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ForAllNerds Takes Over The NMAAHC · For All Nerds Show

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  You are now listening to For All Nerds Show, a podcast about geek and
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  pop culture from the perspective of people of color. For All Nerds is hosted
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  by DJ Benarmen and Taitana Keene Jones. For All Nerd Shows a member of
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  we do, from our podcasts, live events, our website are all independently
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  funded. Please continue to support us through our Patreon page at patreon dot com
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  slash for All Nerds. Welcome to The For All Nerds Show and What's up
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  y'all, and welcome to another episode of The All Nerd Show, The Voice
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  of the Urban Geek, the podcast where we discuss geek and pop culture from
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  the perspective of people love colare and as always in the Captain chair, it's
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  your boy, DJ Ben I Mean aka the Ghost in the Shell Toe Trinidad
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  Bain Wakanda's favorite DJ, the Kevin Bacon of the Internets, Doctor Dradl Beverly
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  Trail Billy Doctor, Who's man's is this? And I'm always watching everybody atter
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  I can't even finish, so I'm just gonna leave it at that herald of
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  Galactus back in the spaceship. I was gonna go and spend the block like
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  a Dredo, you know, but doctor Drader, No, doctor Drado is
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  the best. All right, Thank you very much, Doctor Drado in the
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  house. Shout out to my brother Zev. I know you're listening right now.
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  Yes, and as always, I'm joined by Tatiana King d Grand Duchess
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  of Tech also known as Flex Luthor, Glorilla grod Lambo, Kyle Risian nets
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  Landers, Little Vision Vert, the Wrath of Khan Chu to Challa Breast,
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  grow Up City in Lotto High Tower. I'm dreaming of a Walter White Christmas
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  Cuji Chakaalia down to the socks Optimist fine trash Ketchum and the ting of the
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  North. You keep going with trash catchum. I keep forgetting to come with
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  hash catch them. Yeah, you gotta do that. Yes, the brother
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  and Sister duo. But today we are joined by a very special, very
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  special guest. You might have seen them before on our YouTube, well not
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  on our YouTube, but on the Smithsonians YouTube, you know, introducing our
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  panel at the National Museum. God damn it. I used to African American
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  history and culture. There we go. I used to get it right.
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  It's been a minute, but there we go. Leslie P. Walker is
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  in the building. Please use yourself and let the pan fan know who you
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  are what you do. Oh man, I feel like I've waited all my
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  life for this. Thank you so much for having me. So I'm Leslie
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  Walker. My akas are Rick and Maurice, Master of the Marvel Arts,
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  Obi Wan bon Jovi, and Hannah the Hut. That's the one. Wow?
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  What that is the one? Because I just saw Suki Hannah on It
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  is what it Is on Cama Mason Show, and that was an episode to
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  say the least. So yes, welcome, welcome, very much, thank
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  you for joining us. You know, it's an honor and a privilege for
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  you to say that. It feels like you're be weighing all your life for
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  this, you know, but thank you, Thank you very much. Man.
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  Please let the people know who you are, and you know what is
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  your job title and all that? Yes, oh man, it's job title
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  is a mouthful, but I'll just simply say I am a program producer and
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  as you said, I worked for the Smithsonian and I work at the National
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  Museum of African American History and Culture, the MOCK also known as the Blacksonian,
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  and I am responsible for producing several, uh, several programs at the
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  museum, but those that particularly speak to social justice and scholarly conversations. That's
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  that falls within my portfolio. All right, all right, but no give
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  us the whole you know, mouthful job, dott All. I want to
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  know. Oh well, yeah, so the whole mouthful title is Oh gosh,
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  what is it? Because I just recently moved into this position, but
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  it's program production and evaluation supervisor. It sounds like some boss level shit,
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  that's what I heard. I heard you're like a boss somewhat. I'm a
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  little boss, a little boss that you got to fight me to get to
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  the next boss. Okay, so what exactly do you do at the museum?
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  Yeah, yeah, that's a that's a great question to start with.
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  I feel like as a program producer, I pretty much should do so much.
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  So it is really looking at how to produce programs that are both entertaining,
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  that are educational and also exciting and thought provoking. So I've been with
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  the Smithsonian for four and a half years, but I've dedicated almost a decade
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  to the work of public history, community engagement, and teaching, and my
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  role right now it allows me to combine my passion for heritage study and contemporary
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  culture to create programs that complement and enhance our museum exhibitions and the overall experience
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  that you have in the museum. So, since you've been having such a
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  long history, this just sounds like a dream job, particularly for someone like
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  you. Like did you go to school, Like do you have this background
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  in like liberal arts or like how did you get involved in this? Yes,
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  so I did go to a liberal arts college, and so I am
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  a museum educator. I have a background in anthropology and I specialize at looking
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  at African diaspora culture and I've been able to do a lot of really cool
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  stuff with that. But the Smithsonian, definitely, and working at this particular
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  museum is a dream job. It really is. Wow. Yeah, I
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  wake up every day. It's a lot of work, don't get me wrong,
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  but I'm just like, yeah, I really am happy that landed this
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  gig. I mean, we're happy you landed this gig. Without you,
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  we would not be there, right, I mean we I mean Ben already
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  said it a little bit, but I do wanted to make sure that we've
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  said it before. But again, just want to express our gratitude for that
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  you saw us for who we are right, you saw that the division that
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  we bring, you see the value add that we have, that, the
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  the contributions to the culture that we bring when it comes to for all nerds
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  and the things that we love. So for you to be able to infuse
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  our passion with your passion and then bring about a program that clearly a lot
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  of people messed with heavy and you know, we just had such huge,
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  amazing positive feedback from there, Like I think that was incredible. So I
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  just want to think, thank you first and foremost, I'm glad you there.
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  Well, thank you for answering the call taking on the hero's journey.
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  Oh come on that now. Yeah, and like hot down to say,
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  I want to reiterate, reiterate. I also want to thank you very much
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  for that because it was an honor, it was a blessing. It was
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  just big time. It was something that I never imagined and then it just
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  happened and it was like, wow, we're really standing on stage in the
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  Oprah Winfrey theater facts, you know, at the Blatsnian doing it big with
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  some of our heroes and our peers and icons, and we're being broadcast worldwide,
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  you know, from the blat Sonian. So that was something and I
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  really want to thank you and thank you for being there and thank you for
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  doing the work you're doing, because that trip was my first time getting to
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  go into the museum and it was absolutely mind blowing. Like I got to
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  check out the Air for Futurism exhibit, and then I spent a whole hell
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  of a lot of time going you know, Leslie took me through the music
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  exhibit and and then left me there and I stayed there for a long time
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  after that, and I reference it constantly since then. It's just been such
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  a I love that floor, like that alone, I think is such an
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  amazing thing. And you were telling me, I don't you know, I
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  won't reveal all that, but I know you were doing some inside plans for
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  the future of the music floor, and I just love the idea behind that,
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  in what you are doing there and how that will educate people about black
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  music, which I just think. I actually tweeted this the other day,
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  and I really want to say it now because there is no form, there's
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  no major form of American music that does not exist without the creation. Now,
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  I won't even say transtribution. I want to say creation. There the
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  creation thereof by black and brown people. In the story, there is none
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  from every single major form or genre of music that you want to think about.
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  It started by black and brown people. We are musical people, and
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  we're also dealing with a lot of oppression that should and that contributes to all
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  to the fact that, you know, the blues don't come about if we
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  aren't, you know, given the blues in a way that no other people
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  can relate or create most of And you know, I want every visitor that
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  comes to the museum to kind of walk away and have that experience that you
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  that you just so vividly expressed. Not everybody's going to feel that way,
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  but if they're able to at least leave the museum and just kind of think
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  differently, I think we've we've done a really great job. And if they're
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  able to come back and participate in a program and really dive into discussion and
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  really pose really great questions like they did with you all, I think we're
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  we're doing a great job. Absolutely, and a little bit differently from Ben.
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  That was my second time in the museum and the first time I was
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  there for maybe four hours, and I just felt like it wasn't enough time.
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  Like the museum, the Africanamerican Museum is a place where you literally,
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  I feel personally, get to spend days, like dedicate one day to one
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  part of the exhibit to really get the full experience and be able to ask
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  the questions and really peruse all of the details. I mean this, I
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  don't think there's anything in the world that can quite comprehend the massiveness of black
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  culture, African American culture, right obviously, but this is this museum tries
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  its best and does a really damn good job. And the fact that you
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  have rotating a new exhibits and new things that you're curating. So like,
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  for example, Ben mentioned that we were there as part of the Afrofuturism exhibit,
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  and I'm just curious, like, because now we have y'all want to
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  know the behind the scenes, like how did y'all decide, Hey, this
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  is what we want to focus on, and then how did y'all go about
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  doing the curation. Yeah, so the Afrofuturism Exhibition is our latest exhibition at
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  the museum that opened in March twenty three, and it was set to close
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  March twenty four. Due to its popularity, we've actually extended the run of
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  the show to August. So the temporary exhibitions or the changing galleries that we
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  have in the museum, they rotate every year to two years, and it
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  allows us to dive in really deeply on a particular topic that is represented in
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  the museum in some way, but really expand it and blow it up a
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  bit more. And the museum only ten percent of our collection is on display
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  in the building. The rest is in a storage facility in Maryland under conservation
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  and cataloging. Yes, every August, we rotate objects in our permanent exhibitions,
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  so the stories say they don't stay, yeah, and they don't change
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  necessarily, but the object comes in and really refresh things, so you can
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  come to the museum a year from now and see a different object. But
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  the temporary gallery is really where we're able to breathe new life and have people
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  come back to the museum. And the Afrofuturism exhibition that was one that was
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  I had to give a shout out to the lead curator, that is doctor
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  Kevin Straight, and he was assisted by Timothy and Burnside, and they had
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  that was in the workings, i would say, going back to twenty eighteen,
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  and then the work really started at the beginning of twenty twenty, and
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  of course we know what happened in twenty twenty, so it was extended,
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  and really we had to rethink how we were going to position the exhibition and
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  really what story we were necessarily going to tell because there was this new layer
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  of history that was added to us. So the Afrofuturism exhibition, first we
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  had to understand how we're going to define it. There's so many definitions for
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  afrofuturism, and the way that the museum takes it is we see acro futurism
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  as the lifestyle, the philosophy, the aesthetic that expresses notions of black identity,
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  agency, freedom, and we express that through art, creative works,
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  and activism, and all of this is to envision a liberated future for black
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  lives. So we do that through literature. We do that through looking at
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  music, and we do that at looking at victim inspecative fiction such as comic
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  books and comic book characters, and then lastly also looking at how black folks
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  have utilized the Internet and how they've mobilized with Black Lives Matter and others,
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  how they've mobilized thoughts and created community. And Tatiana is holding up the publication
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  that was a compliment to the exhibition, which is absolutely beautiful. And the
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  exhibition, like everything else in the museum that I got to see so far
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  are it's so beautiful. But I know, like a friend of mine,
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  he went through the whole museum and he described it like this. He's like,
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  when you started the basement, it's like you start with the slavery and
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  everything and all the trauma, and then as you rise up, it's like
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  the people are rising up with yeah, you go through it. So it's
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  like the Afrofuturism exhibit is up high, you know, with the music and
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  all that. And that was really that's interesting that that observation, because that's
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  so true. It is like, you know, rising of your consciousness and
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  rising of the body, you know, the physical rising and the mental and
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  even emotional rising, right like the feelings of joy and creativity and creation itself
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  is a very high vibration, so to have it on a higher plane literally
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  literally physically on a higher plane, that's fire. Yeah. And then the
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  ideas in the Afrofuturism exhibit. Some of them that really stuck with me that
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  I hope people get to see it and take with them is like the part
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  when it talks about the dogone. I want to I think I'm pronounceing that
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  correctly. And i'd heard of them before. I know, Young gru had
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  referenced them one day and he's one of the smartest dudes I know, and
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  he referenced them talking about engineers and math, and I was like, okay,
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  I need to check into this strip. Whenever he references anything, I'm
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  like, I need to read about this. So then at the exhibit there's
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  a whole little section on them, and that really fucked me up where I
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  was like, oh no, okay. So I went and got the book
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  by Larry Stranton, The Science of the Dogon and he has two books on
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  it. I got to get the first book so I can really read everything
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  about them as much as possible. But it's stuff like that that you know,
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  we're just not taught at all. I mean, even in places like
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  Howard University, shout us Ahu. It wasn't like that unless you really seek
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  this stuff out sometimes, so to see it all right there in this exhibit
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  where it to inspire people to go get these books, like the complimentary book
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  you have, Like I've gotten like two other books on afrofuturism since the exhibit,
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  one written by one of the contributors, and then this Dogone book.
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  So I love it, man, I just love how much information, how
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  much history, how much future thought. And then what you said really needs
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  to be illustrated and put a pen and really like hype that should up,
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  like the idea of a liberated people, because that's something that It's funny because
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  I referenced this often. I wrote this graphic novel. Me and my partner
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  Mellow Brown wrote this graphic novel Hendrix Purple Hayes. I know, I'm sure
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  as you've heard of us talk about we talked about at the show, and
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  there's parts in it. I'm trying not to give away shit, but like
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  Mellow wrote this scene that fucked me up when I read it because it talks
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  about that idea and about how much creativity and how much stuff we've done under
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  pressure and what would it look like if we weren't under this pressure, you
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  know, And that's something that's so hard to imagine because like I was talking
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  about that music thing, and I was talking with another producer who's a white
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  guy, and he was like, yeah, what you said, straight up
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  and down, and I'm like, yeah, man, it's hard for me,
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  even as a black person to understand the amount of creativity that we've put
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  forth, and that going back to the Ghibit, there's a panel, I
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  mean a small little panel on the wall talking about punk and Go Go and
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  how they're both created by black people at the same time, in the same
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  city, in the same decade pretty much, and that shit wrecked me because
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  I knew Go Go and Punk were both black obviously, but I didn't realize
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  how closely they were intertwined and how they both came up in DC. And
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  it's just yeah, yeah, like the museum and honestly, all the work
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  that you, Leslie and all your colleagues are doing is transformative. As you
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  can see, like Ben I mean is losing his shit over there, but
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  he's just recalling. It's just this is just a Franctic election. So could
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  you imagine him in real life, and I know that that reacts in that
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  emotion and experience is multiplied in triplicate and quad druplicate, like with the amount
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  of people that are constantly coming in and visiting the museum, and with that
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  understanding, like, how does that make you feel just to be part of
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  the people who keep this museum in motion, because it is a living thing
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  if you think about it, Yeah, it is, It definitely is.
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  And I think that's the great thing about the museum is that it's one where
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  we're constantly collecting and we're still collecting objects, so we don't necessarily see this
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  as a completed history, and then it's one that can be reinterpreted in so
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  many different ways. So the exhibition that preceded afro Futurism was one that looked
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  at reconstruction, so the period after emancipation in the country and sort of the
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  promises that were made available to black folks that were suddenly cut off by the
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  emergence of jimcro So that's one way of sort of looking at a history that
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  isn't always acknowledged in textbooks and really spoken about. How there's so many folks
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  that were able to run for public office and win and black folks were able
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  to own property and get married and go to school and go to schools like
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  Howard and that's where HBCUs were established. So that's one way of really taking
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  a moment and just getting people to pause and reflect on history, but then
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  also looking at afrofuturism, because it is a moment for us to look at
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  the future but also look at the past that interpret our president and it's one
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  that is built on speculation and ideas that we hold within us that we can
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  make real. And what then was speaking to earlier about the Dogon So the
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  Dogon people are an ethnic group, a tribe that are still present in Ali,
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  West Africa, and one of their great significant influences to Afrofuturism, but
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  really to science is yeah, they had an understanding of astronomical phenomenon that were
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  before some of the earliest Europeans. And they were able to chart the constellation
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  series, so the star constellation that looks like a dog that they were able
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  to identify that well beyond you know folks that we you know, we revere
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  now like Isaac Newton and other people. And then they built their whole life
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  and society, their mythology, their cosmology has been built around that and just
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  their culture. And that's where the exhibition opens, is with this ancient and
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  very deep historical knowledge that isn't that isn't refreshed necessarily by popular culture as we
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  see without the futurism with the emergence of the Black Panther films. But know
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  that folks really had this understanding of creating a whole world within them else well
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  beyond we even we even even thought to think about it. So that's just
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  one of the greatest things that I'm excited to work on. And part of
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  my job is I work with people with so many different backgrounds and disciplinary studies
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  to create an exhibition. So it is a collaboration with various team members that
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  include the curators who are responsible for constructing the script for the exhibition. We
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  have project managers that keep us on schedule and make sure that we are doing
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  what we need to do. You have folks that go out and collect the
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  objects, so that right there is the important piece is seeing what do we
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  have in our collections, but what do we need to fill in by going
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  to folks and collecting them and convincing them that you the best place to have
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  it, and also to collect from other institutions. There's fabric there's exhibit agricators,
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  there's graphic designers, there's instructional and media technologists, and then there's folks
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  like myself or educators. And as an educator, my job is to be
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  an advocate for the audience and for the public, so to work with the
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  curators to help distill this complex knowledge and to one that is easily accessible for
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  visitors, and we contribute to the exhibition script. We also are responsible for
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  drafting the visitor guide and even down to the label text as well. Right,
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  you know, I'm really glad that you mentioned all of the I mean,
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  I know it's not even the extent, but you mentioned maybe ten to
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  fifteen different jobs, and I just it's interesting because a lot of people don't
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  realize one all that goes into something you can imagine, but you don't really
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  realize everything that goes into museums, the curation, the thinking of the planning
• 22:52
  and the execution of exhibits, and then the fact that these are real jobs.
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  Like some people look at museums and like you know, they were like,
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  oh, it might be fun or interesting, to work here, but
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  they don't necessarily have a tangible clue as to what goes into it. And
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  what you're speaking is so important. It's so interesting because like I know,
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  there are people out there that are into the arts and maybe they want to
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  contribute in a way. They want to be the collectors, and they want
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  to be the people who go out and identify body of works or objects as
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  you mentioned, that are suitable and that are important to be displayed and for
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  people to learn about. So I thank you so much for like giving us
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  all this education. All right, but we do have you here because we
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  want to do a little you know what we call a watch of this panel
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  because we've never actually put the actual whole panel our on on YouTube page,
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  and we want to give people, you know, some of it so they
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  see and we can you know, talk about it, because I don't think
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  either of us have watched this panel since we were on it. You know,
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  I know, we don't watch too much of the things we do watch.
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  I watched myself stutter in the beginning, and I turned it off.
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  Yeah, I think I did the same. And so we're about that,
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  Yeah, you know, we're about to check this out. You know,
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  with the people and with Leslie, so we can get his thoughts on it
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  as well, you know, brother Leslie, and find out, you know,
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  how he feels about how it all went down and everything. So let
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  me just switch over here and we are good to go. So and we're
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  not gonna watch the whole thing. It's just like we wanted to just do
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  it. Tip we may stop and ask you a question. Oh, we're
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  definitely gonna make comments. We're definitely gonna stop. So let's start off with
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  a little bit from the you know intro and you know, brother Leslie himself,
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  you know, giving us a little intro right here. It still be
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  signing for a few seconds, you know. There we go, and then
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  then I'll look at that. Look who it is. Okay, Welcome to
• 24:55
  tonight's program entitled Art plus Justice When we see Ourselves as Heroes here at the
• 25:00
  National Museum of African American History and Culture. I'm Leslie Walker, and it's
• 25:03
  a pleasure to have you all here with us this evening. We have an
• 25:07
  exciting panel discussion waiting for you all, which is especially meaningful as it supports
• 25:14
  our Afrofuturism exhibition here at the Museum. The exhibition highlights the power of imagination
• 25:19
  and creativity to envision a new future and possibilities for black people. You see
• 25:25
  Leslie is over here reading, so he's like he is not going to funck
• 25:27
  this up, like he is well prepared. Right here, I'm going to
• 25:33
  point that out. We are honored to have a group of distinguished panelists who
• 25:37
  will delve into the world of black superheroes and comics and scripted media. They
• 25:41
  will discuss the significance and cultural impact of such a representation. Our Steam panelists
• 25:48
  include doctor Eve l Ewing, professor at the University of Chicago and the author
• 25:56
  of Marvel's Ironheart series. We have Tim Fielder a little bit here of Maddie's
• 26:03
  Rocket and the author of InFine Item. And we have doctor Jonathan Gail's,
• 26:08
  professor at Georgia State University and director of its ad show. I'm here,
• 26:18
  Please, welcome to the stage, our guest, and thank you again for
• 26:21
  joining us. This is me hand and pocket looking nervous as fuck. Hi
• 26:33
  everybody, how are you? It is me berating the crowd. Okay,
• 26:37
  We're gonna try again. Hi everybody, how are you? If you didn't
• 26:41
  do it? I want to be Okay, I'm gonna give y'all some vitamin
• 26:44
  C. We're gonna get y'all right and energetic. But hello, we are
• 26:49
  DJ but I mean Tatiana King of A four all nerds. We are here
• 26:52
  to modify, to moder rate. Yes, I just want to say that
• 27:02
  I was up there, like you threw your paper away, so I'm like,
• 27:06
  oh fuck, I can't be standing here reading. But you know,
• 27:10
  yeah, it would have been the right choice, because it would have been
• 27:12
  the right choice. You know, it happors to the best of us,
• 27:15
  it really does. The paper. The paper throws me of sometimes I was
• 27:18
  just like ah, but then you know, the words came out wrong,
• 27:21
  you know it though, I know. So I was backstage monitoring the online
• 27:26
  conversation, and then there were so many people that were shouting out this this
• 27:32
  wonderful dress right here, and then this also you know, this was the
• 27:40
  leading into the weekend of Howard's homecoming. Yes, so yeah, you know
• 27:44
  Ben is represented with his Howard shirt on right away. Yeah, there was
• 27:48
  there was a lot of thought. You know, I know Tatanna's dresses all
• 27:51
  fire and everything, but I had the Howard shirt on. I had the
• 27:53
  ninety nine shoes on shoutouts to ninety nine. They're a black owned company.
• 27:57
  And then I had the jack it on that has my father and my mother
• 28:02
  in combat Jat's name on it, so you know, there's a whole I
• 28:04
  was rapping a lot of things, you know, I'm bringing all of this
• 28:08
  onto this stage, you know, in the Blatsonian. So it was a
• 28:11
  lot, you know what I mean. I was bringing Hu with me,
• 28:14
  Hu. You know, good evening. My name is DJ Benamen and for
• 28:18
  those who listen to the Four All Nerds show, I'm loud right now,
• 28:22
  but yeah, you know what happens. This is DJ Benamin aka Howard University's
• 28:29
  own NBA Young Boy Never Blipped Again aka Hallal Jordan aka Lino Richie aka buzz
• 28:36
  Aucia aka doctor Who's man's is this? And as always I'm joined by Tatiana
• 28:44
  King d Grandach is the text also the sitting of the North Flex Luthor the
• 28:48
  Colders went to Soldier ever to Challah bread and I'm trying to think of another
• 28:55
  one I haven't said. Yes ooh, Gucci Mandalorian, I got the last
• 29:00
  and welcome. Let's see where we are. So yeah, right there,
• 29:04
  I'm you know, nervous as fuck. Uh yeah, Leslie, you don't
• 29:08
  know this, Ben, I mean was. It's interesting because Benamin and I
• 29:11
  have actually done a lot of public speaking engagements with you know, small audiences,
• 29:17
  huge audiences, international audiences, and obviously we do the podcast every week,
• 29:21
  right, you know, multiple times a week, many different people,
• 29:23
  and this was and I think it was the magnitude of where we were and
• 29:26
  everything going on. Like my man's was nervous and it was interesting on the
• 29:30
  ride over, Ben, I mean just I could tell I got it and
• 29:33
  I'm like, you nervous, are at you? And he was just like
• 29:36
  yes, I don't know what the fuck, but super excited. Yeah.
• 29:41
  It was a hybrid audience as well too, so you had the folks that
• 29:44
  were there in person, but then we also had folks that were watching online
• 29:48
  and it was recorded as well too, so we literally have an audience that
• 29:52
  is global, So we have folks that are in different time zones that are
• 29:56
  viewing this and then in different countries as well. So maybe they didn't watch
• 30:00
  it that night, but they watched the reporting, so I can understand like
• 30:03
  the yeah, I feel that way all the time. It's like, oh
• 30:07
  man, my face is about to be out there. I think, like,
• 30:10
  obviously this is really important to us, right, And I mean again
• 30:14
  not to say that the things we do otherwise but other people aren't that important,
• 30:15
  but like, this is for our culture, right, So we wanted
• 30:18
  to make sure we did it right and re represented you well because the last
• 30:21
  thing we need is to embarrass you, Leslie. So you know what I'm
• 30:23
  saying. We want to make sure we was right. So I get it.
• 30:26
  I get it, yep. And here we have me asking about some
• 30:32
  hip hop ish and a quote from Eve viewing it. I really want to
• 30:36
  highlight because this is absolutely amazing, all right. One of my favorite quotes
• 30:40
  from the Afrofuturism exhibit, Eve is when you said, anytime black people are
• 30:45
  remixing the past to visualize the future, we are rendering afrofuturism into reality.
• 30:52
  That sounds great. I said that. Yep. First of all, it's
• 30:53
  a word claim it. Yeah, yeah, like I said that, yes,
• 30:59
  that shit is old fire yea. Every time we're reclaiming the past,
• 31:03
  rendering afrofuturism. Oh man, that's like I'll even stip this part right here
• 31:07
  because basically what I'll talk about and what the panels talk about is you know
• 31:11
  how hip hop is such an expression of that because hip hop, with its
• 31:15
  sampling and everything it does, is always reclaiming the past and then bringing it
• 31:19
  into this future context with the ideas of like using turntables as musical instruments and
• 31:26
  all the other things that you know, came upon from hip hop which were
• 31:30
  also a result of the repression. Like I always talk about that, how
• 31:33
  the turntable usage is only because they took instruments and music out of schools,
• 31:38
  so kids weren't being taught how to play instruments, so we invented our own.
• 31:44
  Yeah, damn, Yeah, it's crazy, Like hip hop's creation is
• 31:48
  such a conflux of events that are all very specific and the you know,
• 31:55
  the Reagan era, the blackout of New York. It's a lot of things
• 31:59
  that led to hip hop being this global phenomenon an existing way it is now
• 32:05
  that are so like specific and had to happen that way for them for it
• 32:10
  to spread the way it does. And here we are now. Man,
• 32:15
  Yeah, so Leslie so far, Like what was your like, I just
• 32:19
  have to know, like, what was your reaction to this panel? You
• 32:22
  know, how are you feeling right? Now as it's going on the online
• 32:24
  reaction all of that. Oh man, you know, I was so happy
• 32:29
  one to get through my introduction also, I was happy without a hitch.
• 32:32
  Yes, very well. And then to have you all come out and to
• 32:37
  kick off this conversation and to have this wonderful collection of people, these great
• 32:42
  minds that were here assembled on this stage. I think one of the great
• 32:46
  joys of my work is, first and foremost the work that I do is
• 32:51
  in the museum, so it is going to be scholastic in nature, but
• 32:53
  then also represent people that can see themselves in the history, so representing you
• 33:00
  know, folks that are in the academy, but also practitioners such as Tim
• 33:05
  Fielder who has been doing this work for decades and get his experience, and
• 33:09
  also amplify who is a scholar who could be considered a scholar. So you
• 33:15
  had people who write books, and then you have folks who create movies.
• 33:20
  So both with Tim and with Jonathan, you know, they were there to
• 33:24
  represent sort of this idea of what it is to create and then interpret maxculine
• 33:30
  characters. But then you have Eve, who is this wonderful, wonderful,
• 33:35
  brilliant scholar that's talking about talking about creating comic books from the perspective of you
• 33:42
  know, people who are women in FIM and creating characters who are women in
• 33:45
  film, and queer characters as well too. And I think afro futurism allows
• 33:51
  for that space for black men to think about themselves differently and to see themselves
• 33:54
  differently, but then also for women to be front and center and to have
• 34:00
  the two of you, beautiful women just in the middle just have have this
• 34:06
  conversation, I think was one that was I think one that you all designed
• 34:10
  when you were saying, like, how are we gonna sit? Who where?
• 34:14
  Yeah, And I definitely, I definitely want to point that out because
• 34:16
  I think that's brilliant right there. Oh, everything we do is pretty intentional.
• 34:22
  And I've all like when I say this, and I've told tattown to
• 34:24
  this many times. I probably said on the show a million times. Well,
• 34:28
  when I started to show my you know, we did the first show
• 34:30
  Rest in Peace of my brother combat Jack. We did a couple episodes and
• 34:35
  I was like, this ain't it. Ain't no way. I'm sitting here
• 34:37
  with a bunch of dudes talking about this shit like there's no fucking way and
• 34:40
  then Tatwna showed up and like you said, she's a beautiful intelligent knows everything
• 34:45
  about everything that she needs to know. And I was like, oh,
• 34:47
  we're off for the races. Now, we're good to go. And you
• 34:51
  know here we are now, so theater, I'm like, God, yeah,
• 34:57
  for real, for real. By the way, I'm gonna I mean,
• 35:00
  this is everybody, well maybe not everybody, a lot of people.
• 35:01
  I'm always gonna be hypercritical watching things like this because I's gonna catch things that
• 35:06
  no one else. Yeah. And also, like I was, I laughed
• 35:08
  at myself. Man, I gotta sit up, man, my posture.
• 35:12
  My posture is ass and I walk like my dad. Man, I need
• 35:15
  to like walking my head up. How I got damn my head's how you
• 35:21
  see? But I walked slew footed as fuck. So it's like I'm terrible.
• 35:24
  I'm like, that's also my personality. I'm an anxious person. So
• 35:29
  I'm always walking around like I gotta get someplace real fast. It's just like
• 35:31
  slow down, you can do though. I see that you can see that
• 35:36
  as a deficit or you can see that this is what makes me an individual.
• 35:38
  And there we go. That's a nice way to smooth it over,
• 35:43
  Leslie. Yeah, brother Walker, we gotta find the joy where we can,
• 35:47
  right. And it's also like, I know my posture is bad during
• 35:52
  the interview, but that's because I'm leaning in to talk to people. It's
• 35:54
  part of my you know, it's a trick to get people to talk back
• 35:58
  to you, is you lean into their conversation. The yeah, so yeah,
• 36:01
  you know what else we got, Ben, Let's see this is about
• 36:06
  that about the title of the show right here, I think we forget that,
• 36:09
  which is also real important. And Leslie, I wanted to say thank
• 36:14
  you for you know, because you came with this title and that needs to
• 36:16
  this. I really want to ask before we can get into this, like
• 36:19
  how long have you been you know, paying attention to us and when did
• 36:22
  you go I'm going to get them on this pan on do this thing like
• 36:25
  this. Oh man, I've been I've been a fan of you all back
• 36:30
  when Yes Span bros. Wow, the old intro. Yeah, man,
• 36:43
  I think the first episode that I came in was when you guys interviewed Summers
• 36:55
  about yeah, and I definitely yeah. I definitely was like, oh man,
• 37:01
  I love that you guys are having this conversation because I think it's it's
• 37:07
  she was out of control. Oh man, I didn't. I can't even
• 37:09
  call her being out of control. But maybe you like, she is sitting
• 37:14
  there because she knew that I had a huge crush on her, So she's
• 37:16
  sitting there hitting me with that's because she's talking about she had all these tumba
• 37:21
  books bound in leather, and she's like, oh you like that, don't
• 37:23
  you bound in leather? And I'm sitting there like, this is not happening
• 37:29
  for you something. It's like, this is good thing? Is I know
• 37:31
  Cree And like I know, you know, like through friends. I know,
• 37:35
  I've never met a person, but through friends who do know her,
• 37:37
  you know, and I know her whole family, so I know she's just
• 37:38
  doing it for the show, you know, because she got a beautiful husband,
• 37:42
  beautiful kids, all that stuff. But she is really laying it on
• 37:45
  on the show. And I'm like, Yo, this is this is a
• 37:47
  moment, you know, I think you know life, you know, that's
• 37:50
  you know, for those who haven't heard that, y'all need to go listen
• 37:52
  to that one, the Cree Summer episode, because Cree was really I don't
• 37:57
  even feeling a childhood dream of mine. Let me just say it, like,
• 38:00
  I don't you recall that her? Wow, Like I just remember it
• 38:04
  was going down. I just recall her. I'm just like, this is
• 38:07
  my childhood voice actor. I'm like listening to her so intently. Oh,
• 38:09
  Ben, I mean fucking up over there, fucking up. No, she
• 38:13
  was doing it it. Yeah, it was very much. Yeah. So
• 38:15
  so Ben, you were visited by her Foxy Love character man listening together,
• 38:22
  right, every single one of her characters was right there and I was,
• 38:25
  you know, I'm a look kree as you know that's that's the one of
• 38:29
  them one, so you know, we love Youree also has a supporter that's
• 38:32
  continued to support us throughout all Oh man anytime, Yeah, anytime? Yeah,
• 38:37
  straight up, she does. All right. The title of this panel
• 38:42
  is when we see ourselves as heroes, and that comes from an ideal that
• 38:45
  we have referenced many times on the four All Nerds show, and that is
• 38:49
  when we are seen as heroes, superheroes, whatever, in media, we
• 38:53
  will begin to be seen as human. So on that note, how crucial
• 38:59
  is the role of blacks superheroes and challenging stereotypes and promoting inclusion and media.
• 39:05
  Yeah, once again, I don't think we need to hear all the answers
• 39:07
  to that, you know. That is the one thing about this panel,
• 39:09
  just like us. They are some long winded people, you know, like
• 39:14
  just like all of us. I remember before we did the panel, you
• 39:16
  know, I was talking with people and they're like, I don't know how
• 39:19
  y'all gonna do this in the time a lot you have, because yeah,
• 39:22
  we kept trying to figure that out because we were could we know all,
• 39:24
  Like with exception of Jonathan, who like was more new to us, we
• 39:29
  know Eve very well, we know Tim very well, so we knew what
• 39:31
  we were in for. So then I were strategizing like, Okay, how
• 39:36
  do we deliver something and how do we not cut someone off but like keep
• 39:39
  them moving because we'll get stuck somewhere and it's good information. It's just like
• 39:43
  we're stuck. So yeah, yeah, I would say an Insight producer note
• 39:49
  is because of that this conversation being so dynamic. Typically our programs are about
• 39:57
  an hour, and that's one thing that folks say all the time. I'm
• 40:00
  in our post program surveys. It's like, oh, this was such a
• 40:02
  great conversation, but I wish it lasted longer and we get to the four
• 40:08
  hours. Yeah, we added thirty you know, thirty five extra minutes on
• 40:13
  there, just to allow for you all to unpack a bit and cook.
• 40:16
  But yeah, I mean, afrofuturism is so vad and this is just one
• 40:21
  aspect of it. And we were looking at afrofuturism from the perspective of comic
• 40:25
  book characters and what it means to be represented in comics, and then how
• 40:31
  that translates to television and film and other media. We weren't even talking about
• 40:37
  music, or we weren't even talking about like the deep literature that's out there.
• 40:42
  So, I mean, we had a whole exhibition about it, and
• 40:44
  we still had to produce a book and a documentary so that you can have
• 40:50
  conversations for eons about this. Of course on it. Where is this documentary
• 40:54
  and where can people see that at? Yeah, So the documentary that was
• 40:58
  produced in partnership it with the Smithsonian Channel. So you can watch the afro
• 41:05
  Featurism documentary on the Smithsonian Channel website or if you have the Smithsonian Channel within
• 41:10
  your cable package, you can watch you can watch it, but also on
• 41:14
  the website because I'm not sure if I got that, I might have that
• 41:15
  on my Hulu. It might be on there. I think it is.
• 41:17
  Is this Smithsonian that gover? What's the website is go to Smithsonian channel Yet
• 41:22
  if you kay, yeah, oh dope. I got to peep that because
• 41:27
  I did not just you know, I was on the pande on. I
• 41:29
  had no idea. I've read the book, but I did not know the
• 41:30
  documentary was out there, So I gotta beep that asat. Yeah, definitely
• 41:35
  right. Now, here's ta ask a real question I want to highlight real
• 41:38
  quick. This is a random question. Can you have inclusion if a non
• 41:45
  black person is writing or dictating the story of a black person, is that
• 41:51
  still concluding the conclusion? Yes? And see I'm like looking at Tatana just
• 41:54
  throwing live grenades out into the Yes see, that's what I do. And
• 41:59
  that's why I put the papers down, because I like, they're calculatd grenades,
• 42:02
  but they're live grenades. Has been I mean, it's saying because it's
• 42:05
  just like, holy shit, how people are going to respond to this?
• 42:07
  Right? But it's always you know, what's the word, it's always uh
• 42:14
  prusciant to what we're talking about. To the topics. But it's always like
• 42:17
  I always be like, you know, let's get off the path for a
• 42:20
  minute, right, like, let's get off the rails. You know,
• 42:22
  if this was a guided tour, let's get off of that rail for a
• 42:24
  minute, because I want to get some real responses from people for certain things.
• 42:29
  So that's funny man that you say that, though, no, you
• 42:32
  know, because that was definitely you know, that's some inside information that was
• 42:36
  definitely not on our script. You know, that question was not on the
• 42:38
  script at all, and I wasn't really prepared for it, but I thought
• 42:42
  it was a great question and it got some great answers that y'all canpete when
• 42:45
  you watch the whole panel if you do so. I like the way you're
• 42:49
  running this, by the way, because you're leaving people on like perpetual cliffhangers.
• 42:52
  It's just like, here's the question, and if you want to know
• 42:54
  what it was, you got to go watch it. Hey, you know
• 42:58
  what I mean? You know, hey, you can't. You know,
• 43:00
  Look, so I've never allegedly you know, I've participated in the listed sales
• 43:07
  from time to time, So you know, you gotta entice them. Okay,
• 43:14
  you give away a little free, but you don't give them the whole
• 43:15
  thing, you know, wow wow, allegedly because I always have that problem
• 43:21
  of working for the bid too and creating stuff for them that you won't own.
• 43:27
  But like you said, it's planning seeds, and I always say that,
• 43:30
  we say on our fall nerds all the time that we're planning seeds that
• 43:32
  we won't we won't get to live under the shade of those trees, but
• 43:36
  we plant those seeds for other people so that they can live under the shade
• 43:38
  of those trees. So we were saying some shit though, Leslie, thank
• 43:43
  you for giving us this opportunity to talk our shit. It was that bad,
• 43:46
  Like it was standing on Bennis for real, like you gave us that
• 43:51
  platform. We was like, we're going it, like I we just appreciative.
• 43:57
  Yeah, I was just like, I'm gonna let y'all cook y'all did
• 43:59
  that because that when I'm not even gonna you're gonna get to the question.
• 44:05
  But I just wanted to let y'all see how we was cooking up on that
• 44:07
  stage because you was a think I basically add about which is really a hilarious
• 44:15
  question about the impact or controversy with black characters, and I think Leslie you
• 44:22
  suggested that question, and I thought it was so funny because I'm like,
• 44:24
  there is never a black character in comics that is not controversial. Yeah,
• 44:30
  yeah, you know, never. It doesn't matter if we create a new
• 44:34
  character, if they race been their old character, it doesn't matter. Controversy
• 44:39
  every time. Miles Morales, perfect example, new character and still steeping.
• 44:45
  It's something every time, every time. Yeah, I think that was an
• 44:50
  audience member echoed that question or echoed that sentiment and a question where they had
• 44:57
  asked what is it like to Well, there's two questions. There's like what
• 45:01
  is it like to see a character that was traditionally interpreted as white now interpreted
• 45:07
  it as black? And then there was another question I think that came from
• 45:13
  the audience or it came from you all that was about black villains. Oh
• 45:17
  yeah, yeah, that was one of ours been Remember when we were like,
• 45:22
  we asked that question just about what is it it's like nothing bad could
• 45:27
  happen to black Yeah. We talk about that a lot, because we talked
• 45:29
  about how people get this idea in their head that nothing bad can happen to
• 45:32
  black characters, or black characters can't do bad things because we only have so
• 45:38
  much representation. So it's like when something bad happens to them. Like the
• 45:42
  famous example, which I'm still tight about is Darwin and that's been first class.
• 45:46
  When my man eats the grenade and dies, and it's like this man
• 45:51
  in the comments evolve to become a god and in here it's like now you
• 45:54
  out here, black man. But at the same time, it's like,
• 45:58
  well, that was a bad one because that was bad. No, that
• 46:00
  he shouldn't like think of like black like villains that happen to be black people,
• 46:07
  right, and this is another bad movie, but like Black Manta,
• 46:12
  like you know, like it's a villain and it's just like, oh,
• 46:15
  he's black, so he got to be the angry black man that a lot.
• 46:16
  And it's just like, no, man, he don't fuck with Aquaman.
• 46:20
  This is why, And that's just what it is. Like he didn't
• 46:22
  funk with him musically, so this is what's going on right, like and
• 46:27
  it's like people, it's like people, we talk a lot about how you
• 46:30
  can't have it both ways. You can't say you want the breath and death
• 46:34
  of all types of black experiences and types of black people, but then get
• 46:37
  mad when they're out there committing atrocities. Like those types of black people exist
• 46:42
  too, alongs with the stand up you know, number one type black people.
• 46:45
  So it's just like if you're gonna say you want both, allow both.
• 46:50
  Yeah. And I think when you interpret a character that was seen as
• 46:54
  white as black, you have to understand what that means as well, especially
• 46:59
  if it's a villain. I'm thinking of the first Daredevil film with with Oh
• 47:06
  God and where the Kingpin was, you know, shout out in rip to
• 47:12
  Marcao Clark Dark and that character. But the Kingpin is one of the most
• 47:15
  sinister, very like maniacal characters within the Marvel cannon. And we can argue
• 47:24
  if he's superpowered or not. But then even just to have this big black
• 47:30
  man who you know is coming off you know, the the you know,
• 47:34
  this trail of playing another big black man in the Green Mile? What does
• 47:38
  that mean? What does that mean when you put him in that role?
• 47:43
  Right? And I don't think they examined it at all. No, It's
• 47:47
  just like it's just king Pin, you know, it's normal kingpin, black,
• 47:51
  white, whatever. And that would be different if there was a black
• 47:52
  crime boss in New York it'd be a whole you know thing. Yeah,
• 47:57
  would he be doing that type of crime and would he be so out there
• 48:00
  with it? You know? Yeah, I mean we'll we'll never get to
• 48:02
  see. But that was how how it ended, Luke Cage ended. Yeah,
• 48:07
  And he took the words out of my mouth because I say that.
• 48:08
  I was like, that's what I wanted to see. And I know Chail
• 48:12
  would have handled that. Yeah, Chail would have handled Luke being a black
• 48:15
  crime boss very well. Like you know what, I realized that we got
• 48:19
  like damn near the same exact type of ending and Invincible when that's Cement guy.
• 48:24
  I don't know what his his name was, but that it was like
• 48:29
  an early episode remember of Invincible, but you're talking about that Invincible was helping
• 48:32
  basically like tricked him and it ended up becoming the boss of the Underworld.
• 48:37
  It was just like almost parallel, like and it's a black man, but
• 48:39
  that he was doing it for his family and this and that. So yeah,
• 48:43
  and they really expanded on that story from the comics and that was a
• 48:45
  great episode. He's going to come back around too that you know, Yeah,
• 48:49
  everybody Invincible comes back around. There's not one character who you won't see
• 48:52
  again in some way, shape or form. So some of the ones that
• 48:54
  got killed by Nolan, well, splash bax, I mean not mortal.
• 49:00
  We know this man. But yeah, oh no no, them niggas is
• 49:04
  all dead. No no, no, no, the Justice League does not
• 49:08
  get resurrected. No, them niggas is dead dead. But that's what they
• 49:15
  are. But don't call, don't don't use it. That that's what was
• 49:17
  so brilliant in the comic because that whole scene takes place over two pages,
• 49:22
  like it's one page of introduction to all them and then another page of them
• 49:25
  getting slaughtered and that. But that's all he needed because he used those archetypes
• 49:30
  where it's like, okay, this is a flash, Okay, this is
• 49:32
  green lantern. Okay, and he gave I think he gives them all each
• 49:36
  a page or each yeah, I think they each had a page of what
• 49:38
  it is. They each have a page. No, they each got a
• 49:42
  page of introduction. It was dope because it made you care about them,
• 49:45
  Like Wonder Woman. The Wonder Woman character is shown at home with her girlfriend
• 49:50
  and and then you know she has to go off, you know, because
• 49:52
  she gets the signal call and they're like arguing about something else. So it's
• 49:54
  like you got to know them. The flashes with his girlfriend, that woman
• 49:58
  who we saw in the episode where she, yeah, the flashes with her,
• 50:02
  and then he has to run off. So it's like you get all
• 50:05
  them real quick and you're like, oh, I know these characters and then
• 50:07
  they're killed. So it was it was shocking because you're like, oh,
• 50:12
  it's a Justice League again. Oh they're all dead. You know. It
• 50:15
  was sid Invincible to comic was an experience. You know, yeah, sorry
• 50:21
  for getting off track, but well, I mean I kind of want to
• 50:22
  keep us off track ahead, yes, but but to see that represented in
• 50:28
  you know, a television series, but that you know, Justice League,
• 50:31
  I forget what they were called in the show The Globe, Yeah, the
• 50:36
  Guardians of the Globe. They were all you know, they were all either
• 50:40
  visibly racialized as either black or brown or coded as such with that like fish
• 50:47
  character, or they were queer as well too. The idea that nothing bad
• 50:52
  happens to uh, you know, minority characters in any way based on their
• 50:57
  race or you know, their sexual orientation. But then you just wipe them
• 51:00
  all out. So you hear opportunity the black person dies first, and then
• 51:06
  also the barrier gage trope and the same the barrier gaze trope. What's that
• 51:13
  I need to Okay, So the barrier gauge trope is you know, within
• 51:19
  you know media, especially science fiction and fantasy media, where you have a
• 51:24
  character that is realized as queer, that they they exist to drive the narrative
• 51:31
  of the main character who's yeah, I realized that straight with their death so
• 51:37
  oh well yeah, I mean but in that when he murdered everyone, So
• 51:39
  it was like, you know, the point all of y'all get it.
• 51:44
  You know that we in every trope in existence right now and we're killing them.
• 51:50
  But that's the that's the point of Invincible. And Leslie, I gathered
• 51:53
  you've read the book right, bits and pieces of Yeah, the show prompted
• 51:59
  me to go back and actually do a thorough read of it. Nice.
• 52:02
  Well, that's what I was literally thinking about this yesterday because I told about
• 52:07
  this before. There is so much ship coming in this book that I think
• 52:12
  that's another short video I want to do. And it was like, people
• 52:14
  reacting to all the violence and Invincible are like, oh my god, this
• 52:16
  isn't a cartoon and there is just so much shit coming, you know,
• 52:22
  beyond the violence and just that comment alone, this this, oh my god,
• 52:27
  this isn't a cartoon. I'm like, first of all, it's the
• 52:30
  word cartoon. Maybe that's the animated features or animated shows what you want to
• 52:34
  call it. Animation comes in all four, but in Western it's not as
• 52:38
  prominent. I know, but it's not as prominent lately. That's the other
• 52:42
  thing too, especially lately. You know. It's like because I grew up
• 52:45
  on all like Ralph Bastian ship like that where it was you know out or
• 52:49
  could if it was like a cartoon network and like me, like you saw
• 52:52
  yeah, like whoa, okay, yeah yeah, and they're playing a lot
• 52:58
  of animeate That's what I'm saying. Ralph Bastia is a Western An artist who
• 53:00
  did wild adult films you know that were animated. So it's but it ain't
• 53:06
  like that as much anymore. So invincible trying to shut because like I say,
• 53:10
  it ain't it ain't the violence. It's just some storylines that invincible that
• 53:14
  I've never seen in most media. You know, there is some stuff that
• 53:21
  happens that I really can't wait to see. And like I've said, if
• 53:23
  I was in that writing room, I'd be like, no, we're fucking
• 53:27
  doing this story because no one, you know, you don't get to see
• 53:30
  this type of stuff. And I'm not spoiled. I won't say any more
• 53:31
  than that, but I can't think of a media like, especially major,
• 53:37
  where something like this happens other than I almost said the movie title. That
• 53:42
  would have been a bit spoiler, and that forty fifty years old right now,
• 53:45
  and it ain't and it ain't handled the way this is handled. So
• 53:49
  there's no you know, like, I don't see this in much stuff.
• 53:53
  So no, in fact, and that's not even the same thing in that
• 53:55
  movie. Yeah, that's a completely No. I don't just just because I
• 54:00
  don't know what I'm saying. No, No, I'm not even saying anybody.
• 54:02
  I'm really like, y'all, I don't know anything where this has been
• 54:06
  done. You know, where this storyline like this has been done like this,
• 54:09
  I would like to stay there is I'm after to do some reasons,
• 54:13
  you mean Western and not anime in general. This ain't no ship, like
• 54:17
  I said, because anime will be like, well, there are stories that
• 54:23
  take it to the tenth level when we're yeah, crazy stuff you've never seen
• 54:29
  about. It's probably it's probably happened in anime, you know. Okay,
• 54:35
  yeah, going no further because that's disturbing because too many things happen in anime.
• 54:39
  It's a lot. But yeah, all right, y'all, I'll be
• 54:45
  I've lost traps. I don't even know what this next question is anymore,
• 54:49
  but but we're gonna see. Yeah, yeah, yeah, what a great
• 54:54
  question, like give you some energy and stuff, you know, and some
• 55:00
  of y'all touched on this already, but like, as you're writing these stories
• 55:06
  and maybe less so the independent ones, but the ones where you have the
• 55:08
  corporate overlords, right, or even where you may have directives from the university,
• 55:13
  right, how do you balance your own personal desires with what is expected
• 55:16
  of you in terms of what you're delivering. Hm. Hm, that's a
• 55:22
  great question right there, talking. I think people that have to watch this
• 55:28
  panel to, you know, to see the answer to that one. I
• 55:32
  think so selling water so well many you know, one last one I definitely
• 55:40
  want to highlight though, for real, is this one right here because this
• 55:44
  is something we talked about a lot on the show, and I just think
• 55:46
  it needs to be you know, and I like the stage, by the
• 55:49
  way, I wanted to say that just it was very simple. It was
• 55:52
  well the stage itself, but also the little bit of design that was there,
• 55:55
  because there was some design there, right Like, it was simple and
• 55:58
  it was inviting and I appreciate that and everything match did the core and I
• 56:02
  was I liked it a lot. You had our faces all big on the
• 56:07
  screen behind. We kept looking back like, wow, man, you know
• 56:13
  y'all here, y'all there and they that happened from that place, and get
• 56:19
  better and work at it. And if you're not willing to do that,
• 56:21
  you will never be successful as artist. Talent is y'all need to watch this
• 56:24
  panel just for Eve, because this woman just says so much shit. I
• 56:30
  mean, everybody was great, but even a little bit about thinking your work
• 56:36
  is trashed or thinking the things you're doing is trashed because people may or may
• 56:38
  not be familiar with the idea of the imposter syndrome. Right Like, you
• 56:43
  are put in a position where you're the leader or you're in charge of something,
• 56:45
  and then you get this feeling in your gut like I don't think I'm
• 56:50
  supposed to be here, I'm not the right person or did they pick the
• 56:52
  right person at this point in all of your careers, do you ever still
• 56:55
  feel that at any point? Yeah, I'm just like, sit the fuck
• 56:59
  up been Jesus Christ. Oh all right, I'm just like you said,
• 57:07
  Leslie, I'm just to take joy in the fact that we were sitting on
• 57:09
  the stage and not worry about the fact that I wasn't about sitting up.
• 57:13
  Yeah, yeah, what do you think I'm talking about? I just wanted
• 57:15
  to look No, no, no, it looks like, you know,
• 57:22
  like you're supporting Taliana, Like, yeah, like you were into the conversation.
• 57:25
  Let's let's get into this right well, yeah, that's all. We're
• 57:36
  gonna run from this panel right here. But you know, let's see what
• 57:40
  else, Leslie. I do want to know what, like, what do
• 57:43
  you have you know coming up? What's going on with you? You know,
• 57:46
  anything else you want to talk about let the people know about. I
• 57:50
  didn't have a question. I didn't have a question though, whether it's this
• 57:52
  the museum itself, or maybe even the after Futurism exhibit, Leslie, what
• 57:57
  was your what's your favorite part? Maybe it's two different things, like what
• 58:00
  is your favorite part of the exhibit or what's your favorite part of the museum,
• 58:04
  like what brings you the most joy? Yes, Oh, that's that's
• 58:08
  a great question. I think the there there it is actually two parts that
• 58:15
  I really enjoy. So the first part is the music, so the sonic
• 58:20
  architects and afrofuturism in the face of music. So just thinking about how there's
• 58:28
  so many wonderful artists that have played around with sound and played around with lyrics
• 58:36
  and just the presentation of themselves and their performances. And really I think what
• 58:44
  our lead curator, Kevin Strait really did with that exhibition was really four ground
• 58:50
  son Ro's presence as really the forefather of afrofuturistic music or even just really modern
• 58:59
  acro futurist and how we how we just built on that with artists like Grace
• 59:06
  Jones, Nona Hendrix, Prince, so many others, Liscretch, Perry Ocast
• 59:15
  really just sort of just taken this taking this idea of existing in another space,
• 59:22
  another realm, another world, and really just kind of coming back and
• 59:28
  using music to share what they've learned from being over there. Man. Yeah,
• 59:35
  I could talk about that all day. Like I was already blown the
• 59:38
  funk away by the music stuff. I saw the musictuff after. But when
• 59:42
  we walked through there and you showed me Andre's notebook and had the page where
• 59:46
  he was talking about at Aliens and the creation of each song Leslie. He
• 59:52
  was talking about this for days. Yeah, just Christa, you know,
• 59:55
  like Atlian is one of my favorite albums of all time, and to see
• 59:59
  the process that he put into every song where it was all these layers to
• 1:00:05
  it that I'm not even thinking about it, and I took video of that.
• 1:00:07
  I got to actually go back and study that shit and read all those
• 1:00:10
  you know, notes he had, because man, that that type of stuff
• 1:00:15
  is just you know, unreal. And then you had the MPC. You
• 1:00:19
  know, it's just that it's such a man what a what an exhibit?
• 1:00:23
  Yeah, so yeah, that's one of the one of my favorite parts.
• 1:00:27
  And to hear the music and to to see the album to the original albums
• 1:00:30
  and costuming from a lot of those artists are instruments and equipment that they use
• 1:00:37
  to create some of the greatest masterpieces that we've been able to experience in this
• 1:00:44
  lifetime and hopefully we continue to experience going forward. But then the second part
• 1:00:50
  is in the gallery where we unpack and talk about superheroes, and really that
• 1:00:55
  spoke to the child and me and my fascination with a futurism started in my
• 1:01:01
  childhood and it was sparked by the X Men animated series and being able to
• 1:01:07
  wake up on Saturday mornings and watch that on Fox Kids. That and Power
• 1:01:12
  Rangers and just seeing characters like Storm and Bishop that really captivated my imagination to
• 1:01:20
  have these one to have a superpowered person that looks like me, and then
• 1:01:27
  to be able to see them drive narratives of the show. So there's a
• 1:01:31
  whole story arc that was about Bishop's travels to the present, which was the
• 1:01:37
  nineteen nineties, and then also to have Storm there as well too is wonderful.
• 1:01:43
  And then that was just my gateway and entryway into everything science fiction and
• 1:01:46
  fantasy from there. So that led me to Power Rangers, That led me
• 1:01:51
  to watching Zena, That led me to watch anime and everything else, Lord
• 1:01:58
  of the Rings, Game of Thrones, everything else has been sort of like
• 1:02:01
  a snowball from that. Ooh, you brought it back with the Zina.
• 1:02:07
  Oh my god, and you're wearing Black American hero power line on your T
• 1:02:09
  shirt. You know, another musical icon. Yes, Power line. It's
• 1:02:15
  so interesting because I will I will argue people down that you cannot tell me
• 1:02:20
  that the goofs that they aren't black. They are. You've seen an episode
• 1:02:24
  of Atlanta. You've seen an episode of Atlanta. Seen that episode? People
• 1:02:29
  tell me I need to go back and watch. Oh my god, you
• 1:02:32
  have it because you know, like you have your thoughts about the goops watch
• 1:02:37
  that episode. Yes, the goops every they're black. First of all,
• 1:02:42
  we know that power line is black. Yes, he's a shade darker than
• 1:02:45
  everybody else, you know, Tevin Campbell, and it was you know,
• 1:02:50
  that character was built on the image of Bobby Brown. And then just just
• 1:02:57
  this whole idea that such a fantastic lie of my dad knew him, Like
• 1:03:02
  come on, no, no white codec character is gonna know you know,
• 1:03:07
  a Bobby Brown correct, so in that way. So and then just Rock
• 1:03:13
  saying herself, just that was the original bandy, you know, Yes,
• 1:03:17
  she was the original thick Puerto Rican pecan you know, you know, Afro,
• 1:03:23
  Afro Latina whatever you want to call her. And the way that her
• 1:03:27
  dad did let her out the house. You know that's such a black experience.
• 1:03:30
  You know, it was that it is a very black movie through and
• 1:03:34
  through so but yes, but I am you know, I just love what
• 1:03:39
  brings me joy is like hearing how dedicated you are to the process when it
• 1:03:45
  comes to the African American Museum and all the work and timing and energy that
• 1:03:51
  goes into it, and the fact that you find joy. Like I love
• 1:03:53
  hearing about people who are happy and thrilled and passionate about the jobs that they
• 1:03:59
  have in the life that they lead. Right. Yes, everyone says you
• 1:04:01
  can always have something better, but I just I hear the happiness in your
• 1:04:05
  voice and that makes me happy. Like it's like I love hearing my people
• 1:04:10
  who feel there in the right place. So this is good. Oh,
• 1:04:13
  thank you, thank you. Yeah, I'm glad that that resonates. And
• 1:04:15
  I want people I feel happy, but I want people to come into the
• 1:04:18
  space and feel happy. We deal with a lot of dark subject matter,
• 1:04:24
  which we need to because that's a part of the history of who we are,
• 1:04:27
  but the history of this country. But the Afrofuturism Exhibition is one that
• 1:04:31
  allows us to instill hope and imagination. And just one last thing if I
• 1:04:36
  can't talk about the exhibition is in the exhibition we have on display the flight
• 1:04:45
  suit that Trayvon martin War he went to space camp. So previously in that
• 1:04:51
  same exhibition space that was about reconstruction, we had the clothes that Trayvon Marek
• 1:04:59
  in War when he was murdered by George Zimmerman, and that was that by
• 1:05:04
  the request of his family, that was the only space in the exhibition where
• 1:05:09
  you could not take pictures because it was his hoodie, it was his clothes,
• 1:05:13
  it right used his cell phone. So that was a time capsule.
• 1:05:17
  So when we put that together and I saw just the technology that has advanced
• 1:05:21
  so much from that time, the Skittles bag and the Arizona tea can as
• 1:05:27
  well as on display, and that was that was a part of the story
• 1:05:30
  that we were telling. But then to have this exhibition that's refreshing, and
• 1:05:35
  to have that next to the costume of Lieutenant who that Michelle Nichols, Yes,
• 1:05:42
  and then to have it next to just this installation that talks about all
• 1:05:45
  of the black astronauts that had been involved with NASA. It tells a story
• 1:05:51
  of hope, but also tell the story of the life that was cut down
• 1:05:55
  to young then when his family came through his mother really was happy to see
• 1:06:01
  that, and she remarked, you know, because the way that the mannequin
• 1:06:05
  is raised on a platform, you know, she talks about how, you
• 1:06:10
  know, this could have been the career that he had and this could have
• 1:06:13
  been the height that he could have been had he had lived, because it
• 1:06:16
  was raised in a way to where they're looking down on you. So again,
• 1:06:21
  that's a way of understanding that hopefully in a different timeline, in the
• 1:06:25
  different universe, that he's living his life and he's doing these wonderful things.
• 1:06:30
  But then also where we are in this present, in this timeline, we
• 1:06:33
  can understand that there's still a story of hope that needs to be told within
• 1:06:38
  that. Oh my god, that is he about to make me cry well
• 1:06:43
  before we before you know, you break down in teas Tatana, Oh my
• 1:06:47
  goodness. You know, we do have a little segment we called a rap
• 1:06:53
  segment, which we have not done quite a while. Oh wow, yeah,
• 1:06:57
  I was just like, the what is we haven't done this in a
• 1:07:00
  long time. We have not done this in a long time. But we
• 1:07:02
  do have a very special guests who, as they said, have been waiting,
• 1:07:05
  you know, their whole lives to be on this show. Here we
• 1:07:11
  go. The falcon or war machine. Oh, war machine, all right,
• 1:07:20
  Luke Cage a black panther. Oh you have you had both of them
• 1:07:29
  up in that exhibit. Yeah. Yeah, both of the both of the
• 1:07:31
  costumes from the TV show and the movie are on display. I want to
• 1:07:36
  go with Luke. Yeah, I want to go with Luke because you've talked
• 1:07:43
  about it on the show, this idea of having superheroes that are fighting on
• 1:07:46
  an intergalactic scale than heroes that are fighting in your neighborhood. Correct. A
• 1:07:53
  part of me is such a grassroots person that I just want I just I'm
• 1:07:58
  gonna I'm an stand now right there. Yeah, I respect it. I
• 1:08:02
  respect that a lot. I really liked that answer. Magneto or Professor X.
• 1:08:08
  Oh ah, man, Okay, so I I like you know,
• 1:08:16
  and you're a stand for those who don't know. Yes, hard yeah,
• 1:08:21
  these are two white men. But oh man, I want to I I
• 1:08:29
  in essence, I understand Professor X's motivation and the space that he created to
• 1:08:36
  create the X Men. But Magneto was just you gotta respect somebody that was
• 1:08:42
  about that business and he stood on business, stood on business. And then
• 1:08:46
  also we have people you know, these controversial, sort of problematic phase throughout
• 1:08:53
  our history and black culture that Magneto is kind of like a stand in for
• 1:08:58
  So I definitely, yeah, I definitely had to go with Magneto. Yeah,
• 1:09:02
  honestly, I followed Magneto to the end man before I follow Charles Child.
• 1:09:08
  Charles had such I mean, there's so many conflicting things with Charles,
• 1:09:12
  like children out of you know that he didn't recognize and yeah he was,
• 1:09:17
  he was, But you know what, I do appreciate his relationship with Lelandra.
• 1:09:26
  And then she's also a black, Yeah she is, thank you.
• 1:09:29
  She's also black. Yeah, she's just she's on the fair side's Yeah,
• 1:09:33
  you can't tell me that that's not an afro, you know, I know
• 1:09:36
  it's sped to they're like bird, you know whose afro it is? You
• 1:09:41
  know, back in the day, the way Patti used to wear her hair,
• 1:09:44
  she actually had. There was one time Patty would have her hair.
• 1:09:46
  My mother got a picture of her where it was like it was flat iron,
• 1:09:49
  but it was like a sharp, thin piece of hair that that little
• 1:09:54
  in that shape a fan, like a bunch of fans coming out of my
• 1:09:56
  head. That's Lilandra. Yeah, Lilandra is the fourth member of Belle I
• 1:10:01
  love it. Her outfit is definitely LaBelle YEA yes, okay, I got
• 1:10:06
  a launder figure coming this year. I can't wait a word. I gotta
• 1:10:11
  get that all right. Next question, Lex Luthor or Kang or Doctor Doom.
• 1:10:20
  The silence hm hm okay. I would say this is this is so
• 1:10:30
  complicated. I immediately would have said Kang, but you know, because of
• 1:10:33
  things that are happening right now. But him, I like Lex lufor Lex
• 1:10:41
  lufor. He's also a character that growing up I thought he was black.
• 1:10:45
  Same thank you, Leslie I to I don't care what nobody says. I
• 1:10:50
  know he's not, but I don't care. I know he's racially ambiguous and
• 1:10:54
  all that. That man was a black man. And that's why I always
• 1:10:57
  gravitated to him in his outland dish ideas because I was just like, you
• 1:11:01
  know what, fuck it, he's the only one trying. So that's a
• 1:11:03
  black man, right, That's a black man. That's a black man,
• 1:11:06
  right. If DC ever gets their stuff together, I would like to see
• 1:11:13
  him actually cast it as a black person, like please just one good time
• 1:11:18
  and and and I don't know why y'are running from it. He's clearly black.
• 1:11:23
  Fine, you want to do racially ambiguous like not as big, but
• 1:11:26
  like the rock Typer you can't tell where they are, then fine, but
• 1:11:29
  that's a black man whatever. Real, all right, let's see Michael Myers,
• 1:11:41
  Freddie or Jason hmm, none of them? All right, Yes,
• 1:11:48
  I'm not a horror fan. So rather than answer, uh fresh Prince or
• 1:11:54
  Martin Martin, Martin all day, all day. You did that really good,
• 1:12:00
  by the way, all right, uh, Star Wars or Star Trek
• 1:12:09
  Star Trek mm hmmm mm hmmm mmm her exhibit. I'm just saying, okay,
• 1:12:16
  it's just better black representation and Star Trek than there ever will be in
• 1:12:20
  Star Wars. Yeah, can't really deny that one. Yeah, and Boyega
• 1:12:28
  ain't coming back to Star Wars, so I don't know we're gonna find nothing
• 1:12:31
  childish is either, so you know, and they ignore John Johanna Yanna what
• 1:12:38
  was her name, the black woman that was there for two seconds? Yeah,
• 1:12:41
  yeah, dirty, and they but they got my my uh, the
• 1:12:46
  most petty nigga in the universe on and ors, So I love I will
• 1:12:50
  give them that they have. They have representation in a petty ass nigga on
• 1:12:54
  and or who I'm in love with? So fantastic. All right, what's
• 1:13:00
  your favorite superhero movie of all time? Favorite? It would be X two?
• 1:13:08
  Yeah, yeah, x Men two, x Men two, Why why
• 1:13:13
  x Men two? I so I'm a big Phoenix, a big yeah.
• 1:13:17
  And then just just the sacrifice that Gene made in that film, and then
• 1:13:24
  also just there that's a story of love that you that's at the deeper layers
• 1:13:31
  of it, and that's a story of self sacrifice. I think that was
• 1:13:36
  one of the best X Men. We still have, you know, yet
• 1:13:43
  to see what Marvel's gonna do with those characters, but that I feel like
• 1:13:45
  that was the best X Men film of the original original Cannon Yeah, I
• 1:13:53
  perhaps, yeah, perhaps, but I still never really truly one hundred percent
• 1:13:57
  agreed with the depiction because again Fox kids so and again being a child seeing
• 1:14:01
  all this stuff that's very heady and well above my pay grade at that age,
• 1:14:05
  but I'm like the deepness of it. And then to get the ex
• 1:14:10
  the Foxford, I was like, uh, you know, I felt a
• 1:14:13
  little slighted, but I hear you, but are no that that? And
• 1:14:17
  also the first Blade as well too, people don't see that as a superhero
• 1:14:23
  film. They just see it, yes, a horror film, you know,
• 1:14:26
  a vampire film. But that really just kicked up, kicked off everything
• 1:14:30
  that we know about superhero films. And I really want that film to get
• 1:14:34
  its props. And it's It's Day in the Sun with Myhrschela and then also
• 1:14:41
  Wesley as well. We'll see that he's a lot to day man hadn't been
• 1:14:45
  looking too good. So who's your FIRSTEP crush? I would say Kimberly from
• 1:14:51
  The Power Rangers. Yeah, oh yeah, that's right, Powers what you
• 1:14:55
  think? That's right? Nice? And in any medium such is TV,
• 1:15:00
  comics, film, what character's death hurt you the most? Oh, there's
• 1:15:09
  a lot of characters that characters that hurt I guess that's a g baby.
• 1:15:14
  Oh no from Hardball? No, from Hardball, I don't know who that
• 1:15:18
  is. That's the one white Savior film I really fucked with Ben from What
• 1:15:24
  You've Never Seen Heart, the one white Savior film I've always really fucked with
• 1:15:27
  Hardball starring Keanu Reeves, even though he's not exactly white. But you know
• 1:15:30
  what I'm trying to say, like is that like he's a coach is that
• 1:15:33
  from the coach is the Little League team? Oh damn, I want to
• 1:15:36
  see this now. I love all of them ships. I've never seen that
• 1:15:40
  one though. G Baby downs, damn. Why you sometimes so traumatic?
• 1:15:44
  Leslie, damn damn. Well yeah, and to watch that as like a
• 1:15:48
  preteen and it's a movie about black preteens, yeah, I was just like,
• 1:15:54
  dang, yeah, I was poor up from that. Yeah. I
• 1:15:58
  love the white savior coach movies like that's that's what those. That's why I'll
• 1:16:01
  give you an exception. You know, when you're coaching, I'll give you
• 1:16:04
  an exception. It's like I could because you got some chops in sports teaching
• 1:16:09
  ship. When they're teaching, I'm like, funk, he's he's a he's
• 1:16:12
  no. The coaching one I'm always down for because but usually those are like
• 1:16:15
  the black coaches too. So that's why I just like sports movies, and
• 1:16:18
  the coach movies are always great. So I definitely got to know this is
• 1:16:21
  actually a really horrible it's actually a really good movie. I gotta watch that
• 1:16:25
  one, like the one where oh my god, this is off, but
• 1:16:28
  the one where Ben Affleck is a drunk. Recently, it came out like
• 1:16:31
  a few years ago that Nigga stumbles downstairs and ship. You know that movie
• 1:16:34
  is you know, like unintentionally unintentionally comedy. Yeah, it's a it's a
• 1:16:41
  good ass coach movie. Steps. Yes, there we go. It's like
• 1:16:45
  that yes drunk Ben Affleck because you know he's really that drunk in real life.
• 1:16:48
  It's like it's yeah, yeah, I'm can't be oh my god,
• 1:16:55
  but you should still watch it, Ben, Like, oh no, I'm
• 1:16:57
  definitely gonna watch It's hit. I'll watch any coach movie, any of that
• 1:17:00
  ship, like I don't give a damn like all them ships I love,
• 1:17:02
  I love all. I still gotta watch the one where Terrence Howard is coaching
• 1:17:06
  the swim team, just because like you know, it's Terrence Howard, Like
• 1:17:10
  I got he taught the math too, and Philly. Yeah it's called Pride.
• 1:17:15
  Yeah, he tells them that they get one less than two seconds.
• 1:17:24
  This is the math, gonna do get your speed ahead. If you could
• 1:17:27
  have any one superpower, Leslie, what would it be? Telecon? Jean
• 1:17:35
  Gray? Again, there we go, Well, you know, yes I
• 1:17:40
  want that phoenix. Yeah, I want psionic abilities, so that includes like
• 1:17:45
  telepathy as well. Yes, yes, you want the whole Geen Grace,
• 1:17:49
  the phoenis Sweet. Yeah, you want the whole dl C. I get
• 1:17:55
  you, I feel Yeah, that's the cheat code Phoenix Sweet is the cheato.
• 1:17:58
  But yeah, man, I'm definitely down with it. Yeah all right,
• 1:18:01
  Well you survived the BRAP segment, you survived the interview. Yeah,
• 1:18:06
  please let the people know where they can find you at. Anything else you
• 1:18:10
  got coming up that you want to talk about, well, I you know,
• 1:18:13
  I want to definitely make sure that I shout out the museum so you
• 1:18:16
  can find all wonderful things that are happening at the museum on Twitter and on
• 1:18:24
  Instagram, so you can that is the mock so in in a a HC.
• 1:18:30
  And then if you are mentioning the show or if you're mentioning anything that's
• 1:18:33
  happening in the museum, definitely use the hashtag hashtag namop. So that's that's
• 1:18:40
  what I'll close you out with. Yeah, all right, and we will
• 1:18:44
  be watching the documentary. I know you you drop us a link as well,
• 1:18:47
  so we're gonna be watching that. We're gonna also push people to go
• 1:18:51
  to the museums. Yeah, I'm at the museum. Go to the actual
• 1:18:57
  museum. Itself. Yeah, visit it. They do. They have to
• 1:19:00
  still sign up for passes like time passes, gonna just show up. Yes,
• 1:19:03
  yes, so both yes, and so please certainly register online at NAMOK
• 1:19:12
  dot s SI dot EEDU to get passes to the museum. But I'm gonna
• 1:19:17
  tell y'all a trick. So after two pm, when most of the crowds
• 1:19:24
  have gone through, if you do not have a past, you will be
• 1:19:28
  able to come into the museum because those are low traffic period. Oh dope,
• 1:19:32
  sorry, Shlesie. I'm definitely coming back through, you know, a
• 1:19:36
  sometime in twenty twenty four, like probably February March. You know, I'll
• 1:19:41
  be bad down there. I gotsory month. Yeah, I gotta. I
• 1:19:44
  gotta see it again. Don't y'all do is it? Don't y'all do still
• 1:19:46
  do it? What was it first? My first Friday is? Maybe I'm
• 1:19:48
  thinking of Brooklyn Museum. But you like that parties in the in the restaurant.
• 1:19:57
  Oh you're talking about Club Cafe that, Yes, yes, we did
• 1:20:00
  that for that was a special special generation that we did for the hip Hop
• 1:20:06
  Block Party that we celebrated this past summer for the fiftieth anniversary of Okay,
• 1:20:13
  nice, but please come to the museum to enjoy the exhibitions but also the
• 1:20:16
  wonderful programming that we do during the day, but also in the evening.
• 1:20:20
  Yes, and please go, as we kept saying, go to the YouTube
• 1:20:25
  page for the museum watch our panel. Okay, go read all up about
• 1:20:30
  it for futurism. If you liked anything that you heard here, go to
• 1:20:33
  the social channels of the museum. You can find Leslie. Say hey Leslie,
• 1:20:38
  especially when you go to the museum. Leslie, Tatiana and Ben told
• 1:20:41
  me about you. I appreciate you. I'm here. I'm going to donate
• 1:20:44
  whatever you want to do, just saying you know, and leave a comment
• 1:20:48
  saying how much you want to see for all nerds back again to get back
• 1:20:51
  let them know, be loud yep. I would love to have you all
• 1:20:56
  back. And thank you so much for having me on on this show.
• 1:20:59
  This definitely is a dream come true. You know, just a friend and
• 1:21:04
  a fan really of the show. So I'm truly grateful for this opportunity and
• 1:21:09
  I'm truly happy that I had the opportunity to work with you all. And
• 1:21:13
  then our paths are going to cross several times. Over in different timelines already.
• 1:21:17
  Word, thank you very much, Leslie, thank you all for watching
• 1:21:23
  this. We're out of here for now, but you know, as always,
• 1:21:27
  make sure you follow us, follow me dj Ben I mean, follow
• 1:21:30
  Tatiana King on all social media. Make sure you're following for All Nerds on
• 1:21:33
  everything. You can get this dope ass merch that we're both wearing right now.
• 1:21:39
  We got to get you some of this Leslie. At for All Nerds
• 1:21:42
  dot com, you can get all this sweatshirts, hoodies, t shirts,
• 1:21:45
  all of that goodness. You can also support us at Patreon dot com Slash
• 1:21:50
  for All Nerds. You know, any bit helps, everything helps. We
• 1:21:55
  just dropped a new episode over there, and to all patrons over there,
• 1:21:58
  we're asking you what do you want more from us in twenty twenty four,
• 1:22:00
  so please please leave us a comment. We're promising you a bonus episode every
• 1:22:06
  month, but we also want to know more of what you want, so
• 1:22:10
  please leave us a comment over there. Make sure you're following us on YouTube,
• 1:22:14
  on spreaker, on SoundCloud, everywhere out there. Hit that follow button
• 1:22:18
  for All Nerds, Twitch dot tv, Slash for All Nerds everywhere,