“There was a major march down State Street that was demanding that Nixon sign the peace treaty with Vietnam and some people approached me and said, “would you develop some street theatre props which would becomes the focus of this demonstration?“ A lot of times, and you know what I’m saying, lot of times there would be some crazies who'll distract from this and that. I did major banners, I did...I mean, this was a big ass demonstration; we were down the center of State Street, there were people on both sides so I did banners that went on looking so the people could see them directly as opposed to just banners that would go like this. And then I...Lester, Peggy Lipshutz, Bert Phillips, a black painter, and I did this thing called the Mad Bomber. You've never heard of it before. This was like a 7 foot high piece that was carried by four people that led the demonstration that had a face on both sides. It went down the center of State Street demanding an end to the war in Vietnam. It was Nixon and in the center, where like here, there was a shaft and there was a person, turned out to be me, dressed in an American flag. I was turning that shaft and the shaft had an arm in each side and a hand, and in each hand was a bomb, so it was this spinning bomb, and coming from Nixon’s mouth was a balloon that said, “Peace is at hand.” It was, you know, sort of a balloon like cartoon balloon. Peg did the bulk of the cartoon work of the Nixon image. That was really, it was really spectacular. Then there was another thing that went with it, which was this big fist with a pen in its grip, and on it it said, “Sign the treaty with Vietnam” and it was jousting with Nixon.” -Never The Same interview with Rebecca Zorach

“Designed by Peggy Lipshutz, Bert Phillips, myself and Lester Wickstrom but we bring this thing to Bud Billiken Parade and Lester has this really nice car and like thirty feet into the parade the fucking thing overheats and Sylvia Woods—who's buried across the street over here—Sylvia Woods burst into tears, she said, “you worked so long and hard on this thing you got to be in the parade.” This is, you know, 300,000 people; it's the biggest parade in the Black community. So I said let's unhook it from the car and we artists started to pull it and as soon as that happened like 25 kids started pushing and it went all the way through the parade and when we got to intersections there was a roar that went up, I mean it was great. So some people we had painted these signs and we had signs that people held behind Angela.” -Never The Same interview with Rebecca Zorach

“Now, I have to tell you some other fun things that I did. Nobody knows that I ever did this. I developed these things called “truth balloons”—around an election, I took bumper sticker stock and I developed these designs.

They were beautifully printed and really, really interesting, and I went on the El, I got on the El at like five in the morning and I put these up on two El lines on every single one of a certain image, it was a certain person, basically it was calling somebody an idiot or something like that, and it was one of those truth balloons kind of thing. It says, “this is what Jimmy said about Mike,” and then “He’s a fraud but so am I.” So we did these double-sided…but this is really precious now. These are all the work on the El. And then, I came back to the Public Art Workshop, got my camera and returned to the EI, and photographed them. And later that day, I handed the film to Johnnie and I said, “Johnnie, would you process this film?” and a little later I hear this whoop from the basement; he says, “I saw those things,” he said, “where did you see them?” and I said, “Johnnie, I did that.” So, you know, it was sort of trying different things, playing with different things. Nowadays there are these stencil makers and all sorts of other people who are doing great stuff.” -Never The Same interview with Rebecca Zorach