Podcasts about culture nmaahc

Trey's Table Episode 280: Erasure

According to The Guardian, Kevin Young, director of the National Museum of African American History and Culture (NMAAHC), has been on personal leave since March 14. His absence, first reported by The Washington Post, comes as President Donald Trump targets the Smithsonian with an executive order to eliminate what he calls divisive or anti-American ideology. Shanita Brackett is now serving as interim director. Though there's no official link between Young's leave and the order, the timing has raised questions. The order specifically criticized the NMAAHC for its portrayal of aspects of white culture. Kevin Young has led the museum since 2021. Learn more about your ad choices. Visit megaphone.fm/adchoices

In an environment of deconstruction, how do we identify what needs to be torn down? And in the midst of the rubble, what are we rebuilding? Dr. Yolanda Pierce, author of In My Grandmother's House, joins Amy Julia Becker for a conversation about:grandmother theologydeconstructing Christian faithBlack Jesus and unlearning racial hierarchieshope that something true and good and beautiful can be renewed and rebuilt within the church and within our world__Guest Bio:“Yolanda Pierce, PhD, is a scholar, writer, womanist theologian, and accomplished administrator in higher education. She was appointed the Founding Director of the Center for African American Religious Life at the Smithsonian National Museum of African American History and Culture (NMAAHC). And she currently serves as Professor and Dean of the Howard University School of Divinity.” Dr. Pierce will soon be Dean of Vanderbilt Divinity School.__Book: In My Grandmother's House: Black Women, Faith, and the Stories We Inherit__Connect Online:Website: yolandapierce.comTwitter: @YNPierce__For the transcript, go to: amyjuliabecker.com/yolanda-pierceThe transcript will be available within one business day on my website, and a video with closed captions will be available on my YouTube Channel.__Season 6 of the Love Is Stronger Than Fear podcast connects to themes in my latest book, To Be Made Well, which you can order here! Learn more about my writing and speaking at amyjuliabecker.com.Connect with me: Instagram Facebook Twitter Website Thanks for listening!

Haitian-born Joanne Hyppolite, Ph.D. is the Supervisory Museum Curator of the African Diaspora at the National Museum of African American History and Culture (NMAAHC) and the board president of the Museums Association of the Caribbean. Her interests and expertise lie in African American and Afro-Caribbean material and expressive culture.  ----------Links to artists and organizations mentioned in the conversation:Art Smith - Jeweler: https://en.wikipedia.org/wiki/Art_Smith_(jeweler)Winifred Mason - Jeweler: https://en.wikipedia.org/wiki/Winifred_MasonCaribbean Cultural Institute: https://cci.pamm.org/en/Museum Association of the Caribbean: https://caribbeanmuseums.com/———————Diversitydish.com – How can I be of service?——————–Other places you can find resources and help support my work:Patreon: https://www.patreon.com/sedruolamaruskaLinkedIn: https://www.linkedin.com/in/sedruolamaruska/Instagram: https://www.instagram.com/sedruola/Website: http://diversitydish.com/Facebook: Sedruola Maruska (limited)

In this episode, museum curators challenge the status quo and connect their ancestry to advance how history is told in cultural institutions. Mary Elliot brings listeners behind the scenes into the Slavery and Freedom exhibition at the Smithsonian's National Museum of African American History and Culture. And Dr. Sven Haakanson helps re-create an angiaaq, which is like a kayak, at the Burke Museum in Seattle, Washington.   (00:01:24) Meet Mary Elliott, the curator of American slavery at the Smithsonian's National Museum of African-American History and Culture. (00:06:46) Introduction. (00:07:20) How Mary Elliott began tracing her own ancestral roots. (00:11:43) How Dr. Sven Haakanson begins his studies of the Alutiiq people. (00:15:57) A year of ethno-archaeology with the Nenets. (00:20:49) resurrecting the Angyaaq. (00:26:47) Sven and Mary share best practices and protocols for being museum curators. (00:33:13) Credits.   SAPIENS: A Podcast for Everything Human, is produced by House of Pod and supported by the Wenner-Gren Foundation. SAPIENS is also part of the American Anthropological Association Podcast Library. This season was created in collaboration with the Indigenous Archaeology Collective and Society of Black Archaeologists, with art by Carla Keaton, and music from Jobii, _91nova, and Justnormal. For more information and transcriptions, visit sapiens.org.    Additional Sponsors: This episode was made possible by the Brown University's Joukowsky Institute of Archaeology and Columbia University's Center for Archaeology and the Imago Mundi Fund at Foundation for the Carolinas.    Additional Resources:   Slavery and Freedom at the Smithsonian's National Museum of African-American History and Culture Burke Museum in Seattle, Washington  From SAPIENS: How Museums Can Do More Than Just Repatriate Objects   Guests: Dr. Sven Haakanson Jr. is Sugpiaq and was born in Old Harbor on Kodiak Island, Alaska. He is a curator of North American anthropology at the Burke Museum, and an associate professor in anthropology at the University of Washington.  Mary Elliot is a curator of American Slavery at the Smithsonian's National Museum of African American History and Culture (NMAAHC). Follow her on Twitter @Mne7829.

Wrap Session 25 Design & Culture. There are very few podcasts that can say they have been around for 8 years, there is only 1 that can say it's located in the Smithsonian Archives. Maurice Cherry, award-winning designer, host & creator of Revision Path podcast, shares his impressive journey from the early days of Revision Path to how 11 episodes of his podcast made history by becoming part of the permanent collection in the Smithsonian's National Museum of African American History and Culture (NMAAHC) in Washington, DC. Maurice has recorded over 400 episodes of this podcast that amplifies & showcases the world's Black graphic designers, web designers, and web developers, https://revisionpath.com/ https://www.linkedin.com/in/mauricecherry/ --- Send in a voice message: https://anchor.fm/techwrapqueen/message

Elaine Nichols is the Supervisory Curator of Culture at the Smithsonian National Museum of African American History and Culture (NMAAHC) in Washington, D.C.A native of Charlotte, North Carlina, Nichols developed her love for African American history at a young age by listening to the stories about her heritage, culture, and resilience from the elders in her family. Her love of history would later guide her academic pursuits, leading her to complete a Masters of Art in Public Service Archaeology from the University of South Carolina and a Masters of Art in Social Administration and Planning from Case Western Reserve University.  Nichols made her curatorial debut at the South Carolina State Museum, where she curated the exhibition, The Last Miles of the Way: African American Funeral and Mourning Customs in South Carolina, 1890-Present. The collection garnered worldwide attention, propelling Elaine up the ranks to become the museum's curator of history. In 2009, after completing work on the “Save Our National Treasures” project, Nichols was recruited into her current role at the NMAAHC, where she curates a variety of costumes, textiles, and decorative arts to tell the stories that reflect significant moments in African American culture. Host Kirsten Holtz Naim sits down with Elaine to discuss her longstanding career as a curator, what it was like to meet Rosa Parks, black fashion history, why she loves the flapper dress, and more.  Enjoy the episode? Support the podcast by buying a cup of coffee! Learn more here: https://www.buymeacoffee.com/afashionmoment Connect with Us! Spotify | Apple Shop + Support Instagram: @afashionmoment Twitter: @A_FashionMoment Email: AFashionMomentPodcast@gmail.com Website: A Fashion Moment Show Notes: Learn more about the Smithsonian National Museum of African American History and Culture (NMAAHC): https://nmaahc.si.edu/  Learn more about Elaine Nichols: https://nmaahc.si.edu/  Check out the upcoming events at NMAAHC: https://nmaahc.si.edu/events  (WATCH) All of the Videos from the Fashion, Culture Futures: African American Ingenuity, Activism, And Storytelling Symposium: https://nmaahc.si.edu/events/fashion-culture-futures-african-american-ingenuity-activism-and-storytelling-symposium?trumbaEmbed=view%3Devent%26eventid%3D155809946  Learn more about Dr. Bertha Maxwell-Roddey: https://www.ninertimes.com/news/unc-charlotte-s-second-full-time-black-professor-dr-bertha-maxwell-roddey/article_96a626d4-80e6-11eb-97ca-efc343687404.html  L.A. Times Article “The Sweet Chariot Swings Low--A Study of Black Burial Rites” : https://www.latimes.com/archives/la-xpm-1989-07-05-vw-3215-story.html  Learn more about Shannon Faulkner: https://www.washingtonpost.com/lifestyle/magazine/when-the-first-woman-entered-the-citadel/2018/08/06/0906e622-7bb4-11e8-aeee-4d04c8ac6158_story.html  Learn more about Kitty Black-Perkins: https://www.greenvilleonline.com/story/news/2019/02/28/meet-south-carolina-woman-who-designed-mattels-first-black-barbie/2702687002/  NPR Article on the NMAAHC “Save Our National Treasures” program: https://www.npr.org/2014/09/10/347378402/to-preserve-black-history-people-keep-national-treasures-at-home  Learn more about Secretary of the Smithsonian Lonnie Bunch III: https://www.si.edu/about/secretary-lonnie-bunch  Rosa Parks' dress from 1955 on display at the NMAAHC: https://www.si.edu/newsdesk/snapshot/rosa-parks-dress  Learn more about the work of fashion designer and entrepreneur Ann Lowe: https://nmaahc.si.edu/explore/stories/pretty-pink  Check out B.Michael on Instagram @bmichaelamerica

In this episode of On The Square, Sapelo Square History Editor Zaheer Ali speaks with Tulani Salahu-Din, museum specialist at the Smithsonian's National Museum of African American History and Culture (NMAAHC), about Muslim artifacts at the museum. Salahu-Din provides the backstory for some of the objects at the museum, including those featured as part of Sapelo Square's Black History Month 2021 special: an egg carton from the Nation of Islam's Muslim Farms, a tape recorder used by Malcolm X at Mosque No. 7, and a pendant the Honorable Elijah Muhammad gave to his wife Sister Clara Muhammad as described by their grand-daughter Amirah Muhammad in an oral history. They also talk about the importance of preserving Muslim material culture, and steps everyone can take in collecting and recording their family histories. To the question, “If Black Islam had a theme song, what would it be?,” Salahu-Din chose Quincy Jones's “What Good Is a Song?” To learn more about some of the Muslim artifacts featured at the National Museum of African American History and Culture (NMAAHC), visit Sapelo Square's Black History Month 2021 feature, or search the online collections at NMAAHC. To find out more information about the museum's artifacts and public programming around themes of religion and spirituality, visit the Center for Study of African American Religious Life. Theme music by Fanatik OnBeats. Artwork was created by Scheme of Things Graphics. --- Courtesy of Maydan Podcast.

Dev Moore is a net artist, curator, and Creative Director at FELT Zine, a creative studio and internet art collective founded in 2011. His work also incorporates creative strategy for digital artwork, interactive URL & IRL experiences, and underground music culture. His work spans digital & experimental content strategy and most recently contributed to the digital & social media strategy at both the Museum of the African Diaspora (MoAD) and the Smithsonian National Museum of African American History and Culture (NMAAHC). Follow Dev on social media:https://www.instagram.com/devdmoore/https://twitter.com/DevMoore Follow Felt Zine on social media:https://www.instagram.com/FeltZine/https://twitter.com/FeltZinehttps://www.tiktok.com/@feltzine? Felt Zine's website:https://news.feltzine.us Felt Zine's Foundation Page:https://foundation.app/@feltzine ___________________________________ Access Daily Opportunities via PUTF's IG:https://www.instagram.com/pickuptheflownyc/https://pickuptheflow.org Support this podcast:https://www.patreon.com/pickuptheflow   

BGBS 071: Maurice Cherry | Creative Strategist | The Restorative Power of Play Maurice Cherry is the creative strategist for CodeSandbox, an online code editor tailored for web applications. Prior to this, he served principal and creative director at Lunch, an award-winning multidisciplinary studio he created in 2008 that helps creative brands craft messages and tell stories for their targeted audiences, including fostering relationships with underrepresented communities. Past clients and collaborators included Facebook, Mailchimp, Vox Media, NIKE, Mediabistro, Site5, SitePoint, and The City of Atlanta. Maurice is a pioneering digital creator who is most well-known for Revision Path™, an award-winning podcast which is the first podcast to be added to the permanent collection of the Smithsonian's National Museum of African American History and Culture (NMAAHC). Other projects of Maurice's include the Black Weblog Awards, 28 Days of the Web, The Year of Tea, and the design anthology RECOGNIZE. Maurice's projects and overall design work and advocacy have been recognized by Apple, Adobe, NPR, Lifehacker, Design Observer, Entrepreneur, AIGA, the Columbia Journalism Review, Forbes, Fast Company, and many other print and digital outlets. Maurice is also an educator, and has built curricula and taught courses on web design, web development, email marketing, WordPress, and podcasting for thousands of students over the past ten years. Maurice is the 2018 recipient of the Steven Heller Prize for Cultural Commentary from AIGA, Creative Loafing Atlanta's 2018 Influentials in the fields of business and technology, was named as one of GDUSA's “People to Watch” in 2018, and was included in the 2018 edition of The Root 100 (#60), their annual list of the most influential African-Americans ages 25 to 45. In previous years, Maurice was awarded as one of Atlanta's “Power 30 Under 30″ in the field of Science and Technology by the Apex Society. He was also selected as one of HP's “50 Tech Tastemakers” in conjunction with Black Web 2.0, and was profiled by Atlanta Tribune as one of 2014's Young Professionals. He is also a member of the International Academy of Digital Arts and Sciences. Maurice holds a Bachelor's degree in Mathematics from Morehouse College and a Master's degree in telecommunications management from Keller Graduate School of Management. In this episode, you'll learn... As a creative on the web, it's beneficial to stay fluid and agile enough to go where the market goes. It's detrimental to focus on only one specialty because the industry changes so quickly that it may become obsolete. When done correctly, brands can put forth an image that is discordant with people's initial perception of them, through storytelling in marketing. This can draw in an entirely new audience based on the brand's "personality." Podcasting is not as easy as it looks. Everything is deliberate, and a lot of care goes into each episode. Quotes [8:10] It almost is a detriment to be kind of a specialist, because your specialty may end up getting absorbed or may become obsolescent or something like that. So you kind of have to stay fluid and kind of see where different trends are going and see how you can fit in there. [12:45] Brands may try to put forth an image of who they are or who they want to be. And that may not even mesh with how people are thinking about them…but it makes people remember them in a way that perhaps people may not think of, and so they may gain a whole new level of audience just based off of that kind of storytelling and interaction that draws them in to who they are as a brand and what they sort of represent in terms of company values. [1:00:43] I think people will look at the 400 episodes of revision path and just see a monolithic set of people. But I mean, there's so much diversity within the people that I have interviewed, whether it's age diversity, whether it's what they do in the industry, years of experience, there's men, there's women, there's trans folk, there's folks in the US and the Caribbean, throughout Europe, throughout Africa, throughout Asia and Australia. They're everywhere. The thing that sort of ties them all together is they're practicing designers, or they're practicing techies, or they're doing something creative on the web that is worthy of kind of falling into line with everything that I'm doing with revision paths. [1:04:53] I just turned 40 this year. And there's still a lot of things about myself that I feel like I've managed to still keep a very playful spirit and still be able to kind of tap into the restorative power of play, even into the work that I do. I mean, even what I'm doing with creative strategy, it's kind of playing at work a little bit. I get to really dive into myself and come up with inspiring things that we can do and fantastic campaigns that we can execute. Resources Podcast: Revision Path LinkedIn: Maurice Cherry Twitter: @mauricecherry Have a Brand Problem? We can help. Book your no-obligation, 15-minute Wildstory Brand Clarity Call now.  Learn about our Brand Audit and Strategy process Identify if you need a new logo or just a refresh Determine if your business has a branding problem See examples of our work and get relevant case studies See if branding is holding your business back and can help you get to the next level Book Your FREE Brand Clarity Call   Podcast Transcript Maurice Cherry 0:02 And I started doing these long form interviews, maybe about 1500 to 2000 words or so. But it just took so long to put together. I was doing it by myself. And it was someone that actually was a reader of revision path, who one day wrote me and said that she was a fan of revision path as you would really like to be on revision path, but wanted to record a podcast because she had a podcast that she was doing in Chicago. At the time. I'm like, yeah, we can record that's fine. thinking to myself, I have no recording equipment. So we ended up recording our interview, the very first episode of revision path on my mobile phone in a restaurant. Terrible quality. I still keep the episode out. I mean, it's somewhat listable, I guess, I don't know. But that was kind of where the genesis of the podcast started. Marc Gutman 0:54 podcasting from Boulder, Colorado. This is the Baby Got Back story Podcast, where we dive into the story behind the story of today's most inspiring storytellers, creators and entrepreneurs. I like backstories and I cannot lie. I am your host, Marc Gutman, Marc Gutman, and on today's episode of Baby got backstory, we are talking with Maurice cherry, the award winning podcaster, creative strategist, and designer. And before we get into this episode, I feel so lucky that I get to talk to people. And I get to talk to people on this show. And I get to talk to people on this show, and share it with you, the audience. I truly, truly, truly thank you and appreciate you. If you like this show, and want to show your like an appreciation for me or the show, please head over to Apple podcasts or Spotify and give us a five star review and rating. Ratings really do matter. Apple and Spotify use these ratings as part of the algorithm that determines ratings on third charts. And we're human. We like likes and follows and ratings too. So thank you for your reviews. I do appreciate it. Today's guest is Maurice cherri, creative strategist, designer and host of the award winning podcast revision path. past clients and collaborators included Facebook, MailChimp, Vox media nyck Media Bistro site five sitepoint in the city of Atlanta. Maria is a pioneering digital creator, who is most well known for revision path and award winning podcast, which is the first podcast to be added to the permanent collection of the Smithsonian's National Museum of African American History and Culture. Other projects of maurices include the black weblog awards 28 days of the web, the year of t in the design anthology recognize Murray says projects and overall design work and advocacy have been recognized by Apple, Adobe NPR, life hacker design observer entrepreneur, the AI GA, the Columbia Journalism Review, Forbes Fast Company in many other print and digital outlets. He says the 2018 recipient of the Steven Heller prize for cultural commentary from the AI GA, creative loafing Atlanta's 2018 influentials in the fields of business and technology was named one of GED USA people to watch in 2018. It was included in the 2018 edition of the route 100. He was number 60 and their annual list of the most influential African Americans ages 25 to 45. In previous years, Maurice was awarded one of Atlanta's power 30 under 30 in the field of science and technology by the apex society. He was also selected as one of HPS 50 tech tastemakers in conjunction with black web to Dotto. It was profiled by Atlanta Tribune is one of 2014 young professionals. He is also a member of the International Academy of digital arts and sciences. And this is his story. I am here with Maurice cherry who is a creative strategist, designer and podcaster. You may know him from his very popular podcast revision path, and that's because they just recorded their 400th episode which is a major, major milestone Marie's Welcome to the baby. Got back History podcast. Maurice Cherry 5:01 Thank you so much for having me, Mark, this is great. Marc Gutman 5:04 That's so great to have you here. Why don't we just hop right into it? I mean, you, you have this varied what I'd call a hybrid background of creative strategist designer podcaster. Like, how did that come to be like, like, how do you make that all work in today's environment? Maurice Cherry 5:24 You know, I'm kind of still trying to figure that out myself. I'm lucky to be able to kind of remain a bit fluid and hybrid in some sorts as it relates to my skill set, which allows me to kind of go where the market goes, but I mean, my background, I have a undergraduate degree in mathematics. my graduate degree is in telecommunications, management's. I've worked in media, I've worked in web, I've worked with nonprofits, I've worked with tech startups, I've had my own business for nine years. So I've done a little bit of everything and a lot of different places. And I've had the opportunity to work with everyone from, you know, startup founders and entrepreneurs to like, captains of industry at fortune 100 companies. So I've kind of been a little all over the place. And like I said, being able to remain fluid has helped me as things have changed in the market. I mean, I started off working for companies here, I'm in Atlanta, Georgia, I started off working for companies here and then quit the last place I was working out, which was at&t and working as a senior web designer, started my own studio did that for nine years, sort of wound that down and then jump back into working for places design working for tech startups. And just kind of going from there. Yeah, and Marc Gutman 6:40 you use that word, fluid and fluidity. And you know, the old way of doing things used to be very specialized used to be very siloed not not bouncing between disciplines. Why do you think it's important to to be fluid in in your skill set in your career? What advantage is that given you, Maurice Cherry 7:01 um, for me, the advantage that it's given is being able to have the perspective to see where commonalities lie, as the market, or as you really the industry sort of changes. I mean, when I first came about on the web, you were either a web designer, a web developer, or a webmaster, like those are kind of the three particular titles that you had. And now you've got all different types of product designers and UX designers and things like that, despite the fact that there are new titles and the way that things have changed. There's still some sort of common threads between a lot of these different types of titles. And even as companies have come along and introduced new types of technology into the world, which therefore mean that there are new types of people that work on these things. Like, there's conversation designers, there's mixed reality designers like you know, a couple of weeks ago, I was first introduced to the metaverse, which sounds like something you'd hear in like a 90s sci fi afternoon kids show her something. So there's so many Tell that to say that the market and the industry changes so much, it almost is a detriment to be kind of a specialist, because your specialty may end up getting, you know, absorbed or may become obsolescent or something like that. So you kind of have to stay fluid and kind of see where different trends are going and see how you can fit in there. Marc Gutman 8:29 Yeah, and I want to be a part of the metaverse like that sounds awesome. I don't even know what that is. But I want to like tell people that I am part of the metaverse or that I work in the metaverse, that'd be great. And it's really interesting because the person that introduced us, Douglas Davis, who is appeared on this show, he was talking about something really, really similar in his conversation, his interview, which was a lot of what we're doing today hasn't been invented yet. Right? And we're kind of in this next wave of, of that. And so he gave the example back when he was starting out, like no one had really invented, like how to build web pages and websites. And so it was real time, right? And then we started to grow up in no one had invented how to be an expert on Twitter when Twitter first came out, we all just kind of did it, you know. And now you know, what I'm hearing you say is that business is again, moving technology is moving so fast. And it's you know, they're intertwined, right Business and Technology and it's moving so quickly, that you have to be fluid that you have to be nimble, and you have to be kind of you can't be an expert at anything, if anything because it's moving so fast, but what you probably can be is a really good thinker and a really good strategist in order to bring all these disciplines together. Did I didn't get that right. Maurice Cherry 9:52 Yeah, that's pretty accurate. I mean, the the beauty of my particular title of being a creative strategist Is that no matter what business that I'm put in, I'm still able to kind of function because what I do, but one of the top one of the things that I'm sort of tasked to do is kind of be a company's in house creative experts. So I'm working across teams to discover opportunities for storytelling. I'm working maybe with a marketing team on campaigns, I'm working with a sales team on ways that they can reach new audiences. So I can kind of be very flexible, you know, no matter what sort of business that I'm putting in, which is pretty good. Marc Gutman 10:31 Yeah. And that sounds like awesome, like, I hear you talk. And I'm like, wow, I want to be a creative strategist, you know, how, you know? How does that show up in business? are more and more businesses recognizing the need for it? And what really is the the, the impetus for bringing on a creative strategist? Like why? Why do they say like, hey, Maria, we need you to come in and help us out. Maurice Cherry 10:55 In my experience has mostly been when it's boiled down to needing help with storytelling, or with some sort of brand awareness or brand campaign strategy tends to be tied. In my experience, that strategy has tended to be tied to branding fairly easily. So say, at the past few places that I've worked at, I've done a lot of sort of brand centric work with what they're doing in order to take the story of what their business is, and what it is that they're trying to sort of put forth to their customers. And then really kind of, I don't know, tell that in a way that their audience would find compelling or that potential audiences may find compelling. And that could be video, that could be a podcast, that could be a really well done marketing campaign. It could be a drip campaign of newsletters, it could be a series of white papers, it can really sort of manifest in a number of different ways, depending on who we're trying to reach and what the story is that we're trying to tell. Marc Gutman 11:51 Yeah. And so as I think about it, I mean, I get excited about this idea of creative strategist and working at a brand level across departments, because that's typically where we run into problems, right, is that this type of initiative is siloed, into the marketing department into the creative department. And so having that influence across departments is really, you know, what I see is the magic of this type of work. But when you were, in your experience, when you look at this, what do brands that get this right? Like, what do they do? What are you seeing them do to get this this type of work? Right? Maurice Cherry 12:31 One thing I'm seeing is that they're doing a lot of listening, they're listening to their audience there, whether that's through social media, or through any sort of, you know, other channel or back channel, they're listening to what their audience is telling them. Oftentimes, brands may try to put forth an image of who they are or who they want to be. And then that may not even mesh with how, you know, people are thinking about them. Sometimes that works to a brand's advantage. Sometimes it doesn't. I think we've mostly seen this on social media, where you see brands like, Oh, God, what's a good brand that that's kind of subversive stay comes. The stake of his brand, for example, is weirdly stoic and philosophic. On Twitter, which you would not associate with a brand of like frozen meat products, like, why are they so deep right now, I don't understand this. But it makes people remember them in a way that perhaps, you know, people may not think of steak gums. And so they may gain a whole new level of audience just based off of that kind of storytelling and interaction that draws them in to like, who they are as a brand, and what they sort of represent in terms of company values. And such, I certainly thinks that as social media has grown as that and and as more people have tapped into social media, they're kind of starting to hold brands accountable a lot for the causes that they find the people that they hire, a number of companies get taken the task for these sorts of things that have nothing to do with their actual product at all. But if you're hiring someone who might be unknown abuser, for example, that's going to look bad on the brand. Or if you know your your company is funding a politician that might be taken away, or might be funding voting rights or something well taken away voting rights or something like that. These are the kinds of things that people are now keyed into. And they're looking at brands to kind of be these while they're there. They're wanting to make sure that the brands that they support with their dollars are also kind of, you know, in accordance with their values as well. Marc Gutman 14:37 Absolutely. And it's, it's crazy and amazing at the same time to me, I mean, I love the amount of power that consumers have on brands at the same time. Everybody has a voice right? And so how can brands even navigate all this? pressure and criticism to be something Different, right? You can't You can't please everybody all of the time, like, where do you see the challenges for brands in this new landscape? Maurice Cherry 15:09 I mean, I think the biggest challenge that happens is just making sure that you are being consistent with your voice. Often times I've seen brands try to like adopt a certain kind of you know, cheeky haha Twitter voice or whatever, that may be completely discordant with how they treat employees or, or you know how they treat customers or something like that. This is particularly the case I've seen with a lot of tech startups that try to like get in on certain little you know, punny things that are happening. But then something hits the verge where they mistreated a number of employees or something like that. And it's like, oh, you can't be you can't be cheeky and sarcastic on Twitter, and then you're treating your employees like crap, you know, behind the scenes. So I think love just trying to be consistent throughout everything that you're doing is one thing that that companies should think about as they kind of navigate the space, I would, I would also say, you know, it helps to just be agile and nimble, because sometimes these you know, if a certain catastrophe befalls a brand, sometimes it happens completely out of the blue for something they don't even know about. So, for example, say, a company has a particular actor or actress as a spokesperson. And this actor or actress did something on Instagram. Well, the first thing people are going to do, yes, they're going to take that particular actor or actress to task, but then they're also going to take the company to task and think, Oh, well, is this the kind of person that you want speaking for your product? And now it's like, oh, now we have to kind of go into crisis mode, and figure out how do we either distance ourselves from this? Or say, Yes, we are a part of what it is that this actor actress is about, here's what we're doing, as a company or as a brand to support them. So it's, it's tricky, but you have to kind of be, you know, pretty nimble to these sorts of things, because they can happen really out of the blue. Marc Gutman 17:08 Yeah, and there's a lot going on. And so, you know, it really lays out the, you know, the the framework for why a company might need a creative strategist. Yeah, there. It's not just this omni directional unit, or is it? I mean, I guess it'd be one directional conversation. It's not a one way conversation, right, this massive dialogue, and there's comments and insights and, and opinions, ping pong all over from every direction, and to really have someone at a higher level thinking like, how are we going to manage this conversation as something that is no longer a luxury for brands, but really a necessity? Maurice Cherry 17:44 Yeah, there's a lot of thought that has to go into so many things, the imagery that you use the hashtags that you use, the colors that you're using, all of that ends up sort of falling under the purview, usually of creative strategist. And I will say, you know, a lot of advertising firms employ creative strategist as well. So they know fully kind of what it means to have someone that's really thinking about the brand from like this 360 view, but also from this bird's eye view of being able to zoom out and really see all parts of where a particular campaign or something may touch, and realize those sort of points where something may go wrong, or maybe misconstrued and try to figure out a way to kind of circumvent that or fix that issue, you know, so it doesn't occur. Marc Gutman 18:29 Yeah. And so switching gears a little bit, you mentioned that you're in Atlanta. Now. Is that where you grew up? Maurice Cherry 18:35 No, I grew up originally in Selma, Alabama. But I've been here in Atlanta now for a little over 20 years. Now. I came here in 1999. So I've been here for what that's 21 years or something like that. I've been here longer than I've been in Alabama. Marc Gutman 18:56 Well, looking back to Alabama, assuming that you were there when you know, Murray was a young Murray's, like eight years old and you're hanging out. And were you there in Selma when you were eight? Maurice Cherry 19:06 Yeah, yeah, I grew up there. went to elementary, middle and high school there. Cool. Cool. So Marc Gutman 19:11 eight year old Morrison, did he think he was going to be a creative strategist? Maurice Cherry 19:18 I'm pretty sure eight year old Mario had no idea what a creative strategist was. I think eight year old Mario is probably either wanted to be a firefighter. I have an uncle, that's a fire chief. Or probably a writer. Probably one of those two is when I probably wanted to be at that age. Marc Gutman 19:37 Then I was gonna ask, but a writer might fill in this answer. So did you have a tendency towards either creativity or strategy or both? or What were you into at that age and as you started to matriculate through through the years and sama Maurice Cherry 19:54 Oh my god, eight years old. I really was into writing. I mean, that sounds like such an old hobby for a kid but I had been writing probably since around, let's see eight years old. What's that like, second grade, second, third grade, something like that. I have been writing since first grade like stories and also drawing along with them. I have an older brother, he's four years older. And he's really like, the super visual creative in the family, he paints he draws he sculpts. I mean, he's, he's a fantastic artist. And I remember growing up wanting to be like him, but I could not draw, I could do like little stick figures or whatever. I would say my work was very abstract at that age when I look back on it now. But I would draw that I would write these stories that would correspond with the drawings. And I remember, my teachers would give us this sheet of paper where it's like, blank on top, and then there's ruled lines on the bottom. And so you draw whatever top the picture or what have you. And then you write your story. Down below, I remember doing a lot of those, I have a whole, like binder full of those in my storage unit from when I was a kid, like just doing a ton of writing and drawing and exploring, I guess, I mean, trying to explore my creativity in that rather limited space. I mean, Soma is a is a very small town in South Central Alabama, most people know about it from the civil rights movement. I can tell you growing up there as a kid, I mean, it's the country, it's not super fun. Like, there's not, there's no, you know, big amusement parks, or movie theaters and things like that, that you would, you know, kind of hang out and do stuff with as a kid. So it was very much, you having to kind of find your own entertainment, maybe you're hanging out with other kids, maybe you're at home. A lot of people would be in church, because almost a big church town is like 100 plus churches there. So that's usually kind of what you were doing. You were trying to find something to do. Maybe watch TV, let's see eight years old that I haven't intended. I probably had an intent though back then also. So I was most likely playing Super Mario Brothers or pro wrestling. Probably pro wrestling, I was probably star man in pro wrestling back then. Marc Gutman 22:17 Good, good hobby, good hobby. And you mentioned that you know, you were creative with words, your brother visually creative. Were your parents creative? Did they instill this in your Where'd that come from? Maurice Cherry 22:32 Um, no, they're not creative at all. Let me let me take them. I mean, I think you know, as I think parents have to be creative to some capacity, just dealing with children, but they weren't in particularly creative fields. My dad at the time, was an engineer at GE, working on plastics. And my mom was working at the local community college as a lab assistant in the biology department. So they were very much like in the sciences kind of feel. So not a lot of, you know, creativity there, I would imagine, but I did have the opportunity at times to maybe go like with my dad to work or maybe go up my mom to work and like, see where they work and like, see the machines and see the lab equipment and all that sort of stuff, at least get interested in it like, like, know that this is like a possibility for me, perhaps but no one say anything creative. Like we don't think like someone doesn't have any, at least not to my recollection, any art museums or, or anything like that, where you would go and like be overwhelmed with visual creative inspiration. At that age, maybe probably when I was a little older, I certainly remember getting a lot of visual and creative inspiration from magazines. So I think probably when I was maybe about 10, or 11 or so I remember us getting maybe I had to be old enough that maybe I was a teenager at this point. But we would get subscriptions to like zillions magazine, which was Consumer Reports. They had this like kids vertical that they called zillions. And I remember we would get vive magazine and source the source magazine and stuff like that. So I'm gonna get visual inspiration from magazines a lot. Growing up, Marc Gutman 24:18 what an awesome like, sub brand for kids zillions like Maurice Cherry 24:23 yeah, I don't know, if they do that anymore. It was it was like they were teaching kids how to be like, responsible consumers. So they would like for example, talk about fruit juice and say how most fruit juice is not made of actual juice. If you check the labels, it's actually more you know, it's actually water and sugar and all this sort of stuff. So they were kind of like teaching you how to, you know, be a good consumer as a kid. It was like, it was like a kid's magazine about money, which was very interesting. Marc Gutman 24:52 That's so cool. I love it. And as you got older and as you got into high school was this creative like writing And in this creative outlet, was that still coming out of you? Or what were your interests at that time? Maurice Cherry 25:06 It was, I mean, I was all over the place for people that knew me in high school, I was all over the place I was writing. Let's see, I think I was in eighth grade or so. And I started taking college English courses in writing. So I was like, always writing something writing poems and like, getting published and stuff. But also right around seventh or eighth grade, I discovered music. And I discovered why once I discovered music, we had a band in middle school. And I wanted to join the band because the band could get out of sixth and seventh period. And I'm like, Well, I want to get out of 67 period. How do I make that happen? And they had like this open session where you, you know, go to the band room and you choose the instrument like, I remember going in and the band director, Mr. Ruffin would say, like, you know, you choose the instrument and turn the instrument will choose you like you just pick the one that you think you'll do best on it. I really wanted to play trumpet. I was like, yeah, I'm gonna play trumpet, but the mouthpiece was just too small. I just couldn't get the right on the shore. And then my band director switched me over to trombone. And that was like a match made in heaven. That was perfect. So I played music, from seventh grade all the way through high school, all the way through college, all throughout my 20s. I played trombone, in marching bands, and jazz bands and like, house bands, at clubs and all sorts of stuff. So in high school, I was doing music, I was writing. Also just doing class, I was kept in the math club. I was sort of all over the place in high school, doing a lot of different things. I was really though getting more into music, because I'm with the marching band. My band director also allowed me to kind of try my hand at composing. So I would like listen to songs like mostly songs from video games, I would listen to songs like say the fanfare from Final Fantasy when you beat an enemy. And I would say, Okay, how can I turn this into like four parts for trombone. So that means me sitting down on my keyboard, and like, dissecting out each part, and then go into my section, and then we practice it. And then we take it to the game, and we play it at the game and stuff like that. So I got a chance to really sort of cut my teeth with doing a bit of like arranging and composing there. And then my band director also introduced me to so much good music, mostly, like Earth, Wind and Fire. And he was a big Earth Wind and Fire fan. So he introduced me to like their whole catalogue at the time. And we were also playing some popular songs from off the radio. See, this was 95. So we were playing. Like, this is how we do it. For montell Jordan, water runs dry boys to man that might have been 96. But like, we were playing like radio hits, but then also playing like these, you know, well known songs from like the 70s and 80s from Earth, Wind and Fire and stuff. So I was I was all over the place in high school. I really was like, I was always doing something different mostly with the band, though. I think most people knew me for that. But also, I was just like, in class and making A's and you know, it was I, I really enjoyed high school. I enjoy high school a lot. Marc Gutman 28:23 Yeah, and are you still skilled and playing the trombone. Maurice Cherry 28:29 I haven't played the trombone and over 10 years, so I don't know, I would imagine, it's probably just like picking up, you know, like riding a bike, I would suppose because the trombone, unlike other brass instruments has no keys. And so it's just one long, interconnected tube. And it's there's only seven positions to the trombone are not marked either. So you have to know them just by memory. And you have to get the note right really by ear. So like this a lot of like active listening as you're playing. And because you're sort of like varying the length of air in this long tube as you're playing. You don't have a lot of room for error. But you also have a lot of room for improvisation, because you can easily slide in between notes without having to exactly know, the right fingering to get there, you can just get there based on how it sounds. And so like even doing something as simple as the chromatic scale, which you know, takes into account all the flats and sharps, you're just going up and down the slide. And so if you hit an F, then you know, if I need to get down to a flat, I just keep sliding down until I get there. So you sort of in your mind, you know, kind of the connective tissue between the notes that you have to reach. So I say like trombone is easy to pick up but hard to master. Because you have to be thinking about all of that while you're playing. So sad. Marc Gutman 29:49 I thought you would be the first guest that we would have on the Baby Got Back story podcast that would break out the trombone and it doesn't sound like you have one within arm's reach right now. I'll give you I'll give you a pass on that. But Maurice Cherry 30:02 I saw I saw my trombone when I was 30. Because I was like, I'm gonna hang it up because I really wanted to focus on, like, at the time, like, focus on my career and on tech and stuff, and I couldn't be playing, you know, like pickup songs and stuff like that, like I was a session musician for a while about 20s. Like, it's it's fun until it's not, you know, like, it's just not stable. And I don't know, I wonder what I wonder who I would have been if I kept up with it, though. Yeah, I still have kind of in the back of my mind. Like when all this tech stuff is said and done. To start my own Afro Cuban jazz, big bands. That may still happen. Like when I turned 50 maybe I'll I'll make that happen. I don't know. But it's in the cards. Marc Gutman 30:49 The future vision and you know, who knows, maybe we can get a crowdfunding campaign going for Murray's here to get them a new trombone? It's Yeah, seems like you should, you should be playing the trumpet, trombone, and you shouldn't be, shouldn't be selling your trombone. But as you were growing up in so many getting into high school, what do you think you were going to do? I mean, I see that you went to Morehouse, and I'm sure your parents were very proud. Where are they? What were their hopes and dreams for you? And what did you think you were going to do with your life as you were starting to get a little older, and, you know, into high school and looking into college? Maurice Cherry 31:24 So I, this is so interesting, and I don't know if this will make your viewers angry or not, or jealous, I don't know. But like, I was not thinking about, the only thing I was really thinking about at that age was getting out of Selma. That was like, my number one. Main imperative is like, get out of this town. This is a small town, I mean, to kind of give you some context with this. I mean, I came about in the generation right after, like civil rights movement, Bloody Sunday, all that sort of stuff. And so the city itself already has this, like, deep, like, just ghost of history about it everywhere that you go. I mean, Selma itself is a very haunted town, like there's a number of haunted houses and things of that nature, but like to live that close to history, and then also be so detached from the rest of the world is a very eerie feeling. I think about that, in hindsight, you know, growing up, like I really did not know, much of the world outside of Selma, until I left. And I think about well, who would I have been if I stayed there? Like I probably would have, you know, I don't know that a pastor or something. I don't know, who knows. But it's such a small, insular type of community. And it's very easy to like stay in that and never change and never go anywhere and never experienced anything new. For me, the main thing I wanted to do was just get out of Selma. So the reason I say this is because I didn't really have a plan as to what I wanted to do. My plan was just how do I get out of here? What what way do I make that happen? I don't care what the way is, it just has to happen. And so in seventh grade, I remember being part of the, I think it was called the Duke talent identification program, or tip for short. And what they will do is they will take like, high achieving middle schoolers, and you would spend a weekend at Duke University. And then they would also give you an opportunity to take one of the like, standardized tests early being the LSAT, or the a CT. So seventh grade, I took the a CT, and I scored a 30 on it. Now, I think the AC T goes up to a 36. So 30 out of 36 was very good that I think that's like analog to maybe like a high 1400 or low 1500. On the SSAT like it's pretty good. So when I took that in seventh grade, that pretty much wrote my ticket to any school that I wanted to go to. I didn't think at all about like, Oh, I'm really want to go to these colleges, so I have to apply or I really wanted colleges were coming to me. I didn't have to do it. And I don't mean to sound like a bragging sort of way. But I mean, you know, my mom wanted she tell you to like colleges, were contacting us left and right, sending us all sorts of materials. And I was really for me to just think, Oh, well, where do I want to go. And I didn't want to stay in Alabama. Because again, my thing was like I wanted to get out of Selma, but really, I just wanted to get out of like the state and experience something new. But my mom was very much like you know, wherever you go, I'm not getting on a plane. So you have to go somewhere close. Like you have to be still in the south because I'm not getting on a plane. I'm not taking a bus anywhere. It has to be fairly close. And Morehouse ended up being the choice because they came to me on my senior awards day and presented me with two full scholarships, which was more than any other The school had presented me with at the time and I mean, like every major school in Alabama and presented it was like a full ride or something. But I didn't want to go to like, no, no shade to the University of Alabama. I don't want to go to the University of Alabama. I didn't want to go to Auburn. I didn't want to go to Alabama State, no snow shade. The Alabama State. I didn't want to go there. But Morehouse came and Morehouse has this big reputation. And people are like, Oh, well, Martin Luther King went to Morehouse. And, you know, I should go to Morehouse. And I'm like, you know what, I should go to Morehouse. I want to go to Morehouse. And part of the reason of going was one, I knew that was a quick ticket out of out of Selma, but that also, and I think anyone who grew up in the south, probably in the 80s, and 90s, that wasn't near a big city, came to Atlanta at some point, like, there was a field trip to Six Flags, it was all your your class, they were on sa t we're going to Six Flags like everything was going to Six Flags. So there were always all these trips to Atlanta. And Atlanta was always sort of the destination, I think for a lot of us because it was the nearest really big city. Plus around that time. I mean, Atlanta in the 90s was a magical place. I mean, yes, you have the Olympics, but you also had freakness. So you've got like this combination of all this electricity happening in the city. And it was just the place like Atlanta was just the place to be. And so I'm thinking, well, if I can go to Atlanta, and it's a free ride, and I don't have to pay it, my parents will have to pay. Yeah, we'll do it. Let's do Atlanta. And so Morehouse ended up being the choice for me. I didn't even apply to Morehouse, they came to me. And, and the rest is history. Marc Gutman 36:44 A common question I get all the time is Mark, can you help me with our brand? Yes, we help companies solve branding problems. And the first step would be to schedule a no obligation brand clarity call, we'll link to that in the show notes, or head over to wildstorm comm and send us an email, we'll get you booked right away. So whether you're just getting started with a new business, or whether you've done some work and need a refresh, or whether you're a brand that's high performing and wants to stay there, we can help. After you book, your brand clarity call, you'll learn about our brand audit strategy process will identify if you need a new logo or just a refresh, will determine if your business has a branding problem. And you'll see examples of our work and get relevant case studies. We'll also see if branding is holding your business back and can help you get to the next level. So what are you waiting for, build the brand you've always dreamed of. Again, we'll link to that in the show notes. or head over to wildstorm comm and send us an email. Now back to the show. All I could think about when you were talking about music in Atlanta in the 90s was salt and pepper. So that's what it triggered for me. But so you went to Morehouse and sounds like you know, first and foremost, you're like a lot of young people. You're like, I just want to go someplace, I just want to change my life. I just want to start my life, you know, and kind of figure things out. When you got to Morehouse, what did you think you were going to do with with yourself? Maurice Cherry 38:30 Oh, my goodness, you know, I'm gonna be completely honest with you, Mark, I had no plans in college. I'm telling you that back then I didn't plan anything. I was such a easy going go with the flow kind of person to kind of give you a sense of that. I graduated from high school in late May of 1999. And then two weeks later, I packed up moved everything and went somewhere else because the the program that I was a part of for my scholarship, had a summer program is called project space. So I was at Morehouse in June of 99. Like, it was such a magical feeling. I'm like I'm in this big city, by myself. No one can tell me what to do. I could do whatever I want. But of course, it's still like within the confines of college and you have to kind of be, you know, aware of your surroundings. Morehouse is in that it's not in the best neighborhood. I mean, certainly back then it was it was not that great. It's probably better now. But back then it was a pretty rough neighborhood that the school was in so they really wanted to make sure that we stayed on campus where it was safe and not venture out into the neighborhood. But we could easily like catch a bus to the train station and like, go to all parts of the city where the train would go and so you know, the city kind of ended up being like our oyster but when I got there, I mean, I had no plans. I was in the summer program. And we were taking oh my goodness, we were taking like calculus two courses and we were taking care computer programming courses and Spelman, the program that we had on the head of cohort at Spelman College, which is the all female college that's across the street from Morehouse, which is all male college. And so we will take classes together with the girls from Spelman, we would hang out together. But mostly everything we did was kind of in and around. And on campus, like there wasn't a lot of off campus kind of stuff. Except for the people who were from Atlanta who could, you know, like, they could like get in their car, like take us somewhere, like take it to the grocery store or something like that. But they were they really highly discouraged us from going out and about in the city. And then once the school year started proper, I mean, I was just trying everything that I could like I was meeting new people that were into different things that was sort of my first real deep introduction to like anime, and trans music. Was that Morehouse, I was, like I mentioned, I was also still playing trombone. Just like discovering different things and different people, honestly, I mean, I'm just coming from Alabama, just being like this country bumpkin. Like now I'm all of a sudden, meeting all these people from the Caribbean, and from other parts of the country, and like, you know, them being really proud of where they're from, and their culture and everything like that. And so, just getting introduced to so many different things at once made it really, really hard to like, focus, like, I'll be honest, I almost almost flunked out. Freshman year, like first semester was, I was lost in the sauce. As I was going out to the clubs, I was hanging out late. I was getting back to the dorm room 234 in the morning for and then like sleeping for a few hours and then have an eight o'clock, Cal three class like I was reckless. I was so reckless freshman year, and it caught up to me to the point where I ended up getting evicted from my dorm. I was homeless for a slight bit like about a week or two, and then ended up getting placed into another dorm. And then that ended up being like a weird kind of situation, because the rd was kind of a creepy, like kind of a creepy guy, and got moved to another dorm. And then that was weird because my roommate in that dorm clearly had been suffering physical abuse from his roommate, and was very like, I don't know, very jumpy, like, anytime I will come around. And he's like, oh, like, don't you know, don't look at me that way, don't you know or something like that. So freshman year was a lot, at least the first half of freshman year was a lot. During that time. One thing I would say that was like, the stabilizing force outside of my classes was that I had joined a website and started working for them. So there was a website called college club calm. I don't know if people remember college club. And it was sort of like a precursor to Facebook. And basically, every college had their own campus on college club. And you could upload pictures. Every person had like a college club email, and they had this number that you could call that would read your email to you over the phone. There was live chat. I mean, comms club was lit. I mean, they ended up going bankrupt. for good reason. I think at one point, they were giving away like $10,000 a week to people, they were really just like that early, calm money was coming in. But I worked for college club as a campus representative first at Morehouse, and then for the entire Atlanta University Center. So I had three or four other people under me. And we had devised the system. Why am I telling this might be illegal actually know what comes out of the system? Well, that's fine. So we had devised a system where we basically would get paid from college club for every account that was created after every photo that we uploaded. So one of my good friends, good good friends, Chris wrote this macro that would allow us to basically just like dump a bunch of photos into a folder, and they would automatically get uploaded to college club. And so we would get, you know, money for that. And then he also came up with this other macro that will automatically create accounts. So we had these cameras, we have these huge Sony mavica cameras that actually were so big, you had to put a floppy disk in it for storage, like three and a quarter floppy disk. And we would go and take pictures and swap out the disk. And then at the end of the night, we would dump everything into this Network Folder. We run the macro, the macro would upload the stuff from the Network Folder, we would literally be making money while we slept. I mean I was making at that point. roughly about $4,000 a month. Marc Gutman 44:46 Pretty good for a college kid. Maurice Cherry 44:48 This is this is my This was my, like second half of freshman year and I mean, we did not know how to act with that with that much money we were just doing just spending money on just the dumbest stupid shit just like, go to Linux and like, you know, buy a whole bunch of people's stuff in the food court or just buying like extravagant clothes. And so I mean, in hindsight, just dumb, dumb stuff. But at the time, you know, you're 19 was 19 then trying to think now I was 18 and I was 18 then, and just like have money hand over fist. It was it was ridiculous. Um, eventually college club ended up going bankrupt. And so that job didn't last too long. But for the time that we had it, it was great. And so yeah, I didn't really have ambition. My freshman year, I was too busy having fun. Like, we would go out to the strip and take pictures and like, and then I mean, I guess I kind of have to set the scene here. I mean, so the Atlanta University Center is six colleges. It's Morehouse College, Spelman College, Clark, Atlanta University, Morris Brown College, they entered the interdenominational theological center and Morehouse School of Medicine. So like six schools, all together and like this one huge meta campus. And now the schools kind of have their own like, sort of divisions like Spellman, for example, has a huge wall around and it's basically like fort Spellman. But the other colleges, you can easily walk between and through and everything like that. And so the connective kind of tissue between the main colleges is this long brick thoroughfare called the strip. And it's basically just for walking. So like, you know, cars were coming up and down, it was just, you could walk, there were benches, there were booths, all sort of stuff. So you could hang out all day on the strip, and like, people watch, then walk down to seagulls and like, get some wings and then go sit on the bench and listen to some music and then go to the bookstore, go to the library, like everything was just connected in this big, almost like a marketplace. And then on Fridays, at the very end of the strip at Spelman, they would open their gates and you could go into Spelman to their lower courtyard that they called lower manly, and they had market Friday, and they would be DJs. there and dance. I mean, it was so much fun, that you didn't think about class, like class was almost like, why would I go to class, but I could just hang out on the strip all day, you know. So that was very easy. That first year as a freshman and you have money to it was very easy to just get completely sidetracked. And I completely fell deep into all of that. Well, Marc Gutman 47:37 and as we know, Time marches on. And it sounds like you know, had a very similar experience. I went crazy my freshman year and pulled it together primarily because my parents told me I had no choice. It was gonna be big trouble if I didn't. But Time marches on, and you get through Morehouse and like, how did you start a career in creativity and strategy Maurice Cherry 48:00 that really kind of came about almost as a almost as circumstance. So and I'll try to fast forward through, like past like post college on but so I graduated from Morehouse, I didn't have anything lined up like I'm to be completely honest. When I graduated, I had no plans whatsoever, partially because our scholarship program, they pulled the funding from it in 2001, because of 911. So they pulled funding from that and funding went to which was then created the Homeland Security Department. So we didn't have funding to kind of continue out what we thought the end result of our internships and stuff was going to be so with my scholarship program, basically, I would intern for two years for NASA. And then after that, we would get placed at a NASA facility. So in my mind, I'm like, as long as I keep Baba 3.0 I got a job at NASA. So that's all I have to do. jr came along and completely dashed all of that. And so by the time I graduated, I had nothing lined up. I was working at the Woodruff Arts Center, selling tickets to the symphony, and to the art museum into the theater, just like you know, selling old patriots tickets and stuff like that. And they took away the calculator at my station because I had a math degree, which was kind of degrading but whatever. Did that for a little while, left that job, worked at autotrader. Like, as a dealer concierge is basically just like a glorified customer service rep. Did that for a while, quit that job. And then on a whim, I found in the back of our local weekly newspaper, creative loafing. I found a listing to become an electronic media specialist for the state of Georgia, applied for it on a whim, got the job. I worked for there for about a year and a half left went to at&t as a junior designer. What worked my way up to being a senior designer left there in 2008. After Obama got elected, I started my own studio. I did my studio for nine years. And I would say that was kind of the genesis of this whole creative strategy career. Because even though I had my studio where I was doing web design and graphic design and email marketing and stuff like that, I really was able to branch out and do a lot of other creative stuff like I was able to do. Like DNI consulting for tech companies, like I did that for Vox media. For a while I did that with Netflix for a short period of time, did a lot of writing still, like I was still writing during that time. So I wrote four sight points. And for psych five, and I wrote for media B's show for a while I taught classes at the Bri and at Savannah College of Art and Design, I did a lot of different stuff in the studio. And so because I was doing all these different things, like I was gaining all this knowledge and other parts of the, you know, the business and the really in other parts of the industry, and was able to really kind of bring it all together. So by the time I Wow, my studio down in 2017, I knew that there was more that I wanted to do that I couldn't accomplish and sort of the current state that the studio was in. Also the market was changing, like, bespoke web design was sort of going out as more people started to use kind of drag and drop options like a Squarespace or Wix or something like that. So it made more sense for me to kind of phase out of that market and get more into the actual like, strategy portion of it. Because now there are these tools that allow me that allow people to do the things they would pay a designer to do. But the tools don't really give you the strategy behind why you would use certain things or something like that. And so I tried to kind of brand myself more in this strategy route. As I wind my studio down, um, at the end of 2017, I started at a tech startup, or there's a tech company at that time called Fog Creek software as starting, they're just kind of doing content marketing and getting a sense of the business and what they were doing. As I stayed there, they switched over to become the startup called glitch. And then as they were growing, and they look, we're looking to me, as someone that sort of had this thought leadership that was built up to this point, I was able to then kind of come in on a strategy aspect, and then help out with, you know, bizdev opportunities or partnerships or, you know, things of that nature. And so that really kind of set the stage for me to take all of the cumulative knowledge that I gained throughout my studio time and even the time prior to that working for companies and use that to kind of be this this sort of creative thought leadership at a company that needed it at the time. Marc Gutman 52:44 And when did revision path come about? Like how did you get into podcasting? Because it 400 episodes, I'm guessing you were a bit of an early adopter? Maurice Cherry 52:55 Yeah. So I started podcasting, initially in 2005. So I have old shows that will never see the light of day. I have old old shows from back then. And Atlanta, to its credit actually had a very vibrant podcasting. Community back then we had this thing called the Georgia Podcast Network that was put on by this couple rusty and Amber. And I mean, that was big for maybe about five or six years, there were meetups and things of that nature. And it was mostly Georgia, but also included like South Carolina, Tennessee, kind of like that tri state area. So I have been doing podcasting for a while but never really looked at it as a viable thing, then it was sort of this first wave of podcasting. Because, really, it wasn't something that caught on then like people were more so starting to latch on to video. During that time, it wasn't about, oh, we're gonna listen to this podcast. And even then what podcast were normally was just stuff that was on the radio that they didn't put out as an mp3. So like, The New York Times, NPR, etc, would have these little shows. And that's how you sort of picked up on like maybe a radio show that you've missed, you can subscribe to the podcast, which is really just that day is episode that they downloaded and made into an mp3 or whatever. I first started doing revision path in 2013. And at that time, it wasn't a podcast, it was gonna be just an online magazine. I wanted to do something which showcased what black designers and developers were doing in the field like peers of mine, etc. to kind of counteract what I wasn't seeing in design media. And I started doing these long form interviews, maybe about 1500 to 2000 words or so. But it just took so long to put together I was doing it by myself. And it was someone that actually was a reader of revision path is woman named Raquel Rodriguez, who one day wrote me and said that she was a fan of revision paths. She would really like to be on revision path, but wanted to record a podcast. Because she had a podcast that she was doing in Chicago, and at the time, I'm like, yeah, we can record that's fine thinking to myself, I have no recording equipment. So we ended up recording our interview, the very first episode of revision path on my mobile phone, in a restaurant. Terrible quality. I still keep the episode out. I mean, it's somewhat listable, I guess, I don't know. But, uh, that was kind of where the genesis of the podcast started. And then as I continue to keep doing revision path throughout 2013, I would give guests the option to either record, or we could do like the long form interview. So I sort of alternated. And then when 2014 came around, and it was a full year of revision path, I just decided it's just easier to do the podcast, so switched over to becoming a podcast in March of 2014, officially, but when we launched, we still had about, I say, about 15 episodes prior that we had done. So we launched with a pretty big catalog already. So technically, we launched that like, Episode 16. But we have been recording since episode one. Back in June of 2013. Marc Gutman 56:11 Yeah, and as you mentioned, you just recorded your 400th episode, you've been doing this for a while. I'm terrible at math, but it sounds like about eight years or something like that, which is a long time. Like I'm, I think you're gonna be Episode 71 for the baby backstory podcast, and I can tell you, I mean, it's been difficult it you know, sometimes I hear, I hear 71. And I'm like, Ah, that's not that much. But there is a lot of energy, a lot of effort and a lot of time that's gone into it, like 400 episodes, do you ever think like, enough's enough? Are you just gonna keep keep recording? Maurice Cherry 56:48 I mean, at this point, I'm going to keep recording. As we're talking, I've already got episodes recorded through 405. And then I've got five more in the queue. So we're up to like, 409, I think, technically, I, you know, I'll be honest, there's really no shortage of people for me to have on the show, I've got a running potential guests list in the 1000s of people that I could have on the show. And then, of course, folks recommend others, I've started to bring back old guests on the show, just to kind of see what their, their updates have been since they first came on the show, you know, like, so it's been fun to kind of chart that journey, in some ways. And then honestly, as the industry has changed, what the show has really allowed me to do is keep up. Because I mean, at this point, I'm not really a practicing designer anymore. Like I'm not, you know, in Photoshop, or sketch or figma, or whatever. But being able to talk to so many practitioners still keeps me up to date with what's going on, and what are the new technologies? And what are folks talking about? What are folks passionate about? It keeps me up to date with, with that sort of stuff. And also just being able to introduce design still to a whole new generation of people that may not have known that there were people in design who looked like them. People who think like, Oh, I'm just alone in this by myself, and then they can look and see no, you're not, there's like 400 other people here that you're in this thing with? So I don't I personally don't see it stopping anytime soon. I mean, we're still, you know, you know, knock on wood, getting funding and able to keep things going. So I'll keep it going for as long as the industry will have me. Marc Gutman 58:34 Yeah, let's talk about that really quickly. You know, you mentioned that revision path is really this outlet to showcase those those folks who typically aren't showcased and to show people that, hey, there's other people like them out there. Like when you think about revision path, like what's the one thing you want people to know, like, really now about what you're doing with this podcast? Hmm, Maurice Cherry 59:00 that's a good question. I mean, I think, off the top of my head, I would want people to know that this is not easy. And I think people will look at what I'm doing and think that it's pretty easy. And it's not, I mean, I think that might be the case for most podcasters. But for me, in particular, like I've had to continually work and try new things to get to a system that I know works with me and my team, like and it's bulletproof. It's a time to get there, that wasn't just something that I was able to kind of pull out from, you know, from scratch, and it was something I had to build myself. I had to find the right tools to pull in to make sure all of this work. So it's really about that. I would say for any podcast, it's really about building systems that allow you to be able to do this work. I don't necessarily want to say at scale because I think honestly, the the production level that we're doing is not really changed that much over the years. But it's refined to the point where I can take long breaks between interviews and not get burned out from this. And I'd say yeah, like, it's not easy. People will look at me and will look at me and look at the show and think that it's easy like oh, is, it just seems so easy for you to get people to come on the show. I'm like, no, it's still, it. Honestly, it's still a challenge sometimes to get people to come on the show. Just making sure that everything sort of flows regularly. Like, even though we have our system down, that could still be one thing and that system that could cause it all to, you know, tumble like a house of cards or something. So definitely, that it's it's not easy that it's a lot of thought that goes into it. I think people will look at the 400 episodes of revision path and just see like a monolithic set of people. But I mean, there's so much diversity within the people that I have interviewed, whether it's age diversity, whether it's what they do in the industry, years of experience, as men, there's women, there's trans folk, there's folks in the US and the Caribbean, throughout Europe, throughout Africa, throughout Asia and Australia. Like they're, they're everywhere, the thing that sort of ties them all together, is you know, they're practicing designers, or they're practicing techies, or they're doing something creative on the web that is worthy of kind of falling into line with everything that I'm doing with revision paths. So yeah, I would say that's probably the the main thing I think now as the show has started to, I don't want to say become mainstream, I'd say the older that the show gets. I've seen the more people maybe not understand what it is. And I tell people right off the bat, that revision path is a design podcast granted, I do have developers on the show, I have had software engineers on the show. Just lately, like I was talking

Rev. Dr. Yolanda Pierce is Professor and Dean of the Howard University School of Divinity in Washington, DC. She is the first woman to be appointed as Dean in the Divinity School's 150-year history. In 2016, Pierce served as the Founding Director of the Center for African American Religious Life at the Smithsonian National Museum of African American History and Culture (NMAAHC). Previously, she served as the Founding Director of the Center for Black Church Studies and Associate Professor of Religion and Literature at Princeton Theological Seminary. Pierce holds degrees from Cornell University and Princeton University.  Pierce's research specialties include African American Religious History; Womanist Theology; African American Literature; and Race and Religion. A widely-published author, her work focuses on the historical and contemporary significance of the African American religious tradition. Pierce has written over 50 critical essays and articles in academic and trade journals which consider the relationship between religious faith, race, and gender in the American context. You can find her work in a wide variety of publications, including: Time Magazine; Christian Century; Theology Today; and Christianity & Literature. Pierce is the creator and curator of “Touching the Sacred,” an exhibit on material religion and the Black Church. She is a member of various professional organizations, including the Modern Language Association, the American Academy of Religion, and the American Historical Association. Pierce has been the recipient of numerous honours and awards, including fellowships from the Ford Foundation, the Mellon Foundation, and the Pew Foundation. In 2015, she was honoured to be selected as one of The Root 100 Most Influential African Americans. In addition to her teaching and academic scholarship, Yolanda Pierce is a dedicated mentor, community activist, board member of a foster care agency, and cable news commentator. She maintains a public intellectual presence through her blogs and frequent appearances on television and radio. She believes that teaching and scholarship are meaningful only if they truly enhance people's daily lives, thus she works tirelessly to bridge the gaps between pulpit, pew, and academy. A member of Alpha Kappa Alpha, Sorority, Inc., and a native New Yorker, Pierce was raised in the Church of God in Christ and still maintains a close connection to her Pentecostal roots.~~~~~ IT'S NOT A LIE...Was Kevin's first date interrupted with an angry bowel? ~~~~~This podcast was recorded on April 13th, 2021.

Maurice Cherry is principal and creative director at Lunch, an award-winning multidisciplinary creative studio he established in 2008 in Atlanta, GA. Currently, he works as the creative strategist for CodeSandbox.  Maurice is perhaps most well-known for his award-winning podcast Revision Path™, which showcases Black designers, developers, and digital creators from all over the world. It is the first podcast to be added to the permanent collection of the Smithsonian's National Museum of African American History and Culture (NMAAHC). Other projects of Maurice's include the Black Weblog Awards, 28 Days of the Web, The Year of Tea, and the design anthology RECOGNIZE. Maurice is the 2018 recipient of the Steven Heller Prize for Cultural Commentary from AIGA, was named as one of GDUSA's “People to Watch” in 2018, and was included in the 2018 edition of The Root 100 (#60), their annual list of the most influential African-Americans ages 25 to 45.  You can find Maurice on Twitter @mauricecherry Maurice's 2015 Lecture: Where Are the Black Designers? Stesha Doku, MD is a private practice anesthesiologist, web designer and developer based in Greensboro, NC. She focuses on designing interfaces for healthcare technology for software healthcare providers use to better take care of patients. She believes recognizing design's role in healthcare will help build a better future for growth and quality in the medical field.  What we particularly need more of in medicine are designers who can be a bridge to create great interfaces that physicians and healthcare professionals can integrate into their practice. While I believe that anyone can program given a computer, patience and the right book, learning what works on the front-end for different industries is much harder. Only good design can be the connector to helping us meet our goal of making technology adoption worthwhile and cost effective in medicine! Stesha Doku MD on Revision Path 01 July 2013 Mastering the craft of great design is a surprisingly long and continuous process. You will find that having a good eye is very different than being able to think creatively, which is in turn very different from being able to technically manifest your ideas digitally. Great designers have all three, so pick one to start with and the others will build on that.  You can find Stesha on Twitter at @dohkoo. 

In this value packed episode, we talk to Herman Marigny and DeAnna Wynn from the National Museum of African American History and Culture (NMAAHC) about their partnership between visitor services and information technology, particularly around capacity management both pre and post COVID and their visitor centered decision making, mixing empathy and data to ensure safe and happy visitors. Learn more about NMAAHC: https://nmaahc.si.edu/

In the first part of this two-part episode, Lezli chats with Joanne Hyppolite, Ph.D., a Museum Curator at the National Museum of African American History and Culture (NMAAHC). They explore how and why food and restaurants served as indispensable tools in the fight for democracy during the Civil Rights and Black Power Movements. During Part two, Lezli chats with Louisville based James Beard Award-winning Chef Edward Lee. Lee talks about the Community Kitchen he opened in Louisville during BLM's wake and named in honor of David McAtee. McAtee was a beloved chef, community pillar, and owner of YaYa's BBQ in the West End of Louisville. A member of the National Guard fatally shot him in the early hours of June 1st. Lee shares what his goals for the kitchen are and what measurable progress looks like to him.   Relevant and Recommended Reads:  7 Restaurants that Fueled the Civil Rights Movement  How the Black Panthers' Breakfast Program Both Inspired and Threatened the Government Who is David McAtee: Louisville Barbecue store owner killed by police In Memory of David McAtee And Breonna Taylor, Healing Through Cooking And Community  

Born in Jamaica, Anna-Lysa Gayle has always had a passion for documenting events happening around her. She started documenting her life, as soon as she could form real sentences. Since then, she remained committed to her passion for storytelling. At 11 years old, she moved to the United States to Brooklyn, New York. As she moved to other parts of the east coast, her love for journalism only intensified. In 2009, she enrolled at Howard University where she studied Broadcast Journalism. During that time, she secured internships with companies like WTOP-FM, FOX5 DC, CNN and more. She was also selected for competitive programs like the Meredith-Cronkite Fellowship, the T-Howard Foundation, the CBC-UNC Diversity Fellowship, MTVU, ONA student newsroom and NABJ's student multimedia project. She started her career at WHSV-TV in Harrisonburg, Virginia before moving on to WLKY-TV in Louisville, Kentucky, for nearly three years. While in Kentucky, she received an award from the Associated Press for her continuing coverage of a case involving four young men (coined the Misidentified Four). In July 2016, she joined WJLA-TV where she continues to tell stories that she hopes will leave a lasting impact. She is currently a three-time Emmy award-winning journalist. She earned two Emmy awards for her role in a special report on the National Museum of African American History and Culture (NMAAHC) and her role in a newscast on the Silver Spring explosion, which left seven dead. In 2018, she received her third Emmy for her role in ABC7's coverage of the Congressional baseball shooting in Alexandria, Virginia. She has also received a community award, known as the ‘Distinction of Hope Award'. You can watch Anna-Lysa Gayle at 10 p.m. on WJLA's 24/7 News channel (formerly News Channel 8) & 11 p.m. on ABC7 news, from anywhere in the DMV. You can also follow her journey on her website AnnalysaGayle.com. Welcome to the HU Movemakers Podcast (www.humovemakers.com), where we highlight folks in Howard University Culture that are blazing the trail and making moves! If you would like to apply or nominate someone to be on the podcast, please email bio/headshot to humovemakers@gmail.com. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/humovemakers/message Support this podcast: https://anchor.fm/humovemakers/support

  Black Canada Talking™ is a live online event that provides Black Canadians opportunity to give their takes and POVs on stories that are of importance to them. On the August 2, 2020 edition of Black Canada Talking™ the conversation topic was Emancipation Day … Reconciling Our Black Histories. This edition of Black Canada Talking™ was a collaboration between The Dr. Vibe Show™ and Black History Ottawa. The conversation was co-hosted by Dr. Vibe and Sarah Onyango. The special guests for this conversation were: Dr. Wanda Thomas Bernard was appointed to the Senate of Canada in 2016. She is a highly regarded social worker, educator, researcher, community activist and advocate of social change. She has worked in mental health at the provincial level, in rural community practice at the municipal level, and, since 1990, as a professor at the Dalhousie School of Social Work, where she also served as director for a decade. In 2016, she was appointed Special Advisor on Diversity and Inclusiveness at Dalhousie University and she is the first African Nova Scotian to hold a tenure track position at Dalhousie University and to be promoted to full professor. Dr. Thomas Bernard has worked with provincial organizations to bring diversity to the political processes in Nova Scotia and teach community members about Canada's legislative process and citizen engagement. She is a founding member of the Association of Black Social Workers (ABSW) which helps address the needs of marginalized citizens, especially those of African descent. As a former member of the Nova Scotia Advisory Council on the Status of Women, and as its past Chair, was instrumental in the development of advice to ministers regarding frameworks for gender violence prevention and health equity. At the national level, she has served as a member of the National Coalition of Advisory Councils on the Status of Women. She has served as an expert witness in human rights cases and has presented at many local, national and international forums. Dr. Thomas Bernard has received many honours for her work and community leadership, notably the Order of Nova Scotia and the Order of Canada. You can contact Dr. Bernard via: Email Rosemary Sadlier is a historian, author, educator and Black History expert based in Toronto, Ontario Canada. Among her publications: ​Harriet Tubman (Dundurn Press), and The Kids Book of Black Canadian History (KidsCanPress). She was the consultant and writer/contributor to Black History: Africa, the Caribbean and the Americas (EMP)​ She completed her course work for her doctorate at OISE, University of Toronto. Rosemary is an expert on the history of African Canadians and has been interviewed on numerous media outlets including CTV, CBC News Network, CBC syndicated radio, TVO, Radio Canada International, CITYtv, CP24, WNED and PBS​,​ Toronto Star, Globe and Mail, National Post, Toronto Sun, Share Newspaper, Pride Newspaper​ and the ​Caribbean Camera​. She has presented across Canada, the U.S. and the Caribbean.​ Her recent writing concerning Black History related matters included a monthly column for Inside Toronto; book chapters for a publication on The Ward; and the Black Canadian Network Facebook site. Rosemary is available for speaking engagements, short-term contracts, to consult and provide interviews​ on all aspects of Black History, Black Women, the Black experience and social justice. Among her recent accomplishments, she organized​ the national Canadian Black History Summit (April 2016); partnered with Councillor Paula Fletcher for the commemoration of the William Peyton Hubbard Park (Oct 2016); the historic recognition of Lincoln Alexander and Kay Livingstone; successfully planned the South African and Black Canadian Network reception (Nov 2016).​ Her patience and persistence resulted with a commemorative plaque for the AME Church site – Toronto (Dec. 2016) and the submission of the Parliamentary Petition for August 1st Emancipation Day (2018). She Chairs the Royal Commonwealth Society Toronto Branch, has given deputations to the UN, the Senate and City Council. Info: Email or LinkedIn. Peter Hanes A descendant of enslaved persons who worked at President George Washington's Mount Vernon and President James Madison's Montpelier, both in Virginia, Peter Hanes has been a coordinator for annual Washington, DC Emancipation Commemoration educational programs since the early 1990s. His late mother, Loretta Carter Hanes, a distinguished educational activist, historian and researcher, spearheaded the DC Emancipation Day Commemoration revival with an annual educational events series. Her son Peter produced the educational events, with historians CR Gibbs and Vincent deForest, and other partners. Loretta's work came to the attention of local and federal government officials and the community which took up her cause and joined in organizing DC Emancipation Day city-wide public events, including in schools, libraries and churches. Then-DC Mayor Anthony Williams in 2005 signed into law April 16th DC Emancipation Day, as a legal public holiday. Peter specializes in the electronic marketing of African American and African Canadian Heritage educational information and programs to Washington, DC, national and North American (USA-Canada) public audiences and is the editor for African North American Heritage News Digest. A former U.S. Department of the Interior headquarters IT specialist/editor, Hanes has served on the planning committees or supported numerous Washington, DC, national/ international African American and African Canadian Heritage public programs including national/international commemorations and conferences in the USA and Canada since 2001. Historian CR Gibbs and Peter were presenters at various Ontario Black History Society (OBHS) Emancipation Day Commemorations. Peter attended such August 1st Emancipation Day Commemorations and Caribana in Toronto from about 2000-2006, 2012, and 2013. A strong proponent of documentary films/video as a global distance learning resource, Peter was a film festival coordinator for: 3 Association for the Study of African American Life and History (ASALH) national conventions; and a Library and Archives Canada (LAC) Canada-USA Black Studies mini-film festival (2010). Among his projects, Peter was part of a National Park Service (NPS) headquarters team that supported: · Presidential Commission on the National Museum of African American History and Culture (NMAAHC), which made recommendations to the U.S. Congress that established the NMAAHC; · NPS Harriet Tubman Special Resource Study Team, which made recommendations to the U.S. Congress that established the Harriet Tubman National Historical Parks. He has also served as a: · USA delegate/presenter, UNESCO Slave Route Project (SRP) International Seminar, Brasilia, Brazil (2012); · Program Committee member, UNESCO SRP International Seminar, Charlottesville, Virginia (2018); · Consultant, UNESCO SRP's free web publication, Legacies of Slavery: A Resource Book for Managers of Sites and Itineraries of Memory (2019); · UNESCO SRP Advisory Board Member (since 2013) You can contact Peter via: Email During the conversation, the panelists talked about: – Why they are passionate about commemorating Emancipation Day as a national holiday in Canada – Emancipation Day being more relevant than ever – The negative feedback that is being brought up in regards to Emancipation Day being regarded as a national holiday – If Emancipation is a “made-up white-saviour holiday” Visit The Dr. Vibe Show™ at https://www.thedrvibeshow.com/ Please feel free to email us at dr.vibe@thedrvibeshow.com Please feel free to “Like” the “The Dr. Vibe Show” Facebook Fan page here God bless, peace, be well and keep the faith, Dr. Vibe dr.vibe@thedrvibeshow.com 2018 Innovation Award Winner – Canadian Ethnic Media Association Producer of Google+ Hangouts – The Good Men Project The Dr. Vibe Show™ At “The Good Men Project” One of the first Brand Ambassador's – Cuisine Noir Magazine Dr. Vibe – Producer And Co-host of Black Men Talking On WJMS Radio Dr. Vibe on HuffPost Live – August 2, 2013 2013 Black Weblog Awards Finalist (Best Podcast) 2012 Black Weblog Awards Winner (Best International Blog) 2012 Black Weblog Awards Finalist (Best Podcast) 2011 Black Weblog Awards Finalist (Best International Blog and Best Podcast Series) Black Blog Of The Day – Black Bloggers Network – June 23, 2011 Twitter Twitter hashtag: #DrVibe The Dr. Vibe Show™ – iTunes Dr. Vibe Media – You Tube The Dr. Vibe Show™ – Stitcher Radio The Dr. Vibe Show™ – TuneIn Radio The Dr. Vibe Show™ – Google Play Music The Dr. Vibe Show™ – iHeartRadio The Dr. Vibe Show™ at Anchor Linkedin – The Dr. Vibe Show™ Instagram The Dr. Vibe Show Facebook Fan Page

  Recently, the National Museum of African American History & Culture (NMAAHC) posted on its website an infographic titled “Aspects & Assumptions of Whiteness & White Culture in the United States.” The infographic, which has since been removed from the NMAAHC website, outlined 14 areas that, in the opinion of the NMAAHC, are rooted in “whiteness” and “white culture.” In this special episode of the Just Thinking Podcast, Darrell Harrison and Virgil “Omaha” Walker conduct an in-depth analysis of the infographic through the lens of Scripture. The episode is part Bible study and part history lesson. Resources Related episodes EP # 063 | Slavery Reparations EP # 067 | Whiteness EP # 081 | Black Nationalism, White Fatherlessness EP # 092 | Racial Reconciliation? EP # 093 | A Biblical Theology of the Role of Government Related blog articles N/A Related external media Abraham Johnstone: Address to the People of Color Up From Slavery: the Autobiography of Booker T. Washington (book) — Amazon.com The History of Mary Prince: a West Indian Slave (book) — Amazon.com On Her Own Ground: The Life & Times of Madam C.J. Walker (book) — Amazon.com Support To support the podcast, please click here or copy/paste the following link into your browser - https://justthinking.me/support/ Disclaimer © Darrell B. Harrison and Just Thinking…for Myself 2012-2020. Unauthorized use and/or duplication of this material without express and written permission from this site’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Darrell B. Harrison and Just Thinking…for Myself with appropriate and specific direction to the original content.  

Lisbet Tellefsen is an activist, publisher, producer and archivist that has served the Bay Area's LGBT community for over 3 decades. In 1989 she co-founded Aché: a Black Lesbian Journal —which served as an cultural, political and social nexus for LGBT communities of color both nationally and internationally. As a producer her production credits include over 50 events ranging from drag king shows to the landmark 2006 production “Sister Comrade” celebrating the lives of Black lesbian icons Audre Lorde and poet Pat Parker. She was a co-founding committee member of the Sistahs Steppin' in Pride Festival & Dyke March which ran for 10 years in Oakland, CA. A former board member of the GLBT Historical Society, during her tenure helped oversee the opening of the GLBT History Museum in San Francisco's Castro district where she co-curated the exhibitions: “From Feminists to Feministas” (2017), and “Angela Davis OUTspoken” (2018). In 2012 the Lisbet Tellefsen Papers—including the Aché journal archives, were acquired by Yale University and in 2018 were featured in “The Art of Collaboration” exhibit at Yale's Beinecke Library. These days her primary work is as an archivist and collector. As an archival consultant she has worked on numerous projects including the documentary films “Black Panthers: Vanguard of the Revolution” and “Free Angela and All Political Prisoners”. Her collections have been exhibited most recently in “Get With the Action: Political Posters from the 1960s to Present” at SFMOMA (2017-18); “All Power to the People: Black Panthers at 50” at the Oakland Museum of CA (2016); and the Smithsonian National Museum of African American History and Culture (NMAAHC) where a dozen pieces from the Tellefsen collection were included in their inaugural 2016 exhibit. Over 100 objects from her collection now reside in the permanent collections of SFMOMA, the Oakland Museum of CA, and the Smithsonian NMAAHC. Currently she is working on an Angela Davis retrospective opening in the Fall of 2020 at the Zimmerli Gallery at Rutgers then traveling to the Oakland Museum of CA in 2021.

Philanthropy is the desire to promote the welfare of others, expressed especially by the generous donation of money to good causes. Wealth is directed correlated to he level of giving. Although the level of wealth is far less than the white household, African Americans have a long standing history of providing to philanthropic causes. We (Black/African Americans) don’t consider ourselves as such. Blacks and African Americans actually donated a higher percentage of their incomes to charity than any other ethnic group in this country. Most notably the new Smithsonian National Museum of African American History and Culture (NMAAHC) was constructed in part by fundraising and established philanthropies. Today, we will discuss the state of philanthropy among African American women. Welcome our guest, Akilah Wallace.   Guest Momologist: Akilah S. Wallace Akilah is Executive Director for Faith in Texas, a multi-racial faith based, social justice organization. She has 17+ years of experience as a relationship manager, with expertise in fund development, event planning & promotions, marketing, multicultural media sales and project management. Akilah’s love for connecting community organizations with financial and in-kind resources has resulted in over $5 million in revenue support. She is currently pursuing a degree in Human Services Management & Leadership at the University of North Texas at Dallas, and has earned a Nonprofit Management Certificate from the Center for Nonprofit Management. In 2013, Akilah launched Distinguished Ones: A Philanthropic Initiative, respectfully known as #BlackDFWGives, an educational and inspiring, online initiative seeking to heighten the platform for philanthropy education and the next generation of philanthropists of color throughout North Texas. Her philanthropic leadership includes the founding of Texas’ first Black/African-American giving circle HERitage Giving Fund at Dallas Women’s Foundation, awarding nearly $30,000 in grants to Black and women-led organizations. In addition to providing consulting services for small-to-medium-sized community organizations. A 2018 Dallas Public Voices Greenhouse, Op Ed fellow, Akilah is a Dallas Business Journal 40 Under 40 honoree and recipient of The Dallas Foundation Top 10 Good Works Under 40 Award. She is a charter member of The Golden Circle and Dallas Women's Foundation’s XIX Society and former “Big” with Big Brothers Big Sisters. She currently serves on the board of directors of Trinity Commons Foundation, Seeds to STEM and Southern Dallas Progress Community Development Corporation. Akilah is the proud mother to college freshman and businessman, Jamel and St. Philip’s student-athlete, Jayce.  Her mantra is: “There is no royal flower-strewn path to success. And if there is, I have not found it for if I have accomplished anything in life it is because I have been willing to work hard." – Madame C.J. Walker Faith in Texas - https://www.faithintx.org/ Heritage Giving Fund - https://www.dallaswomensfdn.org/heritagegivingfund     Momologist of the Week Our Marvelous Mahogany Mom this week is Ms. Audrey Perkins. Author, Motivational Speaker, Entrepreneur and aspiring life-coach, Audrey is the founder of Dear Single Mommy, a blog to  help Single Moms with forgiveness, healing and freedom. SHe just published her first EBook Mommin and Goal Diggin, The Moms Guide to Reaching Goals. Website: https://www.dearsinglemommy.com/   Mom Group of the Week Pan-African Women's Philanthropy works to strengthen the capacity of Pan-African women to improve the future of their communities, families and children. https://www.facebook.com/Pan-African-Womens-Philanthropy-Network-768938516485307/   Resources: Adeniji, Ade (2016 September 14) A Rising Force: One the State of Black Philanthropy. Inside Philanthropy. Retrieved from: https://www.insidephilanthropy.com/home/2016/9/14/a-rising-force-on-the-state-of-black-philanthropy.html Brown, Gasby (2017 March 15) The Future of African American Philanthropy. Philanthropy News Digest. Retrieved from: http://pndblog.typepad.com/pndblog/2017/03/the-future-of-african-american-philanthropy.html Martin, Michel (2013 December 30) Redefining Philanthropy: How African Americans Give Back. Tell Me More. NPR News. Retrieved: https://www.npr.org/2013/12/30/258382689/redefining-philanthropy-how-african-americans-give-back Learning https://www.learningtogive.org/resources/african-american-women-and-philanthropy Black Philanthropy Month http://www.blackphilanthropymonth.com/   Producer: Greenville Ave. Studios  - http://www.greenvilleaverecordingstudio.com/  Continue the Discussion, Download, Subscribe, Rate, Like, Follow Us, and Share on: Twitter: @MMomology Insta: @mahoganymomology FB: @MahoganyMomology Email Us: Mahoganymomology@gmail.com

Ayana is a photographer who divides her time between Brooklyn, Paris and I am happy to say Johannesburg. Her biography describes her work. "Ayana V Jackson’s work examines the complexities of photographic representation and the role of the camera in constructing identity. Using performance and studio-based portraiture, her practice can be seen as a map of the ethical considerations and relationships involved between the photographer, subject and viewer." She is currently researching a project as part of a fellowship with the The National Museum of African American History and Culture (NMAAHC) "My view of Johannesburg is that is is progressive and mixed.  What keeps me here is that it is busy becomnig what it will be be. It has left its past but not quite found its future. It will never be in this moment again."

Still the most exclusive ticket in town, access to the halls of the Smithsonian's National Museum of African-American History and Culture (NMAAHC) has been in high demand since it opened in September 2016. Timothy Anne Burnside is a curatorial museum specialist for the NMAAHC and is a self-proclaimed music history nerd. She launched the hip-hop collecting initiative at the Smithsonian National Museum of American History in 2006 and has since gathered a wealth of artifacts now on view at the NMAAHC - From J Dilla's minimoog to the track sheet for "Ladies First". The guys talk with Timothy Anne about her career in music history, music as the great equalizer of people, her craziest experiences collecting for the Smithsonian and her Random Aside. #NecessaryListening Follow Timothy Anne: www.timothyanneburnside.com Twitter - https://twitter.com/Timothyanne Instagram - https://www.instagram.com/timothyanne Follow (and VISIT) the Smithsonian National Museum of African American History + Culture: https://nmaahc.si.edu Twitter - https://twitter.com/nmaahc Instagram - https://www.instagram.com/nmaahc Facebook - https://www.facebook.com/NMAAHC YouTube - https://www.youtube.com/user/WatchNMAAHC Snapchat - https://www.snapchat.com/add/nmaahc All The Fly Kids Links: Website - www.alltheflykids.com Twitter - www.twitter.com/AllTheFlyKids Instagram - www.instagram/alltheflykids Facebook - www.facebook.com/alltheflykids SoundCloud - @the-all-the-fly-kids-show Apple Podcasts - apple.co/2DNSEJ2 Google Play - bit.ly/2DLCL5M Stitcher - bit.ly/2zrT1ps Simplecast - http://alltheflykids.simplecast.fm The All the Fly Kids Show is where the cool, calm and connected talk straight – No chaser. Your hosts, Geronimo Knows and Backpack Matt, sit down each week with culture creators you [should] know specializing in moments of good taste within the arts, fashion, food, business and more. A necessary listen for the urban lifestyle enthusiast.

WWI Centennial News SPECIAL This is another special feature presentation of the WW1 Centennial News Podcast. Welcome to PART II of  “In Sacrifice for Liberty and Peace”. This two part special is an adaptation from a live staged event the Commission produced on the April 6, 2017 centennial of America’s entry into: “ war that changed the world”. Edward Bilous as the artistic director, and Chris Christopher as the US WW1 Centennial Commission’s executive producer pulled together an amazing group of artists, historians musician, actors, and others for a live performance staged at the National WWI Museum and Memorial  in Kansas City to an audience of over 3,000 attendees. For this 2-part special we have excerpted key moments from the story that unfolds, the music that was performed and the readings from a cast of amazing actors, orators, musicians and other luminaries. In Part 1 we examined the great debate in America about getting into the war, and today, in Part 2, we present how events overtook the debate and as America declared its entry into WW1.----more---- Talent Credits This podcast was adapted from the live event In Sacrifice for Liberty and Peace: Centennial Commemoration of the US entry into WWI Credits for the live event include: Edward Bilous Artistic Director John Rensenhouse Narrator Michelle DiBucci Music Director Sarah Outhwaite Video Designer   Carlos Murillo Script and Adaptation Greg Kalember Music Producer, Mix Engineer, Sound Design   Portia Kamons Executive Artistic Producer For Virtua Creative Shelby Rose Producer, Media and Special Events For Virtua Creative   Dale Morehouse Speaker   Carla Noack Speaker   David Paul Pre-Recorded Speaker   Janith English Principal Chief of the Wyandot Nation of Kansas   Sergeant Debra Kay Mooney Choctaw Nation   Col. Gerald York Grandson of Sergeant Alvin C. York   Deborah York Great-Granddaughter of Sergeant Alvin C. York   Noble Sissle Jr. Son of Noble Sissle   Featuring Musical Performances by 1st Infantry Division Band Michael Baden John Brancy Francesco Centano Billy Cliff Peter Dugan Ramona Dunlap Lisa Fisher Samantha Gossard Adam Holthus Christopher T. McLaurin Chrisi Poland Aaron Redburn Reuben Allen Matt Rombaum Alan Schwartz Yang Thou Charles Yang Alla Wijnands Bram Wijnands   Cast (In Alphabetical Order) Freddy Acevedo Yetunde Felix-Ukwu Jason Francescon Khalif Gillett Emilie Karas Chelsea Kisner Christopher Lyman Marianne McKenzie Victor Raider-Wexler   Artillery Master Charles B. Wood MEDIA CREDITS National World War I Museum and Memorial:  TheWorldWar.org Library of Congress: LOC.gov New York Public Library: DigitalCollections.nypl.org National Archives: Archives.gov National Historic Geographic Information System: NHGIS.org State Library of New South Wales: SL.nsw.gov.au Imperial War Museums: IWM.org.uk National Museum of African American History and Culture: NMAAHC.si.edu The Sergeant York Patriotic Foundation and the York Family: SgtYork.org Australian War Memorial: AWM.gov.au National Media Museum: NationalMediaMuseum.org.uk Woodrow Wilson Presidential Library Archive: WoodrowWilson.org Mathers Museum of World Culture: Mathers.indiana.edu Front Page Courtesy of The New York Times Company   PODCAST   THEO MAYERWW1 Centennial News is brought to you by the U.S. World War I Centennial Commission and the Pritzker Military Museum and Library. I’m Theo Mayer - the Chief Technologist for the Commission and your host. Before we get into the main part of the show - - Let me try to set it up: [SOUND EFFECT - WAYBACK MACHINE] We have gone back in time to January 1917. Late last year, in 1916, Woodrow Wilson ran for president under the slogan “He Kept us Out Of War” and “America First” and he won - by a slim margin. In Western  Europe, Eastern Europe, the middle east and other areas around the world -  All tied together by colonial imperialism - the war rages on! NARRATOR Not long after the election of 1916, events would unfold at a rapid pace, until the United States reached a tipping point where isolationism could no longer be an option. January 19, 1917 – Arthur Zimmerman, Foreign Secretary of the German Empire, sent a telegram to German Ambassador to Mexico, proposing an alliance between Germany and Mexico in the event of US entry into the War. ZIMMERMAN "We intend to begin on the first of February unrestricted submarine warfare. We shall endeavor in spite of this to keep the United States of America neutral. In the event of this not succeeding, we make Mexico a proposal of alliance... make war together, make peace together... and an understanding... that Mexico is to reconquer the lost territory in Texas, New Mexico, and Arizona.... You will inform the President of the above... as soon as the outbreak of war with the United States of America is certain...." NARRATOR The British Admiralty, which had cracked German diplomatic cipher systems, decoded the message within hours. Seeking to influence the American government, the British provided the Americans a copy of the telegram. On the 28t h  of February, President Wilson released the telegram to the press. The appearance of the news nationwide on March 1s t  galvanized American support for entry into the war. January 31, 1917, Robert Lansing, Secretary of State, received a note from the German Ambassador to the United States. GERMAN AMBASSADOR A new situation has... been created which forces Germany to new decisions.... England is using her naval power for a criminal attempt to force Germany into submission by starvation. In brutal contempt of international law, the... powers led by England..., by ruthless pressure, compel neutral countries either to altogether forego every trade not agreeable to the Entente Powers, or to limit it according to their arbitrary decrees. From February 1, 1917, sea traffic will be stopped with every available weapon and without further notice.... NARRATOR This message from the German Ambassador directly contravened the German guarantee to Wilson   that ended unrestricted submarine warfare following the sinking of the Lusitania in 1915. Coupled with the Zimmerman telegram, Germany’s renewed aggression decisively changed American attitudes about the war.    On February 3, 1917, the United States formally ended diplomatic relations with Imperial Germany. On February 25, 1917, the Cunard Line ship Laconia was struck by German Torpedoes. Floyd Gibbons, an American correspondent for the Chicago Tribune, was on board and lived to describe the scene: FLOYD GIBBONS At 10:30 p.m., there was a muffled noise. Five sharp blasts – the signal to abandon. We walked hurriedly down the corridor ... to the lounge which was amidships. We moved fast but there was no crowding and no panic. ...we looked down the slanting side of the ship and noticed ... her water line ... was a number of feet above the waves. ... the lifeboats... rested against the side of the ship.... I could see that we were going to have difficulty in the descent to the water. ‘Lower away!’ someone gave the order and we started downward ... toward the seemingly hungry... swells. The stern of the boat was down; the bow up, leaving us at an angle of about 45 degrees.... The tiers of lights dimmed slowly from white to yellow, then to red, and nothing was left but the murky mourning of the night..... The ship sank rapidly at the stern until at last its nose stood straight in the air. Then it slid silently down and out of sight.... NARRATOR Austin Y. Hoy, a Chicago machinery company executive working in London, cabled President Woodrow Wilson after the sinking of the LACONIA: AUSTIN HOY My beloved mother and sister, passengers on the LACONIA, have been foully murdered.... I call upon my government to preserve its citizens’ self-respect and save others of my countrymen from such deep grief as I now feel. I am of military age, able to fight. If my country can use me against these brutal assassins, I am at its call. If it stultifies my manhood and my nation’s by remaining passive under outrage, I shall seek a man’s chance under another flag. NARRATOR Events abroad also served to tip American opinion. The fall of the Russian Tsar's regime on March 15, 1917 resulted in a greater moral clarity for the Allied cause: the war was now a struggle of democratic nations against autocratic empires. Despite the passions aroused by the Zimmerman telegram and the resumption of unrestricted submarine warfare, Wilson himself had no personal desire to bring the US into conflict in Europe. Wilson told a journalist off the record: WILSON If there is any alternative, for God’s sake, let’s take it! NARRATOR March 20. Wilson confers with his cabinet. They unanimously vote for War. March 21. Wilson calls Congress into special session for April the 2n  d . On the evening of April the second, 1917, President Wilson addresses a joint session of Congress asking for a Declaration of War. WILSON “While we do these momentous things, let us make very clear to all the world what our motives are. Our object, now as then, is to vindicate the principles of peace and justice as against selfish and autocratic power. Neutrality is no longer feasible or desirable where the peace of the world is involved and the freedom of its peoples, and the menace to that peace and freedom lies in the existence of autocratic governments. We have seen the last of neutrality. We are at the beginning of an age in which it will be insisted that the same standards of conduct and of responsibility for wrong done shall be observed among nations and their governments that are observed among the individual citizens of civilized states.” NARRATOR The Congress rose to its feet and applauded enthusiastically. Cheering crowds lined the streets as Wilson departed from the Capitol. As author Byron Farwell wrote: FARWELL QUOTE It was the greatest speech of Wilson’s life. At about 10:00, when the president had returned to the White House, he and his wife had dinner with friends, after which Wilson wandered into the empty cabinet room. His secretary, Joseph Tumulty, found him there: ‘Think what they were applauding,’ he said to Tumulty. ‘My message today was a message of death for our young men. How strange it seems to applaud that.’ He put his head down on the table in the Cabinet Room, and sobbed.’ NARRATOR Still, in the face of aggression, there were voices of opposition. Arkansas Senator George Norris: SENATOR NORRIS Belligerency would benefit only the class of people who will be made prosperous should we become entangled in the present war, who have already made millions..., and who will make hundreds of millions more if we get into the war. To whom does the war bring prosperity? Not to the soldier. Not to the broken hearted widow. Not to the mother who weeps at the death of her brave boy.... I feel that we are about to put the dollar sign on the American Flag.” NARRATOR The Senate passed the War Resolution with only three Republicans and three Democrats opposed. The House voted 373 for, with 50 opposed. Jeanette Rankin, the first woman to serve in Congress, and the lone female Representative, voted against the resolution. The approved Declaration of War was sent to President Wilson on April 6, 1917. At 1pm that day he signed: “Approved 6 April, 1917, Woodrow Wilson.”   Tolling of the bells 19 gun canon salute   DEBORAH YORK As the country mobilized, we leave you with the voices of two soldiers: PERSHING Major General John J. Pershing to President Woodrow Wilson, April 10, 1917:  “Dear Mr. President: As an officer of the army, may I not extend to you, as Commander-in-Chief of the armies, my sincere congratulations upon your soul-stirring patriotic address to Congress on April 2d. Your strong stand for the right will be an inspiration to humanity everywhere, but especially to the citizens of the Republic. It arouses in the breast of every soldier feelings of the deepest admiration for their leader. I am exultant that my life has been spent as a soldier, in camp and field, that I may now the more worthily and more intelligently serve my country and you. With great respect, Your obedient servant, JOHN J. PERSHING Major General, U.S. Army DEBORAH YORK And from the diary of Sergeant York serialized in  Liberty magazine in 1927: SERGEANT YORK I had no time to bother much about a lot of foreigners quarrelling and killing each other over in Europe. I just wanted to be left alone to live in peace and love. I wasn’t planning my life any other way. ... I figured that if some people in the Wolf River Valley were quarrelling... it wasn’t any of my business to go and interfere, and Europe was much further away.... I never dreamed we’d go over there to fight. So I didn’t pay much attention to it. I didn’t let it bother me until I received from the post office a little red card telling me to register for the draft. That’s how the war came to me, in the midst of all my peace and happiness and dreams, which I felt all along were too good to be true, and just couldn’t last.” THEO MAYER In the meantime, the popular music of the time begins to address the American soldier, his image and his place in the world. IF HE CAN FIGHT LIKE HE CAN LOVE, GOOD NIGHT, GERMANY! If he can fight like he can love, Oh what a soldier boy he’ll be! If he’s just have as good in the trench As he was in the park or on a bench,   Then ev’ry Hun had better run And find a great big linden tree I know he’ll be a hero ‘over there’ ‘Cause he’s a bear in any Morris chair And if he fights like he can love Why, then it’s goodnight, Germany!   Verse 2 Ev’ry single day all the papers say, Mary’s beau is, oh, so brave With his little gun, chasing ev’ry Hun He has taught them to behave Little Mary proudly shakes her head, And says, “Do you remember what I said?”   Chorus If he can fight like he can love, Oh what a soldier boy he’ll be! If he’s just have as good in the trench As he was in the park or on a bench, Then ev’ry Hun had better run And find a great big linden tree I know he’ll be a hero ‘over there’ ‘Cause he’s a bear in any Morris chair And if he fights like he can love Why, then it’s goodnight, Germany! ANNOUNCER I Have A Rendezvous With Death (POEM: No Music or Sound) I have a rendezvous with Death At some disputed barricade, When Spring comes back with rustling shade And apple-blossoms fill the air— I have a rendezvous with Death When Spring brings back blue days and fair. It may be he shall take my hand And lead me into his dark land And close my eyes and quench my breath— It may be I shall pass him still. I have a rendezvous with Death On some scarred slope of battered hill, When Spring comes round again this year And the first meadow-flowers appear. God knows ‘twere better to be deep Pillowed in silk and scented down, Where love throbs out in blissful sleep, Pulse nigh to pulse, and breath to breath, Where hushed awakenings are dear... But I’ve a rendezvous with Death At midnight in some flaming town, When Spring trips north again this year, And I to my pledged word am true, I shall not fail that rendezvous. THEO MAYER And so America goes to war and takes her place on the world stage. Nothing would be same again as the country heads into the most rapid and profound transformation of her young existence. World War 1 Centennial news is here to tell you the story - We will explore WW1 Centennial News THEN - what was happening 100 years ago this week. And we will explore WW1 Centennial News NOW - what is happening today with the centennial commemoration of the war that changed the world. And so it begins [MUSIC] That was Part 2 of our special feature presentation of “In Sacrifice for Liberty and Peace” our 2-part special of America’s reluctant entry into World War 1. The US World War One Centennial Commission was created by Congress to honor, commemorate and educate about WW1. Our programs are to-- inspire a national conversation and awareness about WW1; Our podcast and these specials are a part of that endeavor We are bringing the lessons of the 100 years ago into today's classrooms; We are helping to restore WW1 memorials in communities of all sizes across our country; and of course we are building America’s National WW1 Memorial in Washington DC.   If you like the work we are doing, please support it with a tax deductible donation at ww1cc.org/donate - all lower case Or if you are on your smartphone text  the word: WW1 to 41444. that's the letters ww the number 1 texted to 41444. Any amount is appreciated.   We want to thank commission’s founding sponsor the Pritzker Military Museum and Library for their support. The podcast can be found on our website at ww1cc.org/cn   on  iTunes and google play ww1 Centennial News. Our twitter and instagram handles are both @ww1cc and we are on facebook @ww1centennial. Thanks for listening to this special presentation of WW1 Centennial News… A full list of the many talented people who contributed to this production is in the podcast notes.   [OVER THERE]   So long.

WWI Centennial News SPECIAL This week and next week, we are going to break format as we present a 2-part special podcast version of  “In Sacrifice for Liberty and Peace”. This two part special is an adaptation from a live staged event the Commission produced on the April 6, 2017 centennial of America’s entry into: The war that changed the world. Edward Bilous as the artistic director, and Chris Christopher as the US WW1 Centennial Commission’s executive producer pulled together an amazing group of artists, historians musician, actors, and others for a live performance staged outdoors at the National WWI Museum and Memorial  in Kansas City to an audience of over 3,000 attendees. For this 2-part special we have excerpted key moments from the story that unfolds, the music that was performed and the readings from a cast of amazing actors, orators, musicians and other luminaries. Part 1 examines the great debate in America about getting into the war----more---- Talent Credits This podcast was adapted from the live event In Sacrifice for Liberty and Peace: Centennial Commemoration of the US entry into WWI   Credits for the live event include:   Edward Bilous Artistic Director John Rensenhouse Narrator Michelle DiBucci Music Director Sarah Outhwaite Video Designer   Carlos Murillo Script and Adaptation Greg Kalember Music Producer, Mix Engineer, Sound Design   Portia Kamons Executive Artistic Producer For Virtua Creative Shelby Rose Producer, Media and Special Events For Virtua Creative   Dale Morehouse Speaker   Carla Noack Speaker   David Paul Pre-Recorded Speaker   Janith English Principal Chief of the Wyandot Nation of Kansas   Sergeant Debra Kay Mooney Choctaw Nation   Col. Gerald York Grandson of Sergeant Alvin C. York   Deborah York Great-Granddaughter of Sergeant Alvin C. York   Noble Sissle Jr. Son of Noble Sissle   Featuring Musical Performances by 1st Infantry Division Band Michael Baden John Brancy Francesco Centano Billy Cliff Peter Dugan Ramona Dunlap Lisa Fisher Samantha Gossard Adam Holthus Christopher T. McLaurin Chrisi Poland Aaron Redburn Reuben Allen Matt Rombaum Alan Schwartz Yang Thou Charles Yang Alla Wijnands Bram Wijnands   Cast (In Alphabetical Order) Freddy Acevedo Yetunde Felix-Ukwu Jason Francescon Khalif Gillett Emilie Karas Chelsea Kisner Christopher Lyman Marianne McKenzie Victor Raider-Wexler   Artillery Master Charles B. Wood MEDIA CREDITS National World War I Museum and Memorial:  TheWorldWar.org Library of Congress: LOC.gov New York Public Library: DigitalCollections.nypl.org National Archives: Archives.gov National Historic Geographic Information System: NHGIS.org State Library of New South Wales: SL.nsw.gov.au Imperial War Museums: IWM.org.uk National Museum of African American History and Culture: NMAAHC.si.edu The Sergeant York Patriotic Foundation and the York Family: SgtYork.org Australian War Memorial: AWM.gov.au National Media Museum: NationalMediaMuseum.org.uk Woodrow Wilson Presidential Library Archive: WoodrowWilson.org Mathers Museum of World Culture: Mathers.indiana.edu Front Page Courtesy of The New York Times Company   PODCAST THEO MAYER WW1 Centennial News is brought to YOU by the U.S. World War I Centennial Commission and the Pritzker Military Museum and Library. I’m Theo Mayer - the Chief Technologist for the Commission and your host. Before we get into the main part of the show - - Let me try to set this up:   [SOUND EFFECT - WAYBACK MACHINE] We’ve gone back in time to June 28, 1914. Today, a 19 year-old radicalized teenage Serbian nationalist named Gavrilo Princip guns down Archduke Franz Ferdinand and his wife Sophie - ON their wedding anniversary no less. So this was all kicked off by a misguided kid - after all - what does anybody know about consequences at 19, and gunning down celebrities - is - pretty dumb and definitely misguided. And the archduke was a celebrity - he was in line for the throne of the Austro-hungarian empire. Things are already pretty tense in Europe! Austria-Hungary, blames the Serbian government for the attack and sees this as great justification for settling the question of Slavic nationalism once and for all - with a little war action. BUT….  Russia supports Serbia, SO… Austria-Hungary asked Germany’s Kaiser Wilhelm to back them in the event of a Russian intervention… An intervention that would probably suck in Russia’s ally, France, and maybe Britain too. So - Just a month later on July 28, 1914 Austria-Hungary declared war on Serbia, and a big burning match gets tossed on the very dry tinder of european tension… the tenuous peace between Europe’s big powers goes up in flames. Within a week, Russia, Belgium, France, Great Britain and Serbia line up against the Austria-Hungary and Germany, and World War I begin. But remember - no one knows at the time that this is a global war. It’s just a little imperial action which Germany sees as a great opportunity - Remember - in German the word Kaiser means EMPEROR - so emperor Wilhelm thinks that this is a good time to expand German imperial holding with a rush west -  across Belgium - to deliver a quick and decisive blow to France for an imperially profitable end to a simple, messy little conflict. BUT….at the First Battle of The Marne, 90 miles from Paris, the German plan falls apart and the Germans suffer a defeat at the hands of the Allies – over a million soldiers face off and fight over 6 days, and sadly more than 100,000 die. This is where we join up with the live production beginning with a quote from Barbara Tuchman from her book - The GUNS OF AUGUST: “After the Marne, the war grew and spread until it drew in the nations of both hemispheres and entangled them in a... world conflict no peace treaty could dissolve. The Battle of Marne was one of the decisive battles… not because it determined that Germany would ultimately lose or the Allies ultimately win the war, but because it determined that the war would go on…. The nations were caught in a trap… from which there was… no exit.”   NARRATOR Even with the United States remaining resolutely neutral, many young Americans needed no persuasion to join the War effort. Mary Gladwin, a nurse from Akron, Ohio, was among the first American Red Cross nurses to go to Europe during the War, serving as the supervisor of nurses at the American Hospital in Belgrade. She wrote:   MARY GLADWIN The cannonading lasted all the time. There was no time during twenty-four hours in the first six months  that  some of the guns were not fired. My room was a little whitewashed one. Every time one of the big French guns would fire.... It would illuminate all the wall and then... I would hear the boom of the guns. That kept up night after night, until the time came that we did not hear them any more…   NARRATOR Eugene Bullard, the only African American pilot to fly in World War I, did so not for the United States, but for France. The son of a freed slave, Bullard stowed away to Europe in 1912, determined to escape racism in the US. After working as a boxer and vaudeville performer in England, Bullard settled in France. When hostilities broke out, he joined the infantry of the French Foreign Legion, earning the Croix de Guerre for bravery at the Battle of Verdun. After sustaining injuries and declared unfit for infantry service, Bullard earned his wings with the Aeronautique Militaire of France, and joined the Lafayette Flying Corps in 1916. His plane was decorated with the slogan” “All Blood Runs Red.” When the US entered the war, Bullard tried to enlist as a flyer for the Americans:   BULLARD “I was more and more puzzled until it suddenly came to me that all my fellow countrymen who had transferred were white. Later, I learned that in World War I Negroes were not accepted as flyers in the United States Army. This hurt me, deeply.”   THEO MAYER When hostilities broke out in Europe, thousands of Americans touring the continent descended on London hoping to find safe passage home, only to find themselves unable to obtain accommodations or tickets for the few ships sailing. A forty year old mining engineer and financier from Iowa by the name of Herbert Hoover was living in London in 1914. Hoover organized an American relief committee that provided food, shelter and financial assistance to over 100,000 Americans. Hoover’s leadership earned him the respect of the US Ambassador to Great Britain, Walter Hines Page. Ambassador Page tapped Hoover to lead a relief mission to Belgium. After the Battle of Marne, Belgium faced starvation. Germany had invaded, but refused to take responsibility for feeding the populace. On the other side, Britain’s Naval blockade prevented ships from entering Belgian ports. So in October of 1914, Herbert Hoover established an organization to procure and deliver food to the starving Belgian population, rescuing a nation from certain ruin. Herbert Hoover wrote:   HERBERT HOOVER "...there was no former human experience to turn for guidance. It would require that we find the major food supply for a whole nation; raise the money to pay for it; get it past navies at sea and occupying armies on land; set up an agency for distribution of supplies for everybody justly; and see that the enemy took none of it. It was not ‘relief’ in any known sense. It was the feeding of a nation.   THEO MAYER This will later earn Herbert Hoover the job of heading the united states food administration… and of course he also becomes the 31st President of the United State [SOUND EFFECT] Dateline May 8, 1915 Headline of the NY times reads: LUSITANIA SUNK BY SUBMARINE, PROBABLY 1,260 DEAD; TWICE TORPEDOED OFF IRISH COAST; SINKS IN 15 MINUTES; FROHMAN AND VANDERBILT MISSING; WASHINGTON BELIEVES THAT A GRAVE CRISIS IS AT HAND   SONG: WHEN THE LUSITANIA WENT DOWN A thousand more, who sailed from our shore, Have gone to eternity. The Statue of Liberty high Must now have a tear in her eye. I think it's a shame-- Some one is to blame, But all we can do is just sigh!   Chorus Some of us lost a true sweetheart; Some of us lost a dear dad; Some lost their mothers, sisters, and brothers; Some lost the best friends they had. It's time they were stopping this warfare If women and children must drown. Many brave hearts went to sleep in the deep When the Lusitania went down.   Refrain Many brave hearts went to sleep in the deep When the Lusitania went down.   THEO MAYER US neutrality faced numerous tests. Vying for control over shipping lanes across the Atlantic and through the North Sea, Germany and Britain both found themselves on a collision course with the United States. Britain, in their effort to blockade commerce from the US reaching Germany, seized American ships. Germany, in retaliation to US shipments, introduced a new weapon of war – the U-Boat – which could strike without warning. In 1915, German U-Boats sank over 90 ships.   NARRATOR Leading up to the Election of 1916, many Americans favored the Allies in the War, yet embraced President Wilson’s urging to remain “impartial in thought as well as in action.” At the time, one third of US citizens were either born in Europe or were descendants of European immigrants. Sympathy for both countries on both sides of the conflict ran high. The descendants of German immigrants found themselves torn, on the one hand identifying firstly as Americans, yet on the other, sympathizing with their relatives abroad. When the US entered the War, German-Americans were labeled “alien enemies” and faced severe restrictions on their civil liberties. Irish Americans preferred neutrality as well, as the prospect of the U.S. entering the War on the side of the British was an anathema to Irish nationalist sentiment. The sinking of the Lusitania led many Americans to call for an immediate reprisal against Germany. Wilson proceeded with caution, demanding an apology, compensation for the victims and assurances that Germany would cease unrestricted submarine warfare. In a speech delivered at a Citizen Naturalization Ceremony on May 10, 1915, Wilson affirmed the anti-War US stance:   WILSON “America must have this consciousness, that on all sides it touches elbows and touches hearts with all the nations of mankind. The example of America must be the example not merely of peace because it will not fight, but of peace because peace is the healing… influence of the world.... There is such a thing as a man being too proud to fight. There is such a thing as a nation being so right that it does not need to convince others by force that it is right.”   NARRATOR Wilson’s measured response faced opposition from figures like former President Theodore Roosevelt, who believed Germany’s aggression warranted a strong military response:   THEODORE ROOSEVELT “I am pretty well disgusted with our government and with the way our people acquiesce in and support it. I suppose, however, in a democracy like ours the people will always do well or ill largely in proportion to their leadership. If Lincoln had acted after the firing on Sumter in the way that Wilson did about the sinking of the Lusitania, in one month the North would have been saying they were so glad he kept them out of the war and… that at all hazards fratricidal war must be averted.”   NARRATOR Theodore Roosevelt’s words were not mere bluster. He would eventually see three of his sons off to war. Two would return alive. His youngest son, Quentin, died when he was shot down over France in 1918.   THEO MAYER The conflict  about  US neutrality  didn't just rage in Washington, but was reflected throughout  american society and culture  - Here is the great debate playing out as musical counterpoint in two popular songs of the times sung from the hearts of two mothers.   SONG MEDLEY: “I Didn’t Raise My Boy To Be A Soldier” - “America, Here’s My Boy”   Verse 1 There’s a million mothers knocking at the nation’s door A million mothers, yes and they’ll be millions more, And while within each mother’s heart they pray Just hark what one brave mother has to say: Chorus America, I raised a boy for you America, you’ll find him staunch and true Place a gun upon his shoulder He is ready to die or do America, he is my only one; My hope, my pride and joy, But if I had another, He would march beside his brother; America here’s my boy   Verse 2 There’s a million mothers waiting by the fireside bright A million mothers waiting for the call tonight And while within each heart there’ll be a tear She’ll watch her boy go marching with a cheer   Chorus America, I raised a boy for you America, you’ll find him staunch and true Place a gun upon his shoulder He is ready to die o My hope, my pride and joy, But if I had another, He would march beside his brother; America here’s my boy.   Verse 1 Ten million soldiers to the war have gone Who may never return again Ten million mothers’ hearts must break For the ones who died in vain Head bowed down in sorrow in her lonely years I heard a mother murmur thro’ her tears:   Chorus: “I didn’t raise my boy to be a soldier, I brought him up to be my pride and joy.” Who dares place a musket on his shoulder To shoot some other mother’s darling boy? Let nations arbitrate their future troubles, It’s time to lay the sword and gun away. There’d be no war today If mothers all would say: “I didn’t raise my boy to be a soldier.”   Verse 2 What victory can cheer a mother’s heart When she looks at her blighted home? What victory can bring her back All she cared to call her own? Let each mother answer in the years to be, Remember that my boy belongs to me!   Chorus: “I didn’t raise my boy to be a soldier, I brought him up to be my pride and joy.” Who dares place a musket on his shoulder To shoot some other mother’s darling boy? Let nations arbitrate their future troubles, It’s time to lay the sword and gun away.   NARRATOR At the other end of the political spectrum, the editors of the conservative North American Review argued for U.S. participation:   THE EDITORS OF THE NORTH AMERICAN REVIEW We know now… what this war is. It is the last of the great battles for Freedom and Democracy. America fought the first a century and forty years ago. France followed through seas of blood and tears. But lately the Great Charter has passed… from the barons to the people of England. Japan has ceased to be a monarchy except in name. China as a Republic defies the power of might…. Can anyone doubt that the beginning of the end of absolutism is at hand….?   NARRATOR Legendary newspaper reporter Walter Lippman offered this third-way assessment of the role America could play in the War:   WALTER LIPPMANN In May 1916, the President made a speech which will be counted among the... decisive utterances of American foreign policy…. The speech was an announcement that American isolation was ended, and that we were prepared to join a League of Peace….. …it was intended to make clear to the world… that if America has to fight, it would fight for peace and the order of the world. It was a great portent in human history, but it was overshadowed at the time by the opening of the Presidential campaign.”   THEO MAYER The United States, like Canada and the British Empire, absorbed a massive influx of immigrants from the end of the 19th Century through the war. Capitalizing on the idea that immigrants traveled to distant shores seeking freedom from tyranny, recruitment efforts in all three countries appealed to immigrants’ indebtedness – in exchange for their freedom, and their children’s freedom, they were urged to show their patriotism by enlisting in the fight.   “THERE’S NO HYPHEN IN MY HEART” SONG   Verse 1 To these broad shores my fathers came From lands beyond the sea They left their homes they left their friends To breathe an air more free To them an alien land it seemed With customs strange and new But my heart knows just one dear flag The Red, the White, the Blue   Chorus: There is no hyphen in my heart It can’t be cut in two Oh flag of bars and silver stars I’ve given it all to you   Verse 2 Columbia to me you’ve been A mother fond and true My heart’s best love and loyal trust I gladly offer you Let others sing of native lands Far o’er the ocean’s foam The spot where floats the stars and stripes Shall ever be my home   Chorus: There is no hyphen in my heart It can’t be cut in two Oh flag of bars and silver stars I’ve given it all to you   NARRATOR The 1916 election hinged on the question of America’s neutrality in the War. Wilson, running for a second term, built his candidacy around the idea that America ought to prepare for the possibility of war, yet the campaign slogans “He Kept Us Out of War” and “America First” persuaded the American public that a vote for the Republican candidate, Charles Evans Hughes, would be a vote for war. While many embraced the slogans, others criticized them. Teddy Roosevelt:   TEDDY ROOSEVELT President Wilson’s ignoble shirking of responsibility has been mis-clothed in… the phrase of a coward, “He Kept Us Out of War.” In actual reality, war has been creeping nearer. . . and we face it without policy, plan, purpose, or preparation.   NARRATOR In September 1916, Wilson accepted the Democratic nomination for President:   WILSON “We have been neutral not only because it was the fixed and traditional policy of the United States to stand aloof from the politics of Europe… but also because it was manifestly our duty to prevent … the indefinite extension of the fires of hate and desolation kindled by that terrible conflict and seek to serve mankind by reserving our strength and our resources for the… difficult days of restoration and healing …, when peace will have to build its house anew.”   NARRATOR The Debate reached every corner of American society. Voices for and against the US joining the war included not only politicians, but men who would likely be called to serve, women, African Americans and Native Americans fighting for an equal role in American Civic life.   NARRATOR American Arthur Bullard, who had lived in war-time France and England, wrote in early 1917:   ARTHUR BULLARD Whatever the diplomats may like to call it, this is War. And we do not know how to fight…. We have no American general who ever commanded an Army corps, not one of our naval officers ever fought against a Dreadnought, none of our artillery men ever fired a real shot at an enemy aircraft. We must learn…. The war is upon us and we... must decide what we are going to do about it… We who love peace ought to keep out of war as long as possible and when we are forced to go in – go in hard!   NARRATOR For women, the prospect of war also provoked debate. Many nurses of the American Red Cross nurses had experienced the tribulations of War first hand. Jane Delano, founder of the American Red Cross Nursing Service, wrote in the winter of 1915:   JANE DELANO We have learned that women can be mobilized without confusion; that their chances of illness when ... seem to be no greater than men’s; that they face danger with equanimity…. Out of this experience we should be…. able to guarantee a satisfactory nursing personnel not only for national relief in time of calamity, but for efficient service should our country be confronted with that greatest of all disasters – War.   NARRATOR A year later, Bessie R. James of the National League for Women’s Service wrote:   BESSIE R. JAMES On November 8, 1916, the foresight of the women… is something which cannot but arouse admiration. That anyone should organize to prepare half the populace of the country for war while a president was being put back into office because of a supposed peace policy would seem ridiculous. This however, was exactly what happened.   NARRATOR The first years of the War coincided with the beginning of The Great Migration, a transformative period for African Americans who fled the entrenched racism of the south for better wages and living conditions in northern cities like Chicago, Pittsburgh, Detroit and New York. At the outbreak of war, many African Americans viewed service in the military as an opportunity to show their willingness to serve and improve on their standing as second-class citizens. Others were more skeptical. In a 1917 issue of The Messenger, Chandler Owen and A. Phillip Randolph challenged the hypocrisy of American democratic ideals in relation to African American struggle:   OWEN & RANDOLPH; Patriotism has no appeal to us; justice has. Party has no weight with us; principle has.   NARRATOR In his 1914 editorial, “World War and the Color Line,” W.E.B. Dubois drew connections between the crisis in Europe and the conditions experienced by African Americans at home: W.E.B. DUBOIS Many colored persons… may easily make the mistake of supposing that the present war is far removed from the color problem in America…. This attitude is a mistake. The present war in Europe is one of the great disasters due to race and color prejudice and it but foreshadows greater disasters in the future….   NARRATOR As the likelihood of war increased in early 1917, DuBois again unleashed his pen to reflect on the institution of segregated training camps:   W.E.B. DUBOIS We must choose then between the insult of a separate camp and the irreparable injury of strengthening the present custom of putting no black men in positions of authority here is only one thing to do now, and that is to organize the colored people for leadership and service, if war should come. A thousand commissioned officers of colored blood is something to work for.   NARRATOR Diplomat, lawyer, and official of the NAACP James Weldon Johnson called for an end to what he termed the “Excess Patriotism” which had led the world’s nations to war: JOHNSON It is this hot, high-tempered, foolish, bad-mannered patriotism that keeps farther away the day for which all lovers of humanity pray; the day when men shall not hate each other because of the boundaries of domain or the differences of race, but when universal brotherhood shall be established and a lasting peace shall reign.   ARE THEY EQUAL IN THE EYES OF THE LAW SONG Verse 1 As they sit in consultation Seeking peace for the wide, wide world I wonder if their thought e’er turn to me. I was at the concentration of the troops that stopt the whirl Of the Kaiser in his dash to the sea. As I sit in meditation Seeking solace from on high I wonder if they see I stand in awe, As they plan the federation for the races far and nigh Are they equal in the eyes of the law?   Chorus: Are they equal in the eyes of the law? The black man faced his death and cried, “Hurrah?” His soul was pure and white, He fought a manly fight, No more patriotic sons you ever saw Are they equal in the eyes of the law? The black man faced his death and cried, “Hurrah?” They were the same in no man’s land, Tell me how so they stand? Are they equal in the eyes of the law?   Verse 3 God, the Father of creation, Hear, oh, hear my humble plea, As with contrite heart I call thy holy name. In this land of desolation, Where they lynch and torture me, Keep them, Father, from this life of sin and shame. Oh thou God of restitution, Though with vengeance in Thy hand, We pray Thee, Keep us from grim hatred’s mighty claw Show them, Lord, that retribution, Runs its course throughout the land, To make men equal in the eyes of the law.   Chorus: Are they equal in the eyes of the law? The black man faced his death and cried, “Hurrah?” His soul was pure and white, He fought a manly fight, No more patriotic sons you ever saw Are they equal in the eyes of the law? The black man faced his death and cried, “Hurrah?” They were the same to the God of the hosts, Tell me in your Freedom’s boasts, Are they equal in the eyes of the law?   NARRATOR America’s native peoples overwhelmingly supported the United States during the Great War, although a few leaders such as Dr. Carlos Montezuma, a Yavapai-Apache, objected. He wrote:   CARLOS MONTEZUMA They are not citizens. They have fewer privileges than have foreigners. They are wards of the United States of America without their consent or the chance of protest on their part.   NARRATOR But most Indian leaders saw the conflict as an opportunity to gain recognition and to affirm tribal sovereignty, as did the Onondaga and Oneida Nations that declared war on Germany.   In 1917, Oglala Chief Red Fox, a nephew of Crazy Horse, went to Washington and urged Secretary of War Newton D. Baker, to offer the services of the Indians in the Great War:   CHIEF RED FOX From all over the West, we now stand ready--fifty thousand Indians between the ages of seventeen and fifty-five. We beg of you, to give us the right to fight. We guarantee to you, sir, our hearts could be for no better cause than to fight for the land we love, and for the freedom we share.   NARRATOR Chief Red Fox’s sentiments were echoed by the Seneca Arthur Parker, President of the Society of American Indians in 1917, who wrote:   ARTHUR PARKER The American Indian has common cause with the Allies.  The Indian fights because he loves freedom and because humanity needs the defense of the freedom loving man. The Indian fights because his country, his liberties, his ideals and his manhood are assailed by the brutal hypocrisy of Prussianism. Challenged, the Indian has... shown himself a citizen of the world, [and] an exponent of an ethical civilization wherein human liberty is assured.   NARRATOR The outcome of the 1916 election reflected divisions in the country. Winning by a slim Electoral College margin, Wilson’s second term would soon face a series of crises that would determine the fate of his neutral position in the war.   NARRATOR - ALL READERS While debate raged in America, the slaughter continued in Europe. Rapid advances in the technology of weapons of war led to vast devastation. For the first time in history the battlefield saw the use of tanks, chemical weapons, machine guns, long-range artillery and aircraft. Sixty five million men fought in the War from 40 countries. Twenty one million were wounded. Eight million died – roughly 3,000 every day. Six and a half million civilians were killed including two million in Russia alone. One hundred and ten thousand tons of poison gas was used, killing nearly half a million men. In Europe alone, approximately 10 million people were displaced by the war, including 1.8 million Armenians forcibly deported to the Syrian desert. 1.5 million Belgians were refugees from the Germans. In the Battle of Somme, fought between July and November of 1916, 1.2 million men perished for a meager Allied gain of 7.8 miles of territory. During the Battle of Somme, it is estimated that in the first week of fighting over one and one half million artillery shells were fired… almost three shells per second for 168 continuous hours. (NEED THIS STATISTIC!!) Never before had humankind unleashed terror on this scale and it’s effects permanently scarred the landscape and the souls of those who were there. THEO MAYER And that is the end of  part 1 of “In Sacrifice for Liberty and Peace” Join us again next week for part II   The US World War One Centennial Commission was created by Congress to honor, commemorate and educate about WW1. Our programs are to-- inspire a national conversation and awareness about WW1; Our podcast is a part of that endeavor We are bringing the lessons of the 100 years ago into today's classrooms; We are helping to restore WW1 memorials in communities of all sizes across our country; and of course we are building America’s National WW1 Memorial in Washington DC.   If you like the work we are doing, please support it with a tax deductible donation at ww1cc.org/donate - all lower case Or if you are on your smart phone text  the word: WW1 to 41444. that's the letters ww the number 1 texted to 41444. Any amount is appreciated.   We want to thank commission’s founding sponsor the Pritzker Military Museum and Library for their support. The podcast can be found on our website at ww1cc.org/cn   on  iTunes and google play ww1 Centennial News. Our twitter and instagram handles are both @ww1cc and we are on facebook @ww1centennial. Thanks for listening to this special presentation of WW1 Centennial News… A full list of the many talented people who contributed to this production is in the podcast notes.   [MUSIC] So long.

Image: Guard tower from Camp H at the Louisiana State Penitentiary at Angola at the National Museum Of African American History And Culture The National Museum of African American History and Culture (NMAAHC) opened in September 2016. Today we will talk to some of the people who were thinking about the museum in 2007.Sara Smith and Andrew Anway were part of the Interpretive Planing team. They discuss NMAAHC director Lonnie Bunch's guiding principals for the museum as a whole, trips to other museums during the planning process, and the mission to show that what is happening in culture today is rooted in the past. Club Archipelago

The Guys announce that Drew's new book, Organize Your Genealogy, to be published by Family Tree Books, will be released on 1 July 2016. It is available for pre-order at Amazon.com and BarnesandNoble.com. The news includes: · RootsMagic has released an update to its RM7 software to facilitate migration of Family Tree Maker (FTM) data. · MyHeritage offers its Family Tree Builder for PC and Mac with tree-syncing capabilities with their online tree. · MyHeritage announces the addition of a huge and diverse free collection of over 150,000 digitized books relevant to family history. · Findmypast has recently added new materials, including additions to the British Newspapers and a quarterly update to the Periodical Source Index (PERSI). · FamilySearch, the Smithsonian National Museum of African American History and Culture (NMAAHC), and the Afro-American Historical and Genealogical Society (AAHGS) have announced exciting milestones in the historic Freedmen's Bureau Project (DiscoverFreedmen.org). · Drew recaps recent additions and updates to FamilySearch. · The National Institute on Genealogical Research has announced that the institute's name was changed on 22 December 2015 to the Genealogical Institute on Federal Records (Gen-Fed) and its website is now located at http://www.gen-fed.org. Listener email includes: · Discussions continue about Ancestry.com's retirement of its Family Tree Maker desktop genealogy software. Opinions are expressed about whether to change to another software program, remain with the existing program, or migrate to a cloud-based family tree facility. The Guys discuss their upcoming genealogical research goals and projects for 2016. They also want to hear about yours!

Tonight on The Gist of Freedom learn more about this historical and fascinating photo with John Franklin,  the Smithsonian's National Museum of African American History and Culture (NMAAHC) specialist on Emancipation Day and other Historical Black Holidays Survivors~ Four Formerly enslaved centenarian Women ~In 1916 they gathered at an Emancipation Day in Washington, DC. Annie Parram, 104; Anna Angales, 105; Elizabeth Berkeley, 125; and Sadie Thompson 110. From the Library of Congress. — at Washington, DC. In 1916 four women--who were formely enslaved--gathered at an Emancipation Day Celebration in Washington, DC. All were centenarians. Annie Parram, 104; Anna Angales, 105; Elizabeth Berkeley, 125; and Sadie Thompson 110. From the Library of Congress.Survivors~ Four Formerly enslaved centenarian Women ~In 1916 gather at a Emancipation Celebration in Washington, DC.Annie Parram, 104; Anna Angales, 105; Elizabeth Berkeley, 125; and Sadie Thompson 110. From the Library of Congress. — at Washington, DC. In 1916 four women--who were formely enslaved--gathered at a reunion in Washington, DC. All were centenarians. Annie Parram, 104; Anna Angales, 105; Elizabeth Berkeley, 125; and Sadie Thompson 110. From the Library of Congress. Visit The Gist of Freedom