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send me back the stuff that they write. Now, when you get that, you don't know what is next. Okay, so that succeeds.

By the way the opening of the Year of the Child -- the first opening -- is sponsored by the Central Labor Council, Harry Van Arsdale. That was a special labor opening at night. Then there was the first performance of the Year of the Child, of the opening of the show during the day, and the kids from the UN school came. The program was organized. We organized it with performers from Indonesia -- you know, that kind of thing -- and with Faith Hubley's film being shown, and Jean Young, Andy's wife, who is the U.S. delegate to the UN. You have this event, which is being televised, with radio and press there. By this time Mark Levin is at everything like that, videotaping everything that's happening, and interviewing kids and people about it. So that we're already in to that, and we're over our ears already, you know, and we have a show going. I haven't come to the other things that are going on. We had things going, like bouncing balls in the air, those three years.

We have the next show Dotter. So I say to myself, “If we can do this with the public schools, why in heck can't we do it with Dotter for the high schools, public and private. So I arrange quickly a meeting with the social studies chairmen at the union, to tell them what the thing is about, and to ask them to encourage the groups to come. You run in to problems with the Board of Education. An elementary class stays with the same teacher. A high school class doesn't. I decide, “Okay, we're going to get somebody I will employ,” who is teaching at Cornell, a woman. I paid her for a month. “Draw up a curriculum for high school students on labor.” We signed up more than 100 classes, buses full of students who returned to write about it. Special opening with the Central Labor Council. All right, so we wanted to apply the experience to the Dotter show. We're in the third week of January, and the Dotter show is going to open next week. I call Florence Jackson at the Board of Education, and talk to her about it. The UFT again runs the thing, for the Dotter thing. We get more than sixty classes. Now for this -- sometimes I overload the thing, I keep adding things.

Then I call CBS because they tell me that Sixty Minutes had done a fantastic ten minute sequence on Brownlung. I get permission and I get the videotape, okay, and we're renting the video equipment to have there. Then I call up Murray Finley. I say, “Murray, we have Earl Dotter's show. I want you to do something. I want you to fund, and produce, I want you to bring up every two weeks a different work group from J.P. Stevens, who will be in the gallery while the classes come in, to talk about, to begin a discussion, on what it's like to work