thumbnail of WTTW Journal; No. 302; Just Plain Hardworking ... Ten Good Lives
Hide -
<v Narrator>Partial funding for this program was provided by the John D. <v Narrator>and Catherine T. MacArthur Foundation, a catalyst for change. <v Hildur Lindquist>I really didn't want to come to America because I have it pretty good at <v Hildur Lindquist>home and I love my family and I was the only one that was going to break <v Hildur Lindquist>up the family. <v G.H. Wang>You talk about liberty. Liberty has to be balanced with discipline. <v G.H. Wang>You talk about justice. Justice has to be balanced with responsibility. <v G.H. Wang>Sense of duty. <v Florence Scala>I get angry because in this neighborhood now, it's lost. <v Florence Scala>It's lost. And, uh, that's sad because what's lost <v Florence Scala>is the immigrant past. What's lost is all those links. <v Frank Lumpkin>I did believe in in struggle. <v Frank Lumpkin>I believe that if you fight hard enough and long enough, you can win.
<v Jim Ylisela>Every Chicago neighborhood produces special people. <v Jim Ylisela>They're not always the best known people in town, but in their own neighborhoods, they <v Jim Ylisela>can't walk down the street without someone calling out their names. <v Jim Ylisela>They are unsung neighborhood heroes and they have each made a mark on the city they love. <v Jim Ylisela>In 1989, Chicago artist Margot McMahon decided to profile 10 such people <v Jim Ylisela>in an exhibit for the Chicago Historical Society. <v Jim Ylisela>She called the show Just Plain Hardworking, and her subjects, all <v Jim Ylisela>aged 60 and older, represent the best of Chicago's ethnic neighborhoods. <v Jim Ylisela>Margot sculpted each subject in clay and then cast the pieces in fondu <v Jim Ylisela>cement. Her brother, William Franklin McMahon, took their photographs. <v Jim Ylisela>Her father, Franklin McMahon, painted watercolors of their neighborhoods. <v Jim Ylisela>And Margot asked me, Jim Ylisela, to compose brief essays about each person. <v Jim Ylisela>At the historical society are ten remarkable Chicagoans were portrayed in these
<v Jim Ylisela>four media. Now you'll meet them in a fifth on television. <v Florence Scala>I think it's going to need more olive oil, Tony. <v Florence Scala>That's it. You know, we could do to that, Tony. <v Florence Scala>We could even add a little garlic. But I'm going to wait until you get the <v Florence Scala>beans in there. <v Jim Ylisela>It's eleven thirty on Taylor Street and the lunch crowd is on its way. <v Jim Ylisela>In the kitchen of her famous restaurant, Florence Scala is tasting every source and <v Jim Ylisela>critiquing every dish. [background dialogue] <v Jim Ylisela>Florence has spent her life on Taylor Street. <v Jim Ylisela>She was born here. The oldest daughter of Italian immigrants raised a family. <v Jim Ylisela>She's buried both her parents here. <v Jim Ylisela>She has also fought for her neighborhood, taking on city hall and the most powerful <v Jim Ylisela>mayor in the country.
<v Florence Scala>It was a hectic, really gutsy neighborhood. <v Florence Scala>Wasn't always a beautiful place. You know, it was crowded. <v Florence Scala>Most of people were poor. But it was incredible in that there was so <v Florence Scala>much life around here. <v Jim Ylisela>The neighborhood was a magnet for new immigrants from Europe and Mexico. <v Jim Ylisela>And for blacks from the south all looking for a better life. <v Jim Ylisela>Jane Addams took a look around and built Hull house to help the new arrivals get started. <v Jim Ylisela>But by the mid 1950s, the near west side needed help of its own, and urban <v Jim Ylisela>renewal brought new hope to the neighborhood. <v Florence Scala>By 1961, when things are really <v Florence Scala>going along and housing programs were really on the drawing <v Florence Scala>boards, the city decided that they would use this <v Florence Scala>area and your West Side, as well as a site for <v Florence Scala>the University of Illinois. <v Florence Scala>So, of course, that just ruined everything. <v Jim Ylisela>The neighbors were stunned at first and then angry.
<v Jim Ylisela>On Valentine's Day in 1961, Florence Scala led a group protesting the decision <v Jim Ylisela>to City Hall to meet with Mayor Richard J. <v Jim Ylisela>Daley. <v Florence Scala>We thought that we could appeal to the father in that <v Florence Scala>man and that he might change his mind. <v Florence Scala>And he gave us a whole big line of baloney. <v Florence Scala>Uh, he said that he would make sure that the developer who came in would be the <v Florence Scala>kind of a developer that would meet the needs of the people. <v Florence Scala>We told him that we didn't buy it that we were not gonna buy it. <v Florence Scala>And he was tough. <v Florence Scala>He was really something. <v Florence Scala>And I think back on it, the control he had all the way down the line. <v Richard J. Daley>No one will accept me in a decision if I think the decision hurts <v Richard J. Daley>the people of Chicago, on the contrary... <v Florence Scala>Our negotiations with City Hall absolutely broke down. <v Florence Scala>And then we decided some weeks or months <v Florence Scala>later that maybe we should sit in at City Hall.
<v Florence Scala>And we did that. We sat in his inner office. <v Florence Scala>No, they don't allow you to do that anymore because they learned a lot from what <v Florence Scala>happened with us. <v Jim Ylisela>Soon the fight turned ugly. <v Jim Ylisela>In 1962, as the protest reached its peak, Florence Scala's home <v Jim Ylisela>was bombed twice. <v Jim Ylisela>No one was injured and the crime was never solved. <v Jim Ylisela>But the violence took its toll on the protesters. <v Jim Ylisela>By June of 1963, the demolition crews began dismantling the neighborhood. <v Jim Ylisela>Hull House was one of the first to go. <v Florence Scala>We stood there on empty lot and watched it go down. <v Florence Scala>It was dreadful. <v Florence Scala>It was a creepy time. Let me tell you, really sad. <v Florence Scala>So many good people were here. <v Florence Scala>And the neighborhood was worth keeping because it worked. <v Florence Scala>It worked better than most neighborhoods and it would have been something
<v Florence Scala>to which they could point with pride. <v Florence Scala>Yeah, I do get mad at that when I think about the loss of <v Florence Scala>it all. <v Jim Ylisela>Today, few people remember Taylor Street, the way it used to be. <v Jim Ylisela>The neighborhood has become fashionable, bursting with new townhouses and young <v Jim Ylisela>professionals. Florence closed her restaurant last year, but she has no plans <v Jim Ylisela>to leave her home. <v Florence Scala>I just remember what it was growing up here. <v Florence Scala>I mean, you've lived with these people all your life, you know? <v Florence Scala>And now as I come closer to the end of my own. <v Florence Scala>I love to see them. And I and often when I say hello and I pass them by, <v Florence Scala>I think, gee I'm glad to see her today. I really am. <v Jim Ylisela>Florence isn't fighting City Hall anymore. <v Jim Ylisela>But she's not the retiring type either. <v Florence Scala>I get angry because, in this neighborhood now, it's lost. <v Florence Scala>It's lost.
<v Florence Scala>And that's sad because what's lost is the immigrant <v Florence Scala>past. What's lost is all those links. <v Florence Scala>What's lost is the place that you could point to and say that French built that <v Florence Scala>church. Uh, you know, Maxwell Street had all the Jews in it. <v Florence Scala>It's homogenizing itself, and and the people who are <v Florence Scala>making money are people in real estate. <v Florence Scala>And the people who are making it in this neighborhood are <v Florence Scala>all people who have political clout. <v Florence Scala>And that makes me sick. <v Florence Scala>So I get mad at that too. <v Photographer>Smile. <v Frank Drehobl>Oh, OK. <v Photographer>Relax.
<v Frank Drehobl>Beveled and june glass. Beveled and... <v Photographer>Now when they close all these churches, what are they going to do about the windows in <v Photographer>those? <v Frank Drehobl>They're taking some out, restoring them downstairs for the Chicago Historical Society. <v Frank Drehobl>1950, 1960. They were still doing loads of churches <v Frank Drehobl>in the area. There were churches in Chicago, uh built, <v Frank Drehobl>and we had sometimes six or eight contracts for a church windows in one year, <v Frank Drehobl>which kept us busy for two or three years. <v Frank Drehobl> [Music] <v Jim Ylisela>Frank Drehobl was born into the stained glass business. <v Jim Ylisela>The year was 1919, and Frank's father, a 30 year old German immigrant,
<v Jim Ylisela>had just opened a shop with his brothers on North Lincoln Avenue near George Street. <v Frank Drehobl>I was one year old and and he <v Frank Drehobl>started a business and had his two brothers here and three or four others. <v Frank Drehobl>His first big contract was with, um, Seeburg Piano Corporation to do <v Frank Drehobl>a thousand windows a month, a thousand piano panels in stained glass <v Frank Drehobl>each month. Plus the bungalow windows. Bungalows being built on the northwest side <v Frank Drehobl>of Chicago, southside. <v Frank Drehobl>When I was five years old, I lived just a block away. <v Frank Drehobl>George and Southport and I was here most of the days just <v Frank Drehobl>looking around. <v Frank Drehobl>Talking to the workers. [Music] <v Frank Drehobl>My grandfather lived a block away in the house that I was born in, and we would travel
<v Frank Drehobl>to the Corner Tavern and get his pail of beer and bring it to him. <v Frank Drehobl>Well those were horse and buggy days for the start in 1919 there was still, uh, <v Frank Drehobl>milk wagons pulled by horses and, uh, little <v Frank Drehobl>Italian wine on the side on the vegetable wagon. <v Frank Drehobl>And, uh, they all came to the alley and ragsaline, uh, wagons <v Frank Drehobl>and, uh, it was slow and <v Frank Drehobl>measured existence. We enjoyed though, much more than the race that's going on today. <v Jim Ylisela>In those days, the neighborhood was German and Polish. <v Jim Ylisela>The German community, nearly one fifth of Chicago's population, flourished along <v Jim Ylisela>Lincoln Avenue. Frank's father hired many of his finest craftsmen from the neighborhood. <v Jim Ylisela>Some of them had been making stained glass for 60 years. <v Jim Ylisela>[Music]
<v Frank Drehobl>Have everything numbered, and we have small <v Frank Drehobl>two inch by three inch samplesup in our sample charts. <v Frank Drehobl>And if we want to go into box 420, we know <v Frank Drehobl>that's a green glass. If we go to box, uh two hundred and fifty, that's a blue glass, <v Frank Drehobl>and box a hundred and twenty five is a white milky glass. <v Frank Drehobl>So we daughter, Angela, she knows almost, we mention a number, <v Frank Drehobl>a box number, she knows the color of the glass in there, so we leave a lot of it up to <v Frank Drehobl>her now. My dad always used to say, you <v Frank Drehobl>do something good for somebody and they'll remember it for the rest of their days. <v Frank Drehobl>So that's our been our policy and philosophy, and it's worked very well. <v Mrs. Lumpkin>Oh, uh, something from, uh, something from my pension plan.
<v Mrs. Lumpkin>And let's see. <v Mrs. Lumpkin>That's July 28. <v Mrs. Lumpkin>See, this is August day. <v Mrs. Lumpkin>That's for you. <v Frank Lumpkin>You know what? <v Frank Lumpkin>I'm sorry. I'm just not you <v Frank Lumpkin>know, I just went to Wisconsin Steel this morning and we looked at the plant. <v Frank Lumpkin>You just think about the guys you worked with for 30 years or more. <v Frank Lumpkin>What happened to them and their family who weren't lucky enough to hold on. <v Jim Ylisela>Frank Lumpkin thought the steel mills would last forever. <v Jim Ylisela>Everyone did. <v Jim Ylisela>For years, Wisconsin Steel employed thousands on Chicago's southeast side. <v Jim Ylisela>Families in the area sent two and three generations to work in the mill.
<v Jim Ylisela>Then on March 28, 1980, the unthinkable happened. <v Jim Ylisela>Wisconsin Steel closed its gates forever. <v Frank Lumpkin>Well, I'm sitting there the clerk got a message, said call <v Frank Lumpkin>all the officials in this plant is closing. <v Frank Lumpkin>So Fleischer looked at me and I looked at him and, uh, we kept the comedy, you know, how <v Frank Lumpkin>in the world could this happen? You know? How could it be closing? <v Frank Lumpkin>Well, it went on for a week or two, and then they they have stopped the, uh, the checks. <v Frank Lumpkin>All the checks bounced. I said wait a minute, something is for real here. <v Jim Ylisela>That last paycheck would never be good. <v Jim Ylisela>Thirty four hundred workers were out on the street with no severance pay, no health <v Jim Ylisela>insurance, and no prospects. <v Jim Ylisela>But Frank Lumpkin was not about to give up. <v Jim Ylisela>Within two weeks, he and others had formed the Save Our Jobs Committee to fight for <v Jim Ylisela>justice for the workers of Wisconsin Steel. <v Frank Lumpkin>That justice delayed is justice denied.
<v Frank Lumpkin>We thought that we were protected by some kind of a law, by <v Frank Lumpkin>something that protected the workers when they was put out of a mill, and they pay and <v Frank Lumpkin>everything went down the drain, that somehow somebody was responsible for us. <v Frank Lumpkin>And we found out that that was not so. <v Frank Lumpkin>But there's no law to guarantee a worker gotta get paid.There's nothing that says <v Frank Lumpkin>that that plant close, you're going to get your money. <v Frank Lumpkin>You're going to get everything. We had we had to do it on our own. <v Jim Ylisela>Under Frank's leadership, the Save our Jobs committee held demonstrations at the plant in <v Jim Ylisela>downtown. They organized a food pantry for the families of the workers and demanded <v Jim Ylisela>justice from local, state, and national officials. <v Jim Ylisela>When Wisconsin Steel filed for bankruptcy, the Save Our Jobs committee went to court <v Jim Ylisela>to try to claim a piece of the settlement. <v Frank Lumpkin>So, I got up and I say, look, you owe me twenty two thousand dollars for my back <v Frank Lumpkin>pay and everything else, and I know that don't mean nothing here. <v Frank Lumpkin>He was talking about millions and other things, but that was all I had.
<v Frank Lumpkin>And I think that we should have some consideration, the workers should have some <v Frank Lumpkin>consideration. I want to know when the people of this country is going to be heard <v Frank Lumpkin>like the peoples throughout the world is being heard today. <v Frank Lumpkin>I wonder what the peoples in this country is going to band together and walk as one to <v Frank Lumpkin>the government of this, the head of the government of this country and say we demand <v Frank Lumpkin>a right to live. We demand a right for our children to have jobs. <v Frank Lumpkin>We demand that... <v Jim Ylisela>Frank Lumpkin was born in 1916, the son of Georgia sharecroppers. <v Jim Ylisela>At twenty three, he was lured north to Buffalo by the prospect of a better paying job in <v Jim Ylisela>steel mills. After serving time in the Merchant Marine, frank got married <v Jim Ylisela>and moved to Chicago, where he worked as a chipper at Wisconsin steel, cutting the <v Jim Ylisela>defects out of steel with a chisel. <v Frank Lumpkin>It was dreadful at the same time, it was glorious. And about 30 years in a week. I remember <v Frank Lumpkin>chipping here, in fact I was chipping over there right around this bend with
<v Frank Lumpkin>hundreds of workers at this very spot, making their eight <v Frank Lumpkin>hours chipping steel, rolling steel. There was mens up in the crane who <v Frank Lumpkin>was bringing steel in, getting it conditioned, taking it to other places <v Frank Lumpkin>so that other peoples could produce and make cars and make trucks and tractors <v Frank Lumpkin>and homes for the rest of the community. <v Frank Lumpkin>It was us, it was the mens, it was the people that made this thing work. <v Frank Lumpkin>You know, I got my payout at home. I sit on my porch and I watched my TV. <v Frank Lumpkin>Let the world go. <v Frank Lumpkin>But after you go through a catastrophe like this, you never again will say let the world <v Frank Lumpkin>go. Somebody come by and I help em. You in problem, we help. <v Frank Lumpkin>But after that, we begin to find that our lives were tied up with the rest of the world <v Frank Lumpkin>and that we wouldn't just a isolated bunch here. <v Jim Ylisela>In 1988, the workers won a settlement of fourteen point eight million dollars. <v Jim Ylisela>But the victory was bittersweet. <v Jim Ylisela>After 30 years on the job, Frank Lumpkin's share was only three thousand dollars.
<v Jim Ylisela>And so the work continues. More support services for the workers who remain unemployed <v Jim Ylisela>or in low paying jobs and more legal battles. <v Jim Ylisela>Frank Lumpkin claims the workers still have 60 million dollars coming in severance and <v Jim Ylisela>other benefits. <v Frank Lumpkin>I think that we had a just cause in Wisconsin Steel. <v Frank Lumpkin>I think it <v Frank Lumpkin>was injustice that happened that we was put out without pay. <v Frank Lumpkin>But it's legal, and so I think we have to differentiate what's legal and <v Frank Lumpkin>what's justice. And what happened to us, even though it was legal, wasn't <v Frank Lumpkin>justice. It had nothing to do with justice.
<v G.H. Wang>[Music] The Chinese people need at least a social center to meet. <v G.H. Wang>And also many businessmen need Chinatown as an anchor <v G.H. Wang>to do their business, to make their living, and, you know, to raise their children. <v Jim Ylisela>One reason Chinatown thrives today is G.H. <v Jim Ylisela>Wang. For years, he has nurtured the neighborhood's renaissance, attracting <v Jim Ylisela>investors and building affordable housing that makes people want to stay. <v Jim Ylisela>He began his work in 1960. <v G.H. Wang>Chinatown in those days were in a quite depressive mood. <v G.H. Wang>And there was no new concentration there was no what you call renovation <v G.H. Wang>or rehabilitation. <v G.H. Wang>And people who could afford were leaving Chinatown for better neighborhoods <v G.H. Wang>if they could find any. <v G.H. Wang>I think of housing because I think it is a principal ingredient <v G.H. Wang>for neighborhood revitalization, because you encourage people to <v G.H. Wang>invest money in the neighborhood and the way to do this is nonprofit
<v G.H. Wang>housing. Why? Because the cost would be lower and more income family can <v G.H. Wang>afford it. And that's the way to start. <v G.H. Wang>You said the Chinese are income poor, they cannot qualify for it, a big mortgage, <v G.H. Wang>but they are cash rich because they're very thrifty. <v G.H. Wang>So you put the two together, that's the way you start your housing. <v Jim Ylisela>G.H. was born in 1909 into an educated upper class family. <v Jim Ylisela>His father and grandfather were both Anglican preachers. <v Jim Ylisela>At 21, he entered the Foreign Service sailing to America to serve as vice <v Jim Ylisela>counsel in Chicago for the nationalist government. <v G.H. Wang>I am the very few remaining genuine Chinese Americans <v G.H. Wang>that lived through the imperial days of China. <v G.H. Wang>The Republican base of China. The warlord states of China. <v G.H. Wang>The nationalist revolutionary days of China. <v G.H. Wang>And the communist revolutionary days of China, as well as American <v G.H. Wang>Democratic dates and years.
<v G.H. Wang>So I've got them all. [Laughter] <v Jim Ylisela>G.H. stayed in Chicago until 1938 when he was appointed consul <v Jim Ylisela>general of New Orleans. <v Jim Ylisela>When the communists took over the Chinese mainland in 1949, G.H. <v Jim Ylisela>enrolled at Tulane University and prepared for a new career as a teacher. <v Jim Ylisela>Back in Chicago, he turned his attention to Chinatown's most pressing need, affordable <v Jim Ylisela>housing. <v G.H. Wang>Well, from that point on, I just started developing houses, and I think <v G.H. Wang>all together from 1960 to <v G.H. Wang>1976, I started close to 200 units. <v Jim Ylisela>These units were all geared for moderate income families, G.H. <v Jim Ylisela>also wanted to build low income housing for the neighborhood's elders. <v Jim Ylisela>Most communities shun low income housing. <v Jim Ylisela>But in Chinatown, G.H. Wang's high rise for seniors became a catalyst <v Jim Ylisela>for further development. <v G.H. Wang>The idea is to build neighborhood confidence. <v G.H. Wang>Once the neighborhood confidence is returned, then you don't
<v G.H. Wang>have to worry about having a low income housing because they believe in the neighborhood, <v G.H. Wang>they believe in the future of the neighborhood. <v G.H. Wang>[Music] <v G.H. Wang>When Chinese first came to the United States, they always <v G.H. Wang>thought the thing to do was to make some money and go home and enjoy life. <v G.H. Wang>But they never make that. <v G.H. Wang>Most of them stayed here. <v G.H. Wang>And when they have children, they say, my children should have Chinese education, <v G.H. Wang>be somebody in China. <v G.H. Wang>And you know, what happened the children came back and stayed here <v G.H. Wang>and became somebody here in the United States. <v G.H. Wang>So my purpose is this. <v G.H. Wang>Since America has given us this opportunity to make a better <v G.H. Wang>living than it is up to us to make <v G.H. Wang>a contribution to America. <v G.H. Wang>And this is a lifelong pursuit.
<v G.H. Wang>You know, you cannot be done in one day or two days. <v G.H. Wang>That's why I be America 60 years. <v G.H. Wang>That's what I've been doing for 60 years. <v Ruth Rothstein>Hello. <v Ruth Rothstein>Hi, Nancy, how are you? <v Ruth Rothstein>I was calling for Dr. Turner. <v Ruth Rothstein>Yes. No, no, I'll tell you what I wanted, and then you might want to speak with him. <v Ruth Rothstein>I want to come down and talk with him. <v Ruth Rothstein>I want to see how one taps into the five million dollar trauma allocation. <v Ruth Rothstein>I want to be first. I want a leg up. <v Ruth Rothstein>[Laughter] I want I want a leg up.
<v Ruth Rothstein>No, nobody else has called you yet. <v Jim Ylisela>From 1977 to 1990, Ruth Rothstein called the shots at Mount <v Jim Ylisela>Sinai Hospital. <v Jim Ylisela>At a time when many hospitals were shutting their doors, Ruth Rothstein saw to it that <v Jim Ylisela>Mt. Sinai thrived. <v Ruth Rothstein>I think that Mount Sinai survives because it does pursue its <v Ruth Rothstein>mission, because it does involve itself with the community <v Ruth Rothstein>that it has not isolated itself behind its own four walls. <v Jim Ylisela>Outside Mount Sinai's walls is a community in need, Lawndale <v Jim Ylisela>has long been one of Chicago's poorest neighborhoods marked by rundown housing <v Jim Ylisela>and high unemployment. For many residents, health care is a luxury they cannot <v Jim Ylisela>afford. But for Ruth Rothstein, Mount Sinai's mission has never <v Jim Ylisela>changed. <v Ruth Rothstein>Originally, the hospital was here and built because there
<v Ruth Rothstein>was a Jewish community here. <v Ruth Rothstein>And when that Jewish community left, this hospital could easily <v Ruth Rothstein>have abandoned the community and moved on with <v Ruth Rothstein>its original constituency, and it didn't. <v Ruth Rothstein>We continue to put back into <v Ruth Rothstein>a community, even though it's no longer Jewish. <v Ruth Rothstein>The kinds of things we would have wanted for our own people. <v Jim Ylisela>Ruth Rothstein knows what it means to be poor. <v Jim Ylisela>Born in Brownsville, a Jewish ghetto in Brooklyn. <v Jim Ylisela>She grew up in an activist household. <v Ruth Rothstein>My father was a shoe worker and he helped to organize <v Ruth Rothstein>the boot and shoe workers union. <v Ruth Rothstein>If there was a strike, we were a part of it. <v Ruth Rothstein>We knew what it meant. We knew why we didn't have bread, and we knew why <v Ruth Rothstein>we didn't have money, and we understood. <v Ruth Rothstein>So that my whole background and the growing up process was to <v Ruth Rothstein>deal with social issues.
<v Jim Ylisela>At 20. Ruth left New York to pursue a career as a labor organizer. <v Jim Ylisela>In Cleveland, she worked for the United Electrical Workers. <v Jim Ylisela>In Chicago, she helped expose racial discrimination at a meatpacking plant. <v Jim Ylisela>Later, Ruth worked as a lab technician before applying at a community center affiliated <v Jim Ylisela>with Mount Sinai. With her labor background, she seemed a natural choice for <v Jim Ylisela>the job. <v Ruth Rothstein>I interviewed, and they didn't hire me, because I was a woman <v Ruth Rothstein>and because I didn't have a master's degree. They weren't interested. <v Ruth Rothstein>But they offered me a secretarial job and I said, that <v Ruth Rothstein>would be wonderful. There's only one problem, I can't type. <v Jim Ylisela>They did offer Ruth a job in the admitting office where she began her swift rise to the <v Jim Ylisela>presidency. By the early 70s, she succeeded in averting Mount <v Jim Ylisela>Sinai's financial collapse with a philosophy that extended the hospital's role <v Jim Ylisela>in the community. <v Ruth Rothstein>Most hospitals have seen themselves merely as the deliverer or the provider
<v Ruth Rothstein>of health care. <v Ruth Rothstein>We extended that mission, or we extended that concept <v Ruth Rothstein>to mean that you not only provide health <v Ruth Rothstein>care, you also look at the total needs of the community <v Ruth Rothstein>and the needs in this community are very extreme. <v Jim Ylisela>Ruth Rothstein has never stopped being an organizer. <v Jim Ylisela>Under her guidance, Mount Sinai joined forces with Ryerson's steel company and <v Jim Ylisela>local community groups to tear down deteriorated buildings and rehab others. <v Jim Ylisela>But even as Mount Sinai reaches beyond its traditional role, Ruth continues <v Jim Ylisela>to work for the rights of the poor and the disadvantaged, insisting that her hospital <v Jim Ylisela>provide the best possible care to those who need it most. <v Ruth Rothstein>Health care is a right, and it's a right for every citizen of this country. <v Ruth Rothstein>And it's not a privilege. <v Ruth Rothstein>And what always troubles me is that the United States of America and <v Ruth Rothstein>South Africa are the only two countries in the civilized world that doesn't
<v Ruth Rothstein>have a health care plan that takes care of all of its citizens. <v Ruth Rothstein>And that indeed is a tragedy a total tragedy. <v Jim Ylisela>[Singing] Delois Barrett Campbell <v Jim Ylisela>has long been one of the shining lights of gospel music. <v Jim Ylisela>Born and raised on Chicago's southside, Delois, and her sisters, Billie and <v Jim Ylisela>Rodessa,The Barrett Sisters, are one of the world's leading gospel groups. <v Jim Ylisela>[Singing]
<v Delois Barrett Campbell>We love to sing. We started when just little young girls harmonizing <v Delois Barrett Campbell>in my home, my daddy's home. <v Delois Barrett Campbell>We're full blooded sisters. We're seventh, eighth and ninth children. <v Delois Barrett Campbell>I'm the oldest of the three. <v Delois Barrett Campbell>We've been singing for, I'll claim, 40 years <v Delois Barrett Campbell>with them. [Singing] <v Delois Barrett Campbell>We're, <v Delois Barrett Campbell>from a old religious family, our background is very religious. <v Delois Barrett Campbell>My daddy was a deacon in the Baptist Church and my mother was a missionary. <v Delois Barrett Campbell>So we were steered to this to be with the Lord. <v Delois Barrett Campbell>My daddy was a strict old man. <v Delois Barrett Campbell>We didn't have any, uh, uh, Lionel Hamilton, any of those those records <v Delois Barrett Campbell>in the home. We had strictly church music in our home. <v Delois Barrett Campbell>When I was in high school, my voice was discovered by one of the teachers,
<v Delois Barrett Campbell>and I ended up singing for our grammar school graduation. <v Delois Barrett Campbell>I actually graduated from high school and went immediately on the road <v Delois Barrett Campbell>with the Roberta Martin singers. We would go and stay, stay at one church <v Delois Barrett Campbell>for maybe one or two weeks. <v Delois Barrett Campbell>Because we wasn't actually singing concerts, we were doing revivals, which <v Delois Barrett Campbell>meant that we had a minister to come in, and he would preach and we would do the singing. <v Delois Barrett Campbell>[Singing] <v Jim Ylisela>In 1962, Delois left the Roberta Martin singers and began performing with her <v Jim Ylisela>sisters. By the late 60s, the trio had released many record albums. <v Jim Ylisela>Their popularity soared. [Singing] <v Delois Barrett Campbell>Most of the churches didn't more than gospel singers in there gospel singing because they
<v Delois Barrett Campbell>felt it was so closely to the rock and roll or to blues. <v Delois Barrett Campbell>They didn't like the hand clapping. They didn't like the patting of the feet. <v Delois Barrett Campbell>So therefore, they didn't want to have any parts of it. [Singing, followed by applause] <v Delois Barrett Campbell>Well, now they love it. <v Jim Ylisela>Delois lives on South Indiana Avenue <v Jim Ylisela>in a neighborhood that has been home to Mahalia Jackson, Sam Cooke, Dinah Washington, <v Jim Ylisela>and Thomas A. Dorsey. It is also home to her sister, Billie, who lives next door <v Jim Ylisela>as well as Rodessa and Delois' daughters. <v Jim Ylisela>And it is a neighborhood where, for many, the church is the source of hope, and <v Jim Ylisela>gospel music is the messenger. <v Jim Ylisela>[Singing]
<v Delois Barrett Campbell>When I'm up singing, I'm really trying to communicate to the audience. <v Delois Barrett Campbell>I'm trying to tell them a story. <v Delois Barrett Campbell>I'm trying to give them something to think about, something that they can feed on <v Delois Barrett Campbell>something that they can live. Let them know that there's a brighter day. <v Delois Barrett Campbell>Even though it's dark now, but there is a brighter day yet to come. <v Delois Barrett Campbell>[Singing] <v Delois Barrett Campbell>So many minds are confused because of dope, <v Delois Barrett Campbell>because of alcohol. It's raging. <v Delois Barrett Campbell>Our kids are going astray. I had a son to die from an overdose of dope <v Delois Barrett Campbell>because he was he was out in the world. <v Delois Barrett Campbell>He was 23 years old. <v Delois Barrett Campbell>And, uh, he had everything to live for, <v Delois Barrett Campbell>but he preferred going that way. <v Delois Barrett Campbell>And I was the last to know that he was actually on dope. <v Delois Barrett Campbell>And I regret it very much that I didn't get a chance to really minister to him,
<v Delois Barrett Campbell>even though I thought I did quite a good job, but I see I didn't do as well as I thought. <v Delois Barrett Campbell>His dad was a minister, still is a minister. <v Delois Barrett Campbell>But when we got to that boy, he was dead and had been dead for about seven hours. <v Delois Barrett Campbell>[Singing] <v Delois Barrett Campbell>We all in our 60s and I, uh, believe that our time is <v Delois Barrett Campbell>winding up. We may see a few more years, or we may see none, I don't know. <v Delois Barrett Campbell>I told the people when I was in Europe last year that I will come to Europe
<v Delois Barrett Campbell>as long as I can walk. <v Delois Barrett Campbell>So maybe I'll be singing as long as I can get <v Delois Barrett Campbell>a tune out, I don't know. <v Jim Ylisela>Walter Piotrowski has kept an eye on the meat packing industry for more than 50 years. <v Jim Ylisela>As a labor leader and negotiator, Walter fought for and won many of the changes
<v Jim Ylisela>that transformed the meat packing plant into a safe, decent place to work. <v Walter Piotrowski>It's a day and night difference between the department of yesterday and the department of <v Walter Piotrowski>today. To <v Walter Piotrowski>walk through the door of the plant today, well-painted, <v Walter Piotrowski>they're clean, the floors are spick and span. <v Walter Piotrowski>The's a pleasure. <v Jim Ylisela>Walter grew up with the stockyards. <v Jim Ylisela>To make extra money, he helped his father peddle meat out of a horse drawn wagon. <v Jim Ylisela>In 1929, at the age of 18, Walter went to work in the stockyards. <v Jim Ylisela>He earned 20 cents an hour. <v Jim Ylisela>In those days, the hog butcher of the world lived up to its billing. <v Jim Ylisela>In The Jungle, Upton Sinclair described the scene inside the plants as a very
<v Jim Ylisela>river of death. <v Jim Ylisela>As the wheel turned, a hog was suddenly jerked off its feet and borne aloft. <v Jim Ylisela>The uproar was appalling, perilous to the eardrums. <v Jim Ylisela>One felt that there was too much sound for the room to hold. <v Jim Ylisela>The stockyards employed thousands who lived in the neighborhood, but the plant owners <v Jim Ylisela>recruited more workers from Central and Eastern Europe to keep their labor pool high <v Jim Ylisela>and wages low. At one time, Walter's parents, both Polish immigrants, <v Jim Ylisela>worked long hours in meatpacking plants. <v Walter Piotrowski>It's sad to think about <v Walter Piotrowski>what the people had to endure when <v Walter Piotrowski>they were promised good jobs, when they left <v Walter Piotrowski>their homeland in Poland, other foreign lands, <v Walter Piotrowski>and coming to America. <v Walter Piotrowski>They surely worked rather hard to bring
<v Walter Piotrowski>about for us what we have today. <v Jim Ylisela>Labor unions weren't very popular in those days, but when the Congress of industrial <v Jim Ylisela>organizations sent representatives to the meatpacking plants, Walter was one of the <v Jim Ylisela>first to take up the call for higher wages and better working conditions. <v Walter Piotrowski>In the early days, they couldn't find time to <v Walter Piotrowski>make it comfortable for peopel to do the job <v Walter Piotrowski>and enjoy their work. <v Jim Ylisela>During his 15 minute lunch breaks, Walter recruited his fellow workers for the union. <v Jim Ylisela>He rose to president of Local 25 of the United Packinghouse Workers and <v Jim Ylisela>later served as secretary treasurer of the Beef Boner's and Sausage Makers Local <v Jim Ylisela>until his retirement in 1987. <v Unknown>Walter Piotrowski and your retirement, may there always be be a warm wind uh, blowing to your <v Unknown>back. Thank you for all you've given us. <v Jim Ylisela>The problems of the 20s are not the problems of the 90s.
<v Jim Ylisela>Workers, labor, and clean well lighted plants, but technology threatens safety and <v Jim Ylisela>job security. As usual, labor and management want more from each other, <v Jim Ylisela>and each has proven a stubborn adversary. <v Walter Piotrowski>It's a sad thing to watch an operation and then for <v Walter Piotrowski>the leader to be remain stubborn - to demand only for himself rather than to try to <v Walter Piotrowski>work it out with both sides. <v Walter Piotrowski>Some places the unions get so darn strong <v Walter Piotrowski>that they want it their way and only one way. <v Walter Piotrowski>They don't want to bend. <v Walter Piotrowski>And that's what I was known for, both sides sitting <v Walter Piotrowski>down and working it out.
<v Jim Ylisela>Maria Enriquez de Allen's life is filled with her art. <v Jim Ylisela>In her small Pilsen apartment, she spends her days working in the tradition of many <v Jim Ylisela>Mexican artists, creating beautiful objects out of materials other people <v Jim Ylisela>have thrown away. [Music] <v Maria Enriquez de Allen>[Speaking Spanish] <v Translator>My family had many artists, especially the women, when I was seven, my mother taught me <v Translator>to crochet and to make paper flowers. <v Translator>But I didn't have much time for it because I had to help my parents with the farmwork. <v Jim Ylisela>Maria's family's ranch was an Allende, Mexico, about 50 miles south <v Jim Ylisela>of the Rio Grande.
<v Maria Enriquez de Allen>[Speaking Spanish] <v Translator>I used to like making goats from clay I found on the farm. <v Translator>I'd look for snail shells on the ground and those would be the tails for my goats, and <v Translator>I'd use mesquite needles to make the horns. <v Maria Enriquez de Allen> [Speaking Spanish]. <v Translator>This <v Translator>cactus I made many years ago. <v Translator>It's made from eggshells and the blossoms are from a plant in my garden. <v Translator>The eagle I've made from some cardboard covered in cloth. <v Translator>The same as the snake. <v Jim Ylisela>At 18, Maria became a schoolteacher and at 23, she married Manuel Castillo. <v Jim Ylisela>17 years later, Manuel was accidentally killed by an electrical shock. <v Jim Ylisela>And Maria was left to support their seven children. <v Jim Ylisela>She brought in extra money by making paper flowers. <v Maria Enriquez de Allen>[Speaking Spanish]. <v Translator>Even though I worked in the school the rest of my day, I worked at home with my seven <v Translator>children. The oldest was 14 and the youngest was 14 months.
<v Translator>They were my company. They were my happiness. <v Translator>And they gave me the inspiration to work in that way. <v Jim Ylisela>Maria's children grew up and moved to the United States. <v Jim Ylisela>She soon followed them first to Texas and then in 1963 to <v Jim Ylisela>Chicago, where she settled in the Pilsen neighborhood. <v Jim Ylisela>[Music] <v Jim Ylisela>In Pilsen, Maria went to work for the Halsted Urban Progress Center, teaching <v Jim Ylisela>art to children and helping their parents adjust to American life. <v Jim Ylisela>In 1969, she married photographer Harold Allen, who was her son's teacher <v Jim Ylisela>at the Art Institute. They met when Mario took Maria to the school for a <v Jim Ylisela>student exhibit. <v Maria Enriquez de Allen>[Speaking Spanish]. <v Translator>The gentleman turned around suddenly and came to meet me.
<v Maria Enriquez de Allen>Allo, Maria. Allo. You talk English? No sir. Me no talk Spanish. OK. <v Harold Allen>We found out immediately we had no <v Harold Allen>common language. <v Harold Allen>But, uh, we enjoyed, uh, trying to talk anyway. <v Maria Enriquez de Allen>[Speaking Spanish]. <v Translator>At my age and since I don't go out a lot, art is the way I entertain myself. <v Translator>I feel very peaceful when I'm working. <v Translator>I don't worry about Harold. <v Translator>I don't worry about my children. <v Translator>But instead I concentrate on what I'm doing and that I enjoy <v Translator>very much.
<v Monsignor John Egan>Lord have mercy. <v Crowd response>Lord have mercy. <v Monsignor John Egan>May almighty God, have mercy on us. <v Monsignor John Egan>Forgive us our sins and bring us to everlasting life. <v Crowd response>Amen. <v Monsignor John Egan>Let us pray. <v Speaker>Civil disobedience in Selma, Alabama. <v Monsignor John Egan>Who lives and reigns with you and the Holy Spirit. <v Monsignor John Egan>One God, forever and ever. <v Speaker>We've gone too far now to turn back. <v Monsignor John Egan>Holy, holy Holy Lord. <v Monsignor John Egan>God of power and might. <v Monsignor John Egan>Heaven and earth are full of your glory. <v Monsignor John Egan>Hosanna in the highest. [Singing] <v Monsignor John Egan>We are a nation that must be concerned about the poor about the underdog, about the <v Monsignor John Egan>the underprivileged. <v Jim Ylisela>For Monsignor John Egan, faith and social action have always been inseparable. <v Monsignor John Egan>Well. <v Peggy Roach>Good morning. <v Monsignor John Egan>Good morning. <v Peggy Roach>How are you? <v Monsignor John Egan>Judge [inaudible]. <v Jim Ylisela>In his 48 years as a priest, he has never been content to stay <v Jim Ylisela>behind the scenes. <v Jim Ylisela>Though occasionally at odds with his church or at great personal risk, Father Jack,
<v Jim Ylisela>aided by his longtime assistant Peggy Roach, has spent much of his life on the front <v Jim Ylisela>lines fighting for justice. <v Monsignor John Egan>When Saul Alinsky said, Where were your feet today? <v Monsignor John Egan>He was really asking if you're taking care of yourself or you're taking care of other <v Monsignor John Egan>people? Were you out on the streets? Were you on a picket line with people who are <v Monsignor John Egan>suffering injustice? What do you are doing about the people who are hungry in this town <v Monsignor John Egan>or the people who are homeless or unemployed? <v Jim Ylisela>Monsignor Egan's feet have taken him from civil rights marches in Selma to the <v Jim Ylisela>neighborhoods of Chicago, whether fighting for decent, affordable housing for members <v Jim Ylisela>of his West Side parish or combating race discrimination and prejudice, Father <v Jim Ylisela>Jack has tackled some of the city's toughest social problems. <v Monsignor John Egan>The problems in Chicago were serious. <v Monsignor John Egan>They were serious. I mean, you had the restrictive covenants where people, uh, black <v Monsignor John Egan>people, could not move into certain neighborhoods and, uh, yeah, <v Monsignor John Egan>they were restricted and practically all of Chicago had restrict covenants. <v Monsignor John Egan>And thank God that they were eliminated, but that didn't eliminate the racism.
<v Monsignor John Egan>The racism is still in Chicago. <v Monsignor John Egan>There's no question about it. Racism on many, many levels. <v Monsignor John Egan>It isn't as overt, uh, it's more covert. <v Monsignor John Egan>But the problems which are facing a society which is trying to cope, uh, <v Monsignor John Egan>with the question of education, of health, the welfare, unemployment, homelessness, <v Monsignor John Egan>hunger, uh, they are far more serious than they were in the in <v Monsignor John Egan>the 60s. <v Jim Ylisela>The son of Irish immigrants, John Egan, was born in 1917 and <v Jim Ylisela>grew up in the Ravenswood neighborhood. <v Jim Ylisela>As a young boy, he saw injustice all around him. <v Monsignor John Egan>During the Depression days, I saw so much suffering around by the people <v Monsignor John Egan>who were unemployed. <v Monsignor John Egan>And, uh, I lived on the north side of Chicago. <v Monsignor John Egan>I was able to experience a lot of suffering on the part of people. <v Monsignor John Egan>And I guess I asked myself the question, how can I best help? <v Monsignor John Egan>And as we talked, I realized that that might tie in with the work that
<v Monsignor John Egan>Andy MacKenna and Phil Delaney... <v Jim Ylisela>Father Egan's activism wasn't always popular with the church. <v Jim Ylisela>In 1969, Archbishop John Cardinal Codie banished Egan to Notre Dame. <v Jim Ylisela>Thirteen years later, Egan was invited back by Cardinal Joseph Bernadine and <v Jim Ylisela>picked up where he had left off. <v Monsignor John Egan>[Phone ringing] Hello. <v Caller>Good morning, Jack. <v Monsignor John Egan>Hello, John. How are you? Fine, thank you. <v Jim Ylisela>From his post at DePaul University, Father Jack continues to do what he has always <v Jim Ylisela>done, challenging religion's role in solving the problems of urban America. <v Monsignor John Egan>The need for a priest at any time, and maybe particularly today, is more <v Monsignor John Egan>than at any time in my my 47 years as a priest, because I <v Monsignor John Egan>always feel you just have to knock on any door. <v Monsignor John Egan>And, uh, uh, every every phone call <v Monsignor John Egan>is an opportunity for service. <v Monsignor John Egan>Everybody you meet on the street. <v Monsignor John Egan>And so there's I there's just there isn't any retirement and I don't know just <v Monsignor John Egan>don't that God will know when you've done enough and then he'll call you and and
<v Monsignor John Egan>then you enjoy the rest of eternity. <v Monsignor John Egan>I hope. <v Margot McMahon>You ever had a portrait made of, you? <v Hildur Lindquist>Never, this is the first time. <v Hildur Lindquist>[laughter]. <v Margot McMahon>With all the painters in your family, no one's painted you? <v Hildur Lindquist>[Laughter] No. <v Hildur Lindquist>Have <v Hildur Lindquist>you heard any more from your sister? <v Unknown>Yeah, I heard [inaudible] yesterday. <v Unknown>She's very sick. <v Hildur Lindquist>That's just like my two sisters. <v Hildur Lindquist>They're both very strong.
<v Unknown>Yeah. <v Hildur Lindquist>But they are getting along fine. <v Hildur Lindquist>They're OK. So I hope everything will turn out all right. <v Unknown>I hope so. <v Hildur Lindquist>I really didn't want to come to America, because I have it pretty good <v Hildur Lindquist>at home, and I love my family. <v Hildur Lindquist>And I was the only one that was going to break up the family. <v Hildur Lindquist>And no one wanted to go with me [laughter], but <v Hildur Lindquist>my boyfriend, he was here for six years, asked me to <v Hildur Lindquist>marry him and I just couldn't [laughter] couldn't lead him on, but <v Hildur Lindquist>the third time when he came, I said, OK. <v Jim Ylisela> Hildur Lindquist has never sat in at City Hall <v Jim Ylisela>or fought a major corporation. <v Jim Ylisela>She is a housewife and mother. <v Jim Ylisela>One of the truly unsung heroes. <v Hildur Lindquist>When we came 1931. <v Hildur Lindquist>The depression was really bad.
<v Hildur Lindquist>And what we had in the bank here, that was <v Hildur Lindquist>lost. The bank closed. <v Hildur Lindquist>So he came home and told me one day he was white and his face. <v Hildur Lindquist>And I said, what happened? <v Hildur Lindquist>And, uh, his his and he said we <v Hildur Lindquist>lost our money, and I don't think we're going to get it back. <v Hildur Lindquist>Oh, I said, my gosh. I said, was it only that? <v Hildur Lindquist>I said I thought somebody had died in Sweden or was sick and <v Hildur Lindquist>then I heard the rest of my life. <v Hildur Lindquist>So when something come up. <v Hildur Lindquist>Then he says all the time. <v Hildur Lindquist>Oh, was it only that? <v Jim Ylisela>Hildur Lindquist came to America when the nation was down on its luck with <v Jim Ylisela>little more than each other. Hildur and her husband, Valdemar, found a small apartment <v Jim Ylisela>on the north side of Chicago.
<v Hildur Lindquist>We had only one room and the little little kitchen <v Hildur Lindquist>and all his friends and my brother in law, they live <v Hildur Lindquist>across the hall. <v Hildur Lindquist>So this was handy that I came there so I could cook for him. <v Hildur Lindquist>[Laughter] So I had the lot of them coming in and eat. <v Hildur Lindquist>So I had full job. <v Hildur Lindquist>I remember the first Christmas Eve I was here, and I <v Hildur Lindquist>was so used to having Christmas eve at home and the whole family <v Hildur Lindquist>together. <v Hildur Lindquist>And I said to my husband, I'm not going to sit just for ourself <v Hildur Lindquist>Christmas Eve. <v Hildur Lindquist>So we asked all our friends to come over in our little apartment. <v Hildur Lindquist>And they said, they'd never had such a nice Christmas they thought they were
<v Hildur Lindquist>never going to go any place and so, is it really Christmas <v Hildur Lindquist>Eve. That first Christmas I was here. <v Jim Ylisela>Times got better, and in 1941, the Lindquists bought a home on Ashland Avenue <v Jim Ylisela>in the Andersonville neighborhood. <v Jim Ylisela>There were good schools and lots of Swedish friends nearby. <v Hildur Lindquist>I like Hendersonville, and I don't think I ever want to move away from <v Hildur Lindquist>here. I like my house. <v Hildur Lindquist>It's a lot of work lately because I'm getting old. <v Hildur Lindquist>[Laughter] But I think I keep it. <v Hildur Lindquist>Don't go to the home or anything. <v Hildur Lindquist>I've been thinking about it. <v Hildur Lindquist>But the neighborhood is friendly and nice. <v Hildur Lindquist>Sometimes I miss Sweden. <v Hildur Lindquist>But, uh, I've been here too long. <v Hildur Lindquist>I've been here fifty nine years now. <v Hildur Lindquist>And I have my family here. <v Hildur Lindquist>I could never leave my family, I know that.
<v Unknown>You're a special class. <v Unknown>Ah, you take a cookie. <v Unknown>Have some cookies. <v Unknown>They're going to take a class, they're gonna take the whole. <v Unknown>You gotta let me taste one of your cookies. <v Hildur Lindquist>When I was in Sweden as a little girl. <v Hildur Lindquist>We couldn't talk when we were eating. <v Hildur Lindquist>And we had to pray, when we sat down the table and we had <v Hildur Lindquist>to pray when we left the table. [Swedish prayer] <v Hildur Lindquist>God that love his children. <v Hildur Lindquist>Whatever they go in this world, please take care of us. <v Hildur Lindquist>When they went from bed and they're going to sleep, they ask God <v Hildur Lindquist>to look over them. [Crowd murmuring, music]
<v Narrator>Partial funding for this program was provided by the John D. <v Narrator>and Catherine T. MacArthur Foundation, a catalyst for change.
WTTW Journal
Episode Number
No. 302
Just Plain Hardworking ... Ten Good Lives
Producing Organization
WTTW (Television station : Chicago, Ill.)
Contributing Organization
The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia (Athens, Georgia)
If you have more information about this item than what is given here, or if you have concerns about this record, we want to know! Contact us, indicating the AAPB ID (cpb-aacip-526-4q7qn6086s).
Episode Description
"This documentary presents portraits of ten inspiring Chicago elders drawn from the many ethnic, racial and religious groups throughout the city. The ten subjects, age 65 and older, were first featured in a Chicago Historical Society exhibit about Chicagoans who have made a difference. These men and women have worked to develop Chicago"s commerce, maintain the flavor of its neighborhoods, enrich its cultural and artistic life and hold the city to a higher moral standard. "JUST PLAIN HARDWORKING weaves interviews with the subjects and scenes from their work and communities with art from the exhibit -- sculptures by Margot McMahon, photographs by William Franklin McMahon and watercolors by Franklin McMahon -- to create a tapestry of Chicago neighborhoods and people. The ten individuals in the program include Maria Enriquez de Allen, Pilsen; Delois Barrett Campbell, West Chesterfield; Frank Drehobl, North Lincoln Avenue; Monsignor John Egan, Near North; Hildur Lindquist, Andersonville; Frank Lumpkin, South Chicago; Walter Piotrowski, Back of the Yards; Ruth Rothstein, Lawndale; and Florence Scala, Taylor Street."--1991 Peabody Awards entry form.
Broadcast Date
Asset type
Media type
Moving Image
Embed Code
Copy and paste this HTML to include AAPB content on your blog or webpage.
Producing Organization: WTTW (Television station : Chicago, Ill.)
AAPB Contributor Holdings
The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia
Identifier: cpb-aacip-6efa136f816 (Filename)
Format: U-matic
Duration: 01:00:00
If you have a copy of this asset and would like us to add it to our catalog, please contact us.
Chicago: “WTTW Journal; No. 302; Just Plain Hardworking ... Ten Good Lives,” 1991-10-23, The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed June 26, 2022,
MLA: “WTTW Journal; No. 302; Just Plain Hardworking ... Ten Good Lives.” 1991-10-23. The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. June 26, 2022. <>.
APA: WTTW Journal; No. 302; Just Plain Hardworking ... Ten Good Lives. Boston, MA: The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from