Video – Page 84 – On Screenwriting and Media with Dr. Rosanne Welch

A History of Screenwriting – 42 in a series – Within Our Gates – Oscar Micheaux (1920)

Oscar Devereaux Micheaux (US: /ˈɒskə.mɪˈʃoʊ/ ( listen); January 2, 1884 – March 25, 1951) was an African American author, film director and independent producer of more than 44 films. Although the short-lived Lincoln Motion Picture Company was the first movie company owned and controlled by black filmmakers,[1] Micheaux is regarded as the first major African-American feature filmmaker, a prominent producer of race film, and has been described as “the most successful African-American filmmaker of the first half of the 20th century”.[2] He produced both silent films and sound films when the industry changed to incorporate speaking actors.

Micheaux’s first novel The Conquest was adapted to film and re-titled The Homesteader.[5] This film, which met with critical and commercial success, was released in 1919. It revolves around a man named Jean Baptiste, called the Homesteader, who falls in love with many white women but resists marrying one out of his loyalty to his race. Baptiste sacrifices love to be a key symbol for his fellow African Americans. He looks for love among his own people and marries an African-American woman. Relations between them deteriorate. Eventually, Baptiste is not allowed to see his wife. She kills her father for keeping them apart and commits suicide. Baptiste is accused of the crime, but is ultimately cleared. An old love helps him through his troubles. After he learns that she is a mulatto and thus part African, they marry. This film deals extensively with race relationships.

Micheaux’s second silent film was Within Our Gates, produced in 1920.[5] Although sometimes considered his response to the film Birth of a Nation, Micheaux said that he created it independently as a response to the widespread social instability following World War I. Within Our Gates revolved around the main character, Sylvia Landry, a mixed-race school teacher. In a flashback, Sylvia is shown growing up as the adopted daughter of a sharecropper. When her father confronts their white landlord over money, a fight ensues. The landlord is shot by another white man, but Sylvia’s adoptive father is accused and lynched with her adoptive mother. — Wikipedia

Learn more about Oscar Micheaux with these books

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I teach several classes for the Stephens College Low-Residency MFA in Screenwriting, including History of Screenwriting. In fact, I created the curriculum for that course from scratch and customized it to this particular MFA in that it covers ‘Screenwriting’ (not directors) and even more specifically, the class has a female-centric focus. As part History of Screenwriting I, the first course in the four-class series, we focus on the early women screenwriters of the silent film era who male historians have, for the most part, quietly forgotten in their books. In this series, I share with you some of the screenwriters and films that should be part of any screenwriters education. I believe that in order to become a great screenwriter, you need to understand the deep history of screenwriting and the amazing people who created the career. — Dr. Rosanne Welch

23: Writers, Fans and The Monkees : “Why The Monkees Matter” Interview with Jean Power [Video] (1:14)

Rosanne Welch talks about “Why The Monkees Matter” with Jean Hopkins Power

Watch this entire presentation (45 mins)

Jean Powergirl takes the host reigns and welcomes her guest Rosanne Welch, PhD to the show! They’ll be discussing Roseanne’s book, “Why The Monkees Matter: Teenagers, Television and American Pop Culture.”

Transcript:

Jean: All right, so did you get..have you been able to talk personally to any of The Monkees.

Rosanne: I was able to…I did phone interviews with Micky Dolenz when I was working…originally I did an article about the writers of the show for… this is Written By Magazine which is the magazine of the Writers Guild and I’m on the board there so I sometimes recommend things I’d like to do and if other writers don’t want to take them, I do them. So I had done that article so that is when I interviewed Micky to talk about — to talk to an actor who understood how writers operated and how scripts work. In fact, I also among all the things I bring to the book signings I have an actual script from the show.

Jean: Which I love stuff like this. An actual script. An actual television script which to me is great. it is just a beautiful thing. In the day, this is how it was done. Notice the little brads. I don’t think you Millenials even know what a brad is, but anyway, this is awesome. This is like a relic for Monkees people. Imean you might need a bodyguard because I know some Monkees crazy people that would like tackle you for that, but I digress.

Rosanne: Seriously. In fact, one of the gentlemen I talked to, Coslough Johnson, talked about when he would go to the studio to hand in a freelance script, he would be mauled by teenagers who were hanging around the gates wanting any piece of memorabilia they could get. “I just want to deliver my work.”

Jean: First-degree relic. (Laugher)

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A hit television show about a fictitious rock band, The Monkees (1966-1968) earned two Emmys–Outstanding Comedy Series and Outstanding Directorial Achievement in Comedy. Capitalizing on the show’s success, the actual band formed by the actors, at their peak, sold more albums than The Beatles and The Rolling Stones combined and set the stage for other musical TV characters from The Partridge Family to Hannah Montana. In the late 1980s, the Monkees began a series of reunion tours that continued into their 50th anniversary.

This book tells the story of The Monkees and how the show changed television, introducing a new generation to the fourth-wall-breaking slapstick created by Laurel and Hardy and the Marx Brothers. Its creators contributed to the innovative film and television of 1970s with projects like Bob & Carol & Ted & Alice, The Mary Tyler Moore Show, Laugh-In and Welcome Back, Kotter. Immense profits from the show, its music and its merchandising funded the producers’ move into films such as Head, Easy Rider and Five Easy Pieces.

Rosanne Welch, PhD has written for television (Touched by an Angel, Picket Fences) and print (Three Ring Circus: How Real Couples Balance Marriage, Work and Kids and The Encyclopedia of Women in Aviation and Space). In the documentary world she has written and produced Bill Clinton and the Boys Nation Class of 1963 for ABC NEWS/Nightline and consulted on PBS’s A Prince Among Slaves, the story of a prince from West Africa who was enslaved in the 1780s, freed by order of President John Quincy Adams in the 1820s and returned to his homeland.

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Remember the Ladies from Giving Voice to Silent Films and the Far From Silent Women Who Wrote Them with Dr. Rosanne Welch [Video] (0:56)

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Remember the Ladies from Giving Voice to Silent Films and the Far From Silent Women Who Wrote Them with Dr. Rosanne Welch

A recording of my presentation at this year’s University Film and Video Association (UFVA) 2017 conference.

Transcript:

This whole conference is about inclusion and convergence which made this topic seem useful to me and hopefully to you. I’ve always gone back from my childhood to learning about Abagail Adams — the woman who told John while you’re working on that Constitution, could you please “remember the ladies.” We tend to forget them in this town and int he history of this town. The other book that I’ve got there is “What Happens Next” which everyone uses in their classes and has a paragraph about the women that that entire book covers. He finds time to cover them in a paragraph and that makes my students crazy. They read 5 different books on the history of screenwriting and chronologically and they come to Frances last and they are like why, why have I not heard of her until now and that book was written in the middle so you know some men write books before that book came out. They didn’t know the women existed. Then they knew and they still didn’t’ write about them and it’s important that we are in these books. So. I thought that was my background.

Books Mentioned In This Presentation

Follow Dr. Rosanne Welch

Twitter: https://twitter.com/rosannewelch
Instagram: https://www.instagram.com/drrosannewelch/

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A History of Screenwriting – 41 in a series – The Wind – Frances Marion

The Wind 1928 – 2015 Helictite live from resounding silents on Vimeo.

The Wind is a 1928 American silent romantic drama film directed by Victor Sjöström. The movie was adapted by Frances Marion from the novel of the same name written by Dorothy Scarborough. It features Lillian Gish, Lars Hanson and Montagu Love. It was one of the last silent films released by Metro-Goldwyn-Mayer, and is considered one of the greatest silent films.[1][2]

Gish came up with the idea of making a film adaptation of the novel of the same name. Irving Thalberg immediately gave her permission to do so. Gish recalled wanting Lars Hanson as her leading man after seeing him in a Swedish film with Greta Garbo. She also assigned Victor Sjöström as the director herself. Sjöström directed Gish before in the 1926 film The Scarlet Letter.[3]

The film was shot partially near Bakersfield and the Mojave Desert, California.[4]

In the original novel, the heroine is driven mad when the wind uncovers the corpse of the man she has killed. She then wanders off into a windstorm to die. According to Gish and popular legend, the original ending intended for the film was the unhappy ending, but it was changed due to the studio’s powerful Eastern office decreeing that a more upbeat ending be shot.[5] It is rumored that this tampering caused Seastrom to move back to Sweden. Mayer’s biographer rejects this on account that the “sad ending” is not known to exist in any form, written or filmed. Regardless of whether an unhappy ending was originally intended, in the resulting film the “happy” ending replaced the original ending against the wishes of both Lillian Gish and Victor Seastrom.[6] — Wikipedia

* A portion of each sale from Amazon.com directly supports our blogs *

* Many of these books may be available from your local library. Check it out!

22: More on Peter Tork and The Monkees : “Why The Monkees Matter” Interview with Jean Power [Video] (0:54)

Rosanne Welch talks about “Why The Monkees Matter” with Jean Hopkins Power

Watch this entire presentation (45 mins)

Transcript:

Rosanne: He did — as far as instrumentation — when they started to play their own instruments on their 3rd album, Headquarters, he did and from that point on has been playing on stage forever and he was always though to be the most proficient. He plays 6 different instruments. He eventually taught music after the show was over. So he’s quite brilliant in that aspect. He allowed himself thought to be cast as the village idiot in the show.

Jean: You always had to have a ding-y person on there. Right?

Rosanne: I talked to the writers and as they thought of the characters for each of these 4 individuals to make them stand out, they had an option with the last character. He could either be the idiot or he could be the supremely intelligent one who we make fun of because they can’t connect socially.

Jean: They’re nerding out.

Rosanne: Like Sheldon on The Big Bang Theory and the writers admitted that at the last minute they thought we can make more quick jokes about stupid people than we can about smart people. So let’s just choose that.

Get your copy today!

A hit television show about a fictitious rock band, The Monkees (1966-1968) earned two Emmys–Outstanding Comedy Series and Outstanding Directorial Achievement in Comedy. Capitalizing on the show’s success, the actual band formed by the actors, at their peak, sold more albums than The Beatles and The Rolling Stones combined and set the stage for other musical TV characters from The Partridge Family to Hannah Montana. In the late 1980s, the Monkees began a series of reunion tours that continued into their 50th anniversary.

This book tells the story of The Monkees and how the show changed television, introducing a new generation to the fourth-wall-breaking slapstick created by Laurel and Hardy and the Marx Brothers. Its creators contributed to the innovative film and television of 1970s with projects like Bob & Carol & Ted & Alice, The Mary Tyler Moore Show, Laugh-In and Welcome Back, Kotter. Immense profits from the show, its music and its merchandising funded the producers’ move into films such as Head, Easy Rider and Five Easy Pieces.

Rosanne Welch, PhD has written for television (Touched by an Angel, Picket Fences) and print (Three Ring Circus: How Real Couples Balance Marriage, Work and Kids and The Encyclopedia of Women in Aviation and Space). In the documentary world she has written and produced Bill Clinton and the Boys Nation Class of 1963 for ABC NEWS/Nightline and consulted on PBS’s A Prince Among Slaves, the story of a prince from West Africa who was enslaved in the 1780s, freed by order of President John Quincy Adams in the 1820s and returned to his homeland.

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Introduction from Giving Voice to Silent Films and the Far From Silent Women Who Wrote Them with Dr. Rosanne Welch [Video] (1 min)

Introduction from Giving Voice to Silent Films and the Far From Silent Women Who Wrote Them with Dr. Rosanne Welch

A recording of my presentation at this year’s University Film and Video Association (UFVA) 2017 conference.

Transcript:

I teach the history of screenwriting, not film, to an MFA program for Stephens College, a low residency program. We do workshops at the Jim Henson Studios in Hollywood for 10 days twice a year and then the students do the rest of their work online. I’m also an adjunct at Cal State Fullerton, so I’ve had the pleasure of teaching all three of these gentlemen. So that’s been a lovely thing but I don’t teach this class there, so they haven’t actually seen me do this. With them, I’ve done screenwriting and workshopping, but here I’m going to talk about why I teach this class for a couple of reasons and I gave it this particular name, “Giving Voice to Silent Films…and the Far From Silent Women Who Wrote Them” – you’ll see that one of those books is by Carrie Beauchamp and it is, “Without Lying Down.” The life story of Frances Marion and the highest paid screenwriter in Hollywood in the entire Silent and early talkie period and none of my students have ever heard of her and I think it is very important that we hear about her and Anita Loos and a bunch of other important women.

I was pleased to be asked to participate in a panel designed by former student (and current kick-ass professor) Warren Lewis. The panel included two other former students from the MFA in Screenwriting program at CSUF: David Morgassen and Lucas Cuny. For the panel’s theme — “What Else Do We Teach When We Teach Screenwriting: Context And Controversy: Strategies For Teaching Film And Television History And Current Events To Screenwriters” — I chose to present on: “Giving Voice to Silent Films and the Far From Silent Women Who Wrote Them”.

It involves the fact that when teaching screenwriting history, I begin chronologically. In essence I force students to watch the classic films of the silent era (happily accessible for free on YouTube) first because that is when women ran the town as evidenced in Cari Beachamp’s Without Lying Down: Frances Marion and the Powerful Women of Early Hollywood”.) Beauchamp’s book is on my reading list so that they can encounter the careers of Frances Marion, Anita Loos, Lois Weber, Adela Rogers St. Johns, Eve Unsell and a host of other women who ran their own production companies for many years.

Secondly, knowing women once ran Hollywood makes it harder for today’s executives to wonder if today’s women can do the same.

Third, I have learned that teaching silent films reminds modern students that in screenwriting the visual is as important as the verbal.

Fourth, recognizing the birth of major iconic archetypes helps them recognize those archetypes in modern films and develop their own characters more three-dimensionally.

Fifth, I had to embarrassingly realize that in my zest to focus on forgotten females, I forgot to cover the careers of forgotten men and women of color and so expanded my viewing list to include the work of Oscar Mischeaux and other artists of color from the era.

Finally, I stretch back to the silents as a reminder that all artists stand of the shoulders of those who came before them – be they women or men.

Books Mentioned In This Presentation

Follow Dr. Rosanne Welch

Twitter: https://twitter.com/rosannewelch
Instagram: https://www.instagram.com/drrosannewelch/

About Dr. Rosanne Welch

Rosanne Welch, PhD has written for television (Touched by an Angel, Picket Fences) and print (Three Ring Circus: How Real Couples Balance Marriage, Work and Kids and The Encyclopedia of Women in Aviation and Space). In the documentary world she has written and produced Bill Clinton and the Boys Nation Class of 1963 for ABC NEWS/Nightline and consulted on PBS’s A Prince Among Slaves, the story of a prince from West Africa who was enslaved in the 1780s, freed by order of President John Quincy Adams in the 1820s and returned to his homeland.

Welch teaches the History of Screenwriting and One-Hour Drama for the Stephens College MFA in Screenwriting. Writing/producing credits include Beverly Hills 90210, Picket Fences,ABCNEWS: Nightline and Touched by an Angel. In 2016 she published the book Why The Monkees Matter: Teenagers, Television and American Pop; co-edited Women in American History: A Social, Political, and Cultural Encyclopedia; and placed “Transmitting Culture Transnationally Via the Characterization of Parents in Police Procedurals” in the New Review of Film and Television Studies. Essays appear in Torchwood Declassified: Investigating Mainstream Cult Television and Doctor Who and Race: An Anthology. Welch serves as Book Reviews editor for Journal of Screenwriting and on the Editorial Advisory Board for Written By magazine, the magazine of the Writers Guild.

Dr. Welch also presented, “The Importance of Having a Female Voice in the Room” at the 2016 TEDxCPP. Watch it here.

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How Gidget Got Into the Girl Ghetto – Dr. Rosanne Welch – SRN Conference 2017 [Video] (23 mins)

At this year’s 10th Annual Screenwriting Research Network Conference at Otago University in Dunedin, New Zealand I presented…

“How Gidget Got Into the Girl Ghetto by Accident (and How We Can Get Her Out of it): Demoting Gidget: The Little Girl with Big Ideas from Edgy Coming of Age Novel to Babe on the Beach Genre Film via Choices made in the Adaptation Process.”

It’ a long title, as I joke up front, but covers the process of adapting the true life story of Kathy Kohner (nicknamed ‘Gidget’ by the group of male surfers who she spent the summers with in Malibu in the 1950s) into the film and television series that are better remembered than the novel. The novel had been well-received upon publication, even compared to A Catcher in the Rye, but has mistakenly been relegated to the ‘girl ghetto’ of films. Some of the adaptations turned the focus away from the coming of age story of a young woman who gained respect for her talent at a male craft – surfing – and instead turned the focus far too much on Kathy being boy crazy.

Along the way I found interesting comparisons between how female writers treated the main character while adapting the novel and how male writers treated the character.

Gidget

Dr. Rosanne Welch

Dr. Rosanne Welch teaches the History of Screenwriting and One-Hour Drama for the Stephens College MFA in Screenwriting.

Writing/producing credits include Beverly Hills 90210, Picket Fences, ABCNEWS: Nightline and Touched by an Angel. In 2016 she published the book Why The Monkees Matter: Teenagers, Television and American Pop; co-edited Women in American History: A Social, Political, and Cultural Encyclopedia; and placed “Transmitting Culture Transnationally Via the Characterization of Parents in Police Procedurals” in the New Review of Film and Television Studies. Essays appear in Torchwood Declassified: Investigating Mainstream Cult Television and Doctor Who and Race: An Anthology. Welch serves as Book Reviews editor for Journal of Screenwriting and on the Editorial Advisory Board for Written By magazine, the magazine of the Writers Guild.

Watch Dr. Welch’s talk “The Importance of Having a Female Voice in the Room” at the 2016 TEDxCPP.

The Screenwriting Research Network is a research group consisting of scholars, reflective practitioners and practice-based researchers interested in research on screenwriting. The aim is to rethink the screenplay in relation to its histories, theories, values and creative practices.

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21: Peter Tork and The Monkees : “Why The Monkees Matter” Interview with Jean Power [Video] (0:55)

Rosanne Welch talks about “Why The Monkees Matter” with Jean Hopkins Power

Watch this entire presentation (45 mins)

Transcript:

Jean: All right, we have one more Monkee to discuss. Who is this gentleman here — the guy right there.

Rosanne: This is Peter Tork and he has quite a following. He is, I would say, as cute as Davy and had Davy not shown up he himself might have been a teen idol.

Jean: He might have been singing the love ballads, right?

Rosanne: Seriously and he said in his later career that he wasn’t pushy enough. When they offered up songs he kind of stood in the background and didn’t jump on them.

Jean: I noticed in this town, in this industry, you’ve got to, you cannot be bashful, right? or you will lose.

Rosanne: No, That is very true and yet he was considered, he was quite polite and he was quite the true hippie of the day. He really believed in the message of peace. He also believed in the message of Buddhism, actually, so he wasn’t a pushy guy. Now as they have toured in later years he tends to sing all of the songs Davy sang in concert and he is quite proficient at them. So it’s kind of sad that he didn’t get into the mix more deeply himself.

Get your copy today!

A hit television show about a fictitious rock band, The Monkees (1966-1968) earned two Emmys–Outstanding Comedy Series and Outstanding Directorial Achievement in Comedy. Capitalizing on the show’s success, the actual band formed by the actors, at their peak, sold more albums than The Beatles and The Rolling Stones combined and set the stage for other musical TV characters from The Partridge Family to Hannah Montana. In the late 1980s, the Monkees began a series of reunion tours that continued into their 50th anniversary.

This book tells the story of The Monkees and how the show changed television, introducing a new generation to the fourth-wall-breaking slapstick created by Laurel and Hardy and the Marx Brothers. Its creators contributed to the innovative film and television of 1970s with projects like Bob & Carol & Ted & Alice, The Mary Tyler Moore Show, Laugh-In and Welcome Back, Kotter. Immense profits from the show, its music and its merchandising funded the producers’ move into films such as Head, Easy Rider and Five Easy Pieces.

Rosanne Welch, PhD has written for television (Touched by an Angel, Picket Fences) and print (Three Ring Circus: How Real Couples Balance Marriage, Work and Kids and The Encyclopedia of Women in Aviation and Space). In the documentary world she has written and produced Bill Clinton and the Boys Nation Class of 1963 for ABC NEWS/Nightline and consulted on PBS’s A Prince Among Slaves, the story of a prince from West Africa who was enslaved in the 1780s, freed by order of President John Quincy Adams in the 1820s and returned to his homeland.

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20: Even More on Davy Jones and The Monkees : “Why The Monkees Matter” Interview with Jean Power [Video] (0:57)

Rosanne Welch talks about “Why The Monkees Matter” with Jean Hopkins Power

Watch this entire presentation (45 mins)

Transcript:

Rosanne: Sadly, he passed away of a heart attack in about 4 years ago and the band had been talking about having a 50th Anniversary Tour. So after he died, the three of them did get together and do a short tour and it went well, so they did actually a longer tour the next year and actually they did a big 50th Anniversary Tour last year that was only Micky Dolenz and Peter Tork.

Jean:…but they won’t replace Davy right?

Rosanne: No, they chose never to replace him because he was unreplacable. When he died it was announced on television that the episode — he did a guest spot on The Brady Bunch, which was a big sitcom — a couple of years after the movie and that turns out to be — according to ABC News — the most rerun episode of television ever of any show in the years of reruns. He was that popular.

Jean: I remember that like when Davy Jones shows up on The Brady Bunch.

Rosannne: Marsha wanted him to sing at her prom because she was the president of the Davy Jones Fan Club and he shows up.

Get your copy today!

A hit television show about a fictitious rock band, The Monkees (1966-1968) earned two Emmys–Outstanding Comedy Series and Outstanding Directorial Achievement in Comedy. Capitalizing on the show’s success, the actual band formed by the actors, at their peak, sold more albums than The Beatles and The Rolling Stones combined and set the stage for other musical TV characters from The Partridge Family to Hannah Montana. In the late 1980s, the Monkees began a series of reunion tours that continued into their 50th anniversary.

This book tells the story of The Monkees and how the show changed television, introducing a new generation to the fourth-wall-breaking slapstick created by Laurel and Hardy and the Marx Brothers. Its creators contributed to the innovative film and television of 1970s with projects like Bob & Carol & Ted & Alice, The Mary Tyler Moore Show, Laugh-In and Welcome Back, Kotter. Immense profits from the show, its music and its merchandising funded the producers’ move into films such as Head, Easy Rider and Five Easy Pieces.

Rosanne Welch, PhD has written for television (Touched by an Angel, Picket Fences) and print (Three Ring Circus: How Real Couples Balance Marriage, Work and Kids and The Encyclopedia of Women in Aviation and Space). In the documentary world she has written and produced Bill Clinton and the Boys Nation Class of 1963 for ABC NEWS/Nightline and consulted on PBS’s A Prince Among Slaves, the story of a prince from West Africa who was enslaved in the 1780s, freed by order of President John Quincy Adams in the 1820s and returned to his homeland.

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19: More on Davy Jones and The Monkees : “Why The Monkees Matter” Interview with Jean Power [Video] (0:44)

Rosanne Welch talks about “Why The Monkees Matter” with Jean Hopkins Power

Watch this entire presentation (45 mins)

Transcript:

Rosanne: So between the two of them — Micky Dolenz sang most of the leads on the rock songs and Davy sang most all the ballads the girls remember and anything that had a girls name in it because that’s why the girls would by it because Davy was singing to them.

Jean: Singing to them personally.

Rosanne. Exactly. So he was — and it was funny in driving to your house today I didn’t realize that the exit off the freeway is 7a and that’s the phrase at the beginning of Daydream Believer which is his big hit. They have a little snippet of conversation on the album and he says ‘What number is this?” 7a is the number that they are recording at the time which is Daydream Believer so that’s known in Monkee circles as a very important number. I thought that was very — it said something about destiny of doing this recording.

Jean: It was meant to be.

Get your copy today!

A hit television show about a fictitious rock band, The Monkees (1966-1968) earned two Emmys–Outstanding Comedy Series and Outstanding Directorial Achievement in Comedy. Capitalizing on the show’s success, the actual band formed by the actors, at their peak, sold more albums than The Beatles and The Rolling Stones combined and set the stage for other musical TV characters from The Partridge Family to Hannah Montana. In the late 1980s, the Monkees began a series of reunion tours that continued into their 50th anniversary.

This book tells the story of The Monkees and how the show changed television, introducing a new generation to the fourth-wall-breaking slapstick created by Laurel and Hardy and the Marx Brothers. Its creators contributed to the innovative film and television of 1970s with projects like Bob & Carol & Ted & Alice, The Mary Tyler Moore Show, Laugh-In and Welcome Back, Kotter. Immense profits from the show, its music and its merchandising funded the producers’ move into films such as Head, Easy Rider and Five Easy Pieces.

Rosanne Welch, PhD has written for television (Touched by an Angel, Picket Fences) and print (Three Ring Circus: How Real Couples Balance Marriage, Work and Kids and The Encyclopedia of Women in Aviation and Space). In the documentary world she has written and produced Bill Clinton and the Boys Nation Class of 1963 for ABC NEWS/Nightline and consulted on PBS’s A Prince Among Slaves, the story of a prince from West Africa who was enslaved in the 1780s, freed by order of President John Quincy Adams in the 1820s and returned to his homeland.

Podcast: Play in new window | Download

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