Greetings from the National Archives. I'm David Ferriero, Archivist of the United States, and it's my pleasure to welcome you to today's virtual author lecture with Joshua D. Rothman, author of The Ledger and the Chain. Before we begin, I'd like to tell you about two upcoming programs you can view on our YouTube channel. On Thursday, April 29th, at noon, John Grinspan will discuss his new book, The Age of Acrimony. This work charts the rise and fall of 19th century America's unruly politics and reveals our divisive political systems enduring capacity to reinvent itself. And on Thursday, April 29th, at 7 p.m., Karen Tumulty will discuss Nancy Reagan's role as partner to the president, which she profiles in her new book, The Triumph of Nancy Reagan. A ship's manifest in the National Archives awards the names Joseph Roach, age 23, Edward Woods, 45, Sarah Robinson and Child, 25, 14, John Little, 5. These four and 44 others were transported from Baltimore to Mobile in 1844 as the printed form declares the purpose of being sold or disposed of as slaves. Slave trade was big business in pre-Civil War United States. The buying and selling of persons took place in city centers across the country, including the nation's capital. A slave pen set just a stone's throw from where the National Archives building is now. In the ledger in the chain, Joshua D. Rothman reveals to us the pervasiveness of the domestic slave trade in America and its role in the growth of the United States. Joshua Rothman is a professor and chair of the Department of History at the University of Alabama. He is the author of the award-winning books Flush Times and Fever Dreams and Notorious in the Neighborhood. Rothman has also written nearly a dozen professional articles that have been in the New York Times, the Atlantic, the Washington Post and other venues. He has held fellowships from the American Antiquarian Society, the Huntington Library, the American Philosophical Society and the Gildo Lehrman Center for the Study of Slavery, Resistance and Abolition at Yale University. Rothman is also co-director of Freedom on the Move, a database of fugitives from North American slavery and co-editor with Heather Cox Richardson of the online magazine We Are History. Today's moderator is Rachel L. Swarnes, a journalist, author and professor who writes about race and race relations as a contributing writer for the New York Times. Swarnes spent 22 years as a full-time correspondent for the New York Times and is currently an associate professor of journalism at New York University. Her book, American Tapestry, which explored the ancestry of Michelle Obama was ranked as one of the 100 notable books of 2012 by the New York Times Book Review. Swarnes also serves as an academic advisor to the African American Civil War Museum in Washington, D.C. Now let's hear from Joshua Rothman and Rachel Swarnes. Thank you for joining us today. Well, it's wonderful to be here. We are at a moment when the issue of slavery and the urgency of reckoning with slavery have increasingly become part of our national conversation. And Josh, your book is essential reading in my view to anyone who wants a deeper understanding of that history, which is history that we've often turned away from as a country. So it's a real pleasure to be here. And for those of you who are joining us today, please remember that this is a conversation we want to hear from you. So if you have questions, please put them in the chat. And let's get started. Josh, tell us a little bit about your book. All right. Thank you, Rachel. Thanks for taking the time to moderate and hold this discussion with me. And thanks to the National Archives for hosting this event and to everybody on the Zoom for coming out and being interested in the book. Now I want to leave as much time as I can for our conversation and for questions. So I just really want to provide a brief overview of what the book is about and why I think it matters. The Legend of Chain traces the lives and careers of Isaac Franklin, John Armfield, and Rice Ballard, who were the most important domestic slave traders in American history. And by the domestic slave trade, I'm referring to buying and selling of enslaved people within the boundary of the United States. And the domestic trade was something that pre-existed the United States itself. But it really took off in the 19th century as the nation expanded into what was then the Southwest. As white farmers flocked there to capitalize on Indian dispossession and the growth of the cotton economy. And as the federal ban on the transatlantic slave trade took hold beginning in 1808, leaving those farmers who wanted enslaved laborers no choice but to acquire them domestically. The slave traders fed this demand and no one played a bigger role in the slave trade industry than the man at the center of my book. Through their company, commonly known as Franklin and Armfield, they trafficked roughly 10,000 enslaved people from the Upper South, particularly from Maryland and Virginia, to Lower South, particularly to Louisiana and Mississippi. They did it very quickly. The company was founded in 1828. It effectively stopped dealing in human beings in 1836. And yet in that short period of time, Franklin, Armfield, and Bower transformed the domestic slave trade from something white men might do in the short term for extra money into a profession, a big business that could yield tremendous wealth for its operators. And in doing that, they established a business model for the slave trade that other traders would follow and build upon for decades. But I also argue that their impact went, of course, well beyond the slave trade business. By selling the labor, the bodies, the asset values of enslaved people, they made possible the expansion of the cotton and sugar economies. And the cotton economy in particular sat at the heart of not just Southern economic growth, but of American economic growth before the Civil War. And the capital extracted from the enslaved as they were bought, trafficked, sold, and forced to labor, circulated throughout the entire country and ultimately across the Atlantic Ocean as well. And of course, slave traders and the slave trade absolutely ravaged the families and the communities of the enslaved people who fell victim to it. The numbers of which were enormous. Between 1800 and 1860, roughly 1 million enslaved people were forcibly migrated across state lines. At least twice as many were bought and sold within individual states. All told, an enslaved person was sold somewhere in the United States roughly every three and a half minutes for decades. The book also uses the stories of Franklin and Arfield and Ballard to trace the broader ebbs and flows of this domestic trade over time. Watching it grow and expand in the early 19th century, stagger under the blows of financial disruptions and then rise again out of depression only to become nearly as big as it had ever been by the outbreak of the Civil War that finally brought it to an end. So the book covers a lot of history of slavery, the slave trade, its relationship to the American economy. It tells a story of several men in particular and their business that were central to that history. And it is frankly a hard history to deal with. But among the hardest things, I think, is that the book demonstrates how neither the slave trade nor slave traders ever really suffered for the criticism that they faced from the small number of American anti-slavery activists. Quite the opposite, in fact, they flourished both socially and economically. And notions to the contrary are things that Americans often said about the trade and traders both at the time and for more than a century after the Civil War ended. But those notions are largely myths. And the fact that they are myths, the fact that the slave trade was a ubiquitous, profitable, widely accepted element of American life before the Civil War. The fact that slave traders could be understood as respectable businessmen vital to American development. All of that says, I think, some deeply uncomfortable things about the history of the United States. But I also think there are things that we need to face squarely and learn how to grapple and that's sort of a general kind of sense of what the book is about and what kind of ground it covers. Rachel, I assume you've got probably some questions for me. A few. So it's fascinating history and the truth is that most of us most Americans know very little about the mechanics of the slave trade about how it worked, how it fueled our economy and the growth of our institutions. Talk to me a little bit and everyone here about how you decided to dive into the story and the partnership of these three men who appear in the literature. They're kind of everywhere and nowhere. Talk a little bit about that. Yeah, so it's hard to read about the domestic slave trade without coming across the name Franklin and Ornfield. They really are everywhere and pretty much every standard account of the trade going back a very long time. But when I was thinking about this project I don't know it just occurred to me that coming out of my last book which really was about the expansion of the cotton frontier particularly to Mississippi and the consequences of that I came across the slave trade I came across slave traders a fair amount they were obviously central to the development of the cotton frontier and there had been recent work on the slave trade more and more in fact in the last 10 or 15 years. But it occurred to me that even as we were learning a lot more about the slave trade we really didn't know a lot about slave traders who they were, where they came from, what their lives were like really what we were relying on were kind of little pocket biographies that people had told decades before that scholars went back to the same sources over and over again to tell that story of their background. We were relying a lot on what I always suspected was sort of mythology about their social status but we really didn't know a whole lot about that. And so when I got started on the project I initially thought I would just take on the life of Isaac Franklin. I thought I would take it on as a biography and sort of see where that went. But it became clear to me very quickly once I got into it that the story of Franklin couldn't be told in isolation from the stories of his business partners and their families it couldn't be told in isolation from the broader story of the trade itself and so like a lot of projects it started off as one thing it evolved into something else into something a lot bigger than I had anticipated but I think also a lot better and a lot more a lot more revealing. It's really striking to read about the commodification of black bodies and the range of people profiting from the trade right the language that they used surplus products talking about the human beings that they bought and sold and the various institutions that benefited banks ships doctors blacksmiths and black people actually were one of the most valuable commodities from the Chesapeake area at the time obviously these guys weren't alone though in trying to make it out of the trade how did they distinguish themselves from their competition what did they see that others didn't so yes there are plenty of slave traders both people who worked within a particular state and maybe weren't bringing enslaved people very long distances to people who work like Franklin and Armfield to move people 1,200 miles across the continent and they really are sort of everything in between you have slave traders who are moving people maybe from Baltimore to South Carolina and so there's lots of different ways this could play out and over the course of time more and more white men get involved in the slave trade they see it as an opportunity for profit they see it as an opportunity sometimes as a profession sometimes just to kind of get their start in the world and then they think they're going to do something else and what really sets Franklin and Armfield apart so I should note that they don't invent their business model out of full cloth they don't just sort of get together in 1828 and say aha we've got this idea that no one has ever thought of before they really are modeling their business in some ways on a man named Austin Wolfolk who was a trader in the Baltimore area if you're familiar with those sections of Frederick Douglass's autobiographies where he talks about slave traders sort of constantly kind of haunting the enslaved population of Maryland he's talking about Austin Wolfolk and sometimes explicitly mentions Wolfolk and what Wolfolk did that was sort of different from what a lot of traders did before him was he did things like instead of operating out of a bar or a tavern or a hotel which a lot of slave traders did and continued to do he set up a headquarters a house that used as his private office he had a jail attached to it and so you knew he was a regular businessman he wasn't just some sort of itinerant fly-by-night operator Wolfolk also relied a lot on the coastal trade I think the image to the extent most Americans think of the domestic trade at all the image that's usually in their minds is that of the coughle system caravans of people chain together in long lines being walked over land and that is certainly a very prevalent model of moving enslaved people arguably the predominant model particularly if you include the trade operating within states but even though the transatlantic trade prohibits ships coming in from beyond the boundaries of the United States it didn't mean you couldn't ship people and Wolfolk really relies very heavily on that people on boats in Baltimore he's sending them down the Atlantic coast and so Franklin and Armfield do some of those things they have a headquarters in Alexandria that is significantly larger than what Wolfolk sets up they go deep into the shipping business eventually they actually own three of their own brigs for shipping people they really have basically a company fleet of slavers they are moving people at their peak every two weeks by the time they're really at sort of the top of their game there really isn't a day during the year when one of their ships isn't at sea somewhere they're always at sea somewhere in part because even in the off season and the slave trade does have a seasonality to it but even in the off season what they would do is they would use the ships and the merchant vessels they might send people to New Orleans fill the holes with sugar and cotton and other things coming from the deep south bring them back up to merchants in the north and the mid-Atlantic and so that's another kind of thing they're doing that's sort of building on what Wolfolk did but really what sets Franklin and Armfield apart probably the most and again they weren't the first people to do this they just are the biggest and the most successful at it it's the money what they're able to do slave traders like to operate on a cash basis if they could particularly when they're buying people in the upper south they're using cash that's the appeal to slaveholders who are trying to sell enslaved people at the sales end though while slave traders did prefer cash if they could get it there was opportunity to afford to sell enslaved people on credit and there's opportunity not only in the interest payments that buyers might make but there's opportunity for presenting buyers with the prospect of saying look you can take the people now and you pay me when you're ready when you have the money in the meantime we'll accumulate interest now in order to do that you've got to have access you're not just like sitting on a pile of cash that you can use to extend the credit you have to have connections with banks who are offering you credit so that you constantly have money at your disposal and that's really what Franklin and Armfield are are brilliant at Isaac Franklin in particular had been involved in the slave trade for about 20 years by the time he teams up with John Armfield he has extensive connections in Natchez and New Orleans so he has all of these business connections that are already set in place and then enable him to develop particularly credit networks over time that enables Franklin and Armfield to get enormously big and to outdo a lot of their competitors Black people called these men's soul drivers right Among other things Among other things it's fascinating to see how white people responded to them can you talk a little bit about that I mean obviously Franklin had connections with extraordinarily wealthy people but they were viewed with distaste kind of on the one hand and then sometimes people just diverted their eyes on the other can you talk about that their reception look in the grand scheme of American society among white people it varies there are obviously anti-slavery activists the abolition movement is particularly picking up steam in the 1830s it's taking on a new sort of more radical turn in the 1830s precisely when Franklin and Armfield are becoming very successful they certainly draw a lot of attention from anti-slavery activists who disdain the slave trade and all slave traders as soul drivers, man stealers you know the list of terms goes on and on but anti-slavery activists are not most of the white population even in the north they're not most of the white population and in the south where Franklin and Armfield are doing most of their business although they have connections as you said with bankers and merchants throughout the country you know there's slaveholders who are often skeptical of slave traders they wonder about their business practices they feel like they can't always trust where slave traders are coming from where they're bringing people from but this was something that was particularly true for small timers slave traders who like I said before there were men who kind of came and went you never knew where they came from you had to kind of take their word for it when they told you about the enslaved people they were buying and selling and so and there is a fair amount of skepticism of slave traders as a kind of necessary evil like slaveholders said all the time they didn't really like doing business with them but they had no choice which is a separate sort of mythology but the truth is that that kind of general sense that slave traders were disdainful as a class as a business as a kind of entrepreneur it simply isn't true men like Franklin and Armfield and they're hardly the only ones and in fact there are more and more big business men like them as time went on they have established places of business they have connections with very well established and well respected people they build their reputations by being trustworthy by selling individuals who if a slaveholder was not happy with their purchase or claimed that there was something wrong or as they would put it you said the surplus is one of the sort of terminology they would say the people who they bought were defective Franklin and Armfield would say well let's try to work something out instead of a small timer if something went wrong with your purchase you can never find them again in fact the bigger and more successful slave trader was the more respectable they were likely to be in the broader society the more likely they were to be understood as reliable business men and the more likely that people from politicians and merchants to bankers were not only happy to do business with them but were happy to sort of count them as friends and colleagues one of the most powerful aspects of this book I think are hearing the voices of the enslaved you know as was pointed out this is hard history here but it's really powerful to hear those voices and it's not always easy to get them given the time can you talk about that and from a research perspective and also kind of what we know from the vantage point of the black people dealt with them with what the view was from that side of things so yes I mean those voices and those experiences are things that I try to weave in throughout the book the protagonists of the book are obviously white men doing distasteful things but I also wanted to make sure that as the narrative proceeds that the reader never loses track of a steady drum beat of what's on the other side slave traders are doing their business but enslaved people are they are looking back at them sometimes they are talking back to them we do get their voices periodically I try to track down every single time where we have an enslaved person who writes a narrative that mentions Franklin or Armfield or Ballard I wanted to make sure that got in the book the specificity of that but even more broadly there are enslaved people who appear in court cases who are telling their stories or whose stories get told in some way or another I wanted to make sure that their voices are in there their experiences are in there a sense of what happened to them is in there both after they're sold and what they leave behind what's stolen from them effectively at the front end and I do that in part not just because I want the narrative to read a certain way but I think it's important for readers to remember and to understand that resistance is a constant nobody goes willingly into the slave trade and what I try to show in the book is how many different ways enslaved people fought what was happening to them they run away they tell stories to newspaper reporters they try to signal to anti-slavery activists that whatever the slave traders are telling you they rise up on board ships, they have rebellions on ships so every time I'm able to kind of bring that into the story every time I was able to find that in an archive I wanted to make sure that that element of the story gets told too because otherwise all it does in some ways is sort of replicate some of the myths about sort of slave traders as people who just kind of did their business it's all between white people everything that's going on is a matter of white people dealing with white people but it's not every time an enslaved person is bought, moved and sold there are so many different actors on the scene there and there are white people there are black people sometimes there are Native Americans who are involved and I wanted to make sure that all of those people managed to get into the story so a scope of what was really going on was conveyed to the reader the records that you found the business records that you found really portray this in extraordinary detail you have vivid scene where Ballard is scrolling down the lists of the names of the people he imprisoned the attributes that they had and also describes kind of the ups and downs of the business too there were there was cholera, there was recessions clients who wouldn't pay you hear their voices too lamenting their own situation sometimes talk about what this business was like for them, I mean obviously they did quite well did they do? it wasn't easy, right? yeah I'm reluctant to give them too much in the way of sympathy I guess you are you read the book I assume that I don't come across as particularly sympathetic to their problems but they're always complaining they're always full self pity they're always worried that they're going to lose everything the money the spigot of money is going to run out customers aren't going to pay they're not going to be able to collect bills in time something goes wrong with the broader economy and so yeah but for the moment let's put aside the lack of sympathy and say well look, being a slave trader it's not an easy business you have to be concerned with, first of all like I said in slave people who are going to fight you who would gladly kill you in your sleep if they could and sometimes do there are a couple of stories like that in the book too but more broadly there are the ebbs and flows of the cotton economy slave prices track with cotton prices at least broadly and so that's something you've got to keep an eye on changes month to month it's constantly in flux and you've got to be on top of that because you've got to know what you can pay at the front end what sales are likely to be like at the sales end where you can make your margin in the middle there for people who are running a credit heavy business like frank good and arm field were really what's going on is they've got to be maintaining a sort of constant loop enslaved people who are being bought sent to the lower south sold you've got to have enough cash and enough money that you've collected that you can then send back up to the upper south to buy more enslaved people and you've got to kind of constantly keep that going but if something goes wrong there's a collar out several collar outbreaks in fact people start to die slaveholders maybe aren't going to be buying as many people all of a sudden if you're a slave trader you're going to be stuck with people who you simply can't sell and every day they're in your possession they're costing you money and again it's hard I find it difficult to talk about this stuff in a way not just because it's so difficult to talk about but because there's no way to talk about it without without removing that very human element that we were talking about before there's no way to talk about this as a business without sort of investing yourself in some way in thinking about enslaved people as merchandise, as commodities and that was really one of the challenges of writing this book is how do you tell these stories without simply sort of describing this as a business operation like you want to get across look in pre-Civil War America this was a business something to remember in some ways and yet even for us here talking about it I hear myself talking about it and I really can't do it for more than a couple of minutes before I really feel obligated to stop and say just to observe just how crass and how how just rooted in the material all of this is and it's there's really no way around that yeah because obviously you talked about kind of their role in society right where they're mixing and mingling with bankers and wealthy folks but you also describe what you call I think the intimate daily savagery of this work and I want to talk a little bit about one of the most painful chapters to read which is kind of the systematic rape that occurs and essential reading but devastating it's really hard reading I'm curious they use coded language I'm wondering where you found those records and when did you realize what you were reading so there have been other scholars who looked at these records before the those letters are mostly in the rice ballard papers which are at the University of North Carolina those papers are certainly the single largest collection of letters that deal with with this particular company you know the ballard papers are enormous they trace his entire adult life there's probably I think at least 5,000 items in the collection itself but there's a series of letters probably about I think there's about 300 letters that are in there that are really from the period where Ballard is involved with Franklin and Armfield in the business some of them are most of them are not from Ballard because he's on the receiving end so there are some letters that he kept copies of but most of them are from they're either from Franklin some are from Armfield some are from Franklin's nephew Franklin has it's a family business Franklin is sort of the the kind of leading player of his family in the slave trade but he gets involved first with his two older brothers then he's got one, two, I think at least three nephews who were involved in the trade with him at some point or another so there are all these letters that go back and forth among them and they can actually describe the way they talk about enslaved women and what they're doing to enslaved women how they see enslaved women in the market as code it's really more they're joking as much as anything else I mean to me that was the the hardest part to kind of get my head around to try to figure out how am I going to write this was that slave women under slavery is not news this is pretty standard for depictions of slavery it's very widespread it's extremely disturbing even the stuff about these particular slave traders and the ways that they talk about the sexual exploitation of enslaved women both that they are personally involved in and that they are they know what they're selling these women for they know the kind of customer who's going to want to purchase these women that didn't even surprise me that really wasn't wasn't news and I think to some readers will not be news I think to me the most difficult thing to get my head around the hardest part of it is the the pleasure they seem to take in it it's not the kind of thing where they felt like they had to discuss and that's what I mean they don't, they're not disguising it if anything they're laughing about it this is part of being and this is sort of part of what I argue in the book is how do you how do you get up and do this every single day for years and look I've never, I don't think I entirely sorted through the psychology of it but that goes through a place that's I think even a little too dark for me and I can handle dark subjects obviously but but one element of the psychology here is that they find the the pain and suffering of the people who they are trafficking there's something that's amusing to them about it and that that is sort of one of the most disturbing things I think about that material in particular and I try not to dwell on it too excessively but I think it's really important to understand the mindset of slave traders there is no there's not a moment's hesitation in they're thinking about it we might think to ourselves well did they ever feel bad about it did they ever second guess their choices there's not a shred of evidence that says that they did this is just this is what they did they like doing it it was profitable it was entertaining there was something fun to them about it and that's what keeps them going right and you describe them almost taking pride in their work right describing themselves as pirates as you know swaggering robbers it's a game right and they also took pleasure and pride in being able to outmaneuver the various laws that would come into place right that would try and restrict the trade yeah so you know there are moments when states in the lower south try to restrict the slave trade now it almost never has anything to do with morals they don't it's not a moral issue having to do with slavery it usually has to do with the problem is the slave trade is actually too popular there are too many slave traders bringing too many enslaved people states and sometimes localities are worried about the prospect of disease they're worried about the prospect of rebellion slave traders are draining these states of capital because there's so much money being pumped into the slave trade so there are these kind of regulations almost every state in the lower south at some point or another passes rules against the slave trade most of them don't last very long they're not very effective but Franklin and Armfield yeah I mean they're always looking for a way around them and they have all different kinds of plans some of which go into operations some of which they just sort of talk about their letters but it's not clear whether they do you know and that's everything from kind of bribing public officials to faking the documentation of sales so that it made it look like it was happening in state when it was really happening out of state sometimes they are actually sort of selling to people say you know if there's a ban in Louisiana they might sell their buyers in Louisiana but then actually make the transfer in Mississippi so that the slave holder could bring the people in themselves because that part was legal you couldn't actually bring them in as a trader but if you brought them in for your own personal use you could do that so yeah I mean they take a lot of pride in their business and in their ability to always find a way to make the deal go through you know the thing about Franklin and Armfield is that the slave traders they are a little bit shady but they're actually a lot less shady than a lot of their fellows and I think that part of the pride comes from being able to run what they saw as an upstanding business I mean you see this with Armfield particularly in Virginia he would open up the headquarters you know and he didn't care who came you know customers came anti-slavery activists would come and they would knock on the door thinking they were going to do a lot of lies which he did but he didn't make it seem that way right what he made it seem is look you know come on in I'll show you around you can have a tour you can see the whole place you can see I run a clean decent business here I try to treat people well I try not to separate families at best those things were half true but they do take a lot of pride in trying to present themselves as as running a decent business as as respectable as any other business in the country we're going to take some questions I've got one last one before we turn to you guys out there by the eight late mid 1836 they were out of the game so tell us why and how their exit affects the trade so Franklin Armfield get out of the trade in 1836 but they had really thought about getting out a few times before that Franklin in particular had thought about getting out a few times before that like I said before he he started in the trade with his older brothers in the 18 the first decade of the 19th century in the 1800s and so by the time you get to 1828 he'd been doing it for 20 years he does it for another 10 but he pretty quickly like he just gets exhausted he's out of gas he's out of steam his body starts to break down I mean one of the difficulties of the trade again not to be sympathetic to them but it's physically challenging you're constantly traveling you never really can settle down in one place very long and Franklin really what he hoped to do was sort of make a bunch of money with Armfield turn things over to his nephews and then kind of get out things happen along the way that sort of keep him in the business a little longer than he'd expected so getting out in 1836 is actually a few years longer than Franklin had wanted to be in the business but it's not just the wear and tear of it and the exhaustion of it and the sense that look he made a ton of money he didn't need anymore it's also that by the time you get to the middle of the 1830s the American economy itself is getting very overheated there's tons of banking capital flooding into the cotton frontier there is everything is happening on credit and it's weird politics with the second bank of the United States and Jackson and it just seems like things are maybe not entirely sustainable and that it might be best to sort of take your profits ease your way out and move on with your life from there and the truth is that Franklin Armfield gets started in 1828 which is about as advantageous a moment as you possibly could for getting into the trade they get out in 1836 and they send their last shipment of enslaved people in December 1836 the panic of 1837 starts four months later the sheer luck of their timing is really incredible it's almost as if Franklin in particular but I think his partners as well they just have a sense for how the money is moving when it's time to get in when it's time to get out and how to make it all work so it's a combination of the personal and the economic that really leads them to decide to leave okay all right well please send us your questions we're eager to hear them okay let's see we've got one facilities now historic museum on Duke street in Alexandria right are there some other locations of these events that viewers familiar with the Chesapeake region would know so that's a good question there are certainly plenty of location the actual sort of physical infrastructure of Franklin and Armfield mostly does not exist anymore there is the house on Duke street which is which has been the freedom house museum in Alexandria for some time and is currently undergoing renovations and is going to be I think an even bigger and better museum although what was there for a long time was really a heroic effort by the urban leaving northern Virginia to kind of keep this facility and this building alive as a landmark beyond that though it's really hard to find out where exactly I want to say okay well where can I go to see say Rice Bowards jail in Richmond right because Rice Bowards was set up in Richmond as their kind of agent there the jail isn't there anymore it's a gas station it's sort of up the street from you know I think people were familiar with the Richmond slave trade know about the site of Robert Lumpkin's operation it's sort of up the street from that but there's no marker there there's no nothing in New Orleans again where they were selling people in New Orleans there were really two different locations they worked out of one of them is sort of hotels and restaurants just outside the French quarter in the Marini the other is a parking lot which now has a historical marker there which has been there just for the last few years but if you read the book you'll see locations at least that are familiar to everybody in the Chesapeake Franklin and Armfield had agents stationed in Baltimore in Fredericksburg in Warrington, Virginia like I said in Richmond in places all along the eastern shore of Maryland so yeah I mean I think a lot of these locations are going to be familiar even if you don't even if you can't really sort of see them physically anymore someone has a question about the banks which banks participated in this kind of credit system where enslaved people were often used as collateral yeah so I have not done the research to try to figure out whether any of these banks in particular have kind of descendant banks if you can draw a direct line from a bank that exists today back to some of these banks it's entirely possible that there are banks open they close their capital becomes part of other banks and so on but the banks at the time were banks of all sorts you know Franklin and Armfield helped circulate the capital of the second bank of the United States they are working with facilities, institutions like the Union Bank of Louisiana which is a bank that is underwritten by state bonds and by plantation owners they are doing business with places like the Phoenix Bank of New York now the Phoenix Bank well yes the Phoenix Bank of New York also the Merchants Bank of New York you know they do business with the Farmers Bank of Virginia you know there's probably about half a dozen of them that I mentioned in the book but really there weren't any banks in the country at least not that I know of that said we won't do business with slave traders that's something we won't do now they don't always have control over where their capital circulates obviously but there are plenty of banks that look slave traders have a lot of cash on hand they always need money and that made them good customers for banks so there's banks everywhere in the United States that are doing business with traders and yes enslaved people are often put up as collateral I mean the Union Bank of Louisiana is a good example of this and this was something that in the deep South in particular there was a kind of bank called the Plantation Bank and basically what happens there is plantation owners they want to have access to more credit that they can draw on whenever they need it and so what they do is they put their plantations and enslaved people up as collateral to underwrite the bank whose capital they can then draw on right so when slave people and I describe several other ways in the book they do this they're often underwriting their own sales they are the collateral on which their purchases are made which is the layers of exploitation really just never end someone has a question about universities are there any connections to higher learning institutions of higher learning and these slave traders did university support them financially or extract profits in the context of the trading business this partnership so the longer answer is that there aren't universities that are supporting these particular traders financially now I didn't do research on every one of their customers so it's entirely possible that there are people affiliated with universities who are buying from Franklin and Arnfield or selling to Franklin and Arnfield but institutionally probably the clearest links between Franklin and Arnfield and institutions of higher education one of them is the University of the South at Swanee after Arnfield gets out of the slave trade he becomes well he does a lot of things but eventually what he does is he becomes the owner of a resort hotel in the Tennessee mountains he is friends with a lot of leading Episcopal bishops in the south he converts to Episcopalianism at some point in his life and when the one of the leading Episcopal bishops in the country, Leonidas Polk decides in the 1850s that sending young white southern men to northern institutions could no longer be trusted there's too much anti-slavery influence he thought so he decides that it was really important for the Episcopal church to create an institution where young white men could be trained not only as good Episcopalians but as good slave holders it was going to be a pro-slavery institution and among the people who they turned to for business expertise and for money is John Arnfield Arnfield gives a very large donation to help get the University of South off the ground Isaac Franklin's widow gives a large donation to help get it off the ground and now the Civil War alters the early history of that institution but that institution is still there there is a through line so yes the University of South and this is no secret to them has a direct connection to Franklin and Arnfield the other one that I think has a pretty direct connection is Belmont University in Nashville the Belmont mansion which is where that university got started and is still on the campus of the university the Belmont mansion was built by Isaac Franklin's widow after he died she marries a wealthy plantation she is already extraordinarily wealthy because she inherits most of Franklin's money she marries a wealthy plantation owner and they build this giant Italianate mansion it is now in Nashville at the time it was just a tiny bit outside the city but that is also a slave trade and so that connection to that institution is also still there there are a number of questions about descendants what if anything do you know about descendants of the people that they traded and what do you know about the descendants of Rice, Ballard and Arnfield if anything so I didn't do a lot of genealogical work to trace down descendants of people who they trafficked that can be done certainly in some cases and I know I've seen comments in various social media feeds of people who know that they are descended from people who were bought and sold by Franklin and Arnfield I have no doubt that there are today walking around once you trace down the generations probably literally hundreds of thousands of people who are descended from people who were trafficked by Franklin and Arnfield that kind of work can be done it's sometimes easier than others I didn't do it in any systematic way simply because I wouldn't have even known where to start I mean they deal in so many people how do you pick and choose I do I have had contact however with a number of so neither Franklin nor Arnfield have direct living white descendants John Arnfield and his wife never had any children Isaac Franklin and his wife they do have four children none of them live to adulthood but John Arnfield does raise the children of a number of Franklin's nephews as his own basically and so there are people who are descended from members of the larger Franklin and Arnfield family I have been in touch with them over the course of the research of this book they have been this is hard for them to come to terms with and sometimes they didn't even know until recently what the story of their family was sometimes they did and it's really been they've been extraordinarily generous with me they want to keep track of my research they want to know what the story is they want to help in whatever way that they can they were very very helpful how they actually kind of get their own heads around being descended from this history is I think I would lead that to them to talk about I have not tracked down the descendants of Rice Ballard I am almost positive he has living white descendants three daughters they all lived two daughters they all got married I didn't track them down because I felt like they either don't know the story and I don't want to be the guy who knocks at the door and says guess what about your great great great grandfather or they do know the story in which case they either would be receptive to me making that phone call or they really really would not be I just didn't know how that would play out I didn't feel obligated to drop this on somebody's doorstep if they didn't already know it I would like to know who they are how they understand being that this is what they are at the tail end of but I never did that we are going to be wrapping up but as a historian who is familiar to reign to you obviously quickly was there anything that surprised you and what would you like people to take away from this there probably were a lot of things that surprised me at some point or another some of the things maybe shouldn't have surprised me the the extent of the trade the examples you come across in the archives where you thought we had seen everything and you come across things in the archive that still they would literally take my breath away I would come across something and read a story and I would stop for a minute and realize I had not breathed in a minute I needed to get up and walk away and not all those things made it into the book there were stories that I either couldn't fit in or that I just felt like this is it's too much it's too much but I what I think I want people to take away is I really want people to understand that this business and the men who ran it were not they're not sort of out there on the fringes of how the United States worked before the Civil War I think it's important to understand just sort of how they sit in some ways at the center of economic power sometimes of political power if you see there's connections to particularly prominent politicians in the book that I talk about and I think look I think you started off this conversation talking about reckoning with American history and I think that you know reckoning with slavery and its legacy is something that is a big part of what kind of historians and I think a lot of the broader public are thinking about and have been thinking about in recent years but I think we really need to understand when we're talking about reckoning with slavery we're not simply talking about farms and plantations we're talking about banks we're talking about ships we're talking about merchants we're really talking about something that really looks like a modern business and that is part of slavery's legacy too and it's really in some way sort of at the core of what slavery's legacy is what that ultimately means I think is a much bigger conversation maybe for another day we have I think just a minute next what's next for you I don't know it's funny you ask usually this is my third book I knew what I wanted to do next by the time the first two came out I have some ideas I've been kicking around but I haven't settled on one and I think I look I'm a historian of race and slavery I don't think I'm ever going to move entirely away from those subjects but I need something that I can sit with a little more easily than this one that's one of the things that surprised me I guess was I've written two books about slavery I teach about slavery I went to grad school thinking about slavery I've been thinking about slavery for 25 years I didn't think at this point there was anything that I really sort of couldn't handle and couldn't get my head around and I think what surprised me is just how difficult this book was to kind of live with to live with these men to live with that material and so whatever I do next I need it to be something that's not quite as heavy as what this was right well thank you and thank everyone we all wrestle with the weight of this history and it has been a pleasure to discuss it with you thank you Rachel I really appreciate it and thanks everybody in the audience I'm sorry we didn't get to all the questions but I'm easy to find on email if you want to follow up


To be or not to be that is the question whether it is no blur in the minds to suffer the flings and arrows of outrageous fortune What to take arms against the sea of trouble and by opposing and them? Oh murder of the night I'll frack RCA Victor we're leader of radio first and recorded music and first in television presents the Phil Harris Alice Bay show Enjoyment here is the Phil Harris Alice Bay show transcribed written by Ed James and Lou Dermond with Elliot Lewis Walter Tetley John Hubbard Janine Roos and Whitfield Walter Sharpen his music and yours truly Bill Foreman the title of tonight's little clam bake is The barbells of Scotland or who put the muscle in mr. Harris's bustle? First however here's a word from our CA Victor now the stars of the RCA Victor program Alice Bay and Phil Harris There's a place for everything and everything has its place that's what I always say What do you always say anyway tonight as we look in on the Harris's Phil and Alice are busy trying to find a spot in the living room For their new seats Love seats that is You're my everything underneath the sun You're my everything Oh Okay, honey, you just say the word and these pin used of steel will snap into action These brawny shoulders will spring to accomplish the impossible Harris the living view frame will never mind Philip step aside and I'll push the love seat Where do you want it Alice? Over near the fireplace, I think Over near the fireplace There how does that look somehow a love seat doesn't look right in front of a fireplace. Hey put straps on it It'll make a good hot seat You think it would look better what are you asking him for you think of it You don't even know what a love seat is. Oh, I wouldn't say that ask me I'm an expert on all that furniture stuff whoop and Dale chicken scoop Not a pine Palomino mahogany Ask me anything I wouldn't and why not pray Because pray it's none of the neighbor's business pray Why not pray the long pray Oh Alice I'm exhausted You're exhausted you ever try lugging them cushions around Ah Philip, let's face it. You're too old to indulge in activity of a physical nature Oh, I am I am for your information even a diesel engine pops a little when it's getting up steam I know but in your case it isn't steam merely hot air You all fell an apology Come on. Come on. Apologize. Well, I apologize Philip. That's more like it. I really should have more respect or old age Old age Look Willie when you're wearing a toupee. They'll still be using my hair as a model for Shirley Temple doll Nervous that guy he didn't know I'm a strong vaiden Alice do I look like I'm softening up? Maybe we better leave the love seat where it is Phil. I don't want you to strain yourself I'm not straining myself and stop making me out like an old man.  Well, you know Phil Willie you're at it again.  Don't aggravate my Who's got high blood pressure? Oh, I didn't mean that curly I just meant getting excited ain't the best thing for hardened arteries. That's all well. I know it ain't been Who's that hardened arteries oh an old uncle of mine. He's only 44 and this was a plank I've got a lot of steak too You know plank steak Look Elliott, I got news for you. It ain't funny. I thought it was rather Joe Hey Alice that Willie must have given up for your hard time, huh? Well, he only meant it felt good There is getting a little heavy for his age that goes again. There goes again for his age last week It was the same thing.  I knew that wouldn't get nothing And another time excuse me Philip what you do now Nothing, then why do I have to excuse you for I? Merely wish to speak to my sister if you Don't pay any attention to old man mo's I'll just curl up in front of the fire and count my vote for McKinley button What is it Willie Alice? I merely wanted to tell you that I'm going shopping good I'll go with you. We'll be back in a little while. Yeah, good while you're out if you can pick me up from all that That's have them fell backwards Tell me I'm getting no younger than any of We're getting younger all the time. Hi girly six more birthdays, and I'll be back playing that sock symbol in high school I Curly, what are you grinning at?  I ain't even used I got muscles.  You don't get no exercise. What are you talking about? I worked on I know sure, but Curly flipping Alice's coupons ain't exactly a pick-and-shubble job. I Use heavy scissors But ain't enough you gotta lift that bar Hope that bail go ahead.  Oh Millicent Berry who she a Girl I work out with from time to time Look Elliott. No, I'm not kidding.  I got it I know just the thing and it won't cost you a dime a barbell You know, I've always wanted one of them things you did sure Saves you banging your knuckles on the bar when you want to refill Get a whole set, you know, they got all different kinds early They got martini barbells with a petrified Ollie for a clanger They got them old-fashioned barbells with or without a cherry early. You're interrupting me Elliott. Let me dream Oh, I got a friend who works out with the weights all the time. Oh That kind of barbell.   Um, say, uh, why don't you call your friend and see if you can borrow a barbell? All right, I'll call him right now In the meantime, you can work out with the orchestra the Bill Muscles.  I'll try it. Once you mean old muscle voice. All right. Come in here. Follow this truck He's the one he's all Today He's putting in the pot Just nine days old Well a patty cake a patty cake a baker's man. You got to put it in the oven just as fast you can Some like it hot some like the cold. I like it in the pot nine days. Oh He's puttin cold Just nine care much about on the school. It was all working. No play Home about Puttin in the pot That's nine days old nine days. Oh, I don't like cam I don't like greens if I get out of this by no means There's only one dish that pops But But That's on here's 15 cents go watch that elephant jump the fan We didn't get back till the 4th of July Go go put it Oxy this is curly. Yeah, glad to know you oxy boy. You want to shake hands with me. I'll have to reach down I don't bend so good But I tell you curly pure muscle Yeah, hey oxy you didn't forget to bring the barbell. Did you forget it? What do you think this is under me arm? May west He's a kid That's the barbell curly boy. It's a big one ain't it must weigh 300 pounds No, why can't you what's that thing way oxy all this will go easy 350 in a couple of odd ounces. Hey, look, I gotta go home and rinse out a few things. Where do you want the barbell? Oh Just toss it over here or sit. Okay, I Wonder if Alice is gonna like a sunken living room Poxy, what did you do that for because you ask for it? Thank you ox baker Tomorrow if you want I'll bring a bigger one. Oh, no, no, no oxy. That's gonna be fine. Great. Thank you very much Okay, fellas, I'll be seeing you. What's your hurry ox? You heard a Shelley. You heard a Keats. Goodbye, sad world the ox retreats Nice guy. Yeah, what does he do drives a good humor wagon? It figures mm-hmm.  What are we gonna do about that hole in the floor? Same as last time cover it with a rug Can't do that Alice will find out not till somebody falls through All right. All right, go ahead. You get a rug and I'll lift the barbell, right? I'll have to might well start man. Just get a good hold on this thing Hey Elliot, yeah, I'll get the rug you lift the barbell Come on a cap it out heavy curly. Come on. You'll take one and I'll take the other you're right Yeah, what why don't we both get the rug? We got to get this thing out of here before Alice sees it now Let's move it with what with what I asked you first Elliot there's got to be some way Hey, we can only find a crowbar or something to shove underneath Yeah, but where are we gonna find a crowbar or something to shove underneath?  Harris was going to give you this beautiful barbell for a Christmas present Kids you you see well that way I get to deduct it from my income tax Everybody knows that you lift the barbell and where is it overhead? Conductible item if ever I heard one Nice thinking curly ought to do my taxes next year Well Julius if you want it she's yours just pick it up and trot on home with it I had kid where you waiting for it Fine you hear that Elliot. He don't trust it. I can't understand Okay, you want to act that way. We'll just have to keep it ourselves. Well now you're talking Okay, Julius lay down. This ain't just an ordinary barbell It's for developing stomach muscles. Yeah, and it only works when you're flat on your back Okay, kid. What are you waiting for?  We'll just roll this bar barrel over on top of Okay, Julius stand up take it home Right one Three you know what curly it's stuck Now what do we do? I don't know Maybe we feed him a couple of hundred cakes of yeast And he swells up and the barbell slides off Sounds logical We rent ourselves a Derek yeah Hey a Derek. Hey, how's that sound to you Julius?  That's what doing it. The whole thing is an obstacle delusion Julius will you just keep quiet now and wake a lelly gets back with a Derek and we'll get you fixed up and nothing flat He's back. Hey Alex Derek in town She's gonna murder me there's always take it easy now move it back a little I got news for you take it over to Julius What are you worrying about? It's only a dairy. Oh, yeah, bring it down. I got the hook it out of this barbell Okay, I'll it all hooked up. Okay, this time. Just take it right straight up right straight up. Okay, right Out of boy Okay, Julius you can get up now you're loose Julius Julius, where are you done? You wrecked my whole piano. I would say somewhere between middle-sea in the basement Lady are you caught in the kitchen traffic jam when you serve a big meal must you choose between cold biscuits and a cold roast? Well, you know the new RCA estate range serves you a problem of getting everything at once You can serve everything meat biscuit vegetable sauces coffee steaming hot at their peak of savory perfection The barbecue or meat oven for charcoal done flavor the hideaway griddle for top of range grilling the big balance heat bake oven Dependable performance easy operation the new the wonderful the sensational RCA estate gas and electric rangers at your dealers now This is Phil again on Tuesday, October the 20th I'll be in Cleveland Bob hopes hometown to appear with Bob on his first television show of the season Give us a look him. Huh? Good night. Good night, everybody Included in this program friend pride with Alan Reed the part of Julius was played by Walter Ketley This has been an NBC radio network production


Hey, Psych2Goers! Welcome back to another video. Thank you so much for all the love that you've given us. Your support helps us make mental health and psychology more accessible to everyone. Now, let's begin. As the ancient Greek philosopher Aristotle once said, even a god finds it hard to love and be wise at the same time. And he certainly wasn't wrong. Though we'd all like to believe that we're too smart to let our hearts rule our heads. Too often, we let our emotions cloud our better judgment. Especially when it comes to dating. But learning how to recognize the early signs that a relationship won't work out or that someone is incompatible with you can save us a lot of pain and regret down the road. So, rather than simply forgiving and forgetting like we often do, here are seven red flags in dating you need to start looking out for. Number one. They always agree with you. Does your new bay like all the same things you like or share all the same views and opinions as you? Well, it's certainly nice that you get along so well. You need to be wary of people who seem to agree with you on just about everything. They may not be telling you the truth or showing you their real selves. It's likely that they're just telling you all the things to make you like them more because the truth is no two people will ever see eye to eye on everything because no two people are exactly the same and that's okay. Differences are what makes us who we are and if the person you're dating feels the need to change who they are just to please you then it's never going to work out. Two. They hide things from you. Does your partner hide things from you and struggle to communicate properly with you? It's a definite red flag if you can't be open with each other about how you feel or what you think. Do you notice your partner avoids talking about their feelings or doesn't share much about themselves? Do they keep you away from their friends or family or always leave you guessing about what they've been doing? While everyone certainly has a right to their privacy you can't emotionally connect with someone who's afraid to be vulnerable with you. Three. They don't prioritize you. Does the person you're dating seem too busy for you sometimes? Do they spend most of their time with work, academics or their other relationships? Do they often cancel on you at the last minute or take forever to return your calls and messages? While you certainly can't demand anyone's time dating someone who can't fit you into their busy schedule isn't going to be easy and the fact that they're already struggling to juggle so many other priorities in their life is a clear sign that they're not ready for a serious relationship. Four. They're dismissive of you. Another warning sign you need to look out for is how the person you're dating talks to you. Are they encouraging and supportive or condescending and dismissive? Do they always have to have their way and assert that they're right? Or are they open to listening to your ideas? Having a partner who talks down to you and doesn't take you serious isn't something you want for yourself. And even though they might try to pass it off as knowing better and encouraging you to just trust them and go along with it you deserve to be with someone who respects your opinion and gives you a say in the relationship. Five. They easily get jealous. While it's never something we want ourselves or our romantic partners to feel sooner or later jealousy is bound to find its way into our relationships. It's not a deal breaker in and of itself if your partner feels jealous or insecure sometimes but what really matters is how they deal with it. And if you're dating someone who seems to get jealous all too easily you might want to watch out because there's a good chance that it'll soon make them paranoid and controlling. Six. They make you second-guess their feelings. Most of us know when you've just started dating somebody you need to be careful in how you navigate the waters. You don't want to come on too strong or seem too needy because you always want to leave them wanting more. But at a certain point in your relationship they need to start making an effort to show you how they feel because if they don't they're not ready for a serious commitment or they're just not as invested in the relationship as you are. Whatever the reason may be dating someone who plays with your feelings is never a good idea. Seven. They talk badly about their exes.  You need to remember that if you and this person ever did become serious and eventually break up there's a good chance they'll treat you the same way and the fact that they feel the need to bash their exes and make them all out to be the bad guy just goes to show that they're still hurting over their most recent breakup and could be looking to you for a rebound. Do you relate to any of the signs we've mentioned on this list? Have you ever dated someone who showed some of these very same red flags? Let us know in the comments below. Please like and share this video if it helped you and you think it could help someone else too. The studies and references used are listed in the description below. Don't forget to hit the subscribe button for more Psych2Go videos and as always, thanks so much for watching. We'll see you next time.


Good morning folks, this is Steve Rhodes coming to you live from the shores of sunny Delray Beach, Florida. This year, a Lebanon update and currently have all the US indices that we track trading to the downside. That was off a quarter of a percent or 74 points, seven tenths or eight tenths for the S&P. That's 29 points. The NASDAQ is off one of three tenths, 144. The semis are off four and a half percent. They're trading out at 2250. They're off 105 points. You've got gold down 35 bucks. That's two percent, three and a half percent for silver. That's off 69 cents. Let's recruit back 39 pennies. She's trading out at 92.26 natural gas. It's off six cents out there. Trading out at 668. Happy Columbus Day to everybody out there. Let's go take a look at our nine panel market update chart. We begin by take a look at the ES mini. What we can see here is prices trading right now below the bottom of its daily profile. That profile level is 3645.  Last Monday's lows 3571.75. That is especially true with the spot politics trading well above its 50 day exponents move. Now it's the 50 days at 2720. The spot is at 3340. The end queue is already below a close blow on Friday, the bottom of its daily profile. It is targeting the 10, 8, 90, 75 level. That is low from Monday. Monday's session for both the ES and the end queue were by the D point patterns. You close below those levels, you negate that signal. U.S. dollar index trading above the top of its daily profile on its way up to its rose momentum. I think it's rose momentum indicator top out there at the 114.75 level. Gold is back below. Now it has formed a brand new daily profile. We looked at this Friday morning. It formed below price. It's basically bullish. A bullish message out there. But price right now is back inside that profile. It is a bare structured profile. Price should find support. If there's only a counter trend move at the center of that profile. That's at 1668.80. I would watch that silver. Nice pullback. If you want to consider that nice pullback this morning. But it is still well above the top of its daily profile. The top of the profile is 1926. Price right now trade at 1955. Lights recruit finding some resistance at the top of its week. Profile that's where sellers reside. That's at 92.71. If they clear that they're on their way higher. I suspect they're on their way higher anyways. But right now it's got a clear resistance. And again that's 92.71. If you take a look at natural gas. It does have a buy the deep point pattern. But just can't get any traction out there. Price is trained below the bottom of its daily profile. Price stay tuned for the price. Please stay tuned for the Trader Zed show. But if you're off to start your Monday folks. Please have a magnificent one. And we look forward to seeing you again soon. Take care now.


Davis Media Access is a community media center serving Davis, California, and surrounding areas. The local media and community development work we carry out at Davis Media Access, known as DMA, takes place in the context of a much larger technological landscape. We actively track media policy and participate with others, both locally and around the country, to protect the resources that help individuals and organizations to document, communicate, and collaborate. Technology will continue to change, and that makes the work of DMA more relevant. DMA helps people build critical skills, but also uses that technology to strengthen community. People need to connect, to share their stories, air their concerns, promote their events. They need to do this at a local level with content relevant to their neighborhoods and their lives. Commercial media is often costly, doesn't invite participation, and represents a narrow spectrum of voices owned by a very few companies. Noncommercial community media teaches both digital literacy and media production, all while highlighting the voices of nonprofits, community activists, and marginalized perspectives. DMA's main projects are DCTV, Public Access, Television Channel 15, Educational Access Channel 17, and KDRTLP, 95.7 FM, Low Power Community Radio for Davis and Beyond. Through partnerships with the City of Davis and the Davis Joint Unified School District, DMA provides the public with access to video and television equipment, training, and unique programming. Through partnerships with other nonprofits, schools, businesses, concert venues, and musicians, as well as several UC Davis departments, DMA helps support creativity and good works. We round out our offerings with digital equipment and social media, topical workshops, several local programming archives, participation in open source software projects, youth media projects, local studio productions, event coverage, and advocacy and information for broader media issues. Our mission is to enrich and strengthen the community by providing alternatives to commercial media for local voices, opinions, and creative endeavors. DMA is committed to strengthening localism through media and is proud to support platforms for free local expression. Davis Community Television, known as DCTV, is the heart of DMA and where it all started nearly 27 years ago. As a public access channel, that's Channel 15 on the Comcast System and Channel 99 on the U-Verse System, DMA welcomes all members of the community to learn hands-on aspects of video production from planning to studio production to editing and distribution. DCTV has grown from a single public access channel to the media center as it is today. In 2015, DCTV aired over 600 first-run non-commercial programs, 156 of which were produced by local volunteers using our state-of-the-art resources and facilities. Last year, volunteers logged 800 hours of edit suite time, 300 hours of studio time, and 10,000 hours of field equipment usage. DCTV produces three episodes of In the Studio each month providing a platform for exploring issues of local interest. These shows are managed by DMA staff but crude and sometimes produced by volunteers who contributed 350 hours of time to this effort in 2015. DCTV also produces local election programming, including candidate and issue forums, meet the candidate's statements for local contested races, and live election night coverage. Events such as PSA Day serve and highlight local nonprofits. In 2015, 14 nonprofits took part in this event. As resources allow, DMA covers other local events of note, ranging from the annual Martin Luther King Jr. Celebration to the Interfaith Climate Conference, the U.S. Bicycle Hall of Fame installation, concerts, lectures, community forums, and more. From the vault highlights some of the more than 10,000 locally produced programs in the DCTV Archive. DCTV maintains a digital archive on our website at archive.org and on YouTube with 420 programs on demand and 100 subscribers resulting in more than 2,000 views per month. From a scrappy station that struggled to get on the air, now 11 years old, KDRT has found an audience and thanks to social media and online archives an ever-expanding listener base. In 2015, KDRT had 41 radio programmers who produced over 1,600 radio shows. DMA holds the license and provides organizational support for KDRT The station's day-to-day operations are the purview of its all-volunteer management team. This team tirelessly promotes KDRT via live remotes throughout Davis and live music events in partnerships with the Davis Music Festival, the Davis Odd Fellows, the Davis Live Music Collective, and many others. The community has responded with over 3,000 followers on the KDRT Facebook page, 1,000 followers on Twitter, and extensive listenership of archive programs on the KDRT website. Since launching, the station has diversified the community's media options. Davis sites have a choice of media, varied training programs for different ages and abilities, and an opportunity to broadcast and receive local content via free radio. KDRT is nationally known for its leadership on low-power FM radio and locally has become a bright light and center of alternative arts and culture in Davis. DMA is responsible for the day-to-day management of educational access Channel 17. In partnership with school district staff, DMA staff manages the production and promotion of Channel 17's schedule, its high school internship program, its website at djusd.davismedia.org, and related initiatives. In addition, we work with many DJUSD teachers and parent liaisons. Many recordings are made into DVDs, which are then sold to benefit parent booster groups such as Davis Schools Orchestral Music Association, or DSOMA. DMA's internship is competitive and well utilized. In 2015, nine interns from Davis High, DaVinci, and King High schools were trained in production, post-production, and digital file management. With their help last year, we recorded 50 programs such as volleyball and football games, Davis Community Idol, Everybody Dance Now, and DHS Jazz Extravaganza, a tribute to Tony Fields, all high school graduations, and secondary orchestra and band performances. 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It's not a case of pain or no pain, it's a case of pick which pain is worthy of your attention. Pick your pain well today. Cheers.


In this case study, we're going to do sort of a really quick crash course in developments in Greek sculpture from the archaic period into the early, high and late classical periods, and finally into the Hellenistic period. And really what I want you to look for is the ways in which Greek artists became increasingly more comfortable with the medium of large scale stone sculpture. And I'm going to be trying to concentrate on works that we know primarily through marble originals rather than works that we know primarily through copies in marble of original bronzes, so that we're kind of keeping with the marble all the way through. If you don't know what I'm talking about, please go back and read the text section first and then come back. So what we're looking at here in three views are views of the New York Chorus figure. Chorus is simply a generic term that means young man, and a number of sculptures like this were made in the archaic period, so that's roughly about 750 BCE to about 500 BCE. And works like this represent the earliest attempts by the Greeks to create large scale stone sculpture. Prior to this, they were working in much more small scale with stones that were the sort that you could pick up fairly easily. But here, as you can see in the comparison that I brought in with King Menkaure and his queen, and his queen may be a woman named Camara Nemti. He had three queens, so we don't know exactly which one. That's why she tends to be called just his queen. If you look at this sculpture, this gives you an idea of the initial model that the Greeks were working from. The Greeks and the Egyptians came into contact through trading colonies, and the Greeks picked up the idea of monumental sculpture in stone from the Egyptians. Now, if you take a look at the Egyptian model here, you'll notice that it's actually a sculpture in relief. That is, the figures have not been completely freed from the stone background, and rather they emerge from it. But take a look at that space between the queen and the king, for example, and you can see that it's completely filled with that black basalt. And then similarly, her arm simply appears next to his waist, but then we have a whole bunch of stone that's still there. If we look back at the New York Chorus, you'll notice that he still does have some joins between the parts of his anatomy. His hands are still stuck to the sides of his leg, and there are extra bits of stone there to keep that together. And similarly, the upper portions of his thighs are kind of united together with a little bit of extra stone. And the artist is also using this very sort of formal Egyptian stance with clenched fists, a very frontal gaze, extremely stylized hair, and very linear and stylized treatment of body parts. Just about 50 years later, we have this particular Chorus figure called the Anavisos Chorus, and he is named that for his fine sight. This particular Chorus appears to have been used as a grave marker to mark the grave of a young man who had fallen in battle. And there's actually an inscription up on him that talks about who this young man was and the fact that he fell on the field of battle. But what I want you to notice here is how much more the marble looks like flesh. And that has a lot to do with the sculptor's treatment of this body as something soft and curvaceous. The lines haven't been sort of dug in and incised, but rather we have a lot more very subtle modeling that gives us the impression of muscles underneath this skin. We get some sense of a rib cage and a six pack on this figure. He gets a little bit linear down in his lower legs and his calves and his shins, and his proportions are not completely worked out, but I think you'll agree that this is a pretty tremendous change in just 50 years. And you'll notice that even though the hands are still united with the body on the side, there's a lot more sense of this figure as being an independent figure in the round without a whole lot of extra stone kind of holding him together. Now we're looking at the exception to what I promised at the beginning of this presentation, and that is we're looking at a Roman copy in marble of a Greek bronze original. I was going to try and bring in as many original Greek marbles as possible, but for this work and the work right after it, we just don't have originals in marble. The reason I'm bringing in this particular figure and the next one is because they are considered sort of turning points in the history of Greek sculpture. So with this figure whose name is the Deriferos or Spear Bearer, he was created by a famous sculptor named Polly Klytos originally in bronze. With the Spear Bearer, we have a shift from the rather stylized, stiff figures of the archaic period into the naturalism of the classical period. So this is really sort of a transition into classical art. And this figure dates to, is usually variously dated around 450, 425 BCE in the original, and he was, many, many copies were made of him because he was so famous. And so even though the original bronze has been lost, what we're looking at is what is considered to be the most authoritative of the surviving copies in marble. And this is a figure that is now in the Naples Museum. So what makes this figure so special? Well, it's because he doesn't look like he's just rigidly posed. He actually looks like he could take a step forward and move. And that's because of something called contra posto, which means counter poise. I'll get to that in a moment. I want to point out a couple of things first. First of all, you might notice that he's standing next to a tree trunk and has a strut connecting his wrist to his leg. These are both sort of products of the fact that this is a copy in marble of a work that was originally done in bronze. And the work in bronze would have been hollow. It would have had perhaps some sort of interior kind of architecture of rods helping to hold it up. And so its whole system of stability and standing up would be completely different from what you would get with marble. With marble, of course, you have to make sure that you have ample support for the various pieces so that nothing ends up falling off or collapsing. And so here we have a tree trunk acting as a strut to hold up the leg. And then we have this additional sort of branch between the wrist and the thigh of the figure. Now I talked to some of the folks at the Getty Museum and to some other classical sculpture experts about areas like this, these struts and these props that we see on these Roman copies after Greek originals. And I was asking, well, you know, why didn't the sculptors do a better job of kind of disguising these? In the work of Bernini, as we'll see later on, he was able to disguise sort of utilitarian pieces of extra stone as things that actually belonged on the sculpture. And so particularly that strut between the wrist and the thigh seems very discordant to modern eyes. But what was explained to me is that in the ancient world, in the classical world, using something like this might simply have been sort of an acknowledgement of the properties of stone and the differences between stone and bronze. And almost sort of celebrating the difficulties of working in stone as opposed to the difficulties of working in bronze, that there's a different set of challenges. And so the artist is choosing to almost accentuate some of those things without making it too disturbing to look at or too distracting from the rest of the work. So think about that. I'm not sure I totally agree, but I can see their point. Back to Contraposto, this is my best diagram for kind of showing you what I mean by Contraposto. As you can see, he has one leg that's holding all of his weight, and that causes him to have an engaged leg, that weight-bearing leg, and a free leg. And that means that he sort of tilts his hips to the side, and then his shoulders respond by tilting in the opposite direction. And so we get sort of a twist and a turn in the body. And if you stand and talk to somebody for a while on the street, you'll find yourself kind of adopting that same pose, kind of shifting your weight from foot to foot. And there's that implied potential for movement that is what makes this sculpture so very important in the history of art because now these sculptures are starting to be sort of freed from their limitations, and we can actually imagine them walking and talking. I'm not going to spend too much time on this work, but this is another very famous work from that sort of transitional period as we're moving into the classical period. And you can see here two copies after the same original. This is the discus thrower, or discobalus, made famous by the sculptor Myron. And I think you can see that we have two different variations on display in the exact same museum here. These help to indicate just how famous this work was. There are a number of discobalus figures all over the world. And it's a way of seeing what the Roman patrons were attracted to when they demanded copies of famous works. And it also gives you an idea of how different sculptors dealt with some of these problems differently. I think you can see that on the figure who's missing his head, there would have been a strut actually extending upwards from the figure's rear end to help support that outstretched arm with the discus. And we don't have anything like that at all on the figure on the right, although we do have a strut that helps to attach his fingers to his calf and support them. So, again, we have these sorts of ways of dealing with the limitations in marble and the difficulties posed by this medium, which is much less forgiving in many ways than bronze. In the late classical period, when we get around the year 300 BCE, we start to see a different aesthetic emerging in Greek sculpture. Figures become much more elongated and they become somewhat more sensual, particularly the male bodies. And here you can see I've kind of exaggerated this line in the middle, but sculptors began to introduce sort of a sinuous S-curve into their works. This is a sculpture that depicts the god Hermes, the messenger god, with the infant Dionysus. And it is believed to possibly be an original sculpture by the master Praxiteles. He was the one who also did the Aphrodite of Canidos that you saw in some of your reading material earlier in this module. And if it wasn't done as an original, it was done by an extremely skilled Roman sculptor not too long after. But you can see there's a very different aesthetic here. I also want you to notice the real emphasis on different textures, the textures of cloth as compared to the textures of hair and of skin. There's a real appreciation for some of the possibilities of marble. And it's also clear that artists are becoming a bit more comfortable with what they can and can't get away with when it comes to having the parts of the sculpture all working structurally so that nothing falls off or falls down. Here's a view of the rear end of that sculpture, and here I think you can get a real appreciation for the different textures that are on the sculpture. You can see different textures in the upper back, for example, the drapery, the support sort of tree thing that you have, and then also on the buttocks of the figure. And I think you can also see that sort of creamy glow and that sort of sensuous fleshiness that some marbles acquire thanks to their crystalline structure and the effect of light on those crystals. We're going to finish with a very famous Hellenistic work of art. The Hellenistic period really is associated with the time after the death of Alexander the Great in the 4th century BCE, and it goes all the way up to the Battle of Actium in the year 14 CE, so it's a pretty lengthy period. And we call it Hellenistic because this is the period in which the Greek world, thanks to the conquest of Alexander and sort of what came after that in terms of trade and just back and forth exchange of ideas, the effects that that had on the world at that time. One of those effects we saw earlier in this course and that was the expansion of the garden industry because trade routes were opened into India. And another one of the results of the Hellenistic period was a very different type of clientele for works of art and architecture. A clientele that was less interested in a lot of the sort of stoicism and classical ideals that we saw in earlier works and much more interested in things that were very explosively dramatic. And that's exactly what we see here. This is a depiction of a figure named Leacowan. He was a priest in Troy who was described in Homer's Iliad. And he was one of those who warned against the Trojan horse and the dangers of accepting that gift, which of course we know was full of invading soldiers. And unfortunately the gods were on the side of the Athenians in the Trojan war. So even though he was a priest of Apollo, he was punished because he was on what had been determined to be the losing side.   And we see just incredible intensity in the way that they're portrayed. Their facial expressions, their musculature, their poses, these amazing snakes that sort of wrap them all up and unite them into one sculpture. It's just pure drama here. And this is the sort of thing that the Romans loved. We know this was in an imperial villa and it was actually also an incredibly influential sculpture for the late Renaissance. This was discovered in Rome in a very wealthy imperial villa and Michelangelo was one of the first whose work was affected by this. And if you think about all of the like really ripped sort of muscle bound figures that you get in much of Michelangelo's work, I think you can see what I'm talking about here. But I think you can see that if we're just simply tracing the timeline of Greek art and treatment of sculpture and increasing comfort with marble as a medium for sculpture here in this work, I mean, it's almost completely exploded. It's almost hard to look at that New York chorus and realize that in a relatively short period of years from that, you're going to end up here with something this explosive and this diagonal and with so many bits and pieces reaching out in all directions. And take a look also at the supports here and how cleverly they really have been included by the artists. The snakes are acting as support. There's drapery. There's the altar where they're all struggling. It's really a tremendous masterwork. So I hope you enjoyed this crash course in Greek sculpture in marble. And if you liked it, maybe you will take an Art History 111 type course, which is a survey that will take more time looking at Greek art or perhaps a Greek and Roman course.