Part two of "Lay My Burden Down" (1966) surveys the accomplishments of the civil rights movement - one year after the dramatic Selma-to-Montgomery march and the ensuing voting rights act of 1965. The documentary observes the status of tenant farmers whose average earnings are less than $1,000 per year, and who live in constant debt to white plantation owners and the company store. It explains that the rural Negro is no less hungry, no better educated and no more powerful politically than he was then, and urges that the Federal Government create more jobs, allocate poverty-funds more equitably, and police the agriculture department more effectively.

Part one of "Lay My Burden Down" (1966) surveys the accomplishments of the civil rights movement - one year after the dramatic Selma-to-Montgomery march and the ensuing voting rights act of 1965. The documentary observes the status of tenant farmers whose average earnings are less than $1,000 per year, and who live in constant debt to white plantation owners and the company store. It explains that the rural Negro is no less hungry, no better educated and no more powerful politically than he was then, and urges that the Federal Government create more jobs, allocate poverty-funds more equitably, and police the agriculture department more effectively.

As part of its innovative program schedule to meet the entertainment needs of American soldiers serving in World War II, the Armed Forces Radio Show (AFRS) developed "the Jubilee!", an all-black variety show employing the most famous musicians and comedians of the time. This particular show was broadcast on July 16, 1945 and features Count Basie, Eddie Green, Hattie McDaniel, Ernest Whitman and the King Sisters.

As part of its innovative program schedule to meet the entertainment needs of American soldiers serving in World War II, the Armed Forces Radio Show (AFRS) developed "the Jubilee!", an all-black variety show employing the most famous musicians and comedians of the time. This particular show was broadcast on November 8, 1943 and features Louis Jordan and his Tympany 5 Orchestra, Nat Cole and the King Cole trio, and Ida James.

The Army-Navy Screen Magazine was produced by the U.S. Army Signal Corps Pictorial Service, under the supervision of Col. Frank Capra, who came up with the idea. It was released twice a month and shown to military troops as a 20-minute newsreel. It featured short documentary films, news from back home, and short training films. This episode is from Screen Magazine #25 (1944) reel 1, part 1, highlighting Negro engineers as they rebuild an airstrip on Munda and relax at the "Munda Cotton Club."

This episode is the short film "Felicia" (1965). Produced by the Anti-Defamation League of B'nai B'rith the film shows the life of a negro girl in Watts in suburban Los Angeles in the spring of 1965, a few months before rioting broke out. The film documents her life in a segregated community, expressing some of her disadvantages, frustrations, and hopes as seen through her young eyes.

In this episode Bruce Gordon, a 22-year old field secretary for the Student Non-Violent Coordinating Gommittee is interviewed on October 10, 1963 in Selma, Alabama, during the height of a drive to register Negro voters.

Happy Martin Luther King Day! On June 5, 1966, Dr. King delivered this sermon on the subject of "Guidelines for a Constructive Church" at Ebenezer Baptist Church in Atlanta, Georgia.

This episode features a Christmas performance by the beautiful contralto Marian Anderson. Recorded in 1944, Ms. Anderson performs "Ave Maria" accompanied by the Westminster Choir led by Leopold Stokowski and the US Army orchestra.

On November 23, 1939, Mary McLeod Bethune - a close friend of Eleanor Roosevelt and a director of President Franklin D. Roosevelt's Office of Minority Affairs in the National Youth Administration - took part in a panel discussion as part of NBC radio's weekly public affairs broadcast "America's Town Meeting of the Air". The panelists addressed the question, "What does American democracy mean to me?" With her Victorian elocution and a thunderous tone, Bethune reminded her listeners that African Americans had always been willing to die for American democracy but were still shut out from its promise of freedom.