{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://marmia.aviaryplatform.com/iiif/pk06w97s2p/manifest","type":"Manifest","label":{"en":["Soap Stars, 1986-02-02"]},"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/5226"]}},{"label":{"en":["Date"]},"value":{"en":["1986-02-02 (Creation)"]}},{"label":{"en":["Description"]},"value":{"en":["On tape label: City Line #169 (Container Summary)","Be advised that this video may contain sensitive, triggering, and offensive language and content. (Content warning)","Digitized with funding provided by the Council on Library and Information Resources' \"Digitizing Hidden Special Collections and Archives: Amplifying Unheard Voices\" grant program. (Funding note)","Jaki Hall and B.T. Bentley meet with Guy Davis of the show, \"One Life To Live,\" and Pamela Kay and Russel Curry of the show, \"Another World.\" Tea Montier interviews Joseph Kelly, President of Classified Municipal Employees Association (CMEA). (Scope and Content Note)"]}},{"label":{"en":["Format"]},"value":{"en":["1 U-matic"]}},{"label":{"en":["Identifier"]},"value":{"en":["WJZ-CTYLN-005-001 (Identifier)"]}},{"label":{"en":["Series Title"]},"value":{"en":["City Line"]}}],"summary":{"en":["On tape label: City Line #169","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.","Jaki Hall and B.T. Bentley meet with Guy Davis of the show, \"One Life To Live,\" and Pamela Kay and Russel Curry of the show, \"Another World.\" Tea Montier interviews Joseph Kelly, President of Classified Municipal Employees Association (CMEA)."]},"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/000/206/251/small/thumbnail_206251_1692226832.jpg?1692226838","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251","type":"Canvas","label":{"en":["Media File 1 of 1 - open-uri20230816-805753-k9xuqy.mp4"]},"duration":3671.077,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/206/251/small/thumbnail_206251_1692226832.jpg?1692226838","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/content/1","type":"AnnotationPage","items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-marmia.s3.wasabisys.com/collection_resource_files/resource_files/000/206/251/original/open-uri20230816-805753-k9xuqy.mp4?1692225755","type":"Video","format":"video/mp4","duration":3671.077,"width":640,"height":360},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251","metadata":[]}]}],"annotations":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/transcript/48902","type":"AnnotationPage","label":{"en":["AUTO_TRINT_WJZ-CTYLN-005-001.mp4 [Transcript]"]},"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/transcript/48902/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Who do you think it is? I can't believe that. John or Mary. Mary? It's 12 noon. We're live on City Line. Hi, I'm Jackie. And I'm Betty Bentley, you know, known as Joshua. One Life to Live and Thomas Taylor and Carter of Another World Today. We'll meet them. This guy Davis, Pamela K and Russell Currie, three black actors who have landed major roles in two of today's most popular daytime soaps. Join us as we find out more about their characters and more about their personal lives. Will also discuss blacks and television. Examining the recent development of shows centered on blacks and their family. Today's show, however, is your show. Your chance to call in and talk to your favorite soap star. A local union tells its side of the King holiday not observance for city employees. I'm Tim Monti and we'll talk about that today on newscast. In recognition of Black History Month, I'll be featuring a video by the Winans with a song that joins in the ever growing chorus singing out about the injustices of apartheid. Hi, I'm Harold Anthony, and I'll have this and more on today's edition of the entertainment face. Cindy Line is thrilled to hear three of your favorite soap stars right here live. And they're yours to talk to. Call in and join us. Soap stars up next, live on city life. Well. Good afternoon. Good afternoon. Good afternoon. As everyone probably knows, today is the first day of Black History Month. That's right. And we'd like to encourage each and every one of you to take part in some of those activities planned during the month to find out the contributions of blacks to the country and, of course, to the world. That's right. And of course, our community calendar today will get you a head start on some of the activities taking place here in Baltimore.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251#t=0.36,238.88"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/transcript/48902/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And as Howard mentioned, he's got something very interesting for you on the entertainment page. But first. But first, right now, we're going to get right started in introduce to you from One Life to Live, Mr. Guy Davis. Lock the door behind her. All right. But there's my cell. As we said, a lot of folks have you know, I guess I trust that everyone had a good written everything down. Great. Just make sure that everybody knows who's who. We started off here from left to right, from Central Park in the middle. Think about that. And she's like, Mr. Guy Davis. Yes. And Mr. Russell Carter. Here I am. We're all right there. Okay. Not too many years ago in the college campuses, the guys didn't want to admit that they watch the soaps. I mean, you know, myself being one of them, you know? But now it seems to be okay for everybody to watch it. So why is it why all of a sudden or why is it that over the last, say, four or five years, guys have kind of started letting go of that? They watch the soaps to guy. I want to know, what do you think, guy? I think the male images on soaps have gotten stronger. I mean, they used to be that soaps were directed toward women, and so consequently, they always had women triumphing over the men because that's what women, you know, who were home as housewives wanted to see. You know, now I think the male images are stronger. Mm hmm. Plus, they're finding, uh, young guys, young women that they can identify with. I mean, I would even dare say that I would tune in and see Jesse. Okay, So, uh, you know, and I like the.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251#t=239.48,354.82"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/transcript/48902/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The relationship that was going on then. Mhm. Did you to start off, um, wanting to be an actor? I mean, at what point in your life did you decide that acting was where you wanted to, wanted to go? Well, for me, I made the decision to do that. I think when I was about 1980, I had acted, I mean, as far back as 1973 and professional work, but I wasn't sure that was what I wanted to do. Acting is weird. Now, let me say let me just tell our audience, I hope you don't mind our saying it, but you grew up in a home of theatrical people, that your mother is Ruby Dee and your father is Ossie Davis, Right? And his career was there, wasn't there? That obvious, Major? Was there, that influence of these strong, very positive, very successful actors? Well, let's just say they left the door open. I could either go into it or go into whatever I wanted to. They were going to be very supportive. You have to. Let me ask you about your your home life, though, in terms of work at home. Did you meet a lot of actors that we would recognize by name only or parts? Did they come to the house or are they there for dinner and lunch and so forth? Well, I guess you could say, yeah. I mean, folks like Godfrey, Cambridge, Harry Belafonte, but even more interesting, folks like Malcolm X. Oh, Danny Kaye, who we meet, Huey Newton, when I was away at summer camp with them, slept in my bed. I was told, what's going to happen. I can't even know his name on the pillow. Thank you. How about you? How did you get into acting? I'm still trying to figure that out.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251#t=355.14,462.09"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/transcript/48902/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I was modeling for a long time and doing commercials, and. But I did that to get through college. And at some point, I made a decision that I wanted to be an actress. It wasn't easy at all, you know, because I kept going to agents and they kept saying, Oh, black people don't work in the business, come on. And I kept saying, But, you know, I don't need a lot of projects. I only need one series and I or to films. The first year I did a a low budget film, I made money to go with it. Do you remember the name? Yes, I do remember that. Would you tell us, please? No, no. The movie called Weekend Pass. So it was a low budget film. And it was actually it was it was a very popular teenage. It was one of my favorites. But. Yeah, right. You know, it was funny because I was up for the male lead in that movie to all of a sudden me. Yeah, I just missed it. So I would have seen her six months earlier or unless we were going to go and pay some bills. But we'll be right back and talk with these folks. We want invite you folks at home to call in at 481 13, 13. If you want to talk to your favorite soap star, stay with us. Okay. I wouldn't mind talking to the soap opera star's and Russell. Mm hmm. How did you get started? Well, I don't know. You know, you get your feet wet and, uh, people around you keep saying things like, uh. You should go into it. You've got talent, things like that. And coming from Minneapolis, Saint Paul, there's a lot of theater there. Incredible theater, legitimate professional.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251#t=464.31,654.15"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/transcript/48902/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And so there was a lot to tap. And then I went to a school. Uh, private school for your college? McAllister College. And, uh, majored in dramatic arts there and graduated. And one thing led to another. Later, I would do more theater, you know, in in Twin Cities and then go to Los Angeles, and, uh, that's that's. I got this. So, yeah. Well, before we delve a little bit further into the personal lives of the characters, let's see if we can take a look at a couple of clips as we get to kind of an idea for those one or two of you who have not seen them before. And I think we're gonna start off with a clip from One Life to Live with God. And they were all that. Oh, boy. Dr. Josh Hall. You tricked me. Yeah. No. Look like it work just fine. You seem speechless. Almost. I just didn't think you for that kind of guy. I don't know. Well, all's fair in romance. Let me take you home. What? Romance. The romance that I'm trying to get started with you. This makes no kind of sense. Who said romance has to make sense? Well. Oh, come on. You mean you hated me? You know, you really did hate me. I could see getting a little over here. Let's talk about it. Okay? Yeah. You won a boxing contract and. For a long time I've been watching you. I can't help but notice just how attractive you are. Now, we've been barking each other at each other for a long time. But we stopped there. And I've come to like you a very great deal. Yeah, but it's just so overnight, you know? All right, So what? You like me, don't you? Oh, yeah.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251#t=655.34,765.52"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/transcript/48902/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I'm not unattractive to you. No, that's just. Why resist me and waste time with that street kid? I am a doctor. I have class, and you have class. And it seems like one of us has a whole lot of ego, huh? You're right. You've got to have ego to get anywhere in this world. But if you don't, people who walk right over your nose on the way up to the top. Speaking of which, do you know that you have a very cute little bunny rabbit nose? Did you know that? Oh, yeah. And you have nice cheekbones you connected to the neck. It's kind of near the shinbone, which is right. Now I've got Dr. Hall got the dog. Dog. I was going to say you're not very likable. If we can just spin that as your character, having a conniving, egocentric and all of that. You don't look like that. Really? Well, gosh, when they hired me, I thought they were going to let me be a nice guy. But those are the words they made me say. I'm going to be playing the doctor in the in the. So how old are you supposed to be there? I think 26. I'm supposed to be one of these genius doctors who just, you know, suddenly assimilated all this medical knowledge. I personally haven't seen the doctor under 28. Now, you are Ed Hall's son. Yeah. Played Playboy. And all of a sudden, you appeared out of nowhere. We never had any inkling at all that any job. All this debate. About ten years ago, a young man named Larry Fishburne played Josh Hall. I a kid. Oh, thank you for setting the record straight. We're going to go to our callers from home and they'd like to talk with you.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251#t=766.05,883.71"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/transcript/48902/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Hi. You're in touch with our soap stars. Hello? Yes, go ahead. All right. You know, one of the more brassy commercials during the show, women and guys. And I'm asking all three of them. Why are there more blacks in commercials, in the commercials that appear during the time your show is on? Thank you. That's interesting. I'm not sure if I've been aware of it. Although it may represent the percentage of blacks on the soap that's in the commercials. I believe it. I think that it represents who they think are watching. You know, although I'm not quite sold on their numbers, but in terms of percentages and in terms of percentages of blacks on the soaps and the other white characters on the soaps, and then the blacks in the commercials and the whites in the commercials, they somehow think those percentages are equal to the percentage of viewers blacks watching as opposed to whites watch. But I say that clearly. Yes. So I think that's the only reason, you know, most people that want to know why aren't there more blacks on television? You got to speak up. You got to write it and you got to write us letters. You have to write the producers letters. You have to let them know you're out there. Mm hmm. But, you know, Russell, you were in Baltimore not too long ago. The NAACP presented you and the show with an award of sorts, I believe. Tell me what's going on here. I did. I had a lot of fun. I mean, it was. Yeah, the image Award at the local level in W.A.S.P.. And, um. Yeah, I mean, and, you know, I play a part that I'm proud to play, you know, that's very different from the regular stereotype.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251#t=884.94,1000.98"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/transcript/48902/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And, uh, so a little bit about that part. And then we're going to see a clip from your show. Well, Carter, he's married with a kid to this, too. All right, Tom Senior. Well, life imitates horror, but, um. Uh, yeah, they had a baby early, you know, probably too early. And, uh, but they've gone on. I'm in college. Uh, Thomas Senior is doing lab work at a local hospital. Um, that's basically where it stands right now. That's kind of a spin off of that. And go to the clip of the two of you in another world, and they're playing their parts. I was up here. Hi. Hi. You look fine. Meatloaf left. I can make yourself at home. You hardly any dinner. I was wrong, and I'm sorry. I can't stand it when you walk out. I know. You think? Do you think we could just start this whole night over again? Carter. You know I love you. And you know I love you, baby. Hey, They said your interview got changed. I know you don't want me to do this lab work, huh? It'd be lucky to get you another Marie Curie of Bay City. Only if I can work out the hours. No, that's not quite right. Only if we can work out the. I love you so much. Nothing out of the Senate. We're going to we're going to take a break and be right back. Please stay with us. Now, here's this week's community calendar. If your group or organization would like to announce an event, please write us in care of City Line. WJC TV Television Hill, Baltimore, Maryland 212, one, one. Or call us for further information at 46600013. Between the hours of nine and five. Okay, good back.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251#t=1002.51,1341.13"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/transcript/48902/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And we are live talking to Guy Pamela and Russell just before we went into the break. Russell and Pamela, we saw the clip of your characters from Another world. Give us a just a summary of the kind of characters that you are. You talked about the situation you're involved in, but what about that, that relationship on camera? And then we want to talk about the relationship. Off camera when I live. That's. Yeah, that's, uh, I don't know, like on the set, you know, you're trying to mix the fact that you do like the person you're working with and, you know, you like the way she looks, and then you got to say these things, you know, you gotta say certain things that, you know, you wouldn't maybe normally say or what you might would rather say something else. But, um, but that's easy. I mean, I, you know, I don't have any problem with You're grinning, but you're blushing, too. No, Russell and I are great, great friends. I mean, just like married couples. Sure. We get into our our, uh oh arguments. Are you an item off camera? No, no, we're just. We're just wonderful friends. Yeah, really good friends that we would say that Anyway, that get serious for just a second because we're having too much fun, too. I get too heavy here. In recent months in particular, the question has arisen over the safety or whatever of kissing strangers and so forth. Uh, due to of course the, the questions about age and so forth is that started to have any type of effect in terms of the way you might feel approaching a character or a scene such as that any of you want to my understanding, I mean we, we kiss.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251#t=1341.52,1454.12"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/transcript/48902/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Yeah. Okay. And honestly, everything I've read about it and heard about it, it's like next to impossible to get it that way. So, you know, I live with that, you know, now we saw a guy kissing from the nose to the neck to the knee bone in the thigh. So I mean, I never did get to the lips. I, I was going for the neck apprehensions, though, about pacing in general. I don't particularly mix with anybody. There are. No. You know, that's somebody I, you know, get a lot more involved with entertainment. His concern is just that. Make it look good. Sort of from the outside. Okay? You all know that, right? Let's take a quick break. Again, our viewers really want to talk to you, how you can talk to our stars now if you'd like, Paula. Oh, yes. Go ahead, please. All right. I'd like to ask you, what for a contract do you get? I mean, do you get a year contract? And are you all happy with the projects that you have in question? Yeah. Thank you. I have a feeling that we are all happy to be employed. Black actors. Employed actors. Unemployed black actors? Yes. Contracts range sometimes maybe two years, three years. But they have clauses in them that after certain periods of time, like 13 weeks, 18 weeks, these intervals that go by, you can be dismissed after they go by. So our jobs are not as secure as I would like for them to be necessarily. So all of us have to stay on our toes. But are you happy with the projects that you're working on currently? Yeah, Yeah, definitely. It's hard. It's the hardest job I've ever had in my whole life. I mean, it's a we do an hour show a day and rehearsals involved.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251#t=1454.84,1571.02"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/transcript/48902/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We rehearse, what, twice, really? And then we shoot it and sort of the set falling on our head. They take it, you know. And there isn't much input to see from a director. There's no communication really with the writers. So, you know, you're left to your own devices, you're on your own as professional actors. Then you're you assume that you will deliver, right? That's right. Yeah. Yeah. And it's very difficult. I mean, you have to find everything in your character yourself because you don't get the script for next week, you know, and you don't always know what they have in mind. So it's good training. In other words, it's it's incredible training. Yeah, it's incredible training. And I mean, you learn a great deal, the technical side, like where the cameras are, you know, and but as far as a process, see, it's, uh, I think it's difficult for an actor. I mean, when he thinks he or she thinks about a process and, uh, because I like to think it takes eight weeks for a play to go up, you know, I would never put a play up in two weeks. That's but that's the sort of sense that you get, you know. Let me let me ask you another question. Now. All of a sudden, there are a lot of black actors on television, period. What do you think caused the explosion of blacks? Maybe some people would say, well, there simply aren't. They still aren't enough in proportion to the population. But what do you think started it? What what has propelled it? So they want to exploit the black market. If black people spend the amount of money they do being consumers and also consume hours of television, they want to exploit that.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251#t=1572.34,1661.98"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/transcript/48902/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"They want that audience. Now, you say exploit, exploit word. Well, let's just say if there's money to be made, you kind of make it. And that is what they are doing. We are part it's marketing. We have been research, They've checked us out and they said, okay, let's put some more of us out there. So more of us will watch that. But back in the seventies, when all the Black Exploitation films came out, it was because the film industry was in trouble. Yeah, You know, now when the record industry was in trouble, Michael Jackson came out with Thriller and singlehandedly saved the record industry. Okay, Now, again, television's in trouble. They don't quite know where to do. I mean, that's why you have an overabundance of cop shows. You have an overabundance of other same type of the Bill Cosby type show. Now, this season. Yeah. Again, you know, they are finding out that blacks are consumers. Bill Cosby gets a 5418 share, which is 54% of the viewing audience, which is more than any show has ever gotten, ever. Has this show done a lot for blacks on TV? Obviously, you open up a lot of eyes by the spinoffs. Yeah, but, you know, unfortunately, I mean, you know, for them to just do spin offs with black people in movies is not good enough. I mean, they have to be quality shows. They have to be. And it's Yeah. And it's so cool to be, uh, you know, sort of clone of Cosby. We need to understand where the quality show is going to come from us exactly as writers as well. When I say us, I mean the young people that are up and coming now. Um, the only time that, you know, blacks are going to get on TV in quality productions is for us to do our own.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251#t=1662.19,1766.02"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/transcript/48902/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"MM But what about you, guy? Are you interested in writing and providing some of those products at some point? Yes. I'd like to be involved in directing and producing. My forte is performing, but where black folks are needed, especially as behind the scenes, they're needed in the production capacities and in the marketing and in the research and all the nuts and bolts of the industry. Do you see that coming, either of you? Yes. Yeah, I see it on the horizon towards Yeah, it's a good point for like a lot of the high school students that are out there might be watching today. Um, the jobs are there, but you got to get the experience, you got to stay in school and, uh, you know, the behind the scenes, I'm not talking about acting because, uh, that's a whole nother story. I'm on the other side of the camera. The people who aim and focus. Mm. We have that same feeling, and a great many people want to be in our positions, but they don't realize that there is a lot of power behind the scenes. More power behind the scenes. Really. My security too, as well. Yeah. Well, yeah, that's, that's true. Let me ask how much of the character is you guy or you, Pamela Are you Russell And how much is simply a character on screen? And after the camera's off, you go on being whoever you really are? Well, I'll ask you that after the break. We'll be back in just a moment to get answers to that question. Transportation for City Line guest is provided by Total picture tours featuring bus, boat, helicopter and limousine services. We look back and we have a special treat right now for you. Guy Davis is going to grace us with a song, just a tune just for Black History Month.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251#t=1766.5,1979.19"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/transcript/48902/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Cares. The question is moving so smoothly from one to the other. I was in the middle of a question. Would you like to answer the characters? That was beautiful. That's beautiful. Thank you very much. I've been doing it 18 years, a lot longer than I've been acting. But like acting, it's something that I worked at. And how much of the character is me? Not an awful. Yes. Yes. I may be egotistical, but Josh is not as sensitive as I am. He's. He's a lot more crazed than I am. I'm older than he is. Okay. You mind if I just one more little thing. I'm still in acting school. It's a never ending process about doing something and creating a character. And it's not something that just happens on the street, you know? That was something we wanted to stress. We are all still studying, still studying and still working at our craft. It's it's a very difficult job and it takes a lot of work. Okay. Let's do some quick questions from home. They've been waiting patiently. Hi, Call. Are you in touch? Yes, go ahead, please. Okay. I'd like to know this question for a guy I met in the hallway. I'm Lisa. Eventually go with task or Patty. But you got me. Really got me. I don't know. They're making it very difficult for she and I have to be together, so we'll just have to see. I'm really sorry. I can't tell you now how much is going to happen to your character in the coming weeks. No, I didn't realize I was going to be such a dog, I guess. Let's try another call from home. Hi. You're in touch with City Line. CALLER, your line. Okay. I quickly forgot it.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251#t=2028.54,2141.88"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/transcript/48902/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Forgot? David? Yeah. You know what I want to know is would you like to say might see, like, your character's job and the about of the character as opposed to, like, the stereotype of having let's go against each other. Would you like to see men like your character and Barry Blue's character to become friends as opposed to like going against each other? Well, not so much Bobby Blue, but yes, I would like to see blacks on the show being supportive of one another, Even if the show demands that Bobby Blue and I become enemies, even if it turns out that Josh is down going downhill and he's materialistic, I would like to see a way for Josh's father to bring him up to make something good happen to him. I would like conflicts exist with with human beings, but I would like for understanding to come about. Yeah. Good. Okay. What is next for you all? You are obviously, you have garnered quite a following in your present roles. Where do you want to go from here? Do you want to go fishing professionally? I don't know. I'm. I'm really quite content, actually. And so an example of what you can do is what Susan Lucci did on that other soap. Mm hmm. And, you know, she's she did that movie Mafia Princess. So, I mean, I'd love to do, you know, get projects like that and still be able to go back to the soap because an actor has to work every day. I mean, I mean, the ideal situation. So I'm I'm, I'm, I'm happy there right now, but I'd like to get other projects on side. But you know that I'm I'm presently writing a screenplay and a pilot idea, so I do want to continue acting, but I will also continue writing and hopefully sell something.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251#t=2142.21,2258.25"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/transcript/48902/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And we'll see. Okay. And Guy, I definitely want to be able to do more stage work. And too, I feel the real challenge is and with my guitar and other things, I go around to schools. I want to continue doing that. I like doing that because I get a lot of questions from young people about actors, about acting, about do they use drugs, about do they, you know, what do they do? And I just like to communicate that all of what we do is is a serious craft, is no room for being sloppy and then can use such hot stuff that you can, you know, sniff some stuff. All right. One follow up to that is, uh, there's no room for drugs. I mean, that may be a myth about, you know, the work that we do, but, uh, surprisingly, I never see it. There's no drugs in it, you know, involved. You couldn't. You couldn't possibly go in front of the camera, you know? That's good to know. And we're sorry that we're out of time, but we are so glad that you are able to join us. Guidance. Pamela Kay and Russell Currie, thanks so much. One more time with you. Thank you, Dr. Gupta. We'll be right back in just a minute. Please stay with us. Good afternoon. Topping today's news, cap, an unexplained head on collision between two trains in South Africa has resulted in the deaths of nearly 39 people and injuries to numerous others. We get a report from ABC news. The accident happened during the peak hours early on Friday evening as black workers from the Kwamashu Township making their way home for the weekend from Durban. There were gruesome scenes as rescue workers and paramedics fought to bring relief to the dozens of passengers trapped in the mangled wreckage.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251#t=2258.67,2453.59"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/transcript/48902/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But it was a long night for some of the injured. For those who could be quickly freed, there was on the spot medication. But those still trapped deep inside the twisted metal had to wait until dawn for the arrival of a railway crane, which was brought in from Pietermaritzburg some 70 miles away. When the two passenger trains collided, the moving train rose up and dozens of people in the carriages below. The white driver of a moving train died instantly. Estimates of the death toll rose sharply after the wreckage was separated. At least 15 dead and more than 70 injured. What the authorities want to know is how did a crowded train running at full speed crash into another crowded train standing still? The death toll from that collision has risen to 39 and still counting. During our last news presentation, we explored the topic of why some 5000 city employees represented by the classified Municipal Employees Association of Baltimore would not be allowed to observe Dr. King's birthday in terms of having the day off. It was explained to us by the Labor Commissioner's office that the decision was one made by the union during the collective bargaining process. However, CBA has a different story to tell. So in the interest of fairness. Joining me now is Joseph Kelley, president of the Classified Municipal Employees Association. And, Mr. Kelly, you clearly have a different position on the situation. You claim that the city of Baltimore, through the labor commissioner, has arbitrarily and capriciously denied CMA members their right to celebrate the federal holiday. Could you explain your position, sir? Yes, ma'am. It's very simple. But in order to understand our position, you have to have all the true facts. And those facts are in the contract.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251#t=2454.37,2557.66"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/transcript/48902/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"As far back as 1973, US representing employees were entitled to what was called early closing. It meant you went home on Christmas Eve at 12 noon and on New Year's Eve at 2:00, and the very next contract in 1974, that language was admitted and the fourth all day appeared. Information that we gathered from members of CME who are presently board members and officers who were around at that time specifically, emphatically state that we got the fourth place up the fourth building because we gave up the early closing. The office of the Labor Commissioner would have you believe that They gave us the fourth PR day to celebrate Dr. King's birthday as they did on the unions. That's not so. Mr. KELLY What prompted me to do the story in the first place was an article appearing in the AFR where some members of your union complained that they felt the union leadership was treating cheating them out of a national holiday. Mr. Tilden also confirmed that perception that the union is the one who made the bottom line decision in terms of not acquiescing and not recognizing or wanting to recognize you used the term specifically the King holiday. What is happening here? Is it misinformation? Is it misunderstanding, misinterpretation? And on whose part? No, it's a it's a it's banditry committed by the city. It's a hold up. The city is trying to tell us that we have to give up a day in order to be able to celebrate Dr. King's birthday. The the fact that they try to lead you lead the citizens to believe that we do not want to celebrate Dr. King's birthday is. I can't use the word I want to use. It's a barefaced lie. Well, yeah. Excuse me.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251#t=2558.98,2671.26"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/transcript/48902/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We know that the collective bargaining process is a give and take proposition. Yes, ma'am. And if I'm hearing you correctly, it sounds as though you wanted the holiday, but you weren't willing to give anything for it. Is that a correct assessment? Yes, ma'am. We don't feel. And the contracts from 1969 bear us out. We don't feel that we should have to give up anything for a federal holiday. Our proposal to the city was that the mayor declare Dr. King's birthday a holiday for all city employees. The labor commissioner denied us that. Right. He's trying to hold us up by. It's just, you know, it's not fair. In essence, then, what you wanted was the creation of another holiday for city employees. Is that correct? The federal government had already created the holiday. All we want is the right to celebrate it. And we've been denied that right by the city of Baltimore. I'll ask you, like I asked the deputy labor commissioner, sir, what input did members did? Employees of the union, members of the union have in your decision? Well, they in the original decision, they had no input when the issue became what it what it was actually made out to be by the Labor commission. And we decided to pull in membership. I sent out a personal letter to the general membership explaining our position in toto. I ask them to respond either in writing or by phone to our poll. Our poll consisted of three parts option one, two and three or A, B and C, if you will. Our position was C, we received over 833 comments back from our general membership over 20 or over 80% of the membership that responded to us agreed with our position, and that is to sue for our right to both the fourth personally day and to celebrate the federal holiday.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251#t=2671.41,2783.79"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/transcript/48902/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We're running out of time, Mr. Kelley, but it's already too late to celebrate the King holiday this year. What are your plans for next year? Do you plan on suing if you sue? Who will you sue? And what are your plans for observing King's holiday for 1987? We intend to file an unfair labor practice against the city of Baltimore for denying us the right to celebrate Dr. King's birthday. I can't answer for next year at this point in time because I don't know what's going to happen. Mr. Kelly, I want to thank you for joining us this afternoon and giving your side of the story. Thank you again, sir. Thank you for inviting me. In other news, if you are thinking about starting a business or recently did so then you may be interested in a workshop being conducted by the United States Small Business Administration and score. The workshop is entitled How to Start and Manage Your Own Business and will address such topics as organization, business plans, advertising, site collection and marketing. That workshop will be held this coming Wednesday. Now to register and to get further details, call 9622233. Each week on News Corp, we end our news broadcasts by highlighting the accomplishments and achievements of deserving students throughout Maryland. We call it our City Line Student of the Week. There are no age or grade restrictions. The only requirements are that students excel in some area and be nominated by their teachers or principals. Now, all student nominations should be sent to city lines. Student of the Week. WG TV, Television, Hill, Baltimore, Maryland. Two one, two, one, one. And we encourage those entries today. And finally, it was a sad day in aviation history last week with the deaths of the seven shuttle astronauts.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251#t=2784.39,2891.51"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/transcript/48902/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Especially mourned was the loss of a rarity to the black community. Astronaut Ronald McNair McNair, a member of Omega sci fi fraternity, earned his bachelor's degree from North Carolina A\u0026E and his doctorate degree from the Massachusetts Institute of Technology. He was slated to be the first person to receive a master's degree in orbit via a satellite transmission. McNair was selected for the astronaut program in 1978. On February 11th, 1984, he took his first shuttle flight. He is survived by two children and a wife who was an employee of the Johnson Space Center in Houston. Mrs. Sheryl McNair trains flight controllers to operate computer consoles in mission control. That is today's news cab. I'm teen mom tia move city line up next. Have a good afternoon. They're using different name, but it's still Pedro. See the plans behind. And. Hi, I'm Harold Anthony. What do you get when you combine the overwhelming talents of four gospel singing brothers who were raised, harmonizing and subsequently decided to make singing the word of the Lord their life's work. Well, you get the Winans the most successful and dynamic gospel group to hit the airwaves since we heard. Oh, happy day. Although they have rocketed to the top of the gospel charts, the saga of the Winans is only beginning to unfold. Four out of ten family members, the Winans were born and raised in Detroit, Michigan, where they served their musical apprenticeship naturally enough. And the church gospel is what they were raised on and all they've ever wanted to sing. The group became diversified in their vocal arrangements by performing in churches throughout the Detroit area. They often competed in various talent shows, which is a real test of their creative appeal since they were often competing against mainstream groups.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251#t=2892.38,3136.27"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/transcript/48902/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"July 1975 was the turning point in the group's musical aspirations. It was then that the Quartet presented themselves to the general public for the very first time as a professional group. The response was overwhelming, and with an increase in concert tours came an increase in ticket sales. After teaming up with the world famous Andre Crouch, they were credited with several Grammy nominated albums, which include Long Time Coming Tomorrow and introducing the Winelands. It was only natural that with the group's growing acclaim, that they would attract the attention of the legendary producer, talent scout and creative entrepreneur Quincy Jones. That merger proved to be history in the making, as demonstrated on their latest album called Let My People Go. For those of you who are just getting acquainted with the Winans, it's a breathtaking introduction to a group whose musical, whose music is synonymous with the words joy, majesty and love. Here the Winans with Let My People Go. And Sammy was. It safeguards the press and the bottom line suffering. Oh. Five. Right. And I think we're going to see that much more than three. Oh, it's not just my. Don't you know what he said? But these are not people. In the same situation in. But it's fair to say that this is behind. I'm on the way. There's still time for me to show up every day. This time might. So these are fears. He's a about. Right away. These are my people. Ha ha ha. But these are my people. Oh. But these are. Now. You met her? I. Oh, come again. To take it down and people got. And I love people go up the to go to my they. That was the Winans with Let My People Go. Taking a look at the local scene, we found that WJC TV, in cooperation with the Baltimore Center for Performing Arts Incorporated, will present the legendary first lady of jazz, Ella Fitzgerald, in concert at the Maurice de Mechanic Theater at 8 p.m.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251#t=3137.05,3487.16"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/transcript/48902/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"on Thursday, February six. This event will benefit the Eubie Blake Cultural Center. For more information, you can call 6 to 5 1400. Also, the arena players will will be presenting Steal away at the Arena Playhouse 801 McCullough Street. You can see steal away weekends through February 9th. For more information, you can call 7286 500 and commemoration of Black History Month. The Walters Art Gallery will present a 19th century black artists exhibition in Harlem. Photographs by Carl Van Vechten. This exhibit will be featured now through March 2nd at the Walters Art Gallery, located at 600 North Charles Street. Among the artists on Exhibit A, great Baltimoreans Joshua Johnson, who is believed to be the first Afro-American to achieve fame as a portraitist. Robert Scott Duncanson. Most noted for portraits and still lifes, as well as historical and religious subjects. And Carl Van Vechten, whose photographs depict Afro-Americans who have made significant contributions to the cultural and social life of the United States. Among the artists displayed by Van Vechten are writers James Baldwin, Dizzy Gillespie, athlete Althea Gibson and more. For more information on activities, tours, films and lectures, call the Walters Art Gallery at five, four, seven, 9000. Well, that just about does it for this week's edition of the Entertainment Page. I'm Howard Anthony, hoping you all have a great week. Okay. Thank you, Harold. And we'd like to thank our guests today on today's show. That's right. All of them. Thanks for being here. Coming up next week, we have a very interesting show. A woman whose son died of AIDS. So you'll want to join us. And the following week, on the 16th of February, the king of the rappers other than Miss a KURTIS Blow. So if you want to be part of that studio, studio audience, call out 481 13, 13 to reserve your seat.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251#t=3487.45,3605.33"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/transcript/48902/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I'm Betty Bentley. I'm Jackie Hall. Have a good, good Sunday. So.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251#t=3605.96,3629.85"}]},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/transcript/48902","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/transcript/48902/annotation/25","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/048/902/original/open-uri20230817-361033-rzr82j?1692230450","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/048/902/original/open-uri20230817-361033-rzr82j?1692230450"}]},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/index/82296","type":"AnnotationPage","label":{"en":["Soap Stars, 1986-02-02 02-07-2024 18:40 [Index]"]},"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/index/82296/annotation/26","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/105490/file/206251#t=245.0,2415.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/index/82296/annotation/27","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Guy Davis, One Life To Live; Pamela Kay, Another World; Russel Curry, Another World","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251#t=245.0,2415.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/index/82296/annotation/28","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/105490/file/206251#t=2415.0,3082.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/index/82296/annotation/29","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"South Africa train collision; Martin Luther King Day observance; Interview with Joseph Kelly, President, CMEA, Classified Municipal Employees Association; Small Business Administration; Ronald McNair","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251#t=2415.0,3082.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/index/82296/annotation/30","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/105490/file/206251#t=3082.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251/index/82296/annotation/31","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"The Winans; Walters Art Gallery; Exhibition: Sharing Traditions: 5 Black Artists in 19th Century America; Harlem Portraits: Photographs by Carl Van Vechten; Joshua Johnson; Robert Scott Duncanson;","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105490/file/206251#t=3082.0"}]}]}]}