Again, hello everybody, welcome to the Future Trends Forum. I'm delighted to see you're here today. We have a really great guest and we have a fantastic topic and I'm looking forward to our conversation very much. Ever since the forum began, more than seven years ago, we've been focused on teaching from all kinds of ways. The labor politics of teaching, how to teach with technology, teaching during COVID, what teaching means for climate change. We've been focused on that very closely and I'm glad to continue that theme tonight or today. We have with us Professor Corbyn Campbell, who is a professor and a dean at American University, so geographically pretty close to me. She is the author of a brand new book which is just wonderful to take a look at, Great College Teaching, which describes her research project in trying to understand how universities and colleges can best structure and support the best teaching in the post-secondary world. If you wanna grab a copy of the book, take a look at the bottom left of the screen. You'll see a little tan colored box that's great color teaching or great college teaching. Click that and now what I'd like to do is I'd like to welcome our guest. So let me press a couple of buttons and bring her right up on stage now. Hello, Professor Campbell. Hello, it's wonderful to be here with you. Always, I'm so glad you could join us. I'm so glad you could join us. And you're coming to us from downtown Washington, DC. That's right, that's right. We're in Washington, DC, American University and should name also on the stolen lands of the Nacotch Tank, Anacostin and Piscataway peoples. Always important to remember our history as a university, as a Department of White Institution and the places where we sit, learn and do our work. Indeed, indeed. Well, I've mentioned to you before we have an unusual way of introducing ourselves on this forum, which is that we ask people to describe what they're working on for the year to come. And I'm curious what writing projects, teaching projects, what huge administrative duties await you for the next year? Well, thank you for asking. And I really appreciate this focus on the future. I think we do a ton and we need to understand history, right? So I'm not negating our need to understand history, but thinking about where we're headed, especially when it comes to higher education and how we can better serve students is really meaningful. So this upcoming year, what I'm really excited about is I've been working with the Equity-Based Teaching Collective, which is four scholars that study equity-based teaching and also the policies and practices in different universities that can support that teaching. And we know that we are not going to be able to create broad-scale change in teaching improvement unless there are some broader systemic levers that get switched. And so the four of us are fortunate to have funding from the Bill and Melinda Gates Foundation to develop a playbook for institutions, state systems, disciplinary associations and funders to be able to think about the best ways to collaborate to produce systemic improvement. And the draft, so we're engaging in that work and research right now. And the draft of that will be forthcoming in early spring next year, early spring of 2024. So I think what most excites me is being able to hopefully have some really good suggestions for institutions on the kinds of policies and practices that are needed to support and engender equity-based teaching at scale. Oh, excellent. What a great focus. And from what I've seen, you've already been working in that to a degree. So I'm glad to see it. Friends, the way we usually begin the forum if you're new to it is I ask our guest a couple of basic questions to get things rolling. But then the floor is yours. So as we go, if you've had the good fortune to read Professor Campbell's book, I'm sure you've got all kinds of questions and comments. But if you haven't yet, you may bring concepts and ideas that you'd like to share about great university teaching, but also as she speaks, as she describes her research and her work, please, please start surfacing your own questions and comments. And again, of course, the very bottom of the screen, that's that raised hand button and the question mark button. So I guess I had so many questions based on your research, Professor Campbell. One of them has to do with, as you were researching this, as you were taking a look at institutions, how they support faculty and staff, what were some of the major successful strategies that campus has implemented? I mean, how did they best support the best teaching? Now, that's a really great question because so often the research has focused on the barriers to doing good implementation of teaching on campuses. And one of the things that my research really found was that the practices really vary by institutional context. So this idea that we could say, we're going to implement this one policy or practice in very different kinds of institutions, it just simply won't work, right? So if we think about what teaching improvement would mean for a faculty member at a smaller liberal arts college who holds multiple hats, maybe has been in that space for a long time, teaches, has taught smaller seminar style courses. And also we have to think about identity, faculty identity. So is it a tenured faculty member? Is it a white male instructor? We also think about what it would be like to be in a research comprehensive university, right? And maybe an adjunct faculty member, maybe a Latina, they're really doing good work, maybe has a full-time job outside of this, but wanting to give back to her community in different ways. So I think teaching improvement really is so different in different contexts. And we really need to consider the ways in which prestige and academic capital and the way that faculty develop their careers looks different in different spaces. So just to give a couple examples, I think about the role, so the book really lays out three different levels of practice that we need to think about in institutions. So often we focus on individual faculty improvement. And so I think about what happens when faculty go to a center for teaching and learning and maybe they work individually with an instructional designer to help them think through some of the challenges they've been working on. That would be the individual level. I think about the collegial level of faculty. This is the level that often gets ignored, but it's so critical. And I think especially at private research universities, flagship universities, this collegial level, this normative and cultural level where faculty, you know, faculty are talking to other faculty about their teaching practices, which so often is not happening in those spaces. When I go to universities to talk about this, one of the questions I often ask is, are faculty talking about teaching in the hallways, right? Is this a hallway conversation that's happening regularly? So that faculty governance, that cultural, that departmental colleague to colleague interaction is so critical. And how do universities foster that meaningfully? And then the third level, and we need to think about this in different kinds of contexts and how this looks, but is to think about reward structures and hiring processes and basically the organizational policies and practices that need to scaffold those other levels to be able to create broader change that's not just one faculty member improving. Well, that's a fantastic strategic analysis of both. I mean, I love the way that you brought the different types of faculty in career points, their demographic and their institutional identity, and then you've offered different levels for ways that universities can support this. And I would just be so sad to be at an institution where there wasn't that kind of hallway conversation about teaching. You'd think that would be mandatory. I guess thinking about that in terms of the structure, which is just great, I guess the next question to ask is, what recommendations do you have for teaching and learning centers? There's a good number of them. I think to some extent, they grew further during the pandemic. What can they do to expand their reach and to improve the quality of teaching? And again, keeping in mind what you just said, that's gonna be a different thing at Community College versus Research One University versus Liberal Arts College. Absolutely. So I would say, one of the things I'll mention, and I realized that I don't think I gave an introduction to the empirical basis for the book. It might just be helpful for me to do that. So what I'll say is that I found that the centers for teaching and learning are so crucial, but in different ways and different kinds of universities. So this study that this book is based off of is to my knowledge, and I've said this in a lot of different spaces. So it's possible that it's not true, but so far this seems to hold at least face validity, which is that I believe that this study was the first multi-institutional, multi-disciplinary observational study of college teaching in the United States. So meaning this is the first time that a researcher has gone into observe college courses across many universities and many different classrooms in different kinds of disciplines. And we have wonderful disciplinary based research and we have incredible research that's ethnographic or looks at very particular programs and particular kinds of institutions. But this idea that, what is the map of college teaching? When we look at K-12 teaching, we know that there is just a robust observational system in place. And so I had the distinct pleasure and privilege with my research team to observe more than 700 courses across nine extremely diverse institutions. When I say diverse, I mean different kinds of institutions. So from some very highly ranked public and private institutions, institutions that are in the rankings game, but less highly ranked and maybe striving in the rankings, but also broad access institutions, specifically regional comprehensive universities that offer both associates and bachelor's degrees. But I also wanna mention, there's many institutions that are missing and I'm looking forward to studying in the next wave of the study, including community colleges, as well as HBCUs and tribal colleges. So just kind of wanted to map what I saw in this study and what I didn't see in this study. And one of the things that was fascinating is on the two, and so not only did I do observation of these courses with my research team, but we also surveyed faculty and surveyed students. And in the places where we surveyed faculty, in the places where they said, we are talking about teaching in the hallways, in the spaces where the centers for teaching and learning were not just somewhere off to the side, but were deeply integrated within academic affairs. And just to give one example, I can think of a university where the Center for Teaching and Learning runs the entire orientation process for all faculty. So what that does is it doesn't, the Center for Teaching and Learning is not, somewhere that you go if you care extra or somewhere you're sent if you care not enough, but it is then a regular part of faculty work. Oh, fascinating. So spatially located as well as institutionally located in Central Plough. Well, yeah, I think that is meaningful, but I think in terms of the practices, meaning I think about an organizational home for faculty, right? So if you're oriented, when I said there, I meant like it is the Center for Teaching and Learning that is giving the orientation, not just in their space, but actually, right. So there's a focus on teaching excellence from the beginning. Oh, that's fantastic. And we definitely need more of that. I was going to say, I need to encourage people to ask questions and I'm way behind because the questions have just been piling up. So let me just give one the start right now, our good friend Keele. And Keele Dumsch has this really good question. It'd be difficult to improve the quality of teaching if high rate does not fix its learning model, which is based on grades, credit hours, degrees and a huge over emphasis on the classroom format. That's an observation rather than a question, but I guess would you like to respond to that? Absolutely. I think this really goes to the fact that when we look at the history of college teaching and the way historically that higher education has understood the learning context, it has fit into a very small box, right? And I think the next question is why is that, right? Why is it that we have had decades? I mean, we've actually had a century of research on improving on what good college teaching looks like over time. And yet we do not have broad scale adoption of it. Part of it certainly is the constraints that were just raised in that question or that comment. And I think the issue is that if we do not incentivize institutions, so if institutions that are great at teaching and learning and that center student-centered teaching, center active learning, center equity-based instruction, center a sense of belonging in the classroom, so many of these practices that we know to be important, if those institutions are the ones that are gaining enrollments, that are gaining endowments, that are deeply rewarded and understood to be quality institutions, I think we would see institutions like racking their brains around, how do we break some of these patterns, right? But because institutions who are great at teaching are largely not rewarded in terms of these reward structures and same with faculty, right? So we know that for every hour that faculty spend on their research, and this has been true from the 1980s and it is true today, every hour that a faculty member spends on their research, it's associated with an increase, an associated increase in their salary, and every hour that they spend on their teaching, it is likewise associated with a decrease in salary. And so we have those opposite reward structures in terms of individual faculty, but also institutions, right? So we know actually that student-centered teaching in institutions like regional comprehensive universities often are not the ones that are most funded or not the ones that are seen as most prestigious. And liberal arts institutions that also have had that teaching-centered mission likewise have not had the same kinds of enrollment gains that we've seen in research universities that have rows in the rankings and often do not prioritize teaching in the same way. So we still have that research and teaching clash going on. This is, well, first of all, Keele, thank you for the really good question. And again, Professor Campbell, thank you for the really solid answer. Friends, if you're new to the forum, this is an example of a Q&A question. So just again, go to the bottom of the screen where there's our white strip, the question mark button, hit that and you can type in your Q and we'll proceed like we just did now. We have another question coming in from our long-time friend, Tony Sindelar. And Tony has this to ask, this goes back a couple of minutes, I think. Tony asks, faculty development activities seem to be targeted at tenure-track faculty roles to spike growing populations of agents. How could we provide meaningful support to instructors who are in vulnerable roles? That's a wonderful question. And I will say, I think that there is so much misinformation about teaching quality across faculty categories. And the research base is really mixed on this. In the observational study, which is called the College Educational Quality Study that was the basis of the book, we found that across faculty categories, so across tenure-track and non-tenure-track faculty, including adjuncts, there was not a statistically significant difference in the quality of teaching. Now that doesn't go to, right. So this is, now that varies by discipline. So that's not the case in STEM, for example. In STEM, we did find that tenure-track faculty were doing a better job in the STEM area than non-tenure-track faculty, at least in this one study. So just know this is a good sample. But I think this question goes to, obviously adjunct faculty have very different motivational needs, right? So, and also, given how low compensation there is for teaching adjunct faculty, we need to think of the ethical obligations, the ethical relationship to creating more obligations for that group. So I think part of this is, and I will say, this is now not with my researchers' hat, but with my associate dean's hat on, because in my work in the School of Education, I get to do this work in practice and try to improve teaching as a regular part of the faculty role in the School of Education at American University. And what I'll say is, by robustly ramping up the support for equity-based teaching in our school, we have simply made all of those opportunities open to adjunct faculty. We also have created new hiring practices for adjunct faculty so that we're getting faculty who are really interested in equity and all to teach courses. And so their genuine interest in equity has made it such that they have genuine interest in participating in these teaching development sessions. And just another example, we have an anti-racist pedagogy scholar who does one-on-one coaching with all our faculty, regardless of if they're at their full-time, not required. But as we know, doing this equity-based work is hard. And when we have conversations in the classroom and there's folks that are pushing against a decade of assumptions that they come into the classroom with, those kinds of tensions, it's really helpful to talk that through with someone. And so it's never required of our adjunct faculty or our full-time faculty, but we find that more and more adjunct faculty are using these kinds of resources because we're hiring faculty who have these interests. Ah, ah, ah, ah. And the faculty may be adjunct or they may be tenure-track or tenure-already. That's true, yeah, absolutely, absolutely. We revamp both processes. Oh, that's huge. And I appreciate that with both of your hats, the administrative hat and the faculty member hat. Thank you for that excellent, inspiring answer. And Tony, as always, thank you for a really good question. We have a question that came in ahead of time from one person who unfortunately couldn't make it. This is from Don Shullis, at the Higher Education Inquirer. And he asks, what you think about teacher devaluation and Taylorism as part of the dehumanization of higher education? He goes on to describe how, as Tony was just referring to, we have large classrooms being taught by grad students or adjuncts, but also the possibility of importing teachers from India. As well, Don points to the increasing use of automation and pedagogical functions. Hey, well, there's how, you know, how does improving teaching at the university level coincide with or respond to that larger trend of teacher devaluation? I'm so appreciative of this question. And if you don't mind, I'm actually gonna share a slide here. Yeah, we showed how to do that. So we can pull up this group. Yeah, make sure you're doing it. I'll embiggen your window while you do that. Thank you. And while this is coming up, friends in the chat, I'm going to share a link Don sent from the Higher Education Inquirer that he wanted to use context for this. Okay, good. I just wanted to share because I think so much about the problematic devaluation of teaching that we see in universities at large, but especially in highly ranked private research universities and also flagship public universities. And I think that this, because those universities are associated with prestige in higher education, that means the devaluing of institutions that do support teaching, right? So the devaluing of teaching in these kinds of institutions. And I'm not blaming the institution because we have these broader forces, right? We have disciplinary norms and cultures where we have peer review of research and that can be documented on a CV. But when we list our teaching, we just list simply what we teach, right? There's no, you know, be fascinating to have disciplinary peer review of teaching, right? Where experts in chemistry teaching of chemistry, you know, review a syllabi that someone has created and give feedback and, you know, maybe there's an editorial board that curates, you know, great examples of chemistry syllabi. That then could go on a CV, right? But we don't have a ton of disciplines that are doing this work, although that's starting to change. Certainly measures of faculty productivity, measures of institutional productivity, rankings. I saw this in the chat as well. There's not a single measure of quality teaching that's in the rankings. The only thing that you could potentially argue is class size, which is a correlate, but actually they're removing that. In the most recent rankings, they took the one measure out that arguably be connected to that out. So, and this question was about the broader societal norms, right? So look at the devaluation of teaching in K-12. All of that plays into the way that teaching the interplay of how teaching is understood in higher education. So this is a little bit of gloom and doom news, but I think when we talk about the future, we might be able to, you know, draw some glimmers of optimism. Well, thank you. Thank you very much. And thanks in the chat to my lightning fast friends who managed to grab a screencap of this. Professor Campbell, is it okay if I share that image on Twitter? Oh, yes, absolutely. Very good, very good. And let me just go to an even fancier display. We have more questions coming in. And again, if you're new, you can tell that our guest is extremely friendly, takes every question deeply and seriously, and that we're eager to have all of you asking questions. So we have one that's come in from Kenneth Sagendorf and let me just flash this on the screen as well. Kenneth asks, Corbyn, great detail on the salary increase, decrease in faculty time spent. Have you looked at your data and taking into account financial stability or instability of the institution? So great question. And first I need to name that that research that I spoke about with the association between faculty salary and research hours and teaching hours was not my own. So I'm happy to share that and I'm so sorry. Of course, the name of the author just flew out. So I'm gonna have to take a look at that and get back to you. But I think the issue of the financial stability or instability of institutions is critical when we think about this. And this is why so many people will blame institutions for the problem with teaching improvement, but institutions are only a small piece of this puzzle because ultimately being a great teaching university does not garner the institution of additional resources and in fact, putting resources into teaching actually has the opposite effect. And there's other research that's not also not my own. This one is a Baker and Morphew did this work, but that demonstrates that institutions that are trying to move in the rankings and we know that we all hate the rankings, but at the same time it's a massive arbiter of power in higher education. Really is. So what we know is that institutions that are striving to move in the rankings and are successful at doing so have done so by moving resources out of instructional expenses and into marketing. So I just want to hold space for that, right? Because what that means is that institutions that are retaining extra resources in the instructional area may have the opposite effect. And this is not surprising because we know that one of the biggest metrics used by US News is that peer assessment metric, right? So we know that reputation is one of the most important factors that is taking place in those rankings. And in fact, investing in instruction may do the opposite for your institution. And so this is the paradigm that we need to solve, which is why we need to be looking at broader policies and practices and what could also reinforce and support institutions that are doing this work well. First, I just have to say, I admire how you came to that conclusion through your triple lens of researcher, dean, and instructor. And thank you very much for that great question, by the way. We have another question that comes in that I think reaches back to one of your previous observations as well as looks ahead to some of your coming work, which is from our really good friend, Sarah Sengar-Gorio. And Sarah asks, haven't got a chance to read the book yet, but did you see in your research a relationship between reflective teaching practices and professor demographics? So pleased you asked this. And I'm so thrilled. Well, I mean, I guess this is thrilled as a question, but because there's the issue the other way as well. So let me just name, I think there's a lot of questions about, what is the importance of hiring a diverse faculty? And there's good research that demonstrates that students do better when they're mentored by faculty that share their lived experiences and identities. But there was limited research in the classroom outside of surveys. So there's a lot of survey research about teaching, but in terms of observation. And what we found was that when we looked at one of the frameworks that we examined was culturally relevant teaching. And we did find that faculty who identified as faculty of color, including black faculty, Latin A faculty as well as indigenous and Asian and Asian American faculty were stronger at culturally relevant teaching than their white counterparts, at least in the study that we conducted. We also found that those faculty were likewise more confident with their ability to enact other kinds of student-centered practices such as active learning, such as creating a positive classroom climate. So there does seem to be something about the ways in which identity intersects. We'll also say that there's other research, not my own, that demonstrates that women and faculty of color are asked more often to do both teaching and service tasks. And so we know that identity influences faculty careers in meaningful ways and especially when there's intersections of identity. And I think so often about the women of color working in academia who are asked to deeply support communities. And typically that's a part of their joy but they are not rewarded for that. And in fact, again, may have lower salaries, may be located in lower prestige institutions. And all of this ties back to the devaluing of teaching that we see in higher education. Yes, and this may just continue as our faculty gradually become more and more diverse. Sarah, what a great question. Just a terrific question. And again, friends, if we have about 24 minutes left, so I'll make sure we get to everybody's question. So please feel free to respond to what Professor Campbell has been saying in response to these questions but also to bring up your own topics. And also if you have one in the chat and if I've missed it, if you'd like to bring it up, please make sure you enter in the Q&A box so I can grab a handle on it. This is a question from our dear friend, Tom Hames coming to us from Houston area, Texas where it is probably becoming humanly warm. So let me just flash this up. Do students really appreciate good teaching? Are they more interested in completion than learning? That is a wonderful question. And there's two pieces that I wanna add to this question. So the first is, I think one of the most fascinating findings in the study was when we compared our observers' responses to the students' responses and to the faculty responses because all of them were rating the exact same class period, right? So we had faculty rating themselves on their own practices, students rating what they had experienced in the classroom and then we had observers and our observers had completed 30 hours of training to be able to be an observer along with an iterator reliability test that we gave, including a pilot observation. So they had done a ton of learning about these frameworks and what we found was that faculty rated themselves most highly. Students also rated faculty practices fairly highly. So not as highly as the faculty, but still fairly highly but our observers saw a totally different picture. And one of the reasons I believe that we saw that the observers had so much lower ratings than the other two groups is that our observers were trained to know what is the very best that it can be? But faculty are often taught to teach by those who taught them, right? So, and they often go on to teach in the same discipline in the same type of university. And so they get a very small window on what's possible in college teaching. That's actually true for students also, right? So if they are a psychology major, they might have been at just this one kind of university, maybe two if they transferred, but they're unlikely to be able to see the full view of what's possible in college teaching. So I actually think that students overestimate, faculty overestimate by about a third their abilities and students overestimate pretty close to the faculty. I do wanna share one other thing that is not relating to what students want but relates to what the broader public thinks. And just give me a second here because this question of like, basically do students and parents and the broader public think completion is more important? Are they more interested in the salary? Are they more interested in whether a student has a job coming out? I think this is a really important question. So I and some colleagues of mine at Teachers College at Columbia University, which is where I was when I was doing this work, I had the opportunity to put some questions on a representative sample of the US public survey, representative by gender, by race, by socioeconomic status, also by whether or not they had attended college. And we asked this question, I'm gonna go ahead and share my screen now. Okay, drum roll, please. Here we go. All right, so we asked this question, what is the most important factor in what makes the best college or university? I was particularly interested in this because we know what the, what US news says is the best college or university, right? We can look at those metrics. But I was really curious, what would the public think? And so we asked all these different possibilities. Honestly, before I did this, I would have thought that probably job placement and salary might be at the top of this list. Yeah. But look at what the public had to say. It has professors who are excellent teachers and it has students who learn a great deal is number two. And this finding stayed true again, across race, across gender, across whether or not the public had a high degree and across income level. So this is pretty fascinating because as we know, the measures of prestige about the best university say nothing about college teaching. And yet there's this belief and this understanding that education matters from the public. Now I'm not sure exactly how students would respond to this. That's a good question. And I think we could go back and look at that too. Wow, what a great finding. And what a great answer to Tom. As always, Tom asks very deep questions that are very epiphany and cut right to the core. Thank you. Thank you very much. I'm curious while people right now, I'm imagining a lot of people have steam coming other years they're thinking about different responses. And again, friends in the chat, please, if I missed a question or a point you want to make there, please just let me know in the Q&A box so I can request that. What about the high impact practices that the AACNU celebrates? I mean, those seem to be pretty reliable as a way of improving student satisfaction and student engagement. Are they also reliable in your research for best teaching practices? So I will say I certainly support the high impact practices and some of those are related to important classroom practices, right? Active and collaborative learning, for example is a part of those practices. But I do think those high impact practices are about a broader menu of the both curricular and co-curricular opportunities. And all of those need to come together to make a great student experience. However, I will say in the research when there are meta-analyses and also just broader synthesis of what influences student outcomes. And I think, for example, about Mayhew et al's how college affects students volume that pulls together so much research from the field of higher education. One of the single most important factors on so many student outcomes is actually college teaching. And I would say the high impact practices do have college teaching as a component but college teaching deserves its focus in its own right, right? In that we know that college teaching does not just influence subject matter acquisition. So a lot of times we think it's about our subject matter learning but it also influences moral development, leadership development, the ability to develop diversity competencies. And so when I think about not just the individual benefits that a student will get from the subject matter they might acquire that might apply to a career but also the ways in which it supports our democracy, those broader societal outcomes that we care about. I think so much of the magic of that is happening right in the classroom. So you're, I guess we probably should have explained we explored this a little earlier. Your definition of fine college teaching is this combination of subject matter acquisition and retention but also what some might call a liberal education background that goes beyond any visual departmental expertise. Yes, and actually let me go ahead and just because it's, let me go ahead and share so you all can see the exact practices that we examined through the observational protocol here. Okay, and I'll make sure that you're bigger so everyone can see it. Great. So we looked at the level of cognitive complexity and this is, we know it's important for students to remember what they're learning but also are they applying it, right? We know that that's so important when it comes to careers. Are they analyzing material, right? This goes to some of the critical thinking outcomes we know are so critical for our democracy. We looked at active learning, not just whether or not they were doing an activity but also were they reflecting on it? What was the depth of that active learning process? We didn't look at subject matter in terms of the number of topics covered but research really shows that the best teachers and this is true in K-12 and also in higher education, they have something called pedagogical content knowledge and what that means is they have a real deep understanding of the field and the ways in which the topics that they're teaching map onto the field. So this is like cognitive mapping of the course material. They will often know, what are the core ideas that are really important for students to know? And they will really deeply teach those in ways that uses multiple representations of the subject matter that doesn't just look at those in a surface way but looks at those really deeply. So we did look at that piece. We also though looked at how the professor was making connections between the subject matter and the students lived experiences. So we know from K-12 research that prior knowledge, not just what they know before they come to the class but how they come to understand the material, their assumptions, their lived experiences, their cultural understandings and identities that come to the table and great college teachers will be able to draw that bridge between a student's prior understandings and the new subject matter. And we also know that in teaching, it's not just supporting students cognitively in their learning but also emotionally. And I've taught statistics in the past and I will tell you, if I do not work on disarming the emotional energy and the negative fear coming into that space as in the first few weeks of class, I will lose them for the rest. That ability to support students emotionally in the classroom is so meaningful. And of course we know that having a positive classroom climate is important for all students but especially students of color. And when I think about a college teaching process that is doing all of these things, this is the kind of process that will sustain a learning for our democracy, not just a learning towards graduation. How does that connect with the kind of civic learning? How does that connect to a democracy or a democratic behavior and engagement? Well, just imagine, right? So if students in the classroom are understanding how the subject matter connects to their own communities, right? And the ways that they then take that and part of this item, for example, around making connections to students with experiences is that culturally relevant teaching. And we know that students need to both understand how democratic systems work but also be able to question and challenge and think through the ways to make change. And if we have students who are doing that in classrooms regularly, just imagine what they will be able to do as citizens in the world. Excellent, excellent, great connection. Thank you. We are coming up towards the end of the hour and I wanna make sure everyone gets a chance to share their thoughts. We have one question here coming up from Shelly W. Let me put this on the screen too and let me also make a point of smoothing the screen back up to where it was. Shelly asks, are there institutional example reward structures that we should use to advocate for our institution to improve the campus retention during a promotion process? What do they look like? That is a great question. And I will say, I will name a few now but I'm also looking forward to be able, you can of course buy the book but also the policy playbook that we are developing with this grant from the Gates Foundation which will be coming out next spring. I think we'll do a very good job of saying specifically in this kind of institution, here are some exemplar policies and practices but I'll just name a few. I think about Transylvania University who just recently announced a multimillion dollar investment in creating endowed teaching professorships. And I think about the ways that faculty are rewarded in their careers and the ways that that promotion processes do not ultimately lift up teaching as being as important or giving it as much academic capital as it truly deserves. And so there's just one. Now, institutions don't always have multimillion dollar investments that they can make in this kind of effort. And I think in that case, I know that there are several universities and American University on the campus where I am has done this where the... And it also depends on where you sit organizationally. So if you're a department chair, you have direct influence over the peer review process at that first level. And so I think having trainings for the faculty who are engaged in those review processes to know what excellent and equity based teaching is and what kinds of evidence could be seen there. I think at the institution level, having conversations around is it possible to revise tenure criteria to include specifically equity based teaching and what kinds of a great example is if you're at an institution that is just using course evaluations to evaluate teaching, we know that that's highly problematic because it is deeply biased by gender as well as by race. And also students don't know what great college teaching is, right? They haven't always experienced it. They might think that instructor centered teaching actually is great. They might not have had the other experience, right? So we really need to have a portfolio that shows and demonstrates what great college teaching is and allow faculty to be observed having peer review of observation processes. I think institutions working with disciplinary associations that are trying to do this well, the American Historical Association is one, for example, where I feel like if we can get metrics from disciplinary associations around what great teaching looks like in those disciplines that will also help with the peer review processes. So I think some of it is working on all sides, right? And there's not gonna be only one policy or practice that will make this change, but thinking innovatively and I think starting with a leader caring deeply about this topic and working to navigate your institutional space, relationships and politics, will all be an important part of this as well. Oh, that's a really, that's a whole, you just gave a handbook of an answer. Thank you. And again, Shelly, thank you for the great question. We have another, a recommendation camp in chat. And I just wanna just repeat this back because this is fascinating. Ken Sagendorf said, there must be other focused and not based on self. And so I quickly asked, who should be other focused? And the response is fascinating. In order to design a learning experience and choose examples of lead learning, a teacher's ability to see through the lens of the student is paramount. And I think that's brilliant, especially since the research enterprise puts us in many ways in the opposite point of view where we're developing our own expertise, our reputation, especially ability to get grants from the self. But also it's a very difficult philosophical translation to make to focus like that. And I just wanted to first of all celebrate, that's a great observation, Kenneth. And I just wanna, if you wanted to respond, Professor Campbell. I love that comment. And I think it's so true. So much of great teaching has to start with that self-interrogation work, right? Which is, know what I know and what I understand and where my experiences come from. And therefore what I don't know and what I won't necessarily resonate with and need to uncover those biases so that I can deeply understand and lift up experiences of students who might understand that subject matter differently or who might have a different experience of higher education than I had, right? That's just so key and could not be underscored more, so important. Oh, thank you. Thank you. And I think that also plugs into your sense of education, preparing for civic life and democracy and the sense of having to think through people who, with whom you were living and working. Absolutely. Thank you. And again, if anybody has any similar comments or thoughts they want to share from the chat, please push it over in the Q and A box. And as I say that, a Q and A, Q appears right now. So let me just bring this up. Hello, Jessica. I'm starting the process of teaching college, becoming an adjunct for the first time. What is at the heart of measuring or implementing equity-based teaching? Can you give some key examples? First of all, I just want to say good luck, Jessica. Bravo.  And I think the fact that you hopped on to this webinar or this conversation at the beginning of your journey is amazing because simply having the desire to engage and to learn about this at the beginning, at the start of navigating. So many faculty come into the classroom assuming that they're the expert, right? But the humility, and I think this was in the last question as well about, it's not just me. It's not just my way of understanding. The humility to be able to say, I'm not exactly sure what equity-based teaching looks like yet. And I think the best recommendation that I can make, and I need to know more about which institution you're at, but very often now, thank goodness we are in spaces where centers for teaching and learning are at most universities. And in many places, there will be inclusive pedagogy fellows that will be able to guide you in talking through this. It does start with the self-interrogation work. It starts with an understanding that you're not going to be the sage on the stage, right? It's going to be partly you have some expertise, but how does that expertise resonate with students? I would take a look at my syllabus. Start with the syllabus, and this is another question is, are you developing a syllabus? Are you being given a syllabus? So often standardized syllabi are not done in ways that are equity-based. And so I would look through. One of the things I did with my own syllabus was take the syllabus that I had created initially when I started out teaching, and I pulled all of the authors so that I could see their identities. Now I need to acknowledge that seeing identity is not always the same as people's own identities and how, but visually, right? Do I have diverse representation visually across gender and race? And maybe I can find out more by going to their websites and seeing what they study and the paradigms that they come from, but really important that the readings that are in my class are representing diverse peoples, diverse understandings, diverse ways of knowing. And then from there, thinking about, how am I going to create a climate where students feel comfortable sharing who they are and how they understand or don't understand the subject matter? The excellent college teachers, I think, really are able to lift up the dissonance that students experience. When is it okay for a student to say, wow, this is really different from what I understand? Or I don't even know where to start on this, right? Creating that emotional vulnerability in spaces, I think is really meaningful to students. So these are just a couple of examples, but I would definitely recommend, if you are new to higher education and thinking about teaching, connect with the Center for Teaching and Learning on your campus. Which we can map to that, which is terrific. Thank you. Professor Campbell, I wish I'd known you when I started teaching at the university level. And I think to our questioner, Jessica, thank you for coming forward, putting yourself on the spot and best of luck, I think you're gonna be awesome. We're almost out of time. And in order to really wrap up well, I wanted to point at the last chapter of your book. And you talk about social support for teaching and college campuses, trying to put pedagogy as a castle teaching in a larger context. Can you speak to that a bit? I mean, what are some of the connections you're seeing? Is it the pointing of students out to participate in the civic life? Or are you looking at some of the broader trends about public attitudes, like the one you mentioned about people most valuing teaching or even about the devaluing of teaching that some of our participants observed? Well, I really do believe that if higher education is able to change its tune to value teaching more deeply, the idea that education is needed and is important for our society will take hold so much more, right? And so I just wanna name, I think we're, and this is a future focused conversation, right? So let me just name why I have a little bit of a glimmer of hope where when I started this on this agenda 13 years ago, the kinds of conversations that I was having were, I had a researcher from a very highly ranked renowned Institute Ivy League institution say, why are you studying this? Highly ranked research university, she doesn't have to think about great college teaching, right? Well, that's honest. That's so clear. And as an aside, it was an education professor. Wow! Saying the quiet part out loud. Right, so, but we are not in that space. We are not in that space. We are in a space today where the rankings are being questioned like never before. They're feeling like they need to change their metrics to be more closely linked to social mobility. We have the Carnegie classification system which really solidified the bifurcation between teaching and prestige. That is being rethought. And so for those of you working at institutions, writing to ACE, who is the one doing these, this change to say teaching should be a part of this, right? We should be thinking about how do we know whether a university is a great teaching institution and that should be categorized, right? We are just in simply a different space where these conversations and the reward structures behind them are being raised and questioned in ways that I have never seen before. Coming at a time with COVID where faculty are more malleable about their teaching practices than they ever have been before. I mean, imagine if faculty felt the urgency that they did to get online to get into equity-based teaching, just you can imagine the incredible change that would take place there. So I think the confluence of all these forces means that this is the time to join the movement that is developing around college teaching. Fantastic, that's a brilliant place to end. Thank you, thank you so much, Professor Campbell. This book sounds like this should be read widely across higher education and we should be thinking at all the levels you spoke of, from research to individual structures to how we structure this in terms of individual institutions. I have one last question for you, which is how can we keep up with you and your work? What's the best way to find out what you're emitting next? Thank you so much. Well, I do have a website, so it's just Corbin Campbell.com. You can definitely see there and please do keep a lookout for that policy playbook that's coming out in early spring. And I'm also, I'm gonna type into the chat right now a 20% sales code. Just in case anybody would like that. Oh, sure. It's in August. So this is the sales code for that, for the book. Yeah, thank you very much. All right, good to see, we always appreciate that. And we really, really appreciate you, your work and your generous time. Thank you so much, Professor Campbell. Thank you, thank you so much for the invitation and for the amazing and fascinating questions that came up as a part of this discussion. It's been a joy to engage with you all. Thank you so much, my pleasure, my pleasure. But don't go away, friends. Let me just point you to the next few weeks and let me just second that wonderful compliment from our guests about all of you, because you are marvelous. Looking ahead, if you'd like to keep talking about this, about how do you structure better college and university teaching? Please take this to social media if you like. Use the hashtag FTTE on Twitter. You can find me there or a mastodon. You can find me there and of course on my blog as well. If you'd like to look into our previous sessions where we're talking about teaching in all kinds of different ways, just go to the archive at tinyurl.com slash fdfarchive. If you'd like to look ahead to see how these ideas are carried forward, just go to forum.futureofeducation.us and you can see our upcoming sessions, almost all of which touch on teaching at least. And above all, please have a good June. I hope that you, those of you who are working intensely or will be very productive, those of you who are working reflectively, get a chance to reflect and think very hard. Above all, I hope all of you are safe and sound. Thank you for thinking together with us and we'll see you next time online. Bye-bye.


John me Joe, but on a merry John me fill he Lord my head Don't don't don't on a merry John was be my major.  I'm Shavru Khan. I Am Lola Who's Lola? I don't know. Okay, you false. It's good.  Thank you boys and girls Goodbye And if you really want to help the algorithm lick it. Oh Today we got a new trailer dropped just yesterday. Sorry. We didn't get to it right away I'm sorry, too But Rick was just doing fun stuff in New York in the big Apple. Oh, man Did you eat a lot of apples? I just stuck them up a bit. Oh, wow, geez. That's fun. It is fun But this is a don't do that kids only professionals should do that at home. I Could be wrong. I think it's a telugu because it has Nani. Okay, and I know Nani from the telugu industry. He was in Ega I believe right Yeah, no the original Jersey I Don't remember who's guy in the original Jersey. Anyway, I apologize, but this is called Dussada No, it's a telugu. Okay. I'm I'm right Wonder if it's telugu says it in the title Dussada teaser with Nani and in Kirchley Suresh Santosh Narayanan Srikanth Odela forgive mispronunciations ladies and gentlemen. No, don't Okay, don't fog them in the street. Mmm, right in the taint. Oh, oh imagine getting flogged in your taint. I know That just sounds like a good Wednesday. Here we go Natural star that's an interesting Yeah Don't do that to your thumb that was pretty badass. That was awesome use that blood on your for the cinematography Fantastic, absolutely gorgeous. It was almost as good as what I do on my phone at home. What yep Every Wednesday Yeah, that looks awesome Combination of like KGF push bar could be your sing Or are June ready?  Yeah a little bit, right? Yeah, I'm intriguing natural star. Yeah, that's an interesting moniker Hope he's not on roids Like the liver King was was liver King was not a natural. What? Yep. He was Natty. Who would have thought? The film is set in the backdrop of Sing Arena coal mines that seems like a big Trend since maybe KGF. Yeah, maybe I mean maybe it was before but I don't I really See it a lot now. No, like in like mine kind of no and obviously whenever it is up That's my first thought is if you bring up if you bring up a coal mine My thoughts gonna turn to KGF for sure, but that doesn't mean I mean obviously There's probably a ton of stories that have a coal mine as part of the backdrop My dyslexia is acting up with all these names Every name from director writer producer composer cinematography begins with a nest. I'm like they're all the same person We have written and directed by Srikanth Odhela Produced by Sudhakar Charakuri Composed by Santosh Narayanan cinematographer is Satyan Suryan Yeah, that's not that's not helpful for it. No, no, no Also, I reckon I thought I recognized Was it him? No, I thought I recognized the it was almost I think a guy that we mistaken for like Fafa's brother Yeah, I know who you're talking about. He was in the very very similar to him All right, I don't know if it was him, but that's what it looked like to me not I was not he wasn't Ega and Jersey. I was correct It was the lead in the original Jersey and he was the the hero and tag the protagonist it was Ega Ega Yeah, which have you sweetheart? Have you seen Ega? Oh? Yeah, we got a remedy that real quick When you're in the mood for just fun Hilarity we're gonna watch it. It's so fun. It's SS Rajamuli. Oh, it's a it's a real good time Get past the first 30 minutes and you'll really enjoy yourself. It's true But yeah, that looked really cool. I'd be really interested in and in giving it a watch Especially just every day the acting look good the cinematography look good. Yeah I can't tell much of the story right now, but no clearly. It's gonna like you said it's gonna have Gangster fighting yeah rivalry something about yeah, yeah, but it looked really cool Yeah, I know a lot of people love the natural. So I wonder how he got that moniker. Yeah, I had I think fans give it to them I think yeah, people say it's like the fans give them, but how do you come up with natural star? I Don't know must have been a particular role and why did some get like Thotapathy like right Indian name right and English right or is it maybe just that's what it's translated for us And they do have an Indian moniker. Yeah, why why is junior NTR junior NTR? I mean, I understand he's a junior, but his name is not junior NTR But his father was a big star of course and those names NTR. I said that's probably why but it like his full name It's it's changed. It's a little different than just say SRK, which is Shahrukh Khan Just interesting where where the names come from and the nicknames in particular especially superstar megastar natural star Big B the Carl's famous star Carl's junior Okay, anyways, let a hamburger at a restaurant. Let us know what you thought about the teaser down below


Hey everybody, guess what time it is? It's polyphonic o'clock, aka time for the fourth polyphonic Q&A. Blum, blum, blum, blum, blum, blum, blum, blum, blum, blum, blum, blum, blum. Yeah, no, it's time for the, it's time for the fourth Q&A. Before we get started, I just want to thank CuriosityStream for sponsoring this video. CuriosityStream is the first subscription streaming service dedicated to documentaries. It's a really cool service and you can look at documentaries from all kinds of topics. And if you go to curiositystream.com slash polyphonic, you can get 30 days for free. If you stick around till the end, I'll give you some recommendations for what to watch with your free 30 days. All right, let's, let's get cracking. Right off the bat, I'm gonna hit about half of the questions in one go. Am I gonna do a video on X? I don't know. I really don't know. I just do my videos as they come to me. I have scripts that I sit on for months. Other times I just wake up with an idea and write a video. So there's really no plan to this stuff. I do videos on what I feel like making a video on. This doesn't mean you shouldn't request stuff to me, but at the end of the day, even I don't know what video I'm gonna do next until I do it. So that answers some of those questions. Now let's hit some quick ones right off the bat. I'm gonna see how many of these I can hammer out in a few seconds. Favorite instrument, Hammond B3 organ. Last concert I went to, Shaky Graves. Favorite new artist, Haley Hendrix. What's my favorite Nirvana songs? Francis Farmer will have a Revenge on Seattle. What recent album has impressed me the most? Room 25 by No Name was incredible. Favorite lead Zeppelin song, No Quarter. And favorite part of a song is the break from the middle of Fool in the Rain where it cuts back in. And yeah. Favorite Beach Boys song, Feel Flows. What's my name? Noah. Do I play any instruments? Yeah, bass, guitar, piano, and harmonica. None of them particularly well. Beatles Influenced? Big. Favorite album by them? Probably Abbey Road. Maybe Revolver. Favorite Steely Dan album, Royal Scam. Alright, I think that that's a pretty good quick fire, so I want to get into a bit of discussion on Nebula. In case you didn't see, Nebula is a new streaming service that we launched with a bunch of creators. We're trying to fight the toxic negative atmosphere that is YouTube right now with our own platform that's curated by us that isn't ad supported and that really just gives us a place to play around, experiment, and do weird stuff. And you guys have had some questions about Nebula, so I'm going to answer them as best I can. Oh yeah. And if you want to go to this awesome site, you can go to watchnebula.com slash polyphonic. All my videos are there with no sponsors, no ads, no blocking, nothing. So yeah, go give it a try. There's a seven-day free trial. You can at least give it a shot. One of the biggest questions I was asked was, will the rest of my Led Zeppelin's Epic series be uploaded on YouTube? No, it will not. Those are Nebula originals. I made them for Nebula. I wouldn't have made them if it weren't for Nebula. So that's where they're going to stay. And it's just five bucks for a month, or you can do a seven-day free trial. If you don't want to check it out, that's completely fine too. Like, I'm not going to force your hand, but it would help me a lot. And yeah. So yeah, those videos aren't going to be on YouTube. They're just, they're for my Nebula fam. If you can only afford to back Patreon or sign up for Nebula, which one helps me more? I mean, it's an interesting question. Patreon, more money goes directly to me, but Patreon, I'm also at the whims of a platform. Nebula, I personally have some say in how this stuff goes. It's created literally by us, by creators. So right now, I would say if you want to, if you really want to help me go give Nebula a shot. I want to, I think we could do something with this. And I really want to try. Will Nebula be able to protect me from copyright strikes? I've gotten a few questions about Nebula and copyright. So basically, Nebula is a safe harbor under the DMCA. And the big difference is that Nebula is going to presume that the creator is operating under fair use. That's not something that YouTube does. Unlike YouTube, Nebula has no relationships with copyright holders outside of their creators, and no real incentive to offer any service to copyright complaints beyond those required by federal law. So that provides a level of safety and a level of presumption that YouTube doesn't apply, where my videos are fair use. I use small pieces of a wider whole. I use them for transformative purposes. These all fit within laws in various different countries have versions of fair use. So Nebula is going to presume that me and other creators are actually using that. And if someone wants to challenge that, they can. But we're starting off from a point of assuming we're fair use, which is far more than YouTube gives YouTube automatically any use of any copyrighted work that gets flagged is assumed to be not fair use. And it's a real messed up system. Jack Smith asks, will Nebula lead to collaborations with other creators? That's the hope. I really hope to do some weird different stuff and some stuff outside of the music realm too. That's one of the things I really like about Nebula. I think it's going to encourage experimentation, collaboration and just getting weird with other creators, which is something that I've wanted to do for a long time and I haven't fully had the means or platform to do so on. A common question is right now the Nebula app is iOS only, but Android is coming. We have no venture funding. We're developing this stuff as we go. Also PayPal integration is coming. Some people have asked that too. And am I planning on releasing all my videos on YouTube? And people have also asked about kind of the relationship of which videos I'm releasing on YouTube, which ones I'm releasing on Nebula. I'm going to be releasing regular weekly videos on YouTube. That's not going to change, but I'm going to be doing Nebula originals that are going to be specific to Nebula. Some of them will be kind of outside of my format. Some of them will be more ambitious stuff that I need some more funding or some help with. Yeah, so there's going to be some Nebula originals coming. I have a bunch of ideas in the chamber that I need to figure out how to execute on Joe Reich said that I mentioned some of my videos were demonetized or straight up blocked. He asked which ones those are. So usually when they are blocked, I trim songs down and re upload them. So there's countless videos where I've trimmed clip clips and clips of songs down. But for example, my Beatles love, I no matter how small the sound clips, no matter how transformative the piece pretty much anything got flagged and auto blocked. And so that video actually has big snippets missing from the audio if you watch. But on Nebula, it's completely intact. My Jack White, my first Jack White video is blocked in some countries. It's not blocked on Nebula. You can watch it from wherever you want. But going forward, I'm going to upload the first version of something I make on Nebula. So a lot of the time you'll see stuff with kind of longer song clips, I'll let the music breathe a little more. Whereas on YouTube, a lot of the time I just need to cut things shorter to the point where it's actually absurd, some of the stuff that I can't do. I think that's about it for the Nebula questions. Thanks for asking. And thanks, you guys. Nebula's rollout was really bigger than we expected. It's already doing really well. And your guys support is a big reason for that. And I'm really excited to see what Nebula has to offer. So please just give it a shot. Really, that's all I can ask. If you don't want it, that's fine too. But really, it means a lot to me. So now let's go on to some some questions about stuff. Where to start? Fun fact, the order I'm actually answering these questions in probably isn't the order that they're going to appear in the video because I am going to edit the sound around. So who knows? What are my biggest dreams for this platform or in life as a whole? I want to keep making cool videos and keep pushing myself. Eventually, I kind of want to start to branch out to some more documentary work. I have a documentary series that I've had in mind for years that I really want to make. So hopefully, I'll be able to get a chance to see that into fruition sometime. And for life in general, I want to keep making cool stuff about music. I want to be a parent sometime. That's a high aspiration for me. I want to retire young enough to drop off the map and live at a cottage. And that's basically, those are the dreams. How do I balance facts and opinions carefully? And the second half of that question kind of gets to that, what's my academic background? I'm trained in journalism. So that's really where everything I do comes from. It comes from a journalistic background. So I try to be objective with my facts. But I also, I do have opinions and I try to make it pretty clear when things are my opinions, even though I think it's kind of implied a lot of the time. But yeah, no, it's just, it's a careful balancing act. But it kind of comes naturally, I think to me. I don't put that much thought into it. It just, it feels right. That kind of goes into a few other questions. Did I study music or anything related to cultural sciences or ethnology? I did some music studies in my undergrad. And I've always toyed with the idea of doing a master's in musicology, but that seems like a lot of work. Yeah, so and then I minored an English lit, which also helps with a lot of this stuff. Did I ever want to work in radio? Yeah, I absolutely did. I love radio. I'd still love to work in radio. I've had a podcast I've had, I've worked in radio a little bit in my undergrad. I did a news show on the campus radio station. And one of my courses also aired shows on the campus radio station. So yeah, I really like radio a lot. What made me develop my animation style? Combination of a couple things, mostly just feeling stuff out, putting my best spin on stuff I saw from creators like Nerdwriter or Captain Christian. And then I also this is so so my my graphic design background is making forum signatures on hockey forums shout out to the VHL. So, you know, that's where a lot of my kind of graphic design background comes from. And I've transposed that into video editing. When did I first realize music is the topic I want to study in depth? Pretty young. I growing up as a kid, I actually wanted to be a sports journalist. But then the Leafs were really, really bad when I was in high school and I developed an interest in music. So that kind of shifted me towards towards music and music journalism, honestly, like, like ninth grade, maybe is probably when I first realized I wanted to do music journalism. And it's kind of stuck with me since. What do I think of Bill Wurtz? I just think he's awesome and weird.  Doing a polyphonic video on him, maybe, but I think part of the charm of Bill Wurtz is that he just defies explanation and definition. And I think when you try to boil it down in the way that polyphonic does, I think you might, I just I just don't think it'll play well. But maybe who knows. Do I read music related books? Sometimes I'll often read snippets of books on Google Books or things like that. And and I do have, I do have a few books on Bob Dylan and on the Beatles and stuff. But generally my sources tend to be from interviews. I watch and listen to a lot of interviews from artists and read a lot of articles in like music magazines. So it tends to be more magazine stuff than book stuff. But every now and then I'll pull stuff from books. Please explain why I hate Brian Adams. No. What do I say to people who don't respect comedy or novelty music? I say listen to Tim Minchin and listen to Flight of the Concords. I think comedy music is awesome and I think making music funny is a really difficult task. And I think it's a shame that people kind of overlook how brilliant it can be when you meld comedy and music together. Don't go to my channel says that I enjoy reading, but can I suggest some comics that everyone should check out? That's actually that's why it's funny you should ask that because I think everyone should check out Saga and I'm starting a podcast about it. So me and Jonathan from Makestuff both love Saga. So we've started a podcast where we're reading through Saga issue by issue. It's called Horns and Wings. Stuff is on the screen for where you can go check it out. It is either live now or coming live soon. So Saga is probably my favorite thing ever written. So that's one. And then also if you want more comics, Jeff Lemire, read more Jeff Lemire everybody. Read Sweet2, read Descender, read Essex County, of course. The underwater welder. Just everything Jeff Lemire touches is solid, solid gold and I love it.  Yeah, Jeff Lemire, I stand Jeff Lemire. My favorite YouTube channels. Okay, so in the music realm, Volksgeist, Middle 8, 12 tone, all these guys are just absolutely awesome. So go check them out. Outside of the music realm, I'm a giant ContraPoints fan. I think she's awesome. I like Steve Dangle a lot. He makes hockey videos. Nerdwriter was always a big influence on me. I've watched a lot of Crash courses. Also, I got to give a shout out to the Plain Bagel, my buddy Richard. He does awesome videos on finance. So check him out too. Do I think artists intend the things that critics like myself rave about, such as metaphorical meanings or complex key changes? I really don't know. I think sometimes they do. I think often it comes naturally, but I don't think that I don't think that cheapens the analysis in any way. I think that that's part of the fun is kind of speculating on whether this was done or on purpose or not. And I think there's there's a lot of subconscious stuff going on. And I think to go back to some of my favorite YouTubers, I think when you look at stuff like what 12 tone does, where he looks at these popular songs through a theory lens, you see that whether these people knew it or not, they had something intuitive that would make this song sound good. And they might not have even known that the theory behind it. But by looking at the theory, we can understand what it was that they were intuiting. Do I ever plan on setting up a polyphonic discord? There is a polyphonic discord available to my patrons. But as of right now, I'm opening it up to the public. So you can go there.  Talk about music. Um, yeah, it's for my patrons, there's still going to be a specific private channel. But but yeah, hopefully it can turn into a bit of a place to talk about music. What are my top five Dylan albums in no particular order, blonde on blonde, bringing it all back home, desire, blood on the tracks. And I want to say time out of mind. I really do. Um, yeah, probably time out of mind. What video editing software do I use Adobe Premiere and some After Effects? Do I use specific third party plugins? No, I have never used a third party plugin in my editing. The first band that I that really liked or really got me into music growing up, I listened to a lot of blue rodeo, great big C, tragically hip, stuff like that. But the first bands that I really discovered on my own and got into where my brother and I got really into Billy talent. And then some 41, I love some 41. The first album I probably bought myself would have probably been a half hour of power by some 41. And then I also got really into the red hot chili peppers. They were another big band that made me super into music. Do I know or appreciate foreign artists? Not, not nearly enough. I like Jacques Braille a lot. Braille's really cool. And not foreign to me. But I mean, foreign is also just a completely relative term. But a French language band that I like is Carqua too. What's my favorite music genre? Good music. And who are my favorite bands in that genre? Good bands. Are there any artists I hate so much that I would never cover on this channel? No. Maybe. No. You like jazz? Yeah, it's a B movie. It's a meme. Am I a fan of musical theater? Yeah, I'm not like a big musical theater nerd, but I like musical theater. Some of my favorites. I like Phantom of the Opera. I saw it in London's West End and it blew my mind seeing it live. Hades Town is incredible. I've always loved Ineos Mitchell's album and now that it's a musical, it's really cool too. Obviously Jesus Christ Superstar, the Lion King musical. Oh my god, if you get a chance to see the Lion King musical, it's one of the coolest things you will ever see. Why has rock music died off in popularity? So I think there's a couple reasons for this, but I think what it really boils down to is rock got kind of stale. And I think the reason rock got stale is that for a long time, like most of the people making rock were middle class white dudes. Now, before you go yelling at me in the comments, yes, there were exceptions and no, I don't have a problem with middle class white dudes. I am one. It's just when an entire genre is made up of people of similar backgrounds, it's bound to get homogenous. And that's why, as middle eight has said, I think some of the most interesting stuff in rock right now is happening through women. And I think you can add people of color to that. The other side is, I think rock died off for the same reason jazz died off, which is that it just got amalgamated into everything. Everything draws from rock now, from time to time, just as rock and everything else drew from jazz. So I think that that's in short part of the reason rock died off. And also just, I don't know, music comes in ebbs and flows. People like things differently. Why did why does anything die off? Why do we exist? What is time? Who's my favorite drummer, guitar, rhythm and lead bassist and keyboardist? So my favorite drummer is probably Stevie Wonder. My favorite rhythm guitar is probably Hendrix. His rhythm guitar playing is incredible. My favorite lead guitar, if I can't pick Hendrix again, might be Mark Knopfler. My favorite bassist, there's a whole lot. I like a lot of bassists. But today I'm feeling Charles Mingus and keyboardist, John Paul Jones. His keyboard work is severely overlooked. I love John Paul Jones. Am I from Texas? No, I'm from Ottawa. Miranda asks what it meant in my video on trans people when I said it was a personal topic for me. I have some people in my life that are trans that I care and love about very much. And I think it's one of the most important issues of our day. So that's why it's a personal topic for me. And she also asked if I could do a video on to Pimpa Butterfly. I did. It was the first video I ever made, the second I ever released. And I hate it now. But I definitely want to redo it or do some more Hendrix someday. Vinyl collection. Yeah, here's a picture. Pick from that what you will. It's not my whole collection. It's the ones that are in this cabinet. My opinion on the yesterday movie, I think it's fun. Do I think it undermines the Beatles influence on history? I really don't care that much. I think it's a fun movie if you can suspend disbelief. Who do we gripe to at YouTube about their crazy ideas of fair use? I have no idea. And Troy Adams asks how do we propose this problem? I think if you look at what we're doing with Nebula, I think maybe not all creators, but you should be able to whitelist creators after a certain time and presume that they're using fair use. What are my passions outside of music and YouTube? I'm a really big skier. I love downhill skiing. It's basically my favorite thing on earth. I love hockey a lot. I like reading. I read a lot of sci-fi. Some of my favorite authors are Asimov, Legin, Neil Gaiman, Kurt Vonnegut. And I just really like learning stuff. I'm really into podcasts. I'm into history too, which is actually why I've been watching The Real War of Thrones on CuriosityStream. The Real War of Thrones is a docudrama series that documents the Hundred Years War, which forever shaped European history. It's honestly a really cool series and I highly recommend you check it out. And CuriosityStream is the first streaming service dedicated exclusively to this kind of content. It's about helping us learn and understand new things. Another thing I watched recently was the Jazz Loft, according to W Eugene Smith, which is an incredible documentary that takes a real fly-on-the-wall look at some of the all-time greats in jazz. It's just a captivating watch if you're interested in music history, which obviously I am. And there's more than 2,400 other titles to choose from. So don't just take my word for it. If you go to curiositystream.com slash polyphonic, you can try it out at no cost to you. With the coupon code polyphonic, your first 30 days will be free. And after that, membership is just $2.99 a month. So really, just check out this platform, guys. Show them that you support my channel and try it out. Learn something new. And on that, I think that's about it for the Q&A this week. Thank you all so much for your support. Thanks for your questions. I'll do another one of these sometimes. They're always fun. So, yeah. Bye.


I'm the comic weekly man the jolly comic weekly man and I'm here to read the funnies to you happy boys and honey yes boys and girls it's comic weekly time and here I come right into your house to bring a little fun and happiness right out of the pages and put the comic weekly straight into your living room your friend the comic weekly man the jolly comic weekly man little miss honey how are you today oh I'm fine too and we have a little surprise for you today in the comics goody I love surprises especially when they come in the comics tell me about it beginning today we have a new comic it's called beetle Bailey the story of a fellow who's in the army what's he like well he's something like Dagwood he's always getting into trouble it is and we'll read it in just a moment because that's on the very first page very well I'll read that in just a moment but before I do let's listen to this nice man now here we go with plot the comic weekly and on the first page under bringing a father our new hero beetle Bailey very well my lady toot me a toot and tweet me a tweedle squeeze out music for Bailey the beetle at the army post where beetle is stationed its mail time and as the sergeant passes out letters to the man he says box for Bailey and tosses a big box to beetle Bailey one of the men says hi it's that cake he's been expecting beetle starts to walk off with his package hi he's trying to sneak off without sharing it away beetle goes like a shot out of a gun my girl made this for my birthday and it's all mine through the top sergeant office he goes out the window last picture top row first picture bottom row the men see a trash can bumping along by itself one of them yells stop that trash can beetle leaps out of the trash can meanwhile as the chase for the cake goes on an officer waits beside a car he looks at his watch and says now where's that messenger with that new mind they developed at the proving grounds it has to be on that plane for a Washington in ten minutes just then beatle dashes by the package in his hands second picture bottom row the officer yells I said give me that I'll just make the plane as beetle stops and dismay the car drives off with Beatles cake last picture at army headquarters seven generals and admirals are staring at the cake which has a candle sticking up out of it one of them says well so that's the new secret weapon and an admiral says you know it looks sort of like a cake another general says very importantly well it's hard as a rock and a general at the head of the table says well let's get busy and see how quick we can turn out a million of them I guess it's because of that candle sticking up out of it it looks like a secret weapon and a general says get busy and make a million out of them well that would be a good way to win a war throw cake in the face of the enemy how could you win a war that way well when the enemy sits down to eat the cake you sneak up and take their guns away from them and then you say surrender or we won't give you any more cake and since everyone likes cake well then they surrender yeah that's a wonderful idea sure and here's another wonderful idea let's turn over the page to Prince Valiant oh yes I'm anxious to read that because Val has been telling young Arf the story of Thule that's the country king I rise the ruler of and he was telling Arf how he had gone in search of adventure and found savage huns trying to capture the castle of Andalcrag where men who love goodness and kindness and justice and beauty and those were about the only people left and that's why the world you were good people that's right and that's why Val wanted to help them he slipped into the castle and joined Prince Cameron leader of the troubadours who loved beauty and music and fought against the huns but then another terrible attack came against the castle I wonder what'll happen let's read now and find out here we go with Prince Valiant in the days of King Arthur heck-it-break-it Gray Malkin and Quince music romantic for a fair fair prince Val tells the story of the next attack of the huns the savage huns built siege machines tall towers by which they tried to climb over the top of the castle wall but with grapples we rock their towers back and forth till they tumble then they tried battering rounds for days they hammered away at the walls and then finally the walls tumbled they found we had built another inner wall as strong as the first and still they could not pass always Prince Cameron was ever in the forefront of the battle an example to all in the splendor of his manhood the defenders were fewer now but nothing could dampen the spirits of these gallant people although they had fought fiercely upon the walls and many were wounded when their moments of rest came they sang and played gaily with good will in their hearts for each other and then came the day we fear there was no more food and drink we are at a banquet table which you see in the big picture then Prince Cameron rose to his feet smiling into the eyes of his comrades for the last time he said last picture the huns rule from sea to sea we are the last of the warrior troubadours because of our ideals the world has been a better place to live in only Andalcrag stands unconquered it will cease to exist still unconquered tomorrow we will do that which we have to do what they're going to do tomorrow I think he expects tomorrow they'll have another battle the most desperate of all but how can they have strength to fight if they have nothing to eat I wonder too well next week we'll find out now let's go over the page past the lawn ranger yes brave Robin Hood who has defied the cruel sheriff of Nottingham who hates Robin Hood because he helps the poor people let's read now and find out here we go with a story of Robin Hood it's merry merry England in days long ago time now for Robin Hood some music I hope as the sheriff's men attack prior tuck springs to the defense of the trap Robin Hood but the sheriff fells in with the swift blow of the sword and pointed to Robin Hood he shouts take him alive Robin stands surrounded by the sheriff's men he drops his sword to the ground and raises his hands above his head as the men relax for a second thinking he's caught suddenly Robin springs in the air catches the limb of a tree swings his feet forward kicks one of the guards against several of the others leaves over some bushes last picture top road dashes across the shallow stream first picture bottom row the sheriff's shouts to his archers crouching low Robin scrambles out of the stream onto the opposite bank as arrows whizz around his ears the sheriff's men dash across the stream in pursuit suddenly a volley of arrows burst on the slope above Robin Hood the sheriff's men fall past picture Robin breaks through the brush to see his men crouching behind trees sending arrow after arrow at the sheriff's men and one of them shouts not only escaped but led the sheriff's men straight into an ambush where Robin's merry outlaws can give him what they deserve you're so right well now let's go to the very last page of the first section and see what flash Gordon's up to while flash was changing the course of the comet ship so it wouldn't crash with the earth the comet men had opened a hatch and let in fire gas that began to heat the airship and it got so hot that they would all die if he didn't do something so now he's fighting the comet men who aren't bothered by this heat what happened he's got to find some way to close the door so the heat won't come in and kill them dad well let's see how he manages here we go with flash Gordon bring a regga dune dunes ask him attach let's have music for heroic plan in his insulated asbestos suit flash wades through the flaming gases of the comet's head with swift and deadly ray bursts he blasts the comet men away from the space fears airlock before they are able to complete their work of sabotage and then suddenly flashes ray gun stop shooting and he sees to his horror that it is melting in the intense heat from a trusted weapon it has changed instantly into a supercharged bomb ready to backfire any second last picture top roll flash hurls the ruined ray pistol as far as possible from the airlock then dodges back inside the cabin even so he's badly shaken as the guns explosion scatters the comet men like campings the survivors attempt to close in on their unarmed full first picture bottom roll last seizes the nearest comet man by the ankle and whirls him around like a baseball bat driving the scaly armored attackers off into space with his enemies temporarily scattered flash attempts to seal the space fears gaping hole in a desperate effort to keep out the comet's fiery atmosphere with zarkov's aid he successfully patches the outer shell with flashed iron patch plates from the ship's emergency locker meantime the comet is carrying the spaceship headlong toward the sun's all-consuming cosmic furnace flash and zarkov finish their repairs then race back to the instrument room just in time to catch the treacherous flamma in a daring attempt to overcome dale and seize control of the comet world but it was flash has seen an awful lot of action but I don't think I've ever seen so much happen so fast as it did right there no need to deny you think he's in time to stop flamma from getting dale's weapon well that's something we'll find out next week now it's time for Dagwit and blondie and here we go with Dagwit and blondie ram of food and my thumbs in some zombie conjure me music for Dagwit and blondie the phone rings in the bumpstered house Dagwood answers it hello it's quite important Dagwood puts the phone down dashes out of the house blondie blondie last picture top row he dashes down the street ain't you see blondie mrs. snuggles well yes I saw her walking that way a while ago first picture second row blondie finds the phone off the hook and she exclaims my goodness what's the receiver doing off the hook hello when she hears what the man wants she says oh well I'm sorry but you'll have to talk to my husband about that last picture second row blondie dashes out of the house Dagwood meanwhile first picture third row Dagwood is still dashing down the street asking everybody what do you see and blondie is dashing down the street asking everybody last picture third row Dagwood dashes around the corner and sees blondie dashing down an alley and he shouts blondie first picture bottom row he dashes into the house stops at the phone picks up the phone hello the man on the phone answers he turns to blondie and says the man had the wrong number and blondie who's lying on the sofa exclaims oh I'm so exhausted I can't make supper you have to take us to a restaurant last picture they're all at a restaurant and as the waiter brings in their dinner blondie smiles cheerfully and Dagwood who is thinking what the dinner is going to cost him sinks his teeth in his chair and thinks to himself bachheimer bachheimer bachheimer yes and then they find out that the man had somebody else on the phone he fought he wasn't it yes you bet it was and Dagwood's pretty unhappy about it well now look underneath Dagwood and blondie look who's there big ben both oh yes and I'm anxious to read that because dinner's in trouble now read it in just a moment but first here's that nice man again with something interesting to say now here we go again with puck for comic weekly and on the first page of the second section big ben boat oh and I'm worried about him because you remember big ben had got caught in the middle of what oh a feud something that goes on for years and years yes a feud well well ben had got their names were holidays and the ventures yes and the holidays attacked the cabin where ben was with the ventures and little boy got shot and ben has told the ventures to stop their shooting while he tries to get the boy to the doctor and ben opened well let's find out right now here we go with big ben both magic words for the music please very well my lady faint and punch and dodge and twist it's a knock our blow from big ben's fist then comes through the open door the wounded boy in his arms one of the holiday men draws a beat on him and ben says hey listen to me listen to me I want to talk to you the leader of the holidays holds up his hand all right hold your fire ashley holiday last picture top row ben walks to the man who says hey you ain't no venture but for you sticking your nose and what ain't your business then says listen you crazy pools can shoot holes through each other until the cows come home and he goes on first picture bottom row that's your pleasure but this boy hasn't harmed anybody and he's going to die if he doesn't get to a doctor quick yeah he's a venture any he's just a kid and he deserves to live until he's old enough to make up his own mind about joining in this insane murder game you play you talk big and blowy mister you ain't even got a gun I got a mind let my boy shoot you down where you stand ben just looks at the boy in his arms and then the leader of the holidays changes his mind he takes the boy from ben and says ashley take this boy over to the docks the stranger staying thanks last picture the man chuckles and says don't thank me yet son leased ways not till you met up with little david hey little david come on uncle listen to ben and send the boy to the doctor so am I it's mighty brave of ben to face those holidays that way yes well that's something we'll find out next week now let's turn over the page and see who's there oh look it's right and you remember that Roy had saved the guard from being burned up on that stagecoach and then he had brought the guard to a little trading post and when the guard went inside the store Roy heard a shot Roy rushed in and found the guard lying on the floor shot and standing over him was hairpin dob the man who had held up the stagecoach and now he's holding a gun on Roy and I wonder what'll happen to Roy well let's read and find out here we go with Roy Rogers king of the cowboys a yep I owe now here we go with Roy and trigger Roy stands in front of Dobbs his hands in the air as Dobb faces him with a gun Roy says well so you're hairpin Dobbs you shot this man so he wouldn't identify you as the Hombray who held up his stage meanwhile outside the house Sam Teal the owner of the trading post is listening he takes a rifle and sneaks up beside the window when he says to himself no wonder what's happening in there he ain't healthy for me to have a ruckus at my trading post as Roy faces hairpin Dobbs the hold up man says third picture well I suppose the shotgun guard told you what I was looking for in that stagecoach you know Rogers well you ain't gonna live to blab about it he cocks his trigger to shoot Roy but at that moment Sam Teal owner of the trading post appears at the window last picture top row rifle in hand quickly Dobb world sends a shot at the rifle which appears in the window quickly Roy leaps up seizes a chandelier over his head and swings his feet forward knocking Dobbs over Teal comes in the door just then that saddle bum only hit my rifle Rogers I'll lock him in my work room till the sheriff arrives all right get moving hairpin Roy who's kneeling over the guard says but it's man still alive I'll see you that he gets to a doctor Prano a few minutes later Sam Teal is facing Dobbs in his work room Dobbs says match the sheriff when I'll expose you Sam Teal I'm wise you're smuggling fresh mine gold nuggets from the government Indian reservation he'll answers shut up open that door behind your hairpin Dobbs snarls well I figured you hide him somewhere under stages when they're laid up for repairs next door huh all right Dobbs goes out the door Teal aims at his back and says okay hairpin the door is open get going and good luck he's gonna shoot dad yes it does doesn't I wonder if he'll even know he's helping Roy neither do I and maybe we'll find out why we don't trust him next week well now it's time for Dick's adventures so let's go to the very last page yes and you remember with general hall and the English has just declared war on the map and general hall knows that the ship that's carrying his supplies will be captured by the British on Lake Erie so he hurries his shorthanded army to Detroit oh I wonder if you'll get to the fort safely well let's find out now here we go with Dick's adventures say the magic words with me rickety pack is that because they let's have music for adventure to stick general hall and his army reached the frontier town of Detroit first picture second row they find the 800 inhabitants of the fort including many women and children in the grip of terror after he is investigated a situation Paul says to dick a little later oh it's not the British we fear land they're civilized but that bloodthirsty devil chief tecumseh is fighting on their side we hear he's got 5 000 braves ready to swarm drone on us rather than a weight attack general hall last picture second row launches an assault first only to be driven back by the dire news that even greater hordes of tecumseh's warriors are gathering outnumbered and faced with a prospect of wholesale massacre all surrenders and first picture bottom row Detroit becomes a pretty city as dick salutes the flag with tears in his eyes he sees it grow dimmer and dimmer and he's saying we lost Detroit Lake Erie's bottled up yeah but wait'll Perry gets there last picture dick sits up and sees is in his own hammock in his own backyard hey i've been dreaming again yes it was but general hall was wise he prevented the massacre of all those people by the Indians yes i think and save the people's lives yes much better i wonder what'll happen next week and new adventure or some more about well we'll find that out next week now look underneath dick's adventures there's rusty riley oh yes and horses are out on a farm near the seacoast the farm is owned by mrs jones and a mr marlowe is trying to get that farm away from mrs jones and he can do it too if she can't pay him some money that she owes him before the end of the week so rusty is going to try to help her and he's training a horse to run in a race and if he wins the race he'll get a thousand dollars and he and tex found some strange smelling mud on the horses hoops and rusty has shown tex that the mud is on mrs jones's farm and tex when he saw the mud said to rusty that there was oil there oh i managed to find out more about this quickly very well here we go with rusty riley gallop and run till the road is dusty give us music for his horse and rusty rusty says to tex hey jeepers tex if there's oil here mrs jones is really rich and Pete says yes your tex all we got to do is to tell her and then she can pay off that money she owes mr marlowe now whoa whoa now there hold on there boys it ain't it going to be quite that simple dealing with that marlowe farmant oh the way i see it the tex driven showed oil here just about the time that jones was killed in that truck accident now marlowe didn't want to share it with mrs jones so he got some phony engineer to sign a report that there's no oil at all and he goes on last picture top roll yeah and it looks like he's got things tied up good the temporary lease and that huller must be to keep nosy folks away till he forecloses that mortgage and that's going to be right soon rusty says first picture bottom roll well tex he won't do it if i can stop him you see our plan is to win the blue brook handicap at the county fair i had this cold pretty well broken before we left milestone farm oh he's awful fast and pete says yeah and that race pays a thousand bucks well tex answers well banking on a racehorse is pretty much like counting on hatch chicks rusty but during if it ain't worth a try next morning at the picnic grounds rusty is training his horse peter has been watching asks well how do you think he's doing rusty rusty answers well he's picking his feet up too high pete like a hackney he didn't know that when i wrote him at the milestone track last picture pete says well rusty you suppose that we did anything to his feet when we cleaned out that black clay rusty answers heck no that wouldn't make him run that way but whatever it is he'll never win that race high steppin that's something to worry about yes it is because rusty says he can't win the race running away and rusty knows because he knows everything about horses well maybe next week you'll find out how to correct that oh i hope so now it's all the time i have but before i go here's that nice fellow with some more interesting information honey and all your boys and girls i got to go now all right mr. best week okay that's a date and a date with all your boys and girls be sure to meet me with our little friend miss honey next week when i read pock the comic weekly or i'm the comic weekly man the jolly comic weekly man i'll be back to read the funnies to you happy boys and honey don't forget boys and girls see all next week your friend the comic weekly man the jolly comic weekly man