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Speaker 1: There Are No Girls on the Internet. Will be back

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Speaker 1: with a new season soon, but until then and an

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Speaker 1: honor of homecoming, enjoy this special mini celebration of women

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Speaker 1: using technology to make change on the campuses of historically

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Speaker 1: black colleges. We'll be back for our regular season soon.

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Speaker 1: There Are No Girls on the Internet. As a production

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Speaker 1: of I Heart Radio and Unbossed Creative. I'm Bridget Todd,

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Speaker 1: and this is There Are No Girls on the Internet.

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Speaker 1: The Internet is ephemeral. How can you archive something that

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Speaker 1: happened on social media or something that existed completely online.

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Speaker 1: That's actually one of the reasons why I created this

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Speaker 1: very podcast. I saw all the ways that underrepresented communities

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Speaker 1: contribute to the Internet and technology, but I saw those

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Speaker 1: same contributions being overlooked or forgotten. I didn't want them

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Speaker 1: to fade away. Audio was a bit like that too.

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Speaker 1: Tape aids, hard drives crash and pieces get lost forever.

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Speaker 1: In the age of searching text, audio is that much

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Speaker 1: harder to hold onto. But there's something magical about the

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Speaker 1: medium of audio. Hearing someone tell their stories in their

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Speaker 1: own words just hits differently. That's why it's so important

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Speaker 1: that we be intentional about whose voices we preserve. Joscelyn

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Speaker 1: Robinson is an audio producer and preservationist, and she has

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Speaker 1: long standing roots in the museum community. What if she

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Speaker 1: thought we could survey the audio archives of the voices

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Speaker 1: and stories housed at radio stations on the campuses of

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Speaker 1: historically black colleges and universities or HBCUs. So in her

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Speaker 1: late fifties, she quitted a job, went back to school,

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Speaker 1: and made it her mission. Jocelyn served as the very

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Speaker 1: first archives fellow at Dayton, Ohio's only national public radio station,

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Speaker 1: w y s O, where she produced Rediscovered Radio, a

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Speaker 1: series built around w y s o's civil rights era audio. Now,

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Speaker 1: Johnston works with HBCUs to start a dialogue around preserving

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Speaker 1: the audio at their radio stations. Her work, it's grounded

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Speaker 1: and making sure we preserve our stories and in doing

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Speaker 1: so that we preserve the magic of audio. So how

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Speaker 1: did you get into your work preserving audio at historically

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Speaker 1: black colleges? In two thousand thirteen, I took a an

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Speaker 1: audio production course at the local public radio station, and

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Speaker 1: I just got bit by the bug. And by two

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Speaker 1: thousand and fifteen I had quit my day job and

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Speaker 1: was producing part time and teaching part time, and UM

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Speaker 1: I had always in the back of my mind had

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Speaker 1: this idea that UM, I you know, would love the

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Speaker 1: thought of doing a long form audio at HBCUs because

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Speaker 1: it's not something that's typically taught in mass communications courses

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Speaker 1: and programs and at when I was working initially, UM,

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Speaker 1: I used some archival audio from w y s SO

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Speaker 1: that is mainly from the sixties and seventies into the eighties, UM,

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Speaker 1: and so it reflected the civil rights era and also

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Speaker 1: the movement into black nationalism, the peace movement, anti war

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Speaker 1: movement of the seventies, and I just became enamored of

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Speaker 1: of um historical materials kind of related to my background

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Speaker 1: in the museum community. There's around a hundred roughly HBCUs

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Speaker 1: it in existence today and a third of them just

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Speaker 1: about have radio stations. And I thought, you know, if

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Speaker 1: w y s O has this kind of material, UM

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Speaker 1: it was also a college radio station initially at Antioch

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Speaker 1: College in Yellow Springs. If that college radio station has

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Speaker 1: such incredible material, and I mean it's incredible material and

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Speaker 1: the the voices of people who were significant from those

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Speaker 1: periods are represented there as well as the history of

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Speaker 1: the local area and the college and the state, and

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Speaker 1: you know, what was going on in the world. But

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Speaker 1: I thought, HBCUs, being the crucible of the civil rights

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Speaker 1: movement in so many ways, must have some materials too,

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Speaker 1: and so I had I had thought about it. And

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Speaker 1: when I quit my day job, I went back to

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Speaker 1: school and got grad certificate in public history with a

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Speaker 1: with a focus on archives, so that I would be

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Speaker 1: knowledgeable about the archival process and about the materials and

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Speaker 1: and and their preservation and UM. In the course of

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Speaker 1: doing that, I kind of fell into a preservation activity

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Speaker 1: that was UM UH initiated at the Library of Congress

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Speaker 1: UM the Radio Preservation Task Force and UH, and that

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Speaker 1: just opened up this whole world of people who were

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Speaker 1: seeking out and figuring out how to preserve and use

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Speaker 1: these materials all over the world. So I was aware

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Speaker 1: of this this world, but I became UM kind of

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Speaker 1: immersed in it, and I became a member of the

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Speaker 1: UM African American and Civil Rights Radio Caucus of the

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Speaker 1: Radio Preservation Task Force and went to conferences and did

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Speaker 1: presentations with this idea that, UM, wouldn't it be great

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Speaker 1: if we could survey the materials at historically black colleges

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Speaker 1: and universities, and someday, if I can find the funding

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Speaker 1: for it, that's what I'm gonna do. Justin got a

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Speaker 1: grant from the National Recording Preservation Foundation to s h

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Speaker 1: b c U s about what kind of audio were

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Speaker 1: housed at their campus radio stations. How tragic is it

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Speaker 1: to think that an audio recording of Rosa parks could

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Speaker 1: be collecting dust and some campus basement somewhere. Well, Jostin

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Speaker 1: wanted to sure these radio stations had access to the

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Speaker 1: ability to archive their audio. What I found was that

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Speaker 1: UM radio stations at most colleges are not necessarily included

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Speaker 1: in the institutional records management or preservation efforts that they

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Speaker 1: that the college normally takes takes on, and that it

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Speaker 1: was an opportunity to connect the radio stations with the

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Speaker 1: institutional archives on their campuses and at least get a

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Speaker 1: dialogue going, if not get the institutional archives to take

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Speaker 1: on the task of preserving the audio audio material. So

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Speaker 1: what was it exactly about HBCUs. Why did you feel

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Speaker 1: like it was so important to be doing that work

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Speaker 1: on HBCU campuses Having sort of an intimate understanding of

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Speaker 1: the challenges that are faced by HBCUs and also their

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Speaker 1: importance to UM, the American Higher Education UM landscape, but

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Speaker 1: UH and to our communities. And there were times when

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Speaker 1: you know, teachers, doctors, UM, lawyers, UM engineers were trained

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Speaker 1: primarily at HBCUs and UM. And that's one of the

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Speaker 1: things that distinguishes historically black college from a predominantly white institution.

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Speaker 1: So UM so to me, they are precious. They are

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Speaker 1: sacred ground and UM and they are in their communities

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Speaker 1: UM and you know here in Ohio world bit isolated.

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Speaker 1: But as I got to know the other um uh,

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Speaker 1: my my counterparts at other campuses and got to know

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Speaker 1: their their their institutions, you know, and realizing how important

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Speaker 1: they are to UM black people in this country and

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Speaker 1: particularly in the Southeast, they are hallowed ground and and

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Speaker 1: anything that took place there is is worthy of of

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Speaker 1: of not just preservation but also um uh honoring to

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Speaker 1: to to look to it as a as an example

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Speaker 1: of resilience. I don't know that we can even imagine, UM,

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Speaker 1: those of us who do not live in UM the

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Speaker 1: former UM, you know, Confederate States, what life was like

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Speaker 1: and and how our institutions UM, our churches are our communities,

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Speaker 1: but but especially centered around UM are Historically black campuses

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Speaker 1: were refuges, uh, places of uh you know, where the

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Speaker 1: intellect and ingenuity and um creativity of black people could

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Speaker 1: um shine and thrive. And um you know that that's

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Speaker 1: an important um legacy to honor. And with audio, it's

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Speaker 1: such an intimate and um uh you know, emotionally charged

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Speaker 1: UM medium. And I think that um you know finding materials,

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Speaker 1: which is very difficult. Radio is ephemeral and um and

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Speaker 1: not a lot of recordings were made. At times, making

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Speaker 1: recordings was expensive. You know, a quarter inch tape was expensive.

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Speaker 1: The playback equipment was was you know expensive, and and

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Speaker 1: and maybe a few and far between at times that changed,

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Speaker 1: you know, when the when cassettes became um more prominent,

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Speaker 1: but but certainly when it was real to real you know,

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Speaker 1: that's a big bulky machine with a big bulky tape.

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Speaker 1: So um, you know, to try to find anything and

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Speaker 1: and also you know the thing about radio stations is

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Speaker 1: that they often change format when when the license changes hands.

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Speaker 1: And what happens is whatever was happening before of gets

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Speaker 1: swept up and thrown out into the dumpster. So to

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Speaker 1: make sure that that anything that might be of significance

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Speaker 1: at an HBC Radio station, is you know, found and

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Speaker 1: preserved is kind of It's a mission for sure. Audio

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Speaker 1: is a special medium. That intimacy is one reason why

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Speaker 1: he became a podcaster in the first place. Hearing someone

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Speaker 1: tell their story it's just different than reading it in print.

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Speaker 1: Through her work, Johnston preserves this intimate magic for future generations.

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Speaker 1: I often wonder if listening if if people listening to

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Speaker 1: two audio producers talk about audio production, is is like boring?

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Speaker 1: But I have to say, when you talked about the

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Speaker 1: intimacy of the medium of audio, like that's what made

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Speaker 1: me fall in love with it. And I'll never forget

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Speaker 1: um my grandmother. She she's now passed away. She is

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Speaker 1: from Charlotte, North Carolina, and she is a you know,

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Speaker 1: uh black Southern matriarch of a big Southern family. And

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Speaker 1: at the University of North Carolina reached out to her

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Speaker 1: to do this archival project where she sat down and

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Speaker 1: and talked about her life with a researcher. And I

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Speaker 1: had read clips of this before and I really enjoyed

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Speaker 1: reading it. But one day I found the audio of

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Speaker 1: her her telling me, of her telling these stories, and

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Speaker 1: it something about hearing her voice was so different. You know,

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Speaker 1: I had I had read, I had read what she

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Speaker 1: had said before, but hearing her say it in her

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Speaker 1: own words. If I've always felt that there's something intimate

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Speaker 1: and magical about the medium of audio, just you know,

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Speaker 1: it's so intimate, it's in your ears, and it just

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Speaker 1: can hit your can hit you in a different way

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Speaker 1: I feel, And I don't know. I guess I've always

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Speaker 1: when people ask, you know, why audio, I never really

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Speaker 1: have a good answer, but I think it just always

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Speaker 1: comes back to that intimacy. Well, one of the things

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Speaker 1: that creates that intimacy, if you think about it, is

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Speaker 1: that if you were thinking of other media, and we're

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Speaker 1: thinking of especially a visual media, you what you see

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Speaker 1: is what is in the frame. What you see is

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Speaker 1: what the person who made that image or whether it's

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Speaker 1: moving or not. But what the person you're seeing, what

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Speaker 1: the person that made that image um chose for you

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Speaker 1: to see, what they curated for your eyes. And with audio,

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Speaker 1: I tell people you can't use photoshop on audio. You cannot,

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Speaker 1: you cannot change what you what you hear. Microphones are dumb,

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Speaker 1: they're not smart. They look up everything, so what you

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Speaker 1: hear is what was heard. You hear all of it.

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Speaker 1: You hear the train whistle in the background, you hear

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Speaker 1: the sirens, you hear the birds singing or the crickets chirping.

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Speaker 1: And so not only do you hear all of that,

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Speaker 1: you hear the emotion in someone's voice. You hear them

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Speaker 1: take a breath and think about what it is they're

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Speaker 1: about to say. You hear them cho woke up. You

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Speaker 1: hear them laugh. You know. So it's and and you

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Speaker 1: hear it all um without a filter, the same way

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Speaker 1: that that you know that with the visual um that

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Speaker 1: image is curated so um. So I think that that's

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Speaker 1: what creates that sense of of of total experience, even

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Speaker 1: though um, it's just coming through your ears. And there's

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Speaker 1: something about that vibration that you know, it's on a

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Speaker 1: vibrational level. You know that even in a recording, even

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Speaker 1: in effect simile, you can, um, you can feel that vibration.

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Speaker 1: When I first got into podcasting, I was very self

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Speaker 1: conscious because I was very new at it, and so

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Speaker 1: I would try to edit my audio to make it

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Speaker 1: seem as though, you know, I was just the most

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Speaker 1: well spoken person. I never you know, used a filler word.

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Speaker 1: I never like stopped and restarted I never had to

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Speaker 1: catch my breath. I never you know, cleared my throat

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Speaker 1: while I was thinking. And it's funny because those are

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Speaker 1: all the little markers of somebody figuring something out in

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Speaker 1: real time. And that's actually why you listen to audio,

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Speaker 1: because you get these unfiltered, unedited moments that don't you think,

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Speaker 1: aren't photoshops like you said. And I think the more

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Speaker 1: that I when I realized that the reason why I

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Speaker 1: like audio is because you get to hear the crickets chirping,

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Speaker 1: and then this and then that, and allowing that those

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Speaker 1: little nuances to to stay in my own audio, it

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Speaker 1: really just I feel like it all clicks from me.

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Speaker 1: It really it really helped me in the in the

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Speaker 1: craft of audio storytelling. M hmm. It's I think what

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Speaker 1: it does is it it helps us stay in touch

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Speaker 1: with our humanity. You know it even if it's even

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Speaker 1: if something we're listening to is is highly um uh

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Speaker 1: produced um, you still get that that sense that that uh,

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Speaker 1: you know, you're you're hearing it. It said, hearing is

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Speaker 1: and and and listening are active of you know, um

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Speaker 1: sorts of things. It's that you're not passive. You have

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Speaker 1: to you have to pay attention. You know, you have

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Speaker 1: to you you have to let your brain absorb, you know,

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Speaker 1: what's being heard and and make sense out of it. So,

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Speaker 1: I mean, I think there's a humanness to to um

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Speaker 1: uh audio work that that really, um you know, kind

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Speaker 1: of transcends uh the fact that we are using these

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Speaker 1: highly technical and technological tools to to um preserve it

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Speaker 1: and um disseminate it more. After this quick break, let's

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Speaker 1: get right back to it. So do you have a

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Speaker 1: maybe do you have an example of like a favorite

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Speaker 1: piece of audio that you have found in your work

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Speaker 1: or one that stuff with you. Um. Wow, that be

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Speaker 1: a big question. That's a big question. You know, I

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Speaker 1: spend so much time um listening that um I listened

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Speaker 1: to a lot of things and um you know, I

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Speaker 1: think that's what I love about the archival audio actually

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Speaker 1: is that it transports me. You know, it takes me

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Speaker 1: back to a place there is um a I think

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Speaker 1: it was probably a Pacifica produced um interview with Maya

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Speaker 1: Angelo that just you know still knocks my soft socks

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Speaker 1: off and it's it's it was part of wisos collection

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Speaker 1: because back in the day, um uh folks used to

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Speaker 1: swap tape. So it was a tape that ended up

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Speaker 1: somehow in w y s O s Um tape library,

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Speaker 1: but was produced. Um, I believe at w b A

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Speaker 1: if I'm not mistaken. So it was it was um

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Speaker 1: you know, from from years past. And she sings on it. Um.

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Speaker 1: She she not only speaks her poetry, but she also

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Speaker 1: sings a spiritual this is uprising up next the late

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Speaker 1: great Maya Angelou. It's in the reach of my arms,

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Speaker 1: the span of my hips, the stid of my step,

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Speaker 1: the time of my lips. Because I'm a woman, phenomenally

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Speaker 1: phenomenal woman. That's me. If you listen to it again. Anyways,

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Speaker 1: we were just saying you hear everything in her voice.

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Speaker 1: You hear her life in her voice, you hear the

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Speaker 1: black experience in her voice. It's just um. Yes, it's transportive.

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Speaker 1: It's it's transcendent, so transformative. Um. Yeah, that's that's one

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Speaker 1: of my favorite pieces of audio for sure. According to

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Speaker 1: the Women's Audio Mission, a nonprofit that trains women engineers

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Speaker 1: and producers, less than five percent of the people creating

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Speaker 1: the sounds music in media that make up the daily

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Speaker 1: soundtrack of our lives, our women or gender not conforming folks,

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Speaker 1: and as a podcaster, I know that our audio landscape

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Speaker 1: definitely excused white and mail, but it also tends to

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Speaker 1: skew young, a dynamic that Jocelyn, who quit her day

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Speaker 1: job to train as an audio producer in her late

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Speaker 1: fifties challenges. So what was it like getting involved in

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Speaker 1: audio production as a woman in her late fifties. What

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Speaker 1: I felt like I was bringing to the table was

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Speaker 1: a you know, a lifetime of experience. So the technical

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Speaker 1: part of it was not a big stretch for me. Um.

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Speaker 1: And in fact, you know, the first time I sat

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Speaker 1: down with Hindenburg and started to um edit my own UM,

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Speaker 1: you know, I was, I was in the zone. I

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Speaker 1: was in the flow all I mean almost immediately. So, UM,

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Speaker 1: I'm a musician, you know, I I've I've done other

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Speaker 1: creative pursuits in my life and um and it was,

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Speaker 1: you know, I recognized pretty quickly that I was doing

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Speaker 1: something that was feeling my heart and soul in ways

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Speaker 1: that other things I had been doing UM was not

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Speaker 1: so um you know. So, so the that part of

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Speaker 1: it came pretty easily. And then because I was working

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Speaker 1: in some community based um you know production um uh

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Speaker 1: areas it wasn't really UM an issue so much that

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Speaker 1: here was this person who in her fifties just you know,

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Speaker 1: just starting out. And I had a lot of success

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Speaker 1: pretty early on because I was doing work that I knew.

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Speaker 1: I had a series called Rediscovered Radio in which I

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Speaker 1: took the archival audio at w y s O and

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Speaker 1: UM used it to uh make short pieces, UM, short

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Speaker 1: documentary pieces that aired UM on the radio station, you

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Speaker 1: know during the UM drivetime shows, so during morning edition

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Speaker 1: and all things considered. So I learned to work with

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Speaker 1: the with the NPR clock almost right away. UM. I

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Speaker 1: was doing interviews as well as UM contextualizing the historical

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Speaker 1: audio and putting it all together. And UM that the

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Speaker 1: first I did two seasons of it, so UM you know,

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Speaker 1: I've done dozens and dozens of them. So I got

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Speaker 1: to work at the craft, UM like hands on, UM

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Speaker 1: already producing for air material that UM you know, UH

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Speaker 1: was UM you know, the kind of production work that

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Speaker 1: I think you don't necessarily get to do. Even as

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Speaker 1: a young person I was. I was the producer of

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Speaker 1: of of the series. I was able to take the

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Speaker 1: maturity that I had from the other parts of my life.

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Speaker 1: Plus the fact that you know, I've been this high

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Speaker 1: level administrator and I know how to get things done. Um,

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Speaker 1: so I didn't have a lot of of um down

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Speaker 1: time or you know, when I jumped into it, I

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Speaker 1: really got to jump into it. So so there was that.

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Speaker 1: But I have seen what I would consider agesm in

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Speaker 1: the in the field, and in fact, that's a conversation

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Speaker 1: that we're having at AIR right now about what that

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Speaker 1: looks like. And um, not only for people newly entering

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Speaker 1: the field as in ah uh a pivot you know,

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Speaker 1: in their in their careers, but but people who have

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Speaker 1: been in the business for many, many many years and

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Speaker 1: have weathered all its changes as as has progressed, and

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Speaker 1: are finding themselves now getting boxed out or or overlooked

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Speaker 1: for something younger, newer, fresher kinds of things. So now

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Speaker 1: I think, because I work with historical materials and I

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Speaker 1: have a certain amount of um firsthand knowledge some of

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Speaker 1: the events and and so forth. UM, you know, it

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Speaker 1: has served me really well. But you know, I also

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Speaker 1: have found that I need to push my um uh,

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Speaker 1: my skill set and my producing chops. I have to

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Speaker 1: just keep pushing it beyond that so that I'm doing

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Speaker 1: work that is um, um you know topical and um

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Speaker 1: you know again new and fresh and and and you know,

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Speaker 1: keeping not just myself but listeners um engaged with what's

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Speaker 1: going on in the world. So um, yeah, I've just

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Speaker 1: been really fortunate. It was all kind of a perfect

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Speaker 1: storm of goodness, the best kind of storm. Yeah, you

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Speaker 1: talked about agism and how I don't know, I guess

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Speaker 1: I feel like we have this very pervasive culture where

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Speaker 1: we're obsessed with thirty under thirty lists and people who

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Speaker 1: are sort of young and successful, and that's a that's

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Speaker 1: a great story, but it does just it does discount

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Speaker 1: the wisdom and the skill set and the experience that

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Speaker 1: comes with age. And I feel like we are so

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Speaker 1: obsessed with youth that we can overlook that. Yeah, if

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Speaker 1: you if you came to audio production in your fifties,

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Speaker 1: that would mean that you would come with an entire

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Speaker 1: skill set, you know of and experience, like like many

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Speaker 1: years of experience. And I think that because we're obsessed

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Speaker 1: with youth, we don't allow for that to be as

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Speaker 1: meaningful and as good of a thing as it really

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Speaker 1: truly is, oh, no doubt, you know. And and a

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Speaker 1: lot of that is very cultural and you know, I

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Speaker 1: mean it. One of the things that I have been

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Speaker 1: working with lately has been community based storytelling projects and UM,

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Speaker 1: and much of that is focused on gathering and preserving

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Speaker 1: and sharing the stories of elders and going back to UM,

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Speaker 1: you know, a cultural mindset in which the wisdom of

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Speaker 1: elders is held in high esteem and UM. And that

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Speaker 1: is you know, very much a a traditional UM. Traditional

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Speaker 1: communities hold elders and high esteem and UM. You know,

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Speaker 1: trying to move back towards that I think is very important.

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Speaker 1: But you know, work with oral histories and UM with UH,

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Speaker 1: you know, interpreting some of the say, for instance, interpreting

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Speaker 1: some of the events that some of the historical audio

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Speaker 1: might UM uh be representing. Is you know who better

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Speaker 1: than someone who was actually there and who experienced it,

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Speaker 1: you know, in their own lifetime. So you know, really

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Speaker 1: honoring the voices and the stories of elders as part

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Speaker 1: of this work and finding that you know, many of

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Speaker 1: those elders are quite capable of of UM, you know,

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Speaker 1: producing and being UM you know, active participants in that

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Speaker 1: story gathering and that storytelling. So UM you know, that's

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Speaker 1: I think really important work. But but but truly it's

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Speaker 1: it's it's very it's a it's a it's a cultural

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Speaker 1: thing in the US. For sure. It's not quite as

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Speaker 1: um I think, uh, you know intense in other places,

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Speaker 1: is it as it really is here? It definitely is

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Speaker 1: a cult of youth in the US. And UM, you know,

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Speaker 1: one of my favorite things to tell people is like,

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Speaker 1: there's this old Richard Prior bit where the junkie and

386
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Speaker 1: the wino are talking and Junkie says something him to

387
00:26:03,200 --> 00:26:06,600
Speaker 1: something to him of the effect it's like, you old fool,

388
00:26:07,320 --> 00:26:09,960
Speaker 1: and the win says, boy, you don't get to be

389
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Speaker 1: old being no fool. I love that. I love that

390
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Speaker 1: I have to I have to tell you. I mean,

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Speaker 1: I hope this isn't like too much information, but um,

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Speaker 1: I'm speaking to you today from my brother's condo in Richmond, Virginia,

393
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Speaker 1: and I live in Washington, d C. And um, the

394
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Speaker 1: reason why I'm here is because our father UM had

395
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Speaker 1: had an unexpected health emergency. So I'm here so that

396
00:26:34,119 --> 00:26:36,119
Speaker 1: I can take care of him while he's been in

397
00:26:36,160 --> 00:26:40,320
Speaker 1: the hospital this week, and he's he's on the upswing.

398
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Speaker 1: He's doing much better. But when I brought him in

399
00:26:43,760 --> 00:26:47,520
Speaker 1: on when he came to the hospital on um Monday night,

400
00:26:48,080 --> 00:26:50,600
Speaker 1: and he was not doing so well. All I could

401
00:26:50,640 --> 00:26:53,440
Speaker 1: think was that I wish I had brought my recorder

402
00:26:53,520 --> 00:26:55,320
Speaker 1: so that we could have a conversation, so that I

403
00:26:55,320 --> 00:26:59,320
Speaker 1: could remember, I hear his stories and get them on audio.

404
00:26:59,400 --> 00:27:01,760
Speaker 1: Like that was all I can think was, God, I

405
00:27:01,760 --> 00:27:03,480
Speaker 1: wish I had my recorder. God, I wish I had

406
00:27:03,480 --> 00:27:06,240
Speaker 1: my recorder so that we could have we could, you know,

407
00:27:06,960 --> 00:27:12,199
Speaker 1: have a conversation because often worry that, you know, we

408
00:27:12,280 --> 00:27:14,320
Speaker 1: all love to have our elders in our lives and

409
00:27:14,359 --> 00:27:18,640
Speaker 1: then when they pass on, we would like it would

410
00:27:18,640 --> 00:27:22,000
Speaker 1: be How meaningful would it be to be able to

411
00:27:22,080 --> 00:27:25,840
Speaker 1: have an archival of those stories in their own words?

412
00:27:25,840 --> 00:27:28,120
Speaker 1: That was all I can think, was like, I hope

413
00:27:28,160 --> 00:27:32,080
Speaker 1: I haven't missed my chance to to get his stories

414
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Speaker 1: on audio. That was like the number one thing in

415
00:27:34,640 --> 00:27:39,280
Speaker 1: my mind. Never leave home without it. That's what I'm learning.

416
00:27:40,240 --> 00:27:43,720
Speaker 1: That's a that's a producer trick, I mean. And and

417
00:27:43,800 --> 00:27:46,520
Speaker 1: sometimes I'm like, why am I hauling this stuff around?

418
00:27:46,560 --> 00:27:49,000
Speaker 1: I don't use it. It's here, you know, But but

419
00:27:49,160 --> 00:27:51,280
Speaker 1: I have a bag that I love that has my

420
00:27:51,280 --> 00:27:54,640
Speaker 1: my um my kid in it, and I just make

421
00:27:54,680 --> 00:27:58,119
Speaker 1: sure that if I'm going to be someplace where I

422
00:27:58,200 --> 00:28:01,840
Speaker 1: don't know what's going on. This necessarily Um that it's

423
00:28:01,880 --> 00:28:04,919
Speaker 1: in the car, you know, I just it's I just

424
00:28:04,960 --> 00:28:07,719
Speaker 1: take it with me everywhere. But the other thing is,

425
00:28:07,760 --> 00:28:12,439
Speaker 1: you know, um, you have a recorder probably you know,

426
00:28:13,119 --> 00:28:18,880
Speaker 1: in your back pocket and done, um, done right, you

427
00:28:18,920 --> 00:28:25,560
Speaker 1: can capture some pretty decent audio with a smartphone and um,

428
00:28:25,640 --> 00:28:29,680
Speaker 1: so in a pinch, you've got something right there that

429
00:28:29,680 --> 00:28:33,520
Speaker 1: that you could use. And um, you know, story Corps

430
00:28:33,600 --> 00:28:37,760
Speaker 1: has done a marvelous job of of making it possible,

431
00:28:37,840 --> 00:28:44,040
Speaker 1: you know, democratizing the whole notion of of of preserving stories.

432
00:28:44,200 --> 00:28:51,400
Speaker 1: And um there there interface for recording is really really good.

433
00:28:51,560 --> 00:28:54,080
Speaker 1: But you can get a pretty decent recording if you

434
00:28:54,080 --> 00:28:58,840
Speaker 1: have an iPhone with um um voice Memo. So voice

435
00:28:58,840 --> 00:29:02,080
Speaker 1: Memos is a is a you know, perfectly good recorder.

436
00:29:06,640 --> 00:29:09,280
Speaker 1: On this podcast, I try to what I try to

437
00:29:09,320 --> 00:29:12,360
Speaker 1: do is sort of create a kind of audio archive

438
00:29:12,640 --> 00:29:17,040
Speaker 1: of underrepresented people and their contributions to technology, to digital culture,

439
00:29:17,120 --> 00:29:20,280
Speaker 1: to internet culture specifically, because I feel those things can

440
00:29:20,320 --> 00:29:23,479
Speaker 1: be kind of ephemeral. They can, you know, the Internet

441
00:29:23,560 --> 00:29:25,920
Speaker 1: changes so quickly and people forget about what came before,

442
00:29:26,000 --> 00:29:29,200
Speaker 1: and so um, I wanted to chronicle some of this.

443
00:29:30,160 --> 00:29:32,640
Speaker 1: What would you be your advice be to make sure

444
00:29:32,760 --> 00:29:37,320
Speaker 1: that more underrepresented communities and voices are having their stories

445
00:29:37,720 --> 00:29:41,520
Speaker 1: included in records and archives UM so that we know

446
00:29:41,680 --> 00:29:47,520
Speaker 1: they existed well. Particularly with UM podcasts, there are a

447
00:29:47,600 --> 00:29:51,920
Speaker 1: number of people who are developing UM UM podcast archives

448
00:29:52,800 --> 00:29:58,120
Speaker 1: and UM seeking those folks out is important. But also

449
00:29:58,560 --> 00:30:05,000
Speaker 1: public libraries are are are undertaking some UH audio preservation.

450
00:30:05,160 --> 00:30:08,600
Speaker 1: We work with the Green County Public Library here to

451
00:30:09,200 --> 00:30:13,680
Speaker 1: UM preserve some of the digitized material from UM the

452
00:30:13,880 --> 00:30:18,480
Speaker 1: w y s O Collection which UM UH which includes

453
00:30:18,840 --> 00:30:22,280
Speaker 1: uh uh oral histories and and so forth from the

454
00:30:22,280 --> 00:30:25,880
Speaker 1: civil rights era. So so making sure that you you know,

455
00:30:26,400 --> 00:30:31,200
Speaker 1: approach your existing institutions to be able to UM make

456
00:30:31,200 --> 00:30:34,560
Speaker 1: sure that they're including your materials in their collections as

457
00:30:34,840 --> 00:30:37,920
Speaker 1: as a member of that community UM, I think is

458
00:30:38,520 --> 00:30:42,680
Speaker 1: an important important thing to do UM. And I think

459
00:30:42,720 --> 00:30:48,400
Speaker 1: that that's something that archivists as a profession are looking

460
00:30:48,520 --> 00:30:52,200
Speaker 1: at more of knowing that they are gatekeepers for cultural

461
00:30:52,240 --> 00:30:56,320
Speaker 1: materials and knowing historically what that has meant, which has

462
00:30:56,440 --> 00:30:59,920
Speaker 1: met which in which you know, white supremacy has created

463
00:31:00,080 --> 00:31:08,200
Speaker 1: barriers too that UM material being collected and preserved. So

464
00:31:09,280 --> 00:31:14,720
Speaker 1: you know, there are many many archival projects and archives

465
00:31:14,760 --> 00:31:21,480
Speaker 1: that are I think opening their collecting um uh you know,

466
00:31:21,600 --> 00:31:26,800
Speaker 1: policies to uh to right wrongs that have been perpetrated

467
00:31:26,840 --> 00:31:31,000
Speaker 1: in the past. So I think it's a changing UM situation.

468
00:31:31,080 --> 00:31:34,800
Speaker 1: But but certainly again, you know, the HBCU community is

469
00:31:34,840 --> 00:31:39,120
Speaker 1: a place where our stories are are are important in

470
00:31:39,480 --> 00:31:46,160
Speaker 1: our are considered uh you know, worthy of preservation. And

471
00:31:46,320 --> 00:31:49,160
Speaker 1: once again I can't seeing the praises of something like

472
00:31:49,800 --> 00:31:54,320
Speaker 1: a community based project UM that I'm doing UM at

473
00:31:54,760 --> 00:31:58,160
Speaker 1: West State and Stories which is working with the African

474
00:31:58,160 --> 00:32:02,720
Speaker 1: American communities in in in Dayton, Ohio to collect and

475
00:32:02,760 --> 00:32:07,640
Speaker 1: preserve stories or um uh what Story Corps can do

476
00:32:07,760 --> 00:32:11,440
Speaker 1: with community based projects. UM, they have a whole tutorial

477
00:32:11,520 --> 00:32:15,560
Speaker 1: that can teach an organization about how to collect and

478
00:32:15,600 --> 00:32:19,000
Speaker 1: gather stories and preserve them through the Story Corps at

479
00:32:19,000 --> 00:32:21,880
Speaker 1: the Library of Congress or um, you know, through their

480
00:32:21,920 --> 00:32:24,720
Speaker 1: own means in the libraries or what have you, in

481
00:32:24,760 --> 00:32:27,880
Speaker 1: the in the community. So UM, you know there's that,

482
00:32:28,040 --> 00:32:30,760
Speaker 1: But I think part of it too is there's an understanding,

483
00:32:31,000 --> 00:32:36,760
Speaker 1: UM you know that that materials are UM a somewhat

484
00:32:36,760 --> 00:32:44,000
Speaker 1: ephemeral UM themselves uh you know, uh, magnetic tape deteriorates. Uh,

485
00:32:44,120 --> 00:32:50,120
Speaker 1: color photographs fade, um you know, uh film uh sticks

486
00:32:50,160 --> 00:32:53,320
Speaker 1: together and can no longer be played or even digitized.

487
00:32:53,560 --> 00:32:58,280
Speaker 1: And the whole digital environment also, um is not permanent

488
00:32:58,600 --> 00:33:03,480
Speaker 1: there you know, if you have materials that are preserved

489
00:33:03,840 --> 00:33:08,320
Speaker 1: so so you think on a hard drive and that

490
00:33:08,400 --> 00:33:13,000
Speaker 1: hard drive fails, that material has gone forever. So you know,

491
00:33:13,320 --> 00:33:18,320
Speaker 1: digital preservation is as the whole world unto itself, and

492
00:33:19,040 --> 00:33:24,360
Speaker 1: um you know, look for libraries often will have um,

493
00:33:24,400 --> 00:33:28,880
Speaker 1: you know, little preservation workshops for families and individuals and

494
00:33:28,880 --> 00:33:31,080
Speaker 1: and sometimes there's a lot to be found there. But

495
00:33:31,120 --> 00:33:34,720
Speaker 1: then there are some wonderful websites that have um, you know,

496
00:33:34,800 --> 00:33:39,520
Speaker 1: material that people can um uh read to to figure

497
00:33:39,520 --> 00:33:43,000
Speaker 1: out how to preserve their photographs or preserve their old

498
00:33:43,040 --> 00:33:45,680
Speaker 1: tapes or or or what have you. And the Library

499
00:33:45,680 --> 00:33:48,200
Speaker 1: of Congress has a really good website for that. So

500
00:33:48,640 --> 00:33:52,240
Speaker 1: you know, there's there's information out there. UM. But it

501
00:33:52,280 --> 00:33:54,440
Speaker 1: really does help to talk to somebody who's in the know,

502
00:33:54,880 --> 00:33:58,320
Speaker 1: and oftentimes that's you know, somebody you can find at

503
00:33:58,320 --> 00:34:03,200
Speaker 1: your local library. I love how oftentimes it always comes

504
00:34:03,240 --> 00:34:06,760
Speaker 1: back to libraries, like we forget what a resource. They are. Oh,

505
00:34:06,840 --> 00:34:12,160
Speaker 1: they're they're so important, you know. Um. Yeah, they are

506
00:34:12,800 --> 00:34:17,360
Speaker 1: community touchstones for sure, and in many communities, and you know,

507
00:34:17,400 --> 00:34:20,400
Speaker 1: it's it's really one of those places where where civic

508
00:34:20,480 --> 00:34:23,840
Speaker 1: life can can take place, UM. And that's their charge,

509
00:34:23,880 --> 00:34:26,319
Speaker 1: and that's that's what they're there for. So it's not

510
00:34:26,400 --> 00:34:31,440
Speaker 1: just a repository for for books but UM and reading material,

511
00:34:31,520 --> 00:34:35,160
Speaker 1: but there's so many other things. In today's libraries are

512
00:34:35,200 --> 00:34:39,560
Speaker 1: places where there are maker spaces, and they have podcasting

513
00:34:39,600 --> 00:34:43,560
Speaker 1: studios and they do training in podcasting and or audio

514
00:34:43,880 --> 00:34:46,919
Speaker 1: or oral history gathering and all of those things. So

515
00:34:47,239 --> 00:34:50,799
Speaker 1: you know, they're really great resources for for all of it. Yeah,

516
00:34:50,840 --> 00:34:53,200
Speaker 1: I mean you're a great resource too. You've really created

517
00:34:53,239 --> 00:34:55,960
Speaker 1: this model of how institutions can be thinking about preservation

518
00:34:56,480 --> 00:34:58,800
Speaker 1: and how all of us can be thinking about preserving

519
00:34:58,840 --> 00:35:01,360
Speaker 1: the stories for our own families in our own communities

520
00:35:01,600 --> 00:35:03,640
Speaker 1: so the next generation can learn from them and we're gone.

521
00:35:04,200 --> 00:35:06,200
Speaker 1: So you know, to that end, what do you hope

522
00:35:06,200 --> 00:35:09,040
Speaker 1: that people say about your work a hundred years from now? Well,

523
00:35:09,200 --> 00:35:14,640
Speaker 1: I hope that, for one thing, that that the HBCUM

524
00:35:14,920 --> 00:35:19,760
Speaker 1: materials are are still available and accessible to students and

525
00:35:20,440 --> 00:35:25,040
Speaker 1: researchers and UM community members to to to tap into

526
00:35:25,120 --> 00:35:29,279
Speaker 1: two to know what life was like UM in some

527
00:35:29,360 --> 00:35:33,520
Speaker 1: respects before, you know, the civil rights movement was able

528
00:35:33,560 --> 00:35:38,680
Speaker 1: to UM turn a tide um of experience for black

529
00:35:38,719 --> 00:35:42,600
Speaker 1: people in America and what happened throughout that and and

530
00:35:42,640 --> 00:35:47,600
Speaker 1: then beyond and UM. You know, if you don't pay

531
00:35:47,640 --> 00:35:51,160
Speaker 1: attention to history, you're doomed repeated of course, and and

532
00:35:51,160 --> 00:35:55,480
Speaker 1: and that's something that I think we're realizing today that

533
00:35:55,520 --> 00:35:59,680
Speaker 1: we are experiencing UM because we haven't paid good paid tent,

534
00:36:00,120 --> 00:36:02,600
Speaker 1: good enough attention. We haven't paid attention well enough to

535
00:36:03,040 --> 00:36:06,000
Speaker 1: do what's happened in the past and and and what's

536
00:36:06,040 --> 00:36:08,440
Speaker 1: been done in the past, and and you know, that's

537
00:36:08,440 --> 00:36:11,720
Speaker 1: an important thing to do. So, you know, a hundred

538
00:36:11,760 --> 00:36:14,560
Speaker 1: years from now, I wanted to start with the HBCUs.

539
00:36:14,600 --> 00:36:17,279
Speaker 1: But I'm also hoping that that the model that we

540
00:36:17,400 --> 00:36:23,000
Speaker 1: set through the projects that UM are about preserving UM

541
00:36:23,280 --> 00:36:28,680
Speaker 1: radio material from historically black colleges and universities, it was

542
00:36:28,719 --> 00:36:31,439
Speaker 1: a model for for others to follow, and that other

543
00:36:31,560 --> 00:36:37,280
Speaker 1: marginalized and um uh, you know, others whose whose voices

544
00:36:37,320 --> 00:36:41,360
Speaker 1: have been left out of the American dialogue have have

545
00:36:42,320 --> 00:36:46,759
Speaker 1: a a template to follow. So that they two can

546
00:36:46,840 --> 00:36:52,560
Speaker 1: can preserve their voices. Our voices and our stories matter.

547
00:36:53,600 --> 00:36:57,439
Speaker 1: Preservation isn't just for institutions. We should all be thinking

548
00:36:57,440 --> 00:37:00,280
Speaker 1: about preserving the stories and our communities and our familes

549
00:37:00,360 --> 00:37:03,560
Speaker 1: for future generations to come. Don't let them fade away.

550
00:37:04,560 --> 00:37:07,320
Speaker 1: We hope you enjoyed this special celebration of women making

551
00:37:07,400 --> 00:37:10,680
Speaker 1: Change at HBCUs. We'll be back with more. There Are

552
00:37:10,680 --> 00:37:15,759
Speaker 1: No Girls on the Internet. Soon. Got a story about

553
00:37:15,760 --> 00:37:17,759
Speaker 1: an interesting thing in tech, or just want to say hi,

554
00:37:18,239 --> 00:37:20,520
Speaker 1: You can reach us at Hello at tang godi dot com.

555
00:37:20,560 --> 00:37:22,719
Speaker 1: You can also find transcripts for today's episode at tang

556
00:37:22,719 --> 00:37:24,960
Speaker 1: godi dot com. There Are No Girls on the Internet

557
00:37:25,000 --> 00:37:27,360
Speaker 1: was created by me Bridget Tod. It's a production of

558
00:37:27,400 --> 00:37:31,120
Speaker 1: iHeart Radio and Unboss creative Jonathan Strickland as our executive producer.

559
00:37:31,480 --> 00:37:34,680
Speaker 1: Terry Harrison is our producer and sound engineer. Michael Amato

560
00:37:34,760 --> 00:37:38,279
Speaker 1: is our contributing producer. I'm your host, Bridget Todd. If

561
00:37:38,320 --> 00:37:40,040
Speaker 1: you want to help us grow, rate and review us

562
00:37:40,040 --> 00:37:43,239
Speaker 1: on Apple Podcasts. For more podcasts from I heart Radio,

563
00:37:43,360 --> 00:37:45,600
Speaker 1: check out the iHeart Radio app, Apple podcast or wherever

564
00:37:45,640 --> 00:37:46,640
Speaker 1: you get your podcasts.