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cultural, educational programming, and other things. That story has
been covered in my oral history earlier.
Let me move on to another area that we developed at this time, that
is, to work with schools. Now, we had done work with schools in the
past in Bread and Roses in the early days, but because of lack of time,
money, effort, and staff, I was sort of leery about doing it.
But we decided when Esther came on to try it. We developed contacts
with people in the schools, including -- and it's unusual how the
contacts work -- Stanley Turetsky is the principal of the High School of
Printing in New York City, and some way we got to him, I remember,
and he said to me, “Moe Foner, my father knows you. My father was a
pharmacist. He said that he remembers you when he was in 1199.” So
that became the basis for a very close friendship, and Stanley would
reach out to schools and teachers to involve them.
What we wanted to do is to bring together students who paint or who
photograph and just classes generally to come to the gallery and have
a discussion with them about work and working people. Esther was
instrumental in setting up committees.
Who by this time was working with you at Bread and Roses.
Right. Esther, whom I met in 1980 at Bread and Roses Day in
Lawrence. She worked for Pilgrim Press as the editor, and we worked
together on that. Margot was involved.
Margot Jones, and we know each other going back to 1980, as
well as Rachel Cowan, Paul Cowan's widow. They worked together. So
they're still close friends of ours.
So Esther Cohen came to work for Bread and Roses full time --
-- in the early nineties?
In the early nineties, at first part time and then full time.
And Margot Jones was a schoolteacher at this point?
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