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xeroxed copy. You look it over, and I want you to buy a thousand
copies, 500 copies, at $2.” Within a couple of weeks I had orders for
10,000 copies. I was amazed at myself for that. I began to think that
maybe there was a way of doing a lot of things that way. So that
started the relationship with the United Church, since they were
publishing and had a publishing arm. Esther Cohen was their editor.
That began the relationship between myself and the United Church,
and Pilgrim Press and with Esther Cohen. It continues to this day and
went in to other books. Later they did Images of Labor, etcetera.
Those are some of the things.
Also, I don't know if I've told you, I wanted to tell you about the role
of Ossie Davis in this thing. I was in touch with Ossie at virtually every
stage of Bread and Roses as it was moving, prior to it beginning -- just
the planning, what we wanted to do. I would touch base with him, and
whenever I had a problem that I thought he would be helpful to us I
would ask him to help. For example. Theodore Bikel was a member of
the council of the National Endowment for the Arts, the labor person
on the council. He was at that time the president of Actor's Equity. I
did not know him, and I said to Ossie, “Do you know him?” He says,
“Of course I know him.” I said, “Gee it would be great if we could meet
with him.” “Okay.” The next thing I knew we were having lunch with
Theodore Bikel. Then I find out that Billy Taylor is on the council, and
is very well respected on the council. Ossie says, “Okay.” and one day
marches in to my office with Billy Taylor. Sits down and hears me do
my thing on Bread and Roses, and he offers to make calls and to
support us. That's the kind of thing that Ossie did.
At the beginning -- I don't know if I told you about WNYC? Mary Perot
I'm not sure -- go ahead.
Well, just about when we were about to begin in January.
You did tell me.
We were on their, you know, we had a week long series of
Bread and Roses programs on the station. Okay. WNYC also ran the
Paul Davies poster on the cover of their portfolio in January, 1978.
Then through the p.r. person for WNYC, Elaine Narrimore, told me she
-- we were talking about Bread and Roses and she said, “Do you know
somebody? There's a friend of mine who works at the Labor
Department who would be really interested in what you're doing. His
name is George Kock.” I called him and he talked to me -- George
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