have to start getting the monies from battery park city, which had been pumping into the general fund at some enormous level for years, which were supposed to be directed towards low-income housing. >> mm-hmm. >> we have to get it redirected and not just as a slush fund. and we also need some vision
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leadership. i mean, everyone was very excited with the mayor's idea of a trolley. and i sort of like that idea, too, but that is gonna cost billions of dollars. they found a dedicated stream of money. i think with good vision, the state and city can come together to do something about this. and, frankly, the federal government is really the author of most of the problem. obviously they've really been -- hud has been systematically under pressure by conservatives who don't really -- or aren't interested in this population. >> but you talk about this population, you know, being not a major political force. the funny thing is that they really are a major political force. >> they could be. >> you talk about, you know, almost 50% latino, almost 50% black. >> absolutely. >> that's a huge political force. i mean, how do you galvanizing -- galvanizing -- galvanize that, you know, that power so that they can make it work for them instead of against
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>> and i think that's critical. i tried, and it was discussed heavily in -- actually the dinkins administration. there -- back then there were about 300,000 potential eligible voters who were not registered in public housing. and i think it's something that is necessary. i think the union that's representing public -- is talking about it -- these are energetic people in public housing. >> mm-hmm. >> many of them who are elderly and disabled but really come to meetings, are fighting for this, and their vote has to be held -- put forward to really insist that this is unacceptable now. so it's one of the things we've been calling for for a long time. major voter registration, non-partisan, i don't care. everyone has a right to vote the way they want. >> but vote. >> but vote. because that's the only thing that's gonna shake this up and sustain it going forward. >> it is always a pleasure to talk with you. >> pleasure being here.
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belly. and let's hope we can get the fire in some other folks' belly as well. >> i agree. >> thank you so much. >> thank you very much. >> we'll be right back. i think we should've taken a left at the river. tarzan know where tarzan go! tarzan does not know where tarzan go. hey, excuse me, do you know where the waterfall is? waterfall? no, me tarzan, king of jungle. why don't you want to just ask somebody? if you're a couple, you fight over directions. it's what you do. if you want to save fifteen percent or more on car insurance, you switch to geico. oh ohhhhh it's what you do.
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>> february is american heart month. while heart disease is the leading cause of death for men and women in the u.s., according to the american heart association, 80% of heart attacks and strokes are preventable. and even though deaths from heart attacks have been declining for decades, social factors, including race and income, could reverse that trend. here today is dr. jennifer mieres, a cardiologist from northwell health and spokesperson for the american heart association. she is also an advocate for a women-centered holistic approach to heart health. so nice to have you on again. >> thank you. a pleasure to be here. >> and perfect color for the -- for the subject matter and for the month. i wanted to ask you, when you talk about a holistic approach to heart health, what exactly do you mean? >> well, i think we have to focus on the entire body, the interaction with mind, the heart, things we do, how we live
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so, i want us as women to focus on not just -- when you think of heart health, to think about factors that effect heart health such as sleep, stress, how we deal with stress. and as we have done more research, we recognize that in addition to the traditional risk factors for heart disease are smoking, being overweight or weight-challenged, elevated cholesterol, diabetes, hypertension, we now know that in women, things like stress, how much sleep you get, whether you had complications in pregnancies, and how you live your life affects your overall heart health. so i like to use the word "holistic" because we have to include all of those other social factors, that we haven't been thinking about. >> so they're -- i mean, they're really some gender-specific things when it comes to heart disease. >> absolutely. >> so it's not just a, you know, one of those -- what is that? -- winner-take-all or -- >> right. >> there's no solution for
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so i think when -- and as we have learned more about women and men, we know, one -- heart killer... >> mm-hmm. >> ...or women will be at risk for heart disease across her life-span. we've also learned that there are, indeed, sex and gender differences. so, definitely as we age, we will definitely get heart disease. we know that certain risk factors, and the family history is a risk factor. >> mm-hmm. >> but certain risk factors that are seen in men are much more powerful in women. so diabetes -- diabetic women three to seven times more likely to die of heart disease or have heart disease compared to diabetic men. >> why is that? >> well, i think we sort of -- our biology is a little bit different, and we have known -- we also know that heart disease or the whole process of blockages or coronary arteriosclerosis is multi-factorial in women. for many years, we focus on just finding a focal blockage in the heart, leading to a heart
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it was equal in women and men. as we have done more research, we recognize that in women -- yes, there are focal blockages. in addition, diseases of the smaller vessels, the whole microvasculature, can lead to catastrophic effects. and these were vessels we didn't look at before. >> and are disease of those vessels more common in women? >> in women. yes. diseases of the microvasculature, the smaller coronary arteries -- much more common in women, as well as dysfunctional problems with the lining of the coronary vessels -- more common in women, leading to more catastrophic effects. >> well, let's break it down and leave it a little bit farther if we talk about women of color. did the risk rise there? >> so when we look at the whole spectrum of heart disease, cardiovascular disease, we see that african-american women are definitely at higher risk from dying from heart disease.
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african-american women die every year from heart disease. and we see a prevalence of risk factors -- hypertension is much more prevalent in women of color. a problem is hypertension is undetected, because you don't feel anything until it's way too late and the damage is already done. diabetes, again, more prevalent. and simple things like being a little bit weight-challenged, more weight problems in women of color. and less activity -- african-american women less likely to exercise -- more sedentary lifestyle. and i think an important thing is exposed to chronic stress on a constant basis. >> mm-hmm. >> and so you put all of that together, you see a higher incidence of heart disease and death from heart disease in african-american women. the important thing is that 80% of heart disease, according to the american heart association, as you said, is preventable. and we need to increase the awareness about heart disease in african-american women. we need to understand that heart health is important.
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only 36% of african-american women, compared to 65% of caucasian women, recognize that heart disease is the leading killer. >> what is the disconnect there? because it is a message that we've been giving out for some years, now. and we -- we definitely repeat it at this time every year and we talk about it. what is the disconnect, and why do we still not -- as women of color seem to be taking action? >> well, you know, i think that there is a sort of misperception about what you need to do to be heart healthy. so, i always say, because you say we need to exercise and people generally think, "oh, my gosh. first of all, i have to go to a gym. i have to do something -- i don't have time." secondly, i think that we are sort of managing -- we are the c.e.o.s of our family. so by the time the day is over and you've taken care of everything on your list, you are
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so you were thinking, "oh, my gosh." i have to exercise. how am i going fit that in?" i encourage all women to recognize small steps. put yourself first on the radar screen... >> mm-hmm. >> ...and realize that even if you can do 10 minutes of some sort of activity -- you know, we're aiming for 30 to 40 minutes every day -- but if you could get 10 minutes of walking in, dancing, swimming, jogging, finding ways to add all of those minutes up is one of the most important things you could do -- choosing to move. >> you are making a difference. >> yeah. making a difference. >> i wanted to ask you, what -- at what age should you -- i guess in women in particular, since we're really focusing on that today -- should you start really thinking about your heart health and being concerned about it? because we take a lot for granted for a long time. >> i think once you're in your 20s, because when -- >> 20s? >> 20s. you should have that conversation with your physician. you know, many of us just see a ob-gyn. >> mm-hmm. >> so say, "let's talk about my
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because you should keep a log of your family history. figure out what your risk factors are and start leading a heart-healthy lifestyle. because what we know from looking at the science, the small changes of heart disease begin in the 20s, when you look at the vessels. >> you know what? i really think the big message here, to take away today, is that this is preventable. >> yes. >> and that it is within your power to do something. >> absolutely. >> and the change can be small, but the difference may be huge. >> huge. small changes, big gains. and i want to say one other thing. you know i always talk about the two p's in terms of heart health -- a partnership with your doctor... >> mm-hmm. >> ...so that you're partnering to customize a heart-healthy lifestyle that fits your lifestyle, that you can sustain it. and find a friend or family member to join you, because that makes it sustainable. >> so, and we're gonna send people to heart.org. >> and women especially to
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american heart association has great information and small programs to get us started. >> all right. dr. mieres, thank you for being with -- you've made me think. and i really find myself slapping myself to do just these little things to make sure that i am heart healthy, as well. >> well, you know, i would say do one thing -- get a fitness tracker. >> mm-hmm. >> and you look at the number of steps, try to get those 10,000 steps every day. and, you know, if at the end of the day, you're a little bit short, it will encourage you and inspire you to keep walking. >> all right, thank you so much for being with us. >> a pleasure being here. thank you. >> up next, a savvy entrepreneur making her mark in footwear.
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hey, try some? mmm that is tasty. is it real? of course... are you? nope animated you know i'm always looking for real honey for honey nut cheerios well you've come to the right place. great, mind if i have another taste? not at all mmm you're all right bud? never better i don't know if he likes that. yeah
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>> we are in the midst of fashion season. new york fashion week just wrapped up. london, milan, paris -- they're up next. joining us today is a young woman who is making a mark in the world of fine footwear. she is a savvy entrepreneur who is focusing on women looking for fashion and function when it comes to shoes.
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c.e.o. and designer behind the luxury brand iylia, layla-joy williams. so nice to see you again. >> thank you for having me. >> your shoes are absolutely beautiful, which we've been telling you for years. you've been doing this, what, 15 years, now? >> 15 years. 15. >> what was it about shoes that made you say, "that's what i want to design"? >> you know, i think it actually started from childhood. but, you know, it really came to fruition when i was in college. i went to pratt institute. i studied industrial design, which encompasses furniture -- furniture, automotive design, and product design, and i had some friends who were either working for footwear companies while they were in school and another one that was recruited out of college. so, you know, we remain close, and i watched what they were doing. and what i loved most about footwear was the fact that, you know, it's got a technical aspect to it, you're constantly working on new projects, and, you know, you have the opportunity to travel the world, 'cause the factories that most people were working out of at that time were in asia.
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it was perfect. >> and what does that travel -- how does that travel inform your design? >> you know, it's amazing. i mean, it's -- there's nothing like traveling the world. you really get a sense of what's happening culturally, you know, how people use products, what really works in your market versus somebody else's market, but you can take little elements from all over the world, you know? >> mm-hmm. >> it really -- there's nothing like it, you know? there's really nothing like it. >> and how, you know -- how much competition? i mean, look, women and shoes -- crazy. >> yes. >> i don't have to tell you, of course. you know, you have the big names out there. how difficult is it for a young women to get into the footwear industry? >> you know, at my core, i'm a businesswomen. so it's really about determining what the white space was. and being in this position where i've had the opportunity to travel the world as a woman, as a designer, as a businesswoman, you get to go to the most
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ever imagine. so, 10 corso como in milan, you're at colette in paris, and personally i amassed so many pairs of shoes, but the problem was is that i brought them back to new york and -- to actually wear them in a place like new york where it's a pedestrian city... >> mm-hmm. >> ...was really a challenge. so that meant i'd spend a ton of money at leather spa, which was formerly a shoe service -- stretching the shoes, resoling shoes... >> trying to make them comfortable. >> try to make them comfortable, padding the shoes, and they still wouldn't work. so, you know, as a businesswoman, i thought, "okay, what's the white space here? what would set my brand apart?" so i really wanted to create a collection of product, of shoes, and we're gonna branch out into other avenues in the fashion world. but really the footwear's our main focus. but create a collection of shoes that were wearable -- you know, transitional. that really worked for -- i'm a size 10. so, you know, you go into these stores and you see beautiful product, but something that's really cute in a size 6 doesn't really translate necessarily to my size.
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so, we seasonally put out, like, capsule collections, really focusing on fit and just making sure that the product transitions throughout a woman's day, you know, from desk to dinner. you know, my day -- i turn on my computer, and i'm answering e-mails, but i could end up on a flight that evening. >> mm-hmm. >> so when i'm traveling, it's a small bag and everything goes above me, and it's got to be two to three pairs of shoes maximum that transition throughout my day. >> and, so, for you, it's form and function? >> absolutely. >> and how do you break through in the marketplace, though? how do you get heard above the noise of these much bigger names? >> you know, it's honestly really -- it's not the easiest thing in the world, but, you know, it's possible. it's really about getting the product on women. and what we've found has been our success is because we've spent so much time on the product and making sure that it's right. you know, a woman will buy a pair of our shoes, then she'll come back for the second color. >> mm-hmm. >> and then she's willing to try something else. and for me, what's really important is to build a
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i'm not looking to do an overnight -- i want to be here for the long haul. >> consistency. >> and i really want to make sure that i'm somebody that she can come to tried and true. there's so many brands out there, and you can't be all things to all people. but i really am looking to fill that space for, like, the daytime, you know? basically a go-to shoe. you know, there's so many fabulous brands out there, but i think there's a place for everybody. >> and how do you -- you know -- you are now manufacturing your shoes in spain, correct? >> yes. >> so how do you go -- is there a learning curve when you have to figure out, you know -- you do the design. this is what i want. i want it to be comfortable. a learning curve in terms of figuring out who gets you, who understands what's important to you, and who is the best manufacturer from your -- for your product, and who can do it a price point that will work for you. >> honestly, sandra, it's like
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i've spent 13 years of my 15-year career working in asia at a time when, you know, it's not the place that it is today, where there are far less foreigners there, you know? and you learn how to communicate with people who don't necessarily come from the same culture, don't speak the same language. it's amazing. in terms of determining where i wanted to manufacture our product, you know, i knew that asia would be a stretch because in order -- just the travel alone, i have to spend -- when you start a business like this, you have to spend a lot of time with a manufacturer, like, in the factory. >> mm-hmm. >> and so it's like anything else. it's trial and error, you know? it's basically a relationship, and you have to figure out if they understand where you're coming from, and you just try to see if it works. >> so, where can we find your shoes? i know they're online. >> they're online right now. >> and the price point? >> our price point right now on average is $195. and we go up to about $650. $650 would be like a full-shaft leather boot. >> mm-hmm.
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we're actually online right on iylia.com. but we're -- in the next couple of months, it will be announced the retailers have picked up the collection. >> okay. and that's got to be exciting to see in the store. >> it's really exciting. >> what would you say to -- last question here, they're telling me. i'm running out of time -- another young woman who is interested in maybe designing shoes, but really interested in starting on her own in the fashion business and, you know, they've got this idea, this passion to do something, what do you say to her? >> i would have to say, "you have to be extremely passionate about anything that you want to break into." because, you know, you want to make sure -- and the way in which you kind of set yourself apart is make sure you have a plan. you have to have a business plan. that's where we started. you know, the second level of business wasn't so much the design. it's so funny how much most of my day is spent with the business -- other business entities -- my attorney, you know, accountants, all sorts of other things. those people are crucial to your
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and it's really about the -- creating a plan for your business and making sure you have passion. you need passion for whatever you do and, especially in this industry, you know, you're saturated with so many different brands, so many different products. so, in order to really have any longevity, you really need to, you know, dig your teeth in. >> but go for it. >> yes. you have to go for it. >> all right. layla-joy, thank you so much.
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>> the play "dot," created by colman domingo, is a dark comedy about one woman's struggle to keep her memory and her family's fight to balance her care and their own lives. take a look. >> you're lucky. your mother's gone already. mine's here and gone at the same time. aurora borealis. >> that's the [bleep] up secret of life. >> joining us this afternoon is
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stars at dotty, and sharon washington, who takes on the role of dotty's daughter, shelly. this afternoon. >> thank you. it's our pleasure. >> thank you so much for having us. >> i think that the subject matter of this play was gonna hit home for a whole lot of people. playing the character -- any similarities between you and the character? >> no. [ laughter ] thank god, at least not yet. >> but did you recognize any of the relationships? >> oh, absolutely, absolutely. i have lots of friends -- i have a lot of friends whose parents are going through dementia, alzheimer's, and family members that -- everybody knows someone that is affected by this horrible disease. >> yeah. >> it's debilitating, and it takes your sense of being. so, i totally related to that.
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she actually retired so she can take care of her mom. >> mm-hmm. >> and it's been seven years, and now she's in the stage where her. she can't walk. she can't eat. and so, i've watched that happen. and another friend, who her mother is in a nursing facility from alzheimer's. and so just visiting her and observing i think kind of helped me in creating dot, as well. >> and i think as we all get older in a lot of ways, we do become the caregivers for our parents or our family members, even if the illness isn't as serious. in a lot of ways, the roles get reversed. >> absolutely. >> now, you both performed in this show before. >> yes. >> so, when you do a character, perform a character for while, does that character become more like you?
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separate yourself from the character? >> that's such an interesting question. i think the character becomes deeper. i think in playing it, you discover just different levels. and colman has written such a rich character. all the characters are so rich, and they all have so many different levels that over time, you discover, "wow, that's a trait i've never really explored." so you get a chance to explore different facets of the character's personality. and absolutely there's parts of shelly and sharon that are interchangeable. i think she's a little bit more of the type-a personality than i am, but i certainly have that ability. so i just take that and i turn it up a few notches, and then i get shelly. >> turn your own. >> turn my own up a little bit, and i get shelly. >> what about that having sort of played off each other before? does that bring a depth to the character and the storyline that probably the audience ends up
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>> mm-hmm. >> but they don't even realize why that relationship looks so good and so real on stage. >> absolutely. well, marjorie and i were joking about something in the dressing room a couple of days ago. she sits behind me in the dressing room. all the women are in the same dressing room, so we can see each other in the mirrors. and at this point, all we need to do is look at each other, and we know exactly what the other one is thinking. >> like family. >> like family, exactly, exactly. so we have to catch ourselves sometimes when we're in public, and we look at each other. and like, "i can't look at you now, marjorie, 'cause i know what you -- get out of my head, marjorie. get out of my head." >> now, you know, reading -- colman, he has talked about writing the play and how writing about something, a subject matter of a parent going through dementia, and then the family having to negotiate not only how they're gonna care for their mother, but really how they're gonna deal with each other and then, really, how they're gonna deal with all their own personal stuff.
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important to find the humor in this situation, and that's a big part of this production, the humor, even though the subject matter is serious. >> yes, yes. >> absolutely. there is a lot of funny lines in it, and all of the characters are so rich in their own right. and the way that colman wrote them, it just -- people are coming thinking they're gonna see one thing, and it's totally different, even though it's deep. it's a deep subject, a heavy subject. but you have to laugh. my girlfriend, who i mentioned earlier, she came on sunday, and she said that she was prepared to be really depressed and sad. but she said that she was so enlightened and she laughed. you know, she might have cried, but she laughed. and it just made her understand what she was going through, as well as our family, that she felt the same way that a lot of
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there's sometimes when shelly would get kind of frustrated with me. and she said, "that was me. i said the exact same thing to my mother." you just can't help it. so you see exactly -- it's like looking in a mirror. >> yeah. >> and people will be in for a treat i think when they come to see the show. >> because it's really about sort of the humanity, i guess, in all of us. in a lot of ways, we are all different, and what we're going through may be different, but there's just this sort of line of similarity and familiarity there. >> yes, absolutely. >> exactly. >> absolutely, and i think the humor makes it accessible. the humor allows you to get to know these people. it lets you into their lives. so you get, i think -- i think you get caught off guard. >> by the humor. >> by the humor. >> and find yourself, "oh, my gosh. why am i laughing at that?" >> right, was that funny? it really was funny, but, ooh. so, it's great, it's great.
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at the vineyard theatre, right? vineyardtheatre.org -- find out about tickets, times. and the official opening is february 23rd. all right. such a pleasure to meet both of you. >> thank you so much. it was such a pleasure to be here. >> lovely, lovely, talented >> thank you. >> thank you. >> still to come, grammy award-winning musician terri lyne carrington. all across america families are coming back to time warner cable for a whole new experience.
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>> she's a three-time grammy award winner and a musical trailblazer. terri lyne carrington was the first woman to win a grammy for best jazz instrumental album. she's a world-renowned jazz drummer, vocalist, composer, producer. her current album, "the mosaic project: love and soul," features the late natalie cole. it is our pleasure to welcome world-renowned jazz drummer, vocalist, composer, and producer, terri lyne carrington. so nice to meet you. >> oh, nice to be here. >> wonderful to have you here today. man, how do you have time to get
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>> i don't know. it's a lot. i'm a full-time professor at berklee college of music, and i have my recording career, and i produce, and i have a son. so i stay busy. >> i would say that's an understatement. and, really, music was your first love. >> absolutely, i think you realize that, i think, the older you get and other things come into your life to make you see that more and more, you know, your first love and what your passion truly is. i've discovered over the last 10 years when i started making more solo recordings that this is really, really my true love. >> you know, music has changed a lot. well, maybe that's not really the correct way to say it, but it is. it ebbs and flows. but you really have managed to stay very busy. you work with some of the best people. how do you stay relevant? is that just a testament to excellence?
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testament to just paying attention to what's happening and how the tide moves and how the trends change. and because i'm teaching, i stay in touch with younger musicians all the time, and they inspire me. it's my job to try to inspire them, but in actuality, they inspire me. and i have, you know, little sisters like esperanza spalding that really inspires me. >> oh, you know, not everybody can say, "oh, my little sister, like esperanza spalding." [ laughs ] okay. >> so, think that's how you stay relevant these day. never being okay with where you've been and always looking toward where you're going and what you can do next, and how do you reinvent yourself? >> but you certainly have an appreciation for excellence in the business -- some of the heavy hitters. this latest album of yours, which is -- you're sort of the boss of things, but, man, you have everybody on this album. i mentioned the late natalie cole.
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it. some of the other woman. >> valerie simpson, chaka khan, paula cole, lizz wright, lalah hathaway, ledisi, chant\ moore, nancy wilson. >> tell me the impetus behind putting this particular project 'cause it's a follow-up lp for you. >> yes. well, the first one, it was more of an acoustic jazz cd. and i have always teetered between acoustic jazz and more groove-oriented music. and i wanted to show more of that style in this project. so it leans a little more r&b or my version of r&b meets jazz. and the vocalists are definitely known more as r&b singers, but they all have a jazz sensibility about them and can interpret jazz, as well. >> yeah, these -- i think the old people say, "these women just don't sing. they sang." [ both laugh ]
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i was very blessed to have all these amazing artists on the cd. >> and i know that you said it's really women-focused, but you said you didn't want to leave out -- you didn't want to forget about the men when you were putting this together. >> well, yes, because people tend to put you in a box, especially when you do all-female projects. and i did a cd in between these two mosaic projects called "money jungle: provocative in blue" and that was a tribute to duke ellington, max roach, and charles mingus. and then i came back with this one because, as i said, i felt like i had something else to say with this mosaic series. but i decided to do music written by male artists that, you know, have influenced me on some level, so bill withers, marcus miller, and luther vandross, duke ellington, frank sinatra. >> mm-hmm. >> most of the songs were either
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composers. >> yeah. most? is it the being a vocalist, the composer, the drummer? which one? >> it's hard to pick, you know? i really -- i have my voice on the drums, i would say, you know, more than a singing voice. >> mm-hmm. >> but i love to write and i love to be in the studio, and i think that i really enjoy all of these things and it kind of makes me who i am. >> the new project, terri lyne carrington, "the mosaic project: love and soul". >> mm-hmm. >> and it's in stores now. >> it is, and we're actually doing a lincoln center show. >> that lincoln center performance is february... >> 27th. >> ...the 27th. >> featuring valerie simpson and oleta adams. >> okay. terri lyne carrington, a pleasure to meet you. >> oh, my pleasure. >> and looking forward to what you have coming up next. >> oh, thank you. >> thank you for joining us on "here and now". if you missed any portion of
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abc7ny. and if you'd like to comment or share your own story, e-mail us at abc7ny or follow us on facebook and twitter. i'm sandra bookman. enjoy the rest of your day. >> you want love, ooh >> oh, oh, oh, ohhhh >> ooh it's so good >> amazing >> so good and amazing i've found someone >> oh, oh, oh, ohhhh >> ooh, yeah, yeah >> so good, amazing >> you i love, i love, i love >> oh, oh, oh, ohhhh >> said it's so good, and it's so good and amazing
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>> so beautiful welcome to "our world with black enterprise."

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