Black Nouveau - Program - #2203

>> HELLO. I'M JOANNE WILLIAMS AND WELCOME TO "BLACK NOUVEAU." THIS IS OUR EDITION FOR OCTOBER 2, 2013. OCTOBER IS BREAST CANCER AWARENESS MONTH THE WE'LL EXAMINE THE IMPORTANCE OF GETTING MAMMOGRAMS. WE'LL INTRODUCE YOU TO THE BRONZEVILLE ARTS ENSEMBLE, THE COMMUNITY'S NEWEST ARTS GROUP. AND DIANE■ç WILKENS FROM HANSBERRYSANDS WILL TELL US ABOUT THEIR PRODUCTION OF THE OLD SETTLER. WE BEGIN WITH THE A. PHILIP RANDOLPH PULLMAN PORTER MUSEUM. THIS PAST SUMMER, WHILE THOUSANDS WERE GATHERED IN D.C. TO CELEBRATE THE 50th 50th ANNIVERSARY OF THE MARCH ON WASHINGTON, DESCENDANTS OF THE MEMBERS OF THE BROTHERHOOD OF SLEEPING CAR PORTERS GATHERED IN CHICAGO, TO CELEBRATE AN EVEN OLDER ANNIVERSARY. >> ALL ABOARD. ALL ABOARD RECALL >> THE STORY OF THE PULLMAN PORTERS IS TRULY AN ALL AMERICAN EXAMPLE OF PRIDE AND PREJUDICE. >> SERVICE OVER SERVITUDE IS THE GOAL. IT'S OK TO BE A REGULAR WORKING PERSON. YOU CAN STILL BE A SUPER HERO, A SUPERSTAR BY DOING REGULAR THINGS. WE WANT REGULAR PEOPLE TO DO EXTRAORDINARY THINGS. >> THE MAN WHO COOKED AND SERVED ON THE TRAINS, SHINED THE SHOES OF THE RICH AND FAMOUS WHO(RNDE THE TRAINS, MADE THE BEDS AND CLEANED THE COMPARTMENTS FOR $68 A MONTH WERE PROUD OF THE QUALITY OF SERVICE THEY PROVIDED ON THE PULLMAN CARS. BUT THEY WERE ALSO EXTREMELY UNDERPAID, DISRESPECTED BY THE MANAGEMENT OF THE COMPANY, AND OFTEN RUDELY TREATED BY THE PASSENGERS WHO CALLED THEM ALL GEORGE. IF YOU HAD A RELATIVE WHO WORKED ON THE RAILROADS LIKE I DO, YOU MAY KNOW A LITTLE ABOUT THE UNION OF THE PORTERS, BUT MOST PEOPLE DON'T KNOW THIS CHAPTER IN AMERICAN HISTORY. LYN HUGHES WAS ONE OF THEM, UNTIL SHE BOUGHT THREE HOUSES IN THE PULLMAN DISTRICT OF CHICAGO IN 1994, STRICTLY AS A BUSINESS INVESTMENT. SHE TOOK A GUIDED TOUR OF THE NEIGHBORHOOD AND LEARNED ABOUT THE BUILDINGS, ABOUT FOUNDER GEORGE PULL MAP, ABOUT THE ARCHITECTURE, BUT NOTHING ABOUT THE FAMILIES WHO LIVED THERE, WHILE WORKING FOR THE PULLMAN COMPANY. >> I RAISED MY HAND AND I ASKED THE QUESTION, EXCUSE ME, CAN YOU TELL ME W$TT ROLE AFRICAN-AMERICANS PLAYED IN THE PULLMAN STORY? THERE WAS A HUSH THAT WENT OVER THE ROOM THAT WAS DEAFENING AND I THOUGHT OH MY GOODNESS, WHAT DID I DO? WHAT DID I SAY. BUT BECAUSE I DIDN'T KNOW, I DIDN'T KNOW, AND SO WHEN HE PAUSED FOR A VERY LONG TIME, HE CAME BACK, WHICH TO ME SEEMED LIKE AN ETERNITY, HE RESPONDED BY SAYING, WELL, I BELIEVE THEY WORKED ON THE TRAINS, AND SO I THOUGHT HE WAS GOING TO SAY, SOMETHING ELSE, AND GO FURTHER, BUT HE DIDN'T AND -- >> SO TO EDUCATE HERSELF, SHE GOT LIBRARY BOOKS ON THE PULL MAN PORTERS AND WHEN SHE READ THIS ONE, HER LIFE CHANGED. >> AND IT WAS CALLED A LONG HARD JOURNEY. I TOOK THE BOOK AND WENT HOME, SAT DOWN AND READ THE BOOK AND I FOUND MYSELF WEEPING OUT OWED. THE -- OUT LOUD. THE STORY WAS SO WELL WRITTEN, IT WAS AS IF THE CONTENT OF THE STORY LENGTH FROM THE PAGES ANDç JUST PIERCED MY HEART. IT OCCURRED TO ME THAT NONE OF THAT INFORMATION THAT SPOKE ABOUT THE STRUGGLE THAT THEY HAD TRYING TO BREAK IN TO ORGANIZED LABOR AND BEING RECOGNIZED INTO ORGANIZED LABOR WAS GIVEN ON THE TOUR. AND I HEARD MYSELF SAYING, WELL, THAT'S A SHAME. >> HUGHES DECIDED THAT THE STORY OF A. PHILLIP RANDOLPH AND THE BROTHER OF SLEEPING CAR PORTERS NEEDED TO BE TOLD AND NEEDED TO BE ON DISPLAY RIGHT HERE WHERE IT ALL STARTED. SO SHE TURNED THIS BUILDING, ONE OF THE ROW HOUSES, BUILT BY PULLMAN, INTO A MUSEUM. >> I DID NOT HAVE THE MONEY, I DID NOT HAVE THE TECHNICAL EXPERTISE, I DID NOT HAVE THE EDUCATION IN TERMS OF MUSEUMOLOGY. BUT IT WAS ON MY HEART TO DO, BECAUSE IT, IN MY OPINION, THEY DESERVED THE RECOGNITION. ALL OF THE AFRICAN-AMERICANS WHO WORKED ON THE RAILROAD WHO CREATED THE FOUNDATION FOR THE BLACK MIDDLE CLASS, SAID THEIR STORY SHOULD BE TOLD AND INCORPORATED INTO INFORMATION THAT IS GIVEN TO PEOPLE ABOUT PULLMAN. >> SHE CALLED AROUND THE COUNTRY FOR ADVICE FROM OTHER MUSEUMS ON WHAT TO DO. AND REMODELED THE BUILDING INTO A TWO STORY DISPLAY OF THE HISTORY OF THE BROTHERHOOD. >> WHAT DROVE YOU? >> ANGER. SOMEBODY SAYING TO ME, THAT I DIDN'T HAVE CREDENTIALS TO DO A MUSEUM AND WHAT IT SAID TO ME IS THAT I DID NOT HAVE THE RIGHT TO HONOR THE HISTORY AND THE LEGACY OF THESE MEN. >> A. PHILLIP RANDOLPH FOUGHT THE PULLMAN COMPANY FOR 12 YEARS FOR THE RIGHT TO ORGANIZE THE PORTERS INTO A UNION. ALONG THE WAY HE NEGOTIATED WITH THE AMERICAN FEDERATION OF LABOR, THE AFL,■ç PRESIDENT FRANKLIN D. ROOSEVELT AND GEORGE PULLMAN. MANY OF THE PORTERS LOST THEIR JOBS BECAUSE THEY WANTED TO ORGANIZE. THEY WERE BEATEN, THEY WERE BRIBED, BUT IN THE END, THE BROTHERHOOD OF SLEEPING CAR PORTERS WAS RECOGNIZED, BECOMING THE FIRST BLACK LABOR UNION IN AMERICA. LYN HUGHES HAS PUT HER HEART AND SOUL INTO THE MUSEUM FOR ALMOST 20 YEARS. BUT IT'S TIME TO LOOK TO THE FUTURE, AND SHE'S PASSING THE TORCH OF LEADERSHIP ON TO DAVID PETERSON JR. >> A BLESSING AND HONOR. >> WHY IS IT AN HONOR? >> IT'S AN HONOR BECAUSE I FEEL LIKE I'M STANDING ON THE SHOULDERS OF GIANTS AND I FEEL LIKE I AM ABLE TO TAKE FORWARD THE STORY THAT HAS NOT BEEN TOLD TO THE NEXT GENERATION. >> PETERSON GREW UP AROUND THE CORNER FROM THE MUSEUM, BUT LEARNED NOTHING ABOUT A. PHILLIP RANDOLPH OR THE PULLMAN PORTERS IN HIS SCHOOL. >> TO, I HADN'T STUDIED ABOUT IT AT ALL. IT JUST CAME ABOUT,■ç BEING A NEIGHBORHOOD KID, DR. HUGHES, WE WERE INTERESTED IN WHAT IT WAS SHE WAS DOING OVER HERE, SO THEY MOTHERED THE ENTIRE NEIGHBORHOOD. >> ON DISPLAY IS EQUIPMENT USED BY THE PORTERS. KEYS TO THE OVERHEAD BEDS AND COMPARTMENTS, LAMPS TO SEE IN THE DARKENED CARS, A UNIFORM WORN BY A PORTER, THERE'S ALSO AMPLE INFORMATION ABOUT RANDOLPH'S LEADERSHIP IN ORGANIZED LABOR, AND HIS KIT WALLEYES ROLE IN THE 1963 MARCH ON WASHINGTON, WHICH WAS AIMED AT SECURING JOBS AND FREEDOM FOR ALL AMERICANS. >> -- FOR STRONG VOICES TO BE RAISED FROM ALL AREAS OUR SOCIETY THE. ALL THE VARYING TRADITIONS AND INTERESTS, TO AROUSE A CONSCIENCE OF OUR LAND. IN ORDER TO ACHIEVE, IN FACT, THAT WHICH HAS ALREADY BEEN ONE IN LAW. AND WHAT ALWAYS HAS BEEN IN■ç TE HEARTS OF GOOD MEN. EQUALITY, JUSTICE, FREEDOM, AND HUMAN DIGNITY FOR HALL MEN. -- FOR ALL MEN, REGARDLESS OF COLOR OR COUNTRY. >> BUT THEY WERE MEN OF RESPECT, HONOR AND DIGNITY AND MAINTAINED THEIR INTEGRITY WHILE DOING SO, EVEN WHILE BEING DISRESPECTED. >> FOR MORE INFORMATION ABOUT THE A. PHILLIP RANDOLPH MUSEUM GO TO WWW.A PHILLIP RANDOLPH MUSEUM.COM. >> YOU WILL SEE THAT THE SPIRIT THAT IS INSIDE YOU ALSO DWELLS IN ME. FOR ONE IS THE GREATEST NUMBER. FOR WITHOUT ONE, THERE WOULD BE NO OTHER. THIS LIFE IS NOT ABOUT RACE, COLOR, OR AGE. IT'S NOT ABOUT GENDER OR POLITICAL STAGE. IT'S NOT ABOUT RELIGION OR THE LACK THEREOF. WHAT IT'S■ç REALLY ABOUT IS LOV. BECAUSE ONE IS THE GREATEST NUMBER. FOR WITHOUT ONE, THERE WOULD BE NO OTHER. >> DON'T GO FOR ANY EXCITEMENT ♪♪ ♪ MY BEST COMPANY ♪ ♪ ALL MY OPINIONS HAVE CHANGED SOMEHOW ♪ ♪ I'M OLD FASHIONED AS CAN BE ♪ >> MY HAIR, I DYE WITH HONEY BEES. >> ♪♪ >> MEET THE BRONZEVILLE ARTS ENSEMBLE, THE■ç NEWEST AFRICAN-AMERICAN THEATER COMPANY IN THE CITY OF MILWAUKEE. THE ENSEMBLE BRINGS SEASONED ARTISTS TOGETHER TO CREATE A NEW PLANT, IT'S A COOLIDGE OF INDIVIDUALS WHO -- COLLAGE OF INDIVIDUALS WHO WANT TO GIVE ANOTHER PERSPECTIVE TO THE ARTS. >> THE PERFORMING ARTS, PERIOD, IS A BIG PART OF JUST CREATING WHO WE ARE, AS PEOPLE. IT CAN GIVE LIGHT OR DARKNESS TO ANY COMMUNITY ALL OVER THE PLACE, NO MATTER WHERE YOU ARE. WE'RE HOPING TO BRING A LITTLE BIT MORE LIFE AND GIVE A POSITIVE LIGHT TO NOT ONLY THE AFRICAN-AMERICAN COMMUNITY BUT THE COMMUNITY AT LARGE, BECAUSE WE GET SO MUCH BAD RAP, WE WANT TO MAKE SURE WE'RE CHANGING SOME OF THOSE THINGS AND WE HAVE THE POWER TO DO THAT THROUGH THEATER. >> I'M EATING MY LUNCH RIGHT NOW. WHAT ARE WE GOING TO DO? THE FIRST THING WE'VE GOT TO DO IS STOP RUNNING AROUND LIKE SCARED■ç SEWER RATS AND USE WHAS BEHIND OUR EARS. >> ARTS IS SO LARGE. I MEAN, JUST AS AN INDIVIDUAL ARTIST, YOU CANNOT PUT A LID ON IT, AND THE MORE PEOPLE YOU HAVE, THE MORE PERSPECTIVE AND MORE VOICES YOU HAVE, IN HOW TO EXPRESS THAT ART, AND SO WE DECIDED THAT WE WANTED TO EXPRESS IT ANOTHER WAY. >> THERE ARE EIGHT FOUNDING MEMBERS OF THE BRONZEVILLE ARTS ENSEMBLE. >> THE MEMBERS ARE MYSELF, AZEEZA ISLAM, WE HAVE SHERI WILLIAMS, WE HAVE DON PINELL, CK JOHNSON. WE'VE GOT ALLEN EDGE, MARVETTE ANDREWS AND BILL JACKSON. >> ON THEIR INTRODUCTION TO THE COMMUNITY, THE ENSEMBLE OFFERED UP A BUFFET OF WHAT'S TO COME -- COMEDY, DANCE, POETRY, ACTING AND SINGING. >>■ç ♪♪ ♪♪ ■ç >> GOT AN AWFUL SMELL TO IT TOO. I'VE SEEN THE PAPER THEY USE NOWADAYS TO PRINT THESE THINGS. IT MUST BE THE PAPER THEY USE NOWADAYS TO PRINT THESE THINGS. PAYMENT FOR WRONGFUL DEATH. NOW WE GOT LOTS OF MONEY. LOTS OF MONEY FOR THE LIFE OF OUR BOYS. HOW DO THEY FIGURE, HOW DO THEY KNOW? HOW DO THEY ADD UP WHAT A 10-YEAR-OLD BOY'S LIFE IS WORTH. >> WE'RE GOING TO DO A LOT OF ORIGINAL PIECE, EITHER WRITTEN BY OTHER PEOPLE FROM THE THEATER COMMUNITY HERE OR NEW PLAYWRIGHTING, WE'RE LOOKING FOR THOSE THINGS TOO, WE'RE GOING■çO ALSO BRING AN EDUCATIONAL COMPONENT TO THIS A LITTLE BIT LATER ON DOWN THE ROAD. >> WE'LL BE TEACHING THEATER, ALL THOSE VARIOUS ARTS, WORKSHOPS, SEMINAL, NOT ONLY WITHIN THE ENSEMBLE ITSELF, BUT WE'LL GO ON SITE TO VARIOUS SCHOOLS. THAT'S ONE OF OUR MAIN SCHOOLS IS TO REACH OUT TO THE YOUTH, NOT ONLY THE YOUTH, BUT PEOPLE THAT ARE 18 AND OVER. >> SO A LOT OF THEATER COMPANIES DON'T BRING ALL OF THOSE THINGS, BUT WE'RE GOING TO BRING THAT AND HOPEFULLY BRING MILWAUKEE TO A MORE PROFESSIONAL OR EQUITY LEVEL. SO THAT WE CAN HOPEFULLY BRANCH OUT SOME OF THOSE PEOPLE IN TO NOT ONLY THE MILWAUKEE AREA, BUT SURROUNDING AREAS AS WELL. >> IT'S ABOUT CHANGING THE IMAGE OF WHAT WE HAVE BECOME, HOW WE HAVE BEEN TITLED, WITHIN THIS PLACE. AND AROUND THIS COUNTRY. WE HAVE THE POWER TO DO THAT. WE HAVE THE WILLINGNESS TO DO THAT. ERE NOW, AS A PART OF YOU. >> WE ARE LOOKING FOR A HOME THOUGH. AND WE'RE LOOKING AT DIFFERENT VENUES WITHIN THE BRONZEVILLE COMMUNITY. AS BEING HOPEFULLY A HOST TO WHAT IT IS THAT WE'RE LOOKING FOR, AN WE'RE LOOKING FOR A LONGTIME STAY, WE'LL NEED OFFICE SPACE AS WELL AS SPACE FOR REHEARSAL AND PERFORMANCE. SO WE'RE ASKING IF ANYBODY KNOWS ANY OF THOSE PLACES AND HAVE KNOWLEDGE OF THEM, TO PLEASE MAKE SURE THAT WE GET THAT INFORMATION SO WE CAN CHECK THEM OUT. >> WE'RE LOOKING TO EXPANDS YOU INTO OUR LIVES AND HAVE US ALL EXPAND ALL AT THE SAME TIME, IN THE SAME SPACE. >> AND WE CAN DO THAT, ARE YOU READY TO DO THAT WITH US? >> YES. >> ALL RIGHT. WE'RE HERE FOR YOU. BE HERE FOR US. ♪♪ ♪ LET US MARCH ON ♪■ç >> AT THE OTHER END OF THE SPECTRUM, WE'RE JOINED NOW BY DIANE WILKENS, EXECUTIVE DIRECTOR OF HANSBERRYSANDS THEATER. WHICH HAS BEEN ENTERTAINING AN ENLIGHTENING MILWAUKEEANS SINCE 1981. IS THAT RIGHT? >> THAT'S RIGHT. 33 YEARS HAVE GONE. YES, YES, WE'RE VERY EXCITED. TO BE IN A COMMUNITY, OF VIBRANT ART AND THEATER AND BE ABLE TO SURVIVE FOR THREE DECADES IS REALLY A MONUMENTAL IN THE REALM OF AFRICAN-AMERICAN THEATER, SO WE'RE HONORED THAT THE MILWAUKEE COMMUNITY HAS SUPPORTED US THIS LONG. >> ARE YOU HAPPY WITH WHAT YOU'VE DONE IN THE LAST 33 YEARS? >> I CAN'T SPEAK FOR 33. BUT I GUESS IF YOU LOOK OVER THE BODY OF WORK THAT'S BEEN PRODUCED BY THE COMPANY, YOU KNOW, WE'VE TOUCHED EVERY COMEDY, DRAMA, AND MUSICAL FOR■ç CONTEMPORARY TO CLASSICAL, SUSPENSE, WONDERFUL MUSICALS LIKE DREAM GIRLS AND RAISIN IN THE SUN, YOU KNOW, THE THINGS THAT PEOPLE ARE VERY ACCUSTOMED TO IN TERMS OF THEATER, BUT ALSO REACHED OUT TO THE PLAY THAT MAY NOT BE AS KNOWN, YOU KNOW, BEING PRODUCED AROUND THE COUNTRY, BUT MAY NOT HAVE VISIBILITY WITH THE MAJOR THEATER COMPANIES, SO THE BODY OF WORK IS SOMETHING WE CAN TRULY BE PROUD OF, AS WELL THE ACTORS AND ACTRESSES, OR LET'S JUST ZAYAKORS -- JUST SAY, IN TODAY'S TERMS THAT HAVE WORKED TO KEEP HANSBERRYSANDS ALIVE AND THE ARTISTIC DIRECTORS AS WELL. >> TO PEOPLE WHO ARE VERY FAMILIAR WITH THEATER, THEY WILL HAVE HEARD OF YOUR PRODUCTION THAT YOU'RE IN TO RIGHT NOW CALLED "THE OLD SETTLER," BUT FOR THOSE OF US NOT FAMILIAR WITH IT, TELL US WHAT IT'S ABOUT. >> "THE OLD SETTLER" IS SET IN■A WONDERFUL TIME IN AFRICAN-AMERICAN HISTORY, DURING THE CULTURAL REVOLUTION FOR LACK OF A BETTER WORD, CALLED THE HARLEM RENAISSANCE WHICH WAS A PERIOD IN THE 1940'S IN NEW YORK CITY WHERE JAZZ AND LINDY HOP WAS POPULAR, YOU WOULD HEAR PLACES LIKE THE SAVOIE BALLROOM, IT WAS AN EXPLOSION OF THEATER AND ART AND IN THE CITY THERE ARE TWO SISTERS WHO FIGHT,, LOVE EACH OTHER DEARLY, BUT AT ODDS BECAUSE OF THEIR PAST AND NOW THEY'RE IN A SITUATION WHERE LOVE HAS ENTERED AND THREATENS THE RELATIONSHIP OF THE TWO SISTERS. ABOUT A MAY-DECEMBER RELATIONSHIP, YOU KNOW, IT'S ALSO ABOUT THE STRUGGLE OF SISTERHOOD, WOMEN WHO TAKE THE HELM OF THEIR FAMILIES, AND THEN AS WELL, WE TALK ABOUT HOW■ç DISTANCE CAN CHANGE, YOU KNOW, COMING FROM THE CAROLINAS TO NEW YORK, HAVING TO ADJUST TO BIG LIGHTS, BIG CITY. >> SOUNDS LIKE IT'S A PRETTY COMPLICATED PLAY. IS THERE ALSO SOME FUN IN IT? >> WELL, ACTUALLY, IT'S A COMEDY. IT'S A DRAMA COMEDY, SO YOU HAVE THE COMEDY OF YOUNG HUSBAND, WHO COMES FROM THE SOUTH TO THE NORTH, TRYING TO BE A BIG CITY SLICKER, BUT STILL HAS THE REMNANTS OF DOWN SOUTH IN HIM, BASED ON HIS HUMBLE UPBRINGING, YOU KNOW, AND ALSO THE TWO SISTERS, WHILE THEY FIGHT, YOU KNOW, IT'S LOVING FIGHT, LIKE MANY FAMILIES, AND I THINK IT'S A STORY THAT PEOPLE CAN RELATE TO, WHETHER YOU LIVED IN THE 1940'S OR TODAY IN TERMS OF FAMILY STRUCTURE AND AFRICAN-AMERICAN LIFE. IT'S DIRECTED BY WILLIE ABSENTEENEY, OUR ARTISTIC DIRECTOR AND HAS A WONDERFUL CAST, MILWAUKEE-BASED CAST, INCLUDING A GUEST■ç ARTIST FROM CHICAGO. >> SO GIVE US THE DETAILS, WHEN, WHERE, WHAT? >> IT'S RUNNING AT THE MARCUS CENTER FOR THE PERFORMING ARTS IN VOGEL, IT OPENS SEPTEMBER 27 AND RUNS THE 28 AND OCTOBER 4, 5, AND 6. SHOWTIMES ARE 8:00 P.M. FOR FRIDAY AND SATURDAY PERFORMANCES, AND 4:00 P.M. FOR SUNDAY PERFORMANCES. AND I THINK PEOPLE CAN COME OUT AND TRULY ENJOY THEMSELVES, VERY AFFORDABLE, WE HAVE GROUP RATES, AND SPECIAL PROMOTIONAL RATES GOING ON. >> IF THEY WANT TO KNOW MORE, IS THERE A WEB SITE? >> THEY CAN GO TO MARCUS CENTER.ORG, THEY CAN CALL HANSBERRYSANDS AT HANSBERRYSANDS'S HOT LINE, 414-616-PLAY. >> SOUNDS GOOD, LIKE A PLAY WE SHOULD GO AND TAKE A LOOK AT. >> I THINK IT'S SOMETHING EVERYONE CAN ENJOY. >> THANKS FOR JOINING■ç US ON "BLACK NOUVEAU" AND CONGRATULATIONS ON THREE DECADES OF HANSBERRYSANDS. >> THANK YOU FOR HAVING US. S. >> OCTOBER IS NATIONAL BREAST CANCER AWARENESS MONTH. BREAST CANCER IS THE MOST COMMON CANCER AMONG AFRICAN-AMERICAN WOMEN, AND WE ARE MORE LIKELY TO DIE FROM THE DISEASE THAN ANY OTHER GROUP. THAT'S WHY EARLY DETECTION IS SO IMPORTANT. BUT FOR MANY OF US, TAKING THAT FIRST STEP IS THE HARDEST. FAITHE COLAS HAS MORE JOE MONTANA I COULDN'T IT COULD BE A LACK OF HEALTH CARE >> IT COULD BE A LACK OF HEALTH CARE, BELIEVING THE GENERATIONAL MYTHS ABOUT MAMMOGRAMS, OR IN MY CASE, FEAR, BUT FAR TOO MANY WOMEN CHOOSE TO NOT GET MAMMOGRAMS. RECENTLY AT THE AGE OF 47, I HAD MY FIRST MAMMOGRAM AT COLUMBIA ST. MARY'S. >> GOOD MORNING, FAITHE. TAKING CARE OF YOU. I WOULD LIKE YOU TO COME OVER HERE INTO ONE OF THE DRESSING ROOMS, PUT THIS ROBE ON, OPEN IN THE FRONT, WITH YOU'RE DONE, PUT YOUR CLOTHES IN ONE OF THE LOCKERS AND HAVE A SEAT. >> THANK YOU. >> YOU'RE WELCOME. >> CARLA HARRIS IS A BREAST HEALTH CLINICIAN. >> HERE AT COLUMBIA ST. MARY'S, WE USE DIGITAL MAMMOGRAPHY IN MOST OF OUR FACILITIES AND ACTUALLY, A WOMAN IS USUALLY IN AND OUT IN ABOUT 15 MINUTES. >> I WAS READY TO ANSWER QUESTIONS ABOUT MY PERSONAL AND FAMILY'S HEALTH HISTORY. >> FAMILY HEALTH HISTORY IS IMPORTANT. STUDIES HAVE SHOWN THAT THERE IS A LINK TO BEING IN THE HIGHER RISK CATEGORY FOR BREAST CANCER. IF YOUR IMMEDIATE FAMILY, A MOTHER, SISTER, OR AUNT, HAS HAD BREAST CANCER, OR EVEN A DAUGHTER, BREAST OR OVARIAN CANCER, AFRICAN-AMERICAN PEOPLE, WE DON'T ALWAYS KNOW OUR F%1e■ HISTORY. SOMETIMES, IT'S HUSH HUSH, ABOUT WHY GRANDMA DIED, BUT YOU ALSO HAVE TO PUT THIS IN PERSPECTIVE THAT 70% TO 80% OF THE TEAM, WOMEN WITH BREAST CANCER HAVE TO FAMILY HISTORY. >> DO YOU HAVE ANY FAMILY HISTORY OF BREAST OR OVARIAN CANCER? >> YES. >> I WOULD LIKE TO EXPLAIN THE EXAM TO YOU. I'M GOING TO TAKE ANYWHERE FROM FOUR TO SIX IMAGES, OK. I WON'T KNOW THAT UNTIL AFTER THE FIRST. THEY ARE ALL ROUTINE IMAGES. OK. WHAT I'M GOING TO HAVE YOU DO, LET'S SAY MY FIST IS YOUR BREAST. I'M GOING TO PUT YOUR BREAST HERE. THIS IS CALLED A COMPRESSION PADDLE. IT'S GOING TO COME DOWN LIKE THIS AND COMPRESS YOUR BREAST, IT WILL FEEL TIGHT, UNCOMFORTABLE, BUT AS SOON AS THE PICTURE IS OVER, IT AUTOMATICALLY RISES, OK? >> OK. >> ARE YOU READY TO GO? >> I'M READY TO■ç GO. >> TURN YOUR FEET NICE AND STRAIGHT. THANKS. I'M GOING TO COME FROM THE SIDE, AND JUST RELAX. OK. I'M GOING TO COME UNDERNEATH YOUR BREAST, AND THIS IS MY COMPRESSION AGAIN. HOW ARE YOU DOING? >> I'M OK. >> IT'S GOING TO BE A LITTLE TIGHT. JUST LIKE THAT. >> JUST A LITTLE TIGHT. >> STOP BREATHING. AND RELAX. >> THERE ARE SEVERAL MYTHS THAT KEEP WOMEN FROM GETTING MAMMOGRAMS. I BELIEVE THAT MAMMOGRAMS WERE ACCOMPANIED BY EXTREME PAIN TO THE BREAST. THAT IS NOT TRUE. A VERY SMALL AMOUNT OF PRESSURE IS FELT FOR LESS THAN 20 SECONDS.■ç CARLA HARRIS DISSPELLED SOME OF THE OTHER MYTHS THAT KEEP WOMEN LIKE ME FROM GETTING MAMMOGRAMS. >> ANOTHER MYTH IS BECAUSE I HAVE NO SYMPTOMS, I HAVE NO BREAST CANCER, AND THE TRUTH IS, THAT MANY TIMES, BREAST CANCER REALLY IS SYMPTOM-FREE FOR A LITTLE WHILE, UNTIL IT'S MORE ADVANCED. ANOTHER MYTH IS THAT BREAST CANCER IS ALWAYS FATAL. AND THAT'S NOT TRUE. WE HAVE MANY, MANY SURVIVORS. MY MOM IS A 20-ORSURVIVOR. -- 20-YEAR SURVIVOR. >> I RETURNED TO COLUMBIA ST. MARY'S WITHIN A 48 HOUR PERIOD TO RECEIVE THE RESULTS FROM DR. AS I UNDERSTAND RISE. >> I -- CINDY RICE. >> I REVIEWED YOUR MAMMOGRAM AND I SEE NO PROBLEMS. AT THIS POINT I WOULD RECOMMEND YOU HAVE A REPEAT SCREEN MAMMOGRAM IN ONE YEAR AND ON A YEAR BASIS FROM NOW ON AND IT'S ALSO IMPORTANT THAT YOU■ç DO A MONTHLY SELF-BREAST EXAM AND SEE A PHYSICIAN OR A NURSE PRACTITIONER ON A YEARLY BASIS FOR A CLINICAL BREAST EXAM. >> AND WORRY JOINED NOW BY FAITHE COLAS, WELCOME BACK TO "BLACK NOUVEAU." >> THANK YOU, JOANNE. >> THE WOMAN WHO USED TO SIT IN THIS CHAIR IS NOW SITTING OVER THERE. WELCOME AND I'M GLAD YOU'RE A GUEST. LET'SKç TALK ABOUT MAMMOGRAPHY. WHEN YOU DID THAT PACKAGE ABOUT MAMMOGRAMS, HAD YOU HAD A MAMMOGRAM BEFORE? >> TO. >> THAT WAS. >> NO. >> THAT WAS YOUR FIRST ONE. >> IT WAS MY FIRST ONE. >> WHAT WAS IT LIKE? >> IT WAS WHAT I EXPECTED, AND JUST FROM TALKING WITH OTHER WOMEN, OF COURSE, I HAD TO PREPARE MYSELF FOR IT, BECAUSE THE DELAY IN ME GETTING A MAMMOGRAM WAS THE FEAR OF THE PAIN. WHEN I WAS ABOUT 10 YEARS OLD, I OVERHEARD A CONVERSATION THAT MY MOTHER AND MY GRANDMOTHER WERE HAVING, MY GRANDMOTHER WAS SAYING HOW PAINFUL IT WAS AND I REMEMBER THINKING WHEN I GROW UP, I'M NEVER GOING TO HAVE■ç OE OF THOSE. AND SO I DIDN'T. I WAS ABOUT FIVE YEARS LATE THAN WHEN YOU'RE SUPPOSED TO HAVE ONE. BUT WHAT ENCOURAGED ME TO HAVE ONE WAS A GREAT AUNT OF MINE HAD BEEN DIAGNOSED WITH BREAST CANCER, AND I THOUGHT, I NEED TO DO THIS. AND THEN NOT ONLY DO I NEED TO DO IT FOR ME, BUT I ALSO NEED TO DO THIS FOR OTHER WOMEN THAT MAY BE HAVING THE SAME KIND OF PRECAUTIONS AND FEAR THAT I WAS. >> WAS IT THAT PAINFUL? >> NOT HAT ALL. I DID IT ON TV. SO NO. NOT AT ALL. SLIGHT DISCOMFORT, JUST SECONDS, BUT NOTHING, ALL THOSE YEARS OF BEING AFRAID, AND ANTICIPATING WHAT IT WOULD BE LIKE, NOTHING. >> AND IT TURNED OUT TO BE NEGATIVE? >> IT DID. AND THE STRANGE THING ABOUT THAT WAS, IT■ç DIDN'T DAWN ON ME UNTL I WAS ACTUALLY GOING THROUGH THE MAMMOGRAM EXAM THAT I THOUGHT, OH, WHAT HAPPENS IF THIS IS NOT A POSITIVE OR A GOOD EXAM. YOU'RE GOING TO GET THAT ON CAMERA TOO. SO THAT -- THEN THAT WENT INTO ANOTHER STAGE OF FEAR. >> SURE. >> AND CONCERN. BUT EVERYTHING TURNED OUT WELL AND EVER SINCE THEN, I'VE BEEN HAVING A MAMMOGRAM EVERY YEAR. >> NOW THERE WAS A DISCUSSION YEARS AGO AS SO WHAT AGE WOMEN SHOULD HAVE THEIR FIRST MAMMOGRAM. THE AMA ORIGINALLY SAID AFTER 50, THEN BACKED IT OFF TO 40. WERE YOU IN WHICH RANGE WHEN YOU HAD YOUR MAMMOGRAM? >> I WAS RIGHT IN THE MIDDLE, I WAS 45. SO AGAIN, IN MY MIND, I SHOULD HAVE HAD ONE AT 40. AND FIVE YEARS GO BY, AND I HADN'T HAD ONE UNTIL 45. >> SO WHAT DO YOU HAVE TO SAY TO THE WOMEN WHO ARE WATCHING NOW WHO ARE STILL RELUCTANT■ç TO DO IT? >> REST YOUR FEARS, THERE IS NOTHING TO BE AFRAID OF. THE FEAR IS ACTUALLY IN DISCOVERING SOMETHING YOURSELF, WHEN YOU COULD HAVE BEEN GOING, YOU KNOW, TO YOUR DOCTOR AND GETTING AN EXAM. THE SELF-EXAMS ARE VERY IMPORTANT, BUT I'M SAYING, IT'S VERY, VERY CRITICAL TO THE WELL-BEING OF WOMEN AND HER FAMILY THAT SHE TAKE MAMMOGRAMS VERY SERIOUSLY AND THAT SHE HAS HAS ONE EVERY YEAR. >> STARTING AT 40? >> STARTING AT 40. I THINK STARTING AT 40. BUT I ALSO THINK IF THERE'S A HISTORY OF BREAST CANCER IN YOUR FAMILY, YOU MAY WANT TO START EARLIER. WHAT'S WRONG WITH BEING SAFE? I THINK IT'S BETTER TO BE SAFE THAN TO BE SORRY. AND TO KNOW THAT HAD YOU DONE SOMETHING EARLIER, IT WOULD NOT HAVE PROGRESSED IF YOU HAVE ABSENTEE ISSUE WITH BREAST -- IF YOU HAVE AN ISSUE WITH BREAST■ç CANCER. >> SO YOUR MESSAGE IS, GET THE MAMMOGRAMS, ALLAY YOUR FEARS? >> ABSOLUTELY. >> GREAT, THANKS VERY MUCH FOR COMING AND TALKING WITH US AGAIN. GOOD TO SEE YOU AGAIN. >> THANK YOU. THANK YOU FOR HAVING ME. >> YOU'RE WELCOME AND WE HOPE ALL THE WOMEN WATCHING WILL GO OUT AND GET THE MAMMOGRAM. IT'S NOT THAT UNCOMFORTABLE AND IT WILL LET YOU KNOW HOW YOU REALLY ARE. >> IT'S CRITICAL. >> THANKS FOR TALKING WITH US. >> THAT'S OUR PROGRAM FOR THISFñ WEEK. "BLACK NOUVEAU." I'M JOANNE WILLIAMS. THANKS FOR WATCHING. GOOD NIGHT.