{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://marmia.aviaryplatform.com/iiif/nc5s757v8d/manifest","type":"Manifest","label":{"en":["Rod Rodgers Dance Company; Black Catholics, 1988-04-09"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/053/original/cropped-marmia-logo-copy1.png?1586173104","metadata":[{"label":{"en":["Source Metadata URI"]},"value":{"en":["https://marmia.libraryhost.com/repositories/2/archival_objects/5289"]}},{"label":{"en":["Date"]},"value":{"en":["1988-04-09 (Creation)"]}},{"label":{"en":["Description"]},"value":{"en":["Be advised that this video may contain sensitive, triggering, and offensive language and content. (Content warning)","Digitized with funding provided by the Council on Library and Information Resources' \"Digitizing Hidden Special Collections and Archives: Amplifying Unheard Voices\" grant program. (Funding note)","Jaki Hall and B.T. Bentley interview choreographer, Rod Rodgers, and his company performs. A previously recorded episode about Black catholics, abruptly begins at 00:30:11 and guests include Bishop John Ricard and Sister Mary Charlotte Marshall. (Scope and Content Note)"]}},{"label":{"en":["Format"]},"value":{"en":["1 U-matic"]}},{"label":{"en":["Identifier"]},"value":{"en":["WJZ-CTYLN-009-008 (Identifier)"]}},{"label":{"en":["Series Title"]},"value":{"en":["City Line"]}}],"summary":{"en":["Be advised that this video may contain sensitive, triggering, and offensive language and content.","Digitized with funding provided by the Council on Library and Information Resources' \"Digitizing Hidden Special Collections and Archives: Amplifying Unheard Voices\" grant program.","Jaki Hall and B.T. Bentley interview choreographer, Rod Rodgers, and his company performs. A previously recorded episode about Black catholics, abruptly begins at 00:30:11 and guests include Bishop John Ricard and Sister Mary Charlotte Marshall."]},"provider":[{"id":"https://marmia.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["MARMIA"]},"homepage":[{"id":"https://marmia.aviaryplatform.com/","type":"Text","label":{"en":["MARMIA"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/053/original/cropped-marmia-logo-copy1.png?1586173104","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/206/332/small/thumbnail_206332_1692287362.jpg?1692287372","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332","type":"Canvas","label":{"en":["Media File 1 of 1 - open-uri20240322-2906522-le84fk.mp4"]},"duration":3747.52,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/206/332/small/thumbnail_206332_1692287362.jpg?1692287372","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332/content/1","type":"AnnotationPage","items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-marmia.s3.wasabisys.com/collection_resource_files/resource_files/000/206/332/original/open-uri20240322-2906522-le84fk.mp4?1711129147","type":"Video","format":"video/mp4","duration":3747.52,"width":640,"height":360},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332","metadata":[]}]}],"annotations":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332/transcript/48958","type":"AnnotationPage","label":{"en":["AUTO_TRINT_WJZ-CTYLN-009-008.mp4 [Transcript]"]},"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332/transcript/48958/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The following program is a Cityline encore presentation. Well, now, if you are asleep before this, you should certainly have both eyes open. In fact, you should be on the floor dancing. The question about it with excitement here today. It is our distinct pleasure to present to you Rob Rogers, artistic director and choreographer for the Ron Rogers Dance Company. I'm welcome to sit around. Have a seat. We're we're excited about your being here today, but we're happy to be here. It's such an activities show and we need this today because of the energy that you exude. Tell us how your company differs from the Alvin Ailey Company or the Dance Theater of Harlem. I think those names are a little bit more familiar to a lot of our audience, a little bit more familiar. But in the music field, there are a great many really fine musicians that people don't know their names, but they're out there doing jazz and other kinds of music. Same is true in dance that what's happening today in dances. Black artists involvement in dance across the United States and internationally has increased to a point. So there are a number of solid companies around that the general public might not know a great deal about. We haven't been in the Baltimore area for a while, but our company is really known for a combination of styles. The first, probably a rhythm dance technique where the dancers utilize elements of African and Caribbean rhythms into a contemporary dance form and nobody does anything quite like that. Okay, first of all. And then the second thing that is a major difference, and certainly there are a lot of similarities and we do work with blues based jazz forms and modern dance. And the dance drama sense is we do social commentary and there are pieces which raise questions about issues that have to do with man's inhumanity to man.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332#t=36.85,187.25"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332/transcript/48958/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"There are very serious note, and these are serious times. And I know your company has just celebrated its 20th year. Now, I know you must have started before, long before that. How did you get started? And was dance an integral part of it even your whole life? Well, my mother and father were dancers and I didn't really they never asked me did I want to dance? It was never a question any more than if you were born on a farm. Does anybody ask you, Do you want to farm? You just sit there and do the work. It's time to go to work. You know, it's how you do it. But my mother and father were from that era of black artists where most of the black music that was developing was involving a nightclub situation like jazz as a concert form was relatively new concept in this country, not in Europe, but in this country. And dance. All of dance. It was related to jazz forms evolved, also an entertainment, quote, entertainment situation. So what made you decide that the particular type of dance that you would create and perform for people would reach the particular unique feel that you've come up with? I don't think I were made in the early stages of my dancing. It was something I enjoyed doing and that I was trained to do, whether I liked it or not. From a very early age, and just as my brothers continued their involvement in performing as musicians, I continued my involvement as a kind of a choreographer. My dad would have me create backgrounds where he would choreograph what was going on in the front, and I would choreograph the entrances and exits for a long time. And I just got interested in it and it was what I do, you know, It's like it's what what you do as opposed to an advocation that you sit around and think about.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332#t=188.18,282.89"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332/transcript/48958/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Maybe I would like to do that. We've we've noticed that a part of your involvement is with the schools, the colleges across the country. Is that is that important to you in the sense of keeping dance alive and keeping young people involved in there? And the actual process of dance to dance has a lot of uses, and one use of dance is to explore ideas and issues. And and and for self-exploration, people can learn a lot about themselves just by moving together there. There is a kind of sense of, well, I think in some ways that same kind of feeling can come through playing sports together, like physical activity that people do together, where they move together, learn to trust each other and feel each other is a way of of creating a kind of communal sense that is very valuable experience for young people. Well, there are five folk who are lined up here and ready to perform, and we'd like to see the Ron Rodgers dance company perform. This is Drop Me Off in Harlem Again. Billy Taylor in the music. Mr. Ellington Great. Okay. And that was me up Harlem. We'll be back with more of City Line right after this. Welcome back to City Lawn and a command performance of the world's largest dance company. Let me mention briefly, we didn't get a chance to introduce the dancers performing that last number. They were Kim Greer, Kathy Smith, Tammy Thomas, Perry, Dorset and Ronald Burton. And we'll be seeing more of them later. And we mentioned earlier that part of what the Rogers Dance Company does is become involved in local community areas, offering workshops and giving us your listen as a master teacher. Tell us about that and activities. Yeah, well, there's a lot of things to share about what artists do.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332#t=283.13,611.11"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332/transcript/48958/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The easiest thing we do is come in and just dance, do a concert and leave. But the people who are interested, just like, are a lot of people interested in music, people who are interested in dance, to be able to come together with a choreographer and learn about the ideas that are behind the work is important. And we've we've had a great time here in Baltimore of getting preparing for our appearance at the Harvard Community College on the 16th by having a workshop at Harvard where a number of talented dancers came together this morning and we started working on some phrases and some ideas. I think some of them are here. Yeah, we are here for the master class. Master class. They are Stephan Zobel, Cassandra Piotrowski, Audrey Terry and Monica Young. And if you'll take it from here. Okay. Okay. Now, what we talked about a little bit is the fact that a trained dancer really is a combination of three things. First, they have to be athletic and it really is an athletic business. Secondly, they must be musicians of some kind, are able to work with music, follow music, interpret music. And thirdly, they have to be actors and actresses, as you can see from the last pieces that we're doing. But the basic element is the movement itself. Now, we talked a little bit about the jazz style jazz styles and this particular jazz style, or there's a common phrase that keeps turning up over and over again whatever it is that the dancers are doing or whatever they call it in that particular area, that's a step. BE It just starts with a side step and bring the feet together with a beat. And this is what we started off our jazz phrase in the class today with the we talked about breaking it up to make it more interesting so that the arms were brought into it.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332#t=611.38,707.53"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332/transcript/48958/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So it starts to have a more of a theatrical character instead of a pedestrian or just a pop jazz character. And we put more of a little bit more of a kick to some music by a musician named Albie. And it looks like a one, two, three, four, five, six, seven, eight. One, two, three, four, five, six, seven. So I want you to do that. Please. Just to count. Six, five, six, seven, eight. Oh, one, two, three, four, five six, seven, eight, oh one, two and three and four and five and six and seven and eight and one and two and three and four, five, six, seven, eight or one, two, three, four, five, six, seven, eight. One three, five, six, seven, eight, one. Okay, that'll work. Turn the heads like real sharp when you come back around like you heard somebody speaking to you. Let's just try it with the music again. Up on top of the movement, there's a character. Okay, drop into it. Five, six, seven, 30 seconds. All right. Okay. All right. Now, what has happened with the jazz vocabulary is that people associated with entertainment form so much that they forget that it is also a serious that can be serious music in a serious art form. Now that those folks are going up to Harlem to, like, get away from it all and party, the artists that they were meeting and dealing with were very serious about the work they were producing. But this is still on the side of the entertainment, jazz as entertainment. And I'm going to ask them to try it again. And the difference is, at this time, I'm going to take it down into the flow of the world as they get way down into the floor.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332#t=707.62,821.11"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332/transcript/48958/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So the first break just dropped down into the floor. I think it went down just kind of fucking fired a little bit. But it looks too academic, right? Okay. We'll try it one more time. Five, six. Five six. I can write my own writing, just like tiny things in the palm of history. Domino My part of the story. It's in my writing and I love. Yeah. When you work with the master class, how do you you actually hone the talents of these young people? Now, the difference between what I saw and your group, of course I know, is years of of training. But they were so precise in your group. Well, they could be precise. They just learned this, like, as a sketch. But mainly it's that I'm trying to encourage them to be aware that the technique is not just pointing your foot or just staying on the beat. Technique is we're putting everything together. It's how you relate to each other. It's how you work together in the space. It's how you relate to the music. It's how you communicate the idea through the magic interpretation. It's just the nuance of your own individual expressiveness. Because jazz, in order for it to be jazz, if you just follow in the beats, it's not really jazz. You know, that's another people's idea of jazz, but they have to bring something of themselves to it, so it's expressionistic. So talking about that as a concept technique involves all of it is what we're really about. Do you ever spot potential members of your company at any of these workshops? Oh, yes. I've invited I've invited dancers after a number of workshops to come and do things with us in New York with our New York touring company.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332#t=821.74,935.67"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332/transcript/48958/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Okay, Well, look, we have to take a break, but we have a lot more coming and we want to invite you to stay with us and we'll be right back. Welcome back to City Life. We're enjoying ourselves today with The Ride, Roger's Dance company and the founder and creative director of Ride Rogers himself. And we're going to try to take one more young question, one more question from a young person, our audience that we're lucky enough to have here. What encourage you to be a dancer? Oh. Well, earlier we talked about the fact that my parents were dancers and they didn't exactly encourage me to be a dancer. In fact, they just told me it was time to rehearse. And then after I started dancing, we spent a lot of time discussing other things because they said, if you're going to study art to be a performing artist, you also should be good at other things in order to be able to market your art, in order to be able to sell it, to promote it, to talk about what you want to do to other artists or people who might hire your company or your artist services. So they insisted that I learn, you know, really learn public speaking and study drama, and that I spent some time with math and take some business courses, that kind of thing. I studied photography and graphic arts as well, all to help work with the dance. And they made it really clear you can't just go off in a corner and dance because that's that doesn't add up to anything. Encouragement is important at this stage, though, as encouragement is important, but it's encouraging to develop as a total person and not just to think that just being a good dancer will necessarily put you where you need to be to dance.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332#t=936.51,1066.67"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332/transcript/48958/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Are you going professional? No. You have not converted one body from the song. Do you still dance? Not like these people. I try not. I do. I do dramatic roles. I have a number of pieces that are more dance drama. Box 71 dedicated to the struggles of South Africa is a dramatic piece that I do as a And then there are a couple of other things. The character who's like Death in an Elevator has to do about women getting trapped in closed situations. And well, we don't need to talk about. No, I'm I'm looking at the flier for Saturday's program and it said the program includes tributes to Duke Ellington, Langston Hughes and Martin Luther King Junior. How important is that to you and how do you work that in? Well, when we got ready, we started talking about what do you want to do for a 20th anniversary? Like, what would make it so meaningful for me, for us? The first thing I did was look around to the audiences that are most important to us. And we feel that if we I'll perform a great deal but don't share our works with black communities, then we don't succeed. That's not just a question of making money because we can make probably more money doing other things. So of the different things that we had done, the tributes and those dance theater pieces, which incorporated historic facts, you know, that were inspired by the historic experience where some of the things which we felt were the most important and the most valuable. So we created a series called Poets and Peacemakers that includes tributes to Langston Hughes, Martin Luther King, Duke Ellington, which is what we're working with today. And we're actually doing some of those at Harvard on a Saturday night.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332#t=1067.18,1162.4"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332/transcript/48958/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"That's fabulous. What about and what are your your signature works that people recognize your company by? Well, most I think most modern dance artists certainly have something specific that they're best known for. And as I was saying earlier, it is the Rhythm dance series that are contemporary rhythm dances because I was trained as a percussionist at a very early age and and the social commentary. The jazz collaborations are another part of it that's an extension of it. But I think the rhythm dances have been called the most unique, kind of a kind of a unique bridge between traditional percussion and rhythm dancers and contemporary, where we're going to be entertained here now. But give us a little feeling for what we're going to see now and what's it entitled? Well, the dancer being featured as the musician is one of the ways that our company is special. And in this particular instance, a dance is called Rhythm Ritual. The in this piece, I accompany the dancers with cymbals and gongs and drums and bells, and we use masked images. And the dancers actually help create the musical environment with instruments and objects which they use as they move. Is there a tradition of dancing with finger cymbals and drum? Some dances in the Third World countries actually dance with bells and things right on their hands and bodies. So it's a continuation of that tradition, but in a contemporary sense. Okay. I guess we're about set to see once again, why does dance company doing rhythm ritual? You can't. To. To. And that's our show for today. I'm Vicki Bentley. I'm Jacqui Hall. Have a good, good Sunday. Bye bye. Our research, and that's shared by many others, that there are 10 million blacks who belong to no formal religious structure.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332#t=1162.7,1820.92"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332/transcript/48958/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Now, you know, the myth is, is that we as blacks are very religious and a very a spiritual people. We may be. But that that is not always translated in terms of church attendance. We see that many of the problems that plague us as a community, family, disintegration, drugs, violence of the deterioration of our neighborhoods, we see that as really endemic of the fact that many of our people do not have a belief system or do not have a faith in God which will enable them to respond to myriad needs. What's the status of that report that came out of the Congress? Well, the the pastoral plan is right now that is in the stage of implementation. We have planned next year, in the spring, we have a conference on evangelization, which is going to be open to people from all over the country again. And we're going to say to America, to say to the black community, say to our church and say to those who are attendance at this conference that the Catholic Church right now is interested in reaching out to the blacks who do not belong to its fold and are welcoming them in. Let's let's hit some of the major issues that the pope addressed as he traveled the country in ten days, not only with black Americans, but in general. And I guess some of those problems all of us face economic development, in particular in the black community. What will black Catholics do in regard? Well, I think we could, Sister, I'll give you a chance again. But I think I read locations and loquacious this afternoon. You know, I was very pleased to hear the pope say that blacks disproportionately in new. He said this in New Orleans and the black audience that they disproportionately suffer from unemployment, from inadequate housing, from lack of opportunity and so forth.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332#t=1821.85,1934.56"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332/transcript/48958/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I think you see, again, he added a moral thrust, and I would like to use the words of the Holy Father when I go before and testify before one of the committees in Congress, when we go before our own state legislature and say we need to pay attention as a caring community, as a society which is founded on Judeo-Christian values, we need to pay attention to the very least and vulnerable of our society the unborn, the poor, the very young, the very old, the homeless, the hungry. You see, it's a tragic it's tragic that in Maryland, for example, which has the in terms of per capita income, it ranks six in this nation that we have homeless, We have hungry people. We have people who have to worry about where they going to live or sleep the next night, you see. Unfortunately, I think too much of what has happened is endemic of what goes on in our society. And too often the people who are representing what is to happen in the church are following what is happening in society. We look right at our nation's capital and where we standing on the inside of the White House looking out, we would see the number of people who are homeless, people who are dying every day. We look here in Maryland, we can go to California anywhere in this country. And yet there are areas in which we are trying very, very hard to help people by housing them, even in churches, especially during the winter cold. You see also not to be overlooked here in Maryland and in Baltimore in particular, we have our daily bread, which is a soup kitchen that's been an established that's been established for a period of time.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332#t=1935.19,2039.71"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332/transcript/48958/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And we have other things like housing programs for those people who can't afford housing and many others like that that currently are in existence that serve the need. Okay. We'll take a break and we'll come back and continue our discussion on city land. Stay with us. Welcome back to City Lightning. We're talking with Sister Mary, Charlotte Marshall and Bishop John Ricard about the role of the black Catholic in America today. There are a lot of issues that we'll never be able to cover, but if we could briefly touch on some of those issues that that are every day that are contemporary to not just black Catholics, but America in general, the issue of AIDS, the question of divorce and marriage in the church, are we going to see anything different? Is there a sense that the church is changing its views anyway? Well, remember when the Holy Father came, he went to Los Angeles and he went later to San Francisco, and he did have a service, a prayer service where they had a victim's. He very lovingly, I felt, spoke to them and he spoke of how the church is concerned and compassionate and how the church would do all of its all that it can to respond to this very tragic pandemic experience that we have in this country and parts of the world, certainly in many dioceses throughout the country, Baltimore being one. There are efforts afoot to sponsor hospices for AIDS victims. You may know of Mother Teresa's efforts in in New York City, where she sponsors and she operates a hospice for AIDS victims in New York as well as in Washington, D.C. I think the church responds passionately and with compassion to AIDS victims, realizing that they are ill and that we follow the mandate of Christ to service those that need the service.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332#t=2040.64,2263.55"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332/transcript/48958/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"You see. What about the issue of divorce? It's unusual for you to ask me about divorce. There are tribunals and areas where people can go for assistance. There are annulments available, different things that can happen. I'm not sure that I could answer everything about divorce or the rationale behind divorce, but it is there are ways that people can seek help from the church in terms of marriage within the Catholic Church, marriage is a sacrament on the level of all the other sacraments. Is that unique to the Catholic Church? Well, you see, the tradition in the Catholic Church has always been that marriage is permanent and indissoluble. That is, once you get married, the marriage bond is to last forever, at least in terms of this life. And there's also a sense, very tragically in our church, I know the experience in this country is that many Catholics are divorce at our own level in dioceses. There are many programs that are geared to separated and divorced Catholics to help them with the pain, to help them with the loneliness, to help them with the working through rearing of children, and to make them feel very much at home with our church. It's a very tragic experience for Roman Catholics, and the tragedy is that we are seeing an increase of this. We certainly try to respond to that and we pray for the day when we will be able to experience stable marriages. And this would not be a problem. Let's talk about the issue of Oh, wait a minute. Oh, you got me. Oh, Christ. Abortion, Please forgive me. Abortion and the church's stance on abortion. Well, the church has been very clear in this. I think that human life begins in the womb, and human life is a gift of God that has to be respected.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332#t=2264.45,2382.65"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332/transcript/48958/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I think that's particularly important to black America, because you may know that black women have two and a half times more abortions than white women. I think that's very tragic. And many times a black woman is coerced into an abortion. It's a result of of ignorance and it's a result of many other economic conditions. So I think this respect for the human person and for human life is something that we need to hear and hear a great deal more about, because not only in terms of abortion, but in terms of how we treat the poor, the aging, the sick, the disenfranchized and so forth, the church, the pope's message that we need to respect each individual life as a sacred gift of God is something we need to hear more and more about. And I think this position on abortion reflects the concern of Jesus for each person where he reached out to public and he reached out to to Mary Magdalene, to the woman of the street. He reached out to a fisherman. He reached out to everyone. And he said, the father loves you, we love you. And you are a value in the eyes of the father. What is going to happen to the vast numbers of Catholics in this country? Black, white? Whatever, who are discontent with where the Catholic Church stands in a contemporary world. And the pope never really answered a lot of those questions other than to restate the positions of the church. But it does not meet the needs of those who have been in conflict with the church. Sure, there are a number of people who are in conflict with the church, and I think a part of that is growth that helps people. I don't think we ever want to be static.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332#t=2384.51,2487.51"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332/transcript/48958/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And there are issues that are going to be relevant constantly, some of which I think the pope may have addressed. I did not attend all of the audiences, but I'm sure some of them were addressed. This was not a dialog. It was never intended to be. And I think that's a part of where people were coming from. Do you think many Catholics will leave the church as a result of not having been? I look at it in another way completely. I think what what all of this is symptomatic of tremendous growth. And I think the fact that the church is very much alive. I don't think we will want a church where everything is said for you. Everything is in place where people respond like blindly. I really feel that that the ferment that is in our church in terms of disagreements or in many other areas represents growth and represents the fact that the spirit is alive and that the church is alive. You see very few places you find such a level of attention as as with our church. So I feel that's very, very positive. Bishop John Ricard, Sister Mary, Charlotte Marshall, we want to thank you very much for being with us and sharing this time. We'll be back with more City Line in just a minute. Please stay tuned. Next on News Carp, one of the country's richest entertainers gets rich in another way. I'm my sister, Bay. Singer, songwriter, arranger, producer, performer Sherry does it all. And still ahead on the entertainment page is hot new release, Just Call. I'm Harold Anthony and I guarantee you you won't want to miss this one. The state wants to give you a break, but you don't have much time. Good afternoon.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332#t=2488.65,2667.7"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332/transcript/48958/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I'm sorry, Bay. Thousands of Marylanders are engaged in a race against the clock. Most of them might lose, but the winners will be the ones who come forward and come clean. That's the motto of the Maryland State Tax Amnesty program. With me today is the director of public affairs for the state comptroller's office, Marvin Bond. With more on the tax amnesty program. Good afternoon, Mr. Bond. Good afternoon. I see. So who's eligible for the tax amnesty program? If you owe the state of Maryland any of the six eligible taxes that were due prior to December 31st, 1986. And you're not under criminal investigation for tax charges anywhere in Maryland, You're eligible to take advantage of this once in a lifetime break. There are six taxes. What are the six taxes? The six eligible taxes are both business and individual individual income tax, corporation income tax, employer withholding tax the sales and use taxes, admissions and amusement taxes, and even the boat excise tax. How do we take advantage of this grace period? All you have to do if you owe the appropriate taxes is pick up an amnesty form from any of the locations around the state that have them send in the back tax plus the interest along with any required back of your forms or amended forms, along with your payment by October the 31st and you'll be granted amnesty. I understand there's some advantages to participating in the area, like civil penalties or criminal prosecutions. What does that mean? Well, anybody who actually claims amnesty will pay the back tax and the accumulated interest, but they won't have to pay the civil penalty and they won't have to fear criminal prosecution or criminal penalties. Well, how's it going so far? People paying up before the deadline? Yes.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332#t=2668.24,2762.53"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332/transcript/48958/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"In fact, we feel that we're doing very well. We've already passed the million $300,000 mark. Friday was our first $300,000 day, and we're pretty much on target with the other states around the country that have had tax amnesty programs as they've approached the halfway point in their programs. They've only had about 8 to 9% of the money that they end up collecting. Maryland is going to be pretty much in that ballpark. Late this week when we come up on our halfway point. How much do you think the state's going to pull in with this? The General Assembly, when it enacted tax amnesty, estimated that it would bring about $20 million to state coffers. Well, what's the deadline and what happens to those people who don't pay up? You've got to pay the back tax and interest by October the 31st. You don't have to pay the criminal penalties or the civil penalties, remember, But they're going to go up dramatically on November the first when amnesty is over. The civil penalty in the case of income tax, for example, goes up to 25% of the tax due and it's retroactive. The criminal penalties on all of these amnesty eligible taxes go up to five years in prison and or a $5,000 fine. That's an increase of 500% when it's over on October 31st. Amnesty is gone forever. So it's a once in a lifetime deal, huh? That's exactly right. My guest has been Marvin Bond with the state comptroller's office with one last warning on the Maryland State tax amnesty program. Thank you for joining us. If you need to take advantage of the tax amnesty program and would like more information, call the toll free number one 800 M.D. Taxes, taxes. And remember, the deadline is October 31st.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332#t=2762.95,2857.79"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332/transcript/48958/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"In international news, five former United States secretaries of defense make a statement on the United States presence in the Persian Gulf, while the current Secretary of defense, Caspar Weinberger, made a morale booster trip to the region. Former secretaries upheld the U.S. decision to intervene in the Gulf. They admitted the United States presence in the Gulf has increased tensions but claim it is necessary. The secretary is also feel it will not lead to a major war. In national news, the Senate Judiciary hearings on the Supreme Court nominee Robert Bork heard from a long list of witnesses in its second week. Over 100 people signed up as character witnesses, both for and against the nominee. They included Atlanta Mayor Andrew Young, former Transportation Secretary William Coleman, and former Texas Representative Barbara Jordan. The next Supreme Court session begins on October 5th. If there is no nominee, the session will proceed with an empty chair. In Maryland, the Howard County daycare operator, who was convicted of sexually abusing a four year old girl, went back to court last week between the defendant and the judge stood a life term in prison. Sandra Craig was accompanied by her husband and her attorney as she went to receive the judge's punishment for that crime last week. The state prosecutors urged the judge to sentence Craig to life in prison instead. Judge Kane gave her ten years for each of the four counts. The terms to be served concurrently, as she has all along. Sandra Craig maintained her innocence. I've lived my life in a way that I would have never been a dream to be standing in a courtroom in the situation that I was in. But ironically enough, I had been charged and. Take it off things that I'm not going.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332#t=2859.34,2964.84"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332/transcript/48958/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Craig's attorney plans to appeal the conviction. But Craig also faces another trial where she is charged with abusing 11 other children left in her care. In the world of entertainment, the man with the most money might soon have another title. The man with most awards. Actor, comedian, author Bill Cosby travels to New York tomorrow to visit the United Nations. The U.N. secretary general will present Cosby with a special award for his work toward freeing South African activists. Cosby is the chairman of the U.S. Committee Against Apartheid. That's news camp for this week. Enjoy the rest of the day and the week ahead. I'm so sorry, Bay. Now back to Jackie and Betty for more of Cityline. You're not to blame for how you feel. Doing. So you. Then you finally go on to forget. No. Sherak. It's one name that adds up to a lot of great music. This multi-talented performer is capable of blending memorable ballad stylings with sizzling streetsmart urban rhythms. This combination makes him one of the most exciting and original new arrivals on today's music scene. The Proof is on his debut album, featuring his first hit single Just Call. This 25 year old Texan was born the son of an Air Force officer. While growing up, his family traveled extensively throughout Europe and the Far East, allowing Sharrock to develop and broaden his musical horizons during high school. Sharrock formed a number of bands playing teen clubs on various Air Force bases after graduation. Sharrock went on to attend college in Arizona, and after only three years of study, he relocated to Los Angeles to pursue his musical career, where he quickly became a full fledged session player. Sharrock later recorded a cut for the soundtrack for the film The Last Dragon, and was signed to Motown Records to front a new group called Cagney.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332#t=2965.81,3216.9"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332/transcript/48958/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"As lead vocalist, Sharrock worked with such stellar talents as Stevie Wonder, Rick James and Rockwell. And the summer of 1986, Sharrock began working on his newest release, and the results are well worth the Year of Labor, along with seven tunes written and co-written by sharing, the album includes an unforgettable cover of the Marvin Gaye classic Baby I'm For Real. No question about it. The man, indeed is for real. And with his latest hit, he is sharing with you, Just call. If I can have one wish come true. Somehow due to. Let's come back to. You're not to blame for how you feel. Then you find it hard to forgive. I know. I've got to be the one they call. You got. I've doesn't. Maybe he can be your. You love it. I don't want to. It was nothing. Can you find it in your heart to throw? I've got to be. Oh. It was nothing. Can you find it for? I've got to be. Baby girl. Oh, God. Maybe that was sharing with his new hit single Just Call. And speaking of calling All of you, 1967, Frederick Douglass High alumni may want to get on the horn and call all of your old buddies together for your 20th year reunion. Tickets are $35 per person and should still be available. The reunion is open to all members and friends of the class. For more information, call 3230619 or 2989353. Another evening of fun and elegance. Worth noting is Coppin State College's Caribbean Extravaganza. The event will be held at the Coppin Center 2500 West North Avenue from 9 p.m. to 1 a.m. on Saturday, October 3rd. The evening will include dining, dancing and superb entertainment. Donations are $50 and ticket information may be obtained by calling 3337353 or 3337354.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332#t=3217.89,3469.25"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332/transcript/48958/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Well, that just about wraps it up for this edition of the Entertainment Page. I'm Harold Anthony, hoping to see you all next week. Thank you, Harold. Very great video, I'm sure. We want to again, thank you for being with us today. I think it was a good show. It really was. And help to help us understand the black Catholic in Maryland. Next week show, we will have the attorney for Sandra Craig, who was the Howard County daycare owner who was convicted recently on child abuse. If you'd like to be a member of our studio audience. That's right. Be sure to call in at five, seven, eight, 75875787587. That's your new number you can call all day today. Give it a game. Five, seven, eight, seven, five, eight, seven. Yes. And if you'd like to be a member of our studio audience, please come and talk with the attorney for Sandra Craig, who believes that she was not guilty even though she was found guilty. That's right. We'll find out the status of the appeal and so forth. Well, thanks for being with us. I'm Betty Bentley. I'm Jackie Hall. Have a good, good Sunday. You get the hood out of here, aren't you? Yep. Coming out.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332#t=3472.43,3616.64"}]},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332/transcript/48958","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332/transcript/48958/annotation/22","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/048/958/original/open-uri20230817-2857-7pyext?1692293874","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/048/958/original/open-uri20230817-2857-7pyext?1692293874"}]},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332/index/82840","type":"AnnotationPage","label":{"en":["Rod Rodgers Dance Company, 1988-04-09 03-20-2024 21:42 [Index]"]},"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332/index/82840/annotation/23","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Guest interview","format":"text/plain","label":{"en":["Title"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332#t=102.0,335.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332/index/82840/annotation/24","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Rod Rodgers, Choreographer ","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332#t=102.0,335.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332/index/82840/annotation/25","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Dance performance","format":"text/plain","label":{"en":["Title"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332#t=335.0,1815.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332/index/82840/annotation/26","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Rod Rodgers Dance Company","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332#t=335.0,1815.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332/index/82840/annotation/27","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Guest interview","format":"text/plain","label":{"en":["Title"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332#t=1815.0,2659.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/105563/file/206332/index/82840/annotation/28","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Bishop John Ricard, St. Francis Xavier; 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