My parents were not formally educated. Both were cognizant of the importance of education. The teachers and ministers were the role models, and they would say, you should want to be like Miss Gardiner, you should want to be like Mr. Freeman, or be like your dad. Shun the people who don't value education.

I always - I knew from day one , in college, that I wanted to be a teacher .But I don't think I had envisioned becoming a professor at the time. I remained a history major until 1951.

Even when I became cognizant of this societal problem in this country, I asked my father and my mother if they knew anything that had been passed on to them, about slavery, and my father was very reticent about it. He often said, "No, I don't know anything about it, and it was bad, it was awful and it's over and we want to get on with our lives."

We were told, no, you don't do. There was this high standard of morals and a sense of responsibility. That didn't mean that everybody stuck to those laws, but we were cognizant of the importance of trying to live up to that code.

There was a young man in our community who said he wanted to be a minister, and my father was trying to mentor him in the ministry, and something supposedly happened in town.And this young man was jailed. I remember my father lamenting and saying, well, regardless of what happened, he's human; he's human like the rest of us and he deserves, to be heard and to be seen.

James Porter said to me once, when I was talking about painting, he said, well, that's fine, he said, but you have a good mind so you can't just be a painter; you're going to have to help define the field and keep the tradition going. And he meant walking in his footsteps in a certain way.

Mary O'Neal used to say that I was teaching her course in disguise, as she said "in cultural disguise." What she meant was that this really was a very fervent kind of civil rights art course, not altogether art history. It wasn't altogether theory. She called it an action course.