WEBVTT - Feed the Fish 

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<v Speaker 1>It is so warm in my neighborhood today that I

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<v Speaker 1>thought I would just get some water in this little

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<v Speaker 1>pond and cool off my feet. In May of nine,

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<v Speaker 1>Mr Rogers Neighborhood has only been on TV for a

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<v Speaker 1>little more than a year. Mr Rogers arrives to his

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<v Speaker 1>house carrying a kiddie poole. Let's now go get the water,

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<v Speaker 1>all right? Of course, it's not a hot summer day.

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<v Speaker 1>Mr Rogers has taped in a sound stage at w

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<v Speaker 1>q E D in Pittsburgh, and the episode aired early

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<v Speaker 1>in May, so it was probably taped somewhere around mid April,

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<v Speaker 1>if not earlier. Some children think that when you grow up,

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<v Speaker 1>you don't really care for cool water on your feet

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<v Speaker 1>on a hot day. And I can tell you, as

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<v Speaker 1>a Pittsburgh native, April in Pittsburgh is not summer, but

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<v Speaker 1>I do. Yeah. So why is Fred so hot? Oh?

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<v Speaker 1>There's Officer Clements. Officer Clemmons, come in mine, want you down.

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<v Speaker 1>Officer Clemons is the friendly neighborhood cop who stops by

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<v Speaker 1>now and again for a visit with Mr Rogers, and

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<v Speaker 1>he's black. Not only is it unusual to have a

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<v Speaker 1>black authority figure on TV in the late nineteen sixties,

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<v Speaker 1>but his role makes Officer Clemmens the only black recurring

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<v Speaker 1>character on all of children's television at the time. It's

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<v Speaker 1>so warm, I was just putting some water on my face.

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<v Speaker 1>Oh it, sure is. Would you like to join me?

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<v Speaker 1>It looks awten enjoyable. But I don't have a towel

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<v Speaker 1>or anything. You share mine? Okay? Sure. Francois removes his

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<v Speaker 1>tall military boots, rolls up his pants, and Mr Rogers

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<v Speaker 1>gently soaks Francoise feet with the hose that feels better already.

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<v Speaker 1>A few years before this into, a group of black

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<v Speaker 1>teenagers protested segregation at a Florida motel. They didn't do

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<v Speaker 1>it by picketing or by sitting on the lobby floor.

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<v Speaker 1>They protested by jumping in the motel pool for swim

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<v Speaker 1>wool water on a hot day. M hmm. The motel's owner,

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<v Speaker 1>James Brock, responded by pouring what he said was muriatic

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<v Speaker 1>acid into the pool with the intention of burning the

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<v Speaker 1>protesters the teens. They were later arrested by Florida police.

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<v Speaker 1>Swimming pools remained a hotly contested space throughout the so

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<v Speaker 1>called Civil rights era, and that probably is why Fred

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<v Speaker 1>Rogers was so hot in April in Pittsburgh in nineteen

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<v Speaker 1>sixty nine. Is that enough? Well? I know how busy

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<v Speaker 1>you are, but sometimes just a minute like this well

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<v Speaker 1>really make a difference. That we have great boots to

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<v Speaker 1>fill office with. Clemon, thanks for stopping by so long,

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<v Speaker 1>Have a good day, bye bye. Great to live in

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<v Speaker 1>a neighborhood with special people like Officer Clements. I'll bet

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<v Speaker 1>you there weren't ten white men in this country who

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<v Speaker 1>would share a towel with a black man. Here in America,

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<v Speaker 1>being black sometimes really presented a problem. And those swimming

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<v Speaker 1>pools people were behaving in a very, very unkind way.

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<v Speaker 1>And I talked to Fred about that, how helpless they

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<v Speaker 1>made me feel, and he said, we'll see, We'll see

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<v Speaker 1>what we can do. Francois. We hear a lot about

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<v Speaker 1>empathy these days. The word is everywhere, really, t shirts

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<v Speaker 1>and toad bags and Instagram accounts, all reminding us that

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<v Speaker 1>we can choose empathy, as if that's all it takes

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<v Speaker 1>to fix a world that so often feels broken. But

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<v Speaker 1>if we want to change the world, then we have

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<v Speaker 1>to take our empathy and do something with it. I'm

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<v Speaker 1>Carvel Wallace and This is Finding Fred, a podcast about

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<v Speaker 1>Fred Rogers from I Heart Media and Fatherly in partnership

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<v Speaker 1>with Transmitter Media. The entirety of the episode in which

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<v Speaker 1>Fred silks Francoise feet is incredibly simple, but it's also

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<v Speaker 1>incredibly powerful. Fred was a master of modeling good behavior

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<v Speaker 1>for kids because he knew just how effective modeling could be.

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<v Speaker 1>Here he is in an interview from I was at

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<v Speaker 1>this nursery school and the director had invited this man

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<v Speaker 1>to come and sculpt in front of the children. She said,

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<v Speaker 1>I don't want you teaching sculpting. I want you simply

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<v Speaker 1>to sit with the children and do what you feel

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<v Speaker 1>you'd like to do with the clay. Well, the kids

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<v Speaker 1>started using clay that medium in the most wonderful ways,

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<v Speaker 1>And that wouldn't have happened if this gifted sculptor hadn't

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<v Speaker 1>loved clay right in front of them. This idea of

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<v Speaker 1>just doing what you love in front of people as

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<v Speaker 1>a way of teaching it, of spreading it, loving the clay,

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<v Speaker 1>as Fred would later call it, has been sitting with

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<v Speaker 1>me since I first heard it. It echoes ideas I've

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<v Speaker 1>heard in so many disparate context. Show Don't Tell attraction

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<v Speaker 1>rather than promotion. So in that sense, it's a timeless,

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<v Speaker 1>almost interfaith concept like love that neighbor, or do one

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<v Speaker 1>too others And the other thing about it is that

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<v Speaker 1>rather than pushing me to become some hero, some great

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<v Speaker 1>leader of men, the idea of loving the clay just

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<v Speaker 1>calls on me to be the best version of myself

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<v Speaker 1>that I can be and then to let that be seen.

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<v Speaker 1>My favorite like recurring Mr. Rogers moment is him feeding

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<v Speaker 1>his fish. This is my friend Eve Ewing. Eve is

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<v Speaker 1>a scholar and a writer and a professor and a

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<v Speaker 1>poet and a comic book writer. She's like everything, you

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<v Speaker 1>don't just be writing, you know, I just write like

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<v Speaker 1>essays and stuff as well, and about those fish. Must

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<v Speaker 1>feed the fish. Whenever he feeds the fish, there's like

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<v Speaker 1>this little jazz piano riff that plays give them a

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<v Speaker 1>little food, mimicking like the actions of the fish as

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<v Speaker 1>they go up and like open their mouths to get

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<v Speaker 1>the food. Seeing this adult engage in this small moment

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<v Speaker 1>of caring for another living creature that requires just like

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<v Speaker 1>a pause of patience and quiet is just so beautiful

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<v Speaker 1>to me. He was showing us how to be good,

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<v Speaker 1>not just through saying like be good, don't do drugs,

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<v Speaker 1>don't rob people, or whatever, but actually just like doing it,

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<v Speaker 1>like feeding the fish or helping your neighbor with something,

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<v Speaker 1>or being nice to somebody that you know that other

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<v Speaker 1>people are maybe not nice to all the time. Tell

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<v Speaker 1>me more about the role that Fred Rogers played in

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<v Speaker 1>your childhood. I know that you're calling him Fred for

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<v Speaker 1>this podcast, but I can't bring myself to do that.

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<v Speaker 1>I haven't bigivener, he never got it and get no

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<v Speaker 1>permission to call this to rob By his first name. Well,

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<v Speaker 1>you know, that's a lot. I think he's just you know,

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<v Speaker 1>somebody that I can say that's always been there in

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<v Speaker 1>my life in the same way that Maria and Gordon

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<v Speaker 1>from Sesame Street have always been there. There's a way

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<v Speaker 1>in which that can sound like kind of sad that

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<v Speaker 1>these TV adults played this role in my life. But

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<v Speaker 1>my mom was working full time out of the house

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<v Speaker 1>and my dad was home with me. And he will

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<v Speaker 1>say quite proudly and candidly that his strategy was to

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<v Speaker 1>basically like have me watch PBS all day, and he

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<v Speaker 1>will attribute much of my success as an adult to

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<v Speaker 1>this parenting strategy. But I think that I think as

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<v Speaker 1>an adult, I've come to realize that that was very intentional,

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<v Speaker 1>That these were adults entering my life that I could

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<v Speaker 1>view as like trustworthy, carrying adults, even if I didn't

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<v Speaker 1>know them personally. That that I see that now in

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<v Speaker 1>retrospect as like a form of public intervention or like

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<v Speaker 1>a public service. That was very intentional. M. Fred Rogers

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<v Speaker 1>was one of the first makers of TV You to

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<v Speaker 1>recognize that it could be a constant positive presents for

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<v Speaker 1>kids who didn't always have that at home. He liked

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<v Speaker 1>to say that attitudes are cut, not taught. It's what

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<v Speaker 1>happens when you watch someone love the clay in front

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<v Speaker 1>of you. And he didn't just demonstrate how to work

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<v Speaker 1>with the clay, or tie your shoes or draw with crayons.

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<v Speaker 1>He actually showed kids that doing the right thing can

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<v Speaker 1>make them feel good. One thing I've learned in my

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<v Speaker 1>forty five years on this planet is that doing the

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<v Speaker 1>right thing does not always feel good. Sometimes it can

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<v Speaker 1>take a lot of effort to overcome habit or instinct

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<v Speaker 1>to do the right thing. One of the key ways

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<v Speaker 1>that Mr. Rogers showed us how to be good was

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<v Speaker 1>accepting people. Accepting people as they are, and that for

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<v Speaker 1>me is one of the most difficult lessons from Fred Rogers.

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<v Speaker 1>It's particularly difficult these days with Nazis marching in the

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<v Speaker 1>streets and conspiracy theorists on cable news. If being good

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<v Speaker 1>means accepting those people as they are, well, first, I'm

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<v Speaker 1>not sure if I can do it. But am I

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<v Speaker 1>supposed to do it? Is it supposed to feel good?

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<v Speaker 1>I have been thinking a lot about just how to

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<v Speaker 1>understand this moment and also how to understand where Fred

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<v Speaker 1>fits into that. And one specific question that I've been

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<v Speaker 1>asking everyone is that Fred has this. Uh not now

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<v Speaker 1>I feel self conscious calling Fred, but Fred has this.

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<v Speaker 1>I know your parents are not raised you to call.

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<v Speaker 1>We're going to let that go. We're gonna have to

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<v Speaker 1>edit this impost um. There's this thing about I like

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<v Speaker 1>you the way you are, or it's you I like,

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<v Speaker 1>it's you I like and these are these are really

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<v Speaker 1>and this is a really fascinating for me theological concept.

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<v Speaker 1>I even ask my therapist about this, and I was like,

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<v Speaker 1>what about the bad people? Like? What about And I

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<v Speaker 1>wonder how you parse that out? The idea that we

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<v Speaker 1>are not septing and tolerating of certain people's behavior because

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<v Speaker 1>it does harm the least of us man. That's so tricky. Um.

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<v Speaker 1>I'm not a theologian, although I've spent a lot of

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<v Speaker 1>time around theologians. So my non theologian reading of that

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<v Speaker 1>is that's the idea of grace. That's what grace is, right,

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<v Speaker 1>the idea that God's love is unconditional, and that you're

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<v Speaker 1>great just the way you are, just just by being you.

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<v Speaker 1>That's enough. Now, I think that there's a subtle difference

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<v Speaker 1>between that idea and saying that everything you do is fine. Right,

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<v Speaker 1>So to me, what I hear when I hear it's

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<v Speaker 1>you I like or the idea of loving people unconditionally

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<v Speaker 1>is that. I don't believe in monsters. I really don't.

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<v Speaker 1>I don't believe that the vast majority of people who

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<v Speaker 1>do harm do so because they're inhuman. I I believe

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<v Speaker 1>that people harm others for so many complicated reasons that

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<v Speaker 1>usually have to do with some variation of they themselves

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<v Speaker 1>have been harmed and have never been given any opportunity

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<v Speaker 1>to heal from that harm, or because our society disregards

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<v Speaker 1>others because they're considered marginal. Now that being said, uh,

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<v Speaker 1>you know, as the old saying goes like Jesus loves you,

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<v Speaker 1>Jesus forgives you. That doesn't mean I have to you know,

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<v Speaker 1>Mr rogers ministry doesn't have to be everybody's ministry. So

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<v Speaker 1>Mr Rogers is a person who came out and said,

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<v Speaker 1>I love everybody unconditionally, and that's not something everybody is

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<v Speaker 1>able to do. And that is okay. You know, I

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<v Speaker 1>think that that's fine. Accepting people as they are is

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<v Speaker 1>a lofty goal. Not everyone is able to do that.

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<v Speaker 1>I guess most of us can't always do that, and

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<v Speaker 1>sometimes it's way more complicated than just accepting someone. How

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<v Speaker 1>do you accept someone when the thing that they're doing

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<v Speaker 1>is hurting you or hurting your family or your community.

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<v Speaker 1>We'll be right back. Fred Rogers was a master of

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<v Speaker 1>loving the clay, of demonstrating and modeling the graciousness and

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<v Speaker 1>neighborliness that he wished to see in the world, and

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<v Speaker 1>he did it on TV, where millions of children could

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<v Speaker 1>mimic what Fred was modeling, but they could also learn

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<v Speaker 1>how to love the clay in their own way. Even

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<v Speaker 1>though Mr rogers neighborhood belonged to Mr Rogers, Fred also

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<v Speaker 1>had dozens and dozens of television neighbors, each of whom

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<v Speaker 1>demonstrated their own gifts and talents for the toddler audience.

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<v Speaker 1>I have never not saying I've always been a to

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<v Speaker 1>sing a song. It was all at first, you know.

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<v Speaker 1>It's kind of like a trick. My aunts and uncles

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<v Speaker 1>and cousins would ask me to sing and Mr Rogers

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<v Speaker 1>Neighborhood Francois Clemens played the police officer, the singing police officer.

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<v Speaker 1>My nickname was Buttercup, and the older I get, the

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<v Speaker 1>more I love that name. A little Buttercup. And they

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<v Speaker 1>used to say, body, Cup, come over here, child and

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<v Speaker 1>sing this song for me. And I would come over.

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<v Speaker 1>I sing for my aunt Clara, my ant Hattie, my

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<v Speaker 1>aunt Emma. Clemens is something of a phenomen a Grammy

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<v Speaker 1>winning singer of opera and jazz. He founded the Harlem

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<v Speaker 1>Spiritual Ensemble, which preserves and performs traditional American Negro spirituals.

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<v Speaker 1>Francois was part of Mr Rogers Neighborhood for more than

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<v Speaker 1>twenty years, but that footbath episode in nineteen six nine

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<v Speaker 1>made him an icon. I had no idea that scene

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<v Speaker 1>would have that kind of an effect. Everywhere I went,

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<v Speaker 1>people wanted to tell me their private story about that scene.

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<v Speaker 1>Somewhere having discussions in their homes and that scene came on.

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<v Speaker 1>They said, Mom, look, Mom, Dad, look dad, there's Francois

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<v Speaker 1>and Mr. Rogers with their feet in the same pool.

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<v Speaker 1>One's black and once white. Yes they are, aren't They

0:15:18.560 --> 0:15:24.080
<v Speaker 1>and their friends. But long before he met fred Francois

0:15:24.200 --> 0:15:25.840
<v Speaker 1>was like a lot of the kids who would eventually

0:15:25.920 --> 0:15:30.640
<v Speaker 1>grow up watching Mr. Rogers, He was lonely. Francois told

0:15:30.680 --> 0:15:33.600
<v Speaker 1>me that his parents were clinically depressed, so we learned

0:15:33.680 --> 0:15:37.800
<v Speaker 1>to look to other people for affection and care. Some

0:15:37.880 --> 0:15:39.680
<v Speaker 1>of the things people say, Oh, there's nothing like a

0:15:39.760 --> 0:15:44.360
<v Speaker 1>mother's love, Oh there's nothing like family. I questioned that

0:15:45.040 --> 0:15:49.720
<v Speaker 1>from a very very young age. When my parents did

0:15:49.800 --> 0:15:53.280
<v Speaker 1>not act right in the sense of trust and love

0:15:53.560 --> 0:15:58.640
<v Speaker 1>and nurturing, I turned to a teacher, or to a

0:15:58.760 --> 0:16:02.760
<v Speaker 1>social worker, or to a parent of one of my peers.

0:16:03.480 --> 0:16:06.200
<v Speaker 1>They responded to me in a way that I thought

0:16:06.240 --> 0:16:09.360
<v Speaker 1>my parents should have. But some of that care was

0:16:09.360 --> 0:16:13.240
<v Speaker 1>a little bit more like charity than love, and growing

0:16:13.280 --> 0:16:15.760
<v Speaker 1>up in America in the eighteen fifties meant that help

0:16:15.880 --> 0:16:19.800
<v Speaker 1>was sometimes suffused with racism. The truth is the simple

0:16:19.840 --> 0:16:24.160
<v Speaker 1>answer is I was two people in one and that

0:16:24.360 --> 0:16:27.880
<v Speaker 1>was the one that was very sad. And to know

0:16:27.960 --> 0:16:30.640
<v Speaker 1>that there are people who disliked me, who pushed me

0:16:30.680 --> 0:16:34.400
<v Speaker 1>away simply because of my color, I could not deny it.

0:16:34.440 --> 0:16:36.840
<v Speaker 1>I didn't try to deny it. But then there were

0:16:36.880 --> 0:16:40.720
<v Speaker 1>those who said, oh, you need a new suit, Come

0:16:40.840 --> 0:16:42.760
<v Speaker 1>come with us. We're gonna go buy you a new suit.

0:16:43.720 --> 0:16:46.760
<v Speaker 1>Or they said, look at that boy's shoes. Come on,

0:16:46.760 --> 0:16:48.680
<v Speaker 1>we're gonna we're gonna take you downtown and buy you

0:16:48.720 --> 0:16:53.960
<v Speaker 1>a pair of shoes. It would have confused the average kid,

0:16:54.000 --> 0:16:56.480
<v Speaker 1>but since my parents weren't doing it, and I knew

0:16:56.520 --> 0:16:59.600
<v Speaker 1>that I needed a new suit, I had a sense

0:16:59.600 --> 0:17:04.959
<v Speaker 1>of one to dress decently and be clean. So in

0:17:05.040 --> 0:17:08.120
<v Speaker 1>my mind I said, I have to wait and see

0:17:08.119 --> 0:17:11.320
<v Speaker 1>what they're gonna do. Who these people are they gonna

0:17:11.359 --> 0:17:14.080
<v Speaker 1>push me away? Are they gonna see to it that

0:17:14.119 --> 0:17:18.080
<v Speaker 1>I have a winter coat. Francois was singing at a

0:17:18.200 --> 0:17:21.840
<v Speaker 1>church the first time he encountered Fred. When he invited

0:17:21.880 --> 0:17:26.080
<v Speaker 1>me to come onto the program and to have a

0:17:26.200 --> 0:17:30.359
<v Speaker 1>regular singing part, I said, Fred, I will be very

0:17:30.400 --> 0:17:34.320
<v Speaker 1>happy to be on your program as long as it

0:17:34.359 --> 0:17:40.560
<v Speaker 1>doesn't interfere with my singing, and he looked at me

0:17:40.640 --> 0:17:44.600
<v Speaker 1>and he told me, lady, he said, Francois, that is

0:17:44.640 --> 0:17:50.240
<v Speaker 1>the moment that I loved you, because you were not

0:17:50.320 --> 0:17:54.080
<v Speaker 1>gonna kiss my ass, and that's what everybody else was doing.

0:17:55.440 --> 0:17:58.680
<v Speaker 1>Those are his words. Officer Clemens first appeared in the

0:17:58.720 --> 0:18:02.480
<v Speaker 1>neighborhood in August of nine. He says it took a

0:18:02.480 --> 0:18:05.160
<v Speaker 1>while for him to get used to working with Fred Rogers.

0:18:06.040 --> 0:18:11.880
<v Speaker 1>He was a very unusual positive energy. It was not negative,

0:18:12.080 --> 0:18:15.159
<v Speaker 1>but it was just so damn unusual. And by that

0:18:15.280 --> 0:18:19.760
<v Speaker 1>I mean those puppets. Uh caused me a lot of

0:18:20.160 --> 0:18:24.280
<v Speaker 1>hours of thinking, what on earth was a grown man

0:18:25.359 --> 0:18:28.560
<v Speaker 1>doing plan with those puppets. I'm a ghetto boy, that was.

0:18:28.720 --> 0:18:31.960
<v Speaker 1>I knew some black men who well halfway trying to

0:18:31.960 --> 0:18:35.440
<v Speaker 1>act right, but I never knew none who could play

0:18:35.480 --> 0:18:38.840
<v Speaker 1>with no puppets, you know. So I could, I just

0:18:38.880 --> 0:18:41.399
<v Speaker 1>couldn't wrap my head around it. And so I was

0:18:41.440 --> 0:18:44.800
<v Speaker 1>looking at him. I was looking at him carefully. But

0:18:44.920 --> 0:18:49.320
<v Speaker 1>ultimately Francois found in Fred a kindred spirit, a willing,

0:18:49.440 --> 0:18:52.800
<v Speaker 1>creative collaborator, and a true friend who loved him in

0:18:52.800 --> 0:18:57.560
<v Speaker 1>a way that Francois hadn't quite experienced. Before Fred Raw

0:18:57.720 --> 0:19:02.920
<v Speaker 1>just recognized something in me before I did. When I

0:19:02.960 --> 0:19:05.760
<v Speaker 1>got with Fred and he began to do these little

0:19:05.840 --> 0:19:10.679
<v Speaker 1>extra things, that was over and beyond the call of Judy.

0:19:10.760 --> 0:19:14.400
<v Speaker 1>I I was confused by that. Why is this white

0:19:14.400 --> 0:19:18.280
<v Speaker 1>guy sticking with me? Why is he so persistently wonderful?

0:19:19.400 --> 0:19:24.040
<v Speaker 1>So when he said you're special, and you know how

0:19:25.320 --> 0:19:33.000
<v Speaker 1>just by being you and I like you who just

0:19:33.200 --> 0:19:37.199
<v Speaker 1>the way you are? Can you make every day a

0:19:37.280 --> 0:19:43.080
<v Speaker 1>special day? One instance in particular stands out to Francois

0:19:43.160 --> 0:19:46.439
<v Speaker 1>many years later. Mr Rogers was rapping the show the

0:19:46.440 --> 0:19:49.400
<v Speaker 1>way he always rapped the show, changing his shoes, removing

0:19:49.400 --> 0:19:51.919
<v Speaker 1>a sweater. You've made it a special day for me,

0:19:53.160 --> 0:19:59.640
<v Speaker 1>you know how, by just your being yourself. Yeah, there's

0:19:59.680 --> 0:20:03.760
<v Speaker 1>only one person in the whole world like you, and

0:20:03.840 --> 0:20:07.560
<v Speaker 1>I like you just the way you are. See Tom,

0:20:07.720 --> 0:20:10.080
<v Speaker 1>I don't even know how to explain it, except we

0:20:10.119 --> 0:20:13.520
<v Speaker 1>had locked eyes all the way across this big studio,

0:20:14.520 --> 0:20:17.680
<v Speaker 1>and I dared to say to myself, he's talking to me,

0:20:19.680 --> 0:20:21.919
<v Speaker 1>But he talks. He says that every every time I

0:20:21.960 --> 0:20:25.000
<v Speaker 1>come to a show that he's filming, he's saying that.

0:20:25.200 --> 0:20:28.760
<v Speaker 1>Why was he saying that to me today? There was

0:20:28.880 --> 0:20:32.840
<v Speaker 1>something in his voice, something in his eyes. It was

0:20:32.920 --> 0:20:38.160
<v Speaker 1>important to me to ask him, Fred, were you talking

0:20:38.240 --> 0:20:43.240
<v Speaker 1>to me? I had never had somebody say that to

0:20:43.320 --> 0:20:47.040
<v Speaker 1>me in my whole life. Oh Lord, I can't tell you.

0:20:47.040 --> 0:20:51.000
<v Speaker 1>When he said, yes, yes, I've been talking to you

0:20:51.119 --> 0:20:58.159
<v Speaker 1>for two years and you heard me today, that was

0:20:58.200 --> 0:21:04.720
<v Speaker 1>such a the lines explosion. I can't explain it any

0:21:04.760 --> 0:21:07.840
<v Speaker 1>other way. It was inside of me, it was outside

0:21:07.840 --> 0:21:10.120
<v Speaker 1>of me, it was in him, it was in our eyes.

0:21:11.080 --> 0:21:14.679
<v Speaker 1>I saw divinity. That's the only thing I can tell people.

0:21:15.280 --> 0:21:20.040
<v Speaker 1>I have never experienced anything like it since. And I

0:21:20.160 --> 0:21:31.720
<v Speaker 1>just collapsed in his in his arms. For Francois, the

0:21:31.760 --> 0:21:36.160
<v Speaker 1>prospect of being accepted fully and completely was a near

0:21:36.400 --> 0:21:41.400
<v Speaker 1>religious experience, But it was also a complicated one because

0:21:41.480 --> 0:21:46.119
<v Speaker 1>Francois had a secret, a big secret that he had

0:21:46.119 --> 0:21:50.600
<v Speaker 1>been keeping from almost everyone. Would Fred accept him even

0:21:50.640 --> 0:21:54.000
<v Speaker 1>if he knew that secret too, Would Fred truly like

0:21:54.200 --> 0:22:00.600
<v Speaker 1>him just the way that he was. I remember calling

0:22:00.600 --> 0:22:02.520
<v Speaker 1>Fred on the telephone. I said I've got to tell

0:22:02.600 --> 0:22:07.480
<v Speaker 1>you something, and he said yes, And that's when I

0:22:07.640 --> 0:22:15.320
<v Speaker 1>really said to him, I'm gay. Fred. He said to me,

0:22:16.440 --> 0:22:21.520
<v Speaker 1>I will always love you, Francois. So that's not what

0:22:21.560 --> 0:22:26.800
<v Speaker 1>we're discussing. What we are discussing is the role that

0:22:26.840 --> 0:22:30.199
<v Speaker 1>you will be able to play on Mr rogers neighborhood.

0:22:31.400 --> 0:22:35.520
<v Speaker 1>And what does it mean if you choose to come out.

0:22:36.760 --> 0:22:41.200
<v Speaker 1>Fred Rogers loved and accepted Francois Clements and in nine

0:22:41.240 --> 0:22:43.440
<v Speaker 1>it was a radical act to show a black man

0:22:43.520 --> 0:22:46.480
<v Speaker 1>and a white man sharing a footpath, but having an

0:22:46.480 --> 0:22:50.399
<v Speaker 1>openly gay man performing on a children's show that felt

0:22:50.400 --> 0:22:54.120
<v Speaker 1>to Fred even riskier. And the thing that he impressed

0:22:54.160 --> 0:22:59.919
<v Speaker 1>upon me was the advertisers there would be a normal

0:23:00.119 --> 0:23:05.639
<v Speaker 1>pressure on them from certain corners in our society that

0:23:05.800 --> 0:23:09.880
<v Speaker 1>condemn homosexuality. And the thing he said to me was, France,

0:23:09.920 --> 0:23:14.840
<v Speaker 1>while they're going to say terrible things about you and

0:23:15.000 --> 0:23:23.280
<v Speaker 1>about me and about our program. And he said, all

0:23:23.320 --> 0:23:28.520
<v Speaker 1>of our work, all of our valuable work and research

0:23:29.000 --> 0:23:37.399
<v Speaker 1>will be lost. Is that what you want? And I,

0:23:37.640 --> 0:23:42.320
<v Speaker 1>of course no, of course not. Then he said you

0:23:42.320 --> 0:23:47.240
<v Speaker 1>you cannot come out. You come out. They will not tolerate,

0:23:48.040 --> 0:23:52.119
<v Speaker 1>they will not tolerate a gay person, and especially on

0:23:52.160 --> 0:23:55.480
<v Speaker 1>a children's television program. It simply could not be done.

0:23:58.119 --> 0:24:07.320
<v Speaker 1>How did that make you feel? It was one of

0:24:07.359 --> 0:24:13.439
<v Speaker 1>the lowest, one of the lowest moments of my life.

0:24:14.160 --> 0:24:18.400
<v Speaker 1>Realizing that, I think that was the moment I decided

0:24:18.440 --> 0:24:23.199
<v Speaker 1>to go back into the closet and stay. Francois had

0:24:23.240 --> 0:24:27.240
<v Speaker 1>spent years learning to love and accept himself, and here

0:24:27.280 --> 0:24:30.359
<v Speaker 1>he was presenting a crucial part of that self to Fred.

0:24:30.960 --> 0:24:35.080
<v Speaker 1>And though Fred reiterated his unconditional love for Francois, he

0:24:35.160 --> 0:24:37.760
<v Speaker 1>still didn't believe that the wider world was ready to

0:24:37.840 --> 0:24:43.320
<v Speaker 1>accept Francois just the way he was. Fred was faced

0:24:43.320 --> 0:24:45.600
<v Speaker 1>with the question of weighing the needs of his friend

0:24:46.320 --> 0:24:50.159
<v Speaker 1>with the preservation of his own larger mission, reaching as

0:24:50.240 --> 0:24:54.520
<v Speaker 1>many children as possible. There were those in the black community,

0:24:54.680 --> 0:24:58.320
<v Speaker 1>Oh my goodness, who said to me, how important it

0:24:58.400 --> 0:25:02.960
<v Speaker 1>is that there's a face on that children's show appearing

0:25:03.119 --> 0:25:08.680
<v Speaker 1>fairly regularly. Francois the ghetto kid needs to know that

0:25:08.720 --> 0:25:12.119
<v Speaker 1>they too can go from the ghetto to Mr. Rogers neighborhood.

0:25:12.840 --> 0:25:16.600
<v Speaker 1>They they really impressed upon me how important it was

0:25:17.240 --> 0:25:23.080
<v Speaker 1>that there would be no scandal, no disgrace to the race.

0:25:24.720 --> 0:25:28.240
<v Speaker 1>Boy did I I zipped it up then, So, even

0:25:28.240 --> 0:25:33.000
<v Speaker 1>though there were things going on a stone wall, I

0:25:33.080 --> 0:25:38.440
<v Speaker 1>absolutely did not have the luxury of coming out. If

0:25:38.480 --> 0:25:42.639
<v Speaker 1>I were going to be continue on Mr. Rogers Neighborhood.

0:25:43.880 --> 0:25:48.080
<v Speaker 1>And I've said this too many people who tried to say, well,

0:25:48.119 --> 0:25:50.480
<v Speaker 1>he rejected you, and he would didn't want you on

0:25:50.520 --> 0:25:52.840
<v Speaker 1>the program, and this is that blah blah. I can't

0:25:52.880 --> 0:25:58.320
<v Speaker 1>tell you how much I thought about that. I say

0:25:58.520 --> 0:26:00.280
<v Speaker 1>that was there was a period of time with when

0:26:00.280 --> 0:26:03.919
<v Speaker 1>it was obsessive. I can't be myself, I can't have

0:26:04.000 --> 0:26:11.280
<v Speaker 1>a normal life. What a sacrifice. Francois Clemens made an

0:26:11.480 --> 0:26:15.760
<v Speaker 1>enormous sacrifice in a very real sense. That sacrifice may

0:26:15.760 --> 0:26:19.560
<v Speaker 1>have been responsible for thirty years worth of Mr. Rogers Neighborhood,

0:26:19.880 --> 0:26:22.040
<v Speaker 1>because who's to say how long a show with a

0:26:22.119 --> 0:26:24.440
<v Speaker 1>gay black man would have even stayed on the air

0:26:24.480 --> 0:26:28.440
<v Speaker 1>in the late nineteen sixties. And there's another irony that

0:26:28.560 --> 0:26:32.160
<v Speaker 1>for all of Fred's stated commitment to commercial free television

0:26:32.200 --> 0:26:36.960
<v Speaker 1>for kids, he still felt worried about protecting advertisers from

0:26:37.000 --> 0:26:41.439
<v Speaker 1>the pressure of Francois coming out. So where did that

0:26:41.520 --> 0:26:47.000
<v Speaker 1>leave Francois. He had to swallow his pain and he

0:26:47.040 --> 0:26:50.280
<v Speaker 1>had to carry it. He had to accept this denial

0:26:50.320 --> 0:26:52.879
<v Speaker 1>of honesty as the price of being a part of

0:26:52.920 --> 0:26:56.040
<v Speaker 1>a work like Mr. Rogers Neighborhood that did do so

0:26:56.160 --> 0:27:00.639
<v Speaker 1>much good for so many people. Fred Rogers of meant

0:27:00.720 --> 0:27:06.359
<v Speaker 1>liberation for Francois Clemens, but not complete liberation that would

0:27:06.359 --> 0:27:10.719
<v Speaker 1>be for Francois to find on his own. But he

0:27:10.800 --> 0:27:14.400
<v Speaker 1>did learn from Fred. For nearly three decades, he watched

0:27:14.480 --> 0:27:18.480
<v Speaker 1>Fred love the Clay, demonstrate practical care and real goodness,

0:27:18.640 --> 0:27:21.040
<v Speaker 1>and he saw how the transmission of that care through

0:27:21.119 --> 0:27:24.320
<v Speaker 1>millions of TV screens could have a domino effect. And

0:27:24.359 --> 0:27:28.440
<v Speaker 1>he decided that that result was too good to endanger

0:27:30.800 --> 0:27:34.040
<v Speaker 1>what I have made the same kind of personal sacrifice,

0:27:35.320 --> 0:27:47.080
<v Speaker 1>would you? Francoise professional singing career took more and more

0:27:47.119 --> 0:27:49.560
<v Speaker 1>of his time. His final scene on the show was

0:27:49.640 --> 0:27:52.960
<v Speaker 1>in and he hadn't appeared dressed as a police officer

0:27:53.000 --> 0:27:56.280
<v Speaker 1>in almost a decade. But in that last episode, he

0:27:56.359 --> 0:27:59.560
<v Speaker 1>showed up at Mr Rogers porch just as Fred was

0:27:59.600 --> 0:28:09.520
<v Speaker 1>starting to soak his feet. H you know, I've been

0:28:09.560 --> 0:28:13.480
<v Speaker 1>sitting here thinking about different ways people have of showing

0:28:13.640 --> 0:28:18.280
<v Speaker 1>love to each other and to themselves. I like to

0:28:18.359 --> 0:28:25.280
<v Speaker 1>think of things like that, he Fred French or Clemens. Hi, welcome,

0:28:25.600 --> 0:28:27.800
<v Speaker 1>thank you, How you doing fine? How are you today?

0:28:28.680 --> 0:28:31.000
<v Speaker 1>My feet were tired, so I thought I'd just soaked

0:28:31.000 --> 0:28:33.280
<v Speaker 1>them for a while in this water. Does it make

0:28:33.359 --> 0:28:36.280
<v Speaker 1>him feel better? It does? Would you like to try? Sure?

0:28:42.160 --> 0:28:47.320
<v Speaker 1>It does feel good? I was thinking about many different

0:28:47.320 --> 0:28:52.160
<v Speaker 1>ways of saying I love you. Singing is one of

0:28:52.200 --> 0:28:54.360
<v Speaker 1>my ways of saying I love you. Oh I know that.

0:28:55.240 --> 0:28:58.120
<v Speaker 1>Do you have time to to give a song to

0:28:58.880 --> 0:29:02.520
<v Speaker 1>my friend and me? I sure do. There are many

0:29:02.560 --> 0:29:08.720
<v Speaker 1>ways to say I love you. There are many ways

0:29:08.760 --> 0:29:16.520
<v Speaker 1>to say I care about anyways, so many ways, many

0:29:16.560 --> 0:29:22.440
<v Speaker 1>ways to say I've sung it a million times and

0:29:22.560 --> 0:29:26.560
<v Speaker 1>I still love it. There's the singing way to say

0:29:26.640 --> 0:29:31.960
<v Speaker 1>I love you. I get such a dose a Fred love.

0:29:32.080 --> 0:29:36.440
<v Speaker 1>That's what I call it. I'm so blessed, I'm very grateful.

0:29:36.720 --> 0:29:48.840
<v Speaker 1>Many ways to say I love you. I'm so proud

0:29:48.880 --> 0:29:57.320
<v Speaker 1>of you. Friends. Oh, thank you Fred. Next time they

0:29:57.360 --> 0:30:01.680
<v Speaker 1>called it Fred time. He slowed a pace down and

0:30:01.960 --> 0:30:05.840
<v Speaker 1>that gave him the opportunity to express his love and

0:30:05.880 --> 0:30:08.800
<v Speaker 1>care for other people and reach out and touch our

0:30:08.880 --> 0:30:13.240
<v Speaker 1>hearts as well. Finding Fred is produced by Transmitter Media.

0:30:13.680 --> 0:30:17.160
<v Speaker 1>The team is Dan O'Donnell, Jordan Bailey, and Mattie Foley.

0:30:17.320 --> 0:30:21.040
<v Speaker 1>Our editor is Sarah Nick's editorial help from Michael Garoffalo.

0:30:21.640 --> 0:30:25.440
<v Speaker 1>The executive producer for Transmitter Media is Gretta Cone. Executive

0:30:25.480 --> 0:30:29.360
<v Speaker 1>producers at Fatherly are Simon Isaacs and Andrew Berman. Music

0:30:29.360 --> 0:30:33.000
<v Speaker 1>by Blue Dot Sessions and Alison Layton Brown And thanks

0:30:33.000 --> 0:30:36.360
<v Speaker 1>to the team at I Heart. I'm Carvelo Wallace. Thanks

0:30:36.360 --> 0:30:36.880
<v Speaker 1>for listening.