(digital intro music) ♪ (tires screeching) (engine revving) (opening theme music) ♪ ♪ ♪ ♪ Mike> Hey guys.

That was a good job you guys did last week... that residential fire out.

You helped the fire department.

The assignments today.

We have... Dave and Kev are going to go Motorist Assist want you to cover the westside.

<Okay> Glenn, I've got your rider's card here, and you're going to be assigned with Patrolman... Phil Bergman.

(indiscernible) ...all about that.

Glenn> Sure thing.

Mike> Suzy, you're going to be working with ID technician Carol Fredericks.

And Leeanna, you'll be in the radio room with Linda Cronin.

Right now, I'm acting as the advisor to the Explorer Scouts.

And the purpose of the Post 469 is to take young adults and to give them a program which is geared to teaching them what the law enforcement is all about and the duties involved in being either a police officer, an aide, or a technician, or any other related field employees work.

Glenn> All right, they're working.

You want to pop the trunk... Mike> There are a number of areas that the explorers can participate in the program, which we've set up for them here at the, Glendale Police Department.

One of them is the, Ride Along program with the patrolman in the field.

Another is the, what they call a Motorist Assist program.

Which is where the explorers, utilizing their own personal vehicles, cruise the city streets and look for stranded motorists or anyone else in need in the streets.

♪ ♪ (tires screeching) (engine revving) Phillip> Hold on... we're going after that one.

Glenn> Okay.

(siren wailing) ♪ Look's like he's in a bit of a hurry.

Phillip> Yeah... try and get him to stop here.

We got him now.

Okay, when he stops to watch the passenger side, the right side of his vehicle from our front fender.

If you see anything, you holler.

Okay?

Glenn> Sure will.

♪ What we check for when we're standing up alongside the door.

Again, we're checking for someone on the floor in the back where the officer can't see them from his side of the car.

We're looking for weapons on the dashboard, on the seat where the officer can't see them.

But with us being there, it offers him a little more security.

He doesn't have to try to get around to look at the other side.

Where in the process, the person, the driver of the vehicle has the advantage.

Driver> Present time.

Yes, sir.

Kev> You see that class on guns that we had last week?

I wasn't at the meeting.

Dave> I saw part of it.

It was real good- <Was it?> - said it was a real good.

Kev> Leeanna was supposed to write me some notes.

I don't know if she's going to or not.

Hope so.

Dave> Yeah, all the classes that we've had are good.

Traffic light's out again.

Kev> Thing goes out about once a week.

I'll go get traffic.

Dave> I'll go make a phone call to the station.

Leeanna> Front desk area is really the nucleus, patrolmen come in for any kind of information they need.

The detectives come in for their information.

We have all of the records and the files and the microfilm there.

Any call comes in, we transfer the call to the people they need to talk to.

People come in, we get the people they need to talk to.

And we're really the, the center, the brain of the whole, department.

Officer> Leeanna I need registration checks on these vehicles right away.

Leeanna> Do you want...<Yes> All right.

(indistinct chatter) I think that I do have an inside view of the police department.

All the average civilian can see from the outside is what the police department seems like from Baretta or Mod Squad .

But once you're on the inside and it's just a, bunch of humans trying to do their best work.

(phone ringing) Glendale Police Department, Monroe speaking.

David> Yeah, this is David McPherson Motorist Assist Westside.

We've got the overhead traffic lights out at 63rd and Maryland.

Leeanna> Okay, can you guys handle it alright?

Okay, I'll have traffic control out there to fix it.

Dave> Okay, Bye.

Kev> The main thing about traffic control is, is clearing the scene, but keeping everyone happy.

So you don't want to let one line of cars go through, and you know, keep one guy for last.

You kind of want to even it out.

It keeps everyone happy and try and keep everyone moving.

But at the same time get the job done quickly.

Driver> You're still going to give me the citation.

Phillip> Yes, sir.

I am.

Driver> I don't like that at all.

Radio operator> All units... emergency traffic Burglary in progress.

6-9-4-2 Northwest Grand Avenue.

Grand Avenue Lumber Company, units responding.

Dave> Phil, burglary in progress.

Grand Avenue lumber.

(intense music begins) ♪ (sirens wailing) ♪ (suspenseful music) ♪ ♪ ♪ We've got somebody inside.

Can I have the keys?

Alright keep your head down.

♪ ♪ Phillip> Everything's all clear.

We got inside and found these.

Drawer's open and this door open.

It's usually closed.

And then we found this money on the floor and the cashbox.

Carol> No forced entry on this door?

Phillip> No forced entry on the door that we could find.

And no forced entry on the desk.

Apparently, they must have left them open, or they had past keys.

Carol> Okay Sue, let's get to work.

<Okay> You just use a small amount of this graphite powder and brush it over the surface in question.

And if there are any prints left behind, the powder will adhere to it.

Sue> How do you know it wasn't the owner's fingerprints?

Carol> Well, we would have to take their fingerprints in order to eliminate them positively.

<Oh> At this point, we just go ahead and lift all the prints that do appear.

Sue> What if the, surface of the object is like, black, or you know, real dark color.

Carol> Okay, in that case, if it is a black object, we have some white powder or gray powder that we can use.

We also have various other colors.

Okay.

Would you mark that... the desk top.

♪ Kev> Yeah, my legs were starting to hurt today, whenever those guys didn't show up.

Dave> I didn't think they were going to fix the lights at all.

Kev> See that one jerk though that almost hit me?

<Yeah> He came close.

Dave> I had a guy last week when I was directing traffic in an accident, he almost broadsided me.

I couldn't believe it, he didn't want to stop.

Kev> Sometimes those people just think that you're just standing out there for the fun of it.

I guess.

<Yeah> Hold up for a second.

Look over there.

Back up.

(suspenseful music) ♪ ♪ You okay?

Passenger> Oh, goodness.

♪ ♪ ♪ ♪ ♪ ♪ Dave> Kevin I'm gonna make the call.

Kev> All right.

(phone ringing) Leeanna> Glendale Police Department, Monroe speaking.

Dave> This is Dave McPherson Motor Assist Westside.

We got a 9-62.

Involving one vehicle at 6300 North 6-5 Drive.

Got two subjects in the vehicle, need the paramedics and squad car.

Leeanna> Okay.

I'll notify the paramedics, they should be there in a few minutes.

(indiscernible) ♪ (indistinct chatter) ♪ Officer> Just keep calm, the paramedics are on the way.

Your car's okay.

We're going to take care of everything, okay.

Driver> My head.

Officer> David did you happen to hear anything about how the accident happened.

Dave> Well, I gotta talk to you a second... <Okay> ♪ ...the guy down here, when we got him lay down you could smell alcohol on his breath.

And he was stumbling around.

Officer> Okay then, I'll take care of it.

♪ >> We get so much training.

You can read books about it, and you can get classes on it.

But nothing is real as when you are there.

♪ (suspenseful music ends) ♪ Announcer> Do we really need artists?

Or could we get along without them?

Student> I think that the country needs artists and musicians and painters.

Because it makes the world more beautiful, and a better place to live.

Student 2> I don't think we can do without, like, artists.

Because, like, an architect is an artist and he builds buildings.

And if we didn't have an architect, we wouldn't have buildings to live in.

Well we would, I guess, but not like buildings, like a school or like skyscrapers and places like that.

And musicians, I don't know, like, it's sort of like makes, like if you're tired or, you know, depressed, you know, you can like, sit down and listen to some music and it's sort of makes your spirits, like, come back and get better.

Student 3> We could do without artists and painters, but sometimes we need them around for entertainment.

Student 4> I think we do need artists... cause what if people want to go to art museums, or go see... Go to a radio show or something, you got to hear music, right?

And you want to see mostly a lot of pictures.

I like drawing, I like music too.

(city soundscape) (upbeat classical music begins) ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ (classical music ends) (applause) Sheldon> We are very lucky to have this dance program, as a result of the, efforts of a group called Young Audiences.

Whose main purpose it is, is to bring the arts into the school.

On Fridays, instead of having math, they took two of my seventh grade math classes, and they had dance on Fridays instead of math.

Diana> Our company has been rehearsing, in another studio downtown, and we just have recently moved into this new situation.

Where we are doing our rehearsing here at the school.

Kids in the halls are seeing professional dancers for the first time in their lives, and they're seeing what they look like off stage, which is just like regular people.

Lynne> Or can be independent of the dance.

Or you can have music... Diana> Lynne Taylor is the artistic director of Theater Dance Collection.

There are so many ways you can make a dance.

And it's individual.

Lynne> That's right.

Diana> It's really individual.

Lynne> It's a creation.

Every time it's different.

Lawrence> Who choreographed... ...the dance?

How'd you get the music?

Lynne> Well, I choreographed it.

I made up the steps and I... the music is Antonio Vivaldi.

And, I sometimes you get an idea for a dance and then you go look for the music.

But this time I heard the music, and I decided I wanted to make up a dance.

Carlton> Does this dance tell story or anything?

Diana> No, this one doesn't, this one doesn't.

This one basically gives you a feeling.

If you... You feel something when you see it.

Student> Like excitement?

Diana> Right.

Right, or joy or whatever.

But there's no real storyline, there's no characters or a plot.

Okay, we're running a little late, so I'm afraid we'll have to say goodbye to the company and get on with our class.

Okay?

Now come on, let's go.

Students> Aww.

Bye bye.

(group chatting) Diana> Okay, could all of you get in your rows?

Right.

Good.

Parallel feet.

Okay.

Relax your shoulders.

Arms at your side.

Okay.

And let's lift up the arms.

And we're going to make a big stretch over to the side... and stretch.

And a one, and a two.

And a one, two, three.

Sheldon> When the students entered this class, I don't think they really had a clear picture of what it was all about.

That it was going to be run like a real dance class.

It was strenuous exercises and, you know, strenuous dance combination and was almost like taking gym all over again.

(instructor speaking) Lawrence> Well I chose dance because out of all the other things that they offered in the school, dance sounded the best.

And not none of my friends, the boys were in it, so I thought I'd be, you know, I'm the only one in dance.

And I thought it would be good, so I took it.

Diana> One.

Two.

Head back, four.

What has been so unique and... exciting about this program really, is the integration that's been happening between the artistic world, which I'm coming from, and the educational world that Sheldon comes from.

Sheldon is a math teacher.

Sheldon> A lot of the kids are dancing for the first time, especially the boys.

And they see that, oh, if you know Mr. Letterman, can look silly, gee I can look silly too.

Carlton> Last year I had Mr. Letterman for math.

I don't know... when I had him for math, I mean, you don't like your math teacher, you know.

But I saw a different point of view when I, you know, he's in a dance class.

I, you know, he was a nicer guy in dance because he wasn't, you know, he wasn't really strictly putting on, like, a test or anything, you know.

Diana> I want you to be relaxed.

Just let the head hang.

It's almost as if you've got a string on the top of your head and you're a puppet, and everything is just hanging right down.

And nothing's sticking out or sticking up... Carlton> Being a professional dancer is like pretty rough.

I see it from Diana... And your whole life is kind of changed by it.

Diana> Okay Kathy, and you've got to keep this leg turning out okay.

Don't force it.

But just turn it out.

The one constant thing in a dancer's life... always, forever, as long as they want to perform is class.

And class isn't just warming up.

It... Class in a dancer's life means working very hard for an hour, hour and a half, two hours each day to try to get better.

And this is so constant in a dancer's life.

You never stop class, no matter how accomplished a performer you are.

And as a dancer, you feel always like you're a student.

So, for instance, I may come here in the morning and teach the kids here, but in the afternoon I'm getting my own class in and working to be better in my own way.

(instructor speaking) We each teach class, also the company class.

So what you end up with is many different styles and approaches to dance within the company.

It's very democratic.

It's a very democratic company.

Instructor> Two, three and four with me five, six last time seven and eight.

Sheldon> When Diana is in the classroom, she teaches only movement.

When she is not there, I have the class by myself, and we kind of agree that I should not be doing any movement.

I'm really not qualified to teach movement.

So we've developed some units, some topics that I have done with them.

Sort of a background of jazz dancing.

It's primarily a jazz dancing class.

Scott> It's like where all the dances originate is right here in this room.

Carlton> It's the only place they can make a mistake you know, before they go on stage or anything.

Sheldon> What about the space itself?

So is there, are there lots of things... Is it very cluttered up?

Is it, or is it very simple?

And what are some of the very basic things you need in a dance studio, John?

John> The mirror, because, you can see yourself and see the mistakes you're making and improve them.

Sheldon> Carlton?

Carlton> Wood floors.

<Good> Sheldon> What's so important about a wood floor?

What's the... Why must it be a wooden floor, than another kind of floor, Scott?

Scott> Well, because, like in a wooden floor, you've got the extra support.

And when you making a leap, or when you, when you fall or something like that, the floor is always a little bit softer.

So when you land that you're not going to break your toes or the ball of your foot, or your heel or anything?

Carlton> Well, Diana told all of us we're going to be having a concert, and this is what we have to do.

Diana> Three, and four and five... six.

Good.

Okay, use your shoulders more Lucy.

Carlton> She formed groups and certain kids did certain movements.

And they were rough.

We went over and over and over it again.

At the very end, we combined them all, to form the concert.

♪ Diana> Good.

And one, two, three.

One of the things about dance that makes it so unique is that... it really is so intangible.

You perform and then it's over, or you do the movement and it's over.

It's not like a sculpture or a painter who has his painting.

It's only in your memory.

And this is a whole different way of learning.

And one, two, good... ♪ ...we can shine ♪ ♪ I want to give you ♪ ♪ this love that I'm feeling ♪ Diana> The thing about performance is that it is incredibly threatening and scary and...

I think this is something that professional dancers work with, probably all their lives.

For these kids, many of them, it's the first time they've ever experienced that feeling ♪ ♪ I want this feeling ♪ ♪ to last forever ♪ ♪ sure want this feeling ♪ ♪ to last forever ♪ ♪ I want this feeling ♪ ♪ to last forever ♪ ♪ and ever... ♪ ♪ Ooh, ooh, ooh ♪ ♪ feeling so good ♪ ♪ Ooh, ooh, ooh ♪ ♪ feeling so good ♪ ♪ when I think about you babe ♪ Equestrian> Studio See wants poems and ideas from everybody that watches the show.

If you have any, just put them in an envelope and send them to...

Studio See, SCETV, Columbia, South Carolina 2-9-2-5-0.

And remember, get'em there fast.

Get'em there any way you can.

♪ ♪ ♪ ♪ ♪ ♪ ♪ (children laughing) Announcer> Major funding for this program is provided by this television station and other public television stations.

Additional funding was provided by a grant from the National Endowment for the Arts.