Can you tell fact from fiction online? In a digital world, few questions are more important or more challenging.
For years, some commentators have called for K-12 teachers to take on fake news, media literacy, or online misinformation by doubling downon critical thinking. This push for schools to do a better job preparing young people to differentiate between low- and high-quality information often focuses on social studies classes.
As an education researcher and former high school history teacher, I know that there’s both good and bad news about combating misinformation in the classroom. History class can cultivate critical thinking – but only if teachers and schools understand what critical thinking really means.
Not just a ‘skill’
First, the bad news.
When people demand that schools teach critical thinking, it’s not always clear what they mean. Some might consider critical thinking a trait or capacity that teachers can encourage, like creativity or grit. They could believe that critical thinking is a mindset: a habit of being curious, skeptical and reflective. Or they might be referring to specific skills – for instance, that students should learn a set of steps to take to assess information online.
Unfortunately, cognitive science research has shown that critical thinking is not an abstract quality or practice that can be developed on its own. Cognitive scientists see critical thinking as a specific kind of reasoning that involves problem-solving and making sound judgments. It can be learned, but it relies on specific content knowledge and does not necessarily transfer between fields.
Early studies on chess playersand physicists in the 1970s and ’80s helped show how the kind of flexible and reflective cognition often called critical thinking is really a product of expertise. Chess masters, for instance, do not start out with innate talent. In most cases, they gain expertise by hours of thoughtfully playing the game. This deliberate practice helps them recognize patterns and think in novel ways about chess. Chess masters’ critical thinking is a product of learning, not a precursor.
Because critical thinking develops in specific contexts, it does not necessarily transfer to other types of problem-solving. For example, chess advocates might hope the game improves players’ intelligence, and studies do suggest learning chess may help elementary students with the kind of pattern recognition they need for early math lessons. However, research has found that being a great chess player does not make people better at other kinds of complex critical thinking.
Historical thinking
Since context is key to critical thinking, learning to analyze information about current events likely requires knowledge about politics and history, as well as practice at scrutinizing sources. Fortunately, that is what social studies classes are for.
Social studies researchers often describe this kind of critical thinking as “historical thinking”: a way to evaluate evidence about the past and assess its reliability. My own research has shown that high school students can make relatively quick progress on some of the surface features of historical thinking, such as learning to check a text’s date and author. But the deep questioning involved in true historical thinking is much harder to learn.
Social studies classrooms can also build what researchers call “civic online reasoning.” Fact-checking is complex work. It is not enough to tell young people that they should be wary online, or to trust sites that end in “.org” instead of “.com.” Rather than learning general principles about online media, civic online reasoning teaches students specific skills for evaluating information about politics and social issues.
Still, learning to think like a historian does not necessarily prepare someone to be a skeptical news consumer. Indeed, a recent study found that professional historians performed worse than professional fact-checkers at identifying online misinformation. The misinformation tasks the historians struggled with focused on issues such as bullying or the minimum wage – areas where they possessed little expertise.
Powerful knowledge
That’s where background knowledge comes in – and the good news is that social studies can build it. All literacy relies on what readers already know. For people wading through political information and news, knowledge about history and civics is like a key in the ignition for their analytical skills.
Readers without much historical knowledge may miss clues that something isn’t right – signs that they need to scrutinize the source more closely. Political misinformation often weaponizes historical falsehoods, such as the debunked and recalled Christian nationalist book claiming that Thomas Jefferson did not believe in a separation of church and state, or claims that the nadir of African American life came during Reconstruction, not slavery. Those claims are extreme, but politicians and policymakers repeat them.
For someone who knows basic facts about American history, those claims won’t sit right. Background knowledge will trigger their skepticism and kick critical thinking into gear.
Past, present, future
For this reason, the best approach to media literacy will come through teaching that fosters concrete skills alongside historical knowledge. In short, the new knowledge crisis points to the importance of the traditional social studies classroom.
But it’s a tenuous moment for history education. The Bush- and Obama-era emphasis on math and English testing resulted in decreased instructional time in history classes, particularly in elementary and middle schools. In one 2005 study, 27% of schools reported reducing social studies time in favor of subjects on state exams.
Attempts to limit students’ knowledge about the past imperil their chances of being able to think critically about new information. These attacks are not just assaults on the history of the country; they are attempts to control its future.
Are you an academic open to making an impact with your research in creative ways? Dr. Walter Greason is back on The Social Academic podcast with artist, Tim Fielder. They created The Graphic History of Hip Hop, a graphic novel taking the education sector by storm. When I asked, “did you expect this kind of response from your book?” It was a definite no. The ripple effect of engagement and impact The Graphic History of Hip Hop is creating for students is inspiring.
Hi, I’m Jennifer van Alstyne. The Social Academic podcast shares interviews with academics and people in Higher Education. When The Graphic History of Hip Hop was announced, Walter and Tim got billions of views that has helped their book and style of sharing history reach people around the world. I’m excited to share this featured interview with you.
Jennifer van Alstyne: Hi everyone, I’m Jennifer van Alstyne and welcome to The Social Academic. Dr. Walter Greason is back for another interview and he brought his collaboration partner for The Graphic History of Hip Hop, Tim Fielder. I’m so happy you’re both here. Tim, would you introduce yourself for people?
Tim Fielder: Hello, I am Tim Fielder. I’m a visual Afrofuturist and graphic novelist who has had the pleasure to work with the endowed chair at Macalester College, Dr. Walter Greason.
Dr. Walter Greason: You’re hilarious, man.
Tim: We’re going to ride him like that. We’re going to ride him. He just got it about a month ago and every time, you used to be Dr. Walter, now he’s the endowed chair Dr. Walter Greason.
Jennifer: Oooh! [Laughing]
Tim: So we’ll see. So we’ve been riding him. He earned it though. I’m so proud of him. It makes me look good to work with Walter because Walter is so accomplished in what he does, not just being a hip hop scholar, generally a nice guy, a unashamedly justice, social justice warrior, and he keeps me, he’s an all-star, north star. And he makes all of us around him work harder. He makes us want to aspire to work harder. And by just the association alone, having done The Graphic History of Hip Hop has made me a better artist and has brought me, you know you think, “Oh, this would just be a freelance job.” Nah. Having done this book with Walter has exposed me to opportunities that I could not have dreamed up. So it has been a true, true ride.
Walter: I appreciate you.
Tim: He’s still crazy though, don’t get it mixed and twisted.
Walter: I appreciate you, you know, really. Anything I bring is a reflection of the people that I work with. And y’all are two of the folks that make me so inspired every single day. For Tim, the way his genius manifests in the production of the work. And I’ve seen it now firsthand, in person. God, its got to be like six years since we first did that thing with N Square. But man, like his ability to touch people’s soul and to move them, to find something extraordinary in themselves that they couldn’t see before he drew them. That, that is just a miracle every single time it happens.
And Jennifer, the work that you’ve done that I’ve seen you put together since our time back in New Jersey. You are doing that with these shows, with this effort to motivate people.
And I want to specifically congratulate you for the amazing series you’ve done recently with Sheena Howard. That’s another colleague of mine going back many years. And so just, this is like family for me to be with y’all. And I couldn’t do the kinds of things I try to do without y’all being out here in the world and showing me different ways to go about making things happen.
Collaboration of academic research and art
Jennifer: That really brings up this amazing collaboration that you did together. I’m curious, it sounds like you worked on something six years ago. What inspired your collaboration and decision to actually work together to create something different, to create something unique?
Tim: Go ahead Walter, you can start. I’ll hold the prop up.
Walter: So Graphic History of Hip Hop, we got invited to put that together by the New York City Public Schools in December of 2022. But prior to that, so Tim and I met in, um, it was Jackson, Mississippi at the Planet Deep South Afrofuturist Conference. Which was just a convocation of talent that has changed the world in, in very literal terms.
This was years before the Black Panther movie debuted. This was long before most people around the world knew what Afrofuturism was. So this was an event that was life-changing for everyone there just to be together, but Tim took the photo that symbolizes the event. And so many, many decades from now, when we are no longer here and people are telling the story of Afrofuturism, it’s going to be Tim’s. Not just his images, but his photography that actually tells the story of how the movement has grown and how it had this impact. That photo still lives in all of our hearts cause his skills with the selfie are unmatched. That was one of the moments where I was like, “This dude has got it. Whatever he’s got, I need to stay in touch and be a part of it.” A couple of years later I want to say 2020, 2021, we got invited by Reynaldo Anderson. No, 2022.
Tim: Oh yeah, I’m sorry. That was Yonkers.
Walter: Then we were trained in technically how to be futurists by a consulting group that works with the Air Force. They were working on how to imagine a world without nuclear weapons.
That’s what convinced me that I had to work with Tim. I’m there talking about all this policy and structural reform. How do we actually build a safer world for the future? And he instantly created visualizations of the things we were talking about. I was like, “Dear God, like that’s, that’s the most amazing thing I’ve ever seen.”
I made a note that the next opportunity I had to ask him to do something I would. Sure enough, December 2022 managed to catch him around Christmas time. He was like, “Oh, this dude, I don’t know. We’ll see.”
He came on board and was like, “All right, I’ll take a shot. I’ll take a shot.” And man, it has just been warp speed, Star Trek ever since just every day. Some amazing new thing happens for us. This has been spectacular. I’m sorry, Tim. You tell the story better than I do.
Tim: No, no, no. He’s right. It’s just, that’s the thing. I’m not the fastest artist out there. You know, I can do fully rendered work. I use advanced technology. I use everything available to me on my work. But unlike other projects I’ve worked on, this project doesn’t seem to want to die.
We did South by Southwest (SXSW). Was there and I thought, ‘Okay, we’re done. That’s it. It’ll slow down.’ Then, you know, we did the Spin Magazine, they featured us in their December physical issue. Told us, “Well, you guys won’t be in the online version, just in the print version.” Then without announcement, bloop, it just pops up in the online version. That’s what it’s been. It’s been that kind of thing that seems to be an experience in perpetual momentum.
Tim: And it’s been that kind of experience. I know so much more about hip hop that I did when I started. I’m not Walter. I’m not a scholar like that, but I have been forced to learn about the form and it has made me a better artist as a result. A dramatically better artist.
We’ll see what happens, you know. But in 2022, he called me and we put it together. First, it was like a floppy. We thought it was a 100,000 copies of this floppy distributed into the New York City School System. Then we were told it was a 150,000 copies. But we learned two weeks ago that it was 200,000 copies. Is that correct, Walter?
Walter: Yeah, that’s what Joe’s been talking about.
Tim: 200,000 copies, which is kind of frightening. But you know, hey, what you going to do, say, “Don’t put 200,000 copies of that book in those schools.” You know? So it’s in there and then we’re working on Volume 2 now.
Our partner, Christina Hungspruke LaMattina partnered with us and we decided to do this here, which is the full-on graphic novel version. So that 24 page version became a 92 page graphic novel, which of course was done, it wasn’t planned like that. I always use this joke, it will be good.
Never request a timeline from a historian
Tim: Never request a timeline from a historian. Don’t do that. It’s like, really, I didn’t know what that meant when someone told you, “Well, you, what do you mean? Don’t give them a timeline. Don’t ask them for a timeline.” They should know. No, it has nothing to do with what they know. They will go above and beyond.
The book was out, there was a lot of media. People would download it. We were on TV and everything, traveling around. We did this New York tour. It was insane. And Christina is like, “We got to do something else because they’re giving the book away,” because it was free. The DOE (Department of Education) version was free. Right? So you can download it right now.
But we wanted to start a company. So we started a company miraculously named The Graphic History Company. Seems so self-explanatory. So we did that. Yes, we did that.
I asked Walter, “Hey man, I need you to give me a timeline because I’m going to put it on the website. And I’m thinking, ‘he’ll do it by decades, you know: the 70s, 90s. It would just be a few paragraphs and I could do it.
This guy comes back a day later with 45 years worth. And I’m like, oh my God. Cause I mean, I just remember saying, “There’s no way I’m putting this on the website. This is the graphic novel. This is the expanded version.” And of course we added dates, moved stuff around. I think it starts in 1964 and it goes all the way to 2006. This is just Volume 1. We could not finish the entire history of hip hop in one volume. We’re doing 3 and it still won’t be done. But it’s as far as we going to take it.
But yeah, it changed my life. I thought when I did it, this is going to be a basic freelance job. It has utterly failed in that department. A career defining moment for me, for sure.
Book adoptions from every major city school district in the country
Walter: Yeah. We knew we had to do something big. We knew we had to do something bigger.
We knew we had to do something big because when we went to Queens and the middle schoolers stormed over the tables. They grabbed us and pulled us to the floor, demanding that we sign copies. We give them more copies. Like it was, Tim was very wise to get a hold of video from the teachers who witnessed the mass assault. It’s just been this thing where we go to DC, we go to Virginia, we go down to Louisiana. Tim was just at South by Southwest in Texas.
Everywhere we go, the energy around this book is so enormous. And that’s the thing. It’s not just in the New York City schools. We’re getting adoptions from every major city school district in the country. I was just talking with somebody in London who’s talking about adoptions over there. It’s far larger than anything we anticipated when we first started trying to put it all together.
Walter: It’s when either a school or a district looks at their student body, looks at their curriculum and says, “Oh, we need this to be part of what we teach.” And so the hundreds of thousands of copies in New York City, they’re just there on demand for everybody in the city.
Then we have folks in Richmond who have written an extraordinary lesson plan that have made it not just available for Virginia, but they’ve made it easy for teachers to teach it everywhere. And so the teachers start clamoring for it because frankly, the educational effect is unparalleled.
Students that are grade levels behind in reading all of a sudden become intensely excited readers and they catch up to grade level. The kids that are at grade level, they start jumping years ahead because they can’t stop reading.
It’s not just literally the history of hip hop. It’s the combination of the art, the music that we discuss, and then underneath all of it is the history that then they learn, they internalize, they memorize cause they literally just can’t stop reading it. It goes on to everything else that they’re trying to learn. It gives them a love of learning and reading that they didn’t have as intensely before.
Art and graphic novels by Tim Fielder
Jennifer: What about working with Tim, what about making this visual makes it more effective not just for young students who are sounds like knocking you down because they’re so excited. Like that’s amazing. But as an adult reading this book, this was fascinating for me to learn about this history and to experience it in a visual way. So I’m curious, what about that partnership was most creative? Or, what lit your spark together?
Walter: So Tim has done a couple books. Yeah. She asked me what the joy of working with you is given your amazing skills. So I’m definitely going to jump on that.
When it comes to Tim’s work and looking at either Matty’s Rocket or Infinitum, which are his books that he did, was really well known before he ever started talking with me for real.
You see in his art, this kind of vibrancy of each individual. But I love in Infinitum, the way that he took his vision of an undying main character and he turns that into this, this experience where you’re looking through the man’s eyes and you’re feeling the kind of arrogance initially. You’re feeling like the embodied intellect, the suffering that comes to be inflicted on the character. It is so visceral that when Tim is crafting work, this is what I was saying about doing portraiture of individuals, is they see things about themselves that they never saw before.
That’s this amazing gift that comes through the production of graphic art. And particularly his skill is that it taps into something that is unique to all of us and often something that we don’t appreciate until we see it reflected back. So now that that’s been for me as a historian, as a scholar who writes about forgotten people in places, to see them just recognized and just presented in a way that other people can encounter them and understand them is astonishing on its own. But then when the people themselves see the way that they’re represented and the way that the joy pours out of them. That they become so excited about what they want to say and how they want to add more to what we’ve done. There’s no better gift. Tim talks often when we go around these places about the way people respond with good will and are just thrilled to connect with us.
As much as I love doing history and can do history well in various contexts, that’s primarily his art. His art is what makes the connection that then inspires the joy and the excitement. And so I’m going to give all the credit because you know, Tim is very, very kind and then, will shy away. But he knows my stuff is full of really deep and hard things to grapple with. People can get overwhelmed by it. He is extraordinarily good about keeping the joy of the process at the center. And that’s what really makes folks most excited to do these things with us.
Making an impact in education with The Graphic History of Hip Hop
Tim: Thank you for that. I appreciate that, brother. However, now let me interject. So the very nature of a graphic history, it’s not a graphic, it’s not a history that’s told just with prose. It’s about the marriage and the dance between the written word and the picture. Right? So it really is a form that is totally unique. It’s a comic book, right? But graphic novels are longer-form comic books. And it really is a longer form where you’re telling a self-contained story as best you can where you’re trying to convey the same level and depth of written narrative by coupling it with the visual narrative.
That’s not an easy thing to do because obviously the academic thing is that, you know, you do a book, 200 people read it and that’s considered a norm. The idea of doing this book, at least for me, was about taking that very learned academic style,(…) right? Which the floppy was initially done for 11th graders.
And then the challenge when we expanded it actually broadened, as far as I’m concerned, broaden it so that it can expand to different ages and people who were much older because we began to deal with more and more and more obscure stuff in the story. So you had your Arsenio Hall, which was, oh, everybody knew Arsenio Hall. But then you have that thing where certain acts I had never heard of. But doing within a context. I forget, who was the one…What’s the one with the World Trade Center?
Walter: That’s not a group. That’s Immortal Technique. That’s Immortal Technique, a basically New York City rapper at the turn of the century and still does amazing work today.
Tim: Exactly. But the way we did that image, we had to juxtapose with the World Trade Center accident because hip hop is not some separate part of culture. It’s a part of the world of black culture. American culture. Latino culture. It’s world culture.
And so the challenge for me was taking this very real kind of real dense, almost Tom Clancy level geopolitical perspective and seeing how he intermixed it with hip hop history. My job was how do I make this stuff look good and be informational? So it’s not just dealing with it. It’s like, yes, you want the images to look good, but you also want them to serve as an infographic if you will.
That kind of blend of those things and I have to say, has absolutely made me a better artist. I know I keep repeating that. But I think it’s made the field of graphic history move for me. There are other books out there. March, you know, just goes on and on out there, Maus that are great. But I’m very proud of this book because it’s moved this form, right? Which in this time of day, you got book bans and all like things like that.
Our book has been able to somewhat survive because doesn’t even really matter your political background. Everybody listens to hip hop. It literally cuts across the board and to be involved with such a project that succeeds on an artistic level, but then it begins to potentially and progressively affect public policy.
That’s when you really getting in the grease because then it’s not just a vanity project based on entertainment. You’re influencing the way people run their school systems, the way they’re running their interactions with their educators. There’s a reason why we just were the keynote at the Minnesota Council for Social Studies thing. And it’s because beyond the fact that, you know, we’re nice guys. We’re always going to have fun. We’re going to bring the joy, bring the fun.
There’s still this context that the teachers can not only get the information, but they get information from how we present that they can take back to the classroom. And I think that, that’s what allows what Walter and I do together. I’ve done some talks before, not a lot. But the last year and a half, we’ve done a lot of these things and we’ve refined at such a point now that now we’re probably going to start bringing music, some form of that into the presentation. That’s literally where we’re at. I’m sorry, that was a droning on answer to your question.
Jennifer: I loved it, especially because what you each gained from this collaboration by working with each other was a spark that really rippled. It had like ripple effects for education systems, for students, for other educators that are seeing themselves in what you’ve done in the sense that like, “Oh, maybe I could do something like that too. Maybe I could create something that’s a little different. That’s not maybe the traditional academic monograph, but still has the potential to influence public policy and practice.”
Tim: It’s in comics or the sequential art medium has the ability to connect with people. It allows people to move into the process of reading much more easily. And this is not just for kids, it’s for adults too.
But I believe particularly due to the travels that Walter and I are engaging, and like I said there have been other graphic novels before that. But because we pretty aggressively…I would have maybe tried to like, well not really. Nah, we pretty aggressively engaged the education sector. I mean, very aggressively in terms of both the local school systems, but then on the college level. So we’re doing all of it at the same time. I know, so much more. Like I didn’t even know there was a convention system for social studies. I didn’t know that. I thought, “Well, it was just-.” But like no, they have their whole convention scene too.
I believe that we are now starting to influence other academics to take the job because they’re using what we do as a model.
Jennifer: Yes.
Tim: It’s not like some stand off thing where you have some larger than life figure. It’s just regular dudes, you know, who are out there. I mean, well, the endowed chair will never be regular. But you get my point though. We’re regular guys who are doing our work and other academics are seeing that “we can do that too.” So it’s all for them. The field of what could be told is unending.
Jennifer: What felt different about creating this book and seeing it out there, seeing it in the hands of students as opposed to your academic monographs. And I’m not saying like some books are better than others, but I’m curious how it felt in terms of that actual interaction with the readers?
Walter: Oh, it’s amazing. So you know me from my work in education and that’s different for me than it is for some other professional historians is that they go in to primarily do their research and to write their books. And teaching is secondary if not third place among their priorities. For me, the teaching is first. That’s always been it. I was teaching in P-12 systems for 17 years before I became a higher ed academic.
Jennifer: I didn’t know that.
Walter: Yeah, this is now 20 years. No, more than that. 27 years since I taught my first college class. And so this has just been a journey for me that is rooted in education. And so the connection with students, connection with families is my top priority. It’s the reason why I teach at Macalester College in St. Cloud, it’s an institution that shares those values and is committed to the education first.
And then everything else, just like in my life, flows from that foundation, that basically I teach so that I can do more research, so that I can do more service in communities around the world. And that’s the way my life is built. To then come up and find a tool like the graphic, like graphic history generally no matter what subject it covers.
But specifically The Graphic History of Hip Hop that shows the commitment that shaped who I am. I would never be who I am without hip hop. And then from there to then grow that out and have that effect spread to people in every part of the world. When we first launched this almost a year ago, we had billions of engagements. Like 3-4 billion engagements from people online looking for, “What is this? What is this content? How can we get a hold of this? How can we use it?”
That’s why we have connects in Germany, and Japan, and New Zealand, and all these other places that are pulling on what we do. This morning, some folks from Senegal were in my ear about “we need this as part of our national education curriculum.” They speak French, they want French copies. So we got to figure out, how do we reword everything in French?
It’s just amazing to me because that’s the highest priority, is that we got to do things that other educators never even attempt to. The other professors that I work with who have had the kind of success that I’ve had in college, they typically say to me routinely, “I only write for 2 other people. You know, there’s me and there’s 2 other experts that that’s who I care what they see. And then how do they understand what I’ve written?”
A big group here in St. Paul has, someone approached me yesterday and was like, “there are like 20 people who can really understand the quality of the work that I do.” And that’s pretty much the academic standard, is that you have a small group of people that you share kind of a community of knowledge.
But this is very different. My community of knowledge grew most rapidly through social media, kind of leading up to the Black Panther release and Afrofuturism. A lot of the work I did on racial violence, these things gained really global audiences. But the practice and the application of this knowledge through The Graphic History of Hip Hop is unprecedented. And so the people read it, they feel it, it moves them emotionally. None of the other books I’ve done have that same kind of impact.
Tim: I have to say that Christine and I, our other partner. First of all, you have to understand for him to say what he said. It took a long time for us to get into that point. I am so proud of him because he’s now, you know, hey, dyed in the wool academic. There’s a certain standard. You have to get your citations right. And all the big wig technical words that I don’t know what they mean. This guy was that. He is that guy.
What I am so proud of him with doing is he has found a way to maintain his integrity with that and blend it with this mass form. And I think frankly, what’s beyond the obvious that many, many, many more people are reading his stuff than almost any academic on the planet with the exception of a handful.
The thing that makes what he’s doing so important is that it’s actively affecting social change in the schools. Think about it. How many people can actually write a book where they can cite that school systems are adopting the book on multiple levels, right? We’re asked to talk about it all over the country, right? There are other countries asking us to utilize this modality. How many people, academic or no, get to have that level of effect?
Jennifer: Did you expect that kind of response when you started this project or was it more of a surprise? Either of you? No, Walter’s face is like, no!
Tim: Hell no. Hell no. I expected, I’m going to be honest with you. Like I said, initially I thought, “this will be a great freelance job. The money is good.” I’ll do it and I’ll be known as that. And that’ll be it. And it won’t take over my life.
It actually took over my life. It took over my other projects, which have not made my other editors very happy, but it really did. And I’m so glad it did because again, it’s made me a better artist.
There are different sectors of the publishing world when it deals with comics. You have the direct sales market, which is Superman, Batman, Spider-Man, but that industry is actually imploding now as we speak. It’s because the primary distributor has gone under and started to sell off the assets. So local comic book shops no longer, it’s difficult for them to get access to content. And you know how the marketplace works. The more difficult you make it for your potential customers to get access to your content, you know, that feeds itself.
But then there are these other aspects. There is the academic market. There’s the graphic novel market, which we’re in. But we braced academic and the graphic novel market. And then there’s manga. So we do graphic novels and academic. Right? So what we’ve done is allowed us to have this ability to be able to effectively surf. And I use that word, both worlds, both waves, if you will. And it, but I couldn’t have told them, “Look guys, we should publish through Ingram.” And that was the best I could do.
But after a while, it is now taking a life of its own to where The Graphic History Company is a multimedia company. It really is. It’s a multimedia company and it’s allowed me as an operator. I have interest in marketing and promotion because I talk a lot, as you can see. But what it’s done is allowed me to be able to practice muscles I never thought I would have been able to practice. Due to this book has gotten me in the Washington DC SET. I never thought that would happen, but it did. You know, it did. It’s allowed us to be approached. We’ve been in the Smithsonian. We’ve been in the Metropolitan Museum of Art. And I’m listening up and thinking, yeah, that’s right. We did that. And it’s all because of this book.
Buy the book
Illustration by Tim Fielder
Jennifer: If you are watching this, it’s time to get your copy of The Graphic History of Hip Hop. And it sounds like, is the graphic novel version also like, can I buy that?
Tim: Yes.
Jennifer: Okay. I’m going to go out and get my copy of the graphic, graphic novel version too because I want to see all of the things that didn’t fit into this one. I’m really excited to see your art, Tim and Walter, to see this breadth of history that I knew nothing about to really dive into it. It’s exciting for me. And for everyone who’s watching, if you’re someone who has an idea or a dream about a book project and maybe it’s not going to look the way that your traditional academic edited collection or monograph is going to look, it sounds like this could be a real opportunity to create the change you want to see in the world. For Walter and Tim, it really sounds like it went beyond your expectations.
Walter: It’s amazing. And I do think you have the graphic novel one. Yours I think is 90 pages. Looks like the hardcover. I’d be amazed if you had the floppy because that didn’t, not many got out of New York.
Jennifer: Oh yeah, no, this is 89 [pages]. Yeah. I want the hardcover version. That’s what I’m asking about. Yeah.
Tim: So you got hardcover and softcover version, 92 pages. And you know, the hardcover can be used as a weapon in a pinch. So really something there for everyone.
Jennifer: Amazing. Is there anything else you’d like to add before we wrap up? I want to give you time for anything else you’d like to share.
Walter: Just that I love the work you do, Jennifer. And anytime we can do anything to support the work, and especially the way that you have served the academic sector has been spectacular.
I want to encourage all of my colleagues, everyone who is doing this work out here to come and visit with you because it is absolutely essential for us to build all the different kinds of careers we have based on the knowledge that we’ve acquired.
Jennifer: Thank you!
Tim, anything you’d like to share?
Tim: Yeah, presently working on Volume 2, which I hope to have some day before my hair grows back. And we’ll have that out and out to the public. And then got to work to Volume 3and hopefully some news, please Lord, I’ll be hearing very soon. I’ve been bothering Walter about why haven’t we heard anything. So if that happens the way I want, it’ll be really interesting, but I’m not going to jinx it.
Jennifer: Fingers crossed.
I wish you both all the best with your collaborations and your own initiatives in the future. This has been such an interesting conversation for me. I can’t wait to share it with people.
I hope they all go out and get The Graphic History of Hip Hop because this is, wow. I mean, it’s just so colorful and engaging and memorable. I think that even if you’re not someone who identifies as a graphic novel reader, maybe you don’t read comics that are in other things, this can still really be engaging. And it was surprising for me to see how into it I got knowing very little about hip hop. Thank you so much for coming on The Social Academic.
Illmatic Consequences: The Clapback to Opponents of Critical Race Theory—edited by Dr. Walter Greason and Danian Darrell Jerry has been honored with the 2025 Anna Julia Cooper and C. L. R. James Prize for Outstanding Research in Africana Studies at the National Council for Black Studies (NCBS) Conference.
Bios
Walter Greason
Dr. Walter Greason, Ph.D., DeWitt Wallace Professor in the Department of History at Macalester College is the preeminent historian of Afrofuturism, the Black Speculative Arts, and digital economies in the world today. Named one of “Today’s Black History Makers” by The Philadelphia Daily News, Dr. Greason has written more than one hundred academic articles and essays. His work has appeared on Huffington Post, National Public Radio, and The Atlantic among other popular, professional and scholarly journals. He is also the author, editor, and contributor to eighteen books, including Suburban Erasure, The Land Speaks, Cities Imagined, Illmatic Consequences, and The Black Reparations Project.
From 2007 – 2012, Dr. Greason was an advisor to Building One America, the coalition that designed the American Recovery and Reinvestment Act (2009). He also served as the Founding President of the T. Thomas Fortune Foundation, an organization that saved the National Historic Landmark dedicated to the leading, militant journalist of the nineteenth century. Dr. Greason’s digital humanities projects, “The Wakanda Syllabus” and “The Racial Violence Syllabus”, produced global responses in the last six years. His work in historic preservation and virtual reality continues to inspire new research around the world. Dr. Greason currently writes about the racial wealth gap and the patterns of economic globalization.
Dr. Greason is currently serving as a special consultant to the Institute for the Study of Global Racial Justice at Rutgers University in New Brunswick, New Jersey.
@WalterDGreason
Tim Fielder
Tim Fielder is an Illustrator, concept designer, cartoonist, and animator born in Tupelo, Mississippi, and raised in Clarksdale, Mississippi. He has a lifelong love of Visual Afrofuturism, Pulp entertainment, and action films. He holds other Afrofuturists such as Samuel R. Delany, Octavia Butler, Pedro Bell, and Overton Loyd as major influences. He is the creator of the graphic novels INFINITUM: An Afrofuturist Tale, published by HarperCollins Amistad in 2021, and the Glyph Award-winning ‘Matty’s Rocket.’ Fielder is also known for participating in the Carnegie Hall Afrofuturism Festival exhibit ‘Black Metropolis’ and The Smithsonian National Museum of African-American History and Culture exhibit ‘AFROFUTURISM: A History of Black Futures’.
Can you tell fact from fiction online? In a digital world, few questions are more important or more challenging.
For years, some commentators have called for K-12 teachers to take on fake news, media literacy, or online misinformation by doubling downon critical thinking. This push for schools to do a better job preparing young people to differentiate between low- and high-quality information often focuses on social studies classes.
As an education researcher and former high school history teacher, I know that there’s both good and bad news about combating misinformation in the classroom. History class can cultivate critical thinking – but only if teachers and schools understand what critical thinking really means.
Not just a ‘skill’
First, the bad news.
When people demand that schools teach critical thinking, it’s not always clear what they mean. Some might consider critical thinking a trait or capacity that teachers can encourage, like creativity or grit. They could believe that critical thinking is a mindset: a habit of being curious, skeptical and reflective. Or they might be referring to specific skills – for instance, that students should learn a set of steps to take to assess information online.
Unfortunately, cognitive science research has shown that critical thinking is not an abstract quality or practice that can be developed on its own. Cognitive scientists see critical thinking as a specific kind of reasoning that involves problem-solving and making sound judgments. It can be learned, but it relies on specific content knowledge and does not necessarily transfer between fields.
Early studies on chess playersand physicists in the 1970s and ’80s helped show how the kind of flexible and reflective cognition often called critical thinking is really a product of expertise. Chess masters, for instance, do not start out with innate talent. In most cases, they gain expertise by hours of thoughtfully playing the game. This deliberate practice helps them recognize patterns and think in novel ways about chess. Chess masters’ critical thinking is a product of learning, not a precursor.
Because critical thinking develops in specific contexts, it does not necessarily transfer to other types of problem-solving. For example, chess advocates might hope the game improves players’ intelligence, and studies do suggest learning chess may help elementary students with the kind of pattern recognition they need for early math lessons. However, research has found that being a great chess player does not make people better at other kinds of complex critical thinking.
Historical thinking
Since context is key to critical thinking, learning to analyze information about current events likely requires knowledge about politics and history, as well as practice at scrutinizing sources. Fortunately, that is what social studies classes are for.
Social studies researchers often describe this kind of critical thinking as “historical thinking”: a way to evaluate evidence about the past and assess its reliability. My own research has shown that high school students can make relatively quick progress on some of the surface features of historical thinking, such as learning to check a text’s date and author. But the deep questioning involved in true historical thinking is much harder to learn.
Social studies classrooms can also build what researchers call “civic online reasoning.” Fact-checking is complex work. It is not enough to tell young people that they should be wary online, or to trust sites that end in “.org” instead of “.com.” Rather than learning general principles about online media, civic online reasoning teaches students specific skills for evaluating information about politics and social issues.
Still, learning to think like a historian does not necessarily prepare someone to be a skeptical news consumer. Indeed, a recent study found that professional historians performed worse than professional fact-checkers at identifying online misinformation. The misinformation tasks the historians struggled with focused on issues such as bullying or the minimum wage – areas where they possessed little expertise.
Powerful knowledge
That’s where background knowledge comes in – and the good news is that social studies can build it. All literacy relies on what readers already know. For people wading through political information and news, knowledge about history and civics is like a key in the ignition for their analytical skills.
Readers without much historical knowledge may miss clues that something isn’t right – signs that they need to scrutinize the source more closely. Political misinformation often weaponizes historical falsehoods, such as the debunked and recalled Christian nationalist book claiming that Thomas Jefferson did not believe in a separation of church and state, or claims that the nadir of African American life came during Reconstruction, not slavery. Those claims are extreme, but politicians and policymakers repeat them.
For someone who knows basic facts about American history, those claims won’t sit right. Background knowledge will trigger their skepticism and kick critical thinking into gear.
Past, present, future
For this reason, the best approach to media literacy will come through teaching that fosters concrete skills alongside historical knowledge. In short, the new knowledge crisis points to the importance of the traditional social studies classroom.
But it’s a tenuous moment for history education. The Bush- and Obama-era emphasis on math and English testing resulted in decreased instructional time in history classes, particularly in elementary and middle schools. In one 2005 study, 27% of schools reported reducing social studies time in favor of subjects on state exams.
Attempts to limit students’ knowledge about the past imperil their chances of being able to think critically about new information. These attacks are not just assaults on the history of the country; they are attempts to control its future.
As a music professor, my favorite courses to teach are those for non-majors, especially first-year students without formal training in music. They just have a fearless openness to wonder and discovery about them. The first day of class is a blank slate, one full of potential for new ways to think about music.
Breaking the ice: Who’s a musician?
I like to start my class with a simple question: “Who in here is a musician?” I scan the room, watching a few hands go up. Pretending to count them carefully, I suddenly take a step back and announce, “Every single hand should have gone up!” A ripple of nervous laughter follows. “No, really!” I insist.
At this point, everyone looks puzzled. Maybe they’re wondering if they had picked the wrong class. But then, I ask, “How many of you ever sing in the shower? Sing along to your favorite music in the car? Or whistle a tune while walking to class?” Almost everyone nods or raises a hand. “If you do that,” I tell them, “You are a musician!”
It’s a good icebreaker — a little silly, maybe, but it gets at a serious point: when did we stop considering ourselves musicians? After all, music is such a fundamental human activity. It’s one that’s existed for as long as humans have made sounds. Even before we had structured language, we had rhythm and melody.
Music: A force for connection and change
Music is our universal language and — far beyond mere entertainment — its greatest power lies in building community. It’s a role music has played throughout history, from ancient traditions to the rise of modern media. Consider the early days of radio in the United States. For the first time, Americans from different parts of the country were exposed to each other’s music.
Music is also fundamental to our personal histories. Think about one of the first questions you might have asked on a date: “What kind of music do you listen to?” The answer to that question can wind up shaping the entire evening.
Back in college, when asked what music I liked, I answered with brutal honesty, even when it worked against me. One night at a bar (sipping a Coca-Cola), someone asked, “What do you listen to?” I excitedly replied, “Gregorian chant!” And just like that, I was out of the running. Even if I got the chance to explain, I could see the realization dawn on them: “Oh, this guy likes really old and really serious church music.” Eventually, I wised up and started answering with something a little more relatable. But the truth is, Gregorian chant is fascinating — a conversation for another time.
Every piece of music is a cultural artifact
Going back to icebreakers on the first day of class, I also like to invite my students (newly anointed musicians!) to think of every piece of music as a cultural artifact, just like an archaeologist would examine a shard of pottery.
Our first day always has music. But before listening, we explore its world — the people who made it, those who heard it, and the significance of its instruments. Every instrument has a personality and a temperament, much like characters in a play. Taking that to heart, music becomes a richer, more connected experience. As an artifact of culture and a creation of the human mind and body, music of every kind is relatable to anyone curious enough to want to know. We are hardwired for it. If you think about it, some of the first music we ever hear is in the womb.
So, making, analyzing, and listening to music — deeply and critically — are not the privileged purviews of the trained professional. They are for everyone who wants to rediscover and embrace that part of themselves.
Listening to music
In “Listening to Music,” 9th Edition, we hope to spark excitement and rediscovery in every reader. Think of it as more of a guide than a textbook.
What does that mean? Well, I hear some of the most beautiful music just taking a walk in the woods. I hear the birds singing, and their songs are for me as much as for anyone. But I appreciate them so much more if a good field guide directs my listening to things I might not have noticed! Just as a great field guide helps us hear new layers in birdsong, this textbook directs attention to musical elements that might otherwise go unnoticed.
In our latest edition, we also take an expansive view, featuring not only the biggest “brand names” in orchestras and musicians, but also lesser-known groups and musicians from around the world. And, of course, every piece of music we study is examined as a cultural artifact, helping us understand history, identity, and our place in the world. We move from the broadest historical context down to the fine details of the music itself. And with directed listening (just like listening to birds in a field), we highlight elements that are often noticed subconsciously, but become even more exciting once we recognize them as part of a larger musical language.
So, remember: Everyone is a musician!
Written by Lorenzo Candelaria, Ph.D., Professor of Musicology and former Dean of the Blair School of Music at Vanderbilt University.
During the month of March, we celebrate Women’s History Month. This year’s theme is “Moving Forward Together! Women Educating and Inspiring Generations.” And we can’t think of a better way to celebrate than by paying tribute to the remarkable women educators who are doing just that.
We’re so proud to highlight some of our women faculty partners who are shaping the next generation of experts in fields like astronomy, automotive and math. Your commitment to educating and inspiring students doesn’t go unnoticed. While no words can truly capture the impact you make every day, this is our chance to show our gratitude (and give you the applause you deserve).
Kim Zoldak is a Teaching Assistant Professor at Oklahoma State University. Whether she’s teaching introductory astronomy, astrophysics or physics courses, her passion for sharing the wonders of the universe always shines through. She’s more than just an expert — she’s a guide who sparks curiosity and helps students discover new perspectives and ideas.
As the department’s dedicated teaching professor, Kim is always ready to jump in and teach whichever physics course is needed. So far, that’s included College Physics I & II and University Physics I. Kim’s journey to Oklahoma State started with a B.S. in meteorology from California University of Pennsylvania, followed by a Ph.D. in space and planetary sciences/astrophysics from the University of Arkansas. In addition to teaching, she oversees responsibilities for OSU’s Mendenhall Observatory. Above all, Kim believes that learning should be exciting and accessible to everyone. Her commitment to helping students grow — not just as learners but as thinkers — is what makes her an invaluable part of the OSU community and higher education.
“As a female in a male-dominated area of the sciences, I think that I encourage other females to follow their passion in physics and astronomy simply by being their instructor in these courses. Every year I am seeing more and more women in my classes…When women see other women doing something that they thought was out of their reach — it gives them hope that they can do it too.” – Kim Zoldak
Janalyn Kehm is the Department Chair in the School of Business & Computer Engineering Technology at Spartanburg Community College. Having taught at SCC since 2000, she’s devoted her career to shaping successful student outcomes and promoting meaningful collaboration with faculty members. In this role, she raises the bar, assessing learning needs within business and other courses, and working alongside faculty to develop quality curriculum. Before embarking on her decades-long career in higher education, she received her B.A degree in journalism – advertising/public relations from the University of South Carolina and her M.A degree in computer resource management from Webster University. But Janalyn didn’t stop there, continuing on to pursue her own educational growth by obtaining a Certificate of Graduate Studies in Higher Education Leadership from University of South Carolina and a DBA from California Southern University.
Having been twice recognized by her peers and students with the Faculty of the Year award, she personifies exceptionalism in her field, creating remarkable connections with those she mentors and works with.
After earning her B.S and M.S degrees in mathematics from Texas State University, Ellen Couvillion’s passion for the subject would lead her back there in the form of a teaching career. Now an Associate Professor of Instruction of Mathematics, she practices a growth mindset approach to teaching, prioritizing students’ individual learning needs and unique paths to development.
In a nutshell, Ellen is a star educator, admired as a mentor by her students, and respected by her faculty peers who have an immense appreciation of her teaching contributions. She has won numerous awards, including the Service Excellence Award from the Department of Mathematics and the Favorite Professor Award, courtesy of the Alpha Chi National College Honor Society. Beyond teaching, Ellen immerses herself in every aspect of university life, serving as member, advisor and organizer of several committees, demonstrating her commitment to enhancing and shaping the campus community around her.
Pam Schmelz is an Interim Dean for the School of Information Technology, School of Business, Logistics & Supply Chain and the Garatoni School of Entrepreneurship and Innovation at Ivy Tech Community College. With a lifelong passion for information technology, she’s earned several certifications, including CISSP (Certified Information Systems Security Professional), CCENT (Cisco Entry level Network Technician) and Amazon Cloud Practitioner, to name only a few. As a certified Quality Matters peer reviewer, she lends her critical expertise to the development of online courses, creating a quality learning experience for future generations of students.
Being a consummate innovator with a fierce dedication to helping students thrive, Pam also started up the CyberAcademy at Muscatatuck Urban Training Center in Butlerville, IN. This intense and revolutionary program takes students through the AAS Cybersecurity program in a record-breaking 11 months, providing graduates with essential cybersecurity career skills, setting them for future success and elevating their levels of expertise to new heights.
Samantha Candler is a General Motors World Class Technician with 18 years of experience in the automotive industry. As one of the few female World-Class Technicians and instructors nationwide, she’s no stranger when it comes to breaking down barriers. Her unwavering determination and immeasurable skillset speaks volumes. Before spending 10 years as a technician and 8 years as a GM ASEP Instructor, Samantha long had her sights set on making her mark in the field. Her passion for vehicles began in high school, leading her to achieve the highest level of GM technician training. As an automotive faculty member at Dallas College, she puts her immense knowledge into practice every day in the classroom, inspiring her students and undoubtedly setting an example for what heights they can reach and push beyond.
Samantha would ultimately like to see more women enter the automotive industry, and believes that anyone with the determination to dive in and work hard can succeed. She considers herself fortunate to have worked in a dealership that allowed her the freedom to grow and thrive into the inspiration she is today.
“Being a technician isn’t just about heavy lifting and getting greasy. Women bring unique strengths to automotive work — attention to detail, problem-solving, and adaptability— that are invaluable in today’s evolving automotive field…I’m proud and excited to be a part of the automotive transformation and to be training the next generation of technicians.” – Samantha Candler
Jinhwa Lee is an Assistant Professor of Instruction of Mathematics at Ohio State University and an experienced educator. With a decade’s worth of experience teaching various mathematics courses, Jinhwa believes that all students can grow to become confident learners when given the right tools and individualized support. Her teaching philosophy centers on a common goal — helping students overcome their math anxiety. She wants students to find the fun and relevance within a subject she loves and believes is critical across multiple disciplines.
As an educator, Jinhwa recognizes that her role is part of a much bigger picture. She’s proud to contribute to student development and hopes to inspire her learners to become future leaders in fields like economics, science and engineering.
“…every student can excel with the right support.” – Jinhwa Lee
Monica Hampton is a retired cybersecurity officer, an Adjunct Professor of Cybersecurity and Criminal Justice and an Instructional Designer at Benedict College. Monica’s teaching experience stretches far beyond the higher ed classroom, having previously taught firearms and safety, as well as cybersecurity to law enforcement officers at national and local levels. She now brings personal field experience and real-world insights to her students, teaching undergraduate cybersecurity and criminal justice courses. Before entering the world of cybersecurity, she earned a B.A. degree in criminal justice from the University of Central Florida and an M.A. degree in computer resources and information management from Webster University. Monica took a comprehensive approach to her teaching role. Striving to gain proficiency in both instructional design and the application of rubrics, she obtained a Quality Matters (QM) certification for Applying the QM Rubric and Designing Your Online Course.
Dr. EmmaLeigh Kirchner is an Associate Professor of Criminal Justice and Chair of the Social Justice & Community Health Department at Mercyhurst University. Her experience spans across undergraduate, graduate and study abroad programs, where she teaches multiple courses, both online and in-person. Some of those courses include Methods and Social Science Statistics. Holding a Ph.D. in criminology from Indiana University of Pennsylvania, EmmaLeigh’s focus has been primarily within the higher ed sphere. Yet, she’s also a leading example of how to enact meaningful community-based change outside the classroom. She currently serves on the executive board for the Northeastern Association of Criminal Justice Sciences and is the faculty advisor of the Criminal Justice Association. EmmaLeigh’s various outreach efforts and contributions represent her resolution to make a difference.
Thank you to all of our women faculty partners. You’ve made an incredible educational impact on not only your students and institutions, but on the future of higher education overall.
Women’s History Month reminds us to recognize the incredible achievements and contributions made by women throughout our history.
Many will not have seen this rather wonderful short history of AHUA, the Association of Heads of University Administration, published in 2024 and written by John Hogan, who retired as registrar at Newcastle University in 2022.
Having been involved in AHUA for 18 years to the end of 2024, including 11 years on the executive and a couple of years as Honorary Secretary, I thought I had seen quite a lot in terms of the association’s development. However, as this report shows, I really did not know the half of it and my contributions were genuinely minor alongside the achievements of those who went before.
In development
The origins of what is now AHUA date back, in formal records at least, to a “Registrars’ Conference” in 1939, just before the outbreak of war. It was attended by ten people representing seven different universities (with apologies from two more) and chaired by the registrar of Durham University, William Angus (later secretary at the University of Aberdeen from 1952 to 1967 and referred to by his previous colleagues as “Aberdeen Angus,” apparently).
Extract from the minutes of the 1939 Registrars’ Conference
While some of the issues discussed were very much of the time, such as air raid precautions, others have contemporary resonance such as ensuring inclusion of students on the electoral register. Admittedly this was a slightly different situation given that there were university constituencies at that time and there were real concerns about institutions’ ability adequately to count potential electors. Other issues though seem very familiar including student health, international students, admissions qualifications and student fees.
As the organisation developed as the Conference of Registrars and Secretaries (CRS), after the war it became UK-wide and spent considerable time in the 1960s discussing and dealing with an expanded HE sector such that it had 23 UK universities in membership by then.
As noted in John Hogan’s report – and as is evident from the photographs from conferences in the 60s through to the early 90s – it was a hugely white male-dominated organisation for many years, reflective of university administrations at that time.
Fortunately, much has changed in composition since then. Structures in universities were rather different in those days too although for the whole membership, regardless of title, a core duty was acting as a confidential source of advice and support for the vice chancellor. Further elements identified in the 1960s which continue to be a part of many AHUA members’ roles include leading a significant portfolio of university services and advising the university’s statutory bodies and other senior officers. Relative to today numbers were tiny – only around 400 administrative staff in 1953 rising to a still modest figure of around 1,900 by 1973, although both of these numbers exclude what were deemed “clerical” posts.
It is also interesting to note that, under the auspices of the Committee of Vice-Chancellors and Principals (CVCP), a number of registrars were heavily involved in the establishment of the Universities Central Council on Admissions (UCCA) in 1961. This body, reformed as the Universities and Colleges Admissions Service – UCAS – in 1993, was for many years notable as an example of a genuinely efficient and effective shared service in supporting university admissions (although its governance structure and mission has changed somewhat since then).
Topical matters
In determining conference topics members were consulted via paper questionnaires on the issues of the day (although, entertainingly, this process generated a big bureaucracy which had to be scaled back). In 1964, responses were sought on the following:
What information was held in student records, the ratio of secretarial to academic staff, the operation of telephone systems, the appointment of supervisors for higher degrees, amongst many other matters.
Moreover, the records uncovered by the author show some problems are perennial:
The fraudulent publication of degree certificates was a concern at the 1948 Conference. Student behaviour, and car parking both featured in 1962. Pressure to change the academic year from October–September to January–December was first acknowledged in 1965. Nearly all universities had considered the possibility and rejected it.
Excitingly, IT became a white-hot topic in the 1960s and there were discussions over the national coordination of student records – this led to a working party involving the UGC and the Royal Statistical Society. As I recently noted here, the issue has not gone away…
As Hogan notes, the records of proceedings appear generally cordial, although:
The occasional acerbic comment was captured in the minutes. Ernest Bettenson, (Registrar of the University of Durham 1952 then of University of Newcastle upon Tyne 1963–1976) expressed the view that the 1972 “…White Paper was like Mrs Thatcher (its author as Education Minister) – well set out and attractive, but somehow unlovable.
Beyond these formal matters, conferences also included cultural and social events including a formal dinner which, I am astonished to learn, was black tie until 2006 (thankfully that stopped before I joined in the following year). Other features which have, mercifully, not survived include the spouses’ programme, golf sessions and alcohol sponsorship (no fewer than three distilleries were sponsors for the 1995 conference in Aberdeen).
Grappling with the issues
CRS operations became a bit more business-like towards the end of the 1970s with the establishment of a standing steering committee and the appointment of a business secretary. Following the significant cuts in funding from 1981–82 the focus of discussions was very much on the consequent organisational challenges and, as Hogan notes:
More horizon-scanning can be identified in CRS’s discussions during the 1980s than previously. William Waldegrave, then Parliamentary Under Secretary of State in the Department of Education and Science, predicted mergers across the so-called binary line, between universities and polytechnics, within the following ten years, when he spoke to the Conference in 1983.
Plenty of contemporary echoes there. The Jarratt Report (1985) on management efficiency divided opinion in the CRS, with some supportive and others more sceptical or indeed scathing. Apparently, Jim Walsh, registrar at the University of Leeds, was particularly vocal:
…warning members that he would oppose any attempt to turn the Conference into a kind of “Jarratt Enforcement” agency and distributing a criticism of the proposals under the title “A Load of Old Cobblers?”
It is reassuring that CRS members struggled with its name back in the late 1980s in the same way as successors have ever since. It was accepted that “the name ‘conference’ was unhelpful, and ‘association’ was more attractive except for the resulting acronym – ARS.”
However, before that issue could be resolved the CRS had to grapple with the more serious issue of the impact of the ending of the binary line. While almost every established university in 1992 had a registrar or secretary, the structures in the newer universities was much more varied meaning that it took some time to come to a full settlement on who would be eligible to join an expanded organisation.
And then, of course, a new name was required. ARS was off the table so the “Association of University Heads of Administration” or the “Association of Heads of University Administration” were the preferred options. CVCP was consulted and it seems some vice chancellors were unhappy with the title on the basis that they saw themselves as the head of the administration. Anyway, a decision was made and the name and abbreviation everyone struggles to pronounce to this day was agreed upon.
You’ve come a long way
Hogan goes on to note the broader engagement of AHUA and its member with regulators and other sector agencies from the late 1990s onwards as well as the importance of its regional groupings and the key role played by full-time professional staff support from 2001 (Catherine Webb served as Executive Secretary from 2006 to 2024, providing vital continuity and vast expertise). Policy concerns at executive meetings and conferences throughout the last two decades have included governance, statute changes, pensions, the need for better regulation and a reduction in the regulatory burden.
Other significant developments in the recent period have included development programmes, for new and aspiring registrars, growing the association’s communications and influencing activities, developing the national Ambitious Futures graduate training programme (which sadly ended as a consequence of the pandemic) and a reciprocal mentoring programme between staff of colour and AHUA launched. All were driven forward by a (much missed) former chair, Jonathan Nicholls, who also sought to establish AHUA as the “go-to” professional organisation in the sector.
AHUA, as Hogan’s history shows, has come a long way but remains a key UK-wide sector organisation with a slightly more diverse membership than in the past, but there is still some way to go there. It’s an organisation of which I hugely valued being a part and it is great to read this short but comprehensive report on AHUA’s origins and development.
AHUA Spring Conference 2024 at the University of Leeds
We’d like to recognize the significant contributions of three Black educators who helped shape the future of higher education, breaking down barriers and inspiring generations of learners and educational leaders.
Mary McLeod Bethune
Mary McLeod Bethune is regarded as one of the most significant Black educators and civil rights activists of the 20th century. The daughter of formerly enslaved parents, Bethune believed education was key to opening the doors of opportunity for Black Americans. She founded the Daytona Normal and Industrial Institute for Negro Girls in Daytona, Florida, in 1904, serving as president of the school. The school was eventually combined with the Cookman Institute for Men in 1923 (other sources cite 1929), merging to form the Bethune-Cookman College, Bethune becoming the first Black woman to serve as a college president. The college was one of the few institutions where Black students could seek a college degree. And as of fall 2023, Bethune-Cookman University enrolled 2,415 undergraduate students.
Mary McLeod Bethune, Schomburg Center for Research in Black Culture, Photographs and Prints Division, The New York Public Library. (1940 – 1949).
Kelly Miller
Kelly Miller was a groundbreaking educator, mathematician and writer, becoming the first Black man to attend Johns Hopkins University for post-graduate study. He would go on to eventually join Howard University’s faculty as a mathematics professor, helping found the American Negro Academy in 1897, the first organization for Black scholars and artists.
Miller introduced sociology to Howard’s curriculum in 1895, becoming the first person to teach the subject at the university. Eventually becoming dean of Howard’s College of Arts and Sciences in 1907, he worked to add new natural and social science courses, transforming the curriculum. Due to his tireless recruitment efforts across the south, student enrollment tripled during his first four years in that position.
Kelly Miller, LL.D. Schomburg Center for Research in Black Culture, Jean Blackwell Hutson Research and Reference Division, The New York Public Library. (1904).
Mary Jane Patterson
Becoming the first Black woman to receive a bachelor’s degree when she graduated from Oberlin College in 1862, Mary Jane Patterson quickly established herself as trailblazer. She devoted her career to education, teaching at the Institute of Colored Youth, now known as Cheyney University, eventually becoming the school principal at the Preparatory High School for Colored Youth, the first U.S. public high school for Black Americans. The Mary Jane Patterson Scholarship was established in 2019, which aims to support post-baccalaureate students who are interested in teaching in urban classrooms.
Mary Jane Patterson, first Black woman to be granted a bachelor’s degree in the U.S. (Oberlin College, 1862). Photo retrieved from Oberlin College Archives.
During this Black History Month 2025, we celebrate the contributions of these three Black educators whose accomplishments continue to ring out throughout higher education today.
If you’re interested in history content for your course, we encourage you to browse our history catalog.
South Dakota public schools would be required to teach a specific set of Native American historical and cultural lessons if a bill unanimously endorsed by a legislative committee Tuesday in Pierre becomes law.
The bill would mandate the teaching of the Oceti Sakowin Essential Understandings. The phrase “Oceti Sakowin” refers to the Lakota, Dakota and Nakota people. The understandings are a set of standards and lessons adopted seven years ago by the South Dakota Board of Education Standards with input from tribal leaders, educators and elders.
Use of the understandings by public schools is optional. A survey conducted by the state Department of Education indicated use by 62% of teachers, but the survey was voluntary and hundreds of teachers did not respond.
Republican state Sen. Tamara Grove, who lives on the Lower Brule Reservation, proposed the bill and asked legislators to follow the lead of Sisseton Wahpeton Oyate Chairman J. Garret Renville. He has publicly called for a “reset” of state-tribal relations since the departure of former Gov. Kristi Noem, who was barred by tribal leaders from entering tribal land in the state.
“What I’m asking you to do today,” Grove said, “is to lean into the reset.”
Joe Graves, the state secretary of education and a Noem appointee, testified against the bill. He said portions of the understandings are already incorporated into the state’s social studies standards. He added that the state only mandates four curricular areas: math, science, social studies and English-language arts/reading. He said further mandates would “tighten up the school days, leaving schools with much less instructional flexibility.”
Members of the Senate Education Committee sided with Grove and other supporters, voting 7-0 to send the bill to the full Senate.
The proposal is one of several education mandates that lawmakers have considered this legislative session. The state House rejected a bill this week that would have required posting and teaching the Ten Commandments in schools, and also rejected a bill that would have required schools to post the state motto, “Under God the People Rule.”
South Dakota Searchlight is part of States Newsroom, a nonprofit news network supported by grants and a coalition of donors as a 501c(3) public charity. South Dakota Searchlight maintains editorial independence. Contact Editor Seth Tupper for questions: [email protected].
In a groundbreaking achievement that marks a significant milestone for historically Black colleges and universities (HBCUs), Howard University has become the first HBCU to receive the prestigious Research One (R1) Carnegie Classification, placing it among the nation’s most elite research institutions.
The announcement from the American Council of Education (ACE) on Thursday, recognizes Howard’s designation as an institution of “very high research spending and doctorate production,” a status that fewer than 150 universities nationwide have achieved. This accomplishment not only highlights Howard’s commitment to academic excellence but also represents a historic moment in the evolution of HBCUs in American higher education.
According to ACE’s stringent criteria, universities must demonstrate exceptional research capabilities through substantial financial investment and doctoral program success. The minimum requirements include at least $50 million in annual research spending and the production of at least 70 research doctorates. Howard University has significantly surpassed these thresholds, showcasing its commitment to advancing knowledge and fostering innovation.
Dr. Bruce A. Jones, Howard University’s senior vice president for research, provided specific details about the university’s achievements. “In Fiscal Year 2023, the most recent evaluation year in the classification cycle, the University’s productivity was significantly higher than the R1 base criteria, recording just under $85 million in research expenditures and awarding 96 doctorates in an array of fields,” Jones said. “This includes the highest number of doctorates awarded to Black students at any college or university in America.”
The impact of such a designation has broader implications beyond Howard, said Dr. Robert T. Palmer, chair and professor in the Department of Educational Leadership and Policy Studies at the university.
“Howard reaching R1 status is phenomenal. This status will help Howard to attract more highly competitive research grants and talented faculty and students,” said Palmer, who added that the university’s status as an R1 will also help to position itself as a premier institution “and help to amplify the great work being done by faculty, staff, and students, alumni”
Palmer noted that there are other HBCUs, including his alma mater, Morgan State University that is currently seeking R1 status.
“It would be great for HBCUs seeking R1 status to form a coalition and work collectively to support each other towards this goal,” he added.
University President Dr. Ben Vinson III emphasized the broader implications of this achievement for both Howard and the communities it serves.
“Howard University’s achievement of R1 status demonstrates our research capacity and reaffirms our deep commitment to tackling society’s most pressing questions through cutting-edge scholarship and technological innovation,” Vinson said. “As a leader in the evolution of next generation HBCUs, we are dedicated to ensuring that the benefits of discovery and progress reach all communities, including those historically overlooked and underrepresented.”
Vinson noted that the university’s research portfolio showcases its comprehensive approach to addressing critical societal challenges. For example, Howard hosts one of only fifteen U.S. Department of Defense University Affiliated Research Centers (UARC) in the nation, focusing on tactical autonomy, human-machine teaming, and artificial intelligence through its Research Institute for Tactical Autonomy.
In the medical field, Howard’s pioneering spirit is evident in its Center for Sickle Cell Disease, which was the first center in the nation devoted to studying and treating the disease. The university’s Cancer Center holds the distinction of being the only such facility at an HBCU providing comprehensive cancer treatment services while training future oncology professionals and researchers.
The university’s commitment to preserving and studying Black history and culture is exemplified by the Moorland-Spingarn Research Center, which stands as the nation’s largest and most comprehensive repository of materials on the global Black experience. Additionally, Howard’s Center for African Studies holds the unique position of being the only comprehensive National Resource Center at an HBCU, as designated by the U.S. Department of Education.
Higher education experts point out that Howard’s R1 designation represents not just an achievement for Howard University but a significant advancement for the entire HBCU community, potentially paving the way for other institutions to follow. As Howard continues to expand its research capabilities and influence, its impact on American higher education and scientific advancement promises to grow even stronger.
“I think it’s incredibly exciting that Howard University — a powerhouse for decades in research — is being recognized as a Research 1 institution,” said Dr. Marybeth Gasman, who is the Samuel DeWitt Proctor Endowed Chair in Education and University Distinguished Professor at Rutgers University. An expert on HBCUs, Gasman added that the important research contributions across disciplines at Howard have significantly impacted students, communities (regional, national, and international), and leaders.
“I’m excited to see what the institution does to build on this recognition as it progresses,” she said. “As a Research 1, it will be vital to ensure that all tenure-track faculty are supported through reduced course loads (4 courses a year max), research start-up funds across the disciplines, ample conference travel funding, and that Ph.D. students are supported with fully funded fellowships and assistantships.”
Cengage authors dedicate themselves to producing high-quality content, while also prioritizing a functional learning experience for students, equipping them with background information and tools necessary to analyze the important topics covered in their courses. We’re happy to introduce you to the authors of two first edition titles, and one upcoming fifth edition title, within the Major Problems Anthology series, which familiarizes students with important topics in U.S history, world history and western civilization.
Ready to meet these authors and learn about their titles? We can’t wait for you to get to know them all.
Jackson J. Spielvogel and Kathryn Spielvogel ― authors of Major Problems in Western Civilization, Volume I and Volume II, 1e 2025
“Major Problems in Western Civilization,” 1e includes a variety of supporting materials and historical prose, guiding a carefully curated set of primary and secondary source selections. This text preps instructors and students so they can engage primary sources at the highest level.
Jackson J. Spielvogel is Associate Professor Emeritus of History at The Pennsylvania State University. He received his Ph.D. from The Ohio State University, where he specialized in Reformation history. His work has been supported by fellowships from the Fulbright Foundation and the Foundation for Reformation Research. He is the author of “Western Civilization,” now in its 12th edition, as well as co-author (with William Duiker) of “World History,” now in its 10th edition. Professor Spielvogel has won five major university-wide teaching awards.
Kathryn Spielvogel earned a B.A. in history, and M.A. in art history from The Pennsylvania State University. She continued her graduate studies in history at the University at Buffalo, SUNY, before working as a research editor on history textbooks for the past fifteen years. Passionate about historic preservation and economic development, Kathryn volunteers for several non-profit organizations while renovating historic homes and commercial buildings throughout Pennsylvania.
William J. Duiker, author of Major Problems in World History, Volume I and Volume II, 1e 2025
“Major Problems in World History,” 1e is a comprehensive source for documents and secondary essays dealing with a broad sweep of world history. Each chapter begins with a short introductory essay providing historical context for that period of history.
William J. Duiker is Liberal Arts Professor Emeritus of East Asian studies at The Pennsylvania State University. He earned a Ph.D. in East Asian history at Georgetown University in 1968. A former foreign service officer with assignments in Taiwan and South Vietnam, he is the author of several books on East Asia. He is also co-author with colleague Jackson Spielvogel of “World History,” 10e. He has traveled widely and was awarded a Faculty Scholar Medal for Outstanding Achievement in 1996.
Plus a new fifth edition
Elizabeth Cobbs, Edward J. Blum and Vanessa Walker ― authors of Major Problems in American History, Volume I and Volume II, 5e 2025
“Major Problems in American History” includes both primary sources and analytical essays on important U.S history topics, with an overall goal towards helping students refine their critical thinking skills.
Elizabeth Cobbs is a Professor and Dwight E. Stanford Chair in American Foreign Relations at San Diego State University and has won literary prizes for both history and fiction, including the Allan Nevins Prize and Stuart Bernath Book Prize. She earned her Ph.D. in American history at Stanford University. She has served on the jury for the Pulitzer Prize in History and on the Historical Advisory Committee of the U.S. State Department. She has received awards and fellowships from the Fulbright Commission and other distinguished institutions. Her essays have been published in the New York Times, Jerusalem Post and Los Angeles Times, among others. Her current project is a history of women soldiers in World War I.
Edward J. Blum is a Professor of History at San Diego State University. He received his B.A. from the University of Michigan and his M.A. and Ph.D. from the University of Kentucky. He is the author and co-author of several books on United States history and the winner of numerous awards, including the Peter Seaborg Award for Civil War Scholarship and the Gustave O. Arlt Award in the Humanities.
Vanessa Walker is the Gordon Levin Associate Professor of Diplomatic History at Amherst College, where she teaches classes on U.S. politics, foreign relations and human rights. She received her B.A. from Whitman College and her M.A. and Ph.D. from the University of Wisconsin-Madison. She is the recipient of fellowships from the Miller Center for Public Affairs at the University of Virginia, the George Mosse Program at the Hebrew University of Jerusalem and the Stanton Foundation Applied History Program.
Logistics & Supply Chain and the Garatoni School of Entrepreneurship and Innovation at Ivy Tech Community College. With a lifelong passion for 
Samantha Candler is a General Motors World Class Technician with 18 years of experience in the 
experienced educator. With a decade’s worth of experience teaching various 
Monica Hampton is a retired cybersecurity officer, an Adjunct Professor of Cybersecurity and Criminal Justice and an Instructional Designer at Benedict College. Monica’s teaching experience stretches far beyond the higher ed classroom, having previously taught firearms and safety, as well as cybersecurity to law enforcement officers at national and local levels. She now brings personal field experience and real-world insights to her students, teaching undergraduate cybersecurity and 
Community Health Department at Mercyhurst University. Her experience spans across undergraduate, graduate and study abroad programs, where she teaches multiple courses, both online and in-person. Some of those courses include Methods and Social Science Statistics. Holding a Ph.D. in criminology from Indiana University of Pennsylvania, EmmaLeigh’s focus has been primarily within the higher ed sphere. Yet, she’s also a leading example of how to enact meaningful community-based change outside the classroom. She currently serves on the executive board for the Northeastern Association of Criminal Justice Sciences and is the faculty advisor of the Criminal Justice Association. EmmaLeigh’s various outreach efforts and contributions represent her resolution to make a difference.
