{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://marmia.aviaryplatform.com/iiif/nz80k27v5w/manifest","type":"Manifest","label":{"en":["Ethel’s Place: Ethel Ennis and Earl Arnett, 1988-04-03"]},"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/5278"]}},{"label":{"en":["Date"]},"value":{"en":["1988-04-03 (Creation)"]}},{"label":{"en":["Description"]},"value":{"en":["Be advised that this video may contain sensitive, triggering, and offensive language and content. (Content warning)","Jaki Hall and B.T. Bentley interview jazz singer, Ethel Innes and her husband, Earl, former owners of the Baltimore jazz club, Ethel's Place. Additionally, Pedro Alcantara, a senator from Colombia discusses human rights, international drug trafficking, and his art. (Scope and Content Note)"]}},{"label":{"en":["Format"]},"value":{"en":["1 U-matic"]}},{"label":{"en":["Identifier"]},"value":{"en":["WJZ-CTYLN-008-001 (Identifier)"]}},{"label":{"en":["Series Title"]},"value":{"en":["City Line"]}}],"summary":{"en":["Be advised that this video may contain sensitive, triggering, and offensive language and content.","Jaki Hall and B.T. Bentley interview jazz singer, Ethel Innes and her husband, Earl, former owners of the Baltimore jazz club, Ethel's Place. Additionally, Pedro Alcantara, a senator from Colombia discusses human rights, international drug trafficking, and his art."]},"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/000/206/331/small/thumbnail_206331_1692287261.jpg?1692287271","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331","type":"Canvas","label":{"en":["Media File 1 of 1 - open-uri20230817-483-73occv.mp4"]},"duration":3623.897,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/206/331/small/thumbnail_206331_1692287261.jpg?1692287271","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331/content/1","type":"AnnotationPage","items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-marmia.s3.wasabisys.com/collection_resource_files/resource_files/000/206/331/original/open-uri20230817-483-73occv.mp4?1692285990","type":"Video","format":"video/mp4","duration":3623.897,"width":640,"height":360},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331","metadata":[]}]}],"annotations":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331/transcript/48962","type":"AnnotationPage","label":{"en":["AUTO_TRINT_WJZ-CTYLN-008-001.mp4 [Transcript]"]},"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331/transcript/48962/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Thank you very much, ladies and gentlemen. Right now, it is my extreme pleasure to bring to our bandstand, Mrs. Inez. Hi there. Hi there, USA. I am when I go to a beautiful female only dream. I feel down deep in my heart I play. I really stop, then go through the way I hear music when you touch my head. This beautiful melody from some enchanted land. So deep in my heart. I hear you say. It is day I never dreamed I would have this refrain. It must be forever inside of me And I need to go. Why can't I let you know by now that you know the song? My heart would set you free. You can't sleep. The words are true. The song is you. Second, we are pleased to have jazz singer Ethel Innes and her husband Earl, and former owners of the Baltimore Jazz Club Ethel Place. Welcome to sit in on. We'll be with him in a second. Also on today's show, an in-depth interview with Pedro Alcantara and the senator from Colombia, South America, about women's rights and against international drug trafficking. Alcantara is also a very talented artist. And of course, we'll also have News Corp. and entertainment paid upon news capture. Mitchell Wins around Import and Life Magazine examines the life of one of Baltimore's best. My sister, Ruby. I am Heroin, Anthony. And on today's entertainment page, you'll hear the latest from the first black females ever to be heard on the stage of the legendary Grand Ole Opry. The Pointer Sisters are on deck along with a sneak peek of action. Jackson. It's all here for you on this joyous Easter Sunday edition of Studio. Because, again, a lot of our guests, Alison, earlier on that.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331#t=135.92,347.36"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331/transcript/48962/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And let me ask you right from the top, I having been in business myself before, I've got to ask you whether or not this is a great burden off your shoulders now that the end of Apple's place is near. Can't you tell to tell? Yes, it is a load off and it was a heavy burden. And it was it was okay. We learned a whole lot, didn't we? What kind of a hole did it take on you, though, for, what, three years plus that you were in business? Well, the food and beverage business in particular, it is a physical toll. It's a very demanding business. And and because we never have enough money to operate with, it was a financial toll, I think because maybe Apple was as well-known as she is and because I've been a media for a long time, people assume that we're coming from sort of private wealth, that we have cars stashed away in houses on the Riviera or something, but we never did. And so when we got in this business, we really didn't have deep pockets. So it was a financial strain as well. I never paid myself a salary, for example, during the whole period, and we only paid up for enough during her performances to kind of meet essential expenses, you know. So it was a physical and a financial and an emotional strain sometimes for the club hit it off with such a bang, it seemed like it was going to go go places. It was the jewel of an up and coming area. And this was a lot of hope. You know, It will. It will. The roots are there, the roots are strong. And we feel that it will be. The institution we know it can be is just that we just don't have the money or the time.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331#t=347.57,442.55"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331/transcript/48962/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I mean, from our books now, it looks like in a year or two it'll become profitable. Knowing this, we still have it, you know, back off because we don't have enough money to go to the next week. That's why we're positive about this whole development. People expect us to be sad. They expect us to be negative. And what we're saying is, well, look, the project continues. People's jobs are saved, the city's interests are protected. Music still continues at the corner and hopefully other people with more money and even more experience will be able to build on the foundations that we created. So that's all to the good. Now, looking back with 2020 vision, let's say a couple of weeks from having announced that you were going to close and sell to someone else, what thing did you do wrong? What things did you do right even during that three and a half year period? Well, obviously, I think the pluses from my point of view outweigh the minuses. We should have started off with more money in our pockets. For one, you started off with how much and how much do you now know you should have had? Well, we estimated we needed $100,000 in cash when we opened the doors, we had 13. So that I'll give you $13,000. That'll give you a notion of, you know, how we started off sort of behind. And the project was designed it's a complicated project. The economics of it are complicated. Even once there is complicated, the mixture of things is kind of a a multimedia sort of project. We had to be very busy from the very beginning and we weren't. So we start off in the hole and never were really able to come out from underneath the hole.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331#t=443.18,540.47"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331/transcript/48962/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We thought this was a complicated financial deal. Now there was involvement by what city funds? There's public money and private money, and the public money aspect has never been, I think, properly understood. You know, it's not grant money, it's economic development loan money to the project. It's not money that comes out of city coffers earmarked for the police or the fire department or for schools or for libraries. It's federal economic development money given to the city, which the city in turn lends to businesses for growth. I mean, the pattern of Baltimore has been very successful that a lot of economics of the inner harbor and a lot of projects throughout the city, the same pattern. That's that's really what it was involved with, was this what we commonly known as you tax well, you DAG and CDBG both you know, I guess initials for federal money that comes to cities or cities that in turn used to create jobs, to build economies in risky areas. Why isn't it that when the package was being drawn up, when you were meeting with federal city state representatives for this money and even with the backers and all the planners, why didn't anyone see that? Why didn't market research have to reveal that, that your that you needed more than $13,000? Oh, well, we all we all recognize that. Yeah, we just couldn't find it. So that's been the part of the problem vessels ever since we started knowing we were undercapitalized, trying to figure out how to get enough money into the project to continue. We got some money down the road from private investors and we after two years of business. We got more money from the city, a second loan each time, just enough money to pay back debt and to continue forward, but not really enough money to acquire.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331#t=541.04,645.75"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331/transcript/48962/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And you need it. Yeah. And you know, we plan to continue. We just didn't suddenly get tired and decide to sell. We were looking up until mid February for ways in which to continue Ethel's place. Couldn't find enough money to make it practical. And the only offer left on the table was the offer of Blues Alley to buy. We had to take a break right now, but when we come back, we'll find out more about the future for Apple and Apple in this area and that as well as Apple's place. We'll be back in just a minute. Stay with us. Our guests are Ethel Innocent Earl Arnett. And we are pleased to have you here today. Did Baltimore support you? Did Baltimore come out in three years plus that you were in business? It did what it did. We expected more in the attendance. You know, we don't know exactly why I meet people on the street and they would say ever wonderful. I haven't been down there yet. What are you waiting for? You know? And they never told you? Well, write this. I'll be there. I'll be there. A lot of people actually do not know where it is. And, you know, we were so proud to say, you know, once you'd be on the phone, answering the phone, doing my phone duty, and they would say, well, where are you located? So we directly across from the Meyerhoff to my who? I said, Oh, how do you know? You know, it's kind of funny. And we've been in business for three years and it's hard to market and promote and promote and it's very, very expensive, you know? So we don't know what it is that Baltimore didn't turn out as as you know as well we thought they would.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331#t=646.14,824.36"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331/transcript/48962/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Well, it takes time. It was ready for for something on that level. I mean, jazz has always been a Baltimore tradition, but Ethel's place brought that type of entertainment to a totally new level for this city. Do you think maybe it was a little bit too soon for its time? Well, if you're asking me this five or ten years ago, I would say definitely yes. But I don't I don't think so. I think if we had the money, it would, you know, we could have gotten to more people. I think promotion and marketing, yeah, we were right on the verge. I mean, there are very few places like Ethel's place in the whole country and even in other countries, you know, if you look for an equivalent in terms of just the elegance of the physical space, you won't find one in New York or London or some of the more cosmopolitan capitals, because I've looked and I didn't know that, you know, that space was very special and Baltimore was just on the verge of being able to support such a place. But you have to remember, it takes a long time three, four or five, six, even seven years to create a successful business, particularly one as pioneering as this one. Now, the the owner, the new owner, John Bunyan of Blues Alley in Georgetown, has been quoted as saying that maybe Apple's was just a little too nice, too sophisticated. When you compare the way apples look against the way Blues Alley looks, you can understand that kind of that kind of comparison. Do you feel, though, that maybe it was too sophisticated, too nice? Evidently. Listen, I got comments. I mean, to me, I used to hear people say what is to clean about me is to clean the place where I would want to be thinking that's the place where you would want to be, you know, and all the travels, you know, you go around and bring a little bit of this to Elvis or, you know, clean it up.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331#t=824.63,931.22"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331/transcript/48962/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Jazz doesn't have to be low ceiling, smoky and dirty. You know, we're trying to you know, I think it's equivalent to a classical concert hall. Mm hmm. How did it affect you as a performer? Obviously, you were there many nights performing, but after all the years performing for other people, how was it to perform? It was wonderful. It was wonderful. The places I have performed didn't come close in in the past. They didn't come close to what we had. We had one for dressing room with showers, with towels for people. We were thinking of the performer, which usually the performer is never thought of. And we felt that once the performer is happy, look at the audience is going to be fine. And the performer did tell us that. I mean, every performer who was there said we would love to come back. It's just wonderful. And maybe that's not enough. We had to have money. Money even for, you know, it's really it's really funny that people say is too clean. But you brought in a lot of the biggies of jazz, Dizzy Gillespie, Ahmad Jamal, of course, Wynton Marsalis and others on it. And not only jazz, they couldn't pull it, pull the folk in or they could. Were you getting the numbers in the audience for those performers? Not always. We never did enough volume to make the project work unilaterally. Well, there were nights on Wednesdays and Thursdays. There just were not enough people to support world famous artists. Mm hmm. And to that, you again go back to the public of Baltimore wanting to come there. I would have to say that anyone who ever went inside of that place wanted to go back. And I guess it was really getting them in the door the first time.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331#t=931.43,1038.14"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331/transcript/48962/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Yeah, but I wouldn't want to blame the community for Ethel's place. Inability to attract enough crowds. To generate enough revenue to make it continue. That's a factor. There were other factors as well, and we were developing into a regional institution, which is what a place like Ethel's is going to be, and that's going to continue. When it's renamed was Alec. Do you think that Blues Alley of Georgetown will be able to duplicate the success in Baltimore that they've been encouraged and enjoyed in in Georgetown? It's going to be interesting to see because we are definitely a different market and I don't think it will take it is a business of good business, I would assume, and I don't think it'll take him long to figure out what Baltimore will take in and give up. What kind of changes do you anticipate they're making physically or otherwise? At the Well, he did mention that Bunyan mentioned smaller seats. We have comfort. We had a nice fix and I really tested the seat. Sure that they would be comfortable and the seats that you know, to load if say, oversize, these would have this, you know, So there'll be smaller seats, smaller tables. Does that mean he can get more people. That's it. And was skinny people or just happy. Well, they probably have people with hang. Well, hopefully they've got more money to work with, which means they'll be able to bring in even more famous entertainers on the level of Sarah Vaughan or Tony Bennett, for example. And they've got more experience at the game. I've been at it for ten years and they've been through a lot of the growing process that we were undergoing. So the hope is that they'll be able to take this foundation and make it into a real community project.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331#t=1038.349,1134.12"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331/transcript/48962/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"They've got a nonprofit foundation as well that enables them to take music into the schools. So hopefully, you know, the project will continue. And I think I will have the satisfaction of knowing that we gave something to the community that is going to continue to exist and hopefully be better creation. What have been the high points for you, though, when you look back? Oh, seeing the room come together as one. I mean, everybody just so happens, so enthralled with what's happening on stage and the performing giving out that good, you know, good feeling. It's just now that's wonderful when the room is really an intimate setting. Yeah, well, for me, it was when we were able to broadcast live around the United States two years out of three, those were high points. So it's very unusual for an intimate music space to do that. And this past year, to do it in conjunction with the Baltimore Symphony and to reach 300 stations live for 3 hours. Millions of people show off Baltimore, show off American music in a concert hall, and then in a small room with great performers. That is. I think we can feel good about that. You know, during the week, I asked people who wanted to know what the show would be about today if they had a chance to ask Ethel a question, what would they ask her? And they each said, How does she feel having lost her dream? Because this is what she talked about for years. She must feel terrible. What's your answer? F Now, of all the interviews I've had through the through the years, I have never said I want to be a saloon keeper or a nightclub owner or anything like that. It was a good business venture that came our way and was a Hey, why not? Because we, you know, we had the elements to begin something like that and we're happy.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331#t=1134.6,1234.11"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331/transcript/48962/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But no, no, no, I am not what you call a night person. I work in the joints and that of them want to make my living by that. And people who really want to have that dream continue with it. But no, it wasn't Ethel's dream. Was it your dream, Earl? No, no, it's. This is not a dream deferred or a dream denied. I mean, it's a it's a project that we began because it made sense to give Ethel a performance on it did something for the city. It created some jobs, never quite to the extent to which we hope hoped. I hope it gave me a job, but it never really didn't give me a paying job. Yeah. Okay. Well, we'll find out what the future holds for Earl Arnett and Ethel. And in just a moment, we'll be back in. They said someday you'll find all who love blood. But when your husband fire, you must realize smoke gets in your eyes. This is something you fun. Oh. Love. So I smile and say, When I love the flames, I smoke guns in urine. So I shot the film and I like we like to think they could learn. Yesterday, my love was blown away with Oh, my love. Oh, no. Laughing friends. Do you write this? I can find soup. Oh, my friend. I love these flames. That smoke fits in your life. Now I have to comment that there was one person in the studio whose eyes were not glued on the monitor while that was playing. That was, you know, enjoy watching something That would be a special moment. Oh, yeah. I mean, speaking of what was on. Oh, it was definitely a special moment. McCoy Tyner, they are, you know, accompanying me.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331#t=1234.89,1602.11"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331/transcript/48962/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And it's it's just one of I love performing. I do. Now, if that was taken away from me, I'll probably be very upset. Those kind of moments, I think our constitutes some of the legacy anyway, that the Ethel's place can give to people who have been there. And because McCoy Tyner was there, we didn't see Stephane Grappelli, the great French violinist. That was the first time that the two of them had ever performed together on stage and then have the Ethel performing with them. Those are moments that never happen again and then duplicate it, that those are moments that we'll all remember fondly, I think. Yeah. Let me ask you, why the offer from excuse me, why the offer from Blues Alley, among all the others that I'm sure you received. And will you still have any involvement, involvement with the club in the future? Well, I have been asked to be a, I guess, chairperson or something, a spokesperson for their foundation in this city. I think Dizzy Gillespie is the spokesperson for Up in the Washington that I don't know what we have to do. Everybody said, well, you go on vacation. I said, Well, we got a rest. We got a rest before we go on vacation. And you really got to take it in stages. So we really don't know exactly. We just want to rest and get reacquainted with our home and thank and just thank the people who have been working with us, you know, at Ethel's, because, I mean, the staff now is just wonderful. That's why we can see that it's going to be okay. And Banyan is so enthused about it. That's one reason why we say, Hey, if we're going to go Blues Alley is, you know, what was it about that deal, though, that made it so attractive? Well, you have to remember that we weren't holding off offers from all the United States to this place.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331#t=1602.71,1710.44"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331/transcript/48962/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The what was tractive about John bunyan's offer was that it assumed the two city loans so the city would lose no money. It kept people jobs at Ethel's. It paid some back taxes for the project. We don't make any money from the sale and there are some losses on the part of others. But the offer, everyone's interest, really we're sort of protected and it kept the identity of the of the space. I mean, Booz Allen is one of the oldest jazz clubs in United States. They have the experience and the money hopefully to continue the what we started to continue that tradition because the whole idea for us was to create a project that wasn't just ours. We never felt proprietary about Ethel's place. We always felt that we were creating something for others. Okay, now let's just zero in on you individually. What about the future now that you're no longer day to day well involved with Ethel's? Well, one thing which we want to do is to kind of market and bring forth the book that was written, in fact was published before aerospace opened, and that went on the back burner because Ethel Space really, you know, got involved with it. So we want to do that and have that on the monitor. Now. By the way, your cover. Yes. And it was written by home, Sally Kravitz. Okay. But Ethel has her best records to make it to. You know, she's made a lot of them, but I'm convinced that she's got more to make, and they'll be better than what she's done before. So we'll help her with that. And what about, you know, the future? I'll try to help Ethel with her musical agenda then. I've always threatened, you know, as a former journalist and what have you, to write a good book about Baltimore, not a nonfiction treatment, but a kind of imaginative treatment of what I know about the city.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331#t=1711.37,1815.32"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331/transcript/48962/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I'd like to do that, so I'll spend some time doing that. So, you know, whatever you hear from us, whatever we will be doing, it will be words and music. And it's interesting that despite the difficulties incurred at Adams plays, the marriage appears to be intact. Oh, sure. That's beautiful, too. We've found out we've learned a whole lot about us. So we always tell people, you know, that you're bigger than your job, your life is, and your relationships with people are more important than than a business or a job. So, you know, the relationship that I think I have as husband and wife for almost 21 years, there was never any question in our minds, you know, that that would be hurt by a business. And that's good to what I learned at Ethel and is thank you very much. We look forward to a lot of wonderful sounds in the future. And we're supposed to give you the best. Thanks and thank you for the experience of Ethel Spice. It was fabulous. Wonderful. Thank you. Katrina, go, everybody. You're not talking with anyone. We did a show on drugs, and Jackie has something very special coming up, Right. Partial interview with a senator from Columbia, South America. His name was Pedro Alcantara. It's up next. Welcome back to City Line. I'm here at the UCLA Cultural Arts Center talking with Pedro Alcantara, who is from Columbia, South America. And we'd like to welcome you to City Line and to our Fair city. Thank you. I'm very glad to be here on City Line and in your fair city. When we talked just a while ago, you mentioned that part of your reason for traveling not only in this area but in other cities and states across the country, is to spread the word about the defense for human rights.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331#t=1815.95,1997.04"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331/transcript/48962/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Explain that just a little bit more. Yes. Even though I am an artist, I'm also a politician. I'm a member of the Colombian Senate. I was elected to office two years ago for a new political movement called the New Patriotic, which means Patriotic Patriotic Movement, which is a radical reformist movement in our country. And the main objective of my trip to the United States is to explain to the American people the problem of human rights in Colombia, the very dramatic situation of human rights, and of that, the most precious right, which is the right to life, are very, very severe violations of human rights in your country now. Yes. The appearance of our party, which is an extremely new phenomenon in the Colombian political life, has led to extreme violations of human rights in the sense that the most reactionary elements of the Colombian ruling class will not accept or will not tolerate the appearance of new political parties that may lead to the participation in the democratic process of new sectors of our society, of different sectors, of our society, of working class people, of peasants who had never taken part in the democratic decisions of our people, of our of our country, who now begin to become part of our political process through our political movement. So this has led to flagrant violations such as persecutions, assassinations, continuous threats. I myself have been condemned to death by these paramilitary groups who who act on behalf of these sectors, who do not want our democracy to become a truly modern, participative democracy. There are sectors willing to defend democracy. There are sectors willing to defend our legitimate right to act as a third political force. There are sectors willing to defend the right of all sectors of Colombian people having access to a democratic participation in our country's life.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331#t=1997.55,2154.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331/transcript/48962/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"How much of the turmoil in your country can be directly attributed to drug trafficking and perhaps even collusion by members of some members of your government? A great deal. A great deal. Today, when anyone refers to Colombia, they refer to a country identified by drug trafficking and terrorism. We think this is a mistake because with the label of drug trafficking and terrorism, the mass media tend to, uh, to involve everything of the democratic aspirations of our people, the democratic struggles. They, they all tend to fall under the label of terrorism. Anything that attempts against the establishment seems to be taken as terrorism and will be immediately identified with drug trafficking. This is a great mistake. Drug trafficking is one thing, terrorism is another. And the struggle of a people to gain a place in society, the struggle of a people to gain those rights which are unreliable is something absolutely different. And we want to point that out. But drug trafficking, of course, is one of our great problems. It's one of our great it's one of the great problems in not only Europe, the North American people, but of many of the Latin American countries. And it's something we have to deal with. And drug trafficking is, of course, guilty of many of the great injustices that we have in our country today, a multi-billion dollar drug trade and supply. 80% of the cocaine on the streets of the United States is a very, very severe problem. Yes, it is. It is. But the responsibility, we think, is not only of Colombia. We think there is a great responsibility among the United States authorities, because I was asked a few days ago in Congress what could be the greatest help the United States could give the Colombian people in their struggle against drug trafficking.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331#t=2155.17,2293.12"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331/transcript/48962/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I answered very simply, the greatest help would be to control effectively the entrance of drugs into the United States. Even though the United States has possibly the most sophisticated defense system in the world. Every month you have thousands of airplanes coming into the United States dumping drugs into the United States. So an effective control of the entrance of drugs to the United States would mean a severe blow to the drug traffickers in the entire Latin American continent. And that would be one of the greatest help that they could give us. What is it that as you go across the country, you will be saying about Colombia that we in the United States don't know and don't understand and don't appreciate, I think, your image of Colombia and as many Latin American countries is a very linear, a very an extremely simplified image. Years ago, Colombia was just the coffee producer. After that, we were simply marijuana producers. Now we are cocaine producers, but we're a country like many other countries of the Third World. We're a country subject to the great pressures of being economically dependable of the United States. We're a country of ordinary people, people who love, who love, people who go to church, people who who suffer. I mean, the American the American people should understand this better. We're part of the American community. We're a very suffered part of the American community. And our country is much more than just a cocaine producing country. Our country is composed of people who love democracy, who are willing to give their lives for democracy. As our political party has proved it, people who are willing to be part of the contemporary world and be much more than just the cocaine producing country.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331#t=2293.63,2416.72"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331/transcript/48962/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Now that we've spoken to Pedro Alcantara, the politician. Let's turn our attention to Pedro Alcantara, the artist. You are here at the U.S. Blake Cultural Arts Center with your works on display. Very, very powerful, very somber. A little sad. Are they reflective of at least one aspect of your country, of your people? I wouldn't say sad. I would say that they reflect violence. As something inherent to our history and to our social life. Violence has marked all aspects of our history. But what possibly concerns me the most is the conjunction of the cultural spirit that composes any Colombian today. This mixture of three races black, white and Indian, which flourishes in current in present day Colombian culture, and which is the basis of the entire development of our future Colombian and Latin American culture. In addition to your role in the government, do you also use your your your artwork to display the messages visually? I think so, but on a different level. I think my artwork reflects my ideology. I think my artwork reflects what I think of my society. I think it reflects the expectations I have of my people. And I think it reflects to a certain part the history of my people. There were a couple of pieces I want to zero in on just for a moment. One inscription Those who love themselves, those who subordinate the supreme reason to their avarice and gluttony, those who don't have in their honest foreheads that ray of light because the yolk melted it in the same way that the fire of the sun melts, the star close to it explains. Yes, that's a poem by a great Cuban poet, Jose Marti. And I did a series of silkscreen prints on several of his poetic thoughts.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331#t=2417.35,2563.08"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331/transcript/48962/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He points out specific characteristics of of persons that have composed our social tour. There, he pointed out the egotistical capacity of certain Latin-American leaders who have who have used their egotistical interest and have placed them above the general interests of the people. And that was I did that print specifically to point out that aspect of Latin American reality. Some of these paintings have elements of sadness, but not they're not actually elements of sadness. They're elements of of damnation. Uh, the persons who appear in these paintings are portraits of these negative aspects of our reality. Do you also display a sense of hope in your work? Of course, Of course. How does the poet and the politician reside in one? I don't know. It's our Latin American magic. It's our magic realism. Well, I can only say to you it has been indeed a pleasure meeting with you and I wish you the best as you travel across our country, spreading the word about the fight for human rights. Thank you. Thank you for your solidarity and thank you for your friendship. And thank you for stopping by City Line. We'll take a break in just a moment and return right after these messages. Up next on News CAF, the African National Congress loses one of its fiercest fighters against apartheid. And a noted author gets the highest praise of all, I might say, Bay. And still to come, you'll find out why the whole nation is behind our country. And I'll review Carl Weathers latest film action Jackson. Stick around. Chalk it up to a busy schedule and sloppy record keeping. But former Senator Clarence Mitchell says he did not ignore the IRS on purpose. I'm so sorry. That story tops our newscast for this week.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331#t=2563.74,2762.28"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331/transcript/48962/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Former Senator Clarence Mitchell, the third went around in court. Mitchell was acquitted on Thursday of charges he intentionally failed to file income tax returns for 1984 and 85. But Mitchell and his brother Michael still have to report to Allenwood Federal Prison next Tuesday following their convictions in the Westpac trial. Mitchell had praises for the jury after his acquittal. I felt very good about the victory yesterday that 12 decent men and women, black and white, weighed the evidence and agreed that I had done nothing wrong. In spite of all the adverse publicity, in spite of the efforts to twist the law into something that it wasn't. I never willfully failed to file tax returns, and I praise those 12 men and women who had the courage to stand up for justice in international news. South Africa's ANC party will have to regroup its European efforts following the assassination of its representative in France last week. 45 year old Adolphe Septembre was shot five times in front of the AMC Paris office. She had gone to the French government after receiving several death threats. But according to another agency officer, September did not receive adequate protection. The AMC charged at the Pretoria government with sending hit squads. But South African Foreign Minister Pik Botha denied involvement. Here at home, the war on teen pregnancies appears to be netting results. A study by the Washington based Children's Defense Fund shows teen pregnancy in Baltimore is down, but Baltimore is still among the top three in the nation. From 1982 to 1985, the number of teen birth dropped from 24 to 22.7% of all births in the city. One out of five Baltimore is preceded in the number of teen births by Newark, New Jersey, and Gary, Indiana. You can read all about Baltimore's first family this month in Life magazine.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331#t=2763.21,2882.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331/transcript/48962/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Life looks at the status of African-American life 20 years after the death of Martin Luther King Jr. It cites Mayor Kurt Schmoke as a sign of the new generation. But the mayor sees things a little differently. It's not so much that we have a whole new generation of buttoned down guys like myself. It's just that the issues now require us to focus on different sorts of problems and attack them in a different way. Schmoke is Baltimore's first elected African-American mayor, and in the April edition of Life magazine, he is profiled along with other prominent leaders. But despite his and Jackson's successes, Schmoke is not sure the country is ready for an African ancestry to president. And I'm still profoundly skeptical that this country in 1988 can and will elect a black as president of the United States. But when the mayor talks about future political possibilities in Maryland, he looks to the state house by the governor be named Schmoke. Well, my daughter hasn't told me that she's interested yet In the article. It is Dr. Patricia Smoke who leaves the door open for other political futures for her husband. I guess what my wife was trying to say in a Life magazine, articles that I've never articulated any plans for, you know, running for another job. And I haven't because this is the job that I've wanted in terms of elective politics. In the creative arts, African American author Toni Morrison can add $3,000 to her bank account and a Pulitzer Prize to her mantle. The money comes with the prize, and the prize is for her newest fiction work. Beloved Beloved explores the bloody emotional and physical horrors of slavery. The African-American experience was also examined in the play Driving Miss Daisy, written by Alfred Ury, which also won a Pulitzer.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331#t=2882.96,2993.12"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331/transcript/48962/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Actor Harold Rollins will have to tell it to the judge sometime soon. The 37 year old Baltimore native was arrested last weekend in Louisiana after a state trooper pulled him over for speeding. Rollins was charged with drunken driving and possessing cocaine found in his pockets. Rollins stars in the six part television series In the Heat of the Night. He was released on bond. His court day will be set in a few weeks. That's news camp for this week. Enjoy the rest of the day and the week ahead, I might say, Sarah Bay. Now stay tuned for Harold Anthony with the entertainment page. Hi, Harold Anthony here. You know, there's a line in the title song of the 1982 Pointer Sisters album, so excited that crystallizes one aspect of their magic. I'm about to lose control and I think I like it. It is this to the edge exuberance that has always stamped their work with with the inevitable vitality. The uniqueness of their style can be traced to their family background. You see their parents strictly censor the music that their children listen to. And it wasn't until the children were out on their own that they got a taste of the rich mixture of styles that swirled through California in the early seventies, deciding to try their hand at this new style. These talented ladies took L.A. by storm, and after appearances on half a dozen TV variety talk shows, the whole country became porno territory. Since then, they have evolved into one of America's premier popular vocal groups, and their latest hit confirms their status with predictable pointer finales over and out all over town. Just in case you haven't seen the sweet me guy here now. Whoa, whoa. Hey, how's it going? Three, five, three.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331#t=2994.32,3133.49"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331/transcript/48962/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Stop feel. And it's not so bad. Oh, no. Oh, my God. Gave me such a tiny, tiny, tiny, tiny, tiny, tiny, tiny, tiny. I never knew how good it could be. It turns out I am turned on by love and. See, you know my secrets to keep. I've got a mad, mad world. Now he's be turned down. Yeah. Ah. Oh, okay. Now. Oh, that was the Pointer Sisters with one of the cuts from the action Blockbuster Action. Jackson, which is featured now in theaters all over the country. Accent Jackson is a film that combines the talents of producer Joel SIEGEL noted for films like 48 Hours and Predator, along with stunt coordinator Jeffrey Brown, whose credits include Commando and Lethal Weapon. This time around, they tell the story of Jeremiah Action Jackson, a hard boiled, streetwise couples out to put an end to the reign of terror of a ruthless, psychopathic killer played by Craig T Nelson, who you'll remember from the Poltergeist movies together with Vanity, who plays a drug addicted nightclub singer Carl Weathers in the title role, leaves a trail of death and destruction from the opening bell to the final count. Oh, my God. I'm sorry, baby. I mean, you kissed me, and they can make me laugh out loud. You know, maybe it's me. Maybe that's just me. Maybe that's me. I know that he may have gone, but one thing is certain, and that's no one is going to be watching the crew of this movie in court for false advertising, because just as the title indicates, it does deliver action. Ironically, it's also the action that is this film's downfall. There are so much mindless violence that the viewers quickly overwhelmed and numbed by at all. The movie is over, staged and superficial, and the characters never quite overcome the juvenile dialog that often provokes unintentional laughter.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331#t=3134.99,3457.34"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331/transcript/48962/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Even vanity, who starts out absolutely dripping with sex appeal, loses out to the tackiness of the character she portrays. Now there are isolated moments when the movie is genuinely funny and entertaining. But you must endure flesh flying guts, frying blood, spilling and endless killing to get to them. If you are a person who takes their movie seriously, the next and Jackson will leave you limp and disappointed. Also, Center Stage is fifth production of its 1987 88 season has opened at center stage, located at 700 North Calvert Street. Written in 1888, The Lady from the Sea explores the depths of the human condition through the story of Olivia Wang, always torn between her sense of obligation to her physician, husband and the terrible attraction exerted on her by her former lover, known only as the stranger who returns to claim her love and take her away. For further information, just call this and their stage box office at 3320033. And with that, another page is turned. I'm Howard Anthony, hoping you all have a great Sunday.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331#t=3458.21,3518.81"}]},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331/transcript/48962","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105561/file/206331/transcript/48962/annotation/24","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/048/962/original/open-uri20230817-2847-wa10ct?1692294425","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/048/962/original/open-uri20230817-2847-wa10ct?1692294425"}]}]}]}