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It got a fairly good review from John O'Connor in the Times.
They took an ad, PBS channel thirteen took an ad. It was a Saturday
night in July, not exactly the best time of the year. They took an ad
and the union took an ad, too. But before we showed it on t.v. we had
a preview at the union. I invited lots of people to come to it, and it was
very moving. It's a good thing to see -- it's really good.
The other things that we did -- now this was pretty much historic,
doing a one hour documentary. [Telephone rings, tape stops and
starts.] The other things that we did, one other thing that I'll just
mention in passing because it was unusual, was that we decided that
we would produce records. We did two records that we produced. One
was an original cast album of Take Care. The second was “Ossie and
Ruby and Bread and Roses.” That is, Ossie and Ruby put together a
number of the things that they were doing in the hospitals, and other
things, and Ossie wrote a tie for everything, linking it to Bread and
Roses and the struggle of working people. It's a very nice record, a
very good record. On the cover flap, on the other side, he wrote about
“My twenty-five years with 1199.” Now these things were obviously
valuable union things. We made them available to members like at a
buck or two bucks.
Just to send them out to unions was a very important kind of thing.
It's a good promotion thing. The endowments liked the idea that we
were doing it. I'll come back to that after I discuss Images of Labor. As
some of the things came out, particularly as books and posters came
out, I began to think about the possibility of going in to direct mail.
You know, we were very limited in our ability to move these things
around. It was my feeling that there was a void in labor with this type
of material, that we were the only ones around who could give it.
Therefore if we could find a way of going in to direct mail with these
materials, it would be a very very valuable thing. We didn't think of it
as a fund raising thing. We thought of it mainly as a dissemination
kind of thing. I began to talk to people at the National Endowment for
the Humanities about it. At every stage I was told, “We don't do it. It's
not done by the NEH. NEH has never disseminated materials.”
[Telephone rings, tape stops and starts]
Maybe I should deal with Images of Labor first, because that's an
important thing that gives a shot to the direct mail thing. The idea of
doing Images of Labor goes back a long time. It was an idea that I had
discussed with Stanley Glaubach, who was our art director, way way
back. He died in the early 1970s, in the 1970s. He was a genius.
[Telephone rings, tape stops and starts] I used to receive in the mail
things from the Container Corporation of America. No, I used to see
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