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Roses. He said, “We've got to get Governor Carey interested in this thing. We've got to get Carey interested.” He also tells me that he can help on the state arts council. Hank Dullea is the governor's man in Albany who is his contact with the arts council, and that I should meet with him and go talk to him about it. So that nothing is a lost thing, and we later get a letter from the governor -- who writes a letter to Kitty Carlisle about the project, and the copy that I got about how important this thing is. Doesn't hurt.

One of the things that we had proposed in Bread and Roses was a series of dialogues called the legacy of Martin Luther King, Jr. This is something I worked out with Stanley Levison. Stanley said that what we should do is we should get people who would be at four different events at the union, on the legacy of Dr. King. Andy would talk about one thing, Coretta would talk about another thing, and we would find - - I forget. We had other names too. This would undergo a revision in the following way. What happened --

Hold on one second. I think you should tell me about the revision on the next tape.

[END TAPE TWO, SIDE TWO; BEGIN TAPE THREE, SIDE ONE]

Stanley suggests that I contact Andy Young, and talked to Andy and Stony Cooks about the project, and that he would get Andy to write a letter to McGill, the president of Columbia University, suggesting having the first dialogue not at the union, but at Columbia University. He did that, and Andy says, “If there are people you want me to reach, you draft the letters and I'll send them out.” Which we do. Jimmy Wechsler also contacts McGill, because he's the big Columbia man. So that there is interest in Columbia on this thing.

I had an idea of a musical review as part of Bread and Roses, but it was not spelled out. My idea was a traditional musical review -- sketches, music -- with the cast performing it in the hospital. It's funny. When I raise it at the task force meeting, Eve Merriam objects. She says, “If you want to have a review, we ought to do something very special. We ought to do an oral history review -- a musical review based on oral histories.” She says, “If you want to do that, I'll work with you, and Ossie and Micki Grant say, “Count us in too.” So that's the genesis of Take Care, because then we have subcommittees set up. There's a subcommittee on the musical review, and there's a subcommittee on exhibitions --

So that she had the original idea of basing the musical on the dialogue. Where did she get the idea from?