At the onset of the Lynn Hershman's work, she tells the audience that as a child she used fantasy to escape the abusive reality of her home life, inventing elaborate stories. This introduction casts a shadow of doubt over the stories she proceeds to tell, which includes accounts of attending college at the age of 12, working as a call girl, and spending several years in a hospital on the brink of death. The woman describes her practice of taking on, or impersonating, many personalities. The editing technique is one of interruption. Before a story comes to completion, the work will cut to another image of the same woman, in slightly different apparel, telling another story. Often, the same image appears in multiples, or several unique images appear at once. All of the work is shot in varying degrees of close-ups. The narrator continues to confuse the viewer, as at the end of the work when she claims, 'I always tell the truth.' This short segment shows Hershman describing the fantasy world she would retreat into during her childhood, and the blurring of the lines between fantasy and reality.

'Charming Landscape,' the conclusion to Dara Birnbaum's 'Damnation of Faust' trilogy, shows the debris of a demolished city playground. The self-exploratory narration of two teenage girls is played over images of crowd scenes (often violent) from the civil rights movement, student protests, and the Tianenmen Square demonstrations. The work, which is approximately six and one-half minutes long, is dedicated to Pam Hysinger and Georgeann Ditelli, the teenagers whose words serve as narration. Music is by Keith James and Mike Nolan as The Picassos. The work was broadcast as a segment of episode 313 (1987), and was also shown with the entire 'Damnation of Faust' trilogy, as part of episode 106 (1991), of 'New Television.' Produced and directed by Dara Birnbaum.

African drummer Babatunde Olatunji talks about the formation of the Olatunji Dancers, Singers and Drummers as a reaction to the misconceptions of Africans and the culture of Africa portrayed in the Hollywood films of the 1950s.

Highland Park Free School. Program focuses on education as an 'equalizer' in America. Through segments that discuss the educational needs of the African American community, desegregation in public schools, and job discrimination, Program 112, illustrates the problems African Americans have had obtaining a good education. Program includes interview footage with Jim Cooper, a teacher at the Highland Park Free School, 'Commentary' by Sarah-Ann Shaw (in which she discusses Black thought in education), the 'Historical Minute' with Georgia State Representative Julian Bond (consisting of readings of historical facts related to Black education), a 'Political Note' on job satisfaction, job training, and workforce discrimination, an excerpt from the theater piece The Dozens, produced by WTTW TV, and segment interludes with Russell Tillman and Ric Mandrill (of the musical group Mandrill). Produced by Marita Rivero. Directed by Conrad White.

Dick Lane remembers Dinah Washington. Program focuses on the music of Dinah Washington and the tradition of African American female musicians that she participated in. Host Hayes Burnett, a bass player, provides brief biographical information about Washington and interviews both Washington's husband Dick Lane and vocalist Mae Arnette (who was early in her career when Washington was at the height of hers). Both guests discuss what Washington was like, the origins of her music, the difficulties inherent to being a female, African American, musician, and what her life was like just before she died. Additional segments include a vocal performance by Arnette, a bass performance by Burnett (with accompaniment), 'Information' (on the origins of African American music), and 'Commentary' by Hayes Burnett (on the great African American female musicians). Produced by Marita Muhammad Rivero. Directed by Conrad White.

Barbara Barrow-Murray interviews the vocalist and actress Eartha Kitt about her difficult childhood, her experience of not being a wanted child, and the pride she feels at having survived the prejudice of her childhood.

Explores the changing map of the public and the private in pre-industrial and modern societies and examines how that map affected men's and women's production and consumption of goods and leisure. The reproductive strategies of women, either in conjunction with or in opposition to their families, is another major theme. How did an ideal of the "domestic" arise in the early modern west, and to what extent did it limit the economic position of women? How has it been challenged, and with what success, in the post-industrial period? Focuses on western Europe since the Middle Ages and on the United States, but some attention to how these issues have played themselves out in non-Western cultures. This course will explore the relation of women and men in both pre-industrial and modern societies to the changing map of public and private (household) work spaces, examining how that map affected their opportunities for both productive activity and the consumption of goods and leisure. The reproductive strategies of women, either in conjunction with or in opposition to their families, will be the third major theme of the course. We will consider how a place and an ideal of the "domestic" arose in the early modern west, to what extent it was effective in limiting the economic position of women, and how it has been challenged, and with what success, in the post-industrial period. Finally, we will consider some of the policy implications for contemporary societies as they respond to changes in the composition of the paid work force, as well as to radical changes in their national demographic profiles. Although most of the material for the course will focus on western Europe since the Middle Ages and on the United States, we will also consider how these issues have played themselves out in non-western cultures.

Gregory Spence comments on new testing criteria for students. Host Barbara Barrow discusses the lack of communication between educators and students in the Boston school district, with community members Gregory Spence (an attorney for the City of Boston), Kenya Clemens (of the Youth Activities Commission), Jeannette Bolt (playwright and author of A Minority Child's Day), and Dr. Alvin Pouissant (noted psychiatrist and Harvard professor). Issues addressed include the different social backgrounds of educators and students, Black English in the classroom, the role of standardized achievement tests in student evaluations, and the need for more humanity in the classroom. Also included in the program are 'man on the street' interviews conducted by Associate Producer Vickie Jones (in which she asks people their opinion of African American schools with white educators and whether or not Black children should be taught by Black teachers), an interview with Barbara Sizemore conducted by Jon Brim (on the problems of the Washington, DC school system and Sizemore's experiences as a former Superintendent of Schools there), an excerpt from a filmed performance of Bolt's play A Minority Child's Day; and the 'Community Calendar.' Produced by Marita Muhammad Rivero. Directed by Conrad White.

..[In] this short film...members of a family drive an elderly woman to a nursing home. Through both realistic and dreamlike sequences, the film translates, without the use of words, the character's inner experience into memorable and haunting images.

'Ellis Island (a work in progress)' is a haunting, reflective piece on Ellis Island and the immigrants who passed through there. Black-and-white, near-static shots of actors and actresses realistically portraying turn-of-the-century immigrants are combined with color shots of a modern-day tour guide conducting a tour of the buildings. Re-creations of the medical examinations the immigrants underwent and the conditions they lived through are filmed in the run-down buildings of Ellis Island before restoration was started. "Ellis Island' was created with the New Television Workshop. Segments of it were broadcast as part of the 'Frames of Reference' showcase specials 'Landscape in Motion' and 'Dance Journeys.'

'Blast from the Past' with musician Jerry 'Iceman' Butler. Program focuses on the 25th Anniversary Celebration of the Elma Lewis School of Fine Arts, Roxbury, Mass. Host Matthew Goode (education specialist for the Committee of the Massachusetts Department of Education) speaks with Reverend George Thomas (Chairman of the Board for the National Center of Afro-American Artists and Chairman of the 25th Anniversary Committee), Vernon Blackman (Drama Director at the Elma Lewis School of Fine Arts) and Margret Morgan (longtime friend, supporter, and 'Honorary Mother' of Lewis's school) to discuss the history of the school, its importance, the community it serves, and the events that will comprise the celebration. Additional program segments include a mime performance by Halim Adbur Rashid (Fred Johnson), 'Access' (on the work of the Roxbury Medical Technical Institute), 'Information' (on how to purchase safe toys for children), 'Blast from the Past' (with an early 1970s Say Brother interview with musician Jerry 'Iceman' Butler), 'The Word' (with commentary by professor and historian A.B. Spellman), the 'Community Calendar,' and 'Commentary' by Producer Marita Rivero. Directed by Conrad White.

Elma Lewis reads the poem 'Sympathy' by Paul Lawrence Dunbar. Program is divided into two halves: the first featuring a 30-minute in-studio poetry reading by Elma Lewis, the second of magazine-style segments. Elma Lewis, Director of the National Center of Afro-American Artists, seated with children around her, talks about what poetry is, what a poem can make you feel, and why people used to write in rhymes. Lewis focuses on two African American poets, Langston Hughes (who is 'of this time') and Paul Lawrence Dunbar, and reads selections from each. The second half contains the following segments: a mime performance by Halim Adbur Rashid (Fred Johnson) titled 'The Writer,' 'Access' (with A.D. Saunders, who describes the Boston Jazz Society), 'The Word' (with professor and historian A.B. Spellman, who comments on Black History Week), the 'Community Calendar,' 'Information' (on Minority Recruitment Month for the Peace Corps), and 'Commentary' by Producer Marita Rivero. Original air date estimated. Directed by Conrad White.

Elma Lewis, Director of the National Center of Afro-American Artists, reads the poem 'Sympathy' by Paul Lawrence Dunbar to a group of children and then asks them what they think the poem means.

Excerpts from a filmed interview with the African-American singer, composer, choral director and actress Eva Jessye as she reminisces about her early career.

Eartha Kitt talks about her early childhood. Host Barbara Barrow-Murray speaks with vocalist and actress Eartha Kitt, in Boston with the production of Timbuktu! Topics include Timbuktu! as an extension of Kitt's Kismet, how long the show has been traveling, her role in Timbuktu! , the music in the production, interpreting her character Sahleem-La-Lume (which is not an essential one), her political positions and stance on the Vietnam War, and her difficult childhood. Program opens with excerpts from Kitt's interview with WGBH Radio FM's Ron Della Chiesa (host of the program Music America), and includes a studio dance performance of 'Birds of Paradise' from Timbuktu! (performed by Martial Roumain and Cheryl Cummings), and a vocal performance by Kitt. Produced by Barbara Barrow-Murray. Directed by Brian Clarke.

This lesson is the third in a series called ŇFamily Tapestry.Ó One goal of these lessons is to help students recognize and accept differences among themselves and within the larger community. Another is to recognize how each studentŐs unique family contributes to a richer society. As students begin to understand themselves better, learning opportunities to explore biases and prejudices will likely emerge. In this lesson, students learn the concepts of ŇsameÓ and Ňdifferent,Ó read and answer questions about two types of families, and create a Ňsame and differentÓ graphic organizer that reflects similarities and differences between their family and a classmateŐs family.

Upon completion of this course you should be able to: 1. Identify personal/family values and establish appropriate financial goals. 2. Develop financial plans that reflect your values and goals. 3. Begin implementation of your plans to meet short and long term financial goals. 4. Evaluate options for providing financial security throughout your life. 5. Recall and apply specific fact concerning various financial topics, tools, and services.

This module will examine ways of strengthening Literacy-related activities in selected households in Trinidad and Tobago. Family structure and roles and relationships in the family have a decided influence on the value and practice of literacy especially where young children are concerned. Suggestions are given on activities that family members can do together so as to encourage Literacy in the home setting.

This lesson is a follow-up to the lesson "Who's Your Mama? A Family Who's Who" and is mainly based on "The Relatives Came" by Cynthia Rylant; therefore, family structure including titles or roles is assumed to be prior knowledge for this lesson.