Filmmaker Judith Helfand’s new project, Blue Vinyl: A Toxic Comedy, draws on her work with veteran documentarian George Stoney on The Uprising of 1934 and her autobiographical Peabody Award–winning film, A Healthy Baby Girl. These films merge issues of workers’ and family health and safety with workers’ and consumers’ rights. Historic and current corporate abuses of power and the strength of community and family bonds to counter those abuses are consistent threads in all her work. The Uprising of 1934 used extensive oral histories to understand the double tragedy of the 1934 textile strikes in the southern United States. Not only did workers lose their struggle for improved conditions in the mills, but textile communities were also torn apart, resulting in years of silence about the events surrounding the strike. In many cases parents never spoke about the strike to their children or neighbors. Helfand began working on The Uprising of 1934 a few months after recovering from DES-related cervical cancer, for which she had a radical hysterectomy. Her cervical cancer and surgery resulted from her mother having been prescribed the synthetic estrogen diethylstilbestrol, DES, while pregnant. DES was prescribed to millions of women to prevent miscarriages, even after it was found to be ineffective and carcinogenic. While coproducing Uprising, Helfand also began filming A Healthy Baby Girl. In this documentary Helfand frames her DES story as a very