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with him and Tom Donahue to discuss it. There was one other person there from one of the actors' unions. We were scheduled in Tom's office. Before the meeting started, Tom came out and said, “Moe, I want you to come in for a minute.” He said, “I want to speak to you first.” Donahue does this. He's a very direct person. He says, “Moe, let me lay it to you on straight. Bread and Roses is the only thing around. We can't have a show going abroad in which your union is the face of the labor movement. Understand?”

“Yeah, I understand.”

“You'll be part of it, but you'll be subsidiary even though we know you've got the only things going that is good. Moe, why do you have to do what you're doing?”

“What am I doing?”

“You're doing great stuff, but why do you have to have Jane Fonda, Ossie Davis, Pete Seeger? Are there no other people you can put in? Do you have to have them?”

So I said, “Tom, you ask me direct, I'll tell you direct. These people are like members of our union. We don't kick out members of our union. You've got to take us the way we are.” That was all there was. It's an indication of the kind of thinking.

You know, it is really staggering when you think about it.

It came up again on “Images of Labor.”. You have no idea what happened on “Images of Labor.” In that I was dealing with Kenny Young. Someone had told me, “Kenny Young is interested in art.” Kenny Young is the administrative assistant to Lane Kirkland, and I knew Kenny Young when he was a political action director of the AFL- CIO. So I called Kenny and I say, “Kenny, I have something I think you'd be interested in.” I tell him, “We're doing this show and I have slides. I don't have all the slides, but I have enough to show you to give an idea, and I have the quotations.”

“When are you coming to Washington?”

“I'm coming for a meeting this day.”

“Good.”

Set up a meeting. We'll come.”

“I'll bring in a projector. You show me what you've got.”