Faced with stiff business opposition, a conservative political climate, hostile courts, and declining membership, leaders of the American Federeration of Labor (AFL) grew increasingly cautious during the 1920s. Labor radicals viewed AFL leaders as overpaid, self-interested functionaries uninterested in organizing unorganized workers into unions. A cartoon by William Gropper published in the Communist Yiddish newspaper Freiheit (and reprinted in English in the New Masses ) caricatures delegates to a 1926 AFL convention in Atlantic City. Well

Deborah Wang reports that minority workers are underrepresented in the advertising industry. Wang interviews Bink Garrison (Ingalls, Quinn and Johnson) about the lack of minority workers in the industry. Wang's report includes footage of workers in the offices of Ingalls, Quinn and Johnson (advertising firm). Wang reports that Ingalls, Quinn and Johnson is participating in industry efforts to attract students into the industry. Wang notes that the Ad Club at English High School teaches students about advertising. Wang reports that Ad Club students wrote and acted in a public service announcement last year. Wang's report includes footage of the public service announcement produced by the Ad Club. Wang's report also features footage of Pam Piligian (Ingalls, Quinn and Johnson) working with students in the Ad Club. Piligian and Michelle Wilcox (11th grade student) talk about the Ad Club. This tape includes additional footage of workers at the offices of Ingalls, Quinn and Johnson.

Sometime after 1492, the concept of the New World or America came into being, and this concept appeared differently — as an experience or an idea — for different people and in different places. This semester, we will read three groups of texts: first, participant accounts of contact between native Americans and French or English speaking Europeans, both in North America and in the Caribbean and Brazil; second, transformations of these documents into literary works by contemporaries; third, modern texts which take these earlier materials as a point of departure for rethinking the experience and aftermath of contact. The reading will allow us to compare perspectives across time and space, across the cultural geographies of religion, nation and ethnicity, and finally across a range of genres — reports, captivity narratives, essays, novels, poetry, drama, and film. Some of the earlier authors we will read are Michel Montaigne, William Shakespeare, Jean de Léry, Daniel Defoe and Mary Rowlandson; more recent authors include Derek Walcott, and J. M. Coetzee.

The climate of repression established in the name of wartime security during World War I continued after the war as the U.S. government persecuted communists, Bolsheviks, and reds." Caught up in this "Red Scare

William Penn, a well placed English gentlemen and a Quaker, turned an old debt into a charter for the proprietary colony called "Pennsylvania," (all the land between New Jersey and Maryland) Penn took great pains in setting up his colony; twenty drafts survive of his First Frame of Government, the colony's 1682 constitution. Penn was determined to deal fairly and maintain friendly relations with the Lenni Lenape or Delaware Indians. He laid out in great detail the city of Philadelphia as well as organized other settlements and established the Free Society of Traders to control commerce with England. He sent back glowing accounts of the colony to his English friends and patrons. This Letter to the Free Society of Traders, published in 1683, has been recognized as the most effective of his promotional tracts. And it proved successful; by 1700 Pennsylvania's population reached 21,000.

As part of the Say Brother theater piece entitled 'Theatre in Reverse', Al Jarreau performs You Don't See Me, live in the studio.

With the annexation of Texas in 1848 at the end of the Mexican-American War, Tejanos--Texans of Mexican descent--lost property rights and political power in a society dominated by Anglos. Through discriminatory practices and violent force, Tejanos were kept at the bottom of the new political and socio-cultural order. From 1900-1930, as an influx of immigrants from Mexico came north to meet a growing demand for cheap labor in the developing commercial agriculture industries, Tejanos experienced continued discrimination in employment, housing, public facilities, the judicial system, and educational institutions. Many school districts segregated Tejano and Anglo children into separate facilities with the Mexican schools grossly underfunded and often offering only a grade school education. In 1930, when 90% of the schools in South Texas were segregated, the League of United Latin American Citizens (LULAC), a Tejano advocacy group organized the previous year, supported the first major court challenge in Texas to end school segregation. The Texas Court of Appeals, however, ruled that school districts could use such criteria as language and irregular attendance due to seasonal work to separate children in school. The struggle of Mexican Americans to end discriminatory practices accelerated following World War II. In 1948, LULAC and the newly formed American G.I. Forum, an advocacy group of Mexican American veterans, assisted in a lawsuit. The federal district court ruling in that case prohibited school segregation based on Mexican ancestry. Localities devised ways to evade the ruling, however, and de facto segregation continued. Student protests in the late 1960s achieved an end to some discriminatory practices. In subsequent years a new civil rights organization, the Mexican American Legal Defense and Educational Fund (MALDEF), continued the fight in the courts, eventually concentrating on the introduction of bilingual and bicultural programs into schools. In the following interview, Ed Idar, associated with both the Forum and MALDEF, related a successful grassroots effort in the early 1950s to desegregate a school without a court ruling.

In this segment from EGG:the arts show, meet Camilo Gaetan who is becoming a master drummer.

'Dealin'' with African drummer Babatunde Olatunji. Program consists of numerous segments related to African heritage, the first of which is an excerpt from a filmstrip on the fall of the Songhay Empire in West Africa by the Afro Audiovisual Company of Boston. Additional segments include 'Bookbeat,' a 'Spotlight' stage performance by actress Beah Richards, 'Dealin'' with African drummer Babatunde Olatunji, 'Information' on traveling to Africa, and 'Commentary' by Sarah-Ann Shaw on the lack of African history lessons in the American classroom. Produced by Marita Rivero. Directed by Conrad White.

Angela Paige Cook, founder and director of Paige Academy, talks about the inherent racism of standardized tests for assessing intellect.

Fritz Wetherbee reports that Annie Johnson (Boston resident) will receive the Living Legacy Award in Washington DC. Wetherbee reports that Johnson grew up in Boston and organized domestic workers through the Women's Service Clubs of Boston in the 1960s. Wetherbee notes that Johnson led the workers on a campaign for benefits. Wetherbee interviews Johnson in her home. Johnson talks about the importance of helping others. Johnson discusses her relative, Eleanor Graves Chandler, who was an early community activist. Wetherbee's report is accompanied by footage of Johnson preparing chicken in her kitchen and by footage of Johnson visiting a senior citizen meal program at the Grace Baptist Church.

Al Jarreau performs 'You Don't See Me'Program focuses on three different African American theater productions. Host Barbara Barrow introduces the topic of Black theater and stage works Raisin (the Tony-Award-winning musical for 1974), The Black Dyad (about Black male and female relationships) and 'Theatre in Reverse,' a Say Brother theater piece with an in-studio vocal performance by Al Jarreau with dance performances (with the intent of drawing the audience's attention to sound and light, rather than to the performers). Program contains excerpts from each production, and an in-studio discussion with writers/directors Evelyn and Melvin Moore about the excerpt 'The Date' from The Black Dyad, which was the only segment of the three aired on the program. Produced by Marita Muhammad Rivero. Directed by Conrad White.

In 1893 the newspaperman Peter Finley Dunne began publishing a regular series in the Chicago Evening Post featuring dialogues between an Irish bartender named Martin Dooley, and his Irish friend and customer, Henessey. The local column quickly achieved national renown and syndication in newspapers across the country. Dunne's dialogues drew upon prevalent ethnic stereotypes that were a staple of late nineteenth-century American humor. Dooley regularly commented on both local and national events. Thus, it was not surprising that he would have something to say about the dramatic strike by the American Railway Union against Chicago's Pullman Palace Car Company that had shut down rail lines across the United States in 1894. In the July 7, 1894, column included here (read by an actress), Dunne poked fun at George Pullman's claims that the strike was a violation of the U.S. Constitution.

David Sakura recalls life in Japanese detention camps in the United States during World War II. Program celebrates President Carter's bill proclaiming May 4 - May 10 Asian Pacific Heritage Week in honor of the cultural traditions of Asian Americans. Host Barbara Barrow-Murray speaks with Dr. David Sakura (part of Boston's Asian Pacific Heritage Week planning committee and member of the Japanese American Citizen's League) and Tin Yue Wan (a noted Chinese artist) in separate interviews. Topics of discussion with Sakura include the meaning of Asian Pacific Heritage Week, the difficulties in getting such a bill passed, the educational work of the Japanese American Citizens League, and Japanese detention camps in the United States during World War II. Topics with Wan include the five styles of Chinese painting, how his work has been received, and what his life was like in Hong Kong. Program includes a mini "gallery talk" by Wan. Translation of Wan's responses to Murray provided by Wan's daughter. Program includes a previously aired dance segment from Program 822, "Celebrate the Year of the Horse." Produced by Barbara Barrow-Murray.

In 1904, socialist writer Upton Sinclair spent two months in Chicago's "Packingtown" observing a bitter stockyard strike. He turned the wealth of material he found there into his best-selling 1905 novel, The Jungle. The book is best known for revealing the unsanitary process by which animals became meat products, and its revelations were an important factor in the 1906 passage of the federal Pure Food and Drug and Meat Inspection Act. Yet Sinclair's primary concern was not with the goods that were produced but with the workers who produced them. He described, with great accuracy, the horrifying physical conditions under which immigrant packing plant workers and their families worked and lived, portraying the collapse of immigrant culture under the relentless pressure of industrial capitalism. Despite his sympathies, as a middle-class reformer Sinclair was oblivious to the vibrancy of immigrant communities beyond the reach of bosses, where immigrants found solidarity and hope. In the opening chapter of The Jungle, the immigrant hero and heroine, Juris and Ona Rudkus, celebrate their nuptials and the start of their new lives in Chicago.

Boston based artists discuss the meaning of Black art. Host Jim Spruill leads a discussion among 17 Boston-based artists on what Black art is and to whom the Black artist speaks. Group assembled includes Orma Jo Flint, Steve Hussein, Hakim Jami, Bob Nellums, Joanne Robinson, Robert Ruff, Joanne Sanders, Ralf Coleman, Ali Yusef, Carolyn Fitchert, Charles Holley, Gary Rickson, Dana Chandler, Jr., Lovett Thompson, John Wilson, and Elma Lewis. Program includes stills of the work of featured painters and sculptors woven into the discussion, with featured performances by the musicians, dancers and poets. Featured performers include Ali Yusef Trio and the Negro Repertory Theatre. Produced by Ray Richardson. Directed by Stan Lathan.

Excerpt from 'Black Nativity,' performed by vocalists from the Elma Lewis School of Fine Arts. This musical production is based on the play 'Black Nativity.' by Langston Hughes.

'Blast from the Past' with vocalist Miriam Makeba. Program is divided into two halves: the first consisting of three segments related to African American theater in Boston, the second of newsmagazine-style segments. Harold Stuart, Director of the Boston Black Repertory Company and company actors Mattye 'Mama' Long and Frederick Tyson discuss the differences between 'theater' and 'Black theater,' how Black theater affects members of the community, how talented individuals find the time to act, problems financially supporting Black theater, and why there is so little Black theater in Boston. Following the discussion is an eleven minute excerpt from the Company's latest production, A Raisin in the Sun, and a short interview with two Emerson students who helped film the production (Stephen Farrier and Jacquie Gales, both members of the Emerson student group EBONI Productions). Additional program segments include 'Access' (about the Sav-Mor government-funded security program), 'Blast from the Past' (with an excerpt from a 1971 interview with vocalist Miriam Makeba on how her marriage to Stokely Carmichael affected her singing career and her opinion on Guinea's response to a recent invasion attempt by the Portuguese), 'Information' (on minority recruitment for the Peace Corps' Vista program), the 'Community Calendar,' 'Commentary' by Marita Rivero (who reads a reworked version of 'The Three Billy Goats Gruff'), and three 'Philosophy of Life' segments with musician Herbie Hancock. Produced by Marita Rivero. Directed by Conrad White.

Black Solidarity Day 1972. Program addresses a variety of topics via a magazine-format presentation. Host John Slade introduces the following segments: 'Performance' with rock/jazz musicians Compost, 'Community Events' with Black Solidarity Day organizers Joseph Nkunta, Marie Firman, Karim Atiba Bayete, and Arnold Scott, 'Speak Out!' with Jack E. Robinson, President of the Boston Chapter of the NAACP (who talks about the need for adequate police protection in African American neighborhoods and a responsive police force), 'man on the street' interviews, in which Slade asks people whether or not they would like an African American officer to command their neighborhood's police district, a 'Save Our Cities Expo' review with Melvin Penn (a university student who interviews organizer Reverend Dr. Virgil Wood, Area Chairman of the Southern Christian Leadership Conference), and 'African Notes,' in which the building of the Volta Dam in Ghana is discussed. Program ushers in a new format that incorporates the interviews and expertise of community members. Produced by John Slade. Directed by Russell Tillman.