>> HOW CAN PUBLIC ART TRANSFORM A CITY?

>> IT IS ART YOU WANT PEOPLE TO INTERACT WITH.

IF YOU HAVE A GOOD DAY OR BAD DAY, YOU WANT SOMETHING PEOPLE WALK AROUND THE CORNER OR BUMP INTO SOMETIMES PHYSICALLY, WHICH WE HAVE FOUND WITH SOME INSTALLATIONS, AND IT PUTS A SMILE ON THEIR FACE.

MICHELLE: THE FEDERAL HILLS SECTION BEGIN TO SEE INDUSTRIES MOVING OUT IN DROVES, THE GAP FILLED BY ORGANIZED CRIME.

BY THE MID-1950'S, A MOB BOSS PROBABLY LAUDED OVER HIS STOREFRONT MONEY LAUNDERING OPERATION.

>> I HEARD STORIES ABOUT HIM SITTING ON A LAWN CHAIR CALLING THE SHOTS.

THE ECONOMIC CONDITIONS OF THE CITY, THE LOSS OF POPULATION AND JOBS, THE STRUGGLE TO FIND A NEW DIRECTION CREATED AN OPPORTUNITY FOR CORRUPTION.

♪ MICHELLE: GOOD EVENING.

WELCOME TO "RHODE ISLAND PBS WEEKLY."

I AM MICHELLE SAN MIGUEL.

PROVIDENCE IS REFERRED TO AS THE CREATIVE CAPITAL, WITH HIS LONG HISTORY AS AN ARTIST HUB, THE HOME OF THE RHODE ISLAND SCHOOL OF DESIGN, STRONG THEATER, MUSIC AND VISUAL ARTS SCENES, AND POSITIONING ITSELF AS A TACK AND INNOVATION INCUBATOR.

THE ONE ARTS ORGANIZATION HAS TAKEN THAT NOTION A STEP FURTHER.

WHILE EXPANDING THE CONCEPT OF THE STATE AS A WHOLE.

THE AVENUE CONCEPT INTEGRATES PUBLIC ART INTO EVERYDAY LIFE THERE WAS SERIES OF PROJECTS, INCLUDING LARGE-SCALE MURALS, TRANSFORMING PUBLIC BUSES INTO ROVING ART INSTALLATIONS.

>> I WANTED TO FOCUS ON NOT JUST PUBLIC ART AS A PIECE OF ART INSTALLED IN THE COMMUNITY BUT UNDERSTANDING THE LAYERS TO WHAT MAKES IT COME TOGETHER.

IT'S ABOUT A BIGGER CONVERSATION, TRYING TO NOT BE GROUNDED IN ONE IDEA.

>> THAT'S A CONVERSATION THAT THE FOUNDER AND EXECUTIVE DIRECTOR OF THE AVENUE CONCEPT HAS SPENT OVER A DECADE HAVING WITH RHODE ISLAND'S ARTISTS, BUSINESS LEADERSHIP, ELECTED OFFICIALS, COMMUNITY ORGANIZATIONS AND VISITORS TO THE STATE.

>> THE AVENUE CONCEPT REALLY WAS BASED ON THE RESEARCH OF WHAT IS A PUBLIC ART PROGRAM IN THE STATE OF RHODE ISLAND.

>> FROM RESEARCH TO REALITY, THORNE BUILT A PORTFOLIO AROUND THE OCEAN STATE.

PARTICULARLY IN PROVIDENCE -- PROVINC.

HOW CAN PUBLIC ART TRANSFORM A CITY?

>> PUBLIC ART TRANSFORMS A CITY BY SLOWING THE POPULATION DOWN.

I THINK HAVING ART IN THE PUBLIC'S ARGUE LIVE WITH, ART YOU WANT PEOPLE TO INTERACT WITH.

IT DOES NOT MATTER THE BACKGROUND OR LANGUAGE, GOOD DAY OR BAD GAY, YOU KNOW WHAT ART IS OR NOT.

YOU WHAT PEOPLE -- THEY BUMP INTO PHYSICALLY AND PEOPLE JUST, IT PUTS A SMILE ON THEIR FACE.

>> FROM SCULPTURES TO MURALS TO WRAPPING BUSES WITH UNIQUE DESIGNS, AVENUE CONCEPT HAS INSTALLED MORE THAN 170 WORKS OF ART BY OVER 150 ARTISTS IN PUBLIC SPACES THROUGHOUT THE STATE.

>> WE LOOKED AT EVERY POSSIBILITY.

MASS TRANSIT BUT LOOKING AT THE UTILITY AND ELECTRIC BUSES, TRASH CANS, ART CHAIRS, SKATE PARKS, LARGE PIECES OF ART YOU MIGHT FIND IN A MUSEUM OR OTHER MORE PROMINENT LOCATIONS AND MAKING IT ACCESSIBLE.

MAKING IT FREE AND AVAILABLE TO EVERYONE.

>> HE WAS RAISED IN NORTHAMPTON, MASSACHUSETTS.

HIS PARENTS TAUGHT ARCHITECTURE AND HIS FATHER ALSO OWNED AND OPERATED A JAZZ CLUB.

>> IT WAS CALLED THE AVENUE.

THE TREE HE HAD IN HIS LOGOS AND BRANDS WERE SIMILAR AND INSPIRED ME TO CREATE THE TREE ICON.

>> HE MADE HIS WAY TO RHODE ISLAND AS A STUDENT AT THE RHODE ISLAND SCHOOL OF DESIGN.

HE LEFT AFTER HIS GRADUATION BUT SAYS HE WAS DRAWN BACK TO THE STATE.

>> I FEEL LIKE RHODE ISLAND IS MY HOME.

I WANT TO FIND A WAY TO MAKE WHAT I DO AND MY PASSIONS REALLY BASED HERE IN RHODE ISLAND.

>> AFTER BRAINSTORMING AND CONSIDERING OPTIONS FOR HOW TO BEST MAKE AN IMPACT, HE FOUNDED THE AVENUE CONCEPT IN 2012.

WHAT WAS THE FIRST BIG PROJECT THE AVENUE CONCEPT TACKLED?

>> THE KEY ONES FOR ME WERE INSTALLING THE BEGINNING OF INFRASTRUCTURE FOR ALLOWING US TO PROGRAM THE WAY HE WANTED.

THAT STARTED WITH INSTALL IT SIX CONCRETE PATHS THAT WOULD ALLOW US TO ROTATE SCULPTURES IN DOWNTOWN.

THE SECOND IS IDENTIFYING LOCATIONS FOR LARGE MURALS THAT HAD THE ABILITY TO CREATE IN THE CITY, ALMOST A BREADCRUMBING AFFECT.

WE DID NOT WANT IT TO BE SUPER OBVIOUS.

TO ALLOW THEM TO FIND THE SMALL SHOPS AND SMALL BUSINESSES.

>> ULTIMATELY THE MURALS TELL THE STORY.

ONE OF THE MOST COMPELLING CAME FROM AN ARTIST WHO SHARED HIS EXPERIENCES IN CAMBODIA DURING THE KHMER ROUGE GENOCIDE.

>> ANDREW HAM HAS STORIES AND FAMILY AND EXPERIENCE OF BEING SMUGGLED OUT OF CAMBODIA AND UNDERSTANDING THOSE CHALLENGES.

HE HAS GENERATIONS OF LANDSCAPE PAINTERS.

ONE OF HIS FAMILY MEMBERS WAS KILLED BECAUSE OF BEING AN ARTIST.

THEN GROWING UP IN THE TOUGHER NEIGHBORHOODS IN L.A. AND LIVING THAT LIFE AND WANTING TO TELL THE STORIES.

AS A PERSON WITH THE ABILITY TO COME TO AN ART COMMUNITY HAS PART OF HER RESIDENCY AND FOR US TO SHARE IDEAS AND STORIES AND CONNECT WITH THE CAMBODIAN POPULATION OF PROVIDENCE, THEY HAVE AN OPEN KANSAS FOR -- OPEN CANVAS, THAT WAS A REAL EYE-OPENING EXPERIENCE.

>> REALLY COMMUNITY-DRIVEN STUFF.

>> A LOT OF MURALS HAVE BEEN AROUND INTERPRETIVE IDEAS.

A LOT HAD BEEN MUCH MORE ABSTRACT.

THIS IS A YOUNG CAMBODIAN GIRL WEARING ADIDAS CLOTHING AND SITTING ON A LOG AND A MYSTICAL FORCE SURROUNDED BY FIREFLIES.

YOU CAN LOOK AT IT AS A YOUNG EMERGING ARTIST AND BE INSPIRED BY THAT.

YOU CAN LOOK AT IT AS A CAMBODIAN YOUTH OR ADULT.

WE HAD HUNDREDS OF PEOPLE COME OUT AND SAY I HAVE NEVER HAD A REASON TO COME TO DOWNTOWN PROVIDENCE BEFORE AND NOW I DO BECAUSE THIS MURAL IS HERE.

>> THAT STRONG RELATIONSHIP WITH THE COMMUNITY ALLOWED THEM TO EXECUTE IDEAS OTHERS MAY HAVE SEEN TOO DIFFICULT TO COMPLETE.

>> WHEN YOU ARE WORKING IN THE PUBLIC SECTOR THERE IS A LOT OF LAYERS THAT ARE HARD TO WORK AND NAVIGATE.

WITH THE SUCCESS OF THE AVENUE WE WOULD NOT HAVE BEEN ABLE TO DO THE WORK WE HAVE DONE WITHOUT ALL HOSE PARTNERS WORKING WITH THE CITY, MAYORS, COUNCIL MEN AND WOMEN, NEIGHBORHOOD GROUPS, YOUTH PROGRAMS, HARD TEACHERS, ALL THE PARTS AND PIECES.

IT COMES DOWN TO THE PREP AND RESEARCH WE HAVE DONE.

>> IT HAS NOT ALWAYS GONE SMOOTHLY.

IN 2019, THE AVENUE CONCEPT WORKED WITH STEPHEN SIEGEL TO CREATE LIKE A BUOY, LIKE A BARREL.

A HUMONGOUS FRAME STUFFED WITH RECYCLED PLASTIC DETERGENT BOTTLES.

THE SCULPTURE WAS INSTALLED OUTSIDE OF THE CIC RECORD INNOVATION CENTER AND MET WITH MIXED RESULTS.

IN 2020, THE SCULPTURE WAS SET ON FIRE AND DESTROYED.

THOUGH NO ARRESTS HAVE EVER BEEN MADE, ARSON IS SUSPECTED.

>> IT WAS EMOTIONAL.

THE WHOLE PIECE HAS BEEN EMOTIONAL.

IT WAS SOMETHING FOR ME I WAS OVER A FIVE-YOUR PROJECT.

REALLY WANTING TO WORK WITH A ARTIST THAT DEALT WITH THE MATERIALS, SOMETHING THAT COULD CONNECT AS MANY OF THE DOTS AS HUMANLY POSSIBLE.

>> ALTHOUGH HE ADMITS THE PIECE'S DISTORTION WAS PAINFUL, HE CONSIDERS A PART OF THE PROCESS OF COMMUNITY ART.

>> EVEN WITH WHAT HAPPENED WITH THE LOSS OF THE SCULPTURE, WE DON'T REALLY WANT TO FOCUS ON THE NEGATIVE SIDE.

IT IS PART OF BEING IN THE PUBLIC.

IT IS UNFORTUNATE THE PIECE LEFT US BUT IS IN THE HEARTS OF LOTS OF PEOPLE, ALL THE PEOPLE THAT WORKED AND INTERACTED WITH THE PIECES, THERE ARE STORIES THAT WE NEVER HEARD.

THAT'S TO THE SUCCESS OF THE PIECE ITSELF.

>> DESPITE THE LOSS, THE AVENUE CONCEPT HAS A ROBUST ROSTER OF INSTALLED PIECES, AS WELL AS MANY IDEAS DEVELOPED DURING THE PANDEMIC.

>> THE CONCEPT HAS SIX MURALS DOWNTOWN.

THOSE ARE PROBABLY THE MOST PROMINENT AND MOST SEEN PIECES.

THE BIGGEST ONE IS THE GIA STILL HERE.

IT'S A COMPLEX MURAL THAT TELLS AN INTERESTING STORY OF THAT LOCATION AS A PERIOD OF TIME AND TALKING ABOUT THE INDIGENOUS POPULATION, BUT ALSO THE PLANS, THE ANIMALS, THE PARTS AND PIECES YOU CAN TRACK BACK TO THE ORIGIN OF WHEN THOSE PLANS CAME TO RHODE ISLAND.

HOW THEY CONNECTED WITH THE RIVER, WITH THE INDIGENOUS POPULATION, AND WITH THE POPULATION THAT LIVES THERE NOW.

>> AS AVENUE DEVELOPS MORE PIECES THEY REFLECT THE COMMUNITY THEY SERVE, BOTH IN UNDERSTANDING THE PAST, PRESENT, AND THE LESS OBVIOUS, THE HEART OF THE STATE'S FINANCIAL EPICENTER.

>> IT IS THE LAST PLACE YOU WOULD FIND ART OR THINK YOU WOULD FIND ART AND DESIGN.

BY HAVING ARTIST OUT THERE IN THE CONTEXT THEY CAN MAKE ART INCOME DOWN THE LETTER AND TALK TO SOMEONE THAT WALKED OUT OF A BUSINESS MEETING AND TALK ABOUT FINANCE OR SOMETHING THAT WAS EXCITING ABOUT THEIR DAY AND INSPIRED BY THE ARTISTS, AND THEN THEY PUT THAT IN THE ARTWORK, IT IS FUN TO SEE THE ECOSYSTEM OF VOLVO OVER THE YEARS AND SEE THAT HAPPEN -- EVOLVE OVER THE YEARS AND SEE THAT HAPPEN.

>> BURKE AND RHODE ISLANDERS EXPECT THE AVENUE CONCEPT TO GO FROM HERE?

>> I HOPE THE MOON AND BACK.

WE HAVE AN AMAZING GROUP OF PEOPLE.

AN AMAZING STAFF, BOARD OF ADVISORS.

WE HAVE AN AMAZING PROOF OF CONCEPT SHOWING WHAT IS POSSIBLE.

WE HAVE MORE AND MORE PEOPLE COMING OUT AND WANTING TO SUPPORT US.

THE CHALLENGE NOW IS HOW TO SAY NO.

THERE ARE A LOT OF POSSIBILITIES IN THE FUTURE FOR PROVIDENCE AND THE STATE OF RHODE ISLAND AND WE ARE PART -- EXCITED TO BE A PART OF IT.

♪ MICHELLE: OUR THANKS TO BILL BARTHOLOMEW FOR THAT REPORT.

NEXT, WE HAD TO THE HISTORIC EDERAL HILL.

THE NEIGHBORHOOD IS ONE OF THE MOST POPULAR STOPS FOR BOTH LOCALS AND TOURISTS LOOKING FOR A TASTE OF ITALIAN CUISINE.

AS WE REPORTED LAST DECEMBER, LONG BEFORE BECAME A DESTINATION, FEDERAL HILL WAS HOLD -- HOME TO TENS OF THOUSANDS OF IMMIGRANTS SEARCHING FOR A BETTER LIFE.

FEDERAL HILL DEVELOPED A REPUTATION AS A WORKING-CLASS NEIGHBORHOOD ATTRACTING PEOPLE FROM ALL OVER THE WORLD, WHICH HELPED MAKE IT WHAT IT IS TODAY.

>> MY SCHOOL I WENT TO IS WHETHER PARKING LOT IS.

THE ADMIRALS AVENUE SCHOOL.

MICHELLE: THE SCHOOL WAS BEHIND YOUR HOUSE?

YOU ARE NEVER LATE TO SCHOOL?

>> I WAS LATE TO SCHOOL.

MICHELLE: HOW ARE YOU LIKE TO SCHOOL?

>> I WAS NOT A GREAT SCHOOL PERSON.

MICHELLE: RICHARD KNOWS THE STREETS BETTER THAN MOST, A FORMER MAYOR AND WAS BORN AND RAISED IN THE MID-1930'S.

HIS PARENTS IMMIGRATED FROM ITALY TO THE FORT OF PROVIDENCE.

HE LIVED WITH HIS PARENTS AND SIBLINGS IN A SMALL COLD WATER FLAT ON SPRUCE STREET.

RICHARD: IN THE WINTER IT WAS VERY COLD IN THE ROOMS.

YOU ONLY HAD A STOVE IN THE MIDDLE OF THE KITCHEN.

THERE WAS NO RADIATORS.

IF THE HEAT GOT TO YOUR ROOM, THAT WAS FINE.

THE BEST EXAMPLE -- MY MOTHER COULD PUT THE MILK IN MY ROOM AND WOULD NOT GO BAD.

MICHELLE: HE LIVED ON THE HILL WHEN THE ITALIANS DOMINATED.

THE CITY WENT FROM HAVING ONLY A FEW HUNDRED ITALIAN BORN RESIDENTS IN 1885 TO MORE THAN 40,000 BY 1920.

MY MOTHER WORKED IN A MILL.

MY FATHER WAS A TAILOR.

MOST OF THE PEOPLE THEY CAME FROM ITALY HAD CRAFTS.

BRICKLAYERS, STONEMASONS.

MOST OF THE BIG BUILDINGS WERE BUILT BY ITALIANS.

THEY HAD A TRADE BUT DID NOT PAY MUCH.

MICHELLE: FEDERAL HILL WAS TEEMING WITH ACTIVITY IN THE 1930'S.

EVEN MEMBERS WATCHING HIS MOTHER BY FOOD FROM PUSHCART VENDORS.

RICHARD: THEY WOULD BE HAWKING.

TOMATOES, THREE POUNDS FOR $.21.

MICHELLE: HE HAS FOND MEMORIES BUT HE WILL BE THE FIRST TO TELL YOU LIFE ON FEDERAL HILL WAS NOT EASY.

MANY IMMIGRANTS WERE LIVING IN POVERTY, STRUGGLING TO GET A FOOTHOLD IN THEIR NEW COUNTRY.

LIKE THE IRISH IMMIGRANTS WHO ARRIVED DECADES EARLIER, THE ITALIANS WERE NOT ALWAYS WELCOME.

RICHARD: WHEN THE IRISH CAME HERE FIRST THEY HAD THE ADVANTAGE.

THEY SPOKE ENGLISH.

YOU WOULD SEE SIGNS IN THE WINDOWS.

"IRISH NEED NOT APPLY."

THEY ESTABLISHED THEMSELVES.

MOST WERE FIREFIGHTERS, TELEPHONE WORKERS, POLICE OFFICERS.

MOST OF THE POLICE OFFICERS IN FEDERAL HILL WERE IRISH COPS.

IT WAS TOUGH.

THEY DID NOT LOOK KINDLY ON US.

LATER ON WHEN THEY MOVED OUT YOU WOULD SEE SIGNS.

"WHOPS NEED NOT APPLY."

WHICH MEANT WITHOUT PAPERS.

GUINEAS NEED NOT APPLY.

MICHELLE:MICHELLE: THE PROXIMITY TO DOWNTOWN AT THE LOGICAL PLACE FOR THE WORKING CLASS TO CALL HOME.

THE MAIN STREET INTO FEDERAL HILL, PAT WELLS AVENUE, WAS LAID OUT IN THE EARLY 1800.

AND AFTER BUSINESSMAN AMOST ATWELL.

MOST OF THE FACTORIES WERE BUILT ON THE OUTSKIRTS OF FEDERAL HILL, ALONG THE PROVIDENCE RIVER AND DOWNTOWN.

THE IRISH THEN BEGIN TO MOVE INTO THE HILL IN THE 1820'S TO FILL THOSE MANUFACTURING JOBS.

>> IN THE NORTH OF IRELAND THERE WERE A LOT OF MILLS.

THESE FOLKS WERE SKILLED IN THE LABOR OF TEXTILE MANUFACTURING.

THEY WERE AN IDEAL GROUP TO RECRUIT TO COME OVER HERE.

WHEN THE FAMINE BEGAN IN THE 1840'S, THOSE PATHWAYS HAD BEEN CUT.

>> IT SITS IN THE HEART OF THE IRISH NEIGHBORHOOD.

♪ MICHELLE: RAY MCKENNA'S FAMILY FLED TO THE PORT OF PROVIDENCE IN SEARCH OF WORK.

>> THE CITY NEEDED THEM.

THEY NEEDED WORK IN THE FACTORIES.

THEY NEEDED PEOPLE TO BUILD STREETS.

THEY NEEDED THEM TO BUILD CANALS.

THEY RESENTED THEM BECAUSE THEY WERE ILLITERATE.

MY FAMILY SPOKE IRISH AND SOME ENGLISH BUT THEY WERE ILLITERATE.

THEY WERE DIRTY.

THEY LIVED IN THESE CROWDED PLACES WHERE THEY COULD NOT GET ANY CLEANER THAN THEY WERE.

MICHELLE: FOUR GENERATIONS OF HIS FAMILY HAVE CALLED FEDERAL HILL HOME.

IN THE 1860'S, MCKENNA WAS THE MOST COMMON NAME ON THE HELP.

HIS FAMILY LIVED IN WHAT IS NOW DIPASQUALE SQUARE.

>> ATWELLS AVENUE WAS THE MAIN STREET.

SPRUCE STREET WAS THE OTHER COMMERCIAL STREET.

MICHELLE: DOES IT BOTHER YOU WHEN PEOPLE THINK OF FEDERAL HILL THEY THINK OF LITTLE ITALY AND NOT THE IRISH?

>> I LOVE IT.

CAN YOU IMAGINE IF THEY WERE TRYING TO MAKE THEIR FAME ON IRISH FOOD?

I LOVE IT.

I GET AN INTEREST IN WHAT I'M DOING BECAUSE OF FEDERAL HILL.

FEDERAL HILL IS PROBABLY THE MOST FAMOUS NEIGHBORHOOD IN RHODE ISLAND.

THE ITALIANS HAVE DONE WONDERFUL THINGS.

MICHELLE: WHAT IS LEFT OF THE IRISH NEIGHBORHOODS OF FEDERAL HILL?

>> A FEW STREET SIGNS.

THERE IS MCAVOY STREET.

THOMAS MCAVOY OWNED A HOUSE ON THE BLOCK.

THE PARKING LOT AT WALGREENS.

THERE IS A BACK ALLEY CALLED TRAINER STREET.

THE TRAINERS IN THE MCKENNAS ARE HE OLDEST TO COME OUT OS PLACE.

I CAN'T THINK OF MUCH ELSE YOU CAN SEE THERE.

WHICH IS ONE OF THE REASONS I LOVE THIS PLACE SO MUCH.

MICHELLE: THIS PLACE IS SAINT PATRICK'S CEMETERY ON SMITH HILL, BUT MANY EARLY IRISH EMIGRANTS TO RHODE ISLAND WERE LAID TO REST.

>> THEY CAME HERE WITH THE IDEA THEY WERE NOT GOING TO STAY HERE.

THEY DID NOT WANT TO LEAVE THEIR HOMES.

THESE ARE PEOPLE WHO UP UNTIL THE TIME THEY HAD TO LEAVE PRETTY MUCH HAD BEEN NO MORE THAN 20 MILES FROM THEIR HOUSE AND THEIR ENTIRE LIVES.

THAT WAS THEIR IDENTITY.

MICHELLE: BY THE 1950'S, APPLY FOR BOTH THE IRISH AND THE ITALIANS BEGAN TO CHANGE.

HISTORIAN TAYLOR POLITEST SAID IT WAS NOT LONG BEFORE BIG MANUFACTURERS AND A ONCE THRIVING COSTUME JEWELRY INDUSTRY ALSO LEFT.

>> THESE BIG INDUSTRIAL GIANTS THAT BUILT THE CITY ARE MOVING MANUFACTURING FACILITIES TO OTHER PLACES.

MICHELLE: WHEN INDUSTRY MOVED OUT THEY CAP WAS FILLED IN BY ORGANIZED CRIME.

IN THE MID-1950'S, RAYMOND PATRIARCHA MOVED HIS FAMILY'S CRIMINAL OPERATIONS TO THE HILL.

HIS HEADQUARTERS A SEAM IN STOREFRONT CALLED THE COIN-O- MATIC.

>> I HAVE HEARD STORIES OF HIM CALLING THE SHOTS.

THE ECONOMIC CONDITIONS, THE LOSS OF POPULATION, THE LOSS OF DIRECTION CREATED AN OPPORTUNITY FOR CORRUPTION.

MICHELLE: STORE OWNERS ARE SAID TO HAVE PAID PATRIARCHA PATRIOT -- PROTECTION MONEY WHILE HE RAN HIS BUSINESS AS A FRONT FOR MONEY LAUNDERING.

A HE REMEMBERS PATRIARCHA'S TENURE A BIT DIFFERENTLY.

>> HE -- WHEN HE WAS ALIVE THERE WAS NO DRUGS ON THE STREET.

NO CRIMES ON THE STREET.

NO ONE GETTING ROBBED OR HURT.

WHATEVER THEY DID WAS THEIR BUSINESS.

MICHELLE: THE LATE MAYOR OF PROVIDENCE MADE IT HIS BUSINESS TO KNOW JUST ABOUT EVERYTHING.

A LARGER-THAN-LIFE CHARACTER WITH A DEFINITE SHADYSIDE IRONICALLY RAN HIS FIRST CAMPAIGN FOR MAYOR VOWING TO DO AWAY WITH CORRUPTION.

>> HE BECOMES MAYOR AND HE'S AN ITALIAN AMERICAN MAYOR OF THE CAPITAL CITY.

HE IS PROUD OF HIS HERITAGE.

HE SEES A NEIGHBORHOOD THAT IS RUN DOWN, THAT HAS THE CITY ITSELF NOT ABLE TO MAKE INVESTMENTS IN THE NEIGHBORHOODS.

THE REDEVELOPMENT PROGRAMS HAVE DONE A LOT OF DEMOLITION BUT NOT NECESSARILY A LOT OF CONSTRUCTION.

HE CONNECTS WITH THE MERCHANTS AND BEGINS TO BUILD THE FEDERAL HILL WE SEE TODAY.

MICHELLE: IN THE FEDERAL HILL OF TODAY CONTINUES TO EVOLVE.

>> IT'S KIND OF A COMBINATION OF AN OLD ITALIAN NEIGHBORHOOD AND A HIPSTER NEIGHBORHOOD NOW.

MICHELLE: MORE THAN A QUARTER OF THE PEOPLE WHO LIVE HERE WERE BORN OUTSIDE OF THE UNITED STATES.

ONE THIRD CAME FROM THE CARIBBEAN, FOLLOWED BY ASIA AND CENTRAL AMERICA.

CHRISTINA HAS SLIPPED ON THE HILL FOR MORE THAN 15 YEARS.

WHAT DO YOU LIKE ABOUT LIVING ON FEDERAL HILL?

>> I LOVE THAT IT IS -- IT HAS THE PROVIDENCE THINK OF BEING CORPORATELY LAID OUT.

IT IS KIND OF A MIX OF OLD BUT NOT PRECIOUS AT ALL.

THERE ARE ALL DIFFERENT KINDS OF PEOPLE THAT LIVE HERE AND YOU SEE.

I HEAR DIFFERENT LANGUAGES.

MICHELLE: IT IS THAT DIFFERENCE AND CONSTANT CHANGE THAT HAS BEEN THE LIFEBLOOD OF THE HILL.

>> WE CAME AS REFUGEES.

REFUGEES HAVE NEVER STOPPED COMING TO AMERICA.

JUST AS THE IRISH SHOWED UP AND THEY WERE POOR AND SUFFERING.

THEY WERE ALLOWED TO GET IN BECAUSE THE LAWS WERE KEEPING THEM BACK.

I FEEL SO STRONGLY THAT PEOPLE TODAY, WHETHER IT IS IN SYRIA OR SUB-SAHARAN AFRICA, WHEREVER IT IS, WE NEED TO BE A PLACE THAT WELCOMES REFUGEES.

THEY MAKE AMERICA GREAT.

MICHELLE: MUCH LIKE FEDERAL HILL, CENTRAL FALLS SHARES A RICH IMMIGRANT HISTORY.

TONIGHT AS IT CELEBRATES ITS 126TH YEAR, THE EXECUTIVE DIRECTOR HOW THE RHODE ISLAND HISTORICAL SOCIETY EXPLAINS THE HISTORY OF THE OCEAN STATE'S SMALLEST CITY.

>> ARCH 18, 1895, RHODE ISLAND WELCOMED THE SMALLEST CITY IN AMERICA.

THE CREATION OF CENTRAL FALLS WAS A WINDING ROAD UNTIL WE GET TO THE LANDSCAPE WE KNOW TODAY IS THE SMALLEST OF ONE OF THE MOST DENSELY POPULATED CITIES IN THIS COUNTRY.

THE INDUSTRIAL REVOLUTION REALLY KICKS OFF WITH SLATER MILL.

SLATER MILL IS NOT VERY FAR AWAY FROM WHAT WE THINK OF IS THE HEART OF CENTRAL FALLS IN THIS MOMENT.

AS THESE SMALL MILLS ARE DEVELOPING IN THE 1810'S IS DISRUPTED BY THE WORD OF 1812.

THEN THINGS STABILIZE AND PEOPLE ARE LEARNING HOW TO BEST HARNESS WATERPOWER.

THEY ARE ABLE TO MAKE THE BLACKSTONE INTO THE SECOND HARDEST WORKING RIVER IN AMERICA.

NIAGARA IS CREATING A HUGE AMOUNT OF POWER.

CENTRAL FALLS REALLY IS TAKING ADVANTAGE OF HIS LITTLE POSITION.

IT IS AT A CELEBRATION OF THESE EARLY MILLS WHERE A MAN NAME STEPHEN JENKS BELIEVES THE VILLAGE SHOULD BE CALLED CENTRAL FALLS.

THAT IS ON THE NAME BEGINS AND IT CATCHES ON.

BY THE 1880'S, THE POPULATION IS GROWING RAPIDLY.

PEOPLE THINK ABOUT COTTON BUT IT IS WILL AND -- WHOOLENS, LAST, EVERYTHING IS MADE HEREIN IS 1.29 SQUARE MILES.

ONE OF THE CHARACTERISTICS OF CENTRAL FALLS IS IT HAS BEEN A HIGHLY IMMIGRANT FIRST-GENERATION AMERICAN CITY.

WHEN CENTRAL FALLS BECOMES A CITY IT IS ALREADY 40% IMMIGRANT AND ANOTHER 10% FIRST-GENERATION AMERICAN.

THAT TYPE OF STATISTIC CONTINUES THROUGHOUT THE 20TH CENTURY.

IT IS JUST THAT THE NATION OF ORIGIN SHIFTS.

IN THE 19 CENTURY IT IS LARGELY FRENCH-CANADIAN, SCOTTISH AND IRISH.

THEN WE SEE WAVES OF POLISH, SYRIAN, PORTUGUESE.

THEN WE SEE THE GROWTH OF THE LATINX COMMUNITY.

NOW THAT COMMUNITY, IT'S A COMMUNITY THAT COMES FROM JUST ABOUT EVERY SPANISH-SPEAKING COUNTRY IN THE WORLD.

WE HAVE KATE VERDE -- CAPE VERD IAN IMMIGRANTS.

IN 1900, 40% OF THE POPULATION WAS IMMIGRANT.

TODAY THOSE NUMBERS ARE NO DIFFERENT.

THEY SPEAK DIFFERENT LANGUAGES, TELL DIFFERENT STORIES, BUT THEY CAME TO RHODE ISLAND AND CENTRAL FALLS TO MAKE THEIR HOME, BUILD THEIR LIVES AND THAT IS WHAT HAS BEEN HAPPENING IN CENTRAL FALLS SINCE MARCH 18, 1895.

IT IS NOT JUST THE RHODE ISLAND STORY.

IT'S AN AMERICAN STORY.

MICHELLE: OUR THANKS TO THE RHODE ISLAND HISTORICAL SOCIETY.

WE RECOGNIZE TWO REMARKABLE RHODE ISLAND WOMEN WHO SHATTERED NORMS ANDCELEBRATED LIFE WHILE DOING EXTRAORDINARY WORK.

I AM MICHELLE SAN MIGUEL.

OF ALL OF US HERE, THANK YOU FOR JOINING US AND PLEASE STAY SAFE.

♪