So, so why don't you talk about 'Inside Bed-Stuy', can you do that for me? And not, not do it in reference to the articles, the many articles that have been written.$$'Inside Bed-Stuy' was a tactic started by the Kennedys, Bobby Kennedy was going to run for President, and part of his machinery was to have a good reputation in--he had a--there was a--the Bedford Stuyvesant Restoration Corporation was a kind of poverty a--poverty agency that was inspired or you know by, by Kennedy. And Kennedy ran, really, he had his people. You know I got to meet, you know people, Kennedy people. So and they wanted to start the first black television program and in America, right. And they ended up with--they had put a team together and they had a producer, a guy named--well he was a writer, a very--Leslie Lacy, he's written several books. A brilliant guy. I don't know where--what he's doing now. And he was a friend, you know, brilliant--he wrote about being, living in Africa and all. And I remember we had a drink and he said Charles [Hobson], you know, I can't work with these guys, you know you, you can work with white people, I can't, you know. He said I'm going to, I'm going to tell them to hire you. He didn't have any TV experience either, he was a--and I came out of radio. But I knew Bed-Sty and he knew--so I went and they hired me. He gave me the job, you know, Leslie. So then I became the writer. So I can see--so again we did things like the Persuasions, I remember we had--it was very eclectic, which I sort of like as you can guess. So we had like we had one of the high school, boy's high basketball star cause they'd won the championship that year. And--or a, you know the Persuasions, who I discovered, the group called the Persuasions, doo wop group. The guys went to the projects to interview them and they sang for me, you know and in one of their apartments and I thought this is amazing. So I booked them on the first show. And so we did everything--I'll tell you a story. We were talking about an old man that lived in the neighborhood, he had retired from entertainment world and you might want to put him on the show, you know this is about Bed-Sty. We put him on the show, it was Eubie Blake. You know he was about 79 at the time and because of that, he ended up having a--he lived to 100 and performed to 100, so that was a little--that was some of the--Bedford-Sty was a--was such a rich community, you know this was larger than, you know, 400,000, I think it was at the time 400,000 people. So this show looked at--we had no budget, you know we, we would put a camera in the middle of a house, a park and if it rained, we would--the guests had to use umbrellas. But we captured, you know, an amazing part of, of Brooklyn, you know. Of, of, of a black community. It's never done, never been done. So that, that was 'Inside Bed-Sty'. I was--I was honored at Lincoln Center, Morgan Meade Festival as a producer. And some of the--a couple of the people are still alive. So but most of them aren't, you know.$$So you--what's the--that was hosted--was Roxie Roker--$$Roxie Roker and Jim Lawry.$$Which is, you know he talks about that. I know him from Chicago and--$$He worked for McKenzie, right?$$Right, he worked for McKenzie, that's right.$So what did--how does this--how does it come about? Tell, tell us about not only what you did, but how you did it. We know that the BBC's [British Broadcasting Corporation] involved and you're saying that this was the legitimate co-production with the BBC. So as opposed to you were saying, you know, where BBC does it and you just are happy to slap your name on it as the co-producer. So tell, tell me about--cause I, I, I really think in terms of the, the, the subject matter and the research that went into it, and the information. You know as a viewer, you know who wasn't--I was viewing it. I'm not in production, really, I [unclear]. You know I was, I was struck. I mean I was learning all kinds of new things. And so my question is how did this--was it the, was it the BBC that first approached you, or vice versa, or who is doing what with this?$$I can tell you the story. They're, they're two very distinguished filmmakers, Albert, and I forgot his brother's name, Maysles, and they were, they were working with developing this with the, with the BBC. And then one of the brothers--German guys. One died, I forgot which one, but I said--they told PBS [Public Broadcasting Service], you know you really have to find a black producer, you know. Cause you know we, cause we, we want to do it but you know, it's Africa, everything. So they ended up recommending me and Susan Wild who is the Vice Pres--so that's how I got into 'The Africans'. Again, I, I've had some of the greatest things I've ever gotten into when someone said, you know, handed it to me, basically. You know like 'Like It Is' [unclear]. I, I, there was so many people involved with, with 'The Africans', and I couldn't say it's me, it's not me. It's David Harrison who was the BBC, British equivalent, Executive Producer. Brilliant, brilliant producer. He was about ten years older than me and he was very--and we--when it's a whole bunch of people, you know, it was--we did a book, we had various producers. You know we had three or four film crews. Two crews going at the same time in different parts of Africa, the world, yeah. So it was--they were different. And Ally Mesruley [ph.], you know. Oxford educated, Ally had, you know Ally--so a lot of people were involved. But you have to kind of keep as an Executive Producer, keep your eyes on the ball. Keep, keep the goal in sight, you know as things, you know as things move, move forward. So I think, I think we did that fairly well. So Ally--so it's, it's--film is a cooperative thing. You know like a big--like a documentary, a big thing. There's so many people involved. So yes, it wouldn't happen without me and--but there were a lot of people who, you know who I'd say even played greater roles doing execution of it. So--I like to look for things that were never done and, and even--like we're doing a much smaller--a smaller film crew for PBS on the Flat Iron, which is a wonderful building, Chicago [Illinois] influence. But no one's ever made it. Building on the most photographed--perhaps the most photographed building in New York [City], or in the world. One of the--you know, and with a great history. So we got the opportunity to do--and not even necessary--there was black stories in it, you know which you'll see. So that's kind of my motive.