>> WHAT I TREAT IS A RARE.

IF YOU NEED ME, I AM HERE.

I AM HERE.

♪ >> I THINK USING --MUSIC HITS YOU ON EVERY LEVEL.

COGNITIVE, PHYSICAL, EMOTIONAL.

THERE ARE VERY FEW ART FORMS THE DO ALL OF THAT.

>> I BELIEVE IN MUSIC ON THE STREET AS A WAY OF COMMUNICATING, SHARING IDEAS TO AFFECT SOCIAL CHANGE.

>> ATONING FOR ONE OF AMERICA'S ORIGINAL SINS.

SETTLERS CALLED IT THE GREAT SWAMP FIGHT.

NARRAGANSETT INDIANS REMEMBER IT AS THE GREAT SWAMP MASSACRE.

>> THIS IS OUR HOME.

IT IS PART OF OUR COMMUNITY, OUR HISTORY, OUR STORIES.

>> THE SCENE OF THAT TRAGEDY NOW NARRAGANSETT LAND ONCE MORE.

>> WE ARE WHERE WE ONCE WERE.

♪ >> GOOD EVENING, WELCOME TO RHODE ISLAND PBS WEEKLY.

>> FIRST STEP, AND 2006, A GROUP OF STREET MUSICIANS GOT TOGETHER AND FOUNDED THE FIRST "HONK" FESTIVAL.

THEY CALLED IT BECAUSE GEESE HONK AND CARS HONK.

THEY HONK TO AMPLIFY STRUGGLES FOR SOCIAL JUSTICE.

AS OUR EDITOR FOUND, THE LOUDER THE HONK, THE BETTER.

♪ >> THE HONK FESTIVAL FOR ME IS THE MARRIAGE OF MUSIC AND POLITICS THAT I HAVE BEEN LOOKING FOR MY WHOLE LIFE.

♪ >> MUSIC ITSELF CAN DO THINGS THAT WORDS, WAR, ARGUMENT, POLITICS CANNOT DO.

THESE BRING PEOPLE TOGETHER.

>> THIS KIND OF MUSIC HAS BEEN A REAL TOOL FOR PARTICIPATING IN THE WORLD THAT I WANT TO SEE.

♪ [APPLAUSE] >> PARTICIPANTS FROM THE GREATER BOSTON AREA HAVE PARTICIPATED IN THE FESTIVAL OF ACTIVIST STREET BANDS -- STREET BANDS THAT CELEBRATE COMMUNITY, THE TOOK SOMERVILLE, MASSACHUSETTS BY STORM IN 2006.

>> OUR BAND WAS FORMED IN 2003 PRETTY MUCH IN RESPONSE TO THE WARS IN THE MIDDLE EAST.

WE WANTED TO BRING ME -- MUSIC TO THE PROTEST THAT WERE HAPPENING AT THE TIME.

WE WONDERED IF THERE WERE OTHERS AROUND THE COUNTRY WITH SIMILAR MOTIVATIONS AND WE DISCOVERED THERE WERE SIMILAR BANDS ALL OVER HER JUST IN THE GULF WARS.

>> MINI THOUGHT THEY WERE THE ONLY ONES DOING THIS.

IT WAS SORT OF INTERESTING FOR THAT CONVERGENCE TO HAPPEN AND PEOPLE DISCOVERED THERE IS A MOVEMENT HERE.

IT IS A FOUR-DAY FESTIVAL.

TYPICALLY, 25 TO 30 BANDS PERFORMING IN SEVEN SEPARATE PERFORMANCE SPACES IN DAVIS SQUARE SIMULTANEOUSLY ALL DAY LONG.

>> THE FIRST YEAR, WE HAD 12 BANDS.

SINCE 2006, WE HAVE GROWN TO I THINK THE MAXIMUM WAS 30 BANDS FROM ALL OVER THE WORLD.

QUITE UPLIFTING AND INSPIRING.

IT IS GROWING AS A MOVEMENT, BUT OUR FESTIVAL CANNOT GROW MORE.

>> WE ARE IN DANGER OF BECOMING VICTIMS OF OUR OWN SUCCESS, WHICH MEANT WE COULD HAVE EASILY OUTGROWN DAVIS SQUARE WHERE WE BEGAN.

WE FELT THAT BY DOING THAT, WE WOULD LOSE OUR ROOTS, OUR FOCUS.

INSTEAD OF GROWING THE FESTIVAL IN THAT WAY, WE DECIDED TO GROW THE FESTIVAL BY ENCOURAGING OTHER FANS TO DO SOMETHING SIMILAR IN THEIR HOMETOWN.

THEY TOOK THAT VERY SERIOUSLY.

AT PRESENT, THERE ARE SOMETHING LIKE 24 HONK FESTIVALS ALL OVER THE WORLD.

I PLAY IN THE HOST BAND WHICH IS CALLED THE SECOND LINE BRASS BAND.

THE SECOND LINE TRADITION STARTED OUT EARLY IN THE HISTORY OF NEW ORLEANS.

BLACK FAMILIES HAD A TOUGH TIME MAKING ENDS MEET PARTICULARLY DURING CLIMATE EVENTS THAT WOULD DEVASTATE THE LOCAL COMMUNITY.

BLACK COMMUNITIES TENDED TO ORGANIZE INTO WHAT WERE CALLED SO -- SOCIAL AID AND PLEASURE CLUBS.

THEY WERE SOCIAL SERVICE AGENCIES.

THEY COLLECTED MONEY ON BEHALF OF FAMILIES THAT WERE HARD-HIT AND DISTRIBUTED LOCALLY.

THEY ALSO INCORPORATED THE MUSIC INTO THE SOCIAL SERVICE.

THE SECOND LINE IS THE PEOPLE WHO FOLLOW THE BAND.

AND NEW ORLEANS, THE SECOND LINE PARADE IS NOT SIMPLY A SPECTATOR EVENT.

IT IS A PARTICIPATORY EVENT.

YOU JOINED THE SECOND LINE AND YOU MOVE WITH THE PARADE.

>> WE ARE NOT SEPARATE, WE ARE PART OF THE ACTION.

>> WE DON'T USE ELECTRICITY.

THERE ARE NO SPEAKERS TO CELEBRATE -- SEPARATE ARTISTS FROM AUDIENCE.

NOBODY PERFORMS ON A STAGE.

WE PLAY AT STREET LEVEL.

WE DON'T JUST PLAY FOR THE PEOPLE, WE PLAY AMONG THE PEOPLE.

WE ACTIVELY INVITE PEOPLE TO JOIN.

FROM OUR POINT OF VIEW, EVERYBODY IS A PARTICIPANT.

♪ I'M GUESSING PROTEST MUSIC STARTED WITH MUSIC.

SINCE THERE WAS MUSIC, THERE WERE PROTESTS.

WE HAVE KICKED THAT UP A NOTCH IN THAT WE ARE USING BRASS BANDS IN THE SERVICE OF PROGRESSIVE CAUSES.

♪ WE ARE THERE TO SUPPORT PEOPLE WHO ARE BUILDING A MOVEMENT.

WE THINK OF THE LOT OF THE WORK WE DO AS MOVEMENT BUILDING.

HONK BANDS ARE LOUD AND PROUD.

>> WHEN YOU PLAY TRUMPET, YOU CAN BE HEARD IN A WAY THAT A VOICE CANNOT.

ALL THE BANDS THAT COME TO HONK DEFINE THEMSELVES AS ACTIVIST.

>> WE HAVE ALWAYS INCORPORATED A NUMBER OF SOCIAL SERVICE ACTIONS INTO THE FESTIVAL.

WHEN THE BECAME POPULAR BEFORE THE PANDEMIC WAS A NOISE DEMO IN DOWNTOWN BOSTON THAT WAS AT THE ICE DETENTION CENTER.

IT WAS A PRISON THAT WAS RESERVED FOR UNDOCUMENTED IMMIGRANTS WHO WERE IN DANGER OF BEING DEPORTED.

WE WOULD PLAY A CONCERT IN SUPPORT OF THE PRISONERS.

THE PRISONERS CAN HEAR EVERYTHING THAT IS HAPPENING.

WE ARE THAT CLOSE TO THE PRISON.

ONCE THE BANDS STARTED PERFORMING 150 STRONG, YOU WOULD SEE THEM IN THE WINDOWS OF THE PRISON DANCING TO THE BEAT OF THE MUSIC, FLICKING THE LIGHTS OF THEIR CELLS ON AND OFF.

EVENTS YOU COULD EVER IMAGINE.

COVID KILLED US FOR THE LAST TWO YEARS.

IT OCCURRED JUST IN 2020 THAT EVEN THOUGH WE COULDN'T PRODUCE A LIVE FESTIVAL ANYWHERE, WHAT WE COULD DO IS GET THE BANDS FROM ALL OVER THE WORLD TO MAKE A STATEMENT AT THE SAME TIME.

THEN WE WOULD LIVESTREAM IT.

THE RESPONSE WAS SO OVERWHELMING, WE ENDED UP WITH EIGHT FULL DAYS OF PROGRAMMING WITH 70 BANDS PARTICIPATING FROM ALL SEVEN CONTINENTS.

ANTARCTICA FIELDED A BREAST BAND -- BRASS BAND.

THEY MARCHED FOR 30 SECONDS UNTIL THEIR VALVES FROZE.

>> THIS YEAR, WE'RE GOING TO MAKE A FESTIVAL THAT IS COMPLETELY LOCAL.

WE ARE NOT GOING TO INVOLVE MUSICIANS FROM OUTSIDE BOSTON BECAUSE OF COVID.

WE WOULD NOT ENCOURAGE LARGE GROUPS OF PEOPLE TOGETHER IN ONE PLACE.

IT HAD ALWAYS BEEN VERY EMBEDDED IN THE NEIGHBORHOOD, BUT IT WAS ALSO AN OPPORTUNITY TO REACH OUT TO OTHER NEIGHBORHOODS AND TO PARTNER WITH COMMUNITY GROUPS, ARTS GROUPS, SOCIAL JUSTICE GROUPS THAT HAVE WORKED WITH US IN THE PAST, BUT NOT IN THE DESIGN OF WHAT THE EVENTS WOULD BE.

SPREAD THE HONK GOSPEL.

NOBODY HAS EXPERIENCED HONK IN BOSTON UNLESS THEY VENTURE OUT TO SOMERVILLE.

FOR MANY PEOPLE, IT IS NEW TO THEM AND THEY WANT TO SEE IT SO THEY'RE GOING TO COME OUT TO THE SQUARE WHICH IS USUALLY LIKE A GHOST TOWN.

IT PLAYS A MAJOR ROLE IN ECONOMIC JUSTICE FOR THESE BUSINESSES WHICH ARE MAINLY BLACK-OWNED OR FAMILY-OWNED BUSINESSES AND THEY WERE STRUGGLING BECAUSE THE PANDEMIC.

>> I HAD 10 EMPLOYEES, NOW I AM DOWN TO TWO.

>> WE LOST 30% OF THE BUSINESSES SO FAR AND WERE TRYING TO HOLD ONTO THE ONES THAT WE HAVE.

COME DOWN, SHARE IN THE EXPERIENCE.

SUPPORT WALK AROUND BUSINESSES.

-- BLACK-OWNED BUSINESSES.

>> WE HAVE A LOT PLANNED.

FOLKS WILL BE GETTING THEIR MEDICAL SERVICES.

WE HAVE A MAMMOGRAM VAN COMING.

COVID VACCINES AND WE WILL BE ABLE TO HAVE THE BAND RIGHT THERE PERFORMING WHILE THE FOLKS ARE EATING.

[APPLAUSE] ♪ >> I HAVE BEEN A COMMUNITY ACTIVIST FOR OVER 40 YEARS.

TO DO IT MUSICALLY IS SOMETHING TO REVEL IN.

BLACK FOLKS, WE ARE REALLY INTO MUSIC.

IT WILL BRING US ALL TOGETHER.

WE CELEBRATE THROUGH MUSIC.

THIS IS A GREAT THING THAT WILL BE COMING BACK TO ROXBURY.

THERE WAS A SHOPPING MECCA AND WE WANT TO SEE THAT AGAIN.

>> ♪ >> IT CONTINUES TO SURPRISE ME HOW MUCH IT MEANS TO THE MUSICIANS TOGETHER IN THIS WAY.

ALSO HOW MUCH AUDIENCES LIKE IT.

>> MUSIC UNLIKE MOST ARTISTIC VEHICLES HITS YOU ON EVERY LEVEL.

COGNITIVE, PHYSICAL, EMOTIONAL.

THERE ARE VERY FEW ART FORMS THAT DO ALL OF THAT.

THE FESTIVAL HAS BEEN A SUBSTANTIAL PART OF MY IDENTITY FOR THE LAST 16 YEARS.

JUST ABOUT ALL OF MY POLITICAL CHOICES INVOLVE HOW DO I DO MOVEMENT BUILDING USING MOVEMENT TO DO IT.

IT IS VERY IMPORTANT TO ME.

>> I BELIEVE IN MUSIC ON THE STREET AS A WAY OF COMMUNICATING.

A WAY OF SHARING IDEAS TO AFFECT SOCIAL CHANGE.

♪ >> I WAS ONCE IN A CAR WITH PETE SEEGER.

PEOPLE SET YOU HAVE SUPPORTED ALL OF OUR WORK FOR SO LONG WE ARE SO GRATEFUL TO YOU, HE SAID I JUST SHOW UP AND SING A SONG, YOU DO ALL THE WORK.

WE ARE SHOWING UP AND DOING THIS THING THAT WE ENJOY AND WE HOPE THAT IT WILL SUPPORT THE HARD WORK THE PEOPLE ARE DOING.

[APPLAUSE] >> OUR THANKS FOR THAT REPORT.

WE NOW TURN TO A STORY ABOUT AN INJUSTICE THAT TOOK CENTURIES TO CORRECT.

THE ATROCITY HAPPENED NEARLY 350 YEARS AGO WHEN COLONIAL SETTLERS ATTACKED A NARRAGANSETT INDIAN VILLAGE IN THE GREAT SWAMP.

THE RHODE ISLAND HISTORICAL SOCIETY SOUGHT TO MAKE AMENDS AND ASSIST -- IN A CEREMONY WILL ONLY SEE HERE.

DAVID WRIGHT HAS THE STORY.

>> IN THE GREAT SWAMP, A CEREMONY NEARLY 350 YEARS IN THE MAKING.

>> ARE WITNESSING A PART OF HISTORY.

ON A POSITIVE NOTE.

>> JOHN BROWN, CHIEF MEDICINE MAN FOR THE NARRAGANSETT INDIANS PURIFIES THE CIRCLE FORMED THE SMALL GATHERING OF PEOPLE.

THEN, HE AND THE TRIBAL CHIEF KINDLE AFLAME.

TO THE NARRAGANSETT, THE GREAT SWAMP IS SACRED GROUND BECAUSE OF WHAT HAPPENED HERE IN 1675.

>> A LOT OF INDIANS LOST THEIR LIVES HERE.

>> THIS CEREMONY MARKED AN EFFORT TO MAKE AMENDS.

THE RHODE ISLAND HISTORICAL SOCIETY WAS TRANSFERRING THE LAND BACK TO THE TRIBE.

THIS IS THE EXECUTIVE DIRECTOR DIRECTOR OF THE HISTORICAL SOCIETY.

>> THIS IS ONE OF THE MOST PROFOUND AND HUMBLING MOMENTS OF MY LIFE.

I AM SO HONORED TO STAND WITH ALL OF YOU TODAY TO SEE ALL OF YOU HERE IN THE SACRED SPACE AND TO SAY IN EVERY WAY POSSIBLE I AM SO PROUD TO STAND HERE ON NARRAGANSETT LAND.

>> I WALKED DOWN THIS ROAD FOR AT LEAST 69 OF MY 74 YEARS.

THIS IS THE FIRST TIME I HAVE BEEN DOWN HERE WITH A HEART AS EXUBERANT AS IT IS BEATING.

>> EVERY AMERICAN KNOWS THE STORY OF THE FIRST THANKSGIVING, HOW THE PLURAL -- POGROMS LANDED IN PLYMOUTH THEN SHARED A HARVEST FEAST WITH THE NATIVE AMERICANS WHO HELP THEM SURVIVE.

LESS WELL KNOWN IS THE STORY OF THE GREAT SWAMP MASSACRE OF 1675.

>> THEY WERE BIG ON MYTHOLOGY IN THIS COUNTRY.

WE ROMANTICIZE THE PAST.

THERE ARE BLOODY TRUTHS THAT ARE IMPORTANT TO CONFRONT.

>> VERY MUCH SO.

WE CAN'T FULLY APPRECIATE THE MAGNITUDE OF THE GOOD THINGS WITHOUT PROPERLY UNDERSTANDING THE MAGNITUDE OF THE BAD.

>> THE BAD HAPPENED DURING KING PHILIP'S WAR.

>> THIS IS A VERY TENSE TIME AS MORE ENGLISH KEEP COMING.

KING PHILIP'S WAR BECOMES THIS POINT OF NO RETURN IN TERMS OF RELATIONS.

>> ULTIMATELY, KING PHILIP'S WAR WAS A CONFLICT OVER LAND.

I HAVE READ THAT KING PHILIP'S WAR IS PER CAPITA THE BLOODIEST WAR IN AMERICAN HISTORY.

>> IT SEEMS TO BE TRUE.

>> KING PHILIP WAS A NATIVE AMERICAN.

THAT WAS HIS ENGLISH NAME.

HE WAS THE SON OF -- HE IS THE SON OF THE TRIBAL LEADER WHO ATTENDED THE FIRST THANKSGIVING.

>> YES.

ONE GENERATION.

>> THE MAYFLOWER HAD 130 PEOPLE ON BOARD INCLUDING PASSENGERS AND CREW.

FIVE DECADES LATER, THE NUMBER OF SETTLERS IN NEW ENGLAND HAD GROWN TO MORE THAN 50,000 SPREAD OUT OVER MASSACHUSETTS, RHODE ISLAND, CONNECTICUT, AND MAINE.

ONE PROBLEM WITH THAT ACCORDING TO THE CHIEF MEDICINE MAN.

>> IT SOUNDS GOOD AND NOBLE TO TALK ABOUT A CITY ON A HILL, BUT WHEN YOU'RE BUILDING ON SOMEONE ELSE'S LAND, IT'S A PROBLEM.

>> THEY MADE THE PEOPLE WHO LIVED THERE LOOK LIKE THE ENEMY.

>> AS THE SETTLEMENTS GREW, SO DID THE CONFLICT BETWEEN CONUS AND NATIVES.

BOTH SIDES COMMITTED ATROCITIES.

WHO WERE THE AGGRESSORS?

>> THE UNITED COLONIAL FORCES.

>> CONNECTICUT, NEW HAVEN.

>> AT THE START OF KING PHILIP'S WAR, THE COLONY OF RYLAND WAS NEUTRAL AND SO WERE THE NARRAGANSETT INDIANS.

THEY ALLOWED PEOPLE TO MARCH THROUGH AND THE NARRAGANSETT TOOK IN PEOPLE INVOLVED IN THE FIGHT.

AS MANY AS 3000 PEOPLE WERE HOLED UP FOR THE WINTER.

>> THIS WAS A VILLAGE FILLED WITH NONCOMBATANTS.

>> ON DECEMBER 1675, ABOUT A THOUSAND TROOPS ATTACKED THE FORTIFIED NARRAGANSETT VILLAGE, BURNING IT DOWN AND DESTROYING THE WINTER SUPPLIES.

IN RETALIATION FOR THE SWAMP MASSACRE, THE NATIVE AMERICAN WARRIORS WENT ON THE OFFENSIVE SETTING FIRES TO COLONIAL TOWNS AND VILLAGES INCLUDING PROVIDENCE WHICH WAS A SMALL COLLECTION OF HOUSES AROUND WHAT IS NOW ROGER WILLIAMS PARK.

IT WAS THE GREATEST CALAMITY.

IN THE END, THE COLUMNISTS -- COLONIALISTS PREVAILED.

>> HISTORIANS HAVE LOOKED AT THIS WAR AS PIVOTAL IN TERMS OF THE RELATIONSHIPS BETWEEN INDIGENOUS POPULATIONS AND COLONIAL GOVERNMENTS AND THE AMERICAN FEDERAL GOVERNMENT.

>> THE COLONISTS SENT THOUSANDS OF NATIVE AMERICANS INTO FORCED LABOR.

OTHERS BECAME INDENTURED SERVANTS HERE IN RHODE ISLAND.

THE NARRAGANSETT, ONCE THE LARGEST NEW ENGLAND TRIBE, WERE ALL BUT WIPED OUT OF EXISTENCE.

>> THEY CAME HERE TO ERASE THE PEOPLE FROM THIS LAND.

THEY CAME HERE TO COLONIZE.

WHEN YOU COLONIZE, THAT MEANS YOU REMOVE THE INDIGENOUS SPECIES AND YOU SUPPLANT THAT WITH YOUR OWN SPECIES.

>> THE FAMILY WHO OWNED THIS LAND FOR GENERATIONS, RECOGNIZED ITS SIGNIFICANCE.

ONE CENTURY AGO, THEY GAVE IT TO THE RHODE ISLAND HISTORICAL SOCIETY.

>> IN 1906, THERE WAS NOT A NARRAGANSETT INDIAN TRIBE AS AN ENTITY TO GIVE IT TO.

>> WHEN DID THAT CHANGE?

>> IN THE 1980'S.

THE TRIBE AFTER A LONG LEGAL BATTLE WAS ABLE TO GAIN TRIBAL RECOGNITION.

>> THE COMPLICATED LEGAL PROCESS OF GIVING BACK THE LAND TOOK YEARS.

>> WE ARE THE RHODE ISLAND HISTORICAL SOCIETY.

WE ARE IN THE BUSINESS OF RESERVING AND SHARING OUR PAST, BUT NOTHING SAYS WE NEED TO OWN IT ALL.

>> A LONG TIME COMING.

>> YES.

IT IS NOW INCUMBENT UPON THE NARRAGANSETT PEOPLE TO SHOW CHARACTER AND KEEP BUILDING.

I HAVE NO DOUBT THAT WE WILL DO THAT.

WE GIVE YOU OUR WORK, WE WILL GIVE IT TO YOU.

>> THIS CEREMONY MARKED THE FINAL HANDOVER.

NOW, THE SCENE OF THAT MASSACRE IS NARRAGANSETT LAND ONCE AGAIN.

>> MANY MANY HUNDREDS OF BEINGS STILL WALK HERE AND THEY ALSO IF YOU ALLOW THEM THE MOMENT WILL TOUCH UPON YOU WITH A BREEZE OR WITH A STRANGE FEELING OR MAYBE A GOOSE BUMP OR MAYBE JUST A SMILE.

THIS MEANS THAT, I CAN'T EVEN DESCRIBE WHAT IT MEANS.

WE ARE WHERE WE ONCE WERE.

TAKING CARE.

WE ARE WHERE WE ONCE WERE.

>> OUR THANKS TO DAVID WRIGHT FOR THAT REPORT.

FINALLY, WITH THE HOLIDAY SEASON UPON US, WE TURN THE PAGE TO A CLASSIC POEM THAT BEGINS T'WAS THE NIGHT BEFORE CHRISTMAS 199 YEARS AGO, A PROFESSOR CLEMENT CLARKE MOORE WROTE THE POEM WHICH IS CHERISHED BY MANY BUT HOLD A WARM SPOT IN NEWPORT WHERE THE AUTHOR LIVED FOR MORE THAN A DOZEN YEARS.

>> T'WAS THE NIGHT BEFORE CHRISTMAS , WHEN ALL THROUGH THE HOUSE NOT A CREATURE WAS STIRRING, NOT EVEN A MOUSE.

>> THOSE ICONIC LINES BEGIN ONE OF THE MOST WELL-KNOWN AND BELOVED VERSUS IN AMERICAN POETRY.

>> THIS IS MY FAVORITE PART.

THE STOCKINGS WERE HUNG BY THE CHIMNEY WITH CARE, IN HOPES THAT ST. NICHOLAS SOON WOULD BE THERE.

>> THE POEM WAS WRITTEN BY CLEMENT CLARKE MOORE HE RECITED THE -- IT FOR THE AMUSEMENT OF HIS CHILDREN IN 1822.

>> THE CHILDREN WERE NESTLED ALL SNUG IN THEIR BEDS, WHILE VISIONS OF SUGAR PLUMS DANCED IN THEIR HEADS.

>> THE CHRISTMAS CLASSIC DEPICTING SAINT NICHOLAS AND HIS MAGIC RAIN GEAR WOULD SHAPE THE WAY WE ENVISION SANTA CLAUS AND ALSO CAPTURE THE AMERICAN CUSTOMS OF GIFT GIVING.

>> WHEN, WHAT TO MY WONDERING EYES SHOULD APPEAR, BUT A MINIATURE SLEIGH AND EIGHT TINY REINDEER.

>> MOORE PURCHASED THIS VICTORIAN IN NEWPORT.

IT WAS TO BE HIS SUMMER HOME FOR 13 YEARS.

IT NOW HOUSES MULTIPLE UNITS, BUT NEXT TO THE DOOR HANGS A PLAQUE OF SANTA CLAUS AS HE DESCRIBED HIM IN HIS FAVORITE POEM.

>> HIS EYES HOW THEY TWINKLED!

HIS DIMPLES, HOW MERRY!

HIS CHEEKS WERE LIKE ROSES, HIS NOSE LIKE A CHERRY!

>> HIS DROLL LITTLE MOUTH WAS DRAWN UP LIKE A BOW, AND THE BEARD ON HIS CHIN WAS AS WHITE AS THE SNOW.

>> ORIGINALLY TITLED A VISIT FROM SAINT NICHOLAS, THE POEM WAS PUBLISHED ANONYMOUSLY IN 1823.

IT WAS SAID MOORE WAS EMBARRASSED.

>> NOW DASHER!

NOW DANCER!

NOW, PRANCER AND VIXEN!

ON, COMET!

ON, CUPID!

ON, DONNER AND BLITZEN!

>> IN THE LIBRARY COLLECTION ARE SEVERAL COPIES OF THE POEM, ONE FROM 1833.

THERE IS ALSO A PROGRAM FROM AN ANNUAL READING OF THE POEM.

HE FOUNDED THE NEWPORT TENNIS HALL OF FAME.

HE BEGAN A 35 YEAR TRADITION OF GATHERING LOCAL CHILDREN FOR HIS NARRATION.

HE EVEN WROTE A POSTSCRIPT WHICH READS YES ST. NICK HAD BEEN HERE, IT HAD NOT BEEN A DREAM, HE CAME AND HE WENT LIKE A PHANTOM MOONBEAM.

IT WAS SAID MOORE COMPOSED IT ON A SNOWY DAY COMING HOME FROM CHRISTMAS SHOPPING.

NO ONE KNEW IF HE WROTE THE NARRATIVE RHYMES WHILE SITTING HERE, BUT THE WRITING DESK IS PRESERVED AT THE MUSEUM OF NEWPORT IN THE BRICK MARKETPLACE.

>> HE HAD A BROAD FACE AND A LITTLE ROUND BELLY, THAT SHOOK WHEN HE LAUGHED, LIKE A BOWL FULL OF JELLY.

I LIKE JELLY.

>> HIS LEGACY ALSO INCLUDES THE GIFT OF PRESERVING THIS LAND.

MOORE WAS AMONG A COUPLE DOZEN PEOPLE WHO FUNDED THIS PARK.

IT INCLUDES A STONE MILL.

CLEMENT MOORE DIED IN 1863 AT THE AGE OF 83.

HIS FUNERAL WAS HELD NEARBY AT NEARBY TRINITY CHURCH.

HE WAS BURIED IN HIS NATIVE NEW YORK, BUT HIS TIES TO NEWPORT REMAIN AS DO THE ENDURING LINES THAT CHARMED CHILDREN OF ALL AGES AND ARE READ AND REPEATED EACH CHRISTMAS TIME.

>> BUT I HEARD HIM EXCLAIM, 'ERE HE DROVE OUT OF SIGHT, >> HAPPY CHRISTMAS TO ALL, AND TO ALL A GOOD NIGHT!

>> ARE SPECIAL THANKS THE CHILDREN OF OUR STAFF AND FRIENDS.

THAT IS OUR BROADCAST FOR THIS EVENING.

THANK YOU FOR JOINING US.

WE WISH YOU ALL A HAPPY, HEALTHY HOLIDAY SEASON.

PLEASE STAY SAFE.

[CAPTIONING PERFORMED BY THE NATIONAL CAPTIONING INSTITUTE, WHICH IS RESPONSIBLE FOR ITS CAPTION CONTENT AND ACCURACY.

VISIT NCICAP.ORG]