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this outfit that does color separations for Milton Glaser, and it had to be printed in this place.” [laughs] I said, “You'll break me!” She said, “No, I got the color separation -- my friend worked there. I sweet- talked the guy, the guy is going to do it at cost for me. He's going to do it all at cost, and he's so nice.” He did it at cost, and they did wonderful things! They said they normally don't print posters. She said, “They'll print this for us.” So they printed the posters. We didn't know how they would be received, so we would print four. Then I'd say, “Let's take a crack at the fifth, because I want to get this one as a poster.” We printed a fifth, and we printed a sixth -- so we had six posters.

Then I got to meet with some people who were working in education at Teacher's College, on the question of the study guide. We had a number of meetings back and forth of what kind of study guide, what should be in it. Then they came up with a brilliant idea. The guy in charge of it said, “What should be done is that half of the study guide - - it should be a sixty-four page thing, eight-and-a-half by eleven, printed black and white with illustrations. But it should be” -- he thought that it would be great if we could have interviews with say, fifteen or sixteen artists. In an oral history interview they would explain how they proceeded to work on this art. I tell you it was fascinating to read that stuff when it came through. Sue Coe, Alice Neel, Judy Chicago, Milton, Paul -- it was all very very nice stuff that they were coming through with. It was very informative. If anybody really wanted to learn more about how an artist works, would get a great deal out of that.

That became the idea of the study guide, to --

Part was that, and part was placing the quotes in historical perspective, that kind of thing. So it was history material and then suggested reading. It was used, we put it out very cheap -- charged something like four bucks for it.

How many copies did you print, do you know?

About 2,000. So that was in the works.

Then we decided -- at just about that time Peter Yarrow became very interested in Bread and Roses, because he had been in Lawrence. He didn't know what we were doing. When Pilgrim started to promote the book they wanted to get people to work on p.r. So they got a group called “The Bridge,” which was then working with Peter. It was to do p.r. for public service outfits. The guy in charge of it -- whose name I can't remember, and the assistant to him -- the guy in charge of it