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New Superintendent Named for Clinton Correctional Facility; Misty Copeland is the First African-American Principal Dancer; U.S. Women's Soccer Team One Win Away from Being World Champions. Aired 3:30-4p ET

Aired July 1, 2015 - 15:30   ET

THIS IS A RUSH TRANSCRIPT. THIS COPY MAY NOT BE IN ITS FINAL FORM AND MAY BE UPDATED.


(COMMERCIAL BREAK)

[15:32:32] BROOKE BALDWIN, CNN HOST: Breaking news in the fallout from the prison break in upstate New York. We have now learned that a new superintendent has been named to the prison facility where these two convicted killers escaped. This comes just one day after the superintendent was placed on administrative leave. Two other top prison officials also on leave as well as nine staff members.

So let me begin with Jean Casarez outside the Clinton colorectal facility in Dannemora, New York. Tell me about the move for a new superintendent.

JEAN CASAREZ, CNN CORRESPONDENT: Right. His name is Michael Kirkpatrick. He is the first deputy superintendent right now of Elmira correctional facility which is in Elmira, New York, towards Pennsylvania, about five and a half hours away from here.

Even more than that he is the state head of the CERT. That's the Correctional Emergency Response Time. Those are the correction officers that searched for these two escapees and he is head of the unit stayed r statewide.

Now, along with so many changes are being made at the Clinton correctional facility which is right behind me. First of all, inspection of sell integrity will take place once a week. The catwalks are going to be inspected various times during the day. The electrical panels are going to be randomly searched and looked at throughout the entire prison. The executive team member is going to have to be on safe from 11:00 p.m. to 7:00 a.m. daily during that shift. Officers in a remote area during that nighttime shift are going to have to make contact with the watch commander. Searches are going to be randomly checked for contraband on a regular basis. But there are many cells so that might be two times a month. Bed checks at night and that's for living, breathing inmates that are there. No contract or job boxes are going to be in the panels a. And security panels are going to be installed to even gain access into the tunnels, Brooke.

BALDWIN: All right, Jean Casarez, thank you so much.

So that's what we just learned about this new superintendent. Those are the changes now proposed. Let's talk about this more with Edward Gavin. He is a former deputy warden with the New York City department of corrections.

So, Ed, great to have you on.

EDWARDS GAVIN, FORMER WARDEN, NEW YORK CITY DEPARTMENT OF CORRECTIONS: Great to be here, Brooke.

BALDWIN: Before we get into the savings these changes, and I'm sure people are asking, well, why weren't they doing this all along, my first question is we are now hearing more from David Sweat as he has been talking to investigators from this hospital room. One thing he said was, no, no, never used power tools to get out. We just these hacksaw and we just happened upon a sledgehammer in one of these catwalks so will be inspected more. Sledgehammer, there would have been left lying around by workers, employees, construction workers. Is that plausible even?

[15:35:17] GAVIN: Well, construction toolboxes that were left there, they shouldn't have been left there. If they were left by contractors, most of the time we have a construction escort office would be assigned to the contractors.

BALDWIN: To make sure what?

GAVIN: To make sure that that they are doing their job, that they are there to, you know, perform duties that they are doing whether it's electrical, masonry, making sure that they don't leave or get involved with the inmates. Making sure that they do the job that they are supposed to do and then more importantly make sure that the tools, everything that they bring in they bring out.

BALDWIN: Are not left lying around.

GAVIN: Exactly.

BALDWIN: So as we're all wondering how wide this ring of coercion or, you know, complicitness would be involved in this escape, is it possible that this could be, you know, workers involved, multiple correction officers? He's not naming names at least thus far as correction officers. He is just throwing the seamstress under the bus. But how big do you think this could be, do you think?

GAVIN: It could be real big. But you got to remember right now, you know, he's a man in the hospital with two gunshot wounds. He is on morphine. He is all lit up. So he's singing like a bird.

BALDWIN: But as he's singing, it may not be truth.

GAVIN: Right. After the condolences is over, and you know, he is recovered, he may have - he may said, what did I say? And you know, it could be true. It's a double-edged sword. You just doesn't know.

BALDWIN: The fact that there is this new superintendent and all of these corrective measures, inspections of the cells, catwalks, tripling searches for contraband, eliminating that honor block where these two stayed, how do you read all this? GAVIN: Well, I didn't see anything about roll call training, OK.

When the officers assemble at roll call, one of my big pet peeves is suicide prevention and escape prevention. And on the midnight tour your best friend is your flashlight. You've got to go by those cells and you got to check for signs of life. So you can bring in all the superintendents in the world. If the officers cannot doing what they are supposed to do, what good is it?

BALDWIN: Which is apparently precisely when they chose to ditch their cells on this honor block when these guards were apparently asleep.

GAVIN: Absolutely, you know. You can't reinvent the wheel here. You know, it sounds good. We are going to bring in a new superintendent. But, you know, the first line is the officer. The second line is the sergeant, you know. This wasn't to be conducting tours of inspection at frequent intervals every half hour in New York City. This supposed to have a flashlight with them, OK. And then you have the sergeant or in the city we have the correct captain. That individual comes back and makes tours three times on a midnight shift. Had that been done, we wouldn't be doing this. We wouldn't be spending $1 million a day on a search.

BALDWIN: Would have, could have, should have - we talked so much about this because obviously this happened out of Clinton correctional facility but let's not kid ourselves. I mean, obviously there have to be issues like this nationwide, no?

GAVIN: Well, yes and no. It all depends, you know. The superintendent sets the tone of the facility.

BALDWIN: OK.

GAVIN: When I was a tour commander, I would address my troops at roll call. I would tell them the midnight tour. That's when it's all happening. Everybody says you think you come to work and put your feet up and isn't that kind of party. You got to be --

BALDWIN: How do you incentivize the officers? Because they are thinking two thing, they don't want riots or they don't want escapes. But if they don't want riots, a lot of the guys and gals are make nice with the inmates.

GAVIN: Well, you know what? I think that happens every now and then, you know. Correction officers are peace officers, they in a position of public trust. They receive training from the bureau of municipal politician. They know what their function is. Let's not kid ourselves. Every now and then, you know, you get somebody, you know, that just steps out of line and that's what happened here and in this case, I mean, I don't know what this guy was thinking. I mean, you know.

BALDWIN: Who knows what this guy was thinking.

GAVIN: I mean, he wants to ingratiate himself with these two inmates. You know, when I was a correction officer I would start my tour. The first thing I would do, I'm going to update myself a little bit here. 1982, the adolescent reception detention center, centrally monitored case house, CMC houses, OK? I go on the floor. The first thing I do is count the inmates. I got 60 inmates. OK. We county this. The next thing I do is crack their cells and tell them to go in the day room. Go in the day room. The third thing I do is start the security inspection of each cell. We crack every cell. I go into cell with a mallet and I bang the windows and bars and I check the vents.

BALDWIN: No kidding.

GAVIN: Again, this isn't rocket science. We don't have to reinvent the wheel here. It comes down to three words, do your job.

BALDWIN: Ed Gavin, thank you so much.

GAVIN: Pleasure is all mine.

BALDWIN: I really appreciate it.

Next here on CNN, the stunning Misty Copeland dancing her way into ballet history. She is now the American ballet theater's first African-American principal dancer. We'll talk to the woman who co- authored her autobiography, stunning story here.

Plus, the U.S. women's soccer team one win away from being world cup champions. Coming up, we'll talk to a woman who already holds title, (INAUDIBLE) from the winning 1999 team.

Stay with me.

(COMMERCIAL BREAK)

[15:44:24] BALDWIN: History has been made within the exclusive halls of the venerable American ballet theater because for the first time in the company's 75-year history, it has named an African-American woman as a principal dancer. She is 32 years of age. She is Misty Copeland who just this year made the list for "Time" magazine's 100 most influential people. I want you to look at her face when the news first came down.

(BEGIN VIDEO CLIP)

UNIDENTIFIED MALE: Misty, take a bow.

(APPLAUSE)

(END VIDEO CLIP)

[15:45:08] BALDWIN: Copeland's road to success has not been an easy one. A hint of her struggles as a buddy dancer revealed in this under armor commercial.

(BEGIN VIDEO CLIP)

UNIDENTIFIED FEMALE: Dear candidate, thank you for your application to our ballet academy. Unfortunately, you have not been accepted. You lack the right feet, Achilles tendons, turnout, torso length and bust. You have the wrong body for ballet, and at 13 you are too old to be considered.

(END VIDEO CLIP)

BALDWIN: My goodness. Charisse Jones is with me who helped Copeland pen the autobiography entitled "life in motion, unlikely ballerina." Joins us also a travel correspondent for "USA today." Wonderful having you here.

CHARISSE JONES, CO-AUTHOR, MISTY COPELAND AUTOBIOGRAPHY: Thank you for having me.

BALDWIN: I'm saying just looking at her that body, those muscles.

JONES: It's amazing.

BALDWIN: My goodness.

JONES: Absolutely. She's gorgeous.

BALDWIN: After she became principal, you know, there was some texting between the two of you.

JONES: Yes, a little bit.

BALDWIN: Can you share? What did she say?

JONES: Basically that she was just thrilled, that the promotion had finally come. She was very emotional. Everyone that knows and loves Misty was overwhelmed, to see that this moment in history had finally arrived.

BALDWIN: You said finally twice now. This is something that should have happened already.

JONES: Yes, I would think so.

BALDWIN: Let's be real.

JONES: She was a soloist for about eight years which is a very long time to be at that level. And frankly in the ballet world there's been a lot of resistance to seeing a black woman at that level. They don't envision a ballerina look looking like Misty Copeland, basically flaxen hair and ivory skin and that's not Misty. So she had to fight that kind resistance for years to finally make it to this plateau.

BALDWIN: Her background. I mean, she comes from humble beginnings.

JONES: Absolutely.

BALDWIN: I have read that she wasn't brought up listening to classical music.

JONES: No.

BALDWIN: She hadn't put on ballet shoes until she was 13 which is considered pretty late. JONES: It is considered ancient in the world of ballet. And she was

at a boys and girls club when she took her first ballet club, didn't have a leotard, didn't have Tutu. Basically was in baggy gym clothes and stood at a point within a month which is extraordinary. That just doesn't happen. One of six children raised by a single mom who lived in a hotel room for part of her childhood, bounced from home to room and moved a lot. So she was this extraordinarily gifted child that had all of these obstacles to overcome and finally was launched on this incredible path.

BALDWIN: Can I just ask a very simple question. Why does she love it so much?

JONES: I think that it was a real refuge for her when she was a little girl, from what she was going through in her personal life. And, you know, she's just incredibly talented and she wants to see other girls that look like her get the opportunity to dance at the met and to embrace this incredible art form, and open the gates to this art that she loves to the world so that it reflects society at large.

BALDWIN: Did she ever have moments where she would have hung up her toe shoes?

JONES: I think she had moments of self-doubt. I think she worried that this day was never going to come because it took so long. But, you know, in that commercial she talks about persistence and not letting anyone tell you what you cannot do and she triumphed in the end.

BALDWIN: Do you think, you know, she obviously wants to have other girls look like her, but not that, I mean, I think the audience, when you think of who typically goes to the ballet, right? Let's shake that up a little bit.

JONES: She's brought diversity to the stage and to the audience. If you go to a Misty Copeland performance you see every e ethnicity, every age group, people who have never been to the ballet. she's made ballet hip, cool, part of pop culture so she really has, you know, made up much more inclusive. And that's something that is important for this art to continue and continue to thrive.

BALDWIN: Misty Copeland, I want to talk to you.

Charisse Jones, thank you so much for coming on. I really appreciate it. Our congratulations to her, definitely.

JONES: Thank you.

BALDWIN: Next, a man is pulled underwater during yet another shark attack what. What witnesses say they saw on this beach, another North Carolina beach? That's ahead.

Also, the U.S. women's soccer team has a message.

(BEGIN VIDEO CLIP)

UNIDENTIFIED FEMALE: We go into the ship. We're going to the ship. We're going to the ship.

(END VIDEO CLIP)

BALDWIN: That ship as in the championship. They're headed to, is the World Cup final. Next we'll talk to a woman who's been in the exact same spot and went on to win that World Cup. We'll talk to goalie Brianna Scurry, next.

(COMMERCIAL BREAK)

[15:53:53] BALDWIN: Breaking news, another shark attack off the North Carolina coast, this one happening just this afternoon off of Ocracoke island. According to officials there, the victim is a man in his late 60s. He was bit multiple times around his rib cage area, his hip, lower leg, both hands. Witnesses say the shark was six to seven feet long. Reportedly that this man bumped into the shark, according to an EMS official I talked to last hour, the shark pulled the man under water. He swam to shore where a doctor happened to be nearby, called an ambulance, emergency responders airlifted him, he's in stable position, but perspective, you know, we are talking about shark attacks.

This is the sixth attack in just three weeks right around the North Carolina area, two attacks happen off the outer banks over the weekend, and two teenager lost limbs on Oak Island earlier this month.

And I'm going to leave you with this story today. If you looked up the word teamwork in the dictionary, you would see this -- midfielder, Carli Lloyd with incredible footwork, cross passes to Kelley O'Hara to score the winning goal and yesterday Team USA women's World Cup match against Germany. Let's watch it again.

And here we go. Take a look.

(BEGIN VIDEO CLIP)

[15:55:11] UNIDENTIFIED FEMALE: We going to the ship. We going to the ship. We going to the ship.

(END VIDEO CLIP)

BALDWIN: The ship as in the championship. That is the U.S. now advances to play the winner of tonight's Japan versus England. My next guest knows the feeling all too well. World Cup champion, two- time Olympic gold medalist Briana Scurry. She led the U.S. women's team to their last World Cup win in 1999.

Briana, welcome.

BRIANA SCURRY, GOALKEEPER, 1999 U.S. WOMEN'S WORLD CUP CHAMPIONSHIP TEAM: Brooke, thanks for having me. Glad to be here.

BALDWIN: All right. You are an inspiration to so many of these ladies. And now that you are retired, what was that like, watches that incredible, incredible game. SCURRY: I tell you what. All day my nerves started to build up. I

was like, you know, a little anxiety. Because I've been watching all the games really close, seeing how USA has been playing, how Germany has been playing. And you know, USA had a fantastic game against China right before that, and Germany had a long game. So I was thinking -- I was very hopeful that the USA would come out and get it done. And they played a very inspired game last night. Like you said Carli Lloyd was fantastic. Alex Morgan, Kelley O'Hara getting in on the action, too. It was a fantastic night for USA, absolutely.

BALDWIN: Let's talk about the ladies from the '90s, you know, you, Brandi Chastain, Mia Hamm. We've heard from a lot of people, even non-soccer fans that this particular women's team has more fans than ever before. I'm hearing they like to have a good time, more personality than the men, who normally get a lot of the attention in the spotlight. Why do you think that tide is sort of finally turning now?

SCURRY: I think it's fantastic. I think one of the major reasons that it's turning is because of the social media. Now, everybody in the world can get to know, you know Sydney Leroux, get to know Alex Morgan, based on their social media, their Facebook, their Twitter accounts, all that kind of stuff. And they're showing their personalities to the world.

So it's very exciting for people to feel like they know them, because in essence, they kind of do. And so, that's a thing that didn't exist before that exists now. And so, now you as an individual, as a fan, you can be someone who feels like you know what these players are about, what makes them tick. And then you cheer for them with more passion, because they're like the girl next door like you know them.

BALDWIN: Totally. I mean, there's a lot of good and bad social media, but this is a definitely a real cool part of it. You do feel like you know them.

You know, there's been a lot of criticism about FIFA and its treatment of women's teams. Let me just play this sound. This is from this year's team captain, Abby Wambach and have you respond on the other side.

(BEGIN VIDEO CLIP)

ABBY WAMBACH, CAPTAIN, US WOMEN'S NATIONAL TEAM: People are talking about women's soccer. And if we have a poor performance, I think we shouldn't -- I want to be criticized if I have a poor performance because we want to be treated like the men. And that's what they do with the guys, that's what we want. And so, I think it's good. We can take it. We're professionals. We're big girls.

(END VIDEO CLIP)

BALDWIN: Big gills. With this unprecedented fandom, do you think women's soccer will ever receive the level of respect from FIFA?

SCURRY: I love Abby, that's classic, vintage Abby. So that was really cool that you got to see that. I really do feel like it's a process. It's going to take a long time. It is going to take some major restructuring with FIFA. As you know, with the scandals allegations and all the indictments that happened right before the women's World Cup. It has got to be a lot of things change. And I feel like right now, there has been a real disparity in not only funding, but in support from FIFA for women's soccer.

So I think we're in the process now that maybe we can get this done. I mean, if we can rebuild FIFA in a way where they're fair, at least, or at least we're in the ballpark as the men, I think we can get a really good result. And I think it is going to takes time. I mean, everything, every great change takes time. But I think it's on the precipice right now, a lot of people are talking about it. There is going to be a lot of pressure on FIFA. And hopefully they'll get it done.

BALDWIN: OK. I have 60 seconds with you, and we have to end with revenge. Because as you well know, in Japan -- you laugh, but I'm totally serious.

SCURRY: I get you.

BALDWIN: If Japan wins tonight, the U.S. will be set for that highly anticipated rematch. We remember 2011, emotional, the U.S. lost, that was the whole penalty kick shootout. What kind of pressure would that be? In 30 seconds, going into that final match.

SCURRY: Right. We have to have Japan winning because the USA, like you say, got their hearts ripped out of their chests I 2011 with that final. And so, it would be poetic justice, so to speak, if USA and Japan went into it. And I am absolutely secure and believe that the USA is wishing that Japan wins tonight. And they are ready and they are ready and they are waiting for that revenge.

BALDWIN: Ready for that sweet, sweet revenge. Briana Scurry, thank you. Go ladies, Team USA.

And that does it for me. I'm Brooke Baldwin. Let's go to Washington. "The LEAD" starts right now.