ALEX HALEY CAME HOME TO KNOXVILLE TODAY. FAMILY AND FRIENDS UNVEILED A 13 FOOT STATUE OF THE CELEBRATED AUTHOR THIS MORNING. ACTOR LOUIS GOSSETT JUNIOR AND FORMER TENNESEE GOVERNOR LAMAR ALEXANDER HELPED MORE THAN A DOZEN PEOPLE PULL A CLOTH OFF THE STATUE. THEN THEY ALL TOUCHED THE BRONZED HALEY, SHOWN LOOKING UP FROM A BOOK. LOS ANGELES ARTIST TINA ALLEN SPENT FOUR YEARS ON THE PROJECT. SHE SAYS THE LOVE SHOWN DURING THAT WORK GAVE HER CONFIDENCE THAT "WE'RE" GOING INTO THE 21ST CENTURY AS A FAMILY. ALEX'S BROTHER GEORGE COULDN'T ATTEND THE CEREMONY BECAUSE HE'S IN TRAINING AS AMBASSADOR DESIGNATE TO THE GAMBIA IN WEST AFRICA. THAT'S WHERE ALEX HALEY SPENT YEARS RESEARCHING HIS FAMOUS BOOK "ROOTS". IT WAS MADE INTO THE MOST WATCHED MINISERIES IN T-V HISTORY.

02:04 ""Erika Becker"" by Eddie Becker. Erika talks to her father about her ""Several Policy"" [Cerebral Palsy]. She explains what the disease does and how it made her feel. ""What's the worst part of having a handicap?"" ""I think being made fun of. That really hurts."" ""Inside, even grownups treat me differently... but that's because I'm different."" 13:43 ""Muddy Waters"" by Tom Weinberg, 1981. An interview in which Muddy Waters explains the roots of rock 'n roll. 13:59 ""Rock and Roll Controversy."" Old black and white film clips that highlight the generational gap surrounding the emergence of rock 'n roll. ""Rock 'n roll is cool, daddy, and you know it!"" 14:35 Promotional compilation for the band Johnny Clegg and Savuka by Globalvision/South Africa Now, featuring news reports, music videos, and interviews. 18:38 Studs Terkel Interviews critic Dave Marsh at WFMT. Marsh talks about the importance of Southern racial politics in the emergence of rock 'n roll. 20:08 1989 CLIO Award-Winning Commercial for the Tate Gallery in Liverpool, G.B. 24:02 David Halberstam commentary by Tom Weinberg and Skip Blumberg. Halberstam talks about how young people today are going to compete with people from around the world for jobs that their parents were almost guaranteed. ""The new definition of national security is... 'How good is your high school graduate?' The easy affluence has gone; other nations have caught up... slice of middle class is slimmer... Americans are now competing with people their age from Osaka, Beijing, Singapore, Jakarta etc."" 26:05 ""Uncle Sam Falls"" by Bill Stamets. A humorous clip where a mannequin dressed as Uncle Sam topples over and people scramble to right him. 26:41 ""Quayle Watching."" During a speech Dan Quayle is heckled. 26:55 ""Yuppie Rap"" by Bill O 'Neil. A music video for a song that parodies the young urban professionals of the 1980's. 30:43 ""Washington Homeless Demonstration"" Marchers demonstrate in Washington D.C. for affordable housing. 32:49 ""Voices from the Sidewalk."" Scott Kelman is the artistic director of Pipeline, Inc., an arts program for the homeless. He talks about politics and the future. Homeless people read poetry in Skid Row. 37:47 ""Henry Moore Sculpture."" A teacher talks to teenagers about the first self-sustained nuclear chain reaction while standing at the site where it occurred on the University of Chicago's campus. 38:24 ""Disarmament Survey"" by Skip Blumberg. A boy in New York discusses his fear of world nuclear proliferation. 39:18 ""Duck and Cover."" A 1950's educational film advising how to react to an atomic bomb blast. 1:46 ""Brazilian TV"" by Wendy Appel and Alan Barker. Brazilian actress Christine Nazareth gives us the inside scoop on Brazilian TV: the stars, the most popular programs, and the politics. 45:54 ""Guns and Women."" Joe Cummings reports from an Orland Park, IL shopping mall, where women are going to a shooting range called Target Masters. Cummings investigates this increasing phenomenon of women learning to shoot guns. 49:48 ""Advice Ladies"" by Skip Blumberg. Women give advice on the streets of New York City.

Egypt, Sphinx, Pyramids, mosque, markets, sunflares reflect on water, busts, Italy, Coliseum, ruins, Appian way, Rome, St. Peters, Switzerland looks like India, castle,, Paris, Eiffel, London crowds, Hadrian's wall, United Nations, strip mines, desert pan, fixing cactus, cows, empty path in forest, heron, butterfly on flower, waterbird takes off, ducks, waterlillies or lotus, pollution video, slums, poverty, third world, beaker in lab, dangerous signs, slo mo white water flooding, sun through trees, water sparkles, VIDEO on water, high grass, Frankfurt, germany, Greece Ruins, ampitheatre, busts, mummies, ocean and shore, water sparkles, Prague, Nairobi, VIDEO Hong Kong, Johannesburg, Santiago, Chile, circuit board, VIDEO Kiev, Russian crowds, video jungle, Africa and animals, T/L clouds over mountains, rain clouds over ocean, storm over ocean, sun breaks through clouds, video - family mom and son and girl play scrabble, woman on phone, kid on phone, boy and girl watch TV and fight over remote - VIDEO

CU of poster of Morocco's King Hassan II, ZOOM OUT and PAN to MS of dignitaries on outside platform watching a parade in the streets of Rabat. CU of an officer, CSs of military policemen keeping an eye on the crowd. CS of television cameraman (36 ft). Several shots from different angles of parade in the streets of Rabat, including shots of bands and floats and shots of people lining parade route. CSs of maked up children (338 ft).

BARS. CR:19 VS OF A WHITE FAMILY IN SOUTH AFRICA WATCHING TELEVISION. THE LOCAL NEWS FINISHES AND NBC'S "THE A TEAM" GOES ON. CI: COMMUNICATIONS: TELEVISION.

Zanzibar, East Africa. <br/> <br/>LV. Royal yacht Britannia in Zanzibar harbour. TV. Princess Margaret steps out of the barge and is greeted by the British Resident, Mr Robert Alford. GV. Old building with people looking from the roof. GV. Masses of people in the streets. CV. Faces of men watching. CV. Women in Purdah, one showing her eyes. GV. Princess Margaret shakes hands with the Sultan of Zanzibar, Seyyid Sir Khalifa bin Harub and she shakes hands with the Sultana. They walk into the Sultan's palace. Sultan gives a cheerful wave to the camera. TV. Masses of people dancing in the street outside the palace carrying swords. TV. Men dancing. CV. A bearded dancer's face. CV. Dancers' faces. LV. The palace with Princess Margaret, the Sultan and the Sultana on the balcony. SV. Princess Margaret talking to the Sultana. SV. Church of Christ, Zanzibar - camera tilts down to Princess Margaret walking through crowd after the service. GV. Women watching from a roof. SV. Women in colourful traditional clothes holding babies. SV. Princess Margaret receiving gifts from two old ladies who are reputed to have met Stanley when he went in search for Livingstone. Both women are former slaves. CV. Princess Margaret shakes hands with dignitaries. <br/> <br/>(Lavender.) ("Orig "N")

IF ONE TODAY, TWO TOMORROW

People from Kenya, Israel and Europe watch the inauguration, celebrating Obama's victory.

NEWSFEED, 10/4/98, HI-FASHION, ELECTIONS, VARIOUS STOCK MARKETS TOKYO, RIO, GERMANY, NYSE, CLINTON; DX USA: IMF ARRIVALS, International Monetary Fund arrivals, at conference, Greenspan, and others, greeting & meeting; DX ITALY: FASHION/CATWALKS runway modeling, hi-fashion models, various, clips of the crowds, and the behind scenes; DX BRAZIL: ELECTIONS, pan of Rio, crowds handout leaflets in streets, voting, tabulation of voting, nuns voting; DX AUSTRALIA: ELECTION, guard stands outside house, man in shorts comes out to vote, candidates, paparazzi, results; DX ITALY/FILE: COMMUNISTS, Centro Internazionale Roma, people walking around outside; DX VARIOUS: KOSOVO, diplomats meeting, various at conference for Kosovo, Slobadan Milosevic speaks to crowds, shakes hands; DX VARIOUS: KOSOVO, planes on the runway, sign 'danger aircraft armed', fighter jets take off; DX VARIOUS: MARKETS, Japanese Nikkei Market floor, overview, Japanese Prime Minister speaking, h/s floor, traders at work; DX VARIOUS: MARKETS, Germany, floor stock market, traders, boards, overview of floor, NYSE, h/s of floor various; DX USA: BANK, conference of bankers and others in semi-circular meeting room, various; DX USA: FILE BRAZIL, conference, int. speaker at podium, ext. shots of Rio, bikers, peds, on street summer wear; DX USA: TREATY, Asian man signs treaty and gives speech, paparazzi; NX BRAZIL: RESULTS, sunset boats in harbor, fisherman, people watching for election results on tv, traffic on street; DX ITALY: FASHION, hi-fashion runway models, on the catwalk, wedding bride on the runway, large size models; DX VARIOUS: KOSOVO TENSION, Milosovich in meeting with other diplomats, Clinton ; DX JERUS/WESTBANK/ALBRIGHT MEETINGS, Albright and Netanyahu, at podiums speaking, meeting, Aarafat and other diplomats; DX soldiers fight in street, throwing rocks, crowds, protests; DX CHINA: BLAIR, PM Tony Blair, exits plane in China diplomatic visit, review, Tony Blair speaking; DX VARIOUS: MARKETS, overview Nikkei stock market, stock boards, Stock Market Rio De Janiero, NYSE; DX RUSSIA, CRISIS: Russia, campers in the street, protest signs in Russian, various,students making posters; DX YUGOSLAVIA: POLICE/REFUGEES, soldiers, busses, tanks moving thru streets,night NX convoy of trucks and busses; DX YUGOSLAVIA: REFUGEES, refugee camps, outdoor cooking, living in tents, men listen to portable radio; DX USA: BALLOON DEATH, hot air balloon crashes to earth, flattened balloon on the ground, passengers killed; DX SOUTH AFRICA: WHALES, whales jumping out of the water, people watch on the shoreline, festival selling souvenirs, binoculars; DX SOUTH AFRICA: WHALES, jumping out of water, people on rocks watching the whales swimming and turning in the water; DX USA: IMF,Clinton at the podium speaking to International Monetary Fund meeting ;

UNDER THE VOLCANO: THE DESTABILIZATION OF SOUTHERN AFRICA

Vandals trying to perpetrate a hate crime hit the wrong house.ScriptPOLICE ARE INVESTIGATING A SERIES OF POSSIBLE HATE CRIMES IN FAR NORTHDALLAS.ONE HAPPENED FRIDAY NIGHT AT THIS HOUSE IN THE 73 HUNDRED BLOCK OF HIGHLANDHEATHER. THE HOMEOWNER TOLD US HE WAS WATCHING T-V WHEN SOMEONE THREW ABRICK THROUGH HIS FRONT WINDOW. THE BRICK HAD A NOTE TAPED TO IT WITH ARACIAL SLUR ON IT AND THE WORDS, "WE WILL BE SENDING YOU BACK TO AFRICA".SOTMR. O'REAR SAYS HE BELIEVES THE BRICK WAS INTENDED FOR HIS NEIGHBOR WHO ISAFRICAN AMERICAN. ACCORDING TO POLICE REPORTS WE OBTAINED, THERE WERE 5SIMILAR INCIDENTS IN THAT SAME NEIGHBORHOOD ON FRIDAY NIGHT.SOUTHWES

AVAILABLE MOS ONLY, CANNOT LICENSE INTERVIEWS OR STILLS, ETC. 1980s: IRAN HOSTAGES, MORAL MAJORITY, LOTS OF REAGAN, CONTRAS, YUPPIES, DRUGS, COMPUTERS, BREAK-UP OF SOVIET UNION, POP CULTURE REAGANOMICS political ad attacking Contra aid, guerrilla warfare, Reagan with Arab diplomat, war in Lebanon Arafat, war torn city, U.S. Marines in Beirut, embassy bombing, good Dusk Air to Air passenger plane, Reagan, Beirut hostage; Central American guerrillas, training, White house, ground missile shoots down plane, Contras receiving weapons, Reagan lying Hearing, Robert McFarland, Edwin Meese, Oliver North, paper shredder, William Casey, Capitol bldg, Reagan, strike or protest HS intersection, drive by houses, chauffeur waiting by limo, NYSE, Michael Milken, WTC towers, Ivan Boesky, NYSE, art auction ;Street mural, INT modern art gallery, Julian Schnabel, fashion show, Cindy Crawford, 80s fashions & status symbols, yuppies Woman using 80s cell phone, crowded sidewalk, nightclub dance floor, sort of 80s hippies, BMW lot, hand counting money Family on vacation, tourists, Carter carrying briefcase, Reagan, S & L banks, exercise class, ped with walkman, Capitol ;Congress, Jim Wright, VAR George Bush, stock market crash headlines, brokers having nervous breakdowns, Bush Int office, unemployment line, Reagan, people shopping in thrift store, African American teens & kids, NX peds ;Drug bust, man smoking crack, prison scenes, courtroom, body on stretcher, drug bus, prison yard, black man working in office; Louis Farrakhan, arrests, Oliver North, seized drugs, body on stretcher, Nancy Reagan, Challenger crew, Challenger explosion Reagan address, kindergarten classroom, silhouette satellite dish, 1940s people listening to radio, 1950s people watching tv People watching tv, MTV, Mark Goodman, Madonna, Michael Jackson, Madonna, Ted Turner, CNN anchors, Congress Woman using computer in office, kids computer class, old supercomputers, microchip on finger, PC, Steve Jobs; Electronic ticker, computers in office, stock exchange, PC boxes on forklift, Apple Computer bldg, Bill Gates ;Shrink-wrapping software, IBM PC, IBM bldg, assembling computers, Bill Gates, Microsoft Windows disks & on screen Apple Computer signs around parking lot, street scene, plaza below WTC, Ralph Lauren shop, Ben & Jerry's ice cream, Cabbage Patch kids, RUSSIA MILITARY May Day parade, Chernenko funeral, VAR Mikhail Gorbachev, Gorbachev & Reagan, war in Afghanistan; Fax machine, Atari computer, Gorbachev, signs welcoming Gorbachev, demonstration in Tiananmen Square massacre Protest in Eastern Europe, May Day parade, Lech Walesa, demonstration, amphibious military vehicle, soldiers landing on beach; Walesa, White house, Walesa, Gorbachev, demonstrations, Tearing down Berlin Wall, demonstration in South Africa, Apartheid riot, Nelson Mandela, George Bush, celebrating fall of Berlin Wall

Promotional film made for Pye Telecommunications. <br/> <br/>Documentary begins with sequence showing colleges of the University of Cambridge. Good views of college buildings and courtyards with students wandering through the grounds. Kings College and King's College Chapel. Christopher Marlowe is mentioned in the commentary as a former student at Corpus Christi college. C/U of his gravestone. Emmanuel College is shown, John Harvard took his degree here and part of the college was designed by Sir Christopher Wren. Various shots of the college architecture. Cloisters of Queen's College are shown, clock tower and sundial. One of the most greatest Renaissance Humanists attended the college - Desiderius Erasmus. Visitors are shown around the college courtyards. The Great Court of Trinity is shown - personalities connected with Trinity are mentioned on the soundtrack: Bacon, Newton, Byron, Thackeray, Tennyson, Walsingham, Walpole and Rupert Brooke. Panning shot and C/Us of the courtyard buildings. St John's College is shown and famous students are mentioned: Wordsworth, John Colenso - the English Bishop of Natal and the astronomers Sir John Herschel and John Gooch Adams. <br/> <br/>The Cavendish Laboratory is then featured. Baron Rutherford worked here unlocking the secrets of the atom. Its name commemorates the eighteenth century scientist Henry Cavendish, himself a Cambridge man, who anticipated the work of Faraday, Ohm and others on electricity. Various shots of the exterior of the Laboratory and various men in white coats. C/Us of laboratory machinery inside the building. Scientists at work. Joseph Black is another scientist mentioned by the narrator. <br/> <br/>C/U of an elderly man standing in front of a bookshelf consulting a book. It is George Trevelyan, former Master of Trinity and now a famous historian. Field Marshal Smuts and the Marshal of the Royal Air Force Lord Tedder were both honoured by being the University's Chancellor at various times. <br/> <br/>Various shots of ceremonies involving the two Chancellors and the crowds which gather to see them including guests having tea on one of the college lawns. Dr Albert Schweitzer is awarded an honorary doctorate. <br/> <br/>Various shots of Pye factories and buildings, television transmitter mast, Pye lorry etc. Radio taxis. C/U of taxi stopping in front of the camera. Driver gets out and opens the door for his passengers. Man pays the taxi driver. C/U of driver being paid. He climbs back into the car and there is a C/U of him operating the "radio telephone" inside his cab. He holds up microphone to speak to the control room before he sets off. C/U of the controls for the unit. C/U of the aerial on top of the cab. Camera pans down to show sign over a garage. Interior of garage - control centre for the radio cabs. <br/> <br/>THE FOLLOWING SECTION IS NOT IN THE SHORTER VERSION OF THIS DOCUMENTARY <br/> <br/>L/S of group of young schoolboys sitting at desks watching a television set in the classroom. M/S of the boys concentrating on their lesson. C/U of the television set. Two Eastern women sit and prepare a meal. They put rice and other food into a large banana leaf. Shots of what is seen on the screen are intercut with shots of the boys who are watching the TV. <br/> <br/>Industrial television is a Pye speciality. We see a Pye industrial television camera being demonstrated. Man stands beside the camera operating the remote control unit. C/Us of the remote control and the camera. Dust proof camera housing is shown. Monitor unit seen in C/U. 14 inch and 9 inch and 5 inch monitors are shown. Closed Circuit TV screens. <br/> <br/>C/U of the sign above Canadian Pacific building. C/U of a camera mounted beside a window which is filming the scene below - fountains in Trafalgar Square. C/U of the control box which affects the lens. Zooming technique of this camera is described. M/S of a man sitting in front of a monitor. Panning shot of the square. <br/> <br/>Teaching Hospital. L/S of group of doctors and nurses grouped around a patient in an operating theatre. C/U of man operating the closed circuit television. C/U of the camera. C/U of scene on the television screen. Body being cut open (yeuch!) M/S of group of doctors watching the closed circuit television. C/U of the camera then of the operation <br/> <br/>L/S of man approaching a freight train in a modern railway marshalling yard. Man approaches a small hut. Camera pans from L/S of a building at the railway yard, up to show closed circuit television camera. The yard supervisor can see what is going on in other parts of the yard. Various shots of men in the control box operating switches and monitors. C/U of camera moving inside a waterproof housing. High angle L/S of the yard. Lots of trains and railway tracks. <br/> <br/>Steel works - various shots of machinery moving. Tracks slot into place. Narrator tells us that they have to be in perfect alignment before the truck can move forward into the furnace. C/U of the man operating the controls for the tracks. C/U of his hand on the controls. M/S of the truck moving towards the camera. C/U of the camera in a dust proof camera which records when the tracks are in alignment (this does the job previously done by another worker). Various shots of workers, machinery and the picture on the monitor. <br/> <br/>"Television was born in the service of entertainment" states the narrator. Shot of a train pulling out of a station, people look out of the windows at the camera. C/U of a sign which reads: "Broadcast in Progress". M/S of group of men filming a ventriloquist act on the train. Various shots of the monitor, the act and the passengers on the train enjoying the entertainment: "This is a British Railways excursion train with its own TV programme for its passengers, the first in the world. C/U of a boy leaning out of a train window with a camera. C/U of the monitor showing what he is filming. The view from the train. <br/> <br/>M/S of man climbing into a helicopter which is fitted with an industrial camera unit. This is an experiment for the benefit of foreign air attaches. They watch the monitors in the comfort of a Cambridge hotel. Aerial shot from the helicopter then view of what would be seen on the monitor. Narrator talks of the benefits of this system for crowd control at big sporting events and for sorting out traffic jams. Panning shot of the air attaches watching the screens. Helicopter lands. The visitors are given a chance to inspect the equipment. Various shots of the men beside the helicopter and C/U of the camera equipment. The camera unit is lifted out of the helicopter. <br/> <br/>Section featuring underwater television. Lake Constance in Switzerland is the location. Closed circuit television is used to assist a salvage operation - a sunken Dakota aircraft is located and brought the the surface with the help of Pye equipment. C/Us of men operating the television equipment and of the picture on the TV monitor. Various shots of men working on the operation. <br/> <br/>M/S of TV outside broadcast unit lorry. It is bound for Russia from Cambridge. C/U of the side of the lorry which has Russian lettering on the side. <br/> <br/>C/U of the mobile generator trailer being attached to the back of the lorry. M/S of Pye lorries leaving the factory. The Russian van is driven off. Narrator states: "There are not many places in the world where Cambridge brains and Cambridge initiative have not left there mark." and uses a quote from Chaucer's Canterbury Tales "Gladly would he learn and gladly teach." The Russian van moves through a Cambridge street. <br/> <br/>Traffic problems of Cambridge are discussed. Lots of people cycle past the camera on a busy road. M/S of large number of bikes lined up. M/S of another area of parked bicycles. "...the bicycle is the natural means of getting about" to avoid traffic congestion. <br/> <br/>Various shots of the Cambridge rowing team. C/Us of one of the rowers. Various shots of the college crews practising on the River Cam. Shots of the great Oxford Cambridge boat race on the Thames. Various views of the teams rowing and of spectators. Nice shot of people punting in Cambridge. Moving shots from a punt. Glamorous woman lazing in a punt being propelled by a boyfriend. High angle shot of punts moving along the river. <br/> <br/>Note: documentation file exists - commentary, shot list etc. See other version which has much less footage of telecommunications nature, more of student activity.

05/04/75 C0050679 - COLOR JOHANNESBURG, SOUTH AFRICA: SOUTH AFRICAN TV LNC 62554 "S AFRICAN TV" SHOWS: GV JOHANNESBURG: GV TV MASTS: MS TV VEHICLES: GV INTERIOR OF STUDIO: CU INTERVIEW PROGRAMME: CU TV MONITER: CROWDS WATCHING TV: S TV SETS IN SHOPS: GV HOME AERIALS: GV FAMILY WATCHING TV AT HOME: (SHOT 5/3/75 44FT) TELEVISION(SS) SOUTH AFRICA - JOHANNESBURG UPITN / 44 FT / 16 MM / COLOR / PRINT / R56072

NEW YORK- NYC in snowstorm; QEII in dock in New York; workers load ship; limos arrive, ritzy passengers onto ship; Embarkation Hall; POV from ship leaving NY Harbor. 12:03:22:00 PORT EVERGLADES, FLORIDA (Ft. Lauderdale): QEII into port; POV Ft. Lauderdale condos from ship; tourists in tram leave ship; VS 12:04:27:00 MIAMI BEACH hotels, people on beach, pelican on piling. VS cruise ship activity- sunbathing, jogging, putting. Ship's rail, lifeboats listed (into water). 12:06:22:00 MARTINIQUE: VS- beach, palms, small boat, village, volcano, flowers & forest. 12:08:04:00 BARBADOS: steel drum band plays; vs <'s town activity, traffic, etc. marina; cricket match; colonial building (Sam Lord's castle); CU's orchids; vs sugar cane fields; cu boy eating sugarcane; vs harbor & coast; QEII King Neptune ceremony (guy in costume); 12:11:18:00 SALVADOR, BRAZIL: vs street scenes; church; creepy man; kid plays musical instrument made of gourd; vs fruits in marketplace; man carries stuff on head. Ocean wake of ship (no land or ship in sight). 12:13:03:00 RIO DE JANIERO: WS city; vs Christ the Redeemer statue; vs Copacabana Beach; CU diamonds; vs gemstones polished (amethyst & ruby); vs finished jewelry; Gondola carries people to top of monolith, vs Sugarloaf & tram; Sunset from deck of cruise ship (Life preserver silhouette in shot); QEII Captain's cocktail party; dining room dinner; orchestra; showgirls on stage; tap dancer, CU feet. 12:18:06:00 CAPETOWN, SOUTH AFRICA: African sunrise; MS helicopter, to QEII; QEII docked in Capetown harbor; WS Capetown; vs market, city hall; WS Table Mountain; vs Dutch-style buildings. VS vineyards, CU red grapes. VS baboons at game preserve eat melon, w/ babies, sit on car hood & van roof; S. Africa Airline plane take off; VS Mala Mala Game Reserve- tourists, giraffes, antelope, wildebeest and baby, CU man takes picture, zebra, front POV from land rover, lions. 12:23:18:00 MAURITIUS: vs scenics- sugar cane fields & mountains, twin waterfall, rapids. Parliament building; vs street scenes, crowds, police directs traffic; Hindu temple, CU statues of gods; vs Royal Pamplamous Gardens, giant lily pads; vs model boat factory in Curpipe. Side POV ocean from ship; vs captain on bridge of QEII; vs engine room; vs radio room, operator; vs ship telephone switchboard. 12:28:56:00 SRI LANKA: Buddha statue in Colombo; 2 <'s Buddhist monks walk; WS rice fields w/ palm trees, vs people harvest rice; sequence- elephants bathed, work moving logs; vs WS mountain regions; 2 <'s Temple of the Tooth; vs street scenes in KANDY; MCU drummer in costume; 2 <'s fire eater in action. Ship's POV sunset. 12:32:21:00 MADRAS, INDIA: WS railroad station; vs street crowds- incl. Pedicab, cattle cart, cow wanders, camel-cart by. VS Taj Mahal. Ship's wake/rear POV ship. 12:34:33:00 KUALA LUMPUR, MALAYSIA: QEII docked; CU drummers in red coats; CU sultan into Rolls Royce, pull away from QEII; WS skyline; vs city views, traffic; sequence-tapping rubber tree. 12:36:16:00 SINGAPORE: ship POV harbor; Raffels Hotel; vs Chinese-style gardens; vs Tiger Balm Gardens, incl. garish statues. Chinese cultural show: lion dance, women dance, CU audience. Shipboard activities: Shuffleboard played; golf driving on ship; skeet shooting. Buffet meal, CU shrimp served. CU bust of Queen Elizabeth. Hypnotist/Magic show. 12:41:13:00 BANGKOK, THAILAND: QEII docked; VS Thai temple, monkey statues; vs woman in classic hat sells vegetable; many POVs down Bangkok canals (klongs); Thai boxing (kickboxing) sequence; vs Royal Palace grounds; sunset < omn Temple of the Dawn; rear POV wake of ship. 12:44:50:00 HONG KONG: WS/MS misty harbor/skyline; Star Ferry in harbor; vs nx Nathan Road neon; CU's jade statue, watch, TV, cameras in windows; Chinese cultural show w/ ribbon dancer, Peking Opera characters, spinning parasols (acrobats?). ABERDEEN: vs POVs thru "floating city" of junks and sampans. VS painting the QEII; Hong Kong tailor seq. More shipboard activities: int people relax on deck chairs, 3 people work on jigsaw puzzle, man & woman play ping pong; 4 older people play cards; MS Barclay's Bank branch on ship; MS QEII florist; QEII library; QEII beauty salon-woman in mirror. VS string quartet plays; dance class (cha-cha); cooking class. 12:51:25:00 PUSAN, KOREA: vs serene temple & gardens; traditional Korean costumes; vs Temples of "Buddhaland"; vs 2 men eat traditional Korean meal w/ chopsticks. 12:53:29:00 KAGOSHIMA, JAPAN: women in kimonos play traditional instruments; QEII in dock in bg; women in kimonos dance; vs Sakurajima (volcano) erupting in ash clouds; WS ferry crosses harbor w/ eruption in bg; vs Japanese tea ceremony. Front POV ship. 12:55:51:00 TOKYO: WS Imperial Palace; CU's cherry blossoms; vs Ginza crowds; vs Kannon Temple in Asakusa District; ms train thru countryside; Shinto shrine, vs man tying prayer onto tree w/ many others; vs Giant Buddha at Kamakura; nx vs Ginza neon; vs interior Tokyo subway; vs pachinko parlor. 13:00:12:00 YOKOHAMA: QEII docked w/ line of people climbing gangplank; great hi< EWS pan Japanese crowd looking up at camera (fills frame) cheerful, some wave; rear/side POV ship wake w/ rail; z-o on deck tug-of-war. (CONT'D on DJ-20)....

Collection of material made by the Warwick Trading Company and Cecil Hepworth. Many thanks to Luke McKernan at the National Film and Television Archive for his assistance in identifying these stories.<br/><br/>CHECK COPYRIGHT<br/><br/>i) Troops Passing Over Modder River by Train - A train, with locomotives and armoured cars at each end, passes over a temporary bridge erected over the Modder river; Seaforth Highlanders are riding in coal trucks and the train moves towards the camera. Date: 8 December 1899. Cameraman was John Benett-Stanford. Warwick Trading Company catalogue number 5525.<br/><br/>ii) (Return of the City Imperial Volunteers) Shows the City Imperial Volunteers marching through London having returned from the Boer War. Date: 29 October 1900. Title and production company uncertain. Production company was possibly Cecil Hepworth's. <br/><br/>iii) (Colonial Troops and Cavalry) Procession of suspiciously neat troops. This film has long been recorded in the NFTVA records as being of the Boer War, however it is probably film of the "Savage South Africa" touring theatrical troupe which visited Britain in 1899, recreating spectacular scenes from African wars. Date and production company uncertain but could be 1899 and the Warwick Trading Company.<br/><br/>iv) A Skirmish with the Boers Near Kimberley by a Troop of Cavalry Scouts Attached to General French's Column. A staged attack by British troops in South Africa. In three sections, mounted troops ride towards the camera; the troops dismount and set up their Maxim guns; the troops fire from behind some low brushwood. This is the only surviving example of a British military action being staged for the cameras in South Africa (according to the NFTVA). The catalogue description implies that it was meant to be taken as the real thing. Cameraman was Joe Rosenthal and the production company was the Warwick Trading Company. iv) Continued. The three sections of the film were titled as follows: 1 - The Scouts in pursuit of the Boers. 2 - Bringing the Maxims into Action. 3 - A Charge and general fusillade. Date: early 1900s. Warwick Trading Company catalogue number 5545.<br/><br/>v) Scene on Mr N. Smit's Ostrich Farm, Impanzi, Natal, South Africa. Scenes on an ostrich farm, filmed in Natal during the Boer War. Cameraman was Joe Rosenthal. Date: 1900. Warwick Trading Company catalogue number 5548a.<br/><br/>vi) Troops Leaving Port Elizabeth Jetty. Newly-arrived British troops march away from the jetty towards a square and are surrounded by the waiting crowds. Cameraman was possibly Edgar Hyman and the production company was the Warwick Trading Company - catalogue number 5619b. Date: March 1900.<br/><br/>vii) The Australian Mounted Rifles Marching through Cape Town. Ground level view of a column of Australian cavalry riding down Adderley Street in Cape Town watched by enthusiastic crowds. Cameraman was Edgar Hyman and the production company was Warwick Trading Company - catalogue number 5526. Date: 22 December 1899.<br/><br/>viii) Arrival of Wounded at Hospital Ship. A succession of British soldiers are carried up a gangplank by stretcher-bearers from the quayside to a hospital ship at Durban; walking casualties make their way up a different gangplank. Production company - Warwick Trading Company. Date: 1899. Continued.<br/><br/>ix) H.M.S. 'Powerful' Arriving in Portsmouth Harbour. The four funnelled H.M.S. Powerful, bringing home British troops who had defended Ladysmith, comes in past the Victory which is dressed with flags for the occasion. This version has an earlier sequence - probably from the same film - of a smaller boat alongside a larger one which is not included in the NFTVA version.<br/><br/>x) General Buller Embarking on the 'Donnottar Castle' at Southampton. Watched by crowds, Sir Redvers Buller, Lady Buller, the Mayor of Southampton and others walk along the gangway leading to the ship towards the camera. Sir Redvers pauses to be introduced to one of the ship's officers before embarking. Fortuitously, W.K-L. Dickson, war cameraman for the British Mutoscope and Biograph Company, can be seen (without camera) standing on the bottom left (with moustache). Buller was setting off to head the British armed forces in South Africa. W.K-L. Dickson travelled on the Dunottar Castle at the same time.<br/><br/>Collection of material made by the Warwick Trading Company and Hepworth. Many thanks to Luke McKernan at the National Film and Television Archive for his assistance in identifying these stories.<br/><br/>The following items are the same as the whole of reel 1. <br/><br/>The Arrival and Reception of Lord Roberts at Capetown, Lancers Crossing the Modder River, Churned Waters, The 'Roslin Castle' (Troopship) Leaving for South Africa, The Fifth Northumberland Fusiliers Digging Entrenchments at Orange River, South Africa - the Passing of the Armoured Train, Dispersing the Troops at Windsor After Parade, Review of the Life Guards by Her Majesty the Queen, Sir George White Leaving London Hippodrome, General Buller's Transport Train of Ox-Teams. See record for Reel 1.

INSERT INTERVIEW Robert Lipsyte 21:30 in the essay that we've just heard, and in the fair report, is that after the taxpayers pay for the hardware of PBS, its corporate sponsors who decide what's actually going on the air. Is that fair? Barry Chase 21:47 No, it's not fair. The and in fact, much of what is on the air is paid for by the public as well. Though there is in an underfunded system, the possibility and no doubt some reality to this, that that those who choose to support particular programs will pick and choose from among a full range of program options. And we'll pick those that they think make the most sense for whatever their own sensibilities are. So that I, there was a concern here, I think, Pat, there's some food for thought and what Pat has to say as there is in the in the fair report, because the we have known for a long time that with what she calls a jerry rigged system, we are more subject than we like to be to the picking and choosing a program funders, for pieces of the schedule. I don't I don't think that it's necessarily relevant to the to the MacNeil Lehrer NewsHour, which is, after all, a news program with an orientation toward the kind of decision making that Robin described. And by the way, Pat also left out some other very important things we've done such as the African series, which was the the first and only series on television done about Africa from an African perspective in which caused a certain amount of consternation among the power elite. But the point still is, there is something to the point, that if the public wishes to have a system of public television service that reflects the public's views fairly, then the public should pay for more of that system than it does at present. I think there's no question about it. And I think with a multicultural public, there will be an increasing tendency toward a multicultural Public Television. Robert Lipsyte 23:28 Carolyn Craven, is it more than a than Barry Chase's concern? I mean, is it systemic kind of either safe or conservative? Carolyn Craven 23:37 It is safe, I think it is conservative, and I think it is systemic on South Africa Now, the program of that, that I represent on public television has no corporate underwriting at all, and that we were considered corporate unfriendly, because that the show is considered to have an anti apartheid bias, and so therefore, was corporate unfriendly for corporations. I don't even know what that means. Does that mean they support apartheid? I've never even I've never even understood what that meant, in terms of a South African context. But it's more than that, Oh, you look at public television, and you can look at it hour after hour, day after day. And yes, the Africa series was wonderful. And yes, eyes on the prize is terrific. But they are really exceptions, rather than the rule of one just pays attention to the hours, a white male conservative. Influence is just clearly there. I think that and I know in news programs that when it comes to calling an expert on an issue, you call the people that, you know, well, when most of the people who run these shows are white males, they're going to call other white males whom they know and more. I don't think it's nonsense. And I think that it not only happens, but it's even more than that, even when women or minorities are called in. For example, blacks are called in to discuss issues that either predominantly affect blacks in this country or that effect Affrica, you know, as though we have no opinions on the environment or about China or about Central Europe or Central America, Eastern Europe. You know, I'd love to comment on all those subjects and can have, you know, and have informed opinions on all those subjects. But that, that even when we were called in, were called in to represent such a narrow focus as though you know, as the blacks only concern. Concerns are about what other blacks are doing, either in this country or abroad. And that's truly offensive. Robert Lipsyte 25:36 That's just the ghettoizing. Carolyn Craven 25:39 It's a real ghettoizing Robert MacNeil 25:42 Well, I'm, I'm offended by the implication, in those northern implication, it's a charge in the essay, because they have images from our program, that none of the issues that the woman Aufderheidi raises. none of the questions raised are discussed, I'm just defending our program. Now, PBS has a very wide range of programs, I'm discussing our program, all of the concerns and issues that she raised have been discussed and often discussed more than once, in our program, for instance, the question of worker safety and safety from pesticides and people in the field, the safety of people working on oil rigs have been have been featured on our program, you have to look at the program as a whole. And I, I'm not going to sit here and tolerate the implication that we only reflect a small corporate white American middle class Carolyn Craven 26:35 I think you do tend to try to reflect a consensus and You said so yourself earlier on, and that, that it seems to me that news programs also Robert MacNeil 26:44 reflect a consensus. I said that in the case of Nicaragua at a particular time, when the issue had changed in Washington, and after after there being no consensus for a long time. The as a result of the of the intervention by the five American presidents bitterly opposed by the Reagan administration, tolerated by the Bush administration. The the two parties on Capitol Hill had come together, our program reflected that during that, Jeff Cohen 27:11 why can't you have a critic of that consensus? What is so difficult Carolyn Craven 27:16 news programs are a part of the public debate and not just a reflection when Washington happens to have a consensus. And that what is it seems to me that, that what you fail to do is to is to be a part of the much broader debate. It's as though the spectrum is this wide, and you represent some kind of narrow or reflect some kind of narrow, Robert Lipsyte 27:35 Barry Chase in Washington is Is there some way that PBS, which we know is not a network, as we know, commercial networks are can get back to this diversity or wholeness? That was the original mandate? Barry Chase 27:51 Well, I think there were a lot of original mandates. I think there were about as many original mandates as there were people thinking about public television originally. One of them certainly, though, is the reflection of voices outside of the existing consensus that's in our program policies. We try hard to do that. I think that the jerry rigged nature of the of the funding for the system, the sort of each time being its own new creation, as far as funding programs, causes certain distortions. And I think that we try to be sensitive toward complementing those, those problems when we, when we fund things from within the system itself. I think that we, for example, we very much are aware of the multiculturalism of the country and have a sort of new opportunity to reflect that multiculturalism in our programs. I think that to do that in the most effective manner. We're going to have to have more control within public television itself, of the funding for new program ventures, etc. This is not not not with regard to the MacNeil Lehrer NewsHour, which has a particular news program mission, which is a journalistic mission, that's a bit different, I think, from what Ms. Craven and Mr. Cohen are talking about. I think, though, that there is an opportunity to become more multicultural. I think there's a lag time in these things. So you're likely to see more Eurocentric kinds of discussions than perhaps there ought to be given a walk down the streets of major American cities. But I do think we're conscious of it. I do think that there's a new sensibility in public television. And with some new resources for us, I think we can do something about it. Jeff Cohen 29:23 I've been hearing about, I've been hearing that kind of statement for so many years now, Carolyn Craven 29:27 most of these ethnic groups have existed in this country for a very long time, much longer than the existence of PBS. And yet PBS continually and conceptually refuses to reflect that. Let me just say that it's not only a racial and cultural bias, but it's also a class bias. I mean, there's virtually nothing on the air that reflects the fact that there's a large working class and underclass in our country Robert MacNeil 29:51 Not true in our program, and I'm not sure I'm not talking about that and PBS first thought he made the statement at the MacNeil Lehrer NewsHour, Good, you might almost think that workers don't exist. It's true. It is it is not true. Jeff Cohen 30:04 We have the statistics vary, and you had 6% of your guests represented either ethnic groups, public interest groups or labor unions Barry Chase 30:14 PBS has been criticized broadly, I'd like to get one more word. And if I could, I think that I think perhaps the most successful multicultural program on the air today is Sesame Street. And it's been there for about 20 years. Now you can, I suppose, sneer if you like at the faculty, Carolyn Craven 30:29 No body is sneering. Congratuations and it's Wonderful, Barry Chase 30:32 thank you very much. Hold on for a minute. I think that Sesame Street's success with a multicultural approach to children is terribly important. And the influence of that program is very difficult to put limits on since we're dealing with mines that are relatively open and relatively unformed. I do I wouldn't disagree for a moment that we want to make better efforts. I think, Carolyn, for you to say or for Jeff to say you've been hearing this for 100 years, and therefore you don't believe it? Well, you know, I don't know how to deal with that except to say that we are sensitive to it. I think there's a new sensibility to it. I think that there's there's a new sensibility to it in the in the country as a whole. You may say these groups have been here for a long time. And and certainly they have been in one form or another and one population segment or another. But I think that there has been a watershed in sense of sensitivity and sensibility in this country over the past five to 10 years, even as we're having terrible problems. racially, we know in some of the large cities, there's a new comfort with the multiculturalism. And I think you will see that reflected, Jeff Cohen 31:29 let me ask you a specific question, because it was one that I was invited to Washington to meet your programming board, when you had hearings in February 1987. And nothing has changed that I can see. We asked you back then fair petitioned you. And we said that you have every week, you have regular programs that give the corporate view of things. So they look at the corporate agenda. Louis Rukeyser is Wall Street week, the Nightly Business Report is on most PBS stations, Adam Smith's money world and we made a simple request. How hard is it to every week, have a program for the public interest constituencies those that sometimes conflict with big business, labor, consumer rights, environmentalism? And we asked you the second question about all the programs hosted by the McLaughlin and the Buckley's on the right, how hard is it to get a show hosted by a partisan journalist of the left? Barry Chase 32:24 Well, let me say first of all, we have tried and we have had one, in fact, the kwitny report, which was on for one season, I think, was generally regarded as a as a program that was hosted by a journalist of the left. And we'll continue to try that Robert Lipsyte 32:36 Barry, hold that thought. what happened to the kwitny report? Barry Chase 32:40 it was a combination of a loss of of comity between the station that was presenting it to us, which was another station in New York City, and kwitny On the one hand, and Robert Lipsyte 32:52 It wasn't a matter of loss of sponsorship and they kwitny never got a corporate sponsor. Barry Chase 32:58 That's correct. And that and that is that is the fact Robert Lipsyte 33:00 Let me ask I'd like to ask Robert McNeil something not about the MacNeil Lehrer NewsHour, but about PBS in general. Do you have any concern about the what seems to be the overwhelming corporate sponsorship in in PBS? And what might be the response to that Robert MacNeil 33:17 Barry Chase is absolutely right as more of the primetime are the regular programming, a larger proportion of the regular programming on the public system is supported by corporate underwriting, there will be fewer programs which corporate underwriters disapprove of. That's true. But there are lots of programs on the corporate underwriters don't choose to underwrite you remember, you mentioned South Africa now front line, which is the only program at the moment anywhere on any network where you get regular what used to be called in the business hard hitting documentaries, which certainly reflect the diversity of opinion everywhere, and which is a stellar program. Jeff Cohen 33:54 Why can't we get that day after day week after week Robert MacNeil 33:57 Well you get TV you and I just wanted to complete my point it is not does not attract corporate underwriting yet it is supported by the public television stations to hear you people talk and the essays from American University. You'd think that all public affairs programming get their support solely from underwriters. It is not true. The news our it is not true of most others. They get a combination of support and public television stations choose to support these programs by the money that they collect from their viewers and so on. Jeff Cohen 34:24 Well, my argument would be that the public TV programmers have got to do something to balance out the undue influence and weight that corporate funders have a good example is Bill Buckley show he's been on for decades. He's funded by big business Mobil Oil is one of his backers. And he wants according to reports in the LA Times, gave $30,000 to a politician he supported Jack Kemp to come on his program twice. Well, if Bill Buckley has got $30,000 to pay somebody to come on his program twice And Jonathan kwitny show a hard hitting show goes off the air for lack of funding. There's something happening at the top of PBS that Barry Chase isn't putting into order Robert MacNeil 35:08 It isn't only the top of PBS stead programs. All programs have to be approved once a year by the collectivity of public television stations who are independent it was not a network. However, some people might have wondered network perhaps I myself, one might have wondered network it was set up to make the individual stations autonomous, and they decide which programs they will buy by Jeff Cohen 35:29 now, it's a good point. And that's why John McLaughlin, who's had General Electric behind a Metropolitan Life, ADM, his programs are offered free to public TV stations across the country. And they take it. And so you have corporations Carolyn Craven 35:43 And they're charged more. Stations are charged for my Robert Lipsyte 35:47 Let me aks Barry Chase, with with less contributions now from state and the federal government and corporations in picking and choosing what kind of future is there for change in PBS. And especially since a lot of other places now are doing what PBS was charged to do? There's real competition Barry Chase 36:05 Yes well. That's a that's a broader question than the one raised I think, by the Fair report, but the there are things that that a market based broadcast programming source is never going to do that PBS is going to continue to do and public service education matters. Also innovation that I think is not going to be attempted by the the A and E's and the Bravo's and the Discovery Channels, no matter what happens, because they're market based and they need to have a bottom line driven kind of system. I think that the the best source of funding for us and we've known it for a long time, or the viewers have programs like this, the viewers of channel 13 In New York, are the viewers of all the other stations around the country. Without their support, we are going to be relatively less free to make the changes that Jeff Jeff feels that I should have already made. And I don't necessarily disagree, I think with with with more freedom at the center and with more resources and I think we will be getting that we're reorganizing our own work almost even as we speak here and should have a new system of program funding of at least program funding of a for about a third of the schedule in place by about a year from now. Once that happens, I think it will be more fair to hold me and Jennifer Lawson who's who's my boss accountable for the for the programs that come out the other. Robert Lipsyte 37:21 We're going to do it Barry but we're going to have to stop now and we will be back to hold you accountable. Barry chase in Washington, Carolyn Craven, Jeff Cohen, Robert MacNeil, thanks so very much for being with us. Keep watching and we'll see what changes in the future. That's the 11th hour I'm Robert Lipsyte