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Judi Moore Latta

Producer and educator Judi Moore Latta was born on August 3, 1948 in Tallahassee, Florida to college professors Oscar and LaVerne Moore. In 1966, Latta graduated from Florida A & M University High School as valedictorian. She earned her B.S. degree in English education from Hampton Institute in 1970 and her M.A. degree in English literature from Boston University in 1971. In 1999, Latta received her Ph.D. degree in American Studies from the University of Maryland.

In 1972, Latta was hired as an assistant professor at the University of the District of Columbia, where she taught until 1980. From 1978 to 1979, Latta worked at WETA-TV/FM as a producer for From Jumpstreet: The Story of Black Music. From 1980 to 1988, she served as an independent producer for the Public Radio System and produced dozens of documentaries and other long form reports for National Public Radio. In 1984, Latta joined the faculty at Howard University as an assistant professor in the Department of Radio, Television and Film. Then, in 1988, she was hired as NPR’s first education reporter, where she was responsible for creating the Education beat for NPR’s National Desk. She then served as NPR’s executive producer of special programs and created Latin File, the first radio network Hispanic daily news program. From 1990 to 1992, Latta worked as a reporter and producer for WUSA-TV’s Capital Edition and, in 1992, served as producer of WRC-TV’s documentary special Drugs at Work. She then returned to NPR in 1992 as a senior producer of the twenty-six-part documentary series Wade in the Water: African American Sacred Music Traditions. After receiving her Ph.D. degree from the University of Maryland, and Latta was made full professor and chair of Howard University’s Department of Radio, TV and Film in 2000. In 2002, she became the first woman to serve in the role of interim general manager of Howard University’s WHUT-TV. Latta also served as co-chair of the University’s Certificate Program in Women’s Studies from 2005 to 2011, and as director of WHUR-WORLD from 2006 to 2009. In 2009, she was appointed Howard University’s executive director of communications and marketing, and served in the president’s executive leadership cabinet until 2012.

Latta has received numerous awards and recognition from the Corporation for Public Broadcasting, American Women in Radio and Television, National Education Association, National Association of Black Journalists and National Federation of Community Broadcasters. In 1992, Latta was awarded the George Foster Peabody Award for her production of Wade in the Water: African American Sacred Music Traditions. She is a community volunteer, as well as a member of the Links Inc. (Silver Spring Chapter), the Olive Branch Community Church and the National Council of Negro Women (Potomac Valley Section).

Latta and her husband, Joseph Latta, D.D.S., live in Takoma Park, Maryland. They have two daughters and four grandchildren.

Judi Moore Latta was interviewed by The HistoryMakers on March 21, 2014 and January 31, 2017.

Accession Number

A2014.093

Sex

Female

Interview Date

3/21/2014 |and| 01/31/2017

Last Name

Latta

Maker Category
Marital Status

Married

Middle Name

Moore

Occupation
Schools

FAMU Developmental Research School

Hampton University

Boston University

University of Maryland

First Name

Judi

Birth City, State, Country

Tallahassee

HM ID

LAT06

Favorite Season

Spring

State

Florida

Favorite Vacation Destination

Any place warm

Favorite Quote

Every act has a consequence

Bio Photo
Speakers Bureau Region State

District of Columbia

Birth Date

8/3/1948

Birth Place Term
Speakers Bureau Region City

Washington

Country

United States

Favorite Food

Any Vegetable

Short Description

Producer and educator Judi Moore Latta (1948 - ) , professor of communications at Howard University, was NPR’s first education reporter and was senior producer of the award-winning documentary series Wade in the Water: African American Sacred Music Traditions. In 2002, she became the first woman to serve as interim general manager of Howard University’s WHUT-TV.

Employment

Howard University

National Public Radio

WUSA-TV

WUDC-FM

WETA-TV/FM

Public Radio System

Favorite Color

Green

Drew Berry

Media executive and consultant Drew Berry was born on December 22, 1955 in Henderson, Texas. He grew up in Dallas, Texas and graduated from the University of Texas at Austin with his B.S. degree in radio, television and film in 1978.

Upon graduation, Berry was hired at WVUE-TV Austin, Texas, an ABC Affiliate. He was then hired by two more ABC-TV affiliates in both San Antonio, Texas and then New Orleans, Louisiana before joining CNN in its infancy. After a short stint at CNN, in 1980 he was lured to WPVI-TV in Philadelphia, Pennsylvania to produce two of its number-one rated newscasts. In 1987, he was promoted within the same company to producer and then executive producer at WABC-TV in New York City.

Berry took an opportunity to return to Philadelphia in 1990 in management for WCAU-TV, a CBS television station. After a few months as assistant news director he was promoted to run the entire news department as news director, where he earned two Emmys for “Outstanding Newscasts” from the Mid-Atlantic National Association for Television Arts and Sciences and where his team elevated the station’s newscast to a solid number two in ratings. In 1994, Berry returned to Dallas, Texas, where he became assistant news director at WFAA-TV, the top-rated station in Dallas. It was there that Berry led a thirty-two-person remote on-site team covering the bombing in Oklahoma City of the Alfred P. Murrah Federal Building.

In 1997, Berry was hired as station manager and news director of WMAR-TV in Baltimore, Maryland. Berry was named vice president and general manager in 2000. In 2007, he left the station to teach media management at the Scripps Howard School of Journalism and Communication at Hampton University, and also became founding president and CEO of Drew Berry & Associates, LLC, a media and consulting agency.

Berry is an active community leader. He has held positions on many business and community service boards and committees including the Comcast/NBC Diversity Council, Scripps Howard Foundation, Greater Baltimore Committee, the Maryland Business Council, the Signal 13 Foundation, Associated Black Charities, the Maryland Humanities Council, the Enoch Pratt Library System, the Baltimore Area Convention and Visitors Association, the Good Samaritan Hospital and MedStar Heath. As a member of the National Association of Black Journalists (NABJ), Berry has served on the finance committee, as consultant, and as interim executive director in 2009, and is credited with a one-million dollar positive revenue turnaround for NABJ in just nine months.

Berry was recognized with the State of Maryland Governor’s Citation in 2002 for excellence in broadcasting, and the Congressional Achievement Award in 2004 for business achievement. He received the President’s Award from the National Association of Black Journalists in 2009 and 2010.

Berry is married to Brenda Fowler-Berry, a chemical engineer. They have three children: Andrea, Adam and Andrew.

Drew Berry was interviewed by The HistoryMakers on December 4, 2013.

Accession Number

A2013.312

Sex

Male

Interview Date

12/4/2013 |and| 3/22/2014

Last Name

Berry

Maker Category
Occupation
Schools

University of Texas at Austin

South Oak Cliff H S

Albert Sidney Johnston Elementary School

Search Occupation Category
First Name

Drew

Birth City, State, Country

Henderson

HM ID

BER03

Favorite Season

Summer

State

Texas

Favorite Vacation Destination

Anywhere Warm

Favorite Quote

Challenges are opportunities in disguise

Bio Photo
Speakers Bureau Region State

Maryland

Birth Date

12/22/1955

Birth Place Term
Speakers Bureau Region City

Baltimore

Country

United States

Favorite Food

Salmon

Short Description

Media executive Drew Berry (1955 - ) served as vice president and general manager at WMAR-TV in Baltimore, Maryland, and as professor of media management at the Scripps Howard School of Journalism and Communication at Hampton University.

Employment

Drew Berry & Associates, LLC

WMAR TV

WFAA TV

WCAU TV

WABC TV New York City

WPIX TV

KVUE

CNN

WPVI-TV

KSAT-TV (ABC)

WVUE-TV

Favorite Color

Blue

Timing Pairs
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DAStories

Tape: 1 Story: 1 - Slating of Drew Berry's interview

Tape: 1 Story: 2 - Drew Berry lists his favorites

Tape: 1 Story: 3 - Drew Berry talks about his maternal family

Tape: 1 Story: 4 - Drew Berry talks about segregation in Dallas, Texas

Tape: 1 Story: 5 - Drew Berry describes his mother's background

Tape: 1 Story: 6 - Drew Berry talks about growing up in Dallas, Texas

Tape: 1 Story: 7 - Drew Berry talks about his paternal family

Tape: 1 Story: 8 - Drew Berry talks about his grandfather, Calvin Charles Berry, Sr., the Presiding Bishop of Church of the Living God

Tape: 1 Story: 9 - Drew Berry talks about his father's family

Tape: 1 Story: 10 - Drew Berry talks about his father's background

Tape: 1 Story: 11 - Drew Berry describes how his parents met

Tape: 2 Story: 1 - Drew Berry talks about his father's military service in the U.S. Army

Tape: 2 Story: 2 - Drew Berry describes his parents' personalities

Tape: 2 Story: 3 - Drew Berry talks about his siblings

Tape: 2 Story: 4 - Drew Berry talks about growing up in Oak Cliff, Texas

Tape: 2 Story: 5 - Drew Berry describes the sights, sounds and smells of his childhood

Tape: 2 Story: 6 - Drew Berry remembers growing up as the son of a minister

Tape: 2 Story: 7 - Drew Berry talks about his love of the Dallas Cowboys as well as the game of football

Tape: 2 Story: 8 - Drew Berry talks about grade school and his memory of the 1963 assassination of President John F. Kennedy

Tape: 3 Story: 1 - Drew Berry describes how television news reporting changed after John F. Kennedy's assassination in 1963

Tape: 3 Story: 2 - Drew Berry talks about how he was raised affects his parenting philosophy

Tape: 3 Story: 3 - Drew Berry talks about his experiences in school and an influential mentor

Tape: 3 Story: 4 - Drew Berry describes his interest in films and filmmaking

Tape: 3 Story: 5 - Drew Berry talks about Iola Johnson, the first African American female anchor in Dallas, Texas

Tape: 3 Story: 6 - Drew Berry talks about the effects of the 1973 oil crisis

Tape: 3 Story: 7 - Drew Berry talks about U.S. Congresswoman Barbara Jordan and other notable Texan politicians

Tape: 3 Story: 8 - Drew Berry talks about his father's conservative attitude toward the Civil Rights Movement

Tape: 3 Story: 9 - Drew Berry talks about his decision to attend the University of Texas at Austin in Austin, Texas

Tape: 3 Story: 10 - Drew Berry talks about the academic challenges he faced at the University of Texas at Austin

Tape: 3 Story: 11 - Drew Berry talks about working to finance his undergraduate education and working as a reporter/trainee at KVUE, an ABC-TV affiliate

Tape: 3 Story: 12 - Drew Berry talks about the training he received at KVUE as a reporter/trainee

Tape: 4 Story: 1 - Drew Berry talks about working as a producer at KVUE in Austin, Texas

Tape: 4 Story: 2 - Drew Berry talks about learning production at KVUE in Austin, Texas

Tape: 4 Story: 3 - Drew Berry talks about his decision to go to KSAT-TV in San Antonio, Texas

Tape: 4 Story: 4 - Drew Berry describes being recruited by WVUE in New Orleans, Louisiana

Tape: 4 Story: 5 - Drew Berry talks about learning a critical lesson in management while at WVUE in New Orleans, Louisiana, part 1

Tape: 4 Story: 6 - Drew Berry talks about learning a critical lesson in management while at WVUE in New Orleans, Louisiana, part 2

Tape: 4 Story: 7 - Drew Berry talks about turning down a job offer in Philadelphia, Pennsylvania to work at CNN in Atlanta, Georgia

Tape: 4 Story: 8 - Drew Berry talks about working at CNN in Atlanta, Georgia in the early years of cable TV

Tape: 4 Story: 9 - Drew Berry describes his decision to join WPVI-TV in Philadelphia, Pennsylvania

Tape: 4 Story: 10 - Drew Berry remembers working with anchor Jim Gardner of WPVI-TV in Philadelphia, Pennsylvania

Tape: 4 Story: 11 - Drew Berry talks about being promoted to work as a producer at WABC-TV in New York City

Tape: 4 Story: 12 - Drew Berry talks about what he learned at WABC-TV

Tape: 5 Story: 1 - Drew Berry describes his working at ABC when union cuts affected the employee workforce and the newsroom

Tape: 5 Story: 2 - Drew Martin talks about being promoted to news director and winning two Emmy Awards

Tape: 5 Story: 3 - Drew Berry describes the network's strategy around sweeps programming

Tape: 5 Story: 4 - Drew Berry talks about how sweeps can result in improved news coverage

Tape: 5 Story: 5 - Drew Berry describes the Nielsen Rating System and consumer sampling

Tape: 5 Story: 6 - Drew Berry talks about the Emmy Awards he received at WCAU-TV

Tape: 5 Story: 7 - Drew Berry talks about WCAU-TV's consumer investigative reporting unit

Tape: 5 Story: 8 - Drew Berry talks about the ingredients of WCAU-TV's success

Tape: 5 Story: 9 - Drew Berry talks about the MOVE organization and the mistake made in coverage by WCAU-TV's Action News

DASession

1$1

DATape

5$5

DAStory

1$7

DATitle
Drew Berry describes his working at ABC when union cuts affected the employee workforce and the newsroom
Drew Berry talks about WCAU-TV's consumer investigative reporting unit
Transcript
Okay, so we were talking about the producer's nightmare in New York [City, New York]. So they [unionized employees at WABC-TV in New York City, New York] knew I was from the non-union shop in Philadelphia [Pennsylvania] and I was this new guy comin' in there from the company [Capital Cities Communications] that just bought ABC [American Broadcasting Corporation]; they weren't crazy about that, so they wanted me to know--you're really in the big leagues now; you're in New York. So--ahh, 6:00 news, number one show in the market, so I--you know, I was a producer, I'm feelin' pretty good, I know there are check points, I check to see whether or not my video packages are ready for the top of show or for the first segment of the show, make sure the video is there, and that type of thing. So I would go back to the coordinator and I'd say, "How are we?" He says, "Well," he says, "Everybody's working as hard as they can; my folk work as hard as they can, and it's gonna be tight but, you know, I'm not making any promises, but we should be okay." I've heard that--I've heard that before, but something felt a little different this time, so I kept asking, you know--an hour before, half-hour before, 20 minutes before, 15 minutes, and--"Well, don't have anything, don't have anything yet; don't have the video yet, you know? They're really humpin' it. It was a lotta volume today but we're workin' as fast as we can." Five minutes--"Ahh, it's gonna be tight, it's gonna be tight." Before the open of the show, I go up in the booth, the open hits, "What do we have?" "We don't have anything; we don't have any video, we don't have anything." I say, "Okay." So I get on the little toggle to talk to the anchor in the ear--in his ear while the show opens. "Bill [Beutel], we have no video, no package for the top of the show; we just need to tell folk; tell 'em what the story is about and tell 'em we'll be back in a minute 'cause we need to buy some time." Sabotage is what they did. So the show opened, and the anchor came on and said, "Hello, I'm Bill Beutel on this"--whatever--"Monday blah, blah, blah. Our top story today is X, Y and Z; we'll have more on that story in just a minute--we'll be back in a minute." Went to commercial. That's a producer's nightmare because you're going back to commercial within 30 seconds of opening that show, so the whole half-hour of that show was me back and forth with the video people saying, "What do we have?" And just puttin' in; as we got it, we just--we put it in. After the show, of course I was livid; I knew it was sabotage, I knew what was goin' on. I marched back to the news director's office, I said, "You know what happened;" he says, "They got you." He said, "They got you; I'll handle it." Brought the folk in, guy said, "Well, you know what? Things got in late today, we were doing the best we could," you know, and "My guys work hard"--that kinda thing. And leavin' out, his back to the news director, he looked at me and went (INTERVIEWEE WINKED) (laughter). So that was my, that was--okay, you gotta play ball with this guy, okay?$$So what weren't you doing with him that (simultaneous)--$$(Simultaneous)--It's about establishing a rapport, but it was more than just establishing a rapport immediately; it was more the anger that they--they did not want this company to take over ABC because this company was known for doing things a very efficient way, and they knew cuts were coming and I represented the company that they didn't like, so it was an instantly--you don't want him here, so much so they brought other people in there. They put feces in people's locker who had came up; it was--they got really nasty, okay? The best thing to happen to me is that--it was around the political election; we went with--the top union guy and I were assigned with another anchor to go around the country during this election cycle; we bonded. I never had any more problems. In fact, even on the trip, the guy let me pick up equipment and help out. It was a bond. They had made their statement. Now, they had anger toward other people who were coming up from that--from that new parent company, and they didn't let up on those folk at all. But they cut me a break; they found out I was a pretty good guy, that kinda thing, and so I had no problems. But it took a couple of months before that. So it was a tough environment but it was just a great news town, and after a year, they promoted me to executive producer, and it was just a great experience.$We had a fantastic investigative unit--consumer investigative unit--and speaking of that, some of the things you don't hear that go on behind the scenes, in dealing with the sales department--this is when I really learned about sales and news relationship. Now remember, the salespeople, they go out and they get the money so you can keep the lights on; the news department produces content so that they can sell it, that type of thing. Well, when I first arrived in Philadelphia [Pennsylvania] that second time, there were some big car dealers that were really pissed off at the station [WCAU-TV]. Now keep in mind, probably at that time, 40 percent of the revenue might have come from car dealers. So the car dealers, some of the car dealers, said they would never buy time on the station again because they didn't like a report that the consumer investigator did. Now this goes on; you're not gonna hear a lot about this. People don't--people kinda hush, hush; they won't say a lot. Well, I'm like--I wanna uncover all wrongdoing whether, you know, whether it's people doing unnecessary repairs, blah, blah, blah, whatever--that kinda thing. Well, we were banned from having this reporter do those type of stories at the major car dealers. The choice--you have two choices; you eat or you don't eat if you're gonna work there. You work there or you don't work there--very clear. We were banned from doing that. Now, I'd argued a good fight and all of that, and the argument from the other side is that, well, you know, you wanna keep other people employed, blah, blah, blah. Now, this goes on in every station; nobody will admit it. They're just not gonna admit it. But you will notice that you're not generally going to see many stories on a station going in uncovering repairs, you know--unneeded repairs and things like that, anti-car dealership story unless--two reasons you'll see it; if the state agency or federal agency comes in and says, "We're investigating you for whatever." You're gonna see it then, okay?$$But none initiated by the station?$$But they're not gonna be--usually, they're not gonna be initiated by the station, okay? And it's a kind of an unspoken thing, and people will deny it; they'll deny it because that speaks right at that whole credibility issue--wait a minute now. But what you will do is you may see some of the smaller mom and pop stories, but not the huge people who advertise a lot of money on the station; you'll occasionally see that, but most of the time it's because the state or the feds have come in and they're doing some kind of investigation, okay?$$So if you're a bad plumber, it's okay to get (simultaneous)--$$(Simultaneous)--Well, bad plumber--they're gonna be all--you're gonna get them. But a big plumbing agency, you'll get them too, but I'm talking about car dealerships.$$Car dealerships.$$Forty percent of your revenue; and they have associations and all of that. So you have to be smart about how you do those stories. If the feds or the state get involved, hey, no problem. You initiate and try to do your sting and all that--at the big places, you are playing with a lot of fire, and it's unfortunate.$$Is there pressure from government? I mean, for instance, city government, around things like police brutality and other things. Are they (simultaneous)--$$(Simultaneous)--Oh, they don't advertise, so that does--that has no impact--just I'm talking about this one category, and that's automobiles, okay?$$Okay, cars; alright.$$That's the category 'cause it's--many times, a life blood of a television station, of a newspaper, okay; but especially TV--40 percent, up to 40 percent of your revenue. They shut down, you lay off, you lose jobs. It's, it's real tough.$$Okay. The car dealerships is something like a common denominator across the board that people--$$Pretty much so, but stations have tried to kinda get away from being so dependent on car dealership--car dealer advertising. They're trying to diversify their portfolio more so they won't have those type of pressures; but that was my first taste of that in the industry, and I thought that was just awful. So, you know, you find other ways to do it and to get the story to help consumers.

Kenneth G. Rodgers

Artist and art historian Kenneth Gerald Rodgers was born on October 22, 1949 in Siler City, North Carolina to Cornelia and Johnnie Rodgers, a data entry operator and laborer, respectively. Rodgers’ uncle inspired him to begin drawing at the age of seven, and Rodgers became a young caricaturist. He graduated from Chatham High School in 1967 and received a scholarship to attend North Carolina A&T State University where he majored in art design. At North Carolina A&T State University, Rodgers learned the technical aspects of drawing, painting, design and color, and he mastered skills in still life and portraiture. Rodgers graduated from North Carolina A&T State University in 1971 with his B.S. degree in art design and, in 1972, became a graduate assistant at the Weatherspoon Art Gallery where he studied exhibition design, mounting and crafting. He received his M.F.A. degree from the University of North Carolina, Greensboro in 1973.

Rodgers’ academic career progressed in 1974 when he was named director of the art program at Voorhees College. Leaving Voorhees in 1977, he assumed the position of assistant professor of art at the University of Maryland Eastern Shore. In 1984, Rodgers began the "Art of the Modern World" series in Ocean City, Maryland. In 1990, he joined the Maryland Commission on African American History and Culture and was charged with conserving, promoting and interpreting the history of black Marylanders and became chairman of the commission in 1993. As chairman, he supervised the Banneker-Douglass Museum in Annapolis, Maryland. Also in 1993, Rodgers was named associate professor of African American Art History at the University of Maryland, Eastern Shore and was also named Artist-in-Residence at Mesa State College in Colorado.

In 1996, Rodgers became director of the North Carolina Central University Art Museum, which houses the largest collection of African American art in the state. In this capacity, Rodgers served as organizer and curator of several high profile exhibits including Edward Mitchell Bannister: American Landscape Artist, Re-connecting Roots: The Silver Anniversary Alumni Invitational, Charles White: American Draughtsman, Elizabeth Catlett: Master Printmaker and William H. Johnson: Revisiting an African American Modernist. In 2006, Rodgers was named Professor of Art and Director of the North Carolina University Art Museum. He has published several art compilations including William H. Johnson: Revisiting an African American Modernist and Climbing Up the Mountain: The Modern Art of Malvin Gray Johnson. Rodgers painted the official portrait of the first African American member of the North Carolina Council of State and the first African American State Auditor for North Carolina, Ralph Campbell. Rodgers has received numerous research grants and awards including: a National Endowment for the Humanities for study at the Vatican Museums and the American Academy in Rome, a Fulbright-Hays Study Abroad award for research in Kenya and Tanzania, and grants from the North Carolina Arts Council, the National Endowment for the Arts, the Duke-Semans Fine Arts Foundation, and the Rockefeller Foundation to support museum exhibitions and programs.

Rodgers is the father of two and lives in North Carolina with his wife, Shielda Glover Rodgers.

Kenneth Rodgers was interviewed by The HistoryMakers on June 22, 2007.

Accession Number

A2007.184

Sex

Male

Interview Date

6/22/2007

Last Name

Rodgers

Maker Category
Marital Status

Married

Middle Name

G.

Schools

Jordan-Matthews High School

North Carolina Agricultural & Technical State University

University of North Carolina at Greensboro

Search Occupation Category
First Name

Kenneth

Birth City, State, Country

Siler City

HM ID

ROD04

Favorite Season

Summer

State

North Carolina

Favorite Vacation Destination

Africa

Favorite Quote

Nobody's Exempt.

Bio Photo
Speakers Bureau Region State

North Carolina

Birth Date

10/22/1949

Birth Place Term
Speakers Bureau Region City

Durham

Country

United States

Favorite Food

Tacos, Fajitas

Short Description

Fine artist, curator, art history professor, and museum director Kenneth G. Rodgers (1949 - ) taught at many universities, and in 2006, was named Professor of Art and Director of the North Carolina University Art Museum. He was a part of the Maryland Commission on African American History and Culture and was charged with conserving, promoting and interpreting the history of black Marylanders.

Employment

North Carolina Central University

University of Maryland Eastern Shore

Voorhees College

Florida A&M University

South Carolina State University

Favorite Color

Black

Timing Pairs
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DAStories

Tape: 1 Story: 1 - Slating of Kenneth G. Rodgers' interview

Tape: 1 Story: 2 - Kenneth G. Rodgers lists his favorites

Tape: 1 Story: 3 - Kenneth G. Rodgers describes his mother's family background

Tape: 1 Story: 4 - Kenneth G. Rodgers remembers his maternal great-grandmother

Tape: 1 Story: 5 - Kenneth G. Rodgers talks about his mother's education and profession

Tape: 1 Story: 6 - Kenneth G. Rodgers describes his father's family background

Tape: 1 Story: 7 - Kenneth G. Rodgers describes his earliest childhood memory

Tape: 1 Story: 8 - Kenneth G. Rodgers remembers his childhood home

Tape: 2 Story: 1 - Kenneth G. Rodgers describes the sights, sounds and smells of his childhood

Tape: 2 Story: 2 - Kenneth G. Rodgers remembers his neighborhood in Siler City, North Carolina

Tape: 2 Story: 3 - Kenneth G. Rodgers describes himself as a student

Tape: 2 Story: 4 - Kenneth G. Rodgers remembers his early interest in art

Tape: 2 Story: 5 - Kenneth G. Rodgers recalls the racial tensions in Siler City, North Carolina

Tape: 2 Story: 6 - Kenneth G. Rodgers remembers Corinth A.M.E. Zion Church in Siler City, North Carolina

Tape: 2 Story: 7 - Kenneth G. Rodgers describes Chatham High School in Siler City, North Carolina

Tape: 2 Story: 8 - Kenneth G. Rodgers describes his decision to attend North Carolina Agricultural and Technical State University

Tape: 2 Story: 9 - Kenneth G. Rodgers recalls his first week of college

Tape: 3 Story: 1 - Kenneth G. Rodgers describes his first painting experiences in college

Tape: 3 Story: 2 - Kenneth G. Rodgers recalls his art courses at North Carolina Agricultural and Technical State University

Tape: 3 Story: 3 - Kenneth G. Rodgers describes his political and social involvement in college

Tape: 3 Story: 4 - Kenneth G. Rodgers recalls the uprising after Reverend Martin Luther King, Jr.'s assassination

Tape: 3 Story: 5 - Kenneth G. Rodgers describes his decision to attend the University of North Carolina at Greensboro

Tape: 3 Story: 6 - Kenneth G. Rodgers remembers his first class in graduate school

Tape: 3 Story: 7 - Kenneth G. Rodgers describes the facilities at the University of North Carolina at Greensboro

Tape: 3 Story: 8 - Kenneth G. Rodgers talks about his artistic influences

Tape: 4 Story: 1 - Kenneth G. Rodgers describes his experiences at the University of North Carolina at Greensboro

Tape: 4 Story: 2 - Kenneth G. Rodgers recalls applying to the North Carolina Museum of Art

Tape: 4 Story: 3 - Kenneth G. Rodgers describes his position at Florida Agricultural and Mechanical University

Tape: 4 Story: 4 - Kenneth G. Rodgers recalls his experiences at Voorhees College in Denmark, South Carolina

Tape: 4 Story: 5 - Kenneth G. Rodgers talks about his family

Tape: 4 Story: 6 - Kenneth G. Rodgers shares his favorite memories with his children

Tape: 4 Story: 7 - Kenneth G. Rodgers remembers exhibiting at the Orangeburg Festival of Roses

Tape: 5 Story: 1 - Kenneth G. Rodgers describes his painting, 'Cardplayers'

Tape: 5 Story: 2 - Kenneth G. Rodgers talks about his favorite artists

Tape: 5 Story: 3 - Kenneth G. Rodgers describes his own artwork

Tape: 5 Story: 4 - Kenneth G. Rodgers recalls his position at the University of Maryland Eastern Shore

Tape: 5 Story: 5 - Kenneth G. Rodgers remembers his exhibition of Edward Mitchell Bannister's work

Tape: 5 Story: 6 - Kenneth G. Rodgers recalls his neighborhood in Princess Anne, Maryland

Tape: 5 Story: 7 - Kenneth G. Rodgers describes the Maryland Commission on African American History and Culture

Tape: 5 Story: 8 - Kenneth G. Rodgers remembers the Thurgood Marshall Memorial in Annapolis, Maryland

Tape: 5 Story: 9 - Kenneth G. Rodgers describes his position at North Carolina Central University Art Museum

Tape: 6 Story: 1 - Kenneth G. Rodgers describes his exhibition of Charles Wilbert White's work

Tape: 6 Story: 2 - Kenneth G. Rodgers recalls his exhibition of Elizabeth Catlett's work

Tape: 6 Story: 3 - Kenneth G. Rodgers describes the work of Malvin Gray Johnson

Tape: 6 Story: 4 - Kenneth G. Rodgers recalls the exhibition 'Raising Renee and Other Themes'

Tape: 6 Story: 5 - Kenneth G. Rodgers reflects upon his legacy

Tape: 6 Story: 6 - Kenneth G. Rodgers reflects upon his artistic inspiration

Tape: 6 Story: 7 - Kenneth G. Rodgers narrates his photographs

DASession

1$1

DATape

5$5

DAStory

3$9

DATitle
Kenneth G. Rodgers describes his own artwork
Kenneth G. Rodgers describes his position at North Carolina Central University Art Museum
Transcript
Describe another one of your favorite paintings, one you crafted yourself.$$Some years ago, I did a piece depicting two musicians, a cornet player, who happened to be on the right side of the painting, and another African musician playing his version of the xylophone, and the actual name of the instrument escapes me at the moment, but that was a work that allowed me not only to look at physiognomy, but it allowed me to look at these musical instruments and manipulate all kinds of modeling and shading effects as well. The unfortunate thing is that I did complete it and it was able to get into a major exhibit and I looked forward to getting it back, however it was purchased. And I really have mixed feelings about it, and you know it happens a lot with artists.$$What exhibit was it a part of?$$It was an exhibit at the J.B. Speed Art Museum [J.B. Speed Memorial Museum; Speed Art Museum] in Louisville, Kentucky. An exact title escapes me at the moment. But I think frequently artists are faced with this dilemma. Works of art become a part of you and you don't want to let go, but in the case of someone like, like myself, I don't produce work to sell it. I've never thought about it that way. I produce it because I like to do it. And, well that just happened to be a unique situation.$$Do you have any art that captures life in the South, either capturing relationships between white southerners and black southerners?$$I do not. I haven't really looked at that dynamic, but it's something that I plan to do. And I think I should say that one of the reasons I haven't done so is because I'm a bit of a hybrid, in that I'm doing curatorial work while trying to become a painter, and notice my expression, I'll still learning how to paint to the extent that some things have simply fallen through the cracks to coin the expression.$When you left Maryland, what year was that?$$I came to North Carolina in 1996.$$Why?$$I came here primarily because I heard about North Carolina Central University [Durham, North Carolina] and the fact that they had an exhibition space that was larger than the one that I currently worked at [at the University of Maryland Eastern Shore, Princess Anne, Maryland]. So I came to North Carolina Central University as director of their art museum [North Carolina Central University Art Museum, Durham, North Carolina].$$And what's your first memory?$$My first memory is my meeting with my board of directors, and thinking about the challenges that I might have in terms of putting together a body of programming that would do justice to the university, of course, would satiate the board members, but that would also continue this notion that I always had of pulling these artists out from the shadows and presenting them. So that first memories was of that meeting was my first, my very first meeting of the board.$$What was your first accomplishment in that role?$$I think the first accomplishment, certainly from the board's perspective, was to ensure them that they had made the right decision in, in bringing me along, that I would be faithful to the mission of the university, of the university museum.$$What was the mission?$$To promote, conserve and present African American art.$$So what, tell me the artists and the paintings you provide.$$Well, we had already at the museum the nucleus of a broad section of African American artists that we could build on. Almost all of the major artists were there, minus one or two.$$Who were they?$$There were the 19th century icons, Edward Mitchell Bannister, Henry Tanner [Henry Ossawa Tanner], Robert Scott Duncanson. There was also a generous representation of WPA [Works Progress Administration; Work Projects Administration] era artists. There were contemporary artists, including MacArthur winners [MacArthur Fellowship]. So the notion was to use these artists as a point of departure and to develop the (unclear) exhibits around what was already there. And I think we've probably been able to do that in, in some measure.$$What was the most startling experience for you?$$Well, I think the most startling experience might have been attempting to reconcile realistic acquisitions, plan and budget against what was in place because essentially there was not very much in place for acquisition so the, the first call of order is to add to the collection, and if you have the nucleus of, of works from various periods, how do you then add to those, and where do you, more importantly, get the monies from to do it?