{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://marmia.aviaryplatform.com/iiif/br8mc8sj7v/manifest","type":"Manifest","label":{"en":["Ruby Dee, 1985-02-10"]},"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/5205"]}},{"label":{"en":["Date"]},"value":{"en":["1985-02-10 (Creation)"]}},{"label":{"en":["Description"]},"value":{"en":["On tape label: City Line #121 (Container Summary)","Jaki Hall and B.T. Bentley interview actress, Ruby Dee. Tea Montier interviews Lieutenant Jim Bethea. (Scope and Content Note)","Be advised that this video may contain sensitive, triggering, and offensive language and content. 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Tea Montier interviews Lieutenant Jim Bethea.","Be advised that this video may contain sensitive, triggering, and offensive language and content.","Digitized with funding provided by the Council on Library and Information Resources' \"Digitizing Hidden Special Collections and Archives: Amplifying Unheard Voices\" grant program."]},"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/000/186/336/small/thumbnail_186336_1683212651.jpg?1683212656","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336","type":"Canvas","label":{"en":["Media File 1 of 1 - open-uri20230816-805753-wsd4nm.mp4"]},"duration":3642.215,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/186/336/small/thumbnail_186336_1683212651.jpg?1683212656","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/content/1","type":"AnnotationPage","items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-marmia.s3.wasabisys.com/collection_resource_files/resource_files/000/186/336/original/open-uri20230816-805753-wsd4nm.mp4?1692217893","type":"Video","format":"video/mp4","duration":3642.215,"width":640,"height":360},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336","metadata":[]}]}],"annotations":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/transcript/47223","type":"AnnotationPage","label":{"en":["AUTO_TRINT_WJZ-CTYLN-003-009.mp4 [Transcript]"]},"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/transcript/47223/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It's 12 noon. We're live on City Line. Hi, I'm Jackie Hall. And I'm Betty Bentley. We have a very special guest for you today on City Lines. She's an award winning actress, poet, writer and director. She's Ruby Dee. She won an Obie Award for her work in Athol Fugard, Boseman and Lena. And the Drama Desk Award for the New York Festival production of Wedding Band. She is perhaps best known for her stage and film portrayal of Ruth in A Raisin in the Sun. Increasing the number of black firefighters in baltimore city. I'm t. Monti and we'll talk about one group's efforts to do just that. Harold anthony here telling you ahead of time to grab a pencil because along with george benson's 2020, I'll be updating you on events happening around town in celebration of Black History Month. We will be talking to award winning actress Ruby Dee. Next live on City Line. Good afternoon. Thank you for joining us again on City Line. How are you doing today? Pennsylvania Avenue. Oh, Pennsylvania Avenue is fine. It's still there. You know, Jackie working on a very special program, a black history special. You know, of course, this being Black History Month, there are a lot of exciting things happening both here at the station and around town. So we hope that you will be taking part in some of those. Right. And our guest today is appropriate for this month. Of course, she's appropriate for any time, but it's a part of our extension of black history celebration. We'd like to bring her on now. It's our pleasure to introduce Ruby Dee. Living on the street, you know, doing just fine. I know. My dear sister Mary, thank you for coming. We're excited about your coming is.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336#t=94.44,233.4"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/transcript/47223/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Oh, I'm delighted to be here. What a glorious way to spend a Sunday morning. A great kick off for us where, you know, Black History Month and everything. To have someone of your stature join us is always a pleasure. But certainly at this time of year, it's even more great. Yes. Well, you know, Black History Month week, the significance of it is dawning on me more and more. I treasure it. You know, earlier on, I just took it for granted. I like to think of it as brotherhood, sisterhood, time and a chance to look back, look back at the history so that maybe we'll learn something from it. And most of all, I think I like it because it provides a kind of continuity. I don't I don't think it goes nearly deeply enough or is structured enough. I mean, I think we should know our history by rote almost. You know, it kind of helps us with planning some things for the future. I think they should be a part of it. But I was wondering whether or not it should simply be so natural a part of the history of the country that it wouldn't even be necessary. Well, you know, America being America, I used to think that, too. Why should we have a special history time? But but we I think as a people, knowing our history, tends to humanize us. And I wish all groups, frankly, had a you know, there was that there was a Hispanic history time, Polish Irish, a Haitian history. All the groups that make up this country, including the Asians, had a history time that we all had to pay attention to because we've got to find the things that we've got to have in common, you know, to find.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336#t=233.7,319.32"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/transcript/47223/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And and hopefully those ways will dictate the ways we must go in the future, you know, to save ourselves, the whole world. When we're talking about historical roles, uh, are they significant to you in any particular way? Historical role? Well, if it's a good job, yes. No, I obviously I like doing historical things and they're exciting. The thing I've missed as an actress over the years is a kind of dimension, opportunity to do all kinds of things, not just from slavery, not just drama from the streets, not not only the problems, but the glory. I mean, you know, we rarely, you know, historical presentations on a major T.V. we or film get a chance to look at the heroes and heroines from ancient civilization and Africa and and all over this world, we really dramatize the contributions. We were so into the travail, you know. Now, speaking of heroines, your show at Goucher last night was devoted to the black woman's experience. Not no, not. Not entirely. It was I was celebrating words last night. They were mostly black. But, you know, we I do words from the celebrating, the words and the ideas and about men, about women and children and some stuff I wrote. And when you do a one woman show like that, what is it that you hope the audience leaves with, even though it may be a multiple or a multidimensional kind of experience for the audience? But what is it that you want to leave with them as a message or as an impact? Davis I just want them to have a good feeling afterwards. And then maybe in the in the quiet of the night or sometimes in talking, you remember something because everything affects us, you know, I know as well.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336#t=319.74,427.86"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/transcript/47223/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I want the audience to I want to teach this tonight. I'm going to do this, that No, I just want them to have a good time, dig what it is I'm trying to do to do that. But I'm what what force it is, what that's trying to come through me as a performer. You know what writer. And so and I'm not I suppose if I hoped anything, I would hope that the audience would remember. The writers remember, because I wish we could know our poet and novelist and and short story writers as well as we know our baseball players and musicians. So that that that's part of it and a lot. And I always feel good when somebody says to me, Well, who wrote that? Where can I get that book? You know? And I know that we'll continue our discussion because Ruby Dee, in just a minute, we invite you at home to call in at 481 13, 13 to you have a question for Misty and we'll be back in just a minute. Stay with us. Our guest needs no long introduction. All that we had to say is two words, and that's Ruby Dee, and everyone relates to you automatically. Well, thank you. I mean, that that's that makes me feel very good. I kind of because it encapsulates for me a feeling that I know that has to happen in our world. We're going to have to just I've got to look at that little boy and that lady like that. So I have to and I have to there's something in me that has to move towards you because we've got to start moving towards each other as human beings. Exactly. You know, putting aside all the junk and unnecessary stuff and the stupid values that we have and just reach towards each other, you know, with great excitement.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336#t=427.98,619.91"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/transcript/47223/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Let me ask you about a role that we will see you in as of tonight. It's a two parter on the Atlantic Child Murders, and that's the title of it, Atlanta Child Over. Jackie. I will be on it tonight because it's a huge book. And I play Wayne Williams. His mother and I come in, you know, after it is suspect, after he is suspected. What was the world like for you? Well, I had made up my mind at one time, having done several biographical things, you know, that I would not like to do living people, people who live. But Abby Mann, the show's producer, and John Erman, the director, made me feel as if, you know, they couldn't do the project without me. So I said, Well, okay, So that's and so I decided to to come aboard. But the truth is, there wasn't that much footage on Mrs. Williams or her husband and that Paul Benjamin played her husband. And so so a great deal of it was left up to our imagination. A lot of press has come out particularly of late regarding the show. When you first I believe that you were filming it last year, what type of feeling do you have in terms of controversy? What do you hear that sense of controversy when you started working on the project? Well, yes, it was a little strange because Abby Mann as a producer was on the set all the time. And one of the things that we were we were. And that was required of us that we learned the words verbatim. I mean, no ad libbing, no making up anything. And I had not heard that kind of request before. And the whole show, I think, was his his presence and his his desire to keep everything very tight in terms of what was said was evident the whole time.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336#t=620.9,734.66"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/transcript/47223/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And we had indeed talked with Mrs. Williams and Mr. Williams on the phone when uh and Mr. Abby Mann arranged it. So it had that kind of a one had to be precise and when tried to be. But with, with all that you can, it is, it's a fictional representation of an actual happening. I mean when I think about Dr. Dramas anyway. Yeah, yeah. We rented Duncan and I would like to ask you a question, Mr. Ruby Dee. Yes, I hear you talking about the land of murders. What I want to know is what type of research did you do pertaining to Wayne Williams mother? Did you actually speak with her to get her feelings and views? And another question is, how do you feel after doing this performance that's coming on television tonight in Baltimore? We're waiting to see it. Yes. Well, I, I look, we we tried to find footage, but there was very little footage of her in the news. But I saw two good clips. They gave me a pretty good idea what what she looked like and and all my, uh, and I hadn't remembered seeing anything in newspapers, but. But a file was gotten together for me, And then I talked to her on the phone once, and I found that intriguing, you know, But hardly enough. But. And what else did you say to me in terms of the research? Yes, in terms of the research. And another question is, after did she see the does she see this program already herself? And. Oh, no, she has what? I think she's in the script. I think she read the script and I don't know when she'll see it. You know, as an actor, you know, you're a hired hand, you agree to do a job and you do just that.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336#t=735.32,833.96"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/transcript/47223/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The political and the the significance of the piece didn't really hit me until this this year. You know, I knew that it would would be significant. And what I hope to accomplish, you ask me? Well, I hope that the film will open the trial up and give Wayne Williams another trial because guilty or innocent, he certainly was convicted on some very flimsy evidence. Well, they seem to feel that he was railroaded. Is that the sense that you have after having done the film? Well, I don't Maybe the Abbey Man's dictations have stuck with me. I don't make judgments like that, whether it was railroaded. And I'm looking at the facts, know looking at these facts, hey, if my son was sent to jail for this series of crime on this flimsy evidence, I would be very shocked. And I do think that the truth of the testimony that the prosecutor and the defense, when they said they were shocked when he got when he was convicted and sent to prison, he said, Mrs. Williams, read the script. Did you have any opportunity to get a feel from her, how she felt about, you know, I don't know. I shouldn't say that she actually read the script, and I shouldn't say that because I don't have that written down and the things are so serious. But in talking to her, I got the I was I don't think she was displeased about about the prison, about the fact of its being presented. Okay. We've invited our home audience to talk to you and we'd like to go to them now. Hi, your live on City Line. Hello, my name is Kelly Hill and Ruby Dee. I had the pleasure of meeting you about two summers ago over in Washington, DC.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336#t=834.38,926.38"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/transcript/47223/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"At that time, you're working on a project with Dr. Calvin W Roller over at Howard University in the United Black Fund. I'm trying to find out what was the project that you were working on at that time? We were working on a short film about sickle cell disease, which is for the United Black Fund, which is headed by Calvin Real Life and the Howard University Medical Center. Where you producing that? We were producing it because you do have a production company. We have a production company and we're in the process now of doing a co-producing 13 one half hours for PBS and a third season of doing this, and we're going to call it. In other words, I see a movie in which our emphasis will be right is a rainbow coalition of writers. It's very exciting. How satisfying is that to you as the producer of the series? Well, most satisfying when when you say a producer, you know, you work with a marvelous team and we have a we have a partner, David Dow. We have people that work with us, you know, milk. Davis And we're hoping to come to come from the out of him at Howard University and on the wireless there and Dr. Cheek and to be on campus with at least the studio stuff we have to do. So it's very satisfying and it's a chance to put before the public those writers that we never, never hear about. You know, and I'm hoping that one of these days when I make one of these, just like I did at the go to college, that people will ask, do you have such and such a writer? Anything from this author or this poet? You know, I could give like, requests from a scene away, you know, just love it.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336#t=927.34,1028.53"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/transcript/47223/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Yeah. Another question from the audience. Yes, ma'am. Good morning. My name is Margaret Coates. Misty, being a black actor and being in the business for a long, long time, how has the roles changed from when you first started as opposed to now? Well, I'll tell you what, I don't see that the change has been that significant. If the change has been most in me, I think when I started out, I was turning down a lot of things because I had a family and I had to do this. And then there was something else I wanted to do and I wanted to let the kind of world I didn't want to do. It was offered. But as I grew older going, Oh, that may have been a mistake. You know, the I don't like to say the fact is that we live in a racist context, but it permeates every section, every section of our lives as black people. And so maybe I should have done a little more to get in as best I could before I tried to change and go my way. But now I'm getting that opportunity. And thanks to two programs like the one at PBS, thanks to other forms of the courage I've gained and overcome something, I don't think the opportunities have changed that much. We have to raise the consciousness enough. You know, I was shocked, for example, when Roots was so tremendously well-received, although I was the godmother, that project, they gave me credit. But I was that was like the kindergarten of the whole experience. It was a shock, but it was such brand new information. It's like every ten, 15 years, 20 years, we have to start all over again with the explanations. Thank you for the question, because I try to be brief, which is why.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336#t=1029.06,1124.17"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/transcript/47223/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"No, please don't. Don't author a thing. We love it. We're going to take a break right now and come back and continue our discussion with Ruby Dee. Please stay with us. Lost both teams coming off losses, but it's a different football. Friday night ended a six game winning streak. They have. And the key guy continues to be the. Now, here's this week's community calendar. Hello, my name is Denise Venable, the Student Government Association of Sojourn, A Douglas College, is sponsoring an effort to your celebration, which means love brings happiness. On Saturday, February 23rd, from 10 p.m. to 2 a.m., music will be provided by Mirage and will be featuring a hot buffet, cash bar and the coronation of the college's Queen and Pharaoh. For further information, call 2760306. Hello, my name is Donna Austin. I represent Zeta Fabulous Award T, Inc. The Celebration of Black History Month. We are sponsoring A Final Woman, Hattie, on Sunday, February 17th at 3:00 PM. Our theme is Educating Our Future. Our speaker will be Mr. Boyce Mosley. Admission is free. All are invited to attend. For further information, please call 4678384. Hello, my name is Eleanor Logan. I represent the YWCA of Greater Baltimore celebrating Racial Justice Month. We will be sponsoring a panel discussion titled Beyond a Coalition of Conscience to a Coalition of Action. This discussion, moderated by Dr. King, will take place on Thursday, February 14th at 7 p.m.. For further information, call the Ellen Fisher Racial Justice Center at 685146. If your group organization would like to announce an event, please write us in care of City Line TV. Television. Hill. Baltimore, Maryland. 212, 114. Call us for further information at 46600013. Between the hours of nine and five. Welcome back here. We're still talking with the wonderful Miss Ruby.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336#t=1124.44,1416.63"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/transcript/47223/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We do want to invite you at home. If you have a question for Ms.. Ruby Dee, please call in at 481 13, 13. Before we went away, we were talking about the roles that blacks are getting these days. It seems that when a black gets a major role, gets in the major spotlight, or there's a major production. And most people will assume that things are really start. But that's not really true. No, no, no. One thing I've learned, you know, I have been on my way, you know, about four or five or six times on my big break that there's no continuity of of of exposure in film and television and or onstage. And so it's qualitative, you know, these periods of drought and set up and ups and downs. So, oh, I've decided that we really have to stop looking for it because it doesn't make my sense is not really very realistic. I think what we really have to do is get behind producing and making product ourselves in church basements, in our homes and on the street corners, and having more young people interested in marketing and distribution. Particularly, we have to get hold of the reins. We have to get hold of the the foundation of what it is that we want to say and not have to be exclusively black. But we need so much and we've got to pay attention to ourselves. We're looking outside of ourselves for solutions. They should come there. They should be an integrated cultural input in this in this country. But until that until the country is ready, we really have to get together in terms of making our own product. Let's take another question from our studio audience. Yes, ma'am. Hello, my name is Nini Aziz, and I'd like to ask Misty as a black woman and a recently married black woman and interested in sustaining the black family, What is the secret that you and Ossie Davis share? Oh, my.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336#t=1417.48,1526.22"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/transcript/47223/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Well, it really isn't any secret. Everything that is common to human beings in marriage is common to us. In our marriage. You know, we're still together, but it takes a lot of doing, you know what I mean? And we haven't killed each other anything. But about my whole thing is that, you know, we it was we have a romantic look at something which is not which is not real. And the reality is there's a wedding, but the reality that is that I believe we believe the marriage is a process that you keep on getting married day after day after day. And if there and if the things that would you more things with which you can marry on and stay married then you can divorce that. Then then the marriage can can possibly last. It's like making doing the balance sheet at the end of every month for you bills as I doing the balance sheet as it were. How can you how can you do that? What can you do to spark this corner and and you know, that kind of thing? Of course, luck plays plays a great part in it. And of course our nothing is you. Few items in our society help us in terms of is the very real question of making it together as human beings. Thank you. Thank you for the question. Yes, thank you. Like her name, too, I was going to say. But thank you. But in terms of your working together and having done so many projects together and now in the production company and so forth, does is there ever a strain on the relationship? Oh, yes. Oh, yes. Because, you know, Ossie really is a solo. He likes to work by himself. And and but but and as a woman, I've had to learn something.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336#t=1526.49,1625.82"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/transcript/47223/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"First of all, have. I don't own confidence in myself. First of all, I've had to learn to respect from for my independence as a person I've had to do to get a holy boldness he has learned to respect. He has had to learn. It wasn't automatic, you know. It came through fights and crying and tears and pounding and and, you know, and threats and that kind of thing. But but we we struggled our way to fought towards something. I'm still trying to find my way as a woman, as a black woman, you know, But it's easier because he understands that struggle. Great. You have another question from the audience. Yes, ma'am. Hi, my name is Doris McKinley, and I'd like to know, every year on its anniversary, the Jewish people of this nation bring forth the Holocaust so that future generations will never forget and it will never happen again. Do you think we as black people should bring forth slavery so our children will not forget and remember what we went through? Yes. But even more than bringing forth slavery, you know, because the media will do that, we'll get our roots. We'll get we'll get it. And there are books, some books written on slavery, but there's very little. So I believe yes, not so much in rehearsing of the rehearsing the aspects that we would that are horrible in our past. But but I like going through the aspects that have been marvelous. I like the aspect of our history that that instructs us how to be today. I like the aspect that that may direct us towards a future. I like that aspect that brings us together. As a human, as a species on this earth. I think it's racism is a very, very destructive and late kind of thing.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336#t=1626.33,1720.84"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/transcript/47223/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I'd like to I'd like the kind of history that shows what we have in common. You know, yes, rehearse the slavery, but look at it hard at our value systems today. I think this time should be a period of plotting what it is we want for ourselves as human beings. Knowing that the future of the world, I think, depends on the revolution that will occur first within ourselves, you know, as human beings, as black people, and as business people, as people who would make war. You know, thank you for that. Thank you for the question. Yeah. Do you feel that that among other black actors and actresses, that that kind of sense is is. Being felt throughout. You know, are there movements toward that end? Do you think that we're reaching a point where more things are coming that don't so much concentrate on the negative but emphasize the positive? Well, that emphasized the challenge. I rather call it negative because I think we need we need the picture of that of the challenge and the negative despairs. But but and I think, yes, I, I find that people in politics and in the arts are very aware. I think I'm I'm very I'm anxious for us to start talking to each other. I'm anxious for us to say, hey, if this product pollutes the atmosphere and and and that we can't live here and it makes fingernail polish. And I'm like, well, I'll just do it at the park, you know? Well, and let's see. And supporting each other as, as, as and as, as, as human beings. The question you ask me, we realize what's happening, but unfortunately, we hang back. You know, we think we are the government and sometimes, you know, the wrong people get in the sand, always feel bad, and the devil starts riding.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336#t=1721.41,1828.7"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/transcript/47223/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And we think that's God and we forget, you know, that, hey, we can pull that sucker down. I love it. Let's take a call from Hong. Hi. CALLER, You on City Line? Uh huh. I like to first start off by thanking Ruby Payne for all the contributions that she and Emmylou Productions have made to the arts, And I would like to know what advice she would give to any aspiring black artists, especially filmmakers who have been struggling here in Baltimore for years for growth in an industry which isn't colorblind but chooses to do differently in the West. Thank you. Oh, is that the West? No, no, I think yes, Go West. Go west and yourself. Feel. Understand. But. But I of I think of my husband here we would talk about I mentioned earlier going into the fighting, struggling to get into the unions, making the networks responsive to our needs. Also, you have to know what the needs are. We have to articulate our needs as black people. We have to articulate our aspiration is not enough to know what we don't like. Is that enough to know what makes us? We have to know what it is. That means we have to read. We have to know a poet. We have to know an artist to know each other. We're just not paying attention, you know, instead of we're reaching to each other through a tube, you know, instead of bloody. And because there are lots of things we can do even positively, we can write to the stations, we can say, I don't like that I read this. Why don't you do that? We can start every university. I'm hoping it will start one of those clubs where you write to the stations every time there's a program concerning us as black people or any kind of program that thrills you, you know, for instance, I like it.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336#t=1829.06,1932.47"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/transcript/47223/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I keep my cards by the television because when I write something, I go to get these postcards in the mail so that they'll pay attention. And another thing, as a young as a filmmaker, um, I, I'm, I know that in addition to struggling to get into the unions because they're very, very racist for the most part, we must there has to be a concerted effort through our organizations to break that down no matter what it takes. And then we have to start doing our own films in our living rooms, on the street corners, you know, going out and doing it the best we can and peddling to each other. I've got to take a break. Anyway, maybe that's romantic, but we'll be right back in just a minute. Please stay with us. Transportation for City Line guest is provided by Total picture tours featuring bus, boat, helicopter and limousine services. Well, I have to say that this is the conclusion to our discussion with Ruby Dee, and I'm so I wish you could stay on. You do? Well, you know, I want to tell you something while I'm here. You know, I think about where I films, you know, on. On Ethiopia. On Africa. Well, that helps us to understand this. I narrated a film, for example, called The Business of Hunger. And I was I was startled to find out that, you know, once they have visited the Sahel, the I think it was the French came in and they planted peanuts and peanuts. Peanuts are a great soil. They grab the nourishment out of the soil and they this part of the land was raped and with the peanuts and then moved it because the French had that peanut oil and stuff like that.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336#t=1932.58,2136.24"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/transcript/47223/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"If I'm a liar, I hope nobody will sue me. But this is what I remember from the script and waiting for it to come on the air. But anyway, we ask you, though, you're talking about our creating our own our own vehicles. Do you think, though, in the pit of your heart that blacks will buy it? Now we go to the movies, that's for sure. We will go to the movies, period. But will we buy a black product? Yes. Well, we support it, but we have to have this distribution and marketing I'm talking about. We'll find people who know how to market to us. We love each other. You know, it's like somebody said, Well, I wanted an integrated company, but no, blacks showed up For hundreds of years. The wall has been up and then suddenly open the doors. I had doors open. You got a screen. Nothing is going to bring not those bricks down. And so we may have to do that with each other. But I have great faith in our brothers and sisters and in all peoples, really, who who whose hearts are in the right place. Because any white person, yellow person whose hearts and wives are going to understand what we're about and we're going to have to say to each other, Hey, our life is here if we want to save ourselves. Because through our salvation, you understand a whole lot of the world is going to get saved. But we have to turn around and look at each other. Oh, yes. On top of Ethiopia. You have something that. Oh, yes, I just got this in the mail that I'm collecting from writers, short stories and stuff, trying to program. Oh, very exciting time. And I think about Ethiopia, you know, as free the great civilization and that we're greatly removed Ethiopia's legacy child you know with from slavery notion in the forties and fifties by strong dark Tennessee porters and maids and we must lift up our heads and hands and free the open and free the Ethiopia and it goes on and on but we say but it goes on to say, uh, with the freeing, Ethiopia must we must go renewing Mother Africa's earth, setting captives free, setting captives free, beginning, beginning first and last with the Ethiopian captive in me.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336#t=2136.6,2258.25"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/transcript/47223/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"You know, the. So this is my cousin and I'm just there's so much to do. And I want to thank you, C.J. and Abby. Betty, Betty and Jackie. Thank you for inviting me and all of you for for permitting me this exploration. Oh, my. Oh, my. We've learned so much from you, and thank you. The next time you're in Baltimore, please come back to city life. I will. Please. We'd like to get some more of your readings and some of your own poetry, too, which we did not touch about. But we will. And. Yes. Oh, yes. Thank you. Thank you. Okay. We're going to take a break and come back with Tea Month here in the news cab. So stay with us. Three, four, five, six. Good afternoon. Topping today's news capped guerrilla warfare in Mozambique has been creating economic and political chaos for that country. We get a report from Peter Sharp. Now, 11 months after signing an agreement that should have brought peace to Mozambique, these Frelimo troops are fighting for the very survival of their country. Mozambique hasn't enjoyed a day of peace in 20 years, but never has the security situation looked so grim. This is the main road from South Africa. Guerrillas have turned it into a killing ground. The road, which once carried most of the capital's trade, is today littered with the wrecks of trucks and cars ambushed as they tried to run the gantlet from the border. And its economic targets that have become the guerrillas priority. This bridge was bombed on New Year's Day. Since then, all rail, traffic and trade to the capital has ceased. Only three kilometers away. It was a similar story. This time they hit the electricity pylons carrying power from South Africa to Maputo.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336#t=2258.88,2521.09"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/transcript/47223/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But even as they restored power here, the guerrillas blew up three more pylons 20 miles down the line. The men are quite simply, is bleeding Mozambique to death. This is John Vause, department store in Maputo. It's part of a large South African chain. And it's here that the economic effects of the war are painfully apparent. Samora machel is a popular president with the backing and respect of his people. He'll have no option but to scrap the accord if the fighting continues, and he'll look to both east and West for military assistance. Force of arms and not diplomacy will then settle Mozambique's future. The education of millions of poor and middle class youth will be critically impaired under the Reagan administration's proposal to cut education and other domestic programs. So, says Mary Harwood Futrell, president of the National Education Association. Futrell estimates that the Education Department would be cut by upwards of $3 billion if Reagan's budgets were adopted. Some $2.5 billion of those cuts would affect more than a million students from low and middle income families. A computer operating training course offered by the Baltimore Urban League has been discontinued because it has become increasingly difficult to find employment for graduates of the program, according to Lucille Green, director of the Urban League's information Processing Training Center. Even though students had hands on experience with state of the art equipment, finding jobs for the new graduates in the computer field became extremely hard to do. Increasing the number of blacks on Baltimore's firefighting forces is the goal of one organization here in the city. That organization is the Vulcan Blazers. Blacks currently make up 20% of the city's firefighting forces. That's a number the Vulcan blazes would like to see increased. Joining me now to discuss those recruitment efforts is Jim Buffet, a lieutenant author of The Vulcan Blazes.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336#t=2522.08,2632.54"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/transcript/47223/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Lieutenant, thank you for joining us this afternoon. What recruitment efforts are the Vulcan blazes currently involved with? Currently where assistance, civil service in getting applications and fliers out to those members of the black community who would be interested in coming into the Baltimore City Fire Department? We're going into public schools as well as black churches. What are the qualifications to become a firefighter here in the city? Minimum qualifications or high school diploma or GED, as well as a valid driver's license? How often? How often has testing held the examination for entry level firefighter is held once every four years. And the deadline for this year, this is the fourth year is coming up pretty soon, isn't it? Right. The deadline for filing for the entry level examination is February 215. What workplaces concern with increasing the number of blacks on the firefighting forces here in the city? We feel that the numbers presently in firefighters do not adequately reflect the general community of Baltimore City. And another thing of concern is the age of black firefighters now in the city of Baltimore. When we talked before this program, we were informed that we had no female firefighters here in the city. I did not know that. Are the bulk of the blazes concerned with getting females on the firefighting forces here in the city? Yes, we are. And we're in a position to set up a support program for any female who might aspire to be a firefighter. Anyone interested in becoming a firefighter, what should they do immediately go down to the civil service and file an examination? Excuse me. Filed an application by this Friday, February 15th minimum. Okay, let's go. Welcome, Blazers. Thank you very much for joining us, sir. In other news, the Howard University Club of Baltimore will be observing Black History Month this afternoon with a keynote address by Dr.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336#t=2633.23,2742.7"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/transcript/47223/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Cynthia morton, professor of history and geography and international studies at Coppin State College. Today's program will be held at 3 p.m. at the Paula Douglass Memorial Community Church at the corner of Madison and Lafayette Avenues. Dr. Morton's topic will be the Afro American family Historical Strength for the New Century. And finally, Trevor Lee Smith, an energetic student at Harvard of Grace High School, is Cityline Student of the Week. Throughout his high school career, Trevor has been a solid A B student. He exhibits a strong desire to learn and is respected by his teachers and peers for his accomplishments, his pleasant personality, and his positive attitude about himself and his school. Trevor balances his academic success with outstanding participation on the varsity football and basketball teams. He was the starting quarterback for the 1984 85 Class C Regional Championship football team and currently is the starting point guard for the basketball team. Trevor plans to attend college and become an architectural engineer. He is presently in the hospital recuperating from a knee injury. We wish him a speedy recovery. Best wishes to Trevor Lee Smith, City Line Student of the Week. And that is today's news. Cap, i'm t monte of city line up next. Do have a good day. Hi, I'm Harold Anthony, and on today's edition of the Entertainment page, my featured artist is one of the most popular jazz musicians in history. Ever since he was hurtled into international fame with his debut album called Breezin, released back in 1976. George Benson has maintained a well-earned posture as one of the greatest figures in the music world today. George began his long journey into superstardom many years ago, when at the tender age of four, he won first place in an amateur singing contest in his native Pittsburgh.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336#t=2743.09,2941.42"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/transcript/47223/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"At the age of eight, he was singing and playing guitars on local street corners, and two years later, he had landed a recording contract with RCA. Since then, got hit by the hand of his close friend and musical inspiration, Wes Montgomery. George Benson has gone on to achieve a greatness that is unparalleled in the jazz world. From his debut album, Breezin, which won him three Grammys back in 1976 and still remains the best selling jazz album of all time, came his rendition of Leon Russell's This Masquerade. This single earned George a place in the history books by being the very first song in music history to hold the number one slot in jazz, pop and soul. George went on to solidify his standing by releasing a number of follow up albums that have earned him numerous honors that include Grammys, platinum LPs, and number one singles. Not to mention a little extra spending change from his latest LP called 2020. He is George Benson with the title track. You know, think of all the kids in. Did you? So if you are buying a blue line by the double standard and you return it to something in the. It's not too late to get it back. But it just wasn't. If I knew back then what I know now. I understand. What? Now was going to me. But hindsight is 2020. Now I see a lot. I didn't do anything. Give us one more chance. How did it back? So you gonna see some change? Back then what was going on in the world when. That was the main. But hindsight is 2020. Taking time to catch up on some history. Trying to figure out what went wrong with you when me. And it doesn't really.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336#t=2942.38,3108.43"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/transcript/47223/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"In the. But I know there's no future when you're walking out that door. For more on the the plan how to make. But he's done 20. Asia. But I know now when. That was clear to me. But as you know, from hindsight is 2020 what? Now the number. The. Then. That. With an unmistakable state of the art sound. That was George Benson with his latest triumph. You know, with Baltimore being ten days into the celebration of Black History Month, we find that the entertainment calendar is literally bristling with activities and celebrations that mark the occasion. You can get the kids involved in this most important celebration and at the same time give them a history lesson they can relate to by taking them to see the youth theater of the Arena Players Inc. as they proudly present. Steal Away at 2 p.m. Saturday, February 16th at the Cloisters Children's Museum. This is a drama about two boys trying to escape from the horrors of the slavery through the Underground Railroad. Although this production is geared for children nine years old and above, adults are also cordially invited to attend. Children will be admitted Free in seating is on a first come, first serve basis. For further information, you can call 8232550. However, if it's film that tickles your fancy, you'll be interested to know that at the Hof Theater of the Stamp Union at the University of Maryland College Park, a tribute to black film will be presented. The five featured films in this free presentation are the Emperor Jones Sanders of the River. No Man is an Island, A Raisin in the Sun and Brotherhood of Man. All of this will take place tomorrow, February 11, starting at 4 p.m.. For additional information, you can call four, five, four, four, nine, eight, seven.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336#t=3110.08,3307.47"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/transcript/47223/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Not to be outdone, the Walters Art Gallery will also have its own special film presentation in commemoration of Black History Month. On Wednesday, February 13th, the Walters will present three films by noted African director. I was mainly Sam Baby, who was probably the most important African director working today, and the three featured films called Barren Street, Black Girl and Tao. He powerfully depicts the realities of life in his native Senegal. Admission for members is $1 and nonmembers will be required to pay $2. For additional information, just call five, four, seven, 9000. Meanwhile, on the national scene, we find that Diana Ross has added another feather to our cap by having the most successful engagement ever at New York's famed Radio City Music Hall. Lady Di beat Liberace's record of $1,655,331 with an unprecedented total gate of $1,709,505. Meanwhile, actor Todd Bridges of Diff'rent Strokes fame is tossing his hat into the musical arena with a soon to be released single on the Total Experience label. However, this latest victory is tainted for the young actor because of his latest brush with the law. You probably recall that Todd was arrested and charged with carrying a loaded gun last year. Well, to compound his legal situation, he was recently arrested and charged with resisting arrest and being uncooperative. Meanwhile, Tina Turner developed a following of once silent minority. A host of battered women around the country are singing the praises of Tina, who was once a battered wife herself. Tina, at age 46, has become a model for the group. When she left her ex-husband Ike, with only $0.30 in her pocket to become one of the most successful recording artists today, a title which had previously eluded her until she gained her new perspective. And on that note, I'll have to wrap up this edition of the entertainment page.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336#t=3308.43,3419.19"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/transcript/47223/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I'm Harold Anthony, hoping you all have a great Sunday. Pleasure. It was also, indeed a pleasure today to have Miss Ruby Dee on our show. Well, I feel quite honored to have been in her presence. Definitely. Well, thank you for being here. What about this show that you've been working on undercover up on Pennsylvania Avenue? Right. We're going to do a special called Up on Pennsylvania Avenue, which will air February 23rd at 7 p.m. here on Channel 13. And it's a look at Pennsylvania Avenue the way it was when it was beautiful and well, it still is, but it was a different kind of vitality on the avenue. Then, of course, we're going to try to keep current here on City Line next week. The topic will be that of vigilante justice. We're going to be discussing the sort of thing that took place in the subways of New York with the gentleman, Bernard Getz. And there's also a precipitate of things elsewhere in the country. That's next Sunday. And if you want to be a part of our audience, you can all that you have to do is to write us here. Well, first of all, call at 481 13, 13 if you want seat reservations, but you must honor those reservations, or you can write us here at Channel 13. WJC TV Television. Hill two. One, two, one, one. Got it right. We want to thank you for joining us. We had a real fun today. Yes. And we've got some exciting shows coming up, too. And we'll be telling you a little bit more about us. We can't get that out of the bag. But you know what I want to say to you? No, Thursday, I think it's Thursday is our Valentine's Day.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336#t=3419.76,3526.55"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/transcript/47223/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So I hope we get some candy and some flowers and everything and so forth. You know, Remember me? I'll try. Okay. We can't do too much, so. All right. It's been a pleasure. I'm Betty Bentley. Hope to see you next week. Yes, I'm Jackie Hall. Have a good, good Sunday and a happy Thanksgiving. I mean, nothing.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336#t=3527.12,3545.52"}]},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/transcript/47223","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/transcript/47223/annotation/27","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/047/223/original/open-uri20230807-3198-v1n3ol?1691449541","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/047/223/original/open-uri20230807-3198-v1n3ol?1691449541"}]},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/index/82194","type":"AnnotationPage","label":{"en":["Ruby Dee, 1985-02-10 01-31-2024 14:54 [Index]"]},"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/index/82194/annotation/28","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Guest interview","format":"text/plain","label":{"en":["Title"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336#t=206.0,2446.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/index/82194/annotation/29","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Ruby Dee","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336#t=206.0,2446.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/index/82194/annotation/30","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Newscap with Tea Montier","format":"text/plain","label":{"en":["Title"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336#t=2446.0,2906.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/index/82194/annotation/31","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Mozambique war; Education cuts; Urban League; Vulcan Blazers; Firefighting; Interview with Lieutenant Jim Bethea; Howard University Club of Baltimore; Student of the week: Trevor Lee Smith, Havre de Grace High School","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336#t=2446.0,2906.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/index/82194/annotation/32","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Entertainment Page with Harold Anthony","format":"text/plain","label":{"en":["Title"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336#t=2906.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336/index/82194/annotation/33","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"George Benson; Production: Steal Away; Black films at University of Maryland; Ousmane Sambeme films at Walters Art Gallery; Diana Ross; Todd Bridges; Tina Turner","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/90225/file/186336#t=2906.0"}]}]}]}