>> ANNOUNCER: "CHARLOTTESVILLE
INSIDE-OUT" IS MADE POSSIBLE
THANKS IN PART TO ITS PATRONS,
COMMITTED TO SUPPORTING THE
PEOPLE, PLACES AND QUALITY OF
LIFE THAT UNIQUELY DEFINES
CHARLOTTESVILLE AND ITS
SURROUNDINGS, AND BY VIEWERS
LIKE YOU.
THANK YOU.
>> SAMUEL BWISEZE: YOU'RE
YOURSELF AND THAT'S THE BEST
FEELING ABOUT THIS PLACE.
>> EDWARD MURPHY: WHEN YOU LOOK
AT THE SUN IN THE DAYTIME THE
SUN IS 93 MILLION MILES AWAY AND
THAT TRANSLATES INTO EIGHT
MINUTES 20 SECONDS TRAVEL TIME
>> TERRI: FOR WHTJ, I'M TERRI
ALLARD, AND THIS IS
"CHARLOTTESVILLE INSIDE-OUT."
♪♪♪
>> HOW FAR AWAY IS JUPITER?
>> EDWARD MURPHY: SO JUPITER IS
ABOUT FIVE TIMES FURTHER FROM
THE SUN THAN WE ARE.
SO TONIGHT IT'S ABOUT 46 LIGHT
MINUTES AWAY.
AND YEAR AFTER YEAR IT MOVES
ABOUT ONE CONSTELLATION THROUGH
THE SKY AS IT ORBITS AROUND THE
SUN.
SO ONCE YOU'RE FAMILIAR WITH THE
SKY IT'S NOT AT ALL HARD TO FIND
THE PLANETS BECAUSE YOU'LL
REMEMBER WHERE THEY WERE LAST
YEAR AND THE YEAR BEFORE.
>> TERRI: TODAY WE'RE GOING TO
VISIT A CHARLOTTESVILLE GEM FOR
LOVERS OF ASTRONOMY.
HOUSING WHAT WAS ONCE THE
LARGEST TELESCOPE IN THE U.S.
USED TO MEASURE DISTANCES TO
NEARBY STARS, THIS UVA FACILITY
IS OPEN TO THE PUBLIC FOR ANYONE
WHO WANTS TO TAKE A PEEK.
JOIN US AS WE VISIT THE
McCONFORMIC OBSERVATORY.
COME ON!
>> EDWARD MURPHY: A LITTLE BIT
ABOUT THE TELESCOPE THAT YOU'RE
GOING TO LOOK THROUGH TONIGHT.
THE TELESCOPE WAS THE GIFT OF
LEANDER MCCORMICK WHO WAS THE
BROTHER OF CYRUS MCCORMICK.
IT WAS A VERY BIG DEAL WHEN THIS
TELESCOPE CAME TO
CHARLOTTESVILLE AND
STONE BEGAN A RESEARCH PROGRAM
HERE LOOKING AT COMETS,
MEASURING THEIR ORBITS,
MEASURING THE MOONS OF MARS, AND
ALSO LOOKING AT NEBULA.
THE PRIMARY THING THAT MCCORMICK
OBSERVATORY IS FAMOUS FOR STARTS
WITH OUR SECOND DIRECTOR, SAMUEL
ALFRED MITCHELL IN 1914 BEGAN A
PROGRAM HERE TO MEASURE THE
DISTANCES TO NEARBY STARS.
AT THE SPEEDS WE CAN TRAVEL
RIGHT NOW GETTING TO THE NEAREST
STAR IS A 75,000 YEAR JOURNEY.
>> TERRI: ED, WHAT IS YOUR ROLE
HERE AT THE OBSERVATORY?
>> EDWARD: SO I'M THE DIRECTOR
OF THE EDUCATION AND PUBLIC
OUTREACH PROGRAM THAT WE HAVE IN
THE ASTRONOMY DEPARTMENT.
>> TERRI: AND SO UVA NO LONGER
USES THIS FOR ITS RESEARCH,
RIGHT?
>> EDWARD: THAT'S RIGHT.
SO WE NO LONGER USE MCCORMICK
OBSERVATORY FOR RESEARCH FOR A
COUPLE REASONS.
IT'S A SMALL TELESCOPE BY MODERN
STANDARDS.
THERE'S A LOT OF LIGHT POLLUTION
FROM CHARLOTTESVILLE CITY,
ALBEMARLE COUNTY AND THE
UNIVERSITY ITSELF.
THE TELESCOPE WASN'T REALLY
DESIGNED TO HOLD THE MODERN
DIGITAL RESEARCH CAMERAS THAT
ARE VERY BIG, AND VERY HEAVY.
AND THE WEATHER HER IN
CHARLOTTESVILLE JUST ISN'T VERY
GOOD.
WE DON'T GET AS MANY CLEAR
NIGHTS AS WE DO AT THE MAJOR
OBSERVATORIES IN THE DESERT
SOUTHWEST.
>> TERRI: YEAH, AND SO THE
ASTRONOMY DEPARTMENT IS STILL
RUNNING FULL SPEED AHEAD AND
USING ALL HIGH-TECH GEAR AND
EQUIPMENT AND NOW THIS SPACE IS
OPEN TO THE PUBLIC.
>> EDWARD: THAT'S RIGHT.
WE HAVE ACCESS TO OBSERVATORIES
IN ARIZONA AND NEW MEXICO AND
EVEN ACCESS TO OBSERVATORIES
DOWN IN CHILE FOR DOING OUR
RESEARCH AND SO NOW WE MAKE
MCCORMICK OBSERVATORY AVAILABLE
FOR EDUCATION PURPOSES AND
OUTREACH PURPOSES.
>> TERRI: SO WHEN IS IT OPEN?
>> EDWARD: MCCORMICK OBSERVATORY
IS OPEN TO THE PUBLIC ON THE
FIRST AND THIRD FRIDAYS OF EVERY
MONTH YEAR ROUND.
WE'RE ALSO OPEN TO EDUCATIONAL
GROUPS ON THE SECOND AND FOURTH
FRIDAYS OF EVERY MONTH AND THEY
HAVE TO CALL THE ASTRONOMY
DEPARTMENT TO MAKE ADVANCE
RESERVATIONS.
>> TERRI: BUT THE GENERAL PUBLIC
FOR THE FRIDAYS, YOU JUST SHOW
UP.
>> EDWARD: THAT'S RIGHT, IF
IT'S A CLEAR NIGHT, BETWEEN 9:00
AND 11:00 PM YOU CAN JUST SHOW
UP AT ANY TIME NO PRIOR
RESERVATIONS, NO TICKETS
REQUIRED AND THEN YOU CAN LOOK
THROUGH THE TELESCOPES AND IF
IT'S A CLOUDY NIGHT WE HAVE
OTHER PROGRAMS THAT GO ON ON
CLOUDY EVENINGS.
>> GRAD STUDENT: SO TODAY I WILL
BE TALKING ABOUT THE STRUCTURE
OF THE UNIVERSE.
THE UNIVERSE STARTED FROM A BIG
BANG, A BIG EXPLOSION AND MADE
MANY ELEMENTAL PARTICLES AND
AFTER 100 MILLION YEARS THE
FIRST STAR FORMED.
>> TERRI: SO IT TAKES A LITTLE
TIME TO PREPARE THE SPACE, THE
TIME TO PREPARE THE SPACE, THE
DOME, FOR GUESTS.
WALK US THROUGH, WHAT DO YOU DO?
>> EDWARD: SO ON A TYPICAL NIGHT
WHEN IT COMES TIME TO OPEN UP
THE OBSERVATORY THE FIRST THING
THAT I'LL DO WHEN I COME IN IS
OPEN UP THE THREE DOORS THAT ARE
IN THE DOME HERE.
IT'S A BIT OF AN UNUSUAL DESIGN
HERE.
INSTEAD OF ONE LARGE DOOR WE
HAVE THREE SMALLER ONES.
WE OPEN UP ALL THREE DOORS TO
EQUALIZE THE TEMPERATURE INSIDE
AND OUTSIDE THE DOME.
>> TERRI: WHY IS THAT SO
IMPORTANT?
>> EDWARD: IF YOU'VE EVER LOOKED
OUT OVER A PARKING LOT ON A HOT
SUMMER DAY AND YOU'VE SEEN THE
HEAT RISING OFF THE PARKING LOT
YOU'VE NOTICED THAT EVERYTHING
BEHIND IT IS SHIMMERING AND
MOVING AROUND AND WAVING.
AND THAT'S BECAUSE THE HOT AIR
IS LESS DENSE THAN THE COOLER
AIR AND IT BENDS LIGHT LESS.
THE SAME THING HAPPENS HERE AT
THE OBSERVATORY.
IF YOU WERE TO HEAT THE INSIDE
OF THE DOME IN THE WINTERTIME
WHEN WE OPENED THESE DOORS AS
THE HEAT RUSHED OUT IN FRONT OF
THE TELESCOPE, IT WOULD CAUSE
ALL THE STARS TO LOOK BLURRY AND
DISTORTED.
SO WE HAVE TO KEEP THE INSIDE OF
THE DOME THE SAME TEMPERATURE AS
THE OUTSIDE OF THE DOME.
>> TERRI: OK, SO YOU HAVE THE
WINDOWS OPEN AND THEN WHAT ELSE
HAS TO BE SET UP?
>> EDWARD: THE PRIMARY THING
AFTER THAT IS TO BRING THE
TELESCOPE DOWN TO THE GROUND TO
GET THAT READY.
AND AS WE BRING THE TELESCOPE
DOWN, WE'LL PUT AN EYEPIECE ON
THE BOTTOM.
AN EYEPIECE IS WHAT ALLOWS
PEOPLE TO ACTUALLY LOOK THROUGH
THE TELESCOPE AND SEE OBJECTS.
>> TERRI: IS THAT WHAT YOU USE?
WILL YOU SHOW ME HOW YOU WOULD
BRING IT DOWN?
>> EDWARD: THAT'S RIGHT.
SURE, TO BRING THE TELESCOPE
DOWN, TODAY, BACK IN 1885 THE
TELESCOPE WAS OPERATED WITH
ROPES AND PULLEYS.
IN THE 1960S THEY ADDED ELECTRIC
MOTORS TO IT.
AND SO TODAY WE CAN JUST BRING
THE TELESCOPE DOWN WITH A MOTOR.
[MOTOR NOISE]
>> TERRI: OH, THAT'S GREAT.
>> EDWARD: AND EVEN THOUGH WE
BRING THE TELESCOPE DOWN WITH
MOTORS, WHEN WE'RE POINTING THE
TELESCOPE WE STILL DOING IT BY
HAND.
EVEN THOUGH THE TELESCOPE WEIGHS
A FEW THOUSAND POUNDS YOU CAN
GRAB THE TELESCOPE AND YOU CAN
STILL MOVE IT AND WE STILL POINT
IT BY HAND JUST BY GRABBING IT
AND MOVING IT.
>> TERRI: AND SOMETIMES YOU HAVE
IT POSITIONED SO THAT GUESTS
ACTUALLY HAVE TO STAND ON
LADDERS, THESE LADDERS TO PEEK
THROUGH
>> EDWARD: THAT'S RIGHT,
DEPENDING ON THE OBJECT THAT
WE'RE LOOKING AT, IF WE'RE
LOOKING AT AN OBJECT THAT'S VERY
LOW IN THE SKY THEN THE BACK END
OF THE TELESCOPE IS VERY HIGH
OFF THE GROUND.
SO WE HAVE A SMALL LADDER AND A
MUCH LARGER LADDER THAT GUESTS
MIGHT HAVE TO CLIMB ALL THE WAY
UP TO GET A GOOD VIEW THROUGH
THE TELESCOPE.
>> TERRI: HOW DID THEY USE THE
TELESCOPE BACK THEN AND HOW DID
THEY MEASURE THE DISTANCES TO
NEARBY STARS?
>> EDWARD: ASTRONOMERS MEASURE
THE DISTANCES TO NEARBY STARS IN
THE SAME WAY THAT YOU AND I
MEASURE DISTANCES TO THINGS.
WE HAVE BINOCULAR VISION, TWO
EYES ON THE FRONT OF OUR HEADS
BECAUSE WHEN I LOOK AT MY FINGER
WITH MY RIGHT EYE I SEE IT
AGAINST ONE BACKGROUND AND WITH
MY LEFT EYE I SEE IT AGAINST
ANOTHER BACKGROUND.
AND IF I BLINK MY EYES MY FINGER
APPEARS TO JUMP BACK AND FORTH
NOT BECAUSE MY FINGER IS MOVING
BUT BECAUSE I'M SEEING IT WITH
TWO DIFFERENT PERSPECTIVES.
>> TERRI: RIGHT
>> EDWARD: AND THAT'S HOW YOU
AND I JUDGE DISTANCES TO THINGS.
IN ASTRONOMY WE DO IT BY TAKING
ADVANTAGE OF THE FACT THAT THE
EARTH IS ORBITING AROUND THE
SUN.
WHEN THE EARTH IS ON ONE SIDE OF
THE SUN AND WE LOOK AT A NEARBY
STAR IT'S AGAINST THAT
BACKGROUND.
BUT SIX MONTHS LATER WHEN THE
EARTH IS OVER HERE AND WE LOOK
AT THE SAME STAR IT SEEMS TO
HAVE SHIFTED IN THE SKY.
NOT BECAUSE THE STAR HAS SHIFTED
BUT BECAUSE THE EARTH HAS
SHIFTED OVER.
AND THE SIZE OF THAT SHIFT
ALLOWS US TO MEASURE THE
DISTANCE TO THE STAR BUT IT'S
ALSO MOVING THROUGH THE SKY
BECAUSE ALL OF THE STARS ARE
ORBITING AROUND THE MILKY WAY
GALAXY.
SO TYPICALLY WHAT YOU DO IS TAKE
FIVE TO 10 PHOTOGRAPHS OF IT NOW
AND THEN SIX MONTHS LATER YOU
WOULD DO FIVE TO 10 MORE AND
THEN SIX MONTHS AFTER THAT DO IT
AGAIN.
AND SIX MONTHS AFTER THAT.
AND FOR MANY, MANY YEARS EVERY
SIX YEARS YOU'D BE PHOTOGRAPHING
A STAR MULTIPLE TIMES.
YOU WOULD END UP WITH HUNDREDS
OF PHOTOGRAPHS OF THE STAR THAT
NOW HAVE TO BE CAREFULLY
MEASURED.
>> TERRI: AND THE PHOTOGRAPHS
ARE ACTUALLY GLASS PLATES.
>> EDWARD: THAT'S RIGHT.
SO THE PHOTOGRAPHS THAT WE TOOK
HERE AT MCCORMICK OBSERVATORY
ARE FIVE BY SEVEN-INCH GLASS
PLATES.
THE REASON WE USE GLASS IS FIRST
OF ALL THE PROGRAM BEGAN IN 1914
WHEN THERE WAS ONLY GLASS
PLATES.
BUT IN ADDITION, GLASS IS
DIMENSIONALLY STABLE.
THAT IS, IF WE TAKE AN IMAGE OF
THE STARS AND WE MEASURE IT NOW
AND WE MEASURE IT 20 YEARS FROM
NOW, YOU SHOULD GET THE SAME
RESULTS.
WHEN PLASTIC FILM CAME OUT,
ASTRONOMERS DID NOT ADAPT
PLASTIC FILM VERY OFTEN BECAUSE
PLASTIC FILM CAN BEND AND TWIST.
20 YEARS FROM NOW IF YOU TOOK A
PHOTOGRAPH OF THE STARS AND THE
STARS APPEAR TO MOVE YOU WOULD
WONDER ARE THE STARS MOVING OR
IS IT THE PHOTOGRAPH THAT'S
BENDING AND TWISTING?
>> TERRI: HOW MANY PLATES DO YOU
HAVE IN STORAGE HERE?
>> EDWARD: SO OVER THE YEARS
FROM 1914 UNTIL THE PARALLAX
PROGRAM ENDED WE GATHERED ABOUT
A TOTAL OF 144,000 PLATES HERE
AT MCCORMICK OBSERVATORY.
>> TERRI: AND SO WHAT DO YOU DO
WITH THE PLATES NOW?
>> EDWARD: SO THE PLATES ARE IN
STORAGE IN CASE ANYONE NEEDS TO
USE THEM.
THEY'RE STORED HERE AT MCCORMICK
OBSERVATORY AND WE'RE WORKING
VERY HARD TO PRESERVE THEM FOR
FUTURE GENERATIONS.
I THINK A REALLY INTERESTING
THING ABOUT THESE PLATES IS THIS
FOR EXAMPLE IS A PICTURE OF A
NEARBY STAR TAKEN IN 1969, WE'LL
NEVER BE ABLE TO GO BACK AND
PHOTOGRAPH THAT PART OF THE SKY
IN 1969 AGAIN.
WE CAN PHOTOGRAPH IT TODAY BUT
THAT MIGHT BE THE ONLY RECORD WE
HAVE OF THAT PART OF THE SKY IN
THAT YEAR.
TO GIVE YOU AN IDEA OF HOW MUCH
OF THE UNIVERSE WE'VE EXPLORED,
THE CLOSEST STAR OTHER THAN OUR
SUN IS CALLED ALPHA CENTAURI AND
ALPHA CENTAURI IN LIGHT TRAVEL
TIME IS 4.4 LIGHTYEARS AWAY,
THAT'S 4.4 YEARS TRAVEL TIME.
>> TERRI: DON'T YOU HAVE THE
LARGEST COLLECTION OF MACHINES
THAT MEASURE, MEASURING
MACHINES?
>> EDWARD: WE THINK WE HAVE ONE
OF THE LARGEST COLLECTIONS OF
MEASURING ENGINES IN THE COUNTRY
STARTING WITH THE EARLIEST ONES
THAT WE GOT HERE IN THE EARLY
PART OF THE 20TH CENTURY AND
THEN EVERY DECADE OR SO THE
ASTRONOMERS WOULD UPGRADE TO A
BETTER MACHINE AS THE TECHNOLOGY
GOT BETTER.
AND FORTUNATELY HERE AT
MCCORMICK OBSERVATORY THEY
DIDN'T THROW ANYTHING AWAY.
SO WE HAVE ALL OF THE OLD
MACHINES IN ADDITION TO THE
MODERN ONE.
>> TERRI: AND YOU EVEN HAVE A
DESK AREA THAT REMAINS
COMPLETELY UNTOUCHED.
IT LOOKS EXACTLY AS IT DID IN
'94 WHEN THE PROGRAM ENDED.
AND NOTHING HAS MOVED.
>> EDWARD: THAT'S RIGHT.
AND SO WHEN THE PARALLAX PROGRAM
WAS GOING ON HERE WE WOULD HAVE
ASTRONOMERS OR TYPICALLY
GRADUATE STUDENTS IN THE LATER
YEARS COMING UP AND TAKING MANY
PHOTOGRAPHIC PLATES EVERY NIGHT,
NIGHT AFTER NIGHT, EVERY TIME
THE SKY WAS CLEAR.
AND THEN WE HAD AN ASTRONOMER
DOWN IN THE ASTRONOMY DEPARTMENT
WHO MANAGED THAT PROGRAM,
DETERMINED WHICH STARS THE
STUDENTS WOULD OBSERVE THAT
NIGHT.
THEN WHEN THE PLATES WOULD COME
IN, THE PLATES HAD TO BE
DEVELOPED THEY THEN HAD TO BE
GRADED AS TO WHETHER THEY WERE
GOOD OR BAD; WHETHER THEY COULD
BE USED FOR SCIENCE OR NOT AND
THAT WHOLE DESK WHERE THEY DID
ALL OF THAT SORTING AND GRADING
STILL SITS AS IT WAS IN 1994.
>> TERRI: YOU ALSO HAVE ANOTHER
BUILDING, ANOTHER SMALL BUILDING
RIGHT BESIDE THE OBSERVATORY AND
YOU HAVE TWO ADDITIONAL
TELESCOPES.
TELL ME ABOUT THAT.
>> EDWARD: SO WE CALL IT THE
STUDENT OBSERVATORY OR THE
DOGHOUSE BECAUSE IT LOOKS LIKE
SNOOPY'S DOGHOUSE WITH THE ROOF
THAT ROLLS OFF.
AND THAT'S BOTH USED IN TRAINING
OUR STUDENTS AND IT'S OPEN ON
PUBLIC NIGHTS.
IN THERE WE HAVE A 14-INCH
MODERN COMPUTER CONTROLLED
TELESCOPE AND WE ALSO HAVE AN
ANTIQUE SIX-INCH TELESCOPE THAT
WAS GIFTED TO THE UNIVERSITY IN
THE EARLY 20TH CENTURY.
SO ON A CLEAR NIGHT YOU HAVE THE
OPPORTUNITY TO LOOK THROUGH THE
BIG TELESCOPE.
YOU ALSO HAVE THE OPPORTUNITY TO
LOOK THROUGH THE TWO SMALLER
TELESCOPES AND SEE A
PRESENTATION USUALLY BY A
FACULTY MEMBER.
>> TERRI: AND THEN YOU HAVE
MUSEUM SPACES.
YOU HAVE TWO MUSEUM SPACES.
TALK ABOUT THOSE.
>> EDWARD: SO WE HAVE A MUSEUM
SPACE THAT TALKS A LITTLE BIT
ABOUT THIS HISTORY OF THE
OBSERVATORY, IT HAS SOME
ARTIFACTS FROM THE EARLY YEARS
AND IT HAS SOME ARTIFACTS FROM
THE MCCORMICK FAMILY WHO DONATED
THE TELESCOPE TO THE UNIVERSITY.
AND THEN WE ALSO HAVE TWO OTHER
AREAS WITH LIGHT BOXES THAT
HIGHLIGHT THE RESEARCH THAT'S
GOING ON IN THE DEPARTMENT
TODAY.
SO RIGHT NOW, FOR EXAMPLE, WE
HAVE A SATURN EXHIBIT THAT'S UP
BECAUSE ONE OF OUR SCIENTISTS
FRAN VERBISCER IS WORKING ON THE
CASSINI MISSION TO SATURN.
SHE'S ONE OF THE PRINCIPLE
SCIENTISTS WORKING ON THAT
MISSION AND SHE GOT US A NUMBER
OF IMAGES THAT WERE TAKEN BY
CASSINI IN ORBIT AROUND SATURN.
>> TERRI: AND THERE IS ONE MORE
THING THAT GOES ON HERE.
YOU HAVE A WEATHER STATION AND
IT'S ONE OF THE ONLY WEATHER
STATIONS IN VIRGINIA, I THINK,
WHERE THE WEATHER IS CHECKED
EVERY DAY?
>> EDWARD: THAT'S RIGHT.
SO WE HAVE A NATIONAL WEATHER
SERVICE WEATHER STATION HERE.
AND I BELIEVE IT'S THE OLDEST
CONTINUALLY OPERATED WEATHER
STATION IN VIRGINIA.
WE HAVE WEATHER RECORDS GOING
BACK TO THE 1880S AND THEY'VE
BEEN MEASURED HERE EVERY DAY.
WE HAVE SOMEONE WHO LIVES IN A
HOUSE UP HERE NEXT TO THE
OBSERVATORY AND EVERY MORNING AT
8:00 HE COMES OVER TO THE
WEATHER STATION AND MANUALLY
READS THE TWO MEASUREMENTS IN
THERE, THE HIGH AND THE LOW FOR
THE DAY BEFORE.
AND ALSO CHECKS THE RAIN GAUGE
AND YOU WILL OFTEN HEAR ON THE
LOCAL NEWS THAT A NEW RECORD WAS
SET IN CHARLOTTESVILLE AND THAT
RECORD IS USUALLY TAKEN HERE AT
MCCORMICK OBSERVATORY.
>> TERRI: OH, THAT'S FANTASTIC.
WELL, ED.
THANK YOU SO MUCH.
>> EDWARD: OKAY.
IF I CAN HAVE EVERYONE'S
ATTENTION FOR A SECOND, JUPITER
IS GETTING LOWER AND LOWER ON
US, SO THE BAD NEWS IS WE'RE NOT
GOING TO LOOK AT JUPITER.
THE GOOD NEWS IS SATURN IS
GETTING HIGHER AND HIGHER SO I'M
GONNA SWITCH OVER TO SATURN.
WHAT THAT MEANS IS I'M GOING TO
BRING THE TELESCOPE DOWN AND UP
AND I HAVE TO BRING THAT BIG
CHAIR OVER.
SO EVERYBODY IN THE DOME STAND
OVER THERE IN THE EMPTY SPACE
FOR A FEW MINUTES AND THEN I'M
GOING TO MOVE THE TELESCOPE AS
WELL.
♪♪♪
[RAPPING]
>> TERRI: TODAY WE'RE GOING TO
LEARN ABOUT A HIGH SCHOOL
PROGRAM THAT FUNCTIONS AS A
RECORDING STUDIO AND CREATIVE
HUB WHERE STUDENTS OF ALL
INTERESTS AND BACKGROUNDS WORK
TOGETHER TO CREATE MUSIC AND
ART.
JOIN US AS WE VISIT ALBEMARLE
HIGH SCHOOL'S A3 HOUSE.
COME ON!
[SINGING]
>> CHECK, CHECK.
♪♪♪
>> CHANCE DICKERSON: THE MISSION
HERE AT A3 HOUSE IS TO HELP
STUDENTS IDENTIFY WHO THEY ARE
AND PURSUE THEIR PASSION BY
CREATING A VISION TO SERVE A
PURPOSE.
IN A BROADER SENSE, I THINK THE
VISION IS TO TAKE THIS MODEL AND
SOLIDIFY IT AND MAKE IT A
PERMANENT FIXTURE IN THE SCHOOL
AND ALSO TO PLANT IT IN OTHER
SCHOOLS IN THE COUNTY THE STATE
AND ACROSS THE NATION.
AND THAT'S NOT TONGUE IN CHEEK.
I REALLY HONESTLY BELIEVE THAT
WE CAN MAKE THIS A PART OF EVERY
SCHOOL BECAUSE IT'S THAT
EFFECTIVE IN HELPING STUDENTS
REACH THEIR PURPOSE AND
IDENTITY.
>> TERRI: AND THEN YOU'VE SPOKEN
IN THE PAST ABOUT THE IMPORTANCE
OF AUTHENTIC EXPERIENCE AS PART
OF WHY YOU TEACH THE WAY YOU
TEACH.
TALK ABOUT THAT.
>> CHANCE DICKERSON: WELL, WHEN
I WAS IN SCHOOL I OFTEN FELT
LIKE THERE WAS NO AUTHENTICITY.
I FELT LIKE EVERY TIME I WAS
GIVEN AN ASSIGNMENT OR A TEST IT
WAS ALWAYS LIKE TRYING TO ALMOST
TRICK ME INTO LEARNING
SOMETHING.
ALMOST LIKE A GIMMICK, LIKE HEY
LET'S THROW SOME HIP HOP ON TOP
OF THIS CHEMISTRY PROJECT.
IT TAKES THE AUTHENTICITY AWAY
BECAUSE IT NEEDS TO BE CENTERED
ON WHAT THAT INDIVIDUAL STUDENT
IS INTERESTED IN IN ACTUAL
REALITY FOR THEM PERSONALLY AND
NOT TRYING TO USE IT TO GET THEM
TO BUY INTO SOMETHING ELSE;
USING IT TO GET THEM TO BUY INTO
THEMSELVES.
>> TERRI: SO BERNARD, GIVE ME
EXAMPLES ON HOW YOU'RE DOING
THAT IN THE CLASSROOM.
>> BERNARD HANKINS: SO, FOR
INSTANCE, WE CREATED A RECORD
LABEL MODEL WHICH BASICALLY GAVE
EVERY STUDENT A ROLE AND A GOAL
SO ME AND MR. DICKERSON SAT DOWN
AND WE WENT THROUGH ALL OF THE
STUDENTS AND SAID, OKAY, WHAT
HAVE WE OBSERVED ABOUT SAY FOR
INSTANCE, ANIJA, WHAT IS SHE
INTERESTED IN, WHAT IS SHE
REALLY GOOD AT? AND SO WE SET --
I LIKE TO SAY THAT WE SET THEM
UP FOR SUCCESS, YOU KNOW, WE SAY
OKAY, YOU'RE GOOD AT THIS, YOU
DO THIS A LOT SO WHY DON'T WE
JUST CREATE A PROJECT AROUND
THAT SO WHEN YOU ENGAGE THE
PROJECT YOU FEEL A SENSE OF
CONFIDENCE, SELF-WORTH AND IT
THEY PRETTY MUCH TAILOR-MADE IT
FOR ME AND I FEEL PRETTY GOOD
ABOUT THAT.
SO PART OF IT IS KIND OF FOR OUR
OWN BENEFIT IT'S LIKE HEY IF I
CAN GET THE BALL ROLLING AND YOU
JUST GO I DON'T HAVE TO KEEP
AFTER YOU.
SO CREATE AUTONOMY WITH THESE
STUDENTS BY ALLOWING THEM TO
SELF-ENGAGE.
[SINGING]
>> ANIJA JOHNSON: IT'S JUST ROAM
FREE, DO WHAT YOU WANT, ASK FOR
HELP IF YOU NEED IT AND OTHER
THAN THAT YOU'RE SET FREE AND I
LIKE IT BECAUSE IT'S LIKE IT'S
UNIQUE, IT'S NOT LIKE YOUR
NORMAL TAUGHT CLASS.
>> SAMUEL BWISEZE: HAVING A HIP
HOP TOURNAMENT AT MY SCHOOL IS
REALLY AMAZING AND IT'S EXCITING
BECAUSE I THINK WE'RE LIKE THE
FIRST SCHOOL IN CHARLOTTESVILLE
THAT HAS THIS THING GOING ON AND
IT'S JUST REALLY COOL.
>> CHRISTIAN CARRIER: M
FAVORITE PART OF BEING IN THE
CLASS IS PROBABLY MR. DICKERSON.
HE'S A GREAT TEACHER AND YOU
LEARN MORE THAN TECHNOLOGY IN
HERE.
I'VE LEARNED SO MUCH FROM HIM
THAT DOESN'T HAVE ANYTHING TO DO
WITH TECHNOLOGY.
HE'S LIKE MY ROLE MODEL.
>> TERRI: YOU LIKE TO
COLLABORATE WITHIN GENRES,
WITHIN THE ARTS, AND SO THE
STUDENTS WORK ON PROJECTS ALL
YEAR LONG AND THEY COLLABORATE,
SOMETIMES THEY COLLABORATE
OUTSIDE OF THE CLASSROOMS, TALK
ABOUT THAT.
>> BERNARD HANKINS: THE GREAT
THING WITH THE RECORD LABEL
MODEL NOW THAT YOU KNOW I HAVE A
GRAPHIC DESIGNER OVER HERE AND A
VIDEOGRAPHER IN THAT CLASS, I
NEED A MUSIC VIDEO.
SO IT CREATED A NATURAL CONTEXT
FOR PEOPLE TO BE ABLE TO WORK
TOGETHER BECAUSE NOW YOU'RE
AWARE OF THESE OTHER TALENTS
THAT ARE AVAILABLE TO YOU.
>> CHANCE DICKERSON: I ALWAYS
WANTED IT TO BE A PROGRAM THAT
WAS OPEN TO ALL FORMS OF
CREATIVITY -- PAINTING,
PHOTOGRAPHY, MUSIC, DANCE, ANY
CREATIVE ART FORM, IT WAS OPEN
TO THAT ART FORM.
AND THEN WHEN IT BECAME
ACCREDITED CLASSES, THERE WAS
LIKE THIS PRESSURE THAT WAS
APPLIED LIKE, OH, IT'S A CLASS
NOW, IT NEEDS TO BE TAKEN
SERIOUSLY.
SO WE HAVE TO CREATE THIS
CURRICULUM SO ITS LIKE YOU LEARN
HOW TO RECORD ON THE MICROPHONE
DAY ONE AND THEN YOU LEARN HOW
TO USE A MIDI CONTROLLER, THEN
YOU LEARN HOW TO APPLY AUDIO
EFFECTS SO LIKE IT HAD THIS LIKE
RIGIDNESS.
BUT THEN IT WAS LIKE WE HAVE SO
MANY DIFFERENT TALENTS, WHY NOT
CREATE A RECORD LABEL BECAUSE
THAT'S SOMETHING THAT FAMILIAR
AND I THINK THAT IS THE
STRUCTURE THAT IT NEEDED BUT
THEN YOU STILL COULD HAVE THEM
PURSUE THEIR PERSONAL PASSIONS
AND TALENTS WITHOUT THE RIGID
TEST TAKING AND ASSIGNMENTS AND
ALL THAT TEACHER STUFF.
[RAPPING]
>> TERRI: SO AS THE TEACHERS, AS
THE INSTRUCTORS WHAT ARE YOUR
ROLES AT THE LABEL?
>> BERNARD HANKINS: WELL, WE'RE
NOT TEACHERS, I MEAN --
>> TERRI: BUT WHAT ARE YOU AT
THE LABEL?
>> BERNARD HANKINS: WE ARE
"TEACHERS" BUT I'M THE CHIEF
CREATIVE OFFICER.
>> CHANCE DICKERSON: I'M THE
DIRECTOR OF VISION AND DREAMING.
>> BERNARD HANKINS: AND OUR
OTHER COHORT WAS MR. P, HE WAS
THE PRIMARY INSTIGATOR.
>> TERRI: SAY HIS FULL NAME
THOUGH, SO EVERYBODY KNOWS WHO
WE'RE TALKING ABOUT.
>> CHANCE DICKERSON: TREVOR
PURZESKI.
>> TERRI: THANK YOU.
HE'S ALSO A TEACHER HERE.
>> CHANCE DICKERSON: HE'S BEEN A
TEACHER HERE FOR A WHILE DOING
TV PRODUCTION.
HE WAS AN INSPIRATION TO ME LAST
YEAR BECAUSE I WAS SEEING HOW HE
WAS WORKING WITH HIS FILM KIDS
AND I WAS LIKE OKAY, THERE'S
SOME ADVANTAGE TO, SORT OF
PUTTING KIDS IN A WORK
ENVIRONMENT BUT ALLOWING THEM TO
STILL HAVE FUN AND PLAY.
♪
>> MERCY MUTHEE: THE LABEL IS
LIKE REALLY ENJOYABLE FOR ALL OF
THE STUDENTS BECAUSE WE ALL MOST
OF US WANT RECORD DEALS WHEN WE
GROW UP SO HAVING SOMETHING HERE
IS JUST FEELS GOOD.
>> NATE GIBSON: WE HAVE A LOT OF
COLLABORATION.
LIKE OTHER PEOPLE DON'T KNOW
SOMETHING OTHER PEOPLE COME IN
TO HELP AND THEY LEARN STUFF IN
THE PROCESS.
IT'S KIND OF LIKE A FAMILY.
WE ALL COME IN AND COLLAB ON
STUFF, IT'S COOL.
>> DAQUADRE TAYLOR: YEAH I AM
THE FIRST PERSON TO COME TO A3
HOUSE.
I MEAN THAT'S JUST THE WORK I
PUT IN THE EFFORT HOW MUCH I
LOVE MUSIC.
THAT'S WHY I'M THE FIRST ONE TO
COME IN YOU KNOW.
>> TERRI: JUST RECENTLY YOU ALL
HAVE HAD A HUGE SHOWCASE OF
EVERYTHING THAT THE LABEL'S BEEN
WORKING ON AT IX ART PARK.
TALK ABOUT THAT.
>> CHANCE DICKERSON: I THINK THE
SHOWCASE WORKED OUT THE WAY IT
DID BECAUSE WE HAD SO MUCH
AUTHENTIC BUY-IN FROM THE
MEMBERS OF THE RECORD LABEL.
AND WE HAD TRIED SHOWCASES IN
THE PAST BUT IT WAS MORE OF THIS
TALENT SHOW FORMAT.
BUT WE WANTED TO CREATE THIS
ENVIRONMENT THAT IT WAS MORE OF
A FESTIVAL WHERE YOU COULD MOVE
AROUND AND GO TO DIFFERENT
PLACES AND EXPLORE DIFFERENT ART
AND TOUCH AND MOVE AND HEAR AND
EAT AND EXPERIENCE AND HAVE AN
IMMERSIVE EXPERIENCE AND ALSO IT
WAS REFLECTIVE OF HOW WE TEACH
THE CLASS BECAUSE THE VISITORS
AT THE SHOWCASE, THEY WERE NOT
REQUIRED TO BE AT ANY ONE PLACE
AT ANY ONE TIME, THEY WEREN'T
REQUIRED TO LISTEN TO ANYTHING.
THEY COULD ROAM FREELY A PURSUE
THEIR INTEREST AS OBSERVERS.
>> BERNARD HANKINS: AND HE SAYS
FESTIVAL -- I FORGOT THIS WAS A
SCHOOL EVENT AND IT MADE ME HAVE
THIS NEW VISION FOR EDUCATION,
LIKE WHY ISN'T EDUCATION
FESTIVE?
WHY ISN'T IT PEOPLE SETTING UP
TABLES, MAKING BEATS AND SHOWING
CRAFTS AND PERFORMING AND YOU'RE
LEARNING THROUGH DOING
>> SAMUEL BWISEZE: A3 HOUSE IS
WHERE THE MAGIC HAPPENS ALL THE
MUSIC COOKING THIS IS WHERE IT
HAPPENS.
>> CHRISTIAN CARRIER: IT MAKES
SCHOOL FUN.
I GET A GRADE FOR DOING
SOMETHING I LOVE.
AND I DON'T THINK I COULD SEE
MYSELF DOING ANYTHING ELSE.
IT'S SUCH A GOOD FEELING
>> ANTHONY HOANG: WHEN I LEARNED
HOW TO RECORD, HOW TO PRODUCE,
HOW TO MAKE MUSIC I LEARNED THAT
THE CERTAIN STEPS THAT YOU HAVE
TO TAKE ARE NOT SOMETHING THAT
COULD BE TAUGHT THEY'RE
SOMETHING THAT HAS TO BE
EXPERIENCED.
NOT EVERY SETTING IS THE SAME
AND EACH SONG IS A NEW LESSON TO
BE LEARNED FROM THE LAST ONE.
>> TERRI: WHEN THE STUDENTS ARE
CREATING IN THE CLASSROOM, WHAT
ARE THE RULES?
YOU KNOW, SO IF YOU'RE DEALING
WITH SONGWRITING, IF YOU'RE
DEALING WITH HIPHOP IS THERE
CENSORSHIP?
NO CENSORSHIP, HOW DO YOU DEAL
WITH THAT WITH TEENAGERS?
>> CHANCE DICKERSON: ALL RIGHT,
SO WE HAVE SOMETHING IN PLACE,
ITS SORT OF OUR CHARTER, ITS
CALLED AMP AND THAT STANDS FOR
AUTHENTIC ARTISTRY,
MEANINGFULNESS AND POLISHED
PRODUCTION.
AND SO WITH AMP STUDENTS ARE
ENCOURAGED TO PRODUCE ART THAT
IS FROM THEM AND IS A TRUE
AUTHENTIC REPRESENTATION OF WHO
THEY ARE OR WHERE THEY ARE IN
LIFE.
SO THE IDEA IS NOT TO CENSOR
OR -- I WOULDN'T CALL THEM
RULES, ITS NOT A RULE, LIKE YOU
CAN'T DO THIS, ITS LIKE A
REMINDER TO SAY IF YOU ARE DOING
SOMETHING, IF ARE MAKING SOME
MUSIC OR WRITING SOME POETRY OR
PAINTING, REMEMBER, IS THIS FROM
YOUR IDENTITY, ARE YOU
REPRESENTING YOURSELF OR ARE YOU
REPRESENTING SOMEONE ELSE'S
EXPERIENCE?
AND SO THIS SPACE IS ACTUALLY
DESIGNED TO CREATE A SAFE
ENVIRONMENT TO PUT YOURSELF OUT
THERE.
IT'S ABOUT BUILDING SECURITY AND
YOUR IDENTITY
>> MERCY MUTHEE: SO ALL YEAR
I'VE JUST BEEN TRYING TO AT
LEAST MAKE ONE SONG THAT I LIKE
REALLY ENJOY AND LIKE BECAUSE I
MAKE A LOT OF MUSIC AND IT'S
JUST LIKE, NO.
SO, THAT'S WHAT I'VE BEEN TRYING
TO DO AND MAYBE MAKE AN EP SO I
COULD PUT IT OUT ON SOUNDCLOUD.
>> DAQUADRE TAYLOR: WE'RE JUST
MAKING SONGS AND WRITING AND
WORKING HARD EVERY DAY AND
ASKING HIM FOR HELP, MR.
-- MR. H.
HE'S ALWAYS ON ME, SO YEAH, JUST
LEARNING, EVERY DAY.
>> ANIJA JOHNSON: I FEEL LIKE IF
I DON'T HAVE ANYTHING HANDS ON I
DON'T REALLY LEARN ANYTHING.
SO NOW I KNOW HOW TO SET UP THE
MICROPHONES WHEN I WANT TO
RECORD.
I KNOW HOW TO SET UP OTHER
PEOPLE'S MICROPHONES WHEN THEY
WANT TO RECORD, SET UP THE
HEADPHONES, SET UP THE ACTUAL
SCREENS AND EVERYTHING.
SO I FEEL LIKE IT'S IMPORTANT TO
BE HANDS ON, IF YOU DON'T YOU
DON'T REALLY LEARN MUCH.
>> TERRI: SO WHAT DO WANT
STUDENTS TO TAKE WITH THEM, WHAT
IS MOST IMPORTANT TO YOU ALL,
THAT THEY TAKE WITH THEM
THROUGHOUT THE YEAR AND WHEN
THEY GO OFF WITH THEM IN TO THE
BIG WIDE WORLD?
>> CHANCE DICKERSON: NUMBER ONE
THING, GOT THIS FROM BERNARD
HANKINS, IDENTITY.
IF YOU WALK AWAY FROM THIS
PROGRAM WITH IDENTITY THEN I
THINK YOU CAN APPLY THAT, YOU
CAN APPLY THAT UNDERSTANDING OF
YOURSELF TO ALMOST ANY TASK, ANY
CHALLENGE, ANY HURDLE, ANY
VISION, YOU MUST KNOW WHO YOU
ARE AND I THINK THAT'S WHAT
WE'RE DOING WITH KIDS, WE'RE
TRYING TO SHOW THEM, HEY, YOU
ARE AN INDIVIDUAL.
YOU HAVE A VERY UNIQUELY
DESIGNED GIFT THAT YOU CAN USE
TO DO ABSOLUTELY ANYTHING.
>> BERNARD HANKINS: I THINK
CONNECTED TO THAT IDENTITY IS A
SENSE OF SELF WORTH.
YOU KNOW, THE AMOUNT OF SKILLS
DOESN'T MATTER IF YOU DON'T HAVE
THAT WHAT I CALL LIFE
CONFIDENCE.
YOU KNOW, YOU HAVE THE DAY TO
DAY CONFIDENCE BUT DO YOU
OVERALL SENSE THAT I CAN DO
SOMETHING IN LIFE?
SO I THINK THAT WHEN PEOPLE JUST
WALK AWAY, HONESTLY IT'S FEELING
LOVED.
LIKE THESE PEOPLE THOUGHT ABOUT
ME, AND CARED ABOUT ME, FEELING
HUMAN.
FEELING ULTIMATELY HUMAN I THINK
IS WHAT IT IS IF YOU WANT TO SUM
IT UP, FEEL HUMAN.
>> ANIJA JOHNSON: I RUN TO THIS
CLASS LIKE I'M GOING TO CLASS
I'M HAPPY THIS IS MY HAPPY PLACE
THIS IS WHERE I WANT TO BE AT
FOR THE REST OF THE DAY.
>> DEQUADRE TAYLOR: A3 HOUSE IS
AMAZING.
PUT IT THAT WAY, A3 HOUSE IS
AMAZING.
YOU EVEN WANT TO GET UP IN THE
MORNING AT 6:20 AND WALK TO
SCHOOL JUST LIKE ME SO THAT'S
HOW FUN IT IS.
>> ANTHONY HOANG: HIP HOP WAS
MADE FROM JAZZ AND THEN JAZZ WAS
CREATED FROM THE BLUES AND THE
BLUES WAS CREATED FROM AFRICAN
DRUMMING AND SO ON AND SO ON.
AND SO JUST SEEING THE EVOLUTION
OF MUSIC AND REFERENCING THE
PAST IN ORDER TO MAKE THE FUTURE
MUSIC IS AMAZING TO ME.
[SINGING]
♪♪♪
>> TERRI: THAT'S IT FOR THIS
WEEK.
FOR WHTJ, I'M TERRI ALLARD.
JOIN US NEXT TIME ON
"CHARLOTTESVILLE INSIDE-OUT."
♪♪♪
>> ANNOUNCER: "CHARLOTTESVILLE
INSIDE-OUT" IS MADE POSSIBLE
THANKS IN PART TO ITS PATRONS,
COMMITTED TO SUPPORTING THE
PEOPLE, PLACES AND QUALITY OF
LIFE THAT UNIQUELY DEFINES
CHARLOTTESVILLE AND ITS
SURROUNDINGS, AND BY VIEWERS
LIKE YOU.
THANK YOU
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