Tag: Walter

  • The Graphic History of Hip Hop with Walter Greason and Tim Fielder

    The Graphic History of Hip Hop with Walter Greason and Tim Fielder

    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.

    Before we get started, this Saturday, April 12, 2025 is my Promoting Your Book Online for Academics workshop. I’d love for you to join us. It’s at 11:30 am Pacific Time / 2:30pm Eastern Time, and there will be a replay if you can’t make it live. Get info about the workshop and register.

    Cover of The Graphic History of Hip Hop graphic novel with a screenshot of a page featuring hip hop artists DJ Kool Herc and Fab Five Freddy. Illustrations of Walter Greason, PhD and Tim Fielder. Greason is the DeWitt Wallace Professor of History at Macalester College and a Historian of Afrofuturism. Tim Fielder is an OG visual Afrofuturist, illustrator, concept designer, cartoonist, and animator.
    From the Graphic History Company
    Walter Greason, PhD, Author
    Tim Fielder, Illustrator

    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.

    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.

    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. 

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    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.

    VIDEO: Watch New York schools substituting traditional history textbooks with comics on CBS Chicago.

    Jennifer: What is an adoption?

    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.

    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.

    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.

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    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?

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    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.

    The Graphic History of Hip Hop
    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. 

    Tim: Thank you.

    Walter: Much love. Thank you.

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    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.

    Walter Greason

    Walter Greason, Text: Writer, Suburban Erasure Cities Imagined & Illmatic Consequences

    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 author image. Text: Illustrator, Matty's Rocket & INFINITUM An Afrofuturist Tale

    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’.



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  • Community College Leader Dr. Walter Bumphus to Step Down After Transformative Era

    Community College Leader Dr. Walter Bumphus to Step Down After Transformative Era

    Dr. Walter G. BumphusAfter steering America’s community colleges through unprecedented challenges and opportunities, Dr. Walter G. Bumphus announced he will retire as president and CEO of the American Association of Community Colleges (AACC) at the end of 2025, capping a remarkable 15-year tenure that helped reshape higher education access nationwide.

    The announcement marks the end of a chapter for community colleges that saw dramatic shifts in workforce development, educational technology, and the role of two-year institutions in American society. Under Bumphus’s leadership, community colleges strengthened their position as essential providers of affordable education and workforce training, working closely with four presidential administrations to advance their mission.

    “When you look at the landscape of higher education today, you can see Dr. Bumphus’s influence everywhere,” said Dr. Sunita Cooke, who chairs AACC’s board of directors and serves as superintendent/president of MiraCosta College. “He understood that community colleges needed to be at the table for every major conversation about America’s future workforce and educational opportunities.”

    Bumphus’s career, spanning more than five decades, coincided with community colleges’ emergence as critical players in addressing skills gaps and workforce needs. His expertise led to appointments on several high-profile national committees, including the American Workforce Policy Advisory Board and the Department of Homeland Security’s Academic Advisory Council.

    Beyond his policy work, colleagues say Bumphus’s greatest legacy may be the network of educational leaders he helped develop. As the A. M. Aikin Regents Endowed Chair at The University of Texas at Austin, he mentored hundreds of administrators who went on to leadership positions at community colleges across the country.

    His achievements have been widely recognized, including receiving the ACCT Marie Y. Martin CEO of the Year Award and the 2021 Baldridge Foundation’s Award for Leadership Excellence in Education. In 2013, Bumphus was awarded the Diverse Champions award by Diverse: Issues In Higher Education. 

    But Bumphus maintains that the real measure of success lies in the millions of students who have benefited from community college education during his tenure.

    “Every time I meet a graduate who tells me how community college changed their life, I’m reminded of why this work matters so much,” Bumphus said in his retirement announcement. “These institutions are the backbone of opportunity in America, and I’m confident they’ll continue to evolve and serve students for generations to come.”

    His 15-year leadership of AACC stands as the second-longest in the organization’s history. As he prepares for retirement, Bumphus remains characteristically focused on the future: “The work of expanding educational opportunity never ends. I’m grateful to have played a part in it.”

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  • Racism in Education in New Jersey with Walter D. Greason, PhD

    Racism in Education in New Jersey with Walter D. Greason, PhD

    Professor Walter Greason is back with a new in-depth interview

    We’re talking about racism in education. This conversation dives into the history of racism in New Jersey. Topics that come up include the January 6th insurrection, the Supreme Court, and how things are affected today.

    Walter D. Greason, PhD is Professor and Chair of the History Department at Macalester College in Saint Paul, Minnesota. He is author of 6 books including Industrial Segregation (2018) and Cities Imagined: The African Diaspora in Media and History (2018). His digital humanities projects, The Wakanda Syllabus and The Racial Violence Syllabus reached millions of people, and was translated into 7 languages.

    P.S. Black Panther fans, this interview has some exciting tidbits about the upcoming Wakanda Forever movie! Don’t miss it.

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    Meet Walter

    Jennifer: Hi, everyone. This is Jennifer Van Alstyne on The Social Academic.

    Today, I’m talking with Dr. Walter Greason, who has joined us before. He’s back to talk about racism and education in New Jersey. Professor Greason, would you please introduce yourself?

    Walter: Thank you so much, Jennifer. It’s an honor to be here.

    Again, Walter Greason. I am a former Dean, Department Chair, 1st African American serving those roles at Monmouth University in New Jersey where we met. And so this is just a tremendous joy for me. [Jennifer graduated from Monmouth U with a BA in English in 2013.]

    I’m currently a full Professor and Chair of the History Department at Macalester College in Minnesota. Which is kind of like being in charge of the Honor School [at Monmouth], but the entire campus is the honor school. So it’s been really amazing so far.

    Jennifer: Oh, I love that.

    It’s a reflection of the change in national politics

    Jennifer: Now, today you reached out because you specifically wanted to talk about racism in education in New Jersey. And I know you’re in a new place right now, but this is a topic that you spent your career researching. That you’ve written about in Suburban Erasure: How the Suburbs Ended the Civil Rights Movement in New Jersey (2012).

    I’m curious, why is this topic so important to you?

    Walter: Right now it’s a reflection of the change in the national politics. That New Jersey is extraordinary place. A brilliant governor, outstanding state legislature, many of my friends currently doing amazing work to make New Jersey an even better place to live.

    However in parts and pockets of the state, there are people who are extraordinarily dangerous. And I’ve seen reports in multiple news outlets about the funders in New Jersey who made things like the January 6th insurrection possible. Who throughout the last five or six years have done everything they could to sabotage the society from being an inclusive and free place.

    And so now after this January 6th hearings, people are becoming more aware that there is a dangerous white nationalist threat in the United States.

    But I still find that folks are underestimating it. And they’re missing the danger, particularly within our school systems.

    Jennifer: Ooh. Okay. So people are already missing some of the danger that is out there and that’s because they’re not aware of it, it sounds like.

    So, why is this conversation going to help them? Right? Most of the people who are listening to this are going to be professors, people who are doing research. People who are in the process of deciding what their research subject is if they’re in graduate school.

    So what kind of message can we share with them that will help them understand why this is important to them?

    Walter: So for folks who are going into Higher Education or really Education at any phase of their career, to understand the way the institutions operate. To understand the ways that bias still prevails in hiring, promotion, retention decisions. This is tremendously significant.

    And that piece of the institutional, the governance of the school systems, of our institutions of Higher Ed. The barrier that I’ve seen most commonly, not just at Monmouth, but at many institutions is that there are committed leaders at the top of the institution. There are committed leaders at the grassroots, at the teacher’s levels, where they’re doing face to face work with students and families.

    But often in the intermediate tiers: assistant principals, principals, assistant and associate superintendents, people who operationalize a lot of strategic vision…There’s enormous hostility against commitments to equity. And so it’s this middle level of administrative leadership that slows down and derails so much of the work. And frankly, underwrites and expands the ways that people can come and attack school boards.

    Or, the ways that they can go out on social media and build white nationalist networks where they’re attacking parents, where they’re attacking families, where they’re attacking teachers who are attempting to make schools more equitable for everyone.

    And so that’s the danger I live with every day. That’s the danger I see hour-by-hour creeping in multiple contexts. And, again, not even just in New Jersey, I mean, places like Ohio. I was just down in Alabama. There are so many places where the organized institutional commitment to injustice is winning.

    And until we actually take stands together as faculty and really organize just as rigorously, we will lose these battles to try and make better school systems, better institutions for young people and for families everywhere.

    Jennifer: Oh, thank you for sharing that with me.

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    A brief history of racism in New Jersey

    The Central Railroad of New Jersey Terminal in Jersey City from across the water. A few highrises and apartment buildings stand behind it. The Terminal building is red brick with a high arched roof and clocktower. Photo by Gautam Krishnan.

    Jennifer: Now, actually I wanted to talk with you about this specifically because last year in a conversation with Dr. Nicole Pulliam and Nikole Hannah-Jones at Monmouth University, they talked about how “NJ towns often resist real education integration.” And that’s something that you also discuss in your book, Suburban Erasure.

    Can you tell me more about the history of racism in New Jersey?

    Walter: Absolutely. And, I mean, this is something that has a lot of data behind it [laugh]. But New Jersey history as a field really tended to focus on either the American Revolution or the Civil War, or to a lesser extent, World War II. There is very little attention to the social history of New Jersey. And so I’m very proud that the work I’ve done for the last 15, 20 years has changed that.

    There’s a lot of attention now to history of immigrants, histories of black people, histories of lesbian, gay, transgender populations. That the openness to learn about different perspectives in our past has really grown. So that’s one of the pieces of my career I’m most proud of.

    And you mentioned something that at Monmouth University there’s so many good things that I was lucky to be a part of. But the founding of the Social Justice Academy over the last two years…writing the proposal, winning the grant, getting the funding to be able to bring people like Nikole Hannah-Jones, hiring Nicole Pulliam as the Program Director for the Academy. These are things that are at the absolute top shelf of my life. I’m so proud of everything that goes on with the Academy.

    That is pointing to the kinds of barriers that continue to exist.

    And I think #1, people don’t understand how segregation persisted in the North after the Civil War.  That they tend to even see slavery as a Southern phenomenon. They see Jim Crow segregation as a Southern phenomenon. And that’s not the case at all.

    That segregation dominated the North through the 1800s while slavery was thriving. And it ultimately became the template by which the South said, ‘Oh, we can do what the North does and just keep everyone separate from each other.’ And so that in entrenched segregation, particularly with the Plessy v. Ferguson decision in 1896.

    And even when you saw Brown challenge that and say, no, “with all deliberate speed,” we must desegregate [Brown v. Board of Education].

    The movement was called [Massive Resistance], basically a white nationalist movement led by the White Citizens’ Council to resist nonviolently and politically any attempt to integrate schools or public institutions. And so this effort goes on for 60 Years. Like you go into the Obama administration and there are still people fighting to keep segregation and expand segregation.

    It reshapes the Supreme Court.

    It basically makes it possible in places like New Jersey that the worst feature that could be possible: all of the organizations that were dedicated to civil rights, and integration, and equal opportunity were dismantled after Brown [v. Board of Education].

    So places that we look at old ironsides is the Bordentown Manual Training Institute, was serving African American and immigrant communities to get people trained to succeed in a modern economy–We closed it in 1956 and said, ‘No, this is no longer going to be a part of what we do in our state.’

    We fired thousands of black and immigrant professionals and said, “No, they will have to learn to comply within white institutions that had created all the problems to begin with.’

    So when we talk about desegregation and integration, we have a really poor grasp of how we dismantle the institutions that made the chance for integration possible.

    And then we preserved all the institutions that had maintained segregation.

    And then we’re surprised 50, 60 years later that so little has changed. It’s that we didn’t embrace the kinds of organizations and institutions that would have led to more equity and more inclusion.

    And that meant firing lots of really qualified even overqualified people within the educational system, especially, that could have made a much stronger society overall.

    Jennifer: Wow. That is very new to me. All of this information is something I may have heard you talk about before, but hearing it all together…hearing it all at once makes me see how important this was. And how lacking my own education in history in America was.

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    Education in New Jersey today, an apartheid system

    A black elementary school boy and girl sit at a table working. The boy is wearing a red sleeveless Miami Heat shirt and holding a pencil. They are both concentrating. Photo by Santi Vedri.

    Jennifer: Now, how does this affect education in New Jersey today?

    Walter: So in 2013 and 2016, Rutgers and UCLA issued new reports that talked about how they had created in a apartheid system. That the state of New Jersey had created an apartheid education system where schools that were majority white or Asian had very few less than 5% black or Latino populations. And in a similar way, schools that were a majority black or Latino had less than 5% whiter Asian populations.

    And so we had these parallel tracks within the state where municipalities essentially partnered with the real estate industry to decide where there would be high quality education. And where there would be an education that really did not prepare students to be competitive for college and for future careers.

    And so that track, when that report comes out, it shocks everyone. But for anyone who had studied the way that these institutions evolved over the previous 40 years, the only inevitable outcome was that you were gonna have disparate educational gaps

    Jennifer: Right.

    Walter: And as a result, lifelong employment gaps, lifelong healthcare gaps, lifelong wealth gaps, and we’re not providing fair and equal opportunity to achieve and succeed in life to people of different backgrounds based on their race.

    And then, when it’s not based on their race, it’s based on their zip code. Which is even more pernicious because we allow that within the market system to say that some people should get less opportunities than others based on their income, based on their education. But it’s all deeply tied to these structures about race and ethnicity.

    Jennifer: Tell me more about that in terms of zip code, and real estate, and education. That seems much more closely tied together than people often expect. How does real estate and where people live affect education?

    Walter: So a state like New Jersey, and many Northern and Midwestern states, education is tied to human municipality.

    This is very different than places in the far West or in the South where it’s often state funded. Here in Minnesota, all counties received the same funding for education. And so, there’s remarkably high quality. And there’s still disparities, but nowhere near as extreme as what we see in a place like New Jersey, or Connecticut, or Delaware, or Virginia. These places really struggle trying to actually serve the people who have the greatest need.

    And there’s a reward structure for that. There are businesses that make more money because they target very affluent particular towns, or sections of counties.

    Yeah, just in Monmouth [County], around where we met, you can look at Rumson, and Deal, and Fairhaven and you see these extraordinary school systems. How do you even say a place like Middletown, doing really well

    But if you go down the street to Asbury Park, if you go into parts of Red Bank, if you certainly go into the Freehold Regional System and look at what happens to Freehold borough…There are just places where people turn against majority Black and Latino populations and are angry when they get quality opportunities.

    And so my students did a lot of research on this, going back into the early 2000s, where they were interviewing folks who were going out to find homes, to find apartments and talking to real estate professionals. And they’re steering folks to different communities based on their appearance. And this is a common practice.

    The National Association of Realtors had to apologize just two or three years ago for ongoing systemic discriminatory practices.

    And so opening the door for people to understand–And thankfully I am working with Governor Murphy on this problem–how do we actually commit to open up doors of opportunity for all people and then break down the systems of financial incentives for skilled professionals to kind of maintain segregation and inequality. Those are the things that I’m looking forward to the 2nd half of this year and into next year. We have the ability to open the door for everyone to have a fair chance to find success in economic stability.

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    Google ‘Massive resistance’ and ways to take action

    Young black man in shorts and sneakers walks in front of a large Black Lives Matter banner on a fence in Washington, DC. Photo by Clay Banks.

    Jennifer: So what can people do if this is all of a sudden an issue that they’re hearing about learning about and wanting to learn more about…And to take action…

    What’s something that they can do in their local communities? Let’s say maybe a teacher in New Jersey.

    Walter: So first and foremost, I would say Google the term Massive Resistance. This is the phrase that I was trying to put my finger on a few minutes ago. But this is where the state of Virginia decided after the Brown decision is they were gonna commit every resource to making sure that desegregation didn’t happen.

    And we tend to look at it and be like, oh, they lost in court. And eventually they decided to comply. Absolutely not. That through the early 1980s into the mid 1990s, town-by-town, county-by-county, state-by-state, people continued to push back. To deny equal opportunity to all people.

    And ultimately they win that fight. By the time we get to 2014 and you’re seeing the reversal of the Voting Rights Act. And you’re seeing the increasing waves over the last decade of abandoning the idea of equal justice for all people…That’s exactly what we’re seeing play out in the 2016, the 2020 election, now in the 22 congressional election.

    It’s what sparked the riot in on January 6th was this idea that this is a white Christian nation and that any anyone that doesn’t fit that parameter, especially those who challenge patriarchy, and want to kind of guarantee women’s equal rights, that they are equal citizens, and deserve something like abortion protections and equal healthcare access.

    That’s the battle where some people’s like, ‘No, we are going to dictate that that’s not going to happen. And then we’re gonna cut off the legal basis for it.”

    And Clarence Thomas’s recent decision concurrence, he spells out all the rights that he wants the Supreme Court to repeal. And it’s largely all of these principles that are reinforced by the January 6th insurrection. Not surprisingly, his wife is having to testify before the January 6th committee because of her organizing in funding for those events.

    But no one on the opposite side of these issues, no one pressing for civil rights, and women’s rights, and immigrant’s rights, for recognition of equal treatment of the LGBTQ community…there is not the same level of organization. Things are fractured. People undercut each other. People feel defensive about giving up space so that they can give voice to other people who share their same agenda.

    Until folks who are pressing for equal justice come together and get on the same page, these issues will never gain traction. You’ll never be able to defend the rights of all people and guarantee equity for every person to find their American dream.

    Jennifer: You talked about the importance of organizing before. And I think you just talked about it again, the importance of coming together when you have similar interests.

    Now, what can that look like? What kind of organizational structure is that? How can people connect with each other? Where can people go to find that community?

    Walter: So, there’s extraordinary model. I’m fortunate because I do the work, I know a few.

    In Princeton, [New Jersey] there is an organization called Not In Our Town that meets every week and they discuss books. They discuss movies. They listen to music together. They share great food and they actually talk about how do they stand up for justice in that community? And Princeton is an elite place. That Route 1 corridor between New Brunswick and Princeton, that is a place where there is a ton of resources. And they have a long history of cutting people out and not getting access to them.

    We need something like that along the Route 36 corridor [laughs]. You know, going out from Middletown down to Point Pleasant, like that’s another area where there’s not that same type of engagement.

    I know there are folks who are doing work in the arts community in Belmar. There is an Asbury Park book collective that actually does a lot of great work across the state.

    I mean, up in Newark, there’s just long tradition of battling against discrimination. That’s very important. We need more of that in Camden. We need more of that in Atlantic city.

    But most of all, I’ve been really pleased to see in places like Union County and Morristown, places that are really affluent, more and more people trying to raise these questions and engage these topics.

    And it’s not just about doing just a book club, or doing just a cooking society, cooking circle. You can do all of these good things, but raise the difficult issues. And look at the policies.

    Attend the school board meetings, not to shout at the people who serve, but to talk with them about the solutions that they may not be aware of.

    Work that I was just doing in Freehold was about participatory budgeting as a model that comes out of Brazil, where local people get to choose the budget priorities on an annual basis. They don’t just leave it to the town council to decide how tax money is spent.

    Jennifer: Wow.

    Walter: And so there are all number of ways. You know, I work on things like universal basic income here in Saint Paul, [Minnesota] where folks who are really struggling, who are facing disabilities, or are out of work can get additional supplemental income just so they don’t fall behind and get further into debt.

    Big ones are ideas that go into like a job guarantee at the state or the federal level so that everybody who can work can find the work they want and go out there. We desperately need this right now.

    There’s a lot of fights I have with central bankers about inflationary pressures. And should we go into recession? What will that do to the country in the next 6 to 10 months?

    So doing things differently than we’ve done them in the last 40 to 50 years is uniform in my commitment. I’m big on the side of economics and teaching folks how to read business news and actually engage in new business creation.

    For young people, especially for folks who are 15 to 25, folks following the example of what you’re doing with this show. There is so much to do, and we need people to do it differently than was done in the past.

    Those are the kinds of things, if anyone’s interested, they can hit my website where I give out ideas every day in business models and funding so that folks can get underway.

    Jennifer: That’s great: WalterDGreason.com

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    How Walter responds to negative reactions to his tweets on Twitter

    A black man holds an iPhone 11 at a small round table with a coffee cup and journal on top of it. On the phone screen is the Twitter profile of @WalterDGreason.

    Jennifer: Now Walter, you have almost 33,000 Twitter followers [@WalterDGreason]. That’s a lot of people who are potentially listening when you tweet about racism in education.

    What kinds of responses do you typically get to your tweets?

    Walter: Wow. So it’s varied a lot.

    Jennifer: Yeah!

    Walter: So that account has been up now for 10 years. I can’t believe that account is 10 years old now. Early on, you know, there’s just not a lot of acceptance of academic content on social media.

    And so that’s another area where I feel tremendously proud that the kinds of models of providing quality graphics to advertise academic content. To emphasize doing things like podcasts and online shows…That these things were just not part of the social media community 2012, 2013, 2014.

    Jennifer: Right.

    Walter: And then we started to gain traction. Like we started to really change things. And so for me, it was the Racial Violence Syllabus in 2017.

    I think I was already in the tens of thousands of followers. But since then, the engagement is just off the chart.

    And so by 2017, now you saw a turning point. You know, my profession as a historian embraced social media really aggressively and thousands of well known scholars joined social media and began to promote their books, began to talk about speaking tours.

    Yeah, probably the biggest one is Nikole Hannah-Jones (@NHannahJones), and the work with The 1619 Project.

    But Ibram X. Kendi’s (@DrIbram) up there too in How to Be an Antiracist (2019).

    These are all folks that kind of were little pups [laughs] and so I had them come up and believe in the vision. And come on board, and it’s been extraordinary to see the success across so many different platforms. And the revolution in publishing in media that came from it.

    So yeah, it’s nice. You know, 30,000 followers for an academic is no joke.

    Everywhere I’ve taught, whether it is Monmouth, or Drexel, any of these places, Macalester. You know, there’s just an impact where I’m guaranteed to reach 40 to 70 million people with viral impact. And again, for academic content, that’s kind of unheard of.

    Most academics in my field, you know, there’s, they’re satisfied if they get 20-25 people to know anything about what they’re talking about.

    Jennifer: Right.

    Walter: And so I also have to mention the Wakanda stuff was tremendous. And so being able to bring a spotlight to other colleagues. And then to expand the kinds of audiences who engage in these discussions.

    You know, there’s a lot of folks who like to attack the idea of being woke. But being aware and having a good vocabulary to communicate effectively about difficult topics. That’s something everybody should have. And then really should not avoid acquiring those skills.

    I don’t care if you call it woke, or informed, or discerning. There’s any number of phrases and adjectives we can use to describe it. But the skill set to communicate clearly and find new solutions together, that’s essential. That’s the core of what freedom is. And so, you know, I’m just very proud that we can turn social media into a platform that does that. And not just a platform for disinformation and manipulation for people to just fuel hate and anger.

    Jennifer: Now, when it comes to the tweets that you have about your research, there are always going to be people who hate. Or, who very much dislike what you have to say.

    When you get those negative reactions, what’s that like for you?

    Walter: So I came up in the internet before there were like pictures [laughs]. And so, you know, I was building webpages, and joining list serves, and being on discussion boards when it was so much worse.

    [Laughs.] It was so much worse.

    I don’t even know if people use this phrase anymore, but there were these things called flame wars where, you know, you would just get into it and try to burn up whoever was disagreeing with you. And shame, them cow them, dox them into submission and drive them from the platform.

    I remember being in a lot of those fights in the mid to late 90s and learning that it’s a waste of time going after and trying to destroy people who disagree with you.

    And so I typically have a rule, you know, when someone says something snarky, off color, or aggressive…I’ll indulge it, you know, for a message or two. But inevitably I turn to it as an educator and say, well, you clearly haven’t seen X, Y, and Z. Here are some places to continue to kind of learn about what you’re asking about. And then if you take a look at these things, we can kind of continue the discussion.

    But I do find, I get bombarded with bot accounts. And that was something I wasn’t prepared for when it really started to happen a lot. And so these are bot accounts that have 0 to 200 followers that are also all bot accounts. And they’re automated. And they repeat their content. And they just spam the communication channel hoping to waste your time and energy. And eventually I just came to the places once I’m able to determine that it’s a bot account. If it’s a network of bots. I just block them and keep moving [laughs].

    Cause there are too many people who are sincere and honest about trying to participate in discourse and, and have good conversations that deserve my time.

    Not, not these [bot accounts]. And it’s not just from one country or another it’s there are any number of bad actors out there that have learned how to build bots that are designed to disrupt really productive work.

    Jennifer: Okay. So that’s really interesting. You have experienced a lot of flame wars, is that what you called it?

    Walter: Mm-hmm [affirmative].

    Jennifer: So you’ve experienced a lot more direct and kind of like ongoing conversations about that in the past. So you don’t really engage in those conversations now.

    But you do respond, it sounds like, if someone does leave a comment or a question. You don’t just ignore it if it’s a negative comment or question.

    Walter: No, if it’s an actual person. Yeah. If its an actual person, and one just disagrees, I want there to be a constructive way that they can move forward.

    I do put a limit on it. That’s like it can go back and forth three or four times, but you’re not gonna take me away from doing the work that brought me to this place.

    Jennifer: Right. Oh, well, thank you for sharing that with me.

    A lot of the professors that I work with, you know, they’re really anxious about posting anything at all. They’re scared that someone will report them to their university, or that they’ll get death threats, or that they’ll get doxed and actually have cops or SWAT come into their home.

    Because of that fear, it really stops them from speaking out. But you’ve been speaking out and you’ve been talking on Twitter for a long time. And it sounds like even though you do get negative comments, you do respond to those and you do engage in those conversations because occasionally they can be helpful or learning experiences. Is that right?

    Walter: Oh, yes. Oh yes, no. It’s funny. I just saw a cartoonist, very conservative cartoonist, that I met years ago on Facebook. And he’s become radicalized. He says, and then writes, and draws a lot of really poisonous kinds of stuff.

    Jennifer: Mm-hmm [affirmative].

    Walter: But I still stay in touch. I still tell him, you know, like try to moderate this. You’re not accomplishing the thing that you might think you are.

    But ultimately, I find with these folks, particularly in that kind of, you know, Trump MAGA circle is, they’re in a lot of pain. They’re very deeply hurt and sad. And they try to then inflict that sadness and injury on other people around them.

    And when I can mostly face-to-face honest, honestly, kind of giving them a way to look at their own humanity–could be through their family members, it could be through friends of theirs–but it gets them to kind of be more introspective.

    And that slows down the vitriol. I’m not gonna say it wipes it away or completely reverses the issues that they raise. But shutting them down and casting ’em aside, that’s not always the best way.

    There are folks, yeah, you can’t. They are dangerous. And then you need to report them to the police and the FBI. And protect yourself from them.

    But it’s even with that mob on January 6th that, you know, you had several hundred out of 10,000 that were really dangerous that needed to be arrested, needed to be convicted, needed to be sent to jail for some time. But there were a lot of folks who were there that looked at what was going on, didn’t like what they saw and backed away and had to kind of reevaluate like, ‘How did this happen?’

    And those are the folks that will confront me. And they’re doing it in a way where they’re trying to kind of reconcile, ‘Okay. How do I get back into a conversation that is civil? I don’t want to be a part of something that’s about attacking police and destroying government buildings.’

    It’s also hard from the left. There are a lot of folks on the left who feel like I’m way too conservative. That I’m not really ready to burn everything down to make freedom happen for people.

    And so, you know, like trying to bring people together in a broad middle where they can see a way to make progress together. That’s a really tough position. That’s a time where lots of folks don’t want to be in the middle because you can get attacked from both sides. But again, I’ve been doing it for 30, 40 years now.

    I’m committed to Dr. King’s vision, but I am open to Malcolm X’s methods. [Laughs.]

    I pull in a lot of different tools to go after what I think will make all of us better people tomorrow.

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    Collaboration across sectors helps bridge connections

    Walter D. Greason, PhD

    Jennifer: Now you’ve collaborated with people in kind of every sector in government, in local government, in the media. You collaborated with people on what Wakanda, and all of these things.

    What do you get out of collaborating with so many different people? Not just people in Higher Education.

    Walter: Yeah. I’ve had a long time to think about that and coming to Macalester helped me get a little bit more perspective on that experience.

    I’m not just historian. I’ve PhD in history. I’ve studied history for decades. But I also have a lot of literary analysis skills. I have a strong background as a philosopher. I’ve worked in Africana studies, worked in diplomacy, in peace and justice work. Having that kind of multidisciplinary background working–working in a prosecutor’s office as a high school student. Even growing up on a farm and being a carpenter as like my first real job. Those things challenge me to bridge connections.

    And I say almost on a daily basis now, I hear from people who think whatever their approach is the only approach, and it’s the best answer. And I never believe that any of the tools that I bring to the table are the only way, or the best way. I always come in with what I hope is great humility to learn from people what tools they have. And then try to see and understand from their perspective how we can move forward while also providing them with resources that maybe they had never encountered before.

    And so I used to do a freshman seminar at Monmouth University on ‘why do we have so many different departments at the college?’ And you know, you have 70 majors at a regional university, you know, to serve everybody and help them choose the thing that they feel like they can be good at and succeed in. But that’s 70 different sets of solutions to any kind of social problems that we’re trying to solve out in the real world. And that’s just the big umbrella. Like you break each of those departments, they have 15 or 20 different methodologies within each department. So you’ve got 1,500 different ways of going after solutions at a school like Monmouth.

    Imagine when you go to Rutgers, and that system. And how much they’re offering on a daily basis about different ways to go about building a better world. And then you go to Penn State or Michigan and, you know, it’s ridiculous, the amount of solutions we have.

    And we need to have more respect and deference for each other so that we find good answers together.

    That you know, we’re not just assuming our way is the only way to go about it.

    Jennifer: Wow. Oh, I have just loved this conversation. And I’m so glad that you came back to talk with me again. For anyone who’s listening, be sure to check out that first featured interview with Walter. We talk more about his tweets going viral, the Wakanda Syllabus, all sorts of things that you don’t wanna miss.

    Black Panther: Wakanda Forever comes out November 11, 2022

    Black Panther comics

    Jennifer: Now, Walter, the Black Panther: Wakanda Forever trailer just came out yesterday, I believe. And I remember we talked about Black Panther and your Wakanda Syllabus during our last interview. Are you excited for the new movie?

    Walter: Oh, of course. Of course. You know, so I spent a long time working on just the idea that a movie could possibly be made. So it’s a dream. I was teaching Black Panther comics in my classes back in 2002, 2003. Working on drafts of content for the movie.

    When I saw the ancestral plane in the first film, I literally cried in the theater. Like it is still one of the great moments of my life to see that something that was so important to me made it onto a Hollywood screen.

    And now I’m seeing this sequel and knowing, you know, I knew before the movie came out, there would be a sequel. I was like, this is gonna be too intense. People are gonna wanna see more.

    Jennifer: Yes.

    Walter: But it’s not just the sequel of the Black Panther. It’s so many other shows. It’s the HBO Lovecraft Country. It’s the way that the Westworld series has evolved. There’s so much good Afrofuturistic content that is out and available now. And so much more to come that’s still in production.

    I just saw the Jordan Peel movie, [Nope] just this past weekend. These are things that just couldn’t exist when I was younger, that I was so happy to see emerge.

    But yeah, the trailer to come out at San Diego ComicCon. And to see the audience, they had an African dance performance on stage to introduce the section of the program where they brought it out.

    Yeah, the change in the sequel because of Chadwick Boseman’s passing is that it’s titled Black Panther, but the more prominent subtitle is Wakanda Forever.

    And I said this in the first movie, it’s like, you come for the Black Panther, but you’re gonna stay for the Dora Milaje. Like this entire cast of people who just transformed the way we tell stories. And we imagine what a superhero narrative is about. And there’s so much more layered into the way this sequel’s gonna be done.

    So a character named Namor, who was one of Marvel’s earliest characters has been kind of redesigned as a Chicano superhero using Incan and Mayan kinds of expressions in the way it’s costume is designed and the society that he represents.

    And I don’t wanna give away too much in the movie, but this movie is really about sadness and loss. And so it’s a way to kind of process the grief of the loyalty of Chadwick Boseman, but it’s gonna be much larger than that.

    There’s a devastation to the way that this conflict plays out that is gonna set up a 3rd movie. And the 3rd movie is then gonna lead into the final two Avengers movies over the next 3 years and it’ll make the Thanos conflict, the infinity stone saga, look very, very small in comparison.

    And so if anybody has seen the Loki series on Disney+, or the What If series. Those two things are tremendously important.

    And I know there’s a lot of folks who are very disappointed that the T’Challa character was not recast for this movie to kind of bring in more audience and honor Bozeman by just not letting the character disappear.

    I do think there’s gonna be a surprise at the end of this sequel about the nature of T’Challa character. And so knowing the way the story works, knowing the way the writers work, and then the designers…I definitely think it’s gonna be a different vibe completely from the 1st movie. But it will be something that will be unforgettable. And people will be talking about it for the next 2 years.

    Jennifer: Oh, that’s great. Wow. Black Panther: Wakanda Forever comes out November 11, 2022. I’m really excited for it.

    And I’m also gonna include the link to that trailer below.

    Walter: Yes, please.

    Jennifer: Because you should definitely check it out.

    Jennifer: Walter, thank you so much for joining me for this interview. Is there anything you’d like to add before we wrap up?

    Walter: Oh, this is tremendous. Your work is spectacular. You don’t know. I am so happy to see it every day.

    I would say to you specifically tag me every time you have something [Laughter]. So I make sure I am letting everybody know about it.

    Your work is so good.

    Jennifer: Well, thank you so much for that!

    And just on the topic of grief and loss, I do wanna let everyone listening know that my last interview with Dr. Chinasa Elue was focused on grief and loss, especially in these last couple of years during the pandemic. So I want to encourage you to check that out if it’s something that you’ve been experiencing. Your students I’m sure have been experiencing this as well.

    Alright, thank you, Walter! I really appreciate it.

    Walter: Jennifer, you’re the best. Thank you again.

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    Bio for Walter D. Greason, PhD

    A graphic with a headshot of Walter Greason, PhD of Macalester College who is featured on this episode of The Social Academic. There is an icon of a microphone with headphones on it to represent a podcast.

    Dr. Walter Greason is the leading academic expert on Black and Indigenous historic preservation as well as Afrofuturism and the Black Speculative Arts Movement. He is a professor of history and chairs the Department of History at Macalester College, one of the best liberal arts colleges in the world.

    Connect with Walter on Twitter @WalterDGreason

    Interviews The Social Academic



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