Everybody forced here rip in 2022 tops museum collection baseball hobby six-box half case number 20s pick your team style half case Andrew R has the Dodgers Benjamin v. Marlins Brandon s Rockies Brandon L with the twins Padres and White Sox James s Royals Jason a with the Guardians Jeremy s Rangers Joshua H Brewers Kevin R Cubs Link has the Braves Logan s Angels Martha the backs Tigers Matthew and Giants wait That's read Giants twice No, I did not I don't know Matthew and Giants Nicholas P with the Mets Patrick C Cardinals Patrick G Mariners Peter M Yankees Raul has the Reds Richard D Blue Jays Scott V Astros Scott Y Red Sox A's Phillies Nationals Timothy F Pirates Troy L Orioles and Wade has the rays Facebook notification pops up and blocked me Good luck everybody. Here we go Tag James closed out with the Royals. So those last spots are over for a body in it as well Yeah, we allow for trade just has to take place between the time the random ends and Break starts and you have to send an email. I would eat confirmation from both from both parties But yeah, as long as you send an email both parties confirm the trade happened before the break starts always happen to do that Purple Rookie Rays Vidal Bruhan 2799 And archival auto for the Red Sox rookie Jaren Durand 38 of 50 Start Red Sox in quadratic angels Jared Walsh 32 of 99 See you. Yeah, but we do allow it. Got blue Shohei Otani 18 of 150 angels Secret Ichiro Canvas Ichiro and a Mariana Rivera archival auto 60 of 125 nice hit Yankees There you go. Well, that guy tonight copper Hank Aaron Abrams and a dual Jersey auto for the for the Padres here's Blake Snell Nice digital camo there 68 of 299 Padres Didn't really wear green that might be a Memorial day Jersey, I would think he's usually their camos either Navy or like the like the Not it's not even like desert so dark in that but it's like a brown camo Huh copper Griffey Royce Lewis and patch card Red Sox Jackie Bradley jr. 1 of 35 Baseball doesn't play on Veterans Day And it wouldn't be 4th of July because they always were like red white blue on 4th of July You know they'll play baseball in mid-November It could just be one of their alternate straight up But because if it wasn't the Padres it'd be a little easier to tell but the Padres they wear different camos because Cnda you know blue Strasburg 79 to 150 for the Nats when he'll cruise rookie base Hey Nice they one-of-one Charlie Blackman original sketch Nice one Iraqis The original canvas that is the the sketch card What is up with?  That's pretty freaking awesome, dude Like the detail in the beard in the hair. I mean that's Charlie Blackman you got to get the beard in the hair, right? That's awesome man. Congrats Rockies. I do not know the artist That's a fancy signature That's awesome. Congrats Rockies. We'll get that mag for you again Those are one-of-one of the originals and a Tory hunter archival auto 13 of 50 for the twins Why are there no celebrity stuff this broadcast excuse me. We don't know Sean. I are here. Are you kidding me plus illegals in chat Caleb is trying to catch up if you ask me Purple Freddy Freeman Dodgers 63 of 99 got canvas David Ortiz Red Sox and a Gavin Lux triple relic auto Dodgers numbered 174 of 180 You've offended Sean we only have nine likes. How many is Caleb have this competition for sure Caleb has to at least have what double that at least Got Cobber pooholes he's gonna hit 700 to crazy that pulls is gonna have 700 and judge is gonna break the ale homerun record in the same season patch card Rockies Trevor story one of 35 We are the only ones to be there At least base in a pocket put out some decent athletes before Campanella for the Dodgers 32 of 50 on the red Rice and Stott and quad relic Mets Francisco Lindor 55 of 75 Still be looking for a frame daughter. There wasn't one in the first half of this case in the last break Hey, we'll see a book Had that six sketch for the Rockies Purple Perez Royals 48 of 99 eyes archival autograph nationals one Soto 13 of 25 Heck yeah, Washington. That's an awesome hit. This one's going to Scott. Why? The go-to Very nice gold trim on the archival auto Get that in a mag for you. I'm gonna struggle to play it recently. I think next year. He's gonna have a monster here Eloy copper Triple relic auto for the Giants is Ryan Mountcastle You got I said I say Giants I did I meant Orioles 392 399 Obviously an Oriole and blue for the Angels Rendon 76 up 150 copper Kirby Jay rod rookie base and a patch card for the Giants 5 of 25 is Brandon Belz You know plus he's gonna have to play big because he's got the He turned down 440 from the Nats. So he's gonna have to be like, hey I'm worth more than I'm worth half a billion have to prove it now Really prove it cow copper canvas a is that a secrously and Quad relic Mets Phillies Dodgers and Nationals Alonzo Hoskins Freeman and Zimmerman 18 of 99 So let's see Nats is Scott. Why? Phillies is Scott. Why if he has one more than he gets it Dan Dodgers is Andrew are and And Mets is Nicholas P. So you have to have over a 50% majority per hour rules. So this will be your randoms It's all like a smart deal for both for both sides So Dan There's a Bobby Whit base we got a redemption. Let's see we got a Shohei copper So redemption and another hit. Let's do this hit first quad relic judge. It's already to a 75 Yankees Let's see. We got an archival autograph. Oh, so I'll be the on-card auto CJ Abrams nice hit Padres The rookie auto CJ Abrams first one I pulled Congrats to San Diego Brandon L Nice redemption that'll be good to get that one back Julio might hit 30 Homer is like And he was hurt like a month too Just wild copper Jay Ram Got Jersey card rookie for the Angels Brandon Marsh one of 50. I can pull the whole Soto trade. Who do we need now? We need Mackenzie Gore We need a lot of guys still Needed I just James would even in this got copper buchettes canvas Shohei Otani and a door relic auto braze Dan's be swanson. Nice Dan's be 3450 it's gonna say a lot of those guys don't even have autos in this And the spam calls went away for a while now they're back again I'm getting a ton of them every single really every single day. They went away for like a couple weeks now I got like for a 25-25 that is awesome Archival autograph rookie Cardinals Lars Newt Bar 78 of 299 and a red Reese Hoskins Phillies numbered 48 of 50 Got blue honest Wagner for the pirates 133 of 150 patch card for the Angels Anthony Rendon 7 of 25 Got Bobby with junior rookie copper for the Kansas City Royals We've got a canvas Yachty Molina for the Cardinals and a quad relic Yankees Glaber Torres 70 of 75 Harappie Devers Canvas cow ripken junior for the Orioles and an archival rookie auto for the Astros Chasmic Cormac 204 out of 299 And I started my streaming hour again copper Bieber Triple relic auto for the Phillies JT realm uto One 45 of 399 all right last box. Then we have a random and a recap to do what Was it in the new um What is it good wouldn't not go with no, but uh Upper deck champ champions upper deck do what can I think of the name? Whole days throwing me off. Yeah, I know I know the new metal universe champions or whatever it's called Copper rookie Royce Lewis for the twins Suzuki quad relic twins Miguel Suno 20 of 99. I Know I don't know why I can't think of it, but yeah, that's pretty awesome I Can't wait to see some of that stuff. I didn't look at the checklist yet. I hope we get to rip some got a blue Hank Aaron for the Braves 136 of 150 Royce Lewis Canvas Freeman for the Dodgers and a patch card Astros Michael Brantley 6 of 35 Yeah, there it is. No, thank you got a copper piazza Abrams rookie Jumbo patch auto Tigers Torrey Hunter 7 of 15 Tigers Torrey Hunter copper Peter Lonzo And archival autographed twins Justin Morneau 142 of 150. Let's do this random All right guys Mets Phillies Dodgers Nats on the random here. Good luck A random 11 times a different team ends up on top is getting the card one two three four five six seven eight nine ten and 11 Nationals up top nationals get the card relics first. You got Astros Michael Brantley 6 of 35 Quad relic twins Miguel Suno 20 of 99 Quad relic Yankees labor torus 70 of 75 Got patch card Nat or sorry angels run down to 25 Marsh for the angels to 50 Judge quad relic Yankees to 75 patch card Giants branded belt to 25 Mets Francisco Lindor 55 of 75 quad relic Rockies Trevor story one of 35 patch card Red Sox JB J to 35 Quad relic Jared Walsh angels to 99 and again this one went to the Nationals Quad relic here Alonzo Hoskins Freeman Zimmerman autos now and Mags cards So we had twins Justin Morneau 142 of 150 got Torrey Hunter to 15 Tigers Jumbo patch auto Triple relic auto for the Phillies JT on Muto to 399 rookie auto Astros Chas McCormick to 299 Got Cardinals rookie auto Larson new bar to 299. I don't know why the rookie logo isn't on his Cuz he is a rookie in every other product this year, so interesting You got Dan's me Swanson dual relic auto for the Braves to 50 an archival auto redemption for the Padres of CJ Abrams nice hit Padres a Triple relic auto Orioles Ryan Mountcastle to 399 Gavin Lux triple relic auto Dodgers to 180 twins Torrey Hunter auto 13 of 50 Blake Snell dual relic auto Padres a 68 of 299 a Mariana Rivera auto to 125 Yankees a Durand rookie auto Red Sox to 50 a Soto to 25 Nationals archival autograph nice hit Nationals and the one-of-one original canvas Charlie Blackman for the Rockies again That is the card that they sketch the image onto Nice original sketch Rockies cool Blackman and that is gonna do it. Thanks again everybody full case up next


Hey, J.O.W.  Bro, you dope as hell. Yeah. Speaking of which, welcome back. We just got some dope people stomping through the trap, you know, showing us love. And today is no exception.  We can't even say an artist because it goes way beyond that.   You like that? Bro, the only Warfield I'm familiar with is Marshall. Come on, Marshall Warfield. Yeah, absolutely. You know what? I haven't met a Warfield that I wasn't related to. Really? It was a wide receiver that was with me. Paul Warfield. There you go. And my son is a wide receiver. What's up, other Warfield? DLL Warfield. So welcome to the trap first and foremost, man. Man, I'm excited to be down here, you know, and I was definitely familiar with your show like I follow on social media, but I knew it was something that was super dope when I told my son and his eyes lit up. Yeah. I was like, oh, okay. So this is really the shit, you know. But I appreciate it. I'm glad to be down here. Bro, let's speak to what you said about your son.  You know what I'm saying? Because they didn't even start coming to comedy shows yet, like his generation. So these are some fans. So shout out to the money you're going to spend with us individually. Young state. Yeah, that's my investment. But you know, it's funny. I got to give you this because as soon as I told him, he was like, you know, they're going to roast you on the show. No.  So I brought down a little peace offering. Okay. So one of my, one of my dope tees, you know what I mean? That's dope. I was like, yeah. I was like, maybe he will lay off me a little bit. I'll let you make it.  When you bring gifts, you get to make it. Taylor, you mind adding this to the rack of things? You know, I like to have ambiance. I'm going to hang it up as we do. You know what Taylor is? I'll be getting on her nerves.  She be like, bro, I do not work for you. Yeah. She came in smiling though, but I guess you might have changed the attitude a little bit for her.  She real quiet. I'm like, why you don't know what to say to her? She said, why you don't know what to say to her than to me? Makes sense. I just walked off because I was like, you right. You right. But man, how did you get, how did you get your start with, you know, bringing the creativity, the light, the visuals, the art, all of that, man. Man, one. Give me your first, give me your first successful project.  Okay. My first successful project, man, when I was in middle school, I won a logo design contest for American Can Company. American Can Company. I don't even think they're in existence anymore, but they were based in St. Louis. My godfather worked for them. He was like, hey, we having a, we having a logo design contest. Can you draw something? And I was like, sure. And so the slogan was let's put management and workers on an even scale or something like that. So I did what you would think. I drew a scale. Like a Libra scale.  And I won that. I won it. So it was like $500. You know, they probably should have paid me about a grand. That's not true though. For you to be in middle school, that was a week. It was, it was a big thing.  Like it wasn't really anything big, but it was a couple of things. It was one, people opened up doors and opportunities for me. You know, that definitely happened. And I'm so thankful for all of the people that did, you know, from art, sports, mentoring, teachers, et cetera. Like I had a lot of people that carved out lanes for me. Right. And my godfather was one of those people that recognized my talent at a young age and brought something to me that probably most people wouldn't have thought to do for a seventh or eighth grader. Right. And I saw you checking out some of the fan art. We always, you know, we rotated, but it ain't been rotated in a while. Yeah. You got some nice pieces. For every show we go to, somebody bring us some artwork. And it's always people you never would expect to be artists. It'd be like a hood-ass dope dude. Like a dope boy. Like when you draw that, man, I was doing, I started back doing portraits in the pen. Right, right, right. I did a little something to get, can we get a picture? Absolutely. I don't know why they always got that voice. Can we, me and my lady, we can get a picture? Right. No, y'all have that. We just, can we get a picture? You know what, like artists, man, we come in all shapes, size, and color, so I think it's dope that, you know, farm adult boys are not getting back into their portrait back. You know, that's awesome. This show been bringing the hood back together. That's good. That's good. You know what, I think that's a great title too, bringing the hood back together. So maybe that's another segment or a spin-off. Just bringing the hood back together? Absolutely. That's what we just had, like a baby daddy and a baby mama on Face Tag. Mediate arguments or something. Right. So it can come get the kids on Winston. Right. A lot of people hitting me on the inbox, they done got back together with the baby mama and stuff. That's awesome, man. I'm not saying it is all our fault. Right. We had something to do with it. But you know what, you could, you know, you could fix a lot of things through laughter, you know, and like, like me and my wife, we've been together since 1985. Right. You never even tried to get in your way. Right, right, right, right, right. His mama. His mama. Right. Hey, but listen. Y'all grew up together. Yes. Yes, since I was a sophomore in high school, man, but when people asked what the secret is, I was like, yo, because we can still laugh together. Yeah. You know what I mean? And so everything else can go up and down.  Yeah. So comedy can cure our kind of shit, man. We were about to talk about some art, but bro, you've been with your wife for like 30 something years. Yeah. How old are you? I'm 38. Okay. And you got to give us some game on that, bro, because it's black men. We don't get a lot of black men that can give us some successful marriage tips. You know what, man? This is a whole nother thing we got to discuss. You're not saving us hanging like that. Okay. Okay. So listen, so I think that one, I mean, when it gets down to giving relationship advice, like the only person that you have to worry about your relationship working with is you and that other person. Right. So like my advice for you might not work, but it works for me and my wife. I ain't going to take it anyway. I ain't listening.  Leave me.   You're going, she's going through it with me first. We're not just about to be holding love. Hey, you know what? Hey, I need to know if you hit for real.  So you want somebody that's battle tested. So that's dope. So I think, you know, my wife is definitely battle tested. I mean, being with an artist, you know, it's no easy task. Yeah. Cause people weird. Absolutely. People are very weird. Absolutely. And I would say that, you know, I'm definitely weird.  And I think differently. Yeah. You know, but I think one thing that probably makes me a little different than a lot of artists is I was also an athlete. So I was like football and track and art. Yeah.  But you know what? It just, it just made it. I think it brought, I think it brought me down a little bit because when you play sports, you have to do things like that. Yeah. It gives you balancing.    I kind of approach art the same way. Yeah.  So creatively, what are some of your favorite pieces or things to create? You know what? I like doing everything, man. You've been in the fast. Yeah. I like doing everything. You said, you said nudity. Yeah. Oh, absolutely. Yeah. Dug and doughnuts. Yeah. Chicago Tribune. Yeah. And Heizer Boys. You gotta diverse. Yeah. They're all of them. I'm just running off a few of them. I think like some of the, some of the most exciting projects, you know that your audience probably knows is like the stuff that I did when I was a creator direct at LeFace. Right.  Like that's an incredible, that's an incredible hand. You just named a whole list of musical titans. Right.  Absolutely.  And at the time, you know, we were just thinking about what was great at that moment, not like what was going to be great 10, 20 years down the road.  You're thinking about being the greatest right now. And then you got to, you can't even really talk about it. You got to wait before, you know, it's true. Absolutely. Absolutely. You never really get the grand scope of how great and huge TLC is and was like, what was it like working with TLC?  You know, you could bring them any idea and they were open to it. And so I think that to me, that was one of the qualities that really, really made them stand out. Like they were a hundred percent about going against the grain, visually, musically and everything. And that's the type of person that I am, too. So it was perfect. And so they were easy. I mean, they were one of the easiest groups that I actually had to work with. Who was the artist that pushed your creativity?  I would probably say Usher. Really?  I mean, and it's funny, it's like, he, he's definitely a, a re-finker. You know what I mean? Like he's not super impulsive. And we've had multiple situations where like I've designed, you know what? It wouldn't be the last minute. It changes as much as it was to get to the finish. So an example like, when I did the artwork for Here I Stand, I probably did 60 covers. Damn. He went with the first one that I sent him. After, you know, after I did all of those. And so the way that we worked, as soon as I designed that, I sent it to him. I was like, dude, this is it. And he's like, man, I don't know. And so design after design after the design, and we ended up going back to the very first one. Yeah. You know?  So you create these one-off pieces. What happens to the other 59? Man, they get ready to become NFTs. Mmm. Yeah. That would be a goal. You know what I mean? But they just sit in a vault.  So I have all of that, you know? Right. And so now I'm just trying to navigate through ownership and who owns what and can I release on this material? Yeah. You know? Because I have my fine art, which is like mostly my main focus right now that I could definitely do.  That would be an incredible opportunity. Do me a favor because you know so much about it. Like, like you said, we got a very big, broad audience from your son age to grandma and them age. Who are some of the black artists that they should look up, get online and check out? Black fine artists? Yeah, give us some dope black artists man. Kevin Wack, Fabian Williams, which is occasional superstar, Paper Frank, Gary Kelly, Thomas Blackshire. Throw some women in there. Throw some women in there.  We want everything. Man. Female artists? I mean, I'm just drawing a blank now. We'll get back to it. You can just yell them out as they come to you. Yeah, just random, like I got Tourette's. This is the trap. We have no format. Tasha Black girl. She called.  But you know what, like, a lot of the artists that I followed and was inspired by growing up, they were not like your most well-known fine artist. They were like people that I interned for and things like that. We'll check them out too. Yeah, absolutely. So I gave you a couple like Tony Wade, Scott Carroll, Jerry Kelly, like those are guys that really revolutionized me. Things for me as an artist. That's dope, man. So any of your kids get into the art? You know what, my daughter is a writer-director. You know, she just finished working on Spider-Man.  And my son is, he has my athletic side.  You know what I mean? I understand. Yeah, what about you got kids? Yeah. Okay, any of them funny? Well, my son is so sarcastically funny. Yeah. It is so crazy. Yeah, that's dope. How old is he? 12. Okay. And it's just, it's to the point where I don't even want to talk to him. Because he's fully aware that I'm a comedian. So like you said, it's like, I think he has the right to be a comedian. I'm like, bro, I'm your daddy. Right. See, y'all go back and forth. A lot. Yeah. But he was right a lot of time. Yeah, that's good. I think having those type of dialogues, I mean, I think to me, creativity is right next to sarcasm. Right.    Like I always, like he always go to my dad house, right? You know, my dad, old school, Mississippi. Okay.  We go like, grandson, there's some good cold water in there. Every time my son come home, anytime somebody walk past the fridge and they be like, there's some good cold water in there.  That's dope though, man. I think, you know, it's awesome to have those type of bonds with your kids. You know what I mean? And I think that just to watch them grow up, just like they go to bed and wake up and be holding other individuals when they come downstairs.  The questions that they ask. Right.  What are some of your favorite pieces that you've personally done? I don't think we get the brag enough as a culture. Yeah. Recently, I did a piece. It was, well, I do a body of work called the American flag remix. So if you look it up online, it's just one word, American flag remix.  Oh my God. Yeah. That's the shirt. Yes. That's the move we can get. Ava DuVernay on that. Yeah. See it all. Hook it up. Hook it up. Brother Umar gonna have to do some generations in there. I like that. Yeah. Can we write that? Let's do it.  We're dangin' Kahlua in there. Yeah. He's very convincing. Yeah. I want Jada Pinkett to come back on this one. Yeah.   I'm fuckin' with that heavy already. Yeah. I think that's a great idea. Guess who else here? Yeah. Well, you know what? Maybe she just sings to open it. You want her in it? I want her in it.  Okay. Like she's standing on a cliff or a ledge and she's like black people we are here but she'll do it better. Maybe Grace Jones too. Grace Jones. Grace Jones. Grace Jones. Yeah. Grace Jones. And the movie Grace Jones and Naomi Campbell's Sisters. Okay. Yeah. Star Wars. It's like our Star Wars. Okay. I think that's dope. It's gotta be like ten of them because we ten behind our ears. At least. Now, yeah, we got a little bit of catching up to do. Right. But I think, yeah, like that piece, you know, it was inspired by enslaved American, enslaved African-Americans, transatlantic slave trade and the original piece is hanging up in the gathering spot right now.  And it was like the most emotional, heaviest piece that I've done. But I think that one is probably the run that I really put my all into it the most. Yeah. You know, I always, you know, I'm always into like whatever it is I'm working on at that moment. But that piece, like when people see it, it's beautiful, but it's haunting at the same time. Man, man, you know what, working with those guys, it was great. Because it literally came from the future. Right.  Right.  And I remember talking to Dre about when he really made the flip or started singing about like things that came to him and his dreams and things like that.  You'd be like, yeah, yeah, did you approve this logo? You know what I mean?  It's incredible. But like those guys are definitely geniuses, man. I mean, I look at them like they're this this era's version of like the Rolling Stones and they've transcended. Let me ask you this for the artist, like in the music game or you know, whatever, how important is it to have that signature logo? You know what, I think it's very important for one, two reasons.  Whether it's from a distance or whether it's from up close. And then also just the longevity and legacy of merchandising. So, you know, like it's a shitload of bands, especially like on the rock side that sell so much merch. Rolling Stones. That yes, man. Like that mouth and that tongue. I mean, then they license it. Absolutely. So it's and kiss. I mean, it's an important thing to think about. Most definitely. But when you think about Aerosmith. Aerosmith. Yeah.  But when you think about like a lot of the same too many symbols. I mean, all cast has theirs. You know, run DMC has theirs. But other than that, like I don't know who you could public enemy. Yeah.  And I think it's very important. It's dope. Like your backwoods, you know. Yeah, man. You know what? I'm a sucker for some advertising.  I gotta have it. Yeah. Yeah. Yeah. I got some good friends over there. Backwoods.  Yeah. That's great. So then it's out early. Ain't nobody got this yet. So how long did it take you to coordinate all of that?  So Jay, how did you like this? Good, good. There's how they come. And I'm just putting them up so they'll know that they knew. Got it.  They are clean. They are clean. They're clean as you should. Yeah, it's where because if you look good you get paid good. I got showed. I get it. I just wanted to pack them back up and let them know we're still in here with it. JW, play me some pimping while we doing this, man. We got pumping in the house, man. No, he was killing it earlier. When he said his name was... Don't boost his head up, man. Okay, okay, okay. This nigga ain't ready. The nigga named John, but he got on his car and he was like... Yeah, yeah, I was like, is it, yeah.  I know I was like, is this stamp or something? He was like, nah, he got that in middle school too. You got your nickname from middle school, right? Yeah. I think you rock with it.  Bro, this dude is authentically one of the coolest motherfuckers you've ever met.  That's good. For real. I ain't never seen him yell, run.  Some motherfuckers on one speed. That's funny, man. Hell yeah. Hey, so what are you working on? What's next? Like what's exciting coming up for you? What's exciting?  So every show was exciting. Right now, the main thing that I'm doing since the world is so crazy and just to be extra safe is just I'm doing these tour dates with Mike Epps. Okay. So we dropping five or six days at a time. That's great.   We got this cartoon. Yeah, I was taking that t-shirt up. Yeah, man.  We had to do the song called Everybody Handroaches. Got it. So we did one of those exterminators. Hey, so here's a funny one, man, for you. I mean, seeing just like connections. So a long time ago, man, like I designed Nick Cannon's hip hop album cover. Right. Shit never came out. You the dude we've been looking for, cause you should have told him. Nah, I just was.  I remember, you know, like I ran into him at an event, it was like a Grammy week. And I was like, hey man, I designed your cover.  You don't want nobody to know. I see this. Yeah.  He's a cool one too. That's crazy though.  Yeah, man. Everything is connected.  So that's why you got to keep your reputation tight. Let me ask you this. After working with all these people who are, you know, considered legends and, you know, titans in the music industry, how do you pick now who you work with after having a resume like? Man, it's got to be like, if I'm working on like a creative direction design type project, it has to be two things that determine the factor. Do I love the music and do they got a budget? You know, because other than that, it's just like, I'm not really into it.  Going back to the music, tell me about your Tommy Boy days. I just love that Tommy Boy logo with the three names of party. Yeah, yeah, that was a good logo. Man, so Tommy Boy, I mean, that, it got me and my wife to New York City.   Yeah, yeah, I started that clothing line, but what was dope was being in New York City and especially like at that age and being able to freelance for everybody.  And just the city, the energy of the city at that time, you know, it's one of those things that leaves a stamp on you. And so I came from St. Louis, which was slow moving like your boy, you know? And then I moved to New York City, so it was culture shock for me when I went up there. And one of the funniest things that I heard was like, in the office, people said, you're not from here, Ron, you know, I was like, no, how do you know? It's like, because you always smile. And I'm like, damn, you know? Yeah, they don't like this. So it's like, no, they didn't like you, at least, you know, in the early 90s, they didn't like you smiling in New York City, but. They don't really have a lot to smile about.  You will, and it'll be so normal to everybody.  I mean, literally like right next to it, don't matter.  Yes, yes.  Yeah, yeah, yeah.  Yeah, what about it? Yeah, I seen that like one time at lunch, I just seen the dude pull his pants down, he was shitting on the side of a building. Exactly. And he was still talking to me. How y'all doing? It's another day at the office. Yeah, yeah. Let's double back on something that you briefly spoke on, these NFTs. Yeah.  Can you give us a better description of what that is? Man, I think the NFT, yeah, I think what it does is it gives artists and creators the opportunity to authenticate whatever it is that they own and they create and then maybe get paid on it for longevity, right? Right. And so an NFT can be anything that people consider worth having ownership, man, in keeping. So like this conversation right here that we take could be an NFT, because you know what, you put it up and you have it minted and you get your blockchain information and post it on the site and then you kind of up and rolling.  And I think that it's going to disrupt a lot of business markets, you know? Let me ask you this for the struggling artists who may be watching. What advice would you give to somebody who's super talented that's having one of those moments that you have as an artist where things might not be moving? Right. Not to say that it's not good, it's just one of those things that you go through creatively trying to get your feet. I think that like most artists, you know, like we really don't think like business, you know?   Like maybe. Let me ask you this, because I got this friend as a dope-ass artist, but every time she finished a piece, she refused to sell it. What about, what advice would you give artists who are like that?  Well, it's a couple of things.  No, she won't let nobody get it. It's just a big-ass personal collection.   That's another shirt, man. Yeah. And so because of that, like. That things down, Junior? Yeah. Over there on Facebook, you can keep it up with what your dad is talking about. Hey, I try to tell him. If you're an artist, you have to let the world know. Yeah.  And so like with me, like with all of the art pieces that I've done over the years, like I don't feel emotionally connected to anything, you know? Like, but I feel emotionally connected to my ideas and how I came up with that. But after I finish the piece, matter of fact, after I think of the piece, a lot of times I feel like I won already. But then I got to go through the steps, which is the working part of the artist.   Like that's the work. But the idea is what I truly love.   No. Like, look, I wound it not. No, no, no. But you know what?  No, never that. But it's things that like that I've done that I didn't care if it ever sold or not. Because I really was, you know, I was digging it like that. But other than that, like I'm usually more excited to create the next new thing, you know?  Like I'm learning from this experience to take to the next experience. And so if all you're doing is looking at them same experiences all the time, it's hard to get new ideas. So when you get in your zone, what are you listening to? I listen to everything, man. I listen to. Well, tell me some of your new favorite niggas, the new rap niggas. Ah, man. Some of the younger niggas.  Earth Gang. OK. Shit, like from a rap standpoint.  You know, is he considered a young? OK, I like him. I got the craziest Travis Scott story. Yeah, we got to hear it. Yeah, I like Damani Harris a lot.  We got to get him on here. Let me tell you this Travis Scott story. So we had the BET Awards.   Right. He get ready to go on stage, right?  He was walking to the loading dock.   He posted me first.  I'm like, so what did they do? Nigga, they fixed it. I mean, not his leg, but they fixed it.  But I know he left right after that. That's crazy.  That's not good. It was like right in front of me, too.  His leg gave out. I was like, oh, somebody get this man. I'm not qualified to him, though. That's funny. But I think like young like is, I mean, is J. Cole considered young? Yeah. Okay, young. I mean, I love like him.  Really? And so that's who I mean, I'm like. You gotta give some of them other guys a chance to, some of them ones who are not necessarily great rappers. No, no, that's, that's the he puts me on. They put in some great energy. Yeah, yeah. No, yeah, so my son, I mean, he's in charge of curating those playlists for me. But he put me on like, what's the young guy out in California or Roddy Rich? Like he put me up on Roddy Rich. You like to sing and shit? Yeah, I mean, that's what I mean.  Roddy Rich Cole. Yeah. What I mean. You got this in the right way. Okay.  Rod wave. Put that down stick. He no right way. Yeah. Oh, he got it. Okay.  I don't know what he did to the next generation. Okay. The Elvis of this time. And I like, and I like Lil Baby. I think Lil Baby, yeah, I think Lil Baby's legit, you know. But some, some of it I just can't, I'm like, damn, am I getting, oh, I mean, I am.  I just like, I can't even. Yeah. We'll get too hard on the young dude.  We'll be too hard on the young dude. No, I'm not hard on him. You know, just like. I'm saying our generation, like the one, the generation right in front of the guys who are hot right now. Right.   Oh, that's crazy.  Like they came out when I was like a junior in high school, like in 86.  It was just like kind of like party raps. But we loved it.  So, I mean, yeah. But they cold. They cold. And so, you know, everything, everything goes in cycles. I just know like the musically what always moves me is the storyteller, you know?   Yeah, but so I'm, I'm just, I'm into that. I'm into the stories.  The coldest, young, new storyteller nigga is, well, he's no longer with us, but King Vaughn. Okay. That nigga gave you every detail. Okay. In the car with the radio on, listen to some music. Every song.  You know, just how I do it. I be like nigga, he give you every detail. That's funny, man. Yeah. I mean, love nip. I love nip. You know, I guess he's a young guy too. I love, I love his stuff. Love the way Nipsey rap. Nipsey rap, like you was with him earlier. Yeah.  You know, it's funny, man. Like the way that he raps, but I agree. The way that he raps, it reminds me, and this is way off to the left, but it's a book. I don't know if you've read it. It's called Relentless by Tim Grover. I will? But you got it. Yo, you will. It's called Relentless? Relentless by Tim Grover.  And Tim Grover, shit, he should be paying me for this advertiser, but Tim Grover was Michael, no, he was Michael Jordan's trainer when Mike was in the NBA. And then he started working with Kobe and doing Wade. But the book is written as if you're sitting right next to them on the bench and they just talking through shit, it's dope.  You know, it's a great book. You know, that's what I'm saying. But it reminds me of Nip when you read it. I mean, it's, you know, because of the quality that you said, it's like you write with them. You know, it's the same thing. Cause sometimes Nip, it just throw a bar in there and it kind of sound like he is talking to you. Damn, yo, it's my weed. I was like, okay. He talks with that, man. Bro, we got to collab on the project, man. Man, I would love to, man. I mean, I've been doing a few collaborations with different musicians and artists. Who did all the comedians though, bro.  That's what I'm saying. And then I'm the, I'm the type, like if we say we going to do it, we going to do it. We ain't going to meet 15 times on a car.  All right, send it to me. That's what I'm saying. It's like, I'm a hundred, I'm a hundred. Y'all hearing this right now. I'm a hundred percent in. So whatever it is, you want to try. You know why it's got to happen. Why? Cause your son is a fan of this show.  Right, right. Shit, you know. That's crazy. I got to, you know, I got to have him as my project manager then let him manage this process. Yeah. You know? But yeah, but we can, I mean, whatever it is, like. Not, don't think here. We got to hold another setup that we going with. Okay. You know what I'm saying? Yeah.  Y'all need a big dope box actually. For real? Mm-hmm. Like I make these dope boxes that are like a table.   My partner made it.  You did a great job. Tell me more about this dope box. Where can I see it? Can you just cite what people can hit you? Yeah, actually, yeah. So if you go to dlwarfield.com, everything is on there. You know, my Instagram, my Twitter, everything is just dlwarfield.com. I'm on it. I'm about to get on it right now because, you know, I'm building, me a man cave right now. Where at? At my house. Okay.  Give me some more detail. Man, so I started doing the dope series like in 2014.  So it was something that I've been saying since like 1981, well, really 1982. And so I started making these pieces. And the very first piece that I made was for a fundraiser for Chris Kelly's foundation. Okay. And so he had a- Chris Cross. Yeah, from Chris Cross.  They don't know. I'm telling you. Chris Cross. All right, yeah. Who's Chris Kelly? I'm coming back. Right. No, Chris Cross. Yep. So I got hit up from a young woman named Angela Watts that was curating his, an event, a fundraising event for his foundation. They asked me if I would put work in the show to help raise money. I think it was for either cancer or leukemia.  So, you know, I started doing these pieces that just said dope, you know?  Like maybe I should keep exploring it.  We have some that sit on the table. And then from that, in 2019, I did an event.  We created this whole series called Sitting on Dope. And so, after they did the photos, the plan was to do a follow-up art show of me making artwork from the photos. But, you know, COVID hit. So, I have all of these assets, you know, that eventually I will do a show called The Dope Show. You know, so I did collaborations with photographers.  So, at some point we're gonna do the show because everybody has to see all of this work and all of these collaborations together. And the thing that I like about that dope series, the best, and even when I first came up with the idea, I thought it could be a great mechanism to get artists to collaborate, you know? Because, I mean, I don't know if it's like that, like this in comedy, but a lot of times, I think artists really don't work together that much.  Unless it's a movie or like a sketch or something, I don't really see too much collaboration having. Okay, so, but as far as you writing your stand-up, is it just you or do you work with other people? Well, it works like this.  Your partner might give you the best tag. Don't say that, just throw this in there. Oh, you know what you should say. That's the way that comedians gotta laugh when you see us outside riffing or joining on somebody. And it's like, that's how we keep the flex, the muscles flex, you know what I mean? And so, like all of my best creative ideas that came from Joan, you know, like I mean, comedy, man, it has fueled so many ideas, the spontaneity of it, being able to think on your feet.   Like, all the laughs that I get in between jokes that I wrote, that's the real kind.  The joke I wrote is supposed to work. Right, right, nah, I feel you on that.   Just like the black dude on Robocop. I don't know if people remember that one scene on Robocop where all the cops was rolling out and they was hitting the corner real hard, about 20 police cars and it was a black dude selling hot dogs and he just looked up. He just looked up, he was like, they're going to kick somebody out. Classic most comedy I've ever seen.  Right, that was his one life. Yeah, man, yeah, so I did a, in 2019, I did a show at Wish Gallery, you know, smaller spot, but the whole thing was really targeted towards, you know, Gen Z, the millennials and it was called the Million Likes and it was based on America's, well, really the world's fascination of just like fame and celebrity and losing their soul.  So that's fun, man.  I mean, I have guys that I could be up at one o'clock in a month. I call, yo, Chris, what you think of, you know? So I promise- See, I'm that guy. I call everybody way too much. Yeah, but that's good.  I, when I was in art school, like I remember at the time when my teacher was telling me about the value of having a studio mate yet.  But when you, but when you get out and when you working and it's just you with that one light on at two o'clock in the morning, you kind of wish you had people to bounce things off of. Yeah. And people who know how to respectfully do it. Right. You know what I mean? Right. Some people like to take over your ideas.  Bitch, I ain't finished with it yet. Let me finish, please. Let me finish cooking. Yeah.  This what comedians always say when they bout to steal it. What? I got a joke like that. No, you don't.    Right. I was, I was better have a surgery.  You're the land motherfucker, man. Man, drop that social one more time. So we can stay in the room. Yeah, the social. D.L. Warfield. So just, you can find me everywhere, just putting that name up.   Well, look, bro. I know this is your introduction to the trap, but definitely don't let this be your last time. You see the type of, we putting our own business out, too.   And I stand in the other stuff, man. But man, as soon as I seen that, I was like, ah, that's a great piece. That's exactly what we're doing. That's a great piece. Cause that's not even our lane. We comedians, remember?  Hey, but you know what?  You know what I mean? I mean, I've done a lot of things, but I know I don't have all the answers. And so I think to me that is it, led, I mean, aided my longevity.    Well, there you have it, folks. That won't be your last time, but we're gonna be looking forward to getting a project standing here in the future. 85 South Show, Black Excellence. My man, D.L. Warfield.


All right, it is 11 and so we are going to get started. I wanted to let everybody know ahead of time as I'm starting the introductions that we are recording. You are welcome to have your camera on or off. Please make sure that your mic is muted and we will try to save a few minutes at the end for questions and answers and thank everybody for coming. So hello and welcome to this semester's ADHC talks. The ADHC talks are conversations with folks in the ADHC's community of scholars. Our talks happen on the first Friday of every month at 11 and are live streamed and recorded on Zoom and then archived on our website. These conversations are semi-structured and I've sent our guest a list of starter questions that we're going to build off of and we will allow the conversation to organically evolve from there. I'm Sarah Whitver. I'm the head of the Alabama Digital Humanities Center here at the University of Alabama Libraries. And today I am so excited to be joined by Dr. George Daniels. Dr. Daniels is an associate professor of journalism and creative media at the University of Alabama. This year he's also a pedagogy innovation fellow for the history makers. His research focuses on issues of diversity in the media workplace, which we'll be hearing more about today as he introduces us to his current work this semester where graduate students and undergraduate students in his race, gender and media class are utilizing the history makers digital archive to deepen our understanding of African-American experiences specifically as they relate to Alabama history and standing in the schoolhouse door, I believe. So without any further ado, we're gonna hop in to our interview questions. Welcome, Dr. Daniels. Sarah, thank you so much. It is exciting to participate in my very first ADHC talks. I've not spent a lot of time in the ADHC. So to be online, talking with you and others on campus just a great day. And also it's the first day of a brand new month. So welcome to September. Welcome to September. And it's a beautiful day. It's not 100 degrees. Yes, absolutely. Yet. But my thermometer is saying that it's 85 outside. So that's a really nice break. Dr. Daniels, can you tell us a little bit about your research and specifically I'm interested always in finding out what makes people feel nerdy and excited. So tell me about your research and specifically regarding your research, what makes you feel super nerdy and excited? Well, you mentioned diversity and media workplace and diversity is something that I have been connected to since I came out of the womb 53 years ago because I'm from an underrepresented racial group in this country called now we call ourselves African-Americans. And so from the very day I was born, I came into a world that still doesn't always treat people who are African-American the same as they treat others. And that is a challenge, but it is also an advantage because it means I have a story to tell. And not only have I had a story to tell, but there are like 3000 people like me who've told their stories and they're recorded in the history makers. And so in my research on media and in particular media messages and the people who make those messages, I'm always trying to capture stories and incorporate those stories. What would they be stories of the past, stories of the present or stories where we're gonna go on in the future? And so that is what I have been doing for many years. This is my 21st year at the University of Alabama. Think about that for a moment that when I started here, my students in my 9 a.m. journalistic principles and practices class Monday, Wednesday, Friday weren't born. You were not even born. Okay, but the history makers interviewing was already underway in 2003. It started in 1999. And so now I get to incorporate those stories in my research. Just a few weeks ago, I submitted a manuscript that focuses on the story of the managers, the leaders who created what's known as Black Radio. That is radio programming that is oriented toward, formatted for that reflects the experiences of those who are African-American. It's been around for many, many, many decades. I mean, radio as medium is now 100 years old. And we know that within those 100 years, there have been urban or black formatted programming for decades. But what we haven't heard is the experiences of the people who lead those radio stations. And so the piece I just finished really pulled in about 15 different oral histories and what we learned from those oral histories about the journey of those radio leaders. And in the process of doing that, I had to get deep into the words that were said, the transcriptions. I also, in some of my research, have found myself going through lots of file folders and transcriptions.  There's stuff in there, there's a study in there. That's the nerdy part of the research that I do. When you talk about getting excited about newspapers, old newspapers, old maybe 2020 or old maybe 1820, that's kind of a nerdy part of what I do as an emerging media historian, but also as one who's interested in, what can those stories tell us about where we are in 2023 and where we're going in 2024 and 2025? So that's an example of some of the research that I've been doing in 2023. Wonderful. I love that connection of like nerdy and old pack rat stuff. I think that's very like, we can all recognize that. Well, libraries have a good place to keep all that stuff. And fortunately, my house has become a library and my office has a lot, I have so many libraries and my friends and my family say, when are you gonna throw away some of that stuff? But I'm one that I run to it. And I wanna know what was the first edition of that book and what did we learn in the first edition that we didn't know in the second edition or third edition? Yeah, yeah. Just so much there. Yeah. And there's so much potential for us to collaborate with that stuff. So much. I have so many ideas. You can make digital artifacts from those items. That's what makes... Digitizing it. But then, you know, we've had so many conversations about like different types of mapping projects and not just like geography mapping, but like semantic mapping and like chronology mapping and doing all of these things because we're gonna get into this in just a minute, but you're not just teaching your students to access these primary source resources and the digital archive of the history makers, but you're having them actually create digital projects out of them in order to represent certain types of research that they're doing that they really wouldn't be able to build out outside of a digital environment. So that leads me back into my next question for you. And that is, what is your history with digital humanities? And sort of how did you arrive at this current project, specifically the class that you've built out that uses the history makers? Well, I would say my history with digital humanities is really short. I will say that outside of my teaching, I had a student just a couple of years ago now I'm working with the local YMCA, the one that is known as the Benjamin Barnes YMCA to capture the history of that Y because that is a Y that at one time was the only one that served African-Americans in Tuscaloosa. And at this moment, there is a great deal of excitement about a new Y that's going to open on the West side of Tuscaloosa. So years ago, we had a graduate student who was charged with gathering interviews with people who remember the early years of the Benjamin Barnes Y and to talk with the people who could explain the significance of this location in serving people in the city of Tuscaloosa. And so those interviews have been completed. However, the student who worked on those graduated. So we've got to get those interviews in a format that they can be accessed by people across Tuscaloosa. And so that is a project that we've been working in conjunction with the Digital Humanities Center, the library to present, we know what there is software that can do it, the website was, I think, established. And so we're now taking the interview clips and the information about Benjamin Barnes. And the product of that is going to complement what we learn about the new location when it opens, I think, in the next couple of years. But that's an example of a project that we value our relationship with the Digital Humanities Library to make happen. In the process of doing that project, I learned more about what we know as digital humanities. First of all, journalism is not in the humanities. However, I have worked in a partnership with an organization called the Alabama Humanities Alliance for several years because there's been a great deal of interest in the humanities community about the power of journalism to help us understand history, the power of journalism to help us connect people in a community. And so in those collaborations that we have had most recently, this particular project actually generated a podcast that was presented in 2022. So in the process of doing that, I learned more about the value of interdisciplinary work. And digital humanities really can't exist without bringing together people from different backgrounds. So this course that I teach, race, gender, and media has been around for a decade. But most of our work is focused on documentaries, videos, news messages, public relations campaigns, advertising, and what they tell us about race and what they tell us about gender. And we've had multiple textbooks with research articles to read and we look at current projects and that's great. But the ultimate outcome of the class is for students to make something. That when they get involved in making something, they see the intersection between race and gender and media. And so we've always had that as a culminating assignment. The exciting thing about fall 2023 is we're gonna make something with the largest archive of African American history, oral histories in the world. And we're gonna learn how to use new tools at the same time. And so that's how we got to where we are now. I'm a little scared because I haven't used these tools before. I've seen projects that were great, that were finished with them, but I'm scared that I'm gonna have to really grow in a big way to myself be able to show students how to make these tools work. So we're getting there, but I'm growing in the process. Yeah, I am too. I have not worked this closely with the class on their graded assignments in my capacity as digital humanities librarian. So, I started my position in October. So this is a learning experience for me as well. And it's different from the type of teaching that I've done in the past. So I'm very excited about it. And I'm really grateful for the opportunity for both of us to be able to grow and learn through this experience. Absolutely, absolutely. Can you tell us some more specifics about your project that your students are going to be working on and sort of what your goals are for assigning these projects and who is your audience for them? Sure, you know, I think it will be good to introduce the history makers because that'll be central to the assignments. And then I'll talk more about the assignments if that's okay. Perfect. Why don't we do that? I'm gonna share my screen and just tell you a little bit more about history makers because the history makers digital archive is what is the engine of the assignment this year. And we can do many things with media. Some students in the past have just made a PowerPoint, which is when I'm showing you right now. And it's not the product as much as it is the process that we want students to learn from. But when you put together information from different sources and share it with others and explain it to others, you're demonstrating your learning. But the history makers database is a new part of the University of Alabama library of databases. It really came to us just over a year ago. And it is something that I think is extremely valuable. But as the largest digital archive of African American oral histories, there is no place in the world that has 3,000 voices, hours and hours of video all in one place. And it is housed at the Library of Congress right next to the other archive that is a historic gathering of voices. And that is the WPA slave narratives. As long as you remember the works progress administration. Well, decades ago, there were efforts made to sit down with former enslaved Africans and ask them to tell their stories. Well, those recorded stories are housed in the same facility in suburban Washington DC as the 3,000 oral histories of African Americans who are history makers. And this initiative really began more than two decades ago by a woman based in Chicago, her name is Juliana Richardson. And she said, we must be intentional about capturing the stories from the 20th century that these African American heroes and sheroes are passing on and they have wisdom to share. And that wisdom needs to be recorded so that another generation can grow and develop from what they've shared. And so that archive, while the operation is headquartered in Chicago, it is housed at the Library of Congress. And all of those videos tell us so much. We're talking about 11,000 hours of content that you can search. We're also talking about interviews with not just people in media, but arts and business, fashion, astronauts, these interviews were conducted in hundreds of towns and cities, some even outside of the US. And this has been going on since 1999. In fact, the very first interview was with someone connected to a radio station where I worked as an undergraduate student at Howard University, where is today the Kathy Hughes School of Communications. Well, that school has not one, but two radio stations. The Kerry Current radio station was started because students back in the 1970s said, we're not getting enough time to be on air, to do our own thing. We wanna have our own radio station. We appreciate the fact that there is this commercial station, but we need a place to do our thing. Well, that initiator of that radio station, his name is Barry Mayo. He was the first interview in 1999. But then they're also in that same archive or more than 200 of the nation's top scientists. When we talk about the African-American women who are involved in science, many of them are also in the digital archive. The digital archive. For my purposes as a journalist and as a mass media researcher, I'm spending a lot of time with these nearly 400 media makers because they can tell us so much more about our journey when it comes to media. And that's how I was able to connect it to my race-gender media cause. You can access the history makers archive just by using your phone, your iPad. The beauty of this archive is it is accessible on any digital device. And even if you don't have access to the full archive, the general public can go to the general history makers website and see a couple of examples of clips from these interviews and a full biography of these 3000 history makers. Here at the University of Alabama, we are excited because we have access to the full archive. And that allows me to then engage my students in searching that archive for information related to the topics of my class. I'm teaching a class on race, gender and media. There are many, many subtopics that we're covering but I can get into the collection using some pre-established tags or topics whether they be historical or biographical, qualities of the interviewees or I can do it based on a person I really want to interview like Maya Angelou. And I find that person through a maker directory. And once I've watched the interview, I can determine do I want to use that particular clip. In this example on the slide, you see Asian-American because under the topic of race, gender and media, we're going to have a unit on Asian-Americans media. Well, the archive is African-Americans but you best believe these African-Americans were also connected to Asia, East Asia, South Asia. And so we talk about Asian-Americans, there are messages from these African-Americans about Asian-Americans. And so I can go through the clips, find ones that are related to what I'm teaching or what I'm researching as a student and now I have the ability to build a story. I can do searching with phrases, I can be searching with wildcards like the use of that asterisk. There are many, many ways I can search that archive. But that archive is what I am so excited to bring into the class, not only for the student project, which I mentioned earlier, but what we're talking about is reimagining what the syllabus looks like. You know, in 2023 and 2022, really since George Floyd in 2020, the race revolution, there's been an increased discussion about what do I do to diversify the readings and assignments in what I'm teaching. That process sometimes called scrubbing my syllabus is all about asking how inclusive is my content in my class? And so when I really began to use the digital archive, I learned not only is there information about Asian-Americans in that archive, but there's information about media management. There's information about Afro or Afro-centricity. There's information about radio and public relations and advertising that these stories of African-Americans are American stories. And that is what I can use to teach students about the core learning outcomes of my class. And so the readings that we're doing are supplemented with clips from the digital archives. And I'm not just pre-selecting all the clips for the students to watch. I am sending them to the archive to find clips about immigration, to find clips about politics and race, to find clips about sports and media, to find clips about minority ownership, to find clips about Alabama and integration and George Wallace and libraries and engineering. They are so many things that they can go and search for themselves and bring them to the class. So one of the assignments in the class is called you search. And that means you go to the archive, we give you a topic, we may even give you a reading and we say now from that reading, what are some things you can find more information in the archive? So what that does is it empowers the students to drive their own learning. It mandates active learning and it puts them in the driver's seat of what we're doing with our class periods and what we're learning. So it's a mixture of teaching them to use the archive, bring the content to the class, connect the archive to what they've read and then as we mentioned earlier, make something. When you can integrate all of those into one class, you have a wonderful thing. So that's a little bit about the class. I do wanna show you how to search the archive but let me stop and ask if you have another question. Actually, I wanted to talk a little bit about the artifacts that your students are getting ready to make because when we were talking about the partnership with the Digital Humanities Center, this is the part that I am really invested in and I'm very excited about because your students are going to do this searching and they're going to be researching in depth each of these media makers but then they're going to be building out digital objects. So I've pulled up the night lab tools that we're going to use with your students and I thought I would show them and then we can just sort of talk about sort of what your vision is for what these are going to look like as the artifacts that your students are creating and sort of what your aspirations are for they're creating these artifacts. So let me go ahead and share this with you. So you can see the night lab stuff now. Can you see that? Yeah. Yeah. All right. There it is. Now I can. All right. So your students are going to be pulling things out of the history makers digital archive and then they're going to be processing them intellectually and then mapping them using two different tools from Northwestern University's night labs, story maps and timeline which are fairly easy DH tools that I think are really like very impactful for students. And so I'm here on the night lab website so that I can show you which ones we're going to use but we've got the story map and we've got timeline right here. Those are the two that we have chosen. And so a story map is a geographic mapping tool where your students are going to be taking several data points and mapping them out and putting media graphics and building out information so that they're one of their graded assignments to create a story map using history makers. And then the other one is that we're going to use timeline and they're going to be mapping out in a timeline the history of one of the themes that they choose. So would you like to talk a little bit more about how the use of these tools are going to support your learning outcomes for your course? Store, as I mentioned earlier, one of the things we always shoot for is the students are not just consuming media and analyzing media, but they are able to make something. Yes. And so because the archive is rich with stories, rich with different locations, rich with anecdotes over decades, even some anecdotes over a short period of time, when you use the story map and the timeline, you are able to take that content and create something new. So we start with the archive itself. And if I'm going to share, that's okay, I'm going to go back to the history makers website itself. And you can get to this by going to the university libraries and looking at databases. And so every day when you log into history makers, you are able to see those interviewees who were born on that day.  And I have spent a lot of time late at night and more than once have seen these change because the day has changed from one day to the next. But the power in this is the different ways you're able to go to the maker directory. So let's say I wanted to look for people who have a connection to the crimson tide. I could use a maker directory to find someone who was African-American who might have connected to the crimson tide, maybe been a member of the football team. Or I could use the search and ask in the archive as a whole, what can we learn about crimson tide in the archive? I'm going to put that in quotes because I don't want words that are crimson and words that are tide, I want those to be together. When I do that, I come up with four stories. So there are four video clips from history makers talking about crimson tide. Now, let's see what they say about the crimson tide. I left Lafayette in 86. And I left there to go to be the executive officer on USS Blueback, SS 581. And Blueback was stationed in San Diego, California. We operated primarily up and down the Pacific coast and we lived in San Diego in those days. I guess the more notable thing. So the beauty of this is while you're listening, you can also read ahead because all of the archive, 100% of it is digitized and transcribed. Well, when you look ahead, you can find out that this word combination crimson tide has also been used as a title of a book. But it doesn't have anything to do with the Alabama crimson tide. So this is not what we're going to use, but we found it anyway. What about less paint? What does he have to say about the crimson tide? Another thing I remember about the South is that I saw the Klan once when we had moved from 16th Street to 22nd Street. And there was one night around, shortly around dusk, there was this long line of cars, you know, that drove by our neighborhood and someone said they were the Klan. They didn't stop or intimidate us. Someone said there wasn't a Klan. I mean, the adults whispered that it was a Klan. They didn't tell us we were chosen. They didn't tell us anything. They told us, I didn't know what the Klan was at that point, obviously. But I should say that Tuscaloosa has a reputation for being the home of the University of Alabama, crimson tide. We knew about them. We listened to their football games on the radio. There was a guy named Harry Gilmour. I remember him, he was a quarterback. I mean, we listened to their games. We couldn't go to their games. We could not attend their schools, the University of Alabama. We listened to the University of Crimson Tide games and I also remember Tuscaloosa was also famous. So in that comment, he speaks to his connection to the Crimson Tide. Now you might say, wait a minute, is he saying the Crimson Tide or the Puclos Klan? No, but in the midst of him talking and recalling his experience, he sidebar explained what the University of Alabama is known for. And so we can learn about Alabama Crimson Tide even in a topic that might be less than positive. The key thing is to recognize our stories, Sarah, are embedded in our recollections of different parts of our life. And this archive is replete with those stories and recollections and ones that are rich. All right, another reference to Crimson Tide. Not so much in this archive as I look at the transcripts, but here's the key. When I use a different search term like University of Alabama, do I come up with four? No, I come up with 1,294. So now our students and anyone watching this podcast can see there is much said about the University of Alabama in the archive. And so the key with this class and these assignments is to then develop a way to go through these interview clips and find a story, a narrative that you can then visually depict. First, you want to, as I showed on my presentation slide, call the clips and see what we can learn. So on this particular first page, there's this woman by the name of Sharon Malone. She's in that first line, she's in the third line, she's in the fourth line. Who is Sharon Malone? So the other thing that I wanted to ask which you just alluded to, can you tell me what family life was like? You know, because you're the baby and I didn't even realize so Vivian had already integrated. So how old were you when Vivian and? Four. Four, okay, so you really have no memory of that? No, my first memory of that, you know, and sometimes you incorporate other people's memories into your own, you know, I've heard the story so many times, but my first actual memory was when she graduated. Now that I remember, because that was 1965. So yeah, Vivian went to the University of Alabama June 11th, 1963. And can you just tell that story since we're here? And then I'll go to the family. Sure, sure. My sister Vivian went to, again, everybody in my family graduated high school through the public segregated high school, Central High. And when she graduated high school, there was, she had some little mix up about her transcript not getting out on time, whatever, and she wanted to apply to the University of Alabama had an extension school in Mobile, which was also not integrated. And my parents didn't have a lot of money. So, you know, the thought of going out of state or going someplace that she really could have gone wasn't really an option for her. So she decided, you know, she wanted to go someplace that was in state. And just around that time, and now we're talking, it's 1960 when she was applying to college, they were looking for someone to challenge the University of Alabama. And Vivian was one of probably hundreds of students who had applied to the University of Alabama since authoring Lucy integrated it really in 1956. After authoring Lucy was expelled from the University of Alabama for creating a riot because people tried to kill her the first couple of days she was there, they never admitted another black student. So they kept, you know, and people would apply. They would apply and they would, they'd intimidate the parents. They'd just summarily say no. And when they had students that they really couldn't dismiss on, you know, academic qualifications, if your parents held a mortgage, if your parents had a job, you know, somewhere they literally would investigate, they would go and have your employer, you know, say, hey, maybe that's not a good idea. And this went on for, you know, four or five years. So just in playing that part of the clip, I'm able to see lots of things that we can then grab and notes in terms of location, in terms of time. She mentioned 1956, she mentioned 1963, she mentioned the effort to apply to the school. What we are then able to do is to take that type of information and visually show it on a time well. We can go back to 1956 and when Arthurine Lucy attempted to desegregate the university. We can do another date when she was expelled. We can do another date for 1962 or three when Vivienne Malone applied based on her letter, based on the account of her sister. And then we could also show where did Arthurine Lucy come from versus where Vivienne Malone came from, Mobile versus whatever area of the state that those individuals are coming from. And the point is to be able to take the information in those clips and bring them together in a new product. Because the digital archive is a proprietary source, only those who have a license can access the videos. We can't extract the video clips themselves, but we can use quotations and we can use still pictures and we can bring those elements together and make something. So we could make something on Sharon Malone. Yes. And we could make something in a map that shows where she was coming from, where Tuscaloosa is. We can make something with the dates that I just mentioned and show over time what happens. And when you click on those dates, out pops a two or three sentence explanatory about what was going on at that time. And all of a sudden we can walk our viewer, our reader, our user through the desegregation of the University of Alabama. We can walk our reader or our viewer through unknown or a lesser known people who are connected to the University of Alabama. I mean, just from that search, the hundreds of clips, if we were to go back and look at who was speaking, we could take those screenshots or thumbnails and tie together people who are connected to the University of Alabama from around the country. And we can map their locations. So there are endless possibilities with what you can take the information from the archive and the tools and story map and story timeline, JS timeline and really create new things. So exciting. We are getting ready to wrap up and I want to make sure to tell everyone that the projects that we're talking about right now, your students are going to be presenting them in November here in person at Gorgas Library. And I believe it's going to be in Camille your room, which is on the second floor of Gorgas Library and it will be November 6th. That's correct. Monday, November 6th at five o'clock. Yeah, and anybody who's watching this talk is welcome to come if you have access to campus and please feel free to shoot me an email if you need any more information, but we will have some more announcements and information. So keep an eye on our calendar and our Instagram, the university's calendar, it will be on the university's calendar. And I'm just, I'm so excited to be able to see how your students take this amazing archive and start really focusing in on sort of exploring these stories with a little bit of a magnifying glass. Absolutely, absolutely. That's what we want them to be able to do is to see that in studying history, they gain a context that explains much of the present. You know, as we're doing this podcast today, we're in the 60th anniversary of a desegregation of the university. And it's one thing to just talk about what happened on June 11th, 1963. It's another thing when students can not only remind us of what happened, but bring in insights from those who are around at the time, who remember what was going at that time, who understand the implications of what was happening at that time, and can apply that to where we are now. In my 9 a.m. journalistic principles and practices class, the students there were talking, I believe, two days ago about Alabama one student said, well, that's where George Wallace said, segregation now, segregation forever. And I said, you are a journalism student. And so one of the things that we most have to do before we do anything else, we most have to be concerned about accuracy and in the interest of accuracy. The speech you're speaking of was not given here at the University of Alabama. That the speech you're speaking of was actually the inaugural address of Governor George Wallace. And our operations take place in Montgomery. But in fact, the governor stood in the schoolhouse door, but his speech, his presentation, his confrontation with the federal government yielded very different words. And what I want you to do is to be precise in understanding not only what was said, who was said, but where it was said. As students at the University of Alabama, we must be armed with the utmost level of accuracy in telling the story of our state. And that is part of Alabama history. So as we do the assignment, we'll talk about the speech in Montgomery at the time of the inauguration. We can even show a map that shows Montgomery and that shows Tuscaloosa. And when you type in, when you click on those, out pops a picture of the governor and a quote from what the governor had to say. That kind of learning that we want to encourage. One of the things that we also want to recognize is this is really, really important, not only for Alabama, but for our country when it comes to telling all of our country's history. Some people have argued that it's best to leave things in the past, especially things that might make us uncomfortable. And what I happen to believe is in your revelation about what you didn't know about the past, you can have a better understanding of the present. And that some topics will be uncomfortable, but the way we develop our level of comfort is in our confidence in understanding what factually happened and what didn't happen. And so as that political debate continues, if our students can get into this archive and hear the real stories like we heard today, hear the discussion about the Crimson Tide and the same answer as someone talking about the Ku Klux Klan, hear from a relative who was a four or five-year-old child who has been educated about what happened in 1963 and can talk about it today, hear it in her own words, the learning opportunities are enormous. Yeah, and your student's ability to visualize those through these tools is really going to underline that idea of accuracy and contextualization in a way that perhaps just saying it out loud perhaps doesn't, because when we see points on a map or we see points on a timeline, we are able to incorporate that into our understanding and our knowledge and be able to assimilate that and differentiate those events much differently than if we were just reading through a narrative. And I think that that is one of the amazing beauties of your students being able to communicate out these stories that they're listening to and reading through these oral history interviews. They're able to process them in a way that is a lot more impactful for their audience, right? Absolutely. So, George, this has been so much fun talking to you about this. I enjoyed it as well. Yeah. One of the things we're trying to do as Pedagogy Innovation Fellows is get the word out about history makers, because many of our campuses haven't had the archive very long and we just want every opportunity we can to share the archive, but also to communicate to our colleagues across campus that you can make this work in your class. It doesn't have to be a media class. It doesn't have to be a history class, but there are other ways to use it in a reporting class where I'm teaching students how to gather information, how to interview. I'm having to use the archive to watch the history makers' interviews as the interviewers are asking the questions. Yes, I just thought it was so nice as a model. It's a really nice model. Well, you and I have discussed the potential of the University Libraries and the Alabama Digital Humanities Center supporting some sort of professional development opportunity here on campus. Absolutely. The history makers to campus for our colleagues to be able to get more experience with them. And I'm really hoping to be able to make that happen as well. Absolutely. All right. I think we need to go ahead and wrap up, but this has been such a lovely conversation and I appreciate you so much. And I'm looking forward to meeting your students next week for our first class visit that I'm having. And I really thank you for your generosity of time and spending the time talking to me today and for the opportunity to work with you with this class. Thank you for supporting us. We so value our partnership with the University Libraries. Over the years, I have always had positive experiences when I connect a library faculty member with the work that I'm doing and we fight for hall and communication. And that's where the magic happens. When we get together and the students learn, hey, there's more to what we do than just what happens in journalism or communication. We can use the resources of our libraries. It takes it to a whole other level. So that's the beauty of this. And I'm looking forward to what the students are gonna produce this semester. Yeah. Well, thank you so much to everyone who has joined us live or is watching this sometime soon before next month. I believe that next month, our October guest is going to be Rebecca Salser and she's going to be talking about the Dancing Digital Archive project that she's working on. So I'm looking forward to that. And George, we will be processing this video and getting it up on our website as soon as we can manage that. The thing that takes a little tiny bit of time is that we should take the transcript and turn it into captions. But I believe that we've been spending some time working on that workflow to make sure that we meet all of the accessibility needs of our viewers. So we will get that done and get this up. I will email you a link as soon as it's up. I'm hoping it'll be up in the next week or so. So thank you so much. And you have a wonderful rest of your day.