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Well remember “Chorus Line” was a hit all ready. It was a hospital workers chorus line. It was the idea of doing it -- she had done oral histories before. She had worked on projects -- workshops -- where you get material from the people and then use that. She'd done that on the thing about kids -- she'd worked in a review about kids that was fairly well received off Broadway. So that's the genesis of Take Care, and I'll come back to that.

Other people who I meet with -- Jerry Lurie, who's an attorney, is a friend of mine, and also represents performers. He represents Liz Swados. So I met with her about what we were doing. Al Perlmutter of television, who I remembered way way back but was now an independent producer -- I was beginning to think in terms of televising things, the whole process. So I was meeting with different people.

Faith Hubley is important at this stage. Now Faith, I think you know -- she's come up before. Faith is now on the side painting, in addition to doing, you know, animated films. Faith called me one day and she said, “I want you to come to my home. I want to show you something.” She wants to show me her paintings. She says, “I think I'm ready for a show. If you think it's okay, I'd like to have a show at Gallery 1199.” This is before Bread and Roses. This is towards the end of the year while the planning grant is going on. I say, “Faith, first of all even if you couldn't paint, you'd have a show at 1199. I owe you -- I owe you. But it's wonderful -- it's good.” So we have a show at Gallery 1199, Faith Hubley. Faith begins to tell me about the kinds of things she's doing. She's working on a project on the Year of the Child, the United Nations Year of the Child. She's working on an animated film that she has to raise money for. So I say, “Faith, I've been invited to a reception for Andy Young, tonight at someone's home. There are going to be a lot of foundation people there, I understand. Come with me.” So she comes with me and I introduce her to various foundation people, including Jean Young, who is at the U.N. -- Andy's wife -- and she's working on the Year of the Child. This helps her in terms of reaching people, in terms of money.

I also meet there the guy who became the president of Westbury, part of the State University, who came out of the civil rights movement and was a close friend of King. I mention to him what I was doing about the dialogues. He says, “Keep me informed on this. I'd like to be helpful. I like the idea.” At this time, the question comes up -- we're looking for funding and I stumble into the labor department in some strange way, and find somebody there who is interested in what we're doing -- Ernie Green. This eventually leads to a fifty thousand dollar grant from the labor department to Bread and Roses. The thing with

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