Transcript
>> HINOJOSA: He's inspired
thousands to dream bigger and
achieve the extraordinary.
With his high-level job training
centers and after-school art
programs, he's revitalizing
crime-ridden neighborhoods and
redefining social enterprise in
America-- visionary community
leader and social architect Bill
Strickland.
I'm Maria Hinojosa, and this is
One On One.
( laughter )
Bill Strickland, it's great to
have you on the show.
>> It's nice to be here, Maria.
>> HINOJOSA: We're already
laughing.
( laughing )
So many people might not know
your face, and they might not
even know the organization that
you run, which is Manchester
Bidwell in Pittsburgh, but what
you have done, essentially, is
dedicated your life to looking
at poor, disadvantaged
communities and people and
saying, "I see amazing
potential."
>> Correct.
I believe that most people are
born into the world as assets,
not liabilities.
It's all in the way you treat
people that drives behavior, so
on the basis of the insight--
which is largely
autobiographical-- I built a
center in Pittsburgh beginning
in the 1960s to work with kids
in the streets during the riots
and unemployed adults during the
early 1970s.
And I redefined the strategy to
work with public school kids who
are at risk by using the arts as
way of redeeming their souls and
creating opportunity for life,
and recovering unemployed
individuals largely on public
assistance by putting them in
world-class technology
facilities that can actually
teach them the skill sets that
they can use.
>> HINOJOSA: Okay, so, so, so,
so... let's just take it one
step at a time.
>> Sure.
>> HINOJOSA: So one of your
fundamental philosophies that
you have written about in your
book is that if you expose
people in general-- and
disadvantaged people,
specifically-- to art, to all
forms of art, that their lives
can be profoundly transformed.
>> You can cure spiritual cancer
with the arts.
That's what I discovered.
Trial and error; over 25 to 30
years.
>> HINOJOSA: And it started with
you, right?
Because you were this kid--
young African American kid-- in
a really poor neighborhood in
Pittsburgh.
>> Art teacher saved my life, a
guy named Frank Ross.
He got me excited about ceramics
when I was in tenth grade.
I got pretty good at it.
>> HINOJOSA: But it was more
than that.
It was that you, you know,
you're here with this high
school teacher, right?
>> Oh, he was cool guy, man.
>> HINOJOSA: Really cool guy,
but you walk by and all of a
sudden, there's a room...
>> Yes, our art room.
>> HINOJOSA: ...that is open...
>> One potters wheel.
>> HINOJOSA: ...and there's
music coming out?
>> Yeah, he has jazz music on,
he's got a coffee pot-- most
important-- and he makes a
great, big, old ceramic bowl,
and I'd never seen that done
before.
It was magical.
>> HINOJOSA: Now, you were, at
this point, a kid who was,
like...
>> Drifting.
>> HINOJOSA: ...drifting.
>> Yeah.
>> HINOJOSA: You could have
easily gone down the wrong road.
>> An African American male
drifting in America is highly in
danger.
You're either going to get
yourself killed, or you're going
to go to jail, or something in
between.
>> HINOJOSA: And part of the
reason why you were drifting is
because the messages that you
were getting... this is 1960...
late 1960s.
>> Correct.
>> HINOJOSA: So as a young
African American man...
>> The streets are on fire,
riots are going on, Dr. King was
assassinated.
These were very turbulent times,
and people were in deep
rebellion.
And so what I saw was rebellion,
drugs, violence, a lot of really
regressive behavior that
surrounded everybody in that
community 360 degrees, 24/7.
And so there was not much of a
way to visualize an opportunity
to get out of that circumstance
that became available to me, and
I got lucky and met Frank who
opened up a new vista of
opportunity.
>> HINOJOSA: Who was doing
pottery.
>> Doing clay.
>> HINOJOSA: And the last thing
that you imagined at that moment
in your life is, "Hmm, if I see
some guy doing pottery, this is
going to transform my life."
>> It's one of those accidental
events in life when your guard's
down, so I didn't have any
protection against the image, so
the image got right through.
And he turned around and says,
"Can I help you?"
I said, "What is that?"
He said, "That's clay."
I said, "I want you to teach me
how to do that."
So I cut classes for two years,
gave the teachers my pots, they
gave me passing grades, and
Frank drug me out of the pit...
>> HINOJOSA: But wait; I'm going
to stop you right there, because
you had the capacity-- even at
that moment when you say that
you were kind of teetering where
your life was going to go-- but
you had enough kind of inner
wherewithal to say, "Yo, how do
you do that?
I want to learn how."
Not everybody, you know, would
immediately say, "I'm going to
ask the question," or "I'm going
to allow myself to be curious."
Where does that come from in...
>> My mother.
That was my mother's
contribution-- one of many.
She prepared me by the way that
she ran her home to be open to
people of different races,
different cultures, different
backgrounds, because she...
>> HINOJOSA: How did she do
that?
>> Well, our neighbors were
always there.
We were in what they now call a
multicultural neighborhood.
Back then we called it a
neighborhood.
There were Italian people, and
Slovak people, and there's Irish
people, and German people, and I
got to eat at all of their
tables; I went to school with
their kids.
And so we were...
>> HINOJOSA: That was your
mom's... that was your mom's
essential predisposition to, "I
am your equal; I may..."
>> "I would treat everybody the
same.
All of us are human beings;
we're all built about the same,
and I'm going to treat my kids
that way."
And so that predisposed me to
being receptive to Mr. Ross, the
Italian art teacher in our high
school, because I had no reason
not to accept him emotionally
and psychologically.
So the image got right through
to my heart.
>> HINOJOSA: You're working with
clay for the first time in your
life, and what happens at that
moment?
>> Magic.
I started to be... understand
that I could actually take an
inert form and turn it into a
vessel with my energy, my input,
my ideas.
>> HINOJOSA: And what did
that... what did that mean, you
know, profoundly?
>> Well, it meant that I could
control something; I could be
celebrated for my creativity and
my ideas, because it was my
pot-- not somebody else's pot.
And I also figured out that
people valued my ability to
demonstrate that I had
capability in the form of
ceramics, because you made the
vessels , you presented them,
you gave them as gifts, and so
forth.
So I began to receive applause
and accolades for something that
I had learned how to do on my
own, and I was being celebrated
for my "talent."
I liked that feeling a lot; that
was pretty powerful.
>> HINOJOSA: You end up going to
college...
>> Yup.
>> HINOJOSA: ...even though
you're essentially put into
college on probation?
>> Correct.
>> HINOJOSA: By now, you're
having people who are
essentially supporting you...
>> Frank Ross supported me.
>> HINOJOSA: ...and you're
allowing them to support you.
>> Yeah, well, Frank drug me out
the pit.
He says, "Fill out this
application; I don't want you
dying on the streets like the
rest of these kids-- you're
going to college."
So I get to Pit, fill out the
test-- the SAT test, because
I've never seen a test before.
So I get in on probation, I
graduate with honors, now I'm a
trustee of the University of
Pittsburgh.
I'm the commencement speaker--
13,000 people-- and I got up and
said, "Don't give up on the poor
kids, they might end up being
the commencement speaker some
day."
So the point of the story is
environment drives behavior.
You create world-class
environments for kids, you get
world-class students.
You build prisons, you get
prisoners.
And Frank created the whole
world of possibilities in his
classroom in that inner city
high school.
He brought in jazz albums, he
brought in books on
architecture, he took me to see
a house built by Frank Lloyd
Wright, the architect of South
of Pittsburgh.
He allowed me to read haiku
poetry, which I got excited
about.
So I created my own independent
study at Oliver High School as a
16-year-old kid, and that set
the stage for my emancipation.
>> HINOJOSA: You see it as that?
>> Oh, yeah.
Absolutely.
>> HINOJOSA: Prior to that, you
were...
>> Enslaved to fear and
hopelessness...
>> HINOJOSA: Ah!
>> ...and not clear about what
the future looked like.
>> HINOJOSA: So part of the fear
is an internal fear of, "I can't
succeed; I've been told I'm
always going to fail"?
>> People are a function of
their experience.
If your experiences are always
failures, you conclude that
that's all that's possible.
If you begin to achieve some
success, you begin to comprehend
that that is part of your
vocabulary and therefore can be
part of your life.
So it's a cumulative experience.
So the strategy with the kids we
work with is to change their
experience from failure to
success by doing this in many of
the ways that Frank taught me.
>> HINOJOSA: So right now, you
have, from this little idea of
"I can work with young people; I
can transform them," you're now
a CEO...
>> Correct.
>> HINOJOSA: ...and you have how
many people who you're
overseeing just in the
Pittsburgh version...
>> We have 140 staff everyday,
I've got 200 vocational students
and a couple hundred art
students every week in this
training center that's now
160,000 square feet of real
estate, got a 40,000 square foot
greenhouse and a 60,000 square
foot office building, and a
62,000 square foot training
center with a music hall that
does jazz presenting...
>> HINOJOSA: And we're going to
get to the jazz in a minute.
And now... and essentially, the
Manchester Bidwell model has
been replicated in how many
cities?
>> Three cities.
>> HINOJOSA: Three cities.
>> Cincinnati, Grand Rapids, San
Francisco so far.
They're getting comparable
results to Pittsburgh, and
they're spectacular examples of
the par of the human spirit to
cure unhappiness.
>> HINOJOSA: And essentially,
you're saying, "Look, if we...
if you allow us to put a
state-of-the-art institution
that offers free art classes,
exposure to the arts, an
extraordinary visual experience
just walking in, and job
training, you can actually
transform an entire community."
>> One step at a time.
You start by building the
training center, you demonstrate
results, you get unemployed
people to work-- not make work,
permanent work around technology
and service.
You take the public school kids
who are at risk-- in our case in
Pittsburgh, we graduated 92% of
them.
We're also doing that in the
other cities, by the way.
And that way, you can redefine
what happens to these children.
So public school kids go to
college, the adults go to
vocational education-- they get
jobs, they work for industry--
and you can begin to develop a
strategy to change a whole world
one adult and one kid a time.
That's the plan.
>> HINOJOSA: So let me be a
little bit of a skeptic, though,
because you've been doing this
since 19...
>> 68.
>> HINOJOSA: ...68, and you're
obviously an optimist-- you
always look at the glass
half-full-- but if you look at
it half-empty and said, "Well,
wait a second.
Bill Strickland has this amazing
program that has been proven to
work.
How come, you know, 40 years
later, we actually don't already
have not hundreds but thousands
of the Manchester Bidwell Model?
Why is it that it still hasn't,
if it's been so successful?
>> Just because it makes sense
does not mean that people are
going to support it.
The two have no relationship
with each other!
( laughs )
>> HINOJOSA: You have to come to
understand that at some point,
right?
>> Sure.
There are many things that work
against the poor; that keep
them in those conditions
economically, politically, and
so on.
And so simply because I
came along with an idea that
seems to have some traction does
not mean that people are going
to get out of bed in the morning
celebrating my genius for
solving problems with the poor.
That's not how it works.
You've got to put left foot in
front of right probably for the
rest of your life just to make
gains of inches, not miles.
And you've got to keep saying
the thing over, and over, and
over until enough people listen
to you that you begin to get
some scale.
That is what I've dedicated my
life to.
Now, people like Dr. King were
making sense his whole life, but
the country didn't decide all of
a sudden they're going to treat
black people and Hispanic people
fairly because of this
extraordinary, Nobel Peace Prize
man who gave the greatest speech
probably ever in the march on
Washington.
The country did not decide to
treat people justly because he
gave that extraordinary speech.
They didn't treat Gandhi with
respect; in fact, he was killed
for some of his genius and some
of his insight.
So the point of the story is
just because you have ideas, and
just because you maybe somebody
who's innovative, does not mean
that the world is going to stop
and celebrate your cause.
And it's very important to me
that you do not need the
applause in order to do your
job.
>> HINOJOSA: But... but...
but... with someone like you,
you actually need the applause,
because the applause actually
gets you the recognition.
The recognition helps you to
find the funding so that you can
do this kind of stuff.
>> But I don't need the applause
to inflate my ego, I need it so
I can so I can convert that into
political opportunity to build
centers.
I will do this work whether I'm
being applauded or not.
So it's not a requirement to
enter my center that you think
that I'm this extraordinary guy.
What the requirement is is that
you take advantage of the
resources we've put together to
make something out of your life.
And I've developed the ability
to actually care for people who
have been successful in their
life.
That's how I measure the quality
of my life, is by how they've
measured the quality of theirs.
>> HINOJOSA: So this notion of
art, again, is something that
you and I have been talking...
even before we started
recording, because it turns out
that we're both huge jazz
aficionados.
And you talk about jazz... well,
not only did you say, "Wow, I
love jazz; I think I'll become a
record producer," and you, in
fact... Manchester Bidwell now
has its own Grammy Award winning
record label...
>> Correct.
>> HINOJOSA: ...but for a
second, talk to me about why
jazz is so central to who you
are and how you see your
relationship to changing lives.
>> Well, first of all, Mr. Ross
brought in jazz albums.
He said, "You need to know about
this music, because your people
largely created it," so that was
new.
But I found that by listening to
Cal Tjader, and Miles Davis, and
Wes Montgomery, and Shirley
Horn, and Nancy Wilson, it
opened up a portal of light that
created the sense of possibility
that didn't exist before.
And it never occurred to me that
I could think differently about
the same set of events, but with
the imposition of this music, it
became a form of hope.
And I learned to translate the
music into sugar, like a flower
converts light into sugar.
That became food for me.
>> HINOJOSA: And you know what?
You've actually changed me, just
in your whole analysis of jazz.
I mean, I think I always knew
this, but you've essentially
said, "Look, the amazing thing
about jazz is that you have
silence, and then you have the
ability of jazz artists to
actually fill that silence with
multiple layers of something
experiential .
>> And complex, and enriching,
and affirmative, so that I learn
to take the music of Cal Tjader
and Miles, Nancy Wilson, and it
actually colored the picture
that was in my head.
So I could be looking at this
cup, for example, in black and
white, and I could hear this
music and I'd look at it in
color.
And I said, "Wow, I can actually
change the way that I feel about
current reality based on the
imposition of this music;
brilliant."
>> HINOJOSA: So now, translate
that into... okay, here's this
amazing guy who understands the
impact of cultural experience,
but then you make it real how?
How do you transform that to...
>> By building a center based on
those principles.
You hire a student of Frank
Lloyd Wright, the architect, you
build a Frank Lloyd Wright
school.
>> HINOJOSA: But before we get
to the student of Frank Lloyd
Wright...
>> Okay.
>> HINOJOSA: ...so I'm a young
man or a young woman in your
community ...
>> Right.
>> HINOJOSA: ...in Pittsburgh.
And there is a tremendous amount
of poverty...
>> Yup.
>> HINOJOSA: ...violence...
>> Yup.
>> HINOJOSA: ...crime...
>> Agree.
>> HINOJOSA: ...I'm going to a
school where I'm really not
getting any kind of attention...
>> Right.
>> HINOJOSA: ...and I walk by
your center, which is
gorgeous...
>> Mm-hmm.
>> HINOJOSA: ...and somehow,
you're believing that if I'm
about to be a drop-out, that
somehow I can come into your
center and something is going to
be transforming.
>> Well, I have 500 of them now
a week to do exactly that.
Now, there's a 20-some year
history behind all of this.
>> HINOJOSA: And so they come
in... so these are, like, high
school students?
Do they get credit for what
they're doing?
>> Some do, most don't.
It's after school-- 2:30 in the
afternoon.
They walk into a place with no
metal detector; they walk into a
place with no cameras, no
anti-theft system.
The first thing they see on the
front desk is an orchid that
sits on the front desk.
>> HINOJOSA: A fresh orchid?
>> A fresh orchid that we've
grown in our greenhouse...
>> HINOJOSA: In Pittsburgh...
>> In Pittsburgh.
They look around and see
hand-crafted quilts.
The building is flooded with
sunlight from the skylights, and
they are in, by definition, a
safe and nurturing environment.
They smell the food that's done
in our gourmet kitchen.
They see clay objects, they see
hand-crafted furniture, and this
is in their neighborhood.
And the emotional impact of that
gets their attention, and the
kids call it being in a safe
haven.
That's the name of the study
that we did on the kids-- they
called it a safe haven.
We get them in clay, we get them
in photography, they listen to
jazz, and all of a sudden these
kids like what they feel, they
like what they hear, and they
like the way that they're being
talked to.
The only question I ask kids
when I bump into them in the
hallway is, "What college are
you going to-- not if you're
going to college, but when
you're going to college?"
>> HINOJOSA: The whole notion of
"they like the way that they're
being talked to"...
>> Yeah.
>> HINOJOSA: ...you say that if
you treat these young people
with respect, and you give them
an immensely beautiful place to
be, that they will, in turn,
give that back.
>> Absolutely.
24 years of operation in a
high-crime neighborhood in
Pittsburgh, we've never head a
drug or alcohol incident, a
fight, or a police call-- zero.
>> HINOJOSA: Not even a fight?
>> Nothing-- no racial
incidents, no drugs, no alcohol,
no police calls, no theft, and
they have no anti-theft system
in the building.
Now, come on.
>> HINOJOSA: Are you kidding?
With all that...
>> No, I'm not kidding.
I have no reason to kid anymore.
24 years of experience in this
tough neighborhood.
>> HINOJOSA: And now you end up,
actually... you're working with
a lot of poor African Americans,
which has traditionally...
you're working with immigrant
community, and you've got poor
whites.
>> Poor whites, and from what I
can gather, poverty's poverty.
It effects everybody just about
the same, but the antidote is
the same-- quality, affection,
excellence, world-class
leadership, powerful
architecture, sunlight, flowers,
food-- you can cure cancer.
>> HINOJOSA: Music.
>> That's why I won the
MacArthur Fellowship, because I
figured out the cure for
spiritual cancer.
It's called treating people with
dignity, and with hope and human
possibility, we can actually
cure the disease.
>> HINOJOSA: And the training
center...so let's move into...
all right, so these kids, some
of them have their parents who
have lost their jobs...
>> Yup.
>> HINOJOSA: ...and you have a
training center that then...
>> Vocational education.
>> HINOJOSA: They're learning
pharmaceutical...
>> Correct.
>> HINOJOSA: ...horticulture...
>> Correct.
Chemical technology...
>> HINOJOSA: Chemical
technology...
>> ...medical coders, medical
billing people, medical
transcriptionists.
So we have state-of-the-art,
industry-specific training on
behalf of poor folks.
And so you can come to our
center and see a welfare mom or
an unemployed person doing
analytical chemical applications
in ten months with no background
in science-- just as sure as I'm
sitting at this table.
>> HINOJOSA: And you've had
several corporations that have
now partnered with you.
IBM...
>> Oh, no, a lot of
corporations.
>> HINOJOSA: Name them, just a
few.
>> HP, IBM, Bayer, Calgon,
Carbon, University of Pittsburgh
Medical Center, Blue Cross, BNY
Mellon, P and C...
>> HINOJOSA: Because
essentially, what your workers--
what you're able to do with your
workers-- is, in terms of these
companies, you're delivering
workers who...
>> Are competent and trained,
and they get the job because
they know what they're talking
about.
See, I had this brilliant idea.
I went out to the employers and
found out what they needed in an
employee, and started teaching
it.
>> HINOJOSA: And what did they
say?
They said, "We need employees
who are..."
>> "...competent, who understand
the technology that we're using,
and who are already trained by
the time they get here.
We're not in the education
business; we're in the business
to make money.
If you can deliver to me
competent people, I will hire
them."
Guess what?
Our guys are outperforming most
of the employees from most of
those companies, and these are
poor people who supposedly can't
learn technology, have no
ability to perform and do
advanced math.
Well, they're doing advanced
math, they're doing advanced
calculations, and I've got a ton
of them working for industry in
Southwest Pennsylvania.
>> HINOJOSA: So you work... now
everybody's talking about social
enterprise.
>> Right.
>> HINOJOSA: You were kind of
ahead of the curve on this.
>> Yeah, I was the first kid to
show up at the Harvard Business
School...
>> HINOJOSA: That's what I was
going to say.
So they... so Harvard Business
School has studied you...
>> 15 years, three cases.
There's another fourth case just
getting ready to be written.
>> HINOJOSA: And essentially,
they're saying, "Okay, this is
what social enterprise can look
like.
This is where you can do the
community after-school program
that maybe is not immediately
generating any income, but if
you're doing a training program
where you're making, you know,
agreements with other companies,
and you're... then there's
actually money to be made?
>> What I've basically
demonstrated is that I can
generate a positive cash flow by
taking people who are
liabilities that cost the social
order a lot of money-- locking
people up in jail, having
anti-drug programs, and
anti-crime programs and so on,
which is very expensive.
It's very expensive to keep
people poor.
We figured out a strategy that
we can turn them from
liabilities to assets, and the
community makes a lot of money
by the money it does not spend,
as opposed to the money it does
spend-- and that's a business.
And the Harvard Business School
said, "Your business is building
educational centers.
That's a brilliant business."
And I sort of finally figured
out what they were talking
about, and in fact, it is a
social enterprise.
And then you start to get
orchids being grown and the jazz
label being created-- we have a
small real estate division-- and
all of a sudden, you become an
economic engine for your
community.
>> HINOJOSA: Now, you are...
you're a wild dreamer.
>> Correct.
>> HINOJOSA: You really are.
I mean, I love the story...
>> They call it a visionary,
but...
>> HINOJOSA: Before we go, we
just have to tell the story
quickly of how, when you were a
young man and you finally get
into an airplane, and you had
your first flight, and you
suddenly say, "Hmm, I want to
become a pilot," and you become
a pilot, and you fly 727s for
Braniff Airlines.
>> That's right.
1980-1981.
>> HINOJOSA: So for you, this
whole notion of hearing over and
over again, "You can't do it;
you're a young black man from a
poor neighborhood in
Pittsburgh-- don't even dream.
>> Exactly.
Life is about exposure.
If you're exposed to
opportunities, you can begin to
conceive of them.
But if you never know what the
world looks like in terms of
possibilities, you can't imagine
it.
So by getting on the airplane--
physically going from Pittsburgh
to Boston-- somewhere over
Whitestone Bridge in New York at
31,000 feet, I said, "This is
cool; I'm going to do this."
I asked the pilot how you become
a pilot, he says, "Go to the
county airport and go up in a
plane, see if you like it,"
which I did.
Bought a plane, flew the plane
for seven years, went off to 727
school, got rated on jets and
got on with Braniff Airlines,
and it was a great ride.
>> HINOJOSA: So as a visionary,
how do you know when you've
reached the dream?
I mean, you have done so much,
Bill Strickland.
Yes, you have won the Genius
Grant from the MacArthur
Foundation, you have... you know
amazing, multibillionaires like
Jeff Skoll who can fund you.
>> Sure; a good friend.
>> HINOJOSA: You're hoping to
meet the President, right?
>> Yes.
>> HINOJOSA: But how do you
know, "Okay, I've reached the
dream," or, "I'm done dreaming,"
or "There's another dream," and
how do you kind of keep it all
under wraps?
>> Well, you don't; that's the
point, that the dream is
constantly evolving.
The dream is not a physical
place, it's a process, and as
you become more successful, the
range of possibilities begins to
expand-- it doesn't limit; it
opens up.
That's the nature of the
improvisational temperament.
That's what Dizzy Gillespie and
Herbie Hancock and these people
do-- they demonstrate that you
can take the same tune and play
it 1,000 different ways and
create 1,000 new opportunities
where only one existed before.
I am living that.
Dizzy Gillespie said, when I met
him, "You are one heck of a jazz
musician."
I said, "I don't play jazz."
He says, "Oh, yes, you do.
Anybody that can fly jets, and
grow orchids, and is a ceramic
artist, and understands
something about technology and
architecture is a jazz musician.
You think like a jazz musician--
you're the first one that's put
art and business practices
together in the same mind."
Which is exactly what Quincy
Jones said on the cover of the
book I have out, Making the
Impossible Possible.
Quincy said, "This guy is an
entrepreneur and a jazz musician
in the same body-- fascinating."
>> HINOJOSA: All right.
Ten seconds-- someone watching,
feeling helpless.
Bill Stickland says to them...
>> Come to Pittsburgh, visit the
center, email us so we can begin
the conversation about building
a center in your community,
because we want to build 200 in
the world yesterday, and there's
no reason to think that your
city can't be one of them.
>> HINOJOSA: So you actually
want... you're saying to
somebody, "Dream and you make
this real, and I'll help you
make it real."
>> Yes, that's the beginning of
the conversation, and if I ever
get lucky enough to meet the
President and/or Oprah, I think
both of them would be excited
about this idea.
We might be able to leverage
those relationships into a
great, big, national
conversation, and potentially,
someday, an international
conversation.
>> HINOJOSA: All right, well,
then we'll have you back when it
moves to that level then.
Thank you so much, Bill
Strickland.
>> Con mucho gusto.
>> HINOJOSA: Thank you.
Continue the conversation at
wgbh.org/oneonone.
Captioned by
Media Access Group at WGBH
access.wgbh.org
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