'As if Memories Could Deceive Me,' 1986, documents a performance or rehearsal of the New England Conservatory Symphony Orchestra, through close-ups, split-screen effects, and collage techniques. Instruments are filmed close-up and appear in boxed-off portions of the screen. As the music rises, archival film images begin to creep in. Many times they are superimposed over the instruments. Film footage includes the interior of a colorful palace, Hitler propaganda and Nuremberg trials, and a men's clothing store. The original footage produced for this work was shot at the New England Conservatory of Music, the Goethe Institute, and a Louis clothing store. Robert Schumann's 'Manfred' and 'Drum and Gong Sounds' by F. Marschall and U. Timmermann are the musical works performed by New England Conservatory Symphony Orchestra. 'As if Memories Could Deceive Me' was created by Marcel Odenbach for The Contemporary Art Television (CAT) Fund and was co-produced by the Goethe Institute in Boston. It was later broadcast as a segment of Episode 304 of the 1987 season of 'New Television.'

Excerpt from compilation program featuring the Boston Art Ensemble performing in the Say Brother studio.

Cannonball Adderley and the Cannonball Express. Program contains numerous 'magazine-style' segments, of which the most prominent is host John Slade's interview with musician Cannonball Adderley. Accompanying the interview, in segments before and after, is performance footage of Adderley's jazz band Cannonball Express (with Bobby Timmons, Walter Booker and Roy McCurdy) shot live at Paul's Mall in Boston the night before the interview. Other segments include a performance by the Immala Blakely Dancers, an interview with Harvard psychiatry professor Dr. Alvin Pouissant about his book Why Blacks Kill Blacks, a demonstration of self-defense techniques using karate with black belt Harry Gardner, and a performance by jazz group The J.R. Mitchell Experience. Produced by John Slade. Directed by Russell Tillman.

'A contemporary interpretation of the Bizet opera, this late twentieth century story of ill-fated romance set on New York's Lower East Side features Carmen as a rock-and-roll singer and Don Jose as a record producer. The drama is interrupted and examined through a series of audiovisual asides that serve as commentary, with images of fire and ice poetically illuminating the romantic and tragic elements. Carmen is played by New York musician Emily XYZ...." In this piece written, directed, and produced by Ann-Sargent Wooster, a man and a woman reflect on their roles in an obsessive relationship. The work assumes a mock documentary style, as the story unfolds through interviews and confessions juxtaposed with the events depicted. Music includes 'Cloud' and 'Fire and Water' by Brook Williams and Ann-Sargent Wooster, excerpts of Andrew Nadelman's 'Tapestry' and 'Rhapsody,' clarinet solo by Michael Isenberg, and opera singing by Janeal Sugars, Meth Genies, and Clay Steward. The work was broadcast as a segment of episode 612 (1990) of 'New Television.'

Excerpt of concert performance featuring Howlin' Wolf from 1973.

Blues and folk singer Elizabeth Cotten talks to Topper Carew about her early childhood. The inspiration for her famous song 'Freight Train' is based on her experiences living next to railroad tracks.

Boston Art Ensemble perform in the Say Brother Studio. Program serves as a compilation of performances by the Boston Art Ensemble, Cannonball Adderley, Stanton Davis and the Ghetto Mysticism Band, Webster Lewis, and Charles Lloyd. Includes commentary by professor and historian A.B. Spellman from Program 111, 'New Music,' and excerpted interview footage with both Adderly (interviewed by John Slade) and Lloyd (interviewed by Topper Carew). Produced by Barbara Barrow.

Excerpt from a film by Topper Carew on Mississippi Fred MacDowell about the blues musician acclaimed by his contemporaries, but commercially ignored. Includes performance footage of Mississippi Fred MacDowell.

End to experimental school project in Boston. Program, in a news-broadcast format, reviews the events of April, 1975 with anchors James Rowe and Carmen Fields, news reporter 'at large' Leah Fletcher, in-studio interviewer Russell Tillman, arts reviewer Tanya Hart, special reporter June Cross, and commentator Dighton Spooner. Program features a special reports on State Senator Bill Owens's press conference in April (in which he discussed capital punishment legislation pending in the Senate), the 'American Woman' festival held at Jordan Marsh department store in Boston, decisions made by Housing Court Judge Paul Garrity (on renovating the housing projects under the Boston Housing Authority), Julian Bond's recent traveling of the political circuit in Massachusetts to 'drum up' support for a presidential campaign, the Alliance for Economic Justice's meeting to protest the governor's cutback in welfare benefits, an interview with Winston Kendall of the Roxbury Defenders (about the upcoming conference organized by the National Conference on Black Lawyers called 'Resist to Exist'), the picketing of the president's office at Boston University by students (over the current dean and his poor management of the Black Talent Program), the United States Bicentennial events on Patriots' Day at John Elliot Square, and an interview with jazz musician Ronnie Gill. Produced by Marita Rivero. Directed by Conrad White.

Digital Corporation sponsors a demonstration of the evolution of voice technology at the Boston Park Plaza Hotel. Stevie Wonder demonstrates the Kurzweil reading machine and DECtalk machine, which allow him to operate a synthesizer. Wonder lays down tracks with the drumbeat, bass and string instruments for the song, 'I Just Called To Say I Love You.' Wonder sings along to the tracks he has recorded; he changes one of the lines of the song to thank Digital Corporation and Raymond Kurzweiler (inventor of the reading machine). The audience applauds for Wonder. A man presents Wonder with a silver Revere bowl to commemorate his visit to Boston. Meg Vaillancourt reports on Wonder's demonstration of the new technology. Vaillancourt interviews a computer vendor who has displayed his computers at a table. The computer vendor demonstrates the voice capabilities of his computers. Tape 2 of 2.

Excerpt from the in-studio performance by the reggae group Sunfire of their original tune Soka Jame. Musicians Rolly Gray (lead guitar player, vocals and band leader), Peter J. Adamson (steel drums), Jorge Marrero (drums), Joel Keel (bass guitar), Wayne Keaton (electric keyboards and vocals), and Leon Mobley (congas) perform their own compositions.