{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://marmia.aviaryplatform.com/iiif/3n20c4tv2n/manifest","type":"Manifest","label":{"en":["City Line Library #2, 1982-10-10 - 1982-11"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/053/original/cropped-marmia-logo-copy1.png?1586173104","metadata":[{"label":{"en":["Source Metadata URI"]},"value":{"en":["https://marmia.libraryhost.com/repositories/2/archival_objects/5167"]}},{"label":{"en":["Date"]},"value":{"en":["1982-10-10 (Broadcast)"]}},{"label":{"en":["Description"]},"value":{"en":["This is not an episode. This tape contains several stories and clips about what women and men think of each other in the 1980s; unhoused individuals; \"Black Nativity\" by Hazel Bryant and Michael Malone; the Mingo Jones Advertising Inc.; Frank Mingo; Caroline Jones; Black advertising; James Van Der Zee; Photographer; Harlem; Ernesta Procope; Pioneering Black insurance broker; Wall Street. (Scope and Content Note)","Be advised that this video may contain sensitive, triggering, and offensive language and content. (Content warning)","Thank you to the Smithsonian National Museum of African American History and Culture for the digitization of this item. (Funding Note)"]}},{"label":{"en":["Format"]},"value":{"en":["1 U-matic"]}},{"label":{"en":["Identifier"]},"value":{"en":["WJZ-CTYLN-001-009 (Identifier)"]}},{"label":{"en":["Series Title"]},"value":{"en":["City Line"]}}],"summary":{"en":["This is not an episode. This tape contains several stories and clips about what women and men think of each other in the 1980s; unhoused individuals; \"Black Nativity\" by Hazel Bryant and Michael Malone; the Mingo Jones Advertising Inc.; Frank Mingo; Caroline Jones; Black advertising; James Van Der Zee; Photographer; Harlem; Ernesta Procope; Pioneering Black insurance broker; Wall Street.","Be advised that this video may contain sensitive, triggering, and offensive language and content.","Thank you to the Smithsonian National Museum of African American History and Culture for the digitization of this item."]},"provider":[{"id":"https://marmia.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["MARMIA"]},"homepage":[{"id":"https://marmia.aviaryplatform.com/","type":"Text","label":{"en":["MARMIA"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/053/original/cropped-marmia-logo-copy1.png?1586173104","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/203/679/small/open-uri20230807-555-6jwl33_1691447295.jpg?1691447296","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679","type":"Canvas","label":{"en":["Media File 1 of 1 - open-uri20230807-555-6jwl33.mp4"]},"duration":1931.987,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/203/679/small/open-uri20230807-555-6jwl33_1691447295.jpg?1691447296","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679/content/1","type":"AnnotationPage","items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-marmia.s3.wasabisys.com/collection_resource_files/resource_files/000/203/679/original/open-uri20230807-555-6jwl33.mp4?1691447294","type":"Video","format":"video/mp4","duration":1931.987,"width":640,"height":360},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679","metadata":[]}]}],"annotations":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679/transcript/47220","type":"AnnotationPage","label":{"en":["AUTO_TRINT_WJZ-CTYLN-001-009.mp4 [Transcript]"]},"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679/transcript/47220/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"My opinion of women of the eighties is that they have lost something as far as their femininity. I'm proud of being black. Can't be no more than when I am, and I want the woman to be the same way. I feel more comfortable, you know. Right now, I'm not comfortable because I don't have a woman black enough for me. I think the ladies of the seventies were more independent, but delays of the eighties would be more dependent on men, mostly because they've been outside in the world and that they've seen how hard it is out there. You see a lot more women in graduate schools. You see a lot more women in executive positions, a lot more women owning their own offices and businesses. And I think men are becoming scared of that. The opportunities for the black man, like I say, are not equal to the white men. They are more of on the level of being under the black woman. They are only concerned with themselves. They have no religious or no convictions whatsoever, and sex is usually their first priority. I feel about the women in the eighties that they are beautiful, fantastic, and they most of them have their jobs. So stick with them. The male mentality. It's a little shaky like week, but I don't blame the men fully because there are a lot of dense women out here also, where I think they are more independent now, they look more toward a single life, not really a husband or wife relationship that they used to in the past. I think it's about time for everybody to get their act together. I think that the women depend on the men. The men depend on the women. And if we all work together as a unit, then we can get something done.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679#t=16.05,110.31"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679/transcript/47220/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So I'm calling all men. Be a man and do what you are supposed to do spiritually, financially and mentally. And for the women. We got to stick with the men, encourage them in every area. And I think that if we do this, you'll find that the children will grow up stronger with a lot more love in their lives and not looking so much for the things of the street. That's great. That's great. And I think, you know, I think people are of love. The face of the homeless is changing and they. Hmm. The street people. The bombs are an uncomfortable reminder of the homeless in Baltimore. But lately, they have been joined by younger and younger men. By women and children. With no place to call home for many years. Everywhere. No. You don't know what to do, where to go. Just makes you feel sick walking down the street and see everybody else out there working to say, Why can't I be like the rest of that world? No, I don't have to be like this. It's not the kind of life that is now no fun. You know, I have no self-respect. You know, people look down on you, you know? Well, I guess that's the worst pain in the world. Seems like the pride goes and is high. While an accurate head count is hard to come by, officials who work with the homeless estimate that as many as 12 to 13000 people per year are homeless in Baltimore. Eviction couldn't keep out of all that money coming in. Deinstitutionalization. I go to jail every few months. I can stay out for a few months, walk on the street, then end up going to jail. Spousal abuse. I just got tired of it.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679#t=110.74,243.57"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679/transcript/47220/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Social service budget cuts in the welfare office. I mean, it's almost like it's a joke to them. They just don't understand how serious it is. And unemployment. We need a job as well in the ranks. Often there is not much help available to a person trying to get off the streets. Was it for the mission so probably be froze to death by now because it's pretty cool at night and I've had something to eat here. Going to places like daily bread, water, Franciscans during the day, free meals there has been staying alive. Do you take things like nuts for granted, Like if wonderful Catholic people like Franciscan Center Appeal on Maryland Avenue and our daily bread down here, down hill, Franklin Street. I wouldn't eat there. You got to have a disability. So, I mean, I don't have a disability. I don't even have high blood pressure. So how can I get some help out and get some food name? I guess the food stamps mean what kind of bad I. I mean, it's not like a whole lot of Kansas sightings of really black men between the ages of 20 to 29 account for the largest number of homeless. That according to a recent study by the shelter network. With jobs being extremely hard to find. Still, they are categorized as potentially employable by the Department of Social Services. Only during the winter months, they may qualify for a one time only check of $126, $126 to start a new life, to find a place to live for food and clothing. You don't need someone to help you out. I mean, you're out in the street, you know, What can you do? You have to do something. You don't want to starve to death.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679#t=243.75,354.66"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679/transcript/47220/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I mean, I have good intelligence. Like I say, I get an armed force, everything I do. But I have no way of life. And the missions can be rough. Life on the streets can be worse than going out there by myself down Baltimore Street. I'm sure the police station was there or not. It was scary. I didn't know who was around there, what type people they were and all that. And when you're walking the streets alone with no one to talk to, and at that point, you're sort of paranoid sometimes. Women with children are becoming a common sight at shelters in Baltimore. Well, I'm trying to find an apartment right now. Me and my daughter put out my mother's house and I went to the Department of Social Service. And so they sent me here. The mother with three children gets $355 a month, plus maybe 100 something in food stamps. She could probably rent something with enough rooms for herself and the three children for $240 a month. But that does not include utilities or heat. So she's going to put out another 80 to $100 a month in heat and utilities. That's going to bring her up to about $340 a month. And she gets then $15 left to buy soap powder, buy shoes for the children deodorant. And hopefully her food stamps will last her throughout the whole month. So for her, realistically, she ought to look for public housing. But the waiting list again, realistically, is anywhere from three to 5 to 7 years, with approximately 427 beds available. The more immediate problem is shelter for the night. One third or better have left here with a definite place to go. And other women have left here and we don't know where they've gone.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679#t=355.11,476.32"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679/transcript/47220/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"As the colder months come on, probably have some nights where we have to turn men away. As the weather gets worse, the problem intensifies. It's not really something I expected to happen to me. I was raised in a good home and all that, and I sort of end up in the wrong spot is really bad. And then I had no place to go when you want to go to sleep. There's been times, you know what? I want to go to sleep, you know, And you know, you just like it could be 4:00 in the afternoon, 3:00 in the morning. You've just got to keep walking, you know. You know where to go, you know? Like some people, you know, like, I guess you where some guys like me turn to crime, you know, like they you know, they get frustrated. They just take some, you know, or not somebody in here and get some money, you know, cause, you know, it's just like towards a male. The question remains how to relieve their suffering. And. Black Nativity more than just a play, but a powerful black version of the birth of Christ, written by Langston Hughes some 20 years ago. The creative input behind this year's production came from the show's producer, Hazel Bryant. Bryant is a Baltimore youth who got her start in opera in 1962 in New York. She founded a black theater company called the Afro-American Total Theater. Choreographer Mike Malone has among his credits designing the dance routines for the original version of Broadway's Great White Hope. More recently, choreography for the theatrical production of Reagan and Washington. Black Activity is the piece that has originated from the works of Langston Hughes. Langston Hughes, a playwright who's a playwright, poet whose work dates from the Harlem Renaissance.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679#t=477.25,599.77"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679/transcript/47220/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And he has told the story of the birth of Christ. And he has told this story with prose and poetry written in the vernacular of black folks. And he uses he suggests gospel music be used with and underneath and on top of the piece. And that is what we really have this time, except we've added another element that has to do with the spreading of the good news and the spreading of the word. Through the entire piece, the first and second act. Oh, and we wanted to kind of put our signature on this work. It is absolutely a classic, and no one could improve on the original company and the original production that was done over 20 years ago. So what we were hoping to do this time was to present again to the world on tour a bit by really an entire act of the original production. And we have the widow of a gentleman who arranged that music. As a matter of fact, she and he did some of the work together. And so we wanted to revive that, that classic and that masterpiece. And then to add on what black people have done through gospel music in the 20 years since that original production. And I would say that Mr. Hughes had been asked if he would make a statement artistically about the Christmas story, and he had just had a rather important disappointment in a work he had written for the Broadway stage, and he decided that he would write something that he wanted had done in the black church for black people because he had been subjected to criticism of a kind that it was clear that the people who were criticizing him did not understand his culture, and he really wanted to do something that he loved very much for people that he loved very much and for no other reason.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679#t=600.88,727.6"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679/transcript/47220/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I think that's why he wrote it, because he wanted to make a statement to black people artistically. No, I said no. On for about a year. She went through the whole camp. Oh, well, did you hear about it being received by the hotel? Abnormal for a car bomb attack at rush hour. Where did you hear that? Danish champagne. Well. And I had my way. My way. Get out of my way out. And then. No room. No room in the end. If I were to sing these commercial jingles, we do Chicken Ride, and when it's time to relax, you'd probably complete those jingles and then name the products being marketed. But what you may not know is that the black firm of Mingo Jones Advertising Inc created those successful campaigns for Kentucky Fried Chicken and the Miller Brewing Company. And all of this creative work was done on the 26th floor of this New York City skyscraper. I do one thing. Like. No one else can do that. I concentrate on making it great. I do it just for you. Advertiser Seek Frank Mango and Carolyn Jones. When the message seems to have missed black consumers and the message has ignored them all together. It's time to take it back. This is an employee who's going to work his way. So we had we had a lot of license and we took it to make the music very special to the spot. As a matter of fact, the more I listen to it, the better I like it. That's actually a you know, it's like a popular song in play a little while. I heard it three times. But that slogan is a is a a a very good example of the kind of thing we were talking about earlier, about how we like to work, which is looking for the concept before we try to make the execution.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679#t=728.53,897.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679/transcript/47220/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"According to Frank Mingo, often the commercial campaigns they develop for a black audience turn out to be the best campaign for any audience service. I mean, good years where it's at Mingo Jones is ability to solve the hardest part, making a good campaign better with sweet rewards. Over the years, they have won several Clios, the Academy Award of advertising, and many CBA awards. The definition of that problem and the the development of objectives and all is a function of just about everybody. The creative solution to the problem usually comes out of creative department, but it has to be framed by everybody. Mingo Jones, advertising consultant with the Reputation Mingo Jones has developed. They have attracted some highly qualified people. Kenneth Brown, senior art director, has been drawing for 20 years. He got his start by drawing posters for church dinners. Kenneth was the creator of The Cosby Kids. They have a extremely good reputation in terms of just doing quality first class advertising. Frank Mingo, president of Mingo Jones, is a 17 year veteran of advertising. Before starting his own agency five years ago, he was vice president in management supervisor of the Miller Brewing Account at McCann Erickson, where he handled clients generating $100 million in billings. When you started, was it your intent to start a black advertising firm or just an advertising firm that just happened to be owned by blacks? Our hook on try to get in West West was to do black advertising or to do any other kind of advertising. Anybody else that other people didn't want to do. How were blacks portrayed in in commercials? One of the labels I personally invented was was the obligatory three second black. And companies would do commercials in a pan across and and, you know, everybody would be standing around applauding.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679#t=898.26,1019.31"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679/transcript/47220/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And right in the middle of this sea of white faces would be a black guy going and you'd see him for 3 seconds. And he was out. And and when you asked company, what about black consumers? And they said, we have blacks and I have a test, you know, And since that time, there have been increasingly there's been an increasing awareness that that is not enough. There's been an increasing awareness that consumers are fairly sophisticated about that kind of thing nowadays. And while that might have been sufficient 20 years ago that it really doesn't matter when they started to get it, so that we started making commercials that were commercials in which the heroes were black commercials on it. And sometimes the entire cast was black. And if you haven't, you're going to find that these kinds of commercials, not only if they were good pieces of communication, they sold everywhere. For me, I'm George Reynolds, Westinghouse engineer. The creative half of Mingo Jones is Carolyn Jones, executive vice president and creative director of the agency. She started in the ad business as a secretary with J. Walter Thompson. She soon proved herself as a top notch copywriter and remained with Thompson for five and a half years. She then left to join a newly formed black owned agency called Zebra Associates, and six agencies later joined with Frank Mingo to start Mingo Jones I had gotten two pieces of advice, and it was very coincidental that they both were black women, and both of those women had majored in journalism, and they both lived in New York and they were both fairly prominent here in New York. And they both said to me, We have enough teachers and social workers. We need more black people in business.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679#t=1019.79,1117.47"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679/transcript/47220/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And they both moved. THOMPSON Then they said, if you can get any job at Walter Thompson, you take it for us. Why? Mingo Jones I knew how not to go into business. So now I'm getting another opportunity to talk about another business. And I had about 100 questions and he had about 100 answers. So I said, I can't go wrong because I'm going to be doing what I like to do, working with the top people in the business and the client side, and hopefully we'll make a lot of money. Is it very competitive for a black woman in the advertising field? Oh, I think advertising is competitive for everybody, male or female, male or female. And when I started Thompson, they told me to pick a monday, any Monday, because they had a new group coming in every Monday, which meant there was a group leaving every Friday. But it's very much competitive. And you have to understand, and especially if you're in the creative area, that people are criticizing you from the time you open your mouth with an idea to put an ad on the paper and even after something is printed and run and the clients paid money to have it on the air, your mother could say, Oh, you did that commercial. I don't like that commercial or Somebody did this. I love it. So it's all very subjective. So you're constantly criticized, and as a black person, you have to realize that they can criticize ideas and does not necessarily mean people don't like you. And you have to understand that you need constructive criticism or you just won't make you relax on rubbing your hair, body cheating it about short changing it of shine. You need look of radiance.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679#t=1118.4,1209.03"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679/transcript/47220/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Relax. We'll close out this year about $20 million in billings $20 million to say 20 to $50 million represents a pretty fair medium size agency. But you got to get over $100 million before you really consider the fact that nobody has a business in the biggest of the multinationals but $1,000,000,000. And so like, you know, I mean, putting that perspective is not a lot to put in the perspective of small companies. This is beginning to be respectable. How soon do you see it coming to Mingo Jones? Well, we hope we'll be $100 million agency in the next five years. Just one thing you didn't Kentucky Fried Chicken. I do impressions finger lickin good. And just for you, it's a good time to get it back. Harlem, a community of contrasts of poverty and prosperity, of corruption and creativity. Harlem, the birthplace of the Harlem Globetrotters and the Harlem Renaissance. Harlem, the place where many great black leaders have called home. It is the place also where photographer James Van de Z has captured on camera for more than 50 years. At the age of 14, James van der Zee became interested in optical instruments, but he was not especially interested in the camera itself as he was in the purpose it would serve simply to give him something new to do so. Through a magazine ad, young James sold 20 packets of perfume at $0.10 apiece and obtained his first camera. And Lenox, Massachusetts, where young James lived. He turned his closet into a dark room and began creating what would later be called a triumph of artistry and technology. With every picture he developed, James, who taught himself almost everything he knows about photography, learned more about the medium and became more imaginative. For example, the theme he created in this photograph, he superimposed past military campaigns, put in a photograph of a Boy Scout and placed money in the soldier's hand.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679#t=1209.54,1355.33"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679/transcript/47220/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The theme was, I did it all for money, or in this wedding photograph where he superimposed a four year old girl and etched in two little hearts. It was called Future Expectations. Van der Zee added humor to some of his pictures. This one was called Undeclared War. The woman is angrily awaiting her husband, who is late in coming home. At 18, James and his brother Walter on his left, moved to New York five years before this photograph was taken. Having been raised in a small town, it took James a little while to adjust to New York. But once he settled in, he began to enjoy it. He had never seen so many black people before, and those people became the primary subjects of Van der Zee. Picture taken Man James Van der Zee was 82 when the Harlem on My Mind show opened at the New York Metropolitan Museum in 1969. The photographs were a revelation, according to Jim Haskins, author of The Picture Taken Man, not simply because they showed black people of comfort, beauty and pride, but because it revealed to people a life that few were aware existed. The photographs marked the discovery of an uptown photographer who had recorded more than 50 years of Harlem history. James van der Zee simply saw beauty in people and was willing to work to, as he once said, get the camera to see it the way you see it. Out of his big studio in Harlem came some of his most impressive work. One was Rabbi Matthew and the Moorish Jews and the Barefoot Prophet. He had taken pictures of Harlem social and athletic clubs. Its famous figures, such as Joe Louis Jack Johnson signing a contract for a fight and the black Yankees.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679#t=1356.23,1481.23"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679/transcript/47220/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Among his most recent models are Muhammad Ali, Eubie Blake and Bill Cosby, who persuaded Van der Zee to start taking photographs again after a 12 year retirement. Van der Zee had been Marcus Garvey's official photographer, lived and worked through a depression and two wars. Listen to Van der Zee as he reflects on his past. That made people look better than they really didn't like that. Yeah, I can remember one guy, Mr. Cage, having a bigger like don't like that because that's the life picture, material like that. Yeah. Should it be looked like you could go do something. Yeah. But they looked so bad, so I thought it was mine to pay you to, you know, resolve them. They could go either way, but they see me when I go to say I did a lot of records to improve the pictures. I use that in my testing bathroom. Just knock it out, you know? But I don't. Got around too much myself. Telco. Just. I don't have no time. And I guess. I'm slowing down. James van der Z is 96 now, but still being sought after to do what he does extraordinarily well, making people look good. You. Wall Street is the financial capital of the world. Many of the major banks and insurance companies are headquartered here. Most of the business being conducted here is by white males, with the exception, however, of that done by the e.g. Bowman Company, a commercial insurance brokerage firm founded in 1953 by our Nesta G Pro called AH. Mr. Prokop, once a hopeful pianist, is now founder and president of the largest black owned insurance brokerage firm in the United States. For some 25 years, the booming company was headquartered in Brooklyn's ghetto, growing from a tiny home and car insurance office with three employees to a company with 35 and commercial accounts.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679#t=1483.96,1666.9"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679/transcript/47220/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"With 52 of the Fortune 500 companies such as IBM, General Motors, Kraft and Pepsi. And in May, 1981, insured an 800 mile pipeline the longest in the country. Mr. Prokop is a determined, tough businesswoman who aggressively goes after the top corporations. But it is not easy. It took seven years before landing her first big account, the Pepsi Corporation. One would think being black and a woman would make it extremely difficult to survive in corporate America. Ms.. Prokop sees it differently. I never left the thought of being black or being a woman. I've never committed either one of those things to be a liability to me. And I was born black, and that's the way it is. So you have to accept me. Being a woman doesn't bother me at all. I think with the combination, it helps the door to open. We then have to sell after that door is opened. But I would say that being black and being a woman has been an asset and opening the door not necessarily in getting the business, but in opening the door. Does this mean that the Egg Bowman Company has arrived since it has moved to Wall Street? No, we have a long way to go. This is just the beginning. Even though we've been in business since 1953, we still feel that this is just the beginning for us because we're just touching the commercial insurance brokerage market. We have been doing it since 1968, but we feel that there's more for us and we feel that being located here in this area will certainly focus on what we're attempting to do insofar as major corporations are concerned. And we want them to know that we're here, we're in mainstream America, and now we want some of their business.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679#t=1667.29,1781.56"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679/transcript/47220/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"One of our nest as philosophies is to hire the best and that she has done, for example, in the White blouse. Shirley Clarke, vice president and CPQ, a Ph.D. in insurance. There are only ten black CPCs in the country, one of which is female, or NESTA has two of them on staff. Harry Innova, Executive VP. Harry is a tough, strong and sharp businessman, and her husband, John Prokop, chairman of the board and publisher editor of the Amsterdam News, the nation's largest black newspaper. But Anasta is in the driver's seat. We're not selling £5 of sugar or £2 of potatoes, Don't you see? We're selling service. So when the client calls at 5 minutes to five for a bond, it just has got to see to it that they get that bond. Even though you may be closed. The rest of her top management is outdoing what a NESTA says the Beaumont company does best following up. But we don't go talk to a prospective client and forget his. We follow him constantly until we finally put it to bed. But we don't always put them to bed. You know, there are 500 major corporations. We only have 52. Well, in the world in which we live, I guess I'm a black owned insurance firm. I would love to be just a a competent insurance brokerage firm doing business in mainstream America. But I don't think that we as black people have arrived at that point as yet. Perhaps we will by the year 2000. We have many capable companies out here in these United States who should be given an opportunity to do business just as anyone else has given an opportunity. If you have the capabilities and if you have the expertise, if you don't.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679#t=1782.58,1886.74"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679/transcript/47220/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And that's another story. And we're not looking for a handout, we're looking to do a job. And what's next for a prokop satellite communications. With the advent of the space shuttle, commercial companies will be sending satellites up in its payload. And for each commercial satellite that goes up, $5 million worth of insurance will be carried if a nester has her way. The Bowman company will handle a few of those accounts.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679#t=1887.1,1915.6"}]},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679/transcript/47220","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679/transcript/47220/annotation/17","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/047/220/original/open-uri20230807-3196-ztdfik?1691449294","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/047/220/original/open-uri20230807-3196-ztdfik?1691449294"}]},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679/index/84192","type":"AnnotationPage","label":{"en":["City Line Library #2, 1982-10-10 - 1982-11 06-26-2024 15:43 [Index]"]},"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679/index/84192/annotation/18","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"View of men and women in the 80's ","format":"text/plain","label":{"en":["Title"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679#t=13.0,137.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679/index/84192/annotation/19","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Unhoused individuals","format":"text/plain","label":{"en":["Title"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679#t=137.0,548.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679/index/84192/annotation/20","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Black Nativity ","format":"text/plain","label":{"en":["Title"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679#t=548.0,810.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679/index/84192/annotation/21","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Hazel Bryant; Michael Malone","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679#t=548.0,810.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679/index/84192/annotation/22","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Mingo Jones Advertising Inc. ","format":"text/plain","label":{"en":["Title"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679#t=810.0,1271.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679/index/84192/annotation/23","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Frank Mingo; Caroline Jones; Black advertising ","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679#t=810.0,1271.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679/index/84192/annotation/24","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"James Van Der Zee","format":"text/plain","label":{"en":["Title"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679#t=1271.0,1621.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679/index/84192/annotation/25","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Photographer; Harlem","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679#t=1271.0,1621.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679/index/84192/annotation/26","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Ernesta Procope","format":"text/plain","label":{"en":["Title"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679#t=1621.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679/index/84192/annotation/27","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Pioneering Black insurance broker; Wall Street","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/103619/file/203679#t=1621.0"}]}]}]}