{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://lcdl.aviaryplatform.com/iiif/n00zp3z038/manifest","type":"Manifest","label":{"en":["Oral history interview with Jason Gourdine"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/212/original/LOHI_aviarybanner2.jpg?1741032082","metadata":[{"label":{"en":["Date"]},"value":{"en":["12/17/21"]}},{"label":{"en":["Description"]},"value":{"en":["Jason Gourdine was born in New Jersey, but soon moved to Monck's Corner, South Carolina, at 5 years old. Considering South Carolina his true home, Gourdine developed a passion for filmmaking, which shaped and influenced his passion for social justice and led to his founding of the media entity The Black Collective. Gourdine was also a member of the Black Lives Matter Charleston. Using his media and filmmaking knowledge, Gourdine documented the local racial justice movement in Charleston, South Carolina."]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["Copyright Avery Research Center for African American History and Culture"]}},{"label":{"en":["Access Note"]},"value":{"en":["For more information contact the Avery Research Center for African American History and Culture, 125 Bull Street, Charleston, SC 29424."]}},{"label":{"en":["Access Statement"]},"value":{"en":["All rights reserved."]}},{"label":{"en":["Interviewee"]},"value":{"en":["Gourdine, Jason, 1983-"]}},{"label":{"en":["Interviewer"]},"value":{"en":["Brown, Millicent E., 1948-"]}},{"label":{"en":["Subject - Topical"]},"value":{"en":["Black lives matter movement","African Americans","Activism","Political participation","Community organization"]}},{"label":{"en":["Subject - Personal or Corporate"]},"value":{"en":["dÕBaha, Muhiyidin, 1985-2018","Moye, Muhiyidin, 1985-2018","Summey, Keith, 1947-","Scott, Walter, 1965-2015","The Black Collective (Charleston, S.C.)","International Longshoreman's Association","Emanuel AME Church (Charleston, S.C.)","Black Lives Matter Charleston (Charleston, S.C.)"]}},{"label":{"en":["Subject - Geographic"]},"value":{"en":["Charleston (S.C.)","North Charleston (S.C.)","Moncks Corner (S.C.)","Pineville (S.C.)"]}},{"label":{"en":["Subject - Geographic County"]},"value":{"en":["Charleston County (S.C.)"]}},{"label":{"en":["Contributing Institution"]},"value":{"en":["Avery Research Center for African American History and Culture"]}},{"label":{"en":["Media Type"]},"value":{"en":["Oral Histories"]}},{"label":{"en":["Resource Locator"]},"value":{"en":["AMN 1168.001.019"]}},{"label":{"en":["Digitization Specifications"]},"value":{"en":["Mp4 derivative audio and video created using Davinci Resolve. Archival masters are mp4 files."]}},{"label":{"en":["Date Digital"]},"value":{"en":["2022"]}}],"summary":{"en":["Jason Gourdine was born in New Jersey, but soon moved to Monck's Corner, South Carolina, at 5 years old. Considering South Carolina his true home, Gourdine developed a passion for filmmaking, which shaped and influenced his passion for social justice and led to his founding of the media entity The Black Collective. Gourdine was also a member of the Black Lives Matter Charleston. Using his media and filmmaking knowledge, Gourdine documented the local racial justice movement in Charleston, South Carolina."]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["Copyright Avery Research Center for African American History and Culture"]}},"provider":[{"id":"https://lcdl.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Lowcountry Digital Library"]},"homepage":[{"id":"https://lcdl.aviaryplatform.com/","type":"Text","label":{"en":["Lowcountry Digital Library"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/212/original/LOHI_aviarybanner2.jpg?1741032082","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/291/379/small/jason-gourdine.mp4_1757956368.jpg?1757956370","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379","type":"Canvas","label":{"en":["Media File 1 of 1 - jason-gourdine.mp4"]},"duration":2698.282,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/291/379/small/jason-gourdine.mp4_1757956368.jpg?1757956370","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/content/1","type":"AnnotationPage","items":[{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-cofc.s3.wasabisys.com/collection_resource_files/resource_files/000/291/379/original/jason-gourdine.mp4?1757956366","type":"Video","format":"video/mp4","duration":2698.282,"width":640,"height":360},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379","metadata":[]}]}],"annotations":[{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161","type":"AnnotationPage","label":{"en":["jason-gourdine.docx [Transcript]"]},"items":[{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=0.0,0.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"MILLICENT BROWN\n\nOkay, we're going to ask you to start off by giving us your name and then spelling each. ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=0.0,6.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"JASON GOURDINE\n\nCool. Cool. I'm Jason Gourdine. It's J-A-S-O-N G-O-U-R-D-I-N-E. ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=6.0,14.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"MILLICENT BROWN\n\nAnd you call where home? ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=14.0,18.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"JASON GOURDINE\n\nSo, I call home South Carolina. Particularly Moncks Corner, South Carolina. So, I was born in New Jersey. Both of my parents are from the country of...Wait, country. Pineville, South Carolina. Both sides of the family migrated to the North for a little while, had kids. Five years old, they got me out of there. Didn't want to raise kids in the city. Came back, South Carolina's been home since. ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=18.0,44.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"MILLICENT BROWN\n\nOkay. Okay. And how do you identify yourself professionally? Or, what are you doing with yourself now? ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=44.0,50.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"JASON GOURDINE\n\nYeah. I identify myself as a filmmaker, media producer, video production or anything that's capturing visual stories and just doing storytelling. ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=50.0,63.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"MILLICENT BROWN Great. Okay. We are going to want to get to know a little bit about Jason. We know, as you said through family ties, what connects you to the Charleston area. But what connected you to the many activities that went on in this community, in the timeframe that we're studying? ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=63.0,92.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"JASON GOURDINE\n\nOkay. Okay. All right. So, again, moved here from Jersey in '89, a month before Hugo. And we moved to a place in Moncks Corner called Pinopolis. And we got there and my parents was shocked because they looked to their left, looked to their right, to the behind, it was all white neighbors. Like, \"Wait a minute, this city isn't... What happened since we left?\" So, come to find out Pinopolis was a part of the Lake Moultrie expansion project, but they flooded the Black neighborhood in Pinoplis. And pretty much got all the Black folks out of Pinopolis. Where our house is built, or where our house was at, that we moved to, is right by a old cemetery, an all Black cemetery. So, I was always like, \"Why is this an all white neighborhood, but a Black cemetery right here?\" \n\nSo, from our house all the way back to the water is where that Black population was. And down the street was only one Black person left, older lady. And she always had these burned out steps in front of her trailer. And we didn't never understood why, and her grandkids were our friends. We asked them one day, they say, \"Oh, the Klan tried to get her to leave. And they burned her house down, but she kept the steps to remind her kids about what this world is or whatever.\" And that was my first intrigue into what's going on in this country. I come from small family. I'm very insulated, everybody, but a large family, actually, everybody is loving. I didn't see a lot of that because I was protected in that family environment. So, that got me curious, just looking around. And then growing up where you are in this all White neighborhood. Them kids were brutal. \n\nSo, we realized, okay, Pinopolis is what's going on, but outside of Pinopolis it's this big, robust Black community that was all a part of. So, we realize, okay, there's protection within community, but then once you leave that you got to almost look over shoulder a lot. I was always interested in the racial dynamics of our area for a long time, from that young age, five, six years old. So, when I picked up this camera, this was after, way after college, because initially I wanted to go to college to get into filmmaking. But the professors get in your head, \"You can't make any money down here doing that. What are you going to waste your time doing that for? You're a smart young man, major in business.\" So, I did that. I started a few businesses, bought real estate. \n\nCouldn't stand doing it, was just, wasn't feeding my artistic urge. So, I picked up the camera, just went back to it. And it was probably between the year of 2012 to 2014 that I was trying to find my cinematic voice. What is my voice? What I'm doing this for? What's my why? Why am I telling these stories? And I would try with this film, that ain't working. Try with that film. Okay, delete that. Don't let nobody see this. This was terrible. What were you thinking? And then around the time I did my first film, Julie Dash was a professor at College of Charleston, and she was screening her Rosa Park film. So, I just hit her up and I say, \"Hey, I'm a local filmmaker in town. Just want to meet you. Just connect a little bit.\" \n\nSo, she emailed me back surprisingly. Said, \"Yeah, come on out to the screening.\" Came out to the screening and on the way out waiting talk to her, there was somebody else talking to her. And I heard a bit of what he was saying, but didn't really hear everything. All I heard was America and Pearson. I said, \"Wait a minute. That name sounds familiar.\" And it was Travis Pearson, who's another local filmmaker. And he did a film called America Street. So, I said, \"Hey man, I've been hearing a lot about you.\" He said, \"Oh yeah, I heard a lot about you too.\" And me and him start. So, I said, \"Hey, you know what? I'm going to a film festival this week. When I get back, let's get together.\"  \n\nSo, we got together and kind of feeling each other out. And then once that first time meeting thing shed, it's like, okay, we kind of see things a lot of the same way, like what's going on around here with the racial dynamic, with what's happening with lack of opportunities for Black young filmmakers around here. So, we say, \"You know what? Let's stick together and see what we can figure out around here to get things going with what we're doing.\" So, in the midst of us trying to start these filmmaking workshops for Black students, these little camps, all this kind of stuff, nothing would seem to come together. But then that's when Walter Scott happened. And I remember we just got ... We were just mad. We didn't know what to do. We write make believe, what is our role in all this? We didn't know what to do. So, I had Travis telling me, \"There's this guy running for mayor. His name is John Singletary. You should meet him.\" I said, \"Okay, I'll talk to him. See what he's talking about.\"  \n\nSo, we go meet John Singletary, and John Singletary has all these stats on North Charleston, and it starts to make sense with what's going on in the police department. And we go to protests just to be out there. I say, \"You know what? I'm going to bring my camera out here just to document, see what's going on. Just so I can have this footage.\" And Muhiyidin was out there. That's his first time I met him. He had on a green shirt, never forget, never seen him before, but this young dude was speaking to these people that was older than him, and younger than him. He was a leader. He had everybody captivated. So, I said, \"This young man is going to be something to follow. I want to stick around and see what's going on with him.\" \n\nSo, I stood back for a long time. I would just show up, just document what was going on. If there was a protest, there was a press conference, I wanted to be out there and just document it. And then one day, I don't know how, I think I might have been talking to Brandon Fish. I was interviewing him. And then that's when Muhiyidin came up, and then we started talking. \"Let's get together one day and just talk about what you're doing.\" And we were in the College of Charleston library, just talking about everything, about what's going on, just some of his visions, how he wanted to do this school, how he wanted to be able to fund this project and fund the struggle, or what-not. All this good stuff. We say, \"You know what we really need? We need a media apparatus.\" \n\nAnd a light bulb went off. I said, \"Hmm.\" I'm thinking, \"What does that look like? I know I can film stuff and just put together what I just saw.\" And then throw it on social media, I mean, might get a view or two here. Okay. That's great. But he just kept talking the whole time, me and Travis were listening, I'm just zoning out. And by the end of the meeting I looked at Travis, said, \"Travis, I got it.\" And I didn't know what it was. I went home that weekend and I don't know why, for some reason, just Black and collective just kept coming to me. This sounds like a fashion house. This doesn't even make sense for ... It wasn't even my intent to… I mean, that's a good idea. The Black Collective. I said, \"Oh, I guess that does make sense. Black people, the collective group, community.\"  \n\nSaid, \"Okay, I guess that's why the Lord dawned that on me. \" So, I said, \"Okay, I'll run with that.\" So, that name came, figure out a logo to come up with it. We had a little logo intro. And just that whole weekend, in that weekend I pretty much ... I didn't want to bother Travis with it, because Travis was working on America Street at the time. So, I'm not going to bother him with this crazy idea that I just now came up with. We probably can't even do it. Let me just see if I can build it, and present it, and see what he thinks.  \n\nSo, we put it all together. I nervously said, \"Yo, check it out. What you think?\" He was like, \"We got something.\" So, from that point he was like, \"Okay. So, how do we continue to do this? What do we do with this?\" So, somebody that appeared in my first movie, she was a producer at Live 5 at the time, name is Paisley Moore. So, she always had a real good voice, real good speaking voice, but they would never put her on air. Say, \"You know what? Let me see if Paisley wants to do this.\"  \n\nAnd me and Paisley had spoke a lot. We kept in touch after the film. We never talked about social issues. So, just talking to Paisley, was like, \"Whoa, okay. You ready for this. This is what you're here for. Can you come in and be our court respondent?\" And she did more than that. She produced stories. She found us the right people to talk to. She gave us the through story and the narrative that we needed. And she was very instrumental. People thought she just on camera, but she was way more instrumental than just being on camera. So, we packaged something together. We had our own logo. The production was pretty good. A lot of people thought at the time that we was a nationally funded company somewhere. Like, \"No, just in my pajamas, 9:00 in the morning trying to finish this stuff on my couch. Just not really much to it.\"  \n\nAnd this crazy thing about 2015 was that there was always a story to cover. We would be concerned, like we can't do this because it's not enough content to really go out there and film. Sadly, that wasn't the case. It was always something. So, Walter Scott happened around the time of that North Charleston election and the downtown Charleston election. We really wanted our representation in those local government places. That time, a lot of folks that didn't know each other, came to know each other. It was so interesting because it'll be people, like Muhiyidin graduated from the Academic Magnet and then went to USC, and they'll be in rooms with people that just got out of jail and have the same goal in mind. And one thing that I always love, what I always do, every time I meet somebody, I'm like, \"Okay, he's out here protesting. He seems to have a pretty good ear to the street. He know what's going on. Let me see if I can sit down, talk to him, get his perspective on what's going on with things.\"  \n\nHim or her. And every time I do that, I'm like, \"Look, see, are these people serious? Are they for real about this or they just trying to get camera time?\" And honestly, I can honestly say, most people, I'll say 95% people, always my gut feeling was they honestly wanted to see change happen in this area. A lot of people have went on doing different things, their practices might have changed. But I know at that time, at that moment, their goal was to bring a change and bring something different to this area. So, I really respected that, get to know everybody. So, we would do a lot of this stuff. And then I remember at that ... By then, we had a good core group of people that we can always go to where, when something happens, and we need the voice of the streets, or the voice of the people to give us that thought. \n\nAnd it was really wanting to give this younger generation that voice, because every time we see them portrayed on the news, Muhiyidin is the most nicest, \"Let's all come together,\" but when he was on the news it was like, \"Ra-ra-ra.\" That's not the same person. Why are they doing that? So, I wanted to be able for people to see him, and him to see all the other folks that was out there really engaged with things, and not just trying to because a hubbub. They really wanted to see change. And smart people out there writing policies and coming up with ideas to present to city council. This is what these young Black people from all walks of life was doing in these rooms. Really trying to find ways to get this stuff together, and class didn't separate them, gender, sexuality, everybody was there for that one goal. \n\nIt was so it was so crazy, because any other time you would probably see these folks having some kind of beef with each other, but in that moment, I don't know if it was just that year, but for some reason that year everybody was on the same page. I've never seen anything that before. So, we'll have stuff and there'll be those ... And I think probably the most worrisome time was when Slager was released from jail, and that's made everybody upset because it's like, okay, all of this work to get him in there. And now he gets a bond, and he gets to go lay up with Andy Savage at this nice, beautiful home, and all that good stuff. And the concern was nobody wanted to let their foot off the gas, because if they were like, \"Okay, it's fine. He's out of jail. Let him go and do his own thing,\" that not guilty verdict probably would've came down a lot easier. \n\nI think that was everybody thought, we had to keep the pressure on him. So, there was a lot of protests going on during that time when he was released. And it was, I think the first day that happened, we had a press conference at the Al Cannon Detention Center. NAN [National Action Network] was there, Reverend Rivers was there with the NAACP, of course Muhiyidin was there. Everybody was there for the press conference. And the whole time we're there, this is where we meet this guy. There's a guy out here, he just keeps on pressing the panic button on his car. The horn keeps going, alarm keeps going off the whole time. Like, okay, we see what this guy is. \n\nAnd we had a lot of different moves that was going on that day. I think they went from the Al Cannon Center, and we might have went somewhere they planned a meeting. And the whole time Muhiyidin always wanted us around, so that there can be honest transparency about what was going on behind those closed doors and everything. So, we were always there filming, just to make sure that the whole story was always being told. So, we went a bunch of different places, everywhere we went this guy was there. Same thing with the horn, holding up signs, all kinda good stuff. Had his shades on, had a hat, and a little weird looking mustache, whatever. So, that night, I believe it was that same night, or it might have been that following week, but whatever it was, this guy, he was still there. And there was a meeting. And it was an open meeting for the community. Like, white, black, anybody that wants to sit down and talk about what's going on, come on in. \n\nSo, it was always the usual people there. And that was the thing, it, it wasn't always a large protest or a large protest group. It wasn't always a lot of big numbers. Not what we saw in 2020 after George Floyd, nowhere close. So, it was always the usual ones there. And then we had some new different faces come in, some white guys coming in, sitting down. And while we are talking, somebody notices this same guy has a pistol on his side arm. It's like, \"Yo, you got to get out of here with that.\" And he's put up a big old fuss about why he shouldn't be out of there. And what discouraged me about that moment, we were trying to be slick. Who was— I forgot who it was. She was trying to be slick. She's like, \"You know what? Can we have a safe space right now where our white brothers could just leave out the room for a second?\"  \n\nAnd some of the allies were like, \"No, we shouldn't have to leave.\" It's like, \"Can you just please feel the moment right now? Read the room. We trying to just get this guy out of the room. Trust your allies, your brothers and sisters, and just leave.\" But a big old argument ensued about why we should be able to stay. And now, that bothered me. That bothered me a whole lot.  ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=92.0,1095.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"MILLICENT BROWN\n\nSo, what did that mean to you? What did that resistance mean to you? ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=1095.0,1098.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"JASON GOURDINE\n\nI almost felt like, with that amount of resistance, asking— because I felt like they should understood, whether it was necessary or not. If you're allied with this group of people, you've been in these meetings with this whole time, you should know them enough to this point that this isn't coming from a negative place. But I felt like at that moment it was more about them than it was the movement. Why you would take offense to that when you're being asked from your allies a favor, you understand the situation, you understand the gravity of this moment, you should, why wouldn't you just listen and leave? And it was, it was scary because who knows what he could have pulled off while we over here fighting about, \"Can y'all leave for a second?\" He over there, and he's like, \"They aren’t— not paying attention to me anymore.\" ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=1098.0,1152.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"MILLICENT BROWN\n\nAnd this is before Emanuel? ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=1152.0,1154.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"JASON GOURDINE\n\nMatter of fact, this was after Emanuel. So, at this time we had Walter Scott and Emanuel going on. And that, and that was the most nerve-racking part about it. Like we— y’all live here. Y'all know what happened, because matter of fact, we was at the I. L. A. We were just a few minutes down from where Emanuel was. And at that time, anytime we were indoors, it was always— we were always nervous about who can come in. So, even that idea of having this community meet where everybody can come up, I was like, \"I don't know if this is a good idea.\" But I mean, that's who Muhiyidin was. He kind if, he, he wanted— and It wasn’t, wasn’t just him it was a lot of folks that he was, that he was organizing with. But he was always wanting to have that idea that we're not alienating anybody. \n\nIf you feel like you have something to offer to this movement, bring it. But yeah, we were right not far away from where Emanuel was. So, to know that story, it just happened. Because Emanuel was what, in June? This might have been in November sometime. So, it was still fresh. It was still a trauma of ours. Like, why wouldn't you just up and go? Like, just be on alert. So yeah, that, that was a moment. And that, that was a long night. There was just so much frustration in that, in that room that night. But that, that was one of those things where it made me question allyship, and the sincerity of people that join these movements. ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=1154.0,1253.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"MILLICENT BROWN\n\nWas it just a White/Black questioning? Or was there some questioning even about Black members of the group? ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=1253.0,1262.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"JASON GOURDINE\n\nThere was at times. And a lot of that, I think, was generational. So, during that time you have your legacy organizations, National Action Network, NAACP. But then you had this Black Lives Matter young folks coming out, and that was a struggle. It was a struggle there of, \"Okay, y'all are speaking like this, we speak like that. So, I don't need you interrupting what I'm doing, because I'm going to be the one that's going to change this whole thing. Y'all are just—” like it, it, it was always that struggle of who's going to do what. And I remember one time in front of North Charleston City Hall, and all of the groups came here and said, \"Hey, we going—” Because it was— because of that struggle they had to come here, like, \"Hey, we're going to be on one page. We're all going to get along. We're not going to try to over-talk anybody. This is going to be—we’re going to be on the same page. We going to get out— get our voice out there.\" \n\nAnd this is all about the Slager case, and having him released early. And it was all good, and we said, \"Okay, we understand y'all talk this way, we all talk this way. We're going to support each other in this.\" That, that’s what I would have. But it was…I forgot it, I always forget his name, but he— I think he's over National Action Network. But it was him and a guy named Shango. Shango was from Augusta, him and his sister moved to Charleston around this time. And they was very involved with this, with what was going on. And Shango was this big, probably 6'2\", 6'3\" dude. He's not scared of nothing and nobody. He— in, in a heartbeat, if something's going wrong, I want him [Laughter] on my team.  \n\nLike, he, he will turn tables over in a heartbeat. So, he was, he was talking— he responded to something that was being said at the press conference. And he responded in his way. It might have been out of order, it might have been out of pocket. It probably wasn't the right time. But I remember, I think it was Elder Johnson, like, he got up, and this might be in my head. But I just remember him looking up and looking to the cameras and saying, \"We will not speak that around here, young man. We will— this is not how we operate!” We just got talked about supporting each other. Why are you doing this? Like, shaming him, and berating him, in front of these cameras? And that just set him off even more— Shango go off even more. So, now I would have to go from, \"Okay, Jason, your job is to keep the camera rolling. You document, that's it. Don't make yourself part of the story.\" But it got, like, so almost out of hand, I had to drop the camera. Let me get Shango out of here because these cops, oh, they, they wanted him. They wanted a reason.  \n\nThey always wanted a reason. So, let me get him out of here, because I don't want them bothering him. We got a lot to do today, we don't need them disrupting what we got, w-what we’re trying to do today. So, I got him, I tried to go walk with him around the back, me and Travis, and just to calm him down. And didn't know that we was in a unauthorized area, where we shouldn't be walking. I think where they parked the police cars. And here they come storming out the place, \"Get out of here.\" In masks, three of us, three of us out there, \"Get out of here. You can't be back here. You got to do that. You want to get arrested?\" Just going at us. It was just one Black guy amongst them. And he was almost as vicious as all the white cops. And I'm looking at him like, \"Do you know what they would think of you if you had on what I had on? They didn't recognize you out in the street, and you was walking with me right now, they would treat you the same way right now.\" \n\nI wish I remembered his face, and I wish I knew his name because I would love to say it right now. But he seems so invested in removing us from this area. And, \"Y'all shouldn't be here, y'all causing...\" Why are you letting them allow you to lead this charge, really? So, that was one of those things where… And it was all the same day. It was like that generational struggle with the old generation, young generation. But then a younger generational person that's on the totally opposite side of what was being fought for, and another person that's fighting for something totally different. So it was like— and all that happened within 15 minutes. So it was like— I was like— but the first part of 15, like, \"All this older generation, they always want to do this and do that.\" And then 15 minutes later here comes my peer just doing something totally different. And I can't say in the initial fight, who was right. I don't want to say who was right or who was wrong.  \n\nAt the end of the day, of course Channel 5 caught all of that. Channel 2, all them caught all of that. And that was their story for the night. Contention within the Black Lives Matter movement with… And they broadcast the whole argument between Elder Johnson and Shango. And then— but that same night, Shango went out and he apologized on camera to Channel 5 about the whole incident. And that fact is that same night Channel 5 was seething, because they wouldn't allow them in those private meetings. They would only allow us. And they did not like us for that, because we was getting a lot of their ... What should have been their stories. We would have lot. And they never liked that. ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=1262.0,1586.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"MILLICENT BROWN\n\nWhen you say we, you mean the Black Collective? ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=1586.0,1587.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"JASON GOURDINE\n\nBlack Collective, yeah. A lot of stories that they would usually cover, Muhiyidin like, \"No, I'm not talking to y'all, we're talking to them.\" And they didn't like that at all. And a lot of our concern, because Paisley was working with Channel 5 at that time, was like, \"She's not going to keep this job long.\" But they never bothered her about it. I don't know why. I guess she's just that good at what she did at work, but they never bothered her about what she was doing with us, opposed to what she should have been doing with them. ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=1587.0,1620.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"MILLICENT BROWN\n\nCan you just tell us, from the media point of view, you know, what did you learn about the power of media at this time, and the influence that you could have? ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=1620.0,1635.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"JASON GOURDINE\n\nRight. So, the crazy thing is before I really figured out what my role was in this, the first film I did was called Enter the Dominion, but it was about a media company manipulating the masses through their platform. This was in— I started filming that in 2011. I think I finished it in 2013. Never had any idea what Black Collective was, or how I'd be using media, or anything. So, I always knew media— go back to Trayvon Martin, that was 2012, we saw how the media pushed this 17-year-old kid like he was a bulletproof, seven foot tall monster. Like they really— they accomplished that. So, I knew media was really important. But during that time we never thought Walter Scott, or Emanuel or anything would happen out in our backyard. We didn't have national TV cameras here very often, like that, that was not a regular thing for us. \n\nLike, this all happened all in one year. So, it was almost like— I hate to use the word called, but just the way that stuff happened, the way how I met Travis, and how Paisley came in, like the way all of that came together it just seemed like it was the time. And if it happened just two years earlier, I wouldn't have been ready for that. I wasn't that, that informed in the whole media production thing back then. But after finishing the first film, and playing with editing the software more, and work with a camera more, I was ready by 2015, 2014. So, that…that experience, just seeing how our stories from what we would hear on the Channel 5, Channel 4's to what we would report, we were there, y'all. Like how are y'all reporting this? We were there. That's not what happened. And it wasn't much lies, it was just the framing of it. I know what y'all are doing. Y'all are spinning narrative, you're telling the story. But it doesn't really match the story of what actually happened.  ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=1635.0,1770.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"MILLICENT BROWN\n\nWas there ever any attempt to talk among colleagues, among professionals, the Black Collective talking to Tessa Spencer, or folks at Channel 4, Channel 2? Was there ever an attempt to bring these differences out? ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=1770.0,1791.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"JASON GOURDINE\n\nRight. So, Paisley had a really good relationship with Raphael James. He…he would never do anything that would jeopardize the job, of course. But plenty of times Paisley would come back with us, to us, and…she trusted Raphael. So, I don't know what he really contributed to helping her as an on-camera person. But I know she trusted him. He never spoke to us. I'm pretty sure. And I knew at that time, people knew about us. Everybody knew about us, especially if you were in that ... If they was in that field. It was one interview where that Harve Jacobs did with John Singletary. And he cut out a lot of stuff. He didn't know we was in the back filming the whole time. So, we put the whole interview out there, and coming— well, Paisley let us know, they was mad at that office. So, they knew about us. \n\nThere wasn't much of a effort on our end to reach out to those folks. And maybe we probably contact some responsibility on that, but at the same time, we ... And I could be wrong, but I felt those folks wasn't about to come out of those TV stations to be where we're at, and risk their long careers. I know Tessa Spencer very little, we have the same birthday. We worked on something together. So, we know each other from just having the same birthday, but a lot of the on-air personalities, a lot of the reporters, yeah we— there was one young lady, I wish I could remember her name. She worked for Channel 5. We would speak on and off, and share information, but not, not a lot. Like we didn't get any tips from any of those folks to let know what was going on. Like it was pretty distant, but at the same time you knew they knew about us. And I feel it was more of a competitive thing than them wanting to be joined in what we were doing. ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=1791.0,1916.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"MILLICENT BROWN\n\nDoes Quintin Washington come into this at all? We know him as someone who has, for good or bad, I mean—","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=1916.0,1923.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"JASON GOURDINE\n\nRight.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=1923.0,5516.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"MILLICENT BROWN\n\n—over the time he has been a presence in documenting—","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=5516.0,5527.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"JASON GOURDINE\n\nUh-huh.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=5527.0,5528.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"MILLICENT BROWN\n\n—and interviewing lots of people in the community.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=5528.0,5531.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"JASON GOURDINE\n\nRight.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=5531.0,5532.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"MILLICENT BROWN\n\nWas there any interaction with him? ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=5532.0,5534.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"JASON GOURDINE\n\nWe'll speak to Quintin when we see him out. I remember there was one time he was interviewing Muhiyidin before we met with him. And we all was— knew, or felt like Quintin had a bit of a slant, but he almost felt like ... And I could be wrong, this is just, this is just me. We always felt like Quintin was more concerned with keeping access to the folks that he would interview. And, but what— Travis, Travis is so smart. What he always would say is, \"Everybody is necessary. Like, we need Quintin to tell his side, because there's always going to be two sides to the story. So, Quintin's doing his part by talking to the--” Keith Summey would not talk to us. We wasn't going to talk to Keith Summey. Keith Summey wasn't going to talk to us. But he had access to it Keith Summey. \n\nSo, if we want to hear from Keith Summey, whether Keith Summey's going to keep it real with him or not, whether it's Quintin's going to push him or not, we still had that Keith Summey interview say, \"Okay, this is Keith Summey that y'all see, this is the Keith Summey that we see.\" So, he, he’ll, he’ll talk to Quintin one way. He won't speak to us, but we've had ... \n\nI remember one time he had his “Kool-Aid and chicken Vote for Me\" cookout. And we snuck in one time, me and Muhiyidin, and he was all, he was all smiles, and Muhiyidin was handing out fliers to vote for John Singletary at this man's event. So, he was campaigning. So, Muhiyidin him and he— Muhiyidin went to him and said, \"Hello, just want to let you know, your time is up.\" And he shook his hand, Keith Summey said, \"All right, get your ass out of here.\"  \n\nA very, very whisper in his ear. But right after that, \"Hey, young lady, vote for me.\" So, it was, it was those parts that, that, that we, those moments that we can document of Keith Summey that Quintin Washington wasn't necessarily going to get. But, out was always— I always wanted to help him out, because we know he didn't have the same abilities as far as the filmmaking part to do things. So we would always offer that stuff to him. \"Hey, if you need something, let us know.\" He will say, \"Hey, yeah, you guys, I'm going to talk to you guys one day. Want to interview you.\" So, it was always, “Okay, we're going to work together eventually.\" Hasn't happened yet, but I know eventually we're going to get together on something. ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=5534.0,5688.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"MILLICENT BROWN\n\nHow do you feel about the possibilities of media in really telling true stories? If it's not going to happen on major TV, is it going to happen on social media? Is it going to happen through filmmaking? I mean, what's your sort of projection for this arena, for Charleston area, as to how this truth kind of comes out? ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=5688.0,5719.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"JASON GOURDINE\n\nSo, as we see, we know it's not going to happen on TV. Like we, we’ll get some truth, but how far will that truth go? We get it in film. Those don't always get the blockbuster numbers or the amount of theaters that necessarily get the eyes on it, but we'll get it in film. I think social media is almost dead now. So, when we started out, we got to like 10,000 people on our page within a couple of months. The more we grew, the more stories we put out. We'd put out a story one at like 8:00 at night, and I'll wake up it'll be at 40,050 views, the next morning. Just always the views would come in, and then it'll get pulled from our site and it'll go on World Star Hip Hop, it'll go on this blog, you'll see it everywhere. The BBC was in town a lot. They would get footage from us. A lot of folks would come to us for, for, for the— was it CBC? Canadian Broadcast Network? They would get footage from us. \n\nSo, before it was a lot of stuff being shared on social media. Right around 2016, during that election, when the whole Russian interference thing started going, you started seeing fewer and fewer of those activism pages on social media. We've been stuck at 12,000 likes on our page, since 2016. If I post a video now, I went from getting 100,000 views, I might get 15 views on a video now. They have throttled us down so much, they've pretty much killed Black Collective social media presence. And that was our main form of distribution. That’s how we— and, and people like, \"Why don't you start a website?\" Our community was on Facebook. That's where the people that you see in the streets every day was getting our, our, our stories. That's where the word was being spread at, on that site. They have throttled us now. And it's not just us. I've seen a lot of pages that used to be very strong. You see them all the time, they're gone now. You don't see it. You don't see anymore. So—","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=5719.0,5858.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"MILLICENT BROWN\n\nWhere do we go from here then? ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=5858.0,5863.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"JASON GOURDINE\n\nI wish I can answer that question. If I could answer that question, you would still be seeing— because you don't see a lot of Black Collective videos anymore. We have nowhere to put them. So, that's why I had to spend the last couple of years just looking at— okay, you have to create a film so well that you can get the amount of people that you need to see it. And everything that you've been wanting to say for these past four or five years, has to go in that film. Like I— because I did that Vesey short film, had the premiere, and we was able to get people out there and be able to speak to people, we had the whole panel afterwards with everybody talking about things. It was a good moment for people to be there and converge where social media couldn't really hamper us. \n\nBut if doing a film opposed to getting a six-minute video out really fast, is really hard to really do. And you lose so much stuff within that time. So, right now the hope is that we can find our own platforms that they don't have control over, because it’s, it’s, it's impossible to have 300 new likes a week, this many views a week, to just stop, just organic— just stop like that. When you're putting out the same content, the same— and if anything, the content is improving, and all of a sudden your engagement starts going down. So, until we find the next way where we can get our stories out there without the interruption of people over in California, somewhere in Silicon Valley, I really don't know. I really don't know. I wish I could answer it. ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=5863.0,5967.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"MILLICENT BROWN\n\nThere's a question that I have that's only a— for Jason. ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=5967.0,5971.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"JASON GOURDINE\n\nOkay. ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=5971.0,5974.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"MILLICENT BROWN\n\nAny jealousy about the video Feidin Santana shot? ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=5974.0,5979.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"JASON GOURDINE\n\nOh no. Because matter of fact, at that time we didn't have the Black Collective apparatus. Like, if anything, Feidin was a inspiration to what we did because he, as amateur as people could say the video was, that man's video was literally seen by the world. And his video literally changed the course of that whole case. ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=5979.0,6008.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"MILLICENT BROWN\n\nAnd energized Black Collective. ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=6008.0,6010.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"JASON GOURDINE\n\nEvery— exactly. If it wasn't for Feidin Santana, we probably would not be here today. I don't even know what I will be doing. I have no idea what I'd be doing in filmmaking right now, what kind of stories I'd be telling, if Feidin didn't issue that, that video. And he’s, he’s always been a large part of what, what we do. Like we’ll, like we’ll be in contact, we're still in contact, I try to really stay in contact with him. He’ll like, like he— it was one time where he was getting a lot of threats on his life because of the video. And he had to go back home. So, he didn't trust the local media anymore. And that, that’s when he came to us like, \"Hey, I'm about to go out of town. I got to leave. But I want people to hear this message before I go.\" And we was able to do that for him. And that was one of those moments like, “Wow, that's a lot of responsibility that somebody who had a video that the world saw.” He has media access with everybody, but he trusts us to do this.  \n\nAnd it's like, \"But you're the guy that inspired us really.\" It was just that— that was a good moment, because what he did birthed what we were doing, and then for him to say, \"Okay, I trust you guys.\"  Like yeah, I'm proud him today, what he's doing at the barber ... He's keeping it, he’s keeping it up. And the thing is, his lineage goes back to the Dominican, but he's here in America, in Charleston of all places, fighting for the descendants of the slaves here. Like, really going hard for us here. So, I will always, always love and respect that brother. He didn't have to turn that video over. I don’t know if I have— and the thing is, if Black Collective was out there, I don't know if I would've had the courage to actually go as far as what he did and put that out there. So, he was, he was here for the time he was supposed to be. He was meant to be here for that moment. So yeah, much love and respect to him.  ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=6010.0,6138.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"MILLICENT BROWN\n\nLet's just close out now with you…seeing, anticipating that this interview is going to be seen 10, 20, who knows how many years, from now. Is there any word of wisdom that you would say to those who are going to be listening to you in the future? ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=6138.0,6163.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"JASON GOURDINE\n\nWow. That's heavy, when you think about that. ‘Cus we don’t know— I would've never imagined Charleston would've went through what Charleston went through in 2015. So, God only knows what we're looking at within the next 10, 20 years. Social media wasn't really around 20 years ago. So, for us to be able to communicate how we're communicating now, that wasn't a thing. So, anybody that's listening now…oh wow. I would want you to know that if you are here 20 years from now and you have this longing to do something in the social justice vein, you're there for that purpose right now. And everything has come together, whatever technology exists right now, everything that, that you're good at, that you have your hand to, you supposed to be doing that. It's really, it’s really simple. If you're here at that time 20 years from now, and whatever's happening in Charleston, you're here to be that vessel to do the next 20 years, to talk about what you was able to document, and push the movement, or just the struggle forward. \n\nAnd if you don't know what you're doing right now, like I didn't know what I was doing, just start. If you're there at the moment, and everything seem to be falling into place, just start. Everything's going to come together. Young man, young woman, young African American, you know, whoever you are, now is the time to get started because you're here to do this, and the people that you need to get it done, they're here. They're all around you, but they— you won't find them until you get started. So, get started, get to, get to work. Get to work now. ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=6163.0,6294.0"},{"id":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379/transcript/84161/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"MILLICENT BROWN\n\nExcellent. Excellent.\n\n ","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/3440/collection_resources/160067/file/291379#t=6294.0,2698.282"}]}]}]}