This past week, Louisiana’s Board of Supervisors for higher education rubber-stamped a proposal from Northwestern State University of Louisiana to eliminate the university’s bachelor’s and master’s degrees in heritage resources just as these groundbreaking interdisciplinary programs were hitting their strides. The Master of Arts in Heritage Resources (MAHR) was on track triple its number of graduates in the next year.

In full disclosure, this is a highly personal story for me. My wife ElizaBeth (tenured, and just promoted to full professor) developed and heads up the MAHR program. She will ironically be the only faculty member eliminated along with that program. Her equally competent counterpart in the Bachelor of Arts in Heritage Resources (BAHR), Julie Ernstein, is a dear friend who will be the only person to go with that program.

I’ve watched ElizaBeth and Julie work tirelessly over the last few years to create an environment where their students can enjoy an Ivy League educational opportunity at a state university. The programs have succeeded with graduates who are contributing to cultural heritage throughout the United States in really big ways.

Disposing of two uniquely sustainable programs and the two people that made them that way makes no sense on any level. But, when budgets are tight, university administrations will stick to what they can get their heads around. The importance of cultural heritage is highly individual and not so easy to communicate as Save the Whales.

The fact is, no university heritage preservation program can truly call themselves “safe” in these times. Consider what MAHR/BAHR had going for them:

These low-cost programs brought in a half-million dollars in grants during their brief existence. Their 2007 grant proposal to the Board of Regents was ranked first in the state.

The MAHR program partners with local organizations to pay half the cost of graduate assistantships. No other NSU graduate program brings in this kind of money, so it’s odd that MAHR is the ONLY graduate program eliminated in this plan.

Local heritage organizations have gone on record that they will fundraise to keep heritage resources at NSU alive. NHF has endowed one scholarship for the MAHR program and was about to fund another.

The MAHR program is NOT a low completer by La. Board of Regents standards. In fact, it’s considered a program on the rise.

When MAHR was placed on the “review” list, the program was supported with dozens of letters, phone calls and personal meetings from the community. Folks care about this program.

The interdisciplinary concept for these programs was developed here at NSU and is now being replicated at universities across the country. Guess those folks will now become the torchbearers for this important legacy.

If not for the recovery operation mounted by the MAHR/BAHR students, faculty and alumni, the contents of local Bayou Folk Museum would have been totally lost when the Kate Chopin House was destroyed by fire in 2008.

It’s easy to write this off as a casualty of Louisiana’s perpetual dysfunction at all levels. In this case, the university took the initiative in cutting this completely unique program before the Board of Supervisors/Regents (which is asking for $20 million in cuts from higher education institutions) made any implications about what should go, though their early directives emphasized eliminating duplicate programs.

Northwestern State University Heritage Resources students at the salvage of the Bayou Folk Museum in 2008. Many of author Kate Chopin's original works were recovered by the program's students, faculty and alumni.Losing a historic structure is a sad thing. Losing generations of folks to expertly protect cultural heritage is much, much worse.

But the fact is that if this could happen to a high-quality, nationally respected and emerging program here, it could indeed happen anywhere. As governments hint at dramatically reducing deficits over the next several years, it’s clear the necessary cuts will be trickling down to the rest of the nation–just as they did in Louisiana–with potentially disastrous consequences for heritage preservation education.

If folks in cultural heritage want to make sure there is a next generation to fill their shoes, protecting quality educational programs is going to have to be a part of everything we do. Professionals in archaeology, historic preservation, landscapes, architecture, etc., will have a present a unified voice to advocate for these programs worldwide. With the emergence of the social web, we’ve got the tools to make this a reality, so the fate of the MAHR/BAHR programs doesn’t have to happen again.

For me, this particular situation is worse because the University is my alma mater and that I was born in the Cane River region of Natchitoches Parish, La., where this is all going down. I’m proud that my home is one of the few places in the U.S. with the diversity of heritage resources and organizational partnerships that could support these kinds of programs so well. And right now, I’m very afraid for it’s future.

Even when things have not been historically good in Louisiana, we could always look to our cultural heritage as a source of pride. But our heritage is jeopardized every time our state encounters another disaster. Right now, NSU heritage resources students and alumni are on the ground in the middle of the oil crisis, safeguarding our heritage resources with the skills and training they learned here.

Such a proud and important legacy. And one sadly cut way too short.

Kurt Thomas Hunt and “his crew” are redefining archaeology, and collaborating to bring excitement to this old-school profession. Hunt promotes his blog and his brand, Sexy Archaeology, through a variety of social media tools, including Flickr,  Twitter and Facebook. He even does a little e-commerce on the side…

Could you tell us a little bit about yourself and how you developed an interest in archaeology?

My interest in archaeology started when I was a child. Being a product of the early 1980s, it goes without saying that the Indiana Jones films had a massive influence on me. I was enthralled by thoughts of traveling the world searching for treasure. I dug up my entire sandbox looking for ancient ruins.

As I got older, I began to see that archaeology was nothing like what it is in the movies, it’s much more rigorous and scientific. While some people may be turned off by this, I found it even MORE interesting.

I received my BA in Archaeology from SUNY Potsdam and my Master’s at the University of Bristol. Bristol has a fantastic Archaeology for Screen Media program that allowed me to combine my interests in a both media production and archaeology. Now I’m putting some serious thought into a PhD. I figure if I’m going to go, why not go all the way?

You have a unique blog. Where did the “sexy” moniker come from?

I’ve always enjoyed blogging. To me there is something deeply appealing in writing a piece and having the ability to receive feedback from people from around the globe. Right about the time I started my Master’s, I found myself becoming increasingly anxious to share archaeological news with people and sort of highlight what I considered to be the best archaeology out there.

Sexy Archaeology, by my definition, is any archaeology which is excitingly appealing. It’s my brand, my seal of approval. It’s the discoveries and research that I feel should be basking in the public spotlight.

You find different ways to get your viewers involved. Could you tell us about the Sexiest Field Crew Competition?

The sexiest field crew competition was a lot of fun, and there was an enormous amount of positive feedback from it. The idea behind the contest was not only to promote the Web site, but get people involved in it.

Most archaeologists start out working summers on a field crew. That can mean long, hot days working with the same people. I thought the contest was a great way for archaeologists to get creative and have fun with their jobs and the people they work with. Judging by the feedback and the pictures, I’d say the crews really enjoyed themselves. I think there was something like 30 entries overall, which doesn’t sound like much, but when you consider that it was 30 crews from all around the globe, I think it’s pretty impressive.

You are currently soliciting on your site for various archaeologists of different backgrounds for an ongoing television series. Could you tell us about that?

The idea of creating an archaeology-based television show is something that’s floated around in my head for years. Like I said, my real interest is blending media and archaeology. I’ve been fortunate enough to find myself in contact with a few different production companies who share a similar interest. Executing that idea is a different story. I’m very critical of the way archaeology is portrayed in the media. Production companies are focused on entertainment and pulling in viewers, and they are endlessly recycling things like the search for the Holy Grail, Atlantis and all the 2012 nonsense. If I’m going to do anything, I’m going to place the science first. But it’s very difficult to find that happy medium between entertainment and education, especially when archaeology can often be a very tedious process. In the last few months, I’ve taken things into my own hands. I’m currently refining the concept I have for the series, and hopefully in the near distant future I can start making the rounds with it.

You currently have one of the (if not the) largest archeology groups on Facebook. Why did you start it, and what are your goals or intents with it?

The Facebook group started well before the Web site. The idea behind it was to assemble people under the same banner and get them networking. So much more is possible when people in the same field start networking. I’ve managed to meet dozens of very interesting characters through the group. I was in Reno for New Years and bumped into a couple members in a bar, had a great chat about what they were doing in the field. I know quite a few people who have come to the group looking for suggestions on field schools and employment and found the help they needed. That is exactly what I wanted to see- archaeologists helping archaeologists.

Where else are you online and how do you use that to communicate archaeology?

I have a blog where I unload all my non-archaeological thoughts. It’s a place where I can keep in contact with my friends when I’m traveling. I’m quite interested in non-science writing as well, so when I find a free chance I vent there.

One of my favorite things about your site is how daring it is… Why did you choose to take archaeology to this “level?”

One of the biggest challenges I encountered when I was creating Sexy Archaeology was finding a way to stand out among the already sizable number of archaeology-based Web sites out there. I knew that if it was going to succeed, my Web site had to be unique. Too many good news stories are lost in boring presentation or dense literature. I wanted to avoid that. I wanted to attract people to the news as much as my site. Therefore I knew that my little niche in cyberspace had to exist on a different level.

In your blog you mention how every archaeologist has a story to tell. What is one of yours?

I remember working in the southern Kenya Great Rift Valley in the hundred-degree heat. My back hurt from sleeping in a tent and hadn’t bathed in weeks; I was covered in dirt and sweat, struggling to take the next step. At one point I had to stop and ask myself, “what the hell I was doing. Is this really what I wanted to do with my life?” Then something caught my eye: a small, circular ostrich eggshell bead. I remember holding it in my hand, realizing that I was the first person to hold that artifact in tens of thousands of years. It put me back in the game. Archaeology is a lot of hard work, but when you find something like that, it really reaffirms your love for the field. I live for moments like that.

Who contributes to your site?

Sexy Archaeology owes a lot of people a big thanks for contributing their time and energy to the website.

Matthew Davenport (aka the Spaz) has been with the Web site since the beginning. He’s one of the funniest guys I’ve met and is just as passionate about archaeology as I am. Matt contributes stories when he has the time.

Matt Thompson from TheArchaeologicalBox.com has been incredibly generous in the financial support of the website.

Then there is David Connolly from BAJR, the British Archaeological Jobs Resource. David was a great help in promoting the Sexiest Field Crew Competition in 2009 on the ArcheoNews podcast.

Tim Taylor and the crew from both the UK and American Time Team series have also been a wonderful help.

I could never begin to list the number of people who send me links to stories or other websites. It’s a big world out there, I think without the contributors Sexy Archaeology would cease to exist.

You have something even more unique on your blog–a store. What all can folks purchase and what all is entailed on your end to maintain the store?

The store is in the midst of a massive revamp right now. Some archaeologists are very particular about their field wear so I’ve made it a priority to design something that people would actually want to sport in the field. The store itself is thankfully maintained by a third party, but a portion of every T-Shirt purchased goes in to helping pay the bills. So buy some T-Shirts!

What can we expect for the future of Sexy Archaeology?

Sexy Archaeology isn’t going away anytime soon, that’s for sure. When I launched in 2009, I wanted to give it a year to see how things went. If I enjoyed doing it and if it received a positive response then I knew that when the second year rolled around I’d really push it forward.

Now the time has come. I plan to have a lot more thought pieces this year. I think a lot of archaeologists are good about keeping up with the happenings in their field, but I’m not sure how many ever peel back the surface on some of the issues. I want to drive archaeologists to think a bit more theoretically and not just familiarize themselves with the big issues, but understand the implications our work may have and how it affects our field.

Aside from that, I’m going to be rolling out a podcast miniseries in the coming months as well as a brand new Sexiest Field Crew Competition for 2010 and some new T-shirt designs. I’m very excited about it.

What is your advice for folks interested in getting into archaeology and blogging?

Anyone with even the slightest interest should give it a go. So much of archaeology is made possible through the financial contributions of the general public (in fact almost all of CRM). Our careers depend on people remaining interested in our field. We as archaeologists have an obligation to the public: to keep them interested, to share discoveries and information and to educate. The more people we have involved in doing that, the brighter the future of archaeology will be.

For all their potential, the social networking tools are a continuation of the human struggle to find our place, at a more demanding pace. But that kind of wholeness can’t just be found in to future. It’s in experience the now, and setting the brief little moments that we’re here on earth into perspective of the people, places and events that brought us here — and ensuring that folks down the line have the same opportunity.

Part of rediscovering our genuine identity lies in heritage values. So, what does that mean? what’s the difference between history/culture and heritage? The best answer I’ve seen can be found at the UMASS Amherst Center for Heritage & Society (ACHS). Essentially, it says that heritage is caring; It’s connecting and thinking a resource is worthwhile enough for the effort to preserve both the resource and its memory on an individual and collaborative level.

And it  is not just about preserving old things. It’s about knowing the context of why you preserve them.

It’s also about the people who created them and understanding the stories of how they managed to survive and bring beauty and expression to our world. It’s the backdrop for who we all are, and I think it’s an essential part of the story of each individual and organization engaging on the social web.

We all seek to connect with our heritage as part of discovering our place in humanity. These are values that deepen with time, but are often planted as seeds in childhood–a visit with a grandparent or a trip to a heritage site. With the pace and breadth of connections in the virtual world, how will current and future generations connect with what’s past, and what will happen as they age and look back for that sense of identity? Will it be there waiting or will they face an undefinable void in their human experience?

Not everyone connects to heritage on the same level, just like they don’t all connect to using the web to communicate on the same level. You have to meet individuals where they are, with their own experience levels, cultures and hangups.

The web empowers us to discover our identities on a deeper level, and that capability becomes even more powerful with intentional curation. As you discover what you’re about — what you care about — then start talking about it online and off, you’re well on your way. The ACHS site puts it well:

“Who owns “The Past” and who is entitled to speak for past generations?  Active public discussion about material and intangible heritage–of individuals, groups, communities, and nations–is a valuable facet of public life in our multicultural world.”

What can you do to add to the discussion about the heritage resources that inspire you to care? Every thoughtful word and action ensures their legacy and yours. Just add something to the discussion now.

Thumbnail graphic: http://www.flickr.com/photos/anythreewords/3237214041/

How was Confessions of a Curator “born”?

I launched the blog in August 2007 as an attempt to do departmental outreach and promotion. I wanted an easily updatable place to post announcements that didn’t require re-coding our website by hand. I had seen some other examples of library blogging, and thought I’d give it a go.

In one post, you ask your readers about your blog’s role in the online world. What do you feel that is and how do you feel you communicate with your audience?

My blog’s role in the online world has shifted over time as I’ve gotten more comfortable with the format. It originally began as a way to promote the department and occasionally share links of interest with our patrons. After a year or so, I realized that I was more interested in sharing my thoughts about the profession than focusing solely on our collections (I’m a bit of a process geek).  My readership reflected that interest: the bulk of my readers turned out to be other special collections professionals, rather than patrons who might use our department. I renamed the blog “Confessions of A Curator” and made it more about me as a library professional than about the department that I’m in charge of.

That post asking about my role in the online world comes up about annually, as I tend to wonder periodically if it’s worth continuing the blog, given that the bulk of my readers tend to be passive consumers of the blog through aggregators and feeds rather than active commenters on the blog itself. There’s nothing inherently wrong with that; the blog still fulfills an important function by sifting through the information wave and picking and choosing things worth reading for folks in my field. My most popular posts tend to be my linkdumps and my write-ups of the Rare Books and Manuscripts Section Preconference.

I’ve come to think of the blog as a clearinghouse of links related to my job and the profession, along with some commentary and the occasional departmental announcement, all of which add up to a snapshot of being a special collections curator in a non-ARL library.

It’s easy to think of rare books and special collections work as some kind of mystical calling if you don’t know much about it. I’m trying to de-mystify our profession both as a recruiting tool for new professionals and as a way to explain to the public what we do, while using the blog as a way to encourage myself to stay active and connected to other professionals in the field.

Collections professionals sometimes have the reputation of being more focused on protecting objects than communicating their significance. Yet they seem to be among social media’s most passionate adherents among the  heritage professions. Do you think that’s true, and what makes social media  so appealing for this group?

That reputation of special collections professionals being the “dragons guarding their hordes” is something that I truly wish would die a horrible death. The bulk of professionals in our field are service-oriented librarians and archivists who firmly believe in connecting people to our materials as a way to keep them relevant and useful (and funded!). Social media tends to be appealing for us as a group because it’s an easily maintained, inexpensive tool to promote our collections, our libraries and our work, and to reach our patrons where they are, rather than expecting them to know where we are and come to us. Plus all of our friends are doing it.

Your blog includes stories about how you and your family experience books. They’re very powerful, but also very personal (Your blog even has the  word “confessions” in the title!). Was it natural for you to communicate  these concepts so personally, or was it an intentional choice to connect to  your readers?

It’s a little of both, I think. I’m an extrovert, which means that I’m often a little more forthcoming about family experiences and such than other folks may be. My job and my life are very much intertwined, and I can’t really separate them very well even if I wanted to. It’s just not who I am.

My basic message is that just because something is “special” doesn’t mean that it needs to be permanently locked away. This is partially a political stance, because I’m the parent of a special needs child with severe disabilities. Children like my daughter (much like the books that I care for) would have been locked away in institutions and rendered invisible up until very recently. Given the right tools and adaptations, however, children with disabilities can and ought to be part of everyday life out in the world. Visibility promotes understanding, and reduces fear.

Special collections materials work the same way; providing handling adaptations and tools for their preservation helps them to survive for longer, but it doesn’t mean that we have to keep people away from them!

Helping people to understand what I do for a living, using a easily-relatable context like a family, encourages people to support cultural heritage institutions in general (and hopefully mine in particular as well).

As far as the title, it sounded appropriate; we have a lot of pulp magazines with similar titles in our collections.

You posted an interesting video regarding the end of publishing. As a curator and someone who works directly with books and preserving their importance, what do you see in the future of publishing and the traditional  printed word?

Hand-written manuscripts didn’t go away just because Gutenberg invented the printing press.  Books have not gone away in the nearly 20 years that we’ve had some version of the Internet, or in the more than 20 years that we’ve had relatively ubiquitous personal computing. I don’t expect the printed word to go away anytime soon; it is too useful, portable and accessible. I fully expect that the technologies will continue to coexist for quite some time, unless there is good reason for them not to do so. I do think that some major changes in the economic structure of how the printed word is sold and distributed will happen, because the current model is looking rather unsustainable right now. What that new model will be remains to be seen.

You have a post detailing requirements for archiving. Why is it important authors begin archiving things such as blogs and scratch notes?  And why have you decided to do this all digitally?

The way that authors work has fundamentally changed in the age of personal computing. While there are still authors that work exclusively in longhand on paper, most writers either compose exclusively on their computers or bounce back and forth between paper and electronic documents. Blogs, in particular, have replaced paper-based diaries, journals and writing notebooks for many working writers. To document only paper-based materials means that we’d be literally missing half of the collection—specifically, the half with all of the “juicy bits” about the writing process that interest scholars!

Writers are creating born-digital artifacts. Since so much of special collections work focuses on preserving the artifact as close to its original form as possible, so as to not lose the context of the content it contains, we need to work in the digital realm as well as that of paper. Otherwise, we will end up in a situation where we will have destroyed the papers of authors by not saving the formats that we’re less comfortable with, just as if we were the family of a 19th century writer, throwing manuscripts into the fire to prevent embarrassment after that writer’s death.

Tell us about your book, Special Collections 2.0.

The book came out of the blog, actually. One of my colleagues, Beth Whittaker (now head of the Spencer Research Library at the University of Kansas), saw me muse about the preservation of electronic manuscripts and social networking, and called me. She noted that the can of worms that I had opened was a rather large one, about an issue that had not really been addressed in a pragmatic way within the profession, but ought to be.  We used a private wiki to collaboratively write a proposal, submitted it to Libraries Unlimited, were approved and co-wrote the book.

Special Collections 2.0 is basically two things: an acknowledgment of the fact that the special collections community now has to deal with a hybrid of paper and electronic archives, and an examination of how the advent of social networking might affect our work. We look at social media both from the perspective of “how can I use these tools to my library’s/collection’s advantage?” and “how on earth am I going to preserve these things?”

We surveyed our profession to see what everyone else has been doing: what works, what doesn’t, and where librarians and archivists can best direct their invariably limited time and resources. What we discovered is that there are some really powerful tools for promoting, building and documenting our collections out there, but that preserving those digital objects we are ultimately responsible for is still a challenge for many libraries and archives.

In addition to your blog, what other social networks do you use and how do you use them? (eg: delicious, twitter, facebook, etc)

I’m consistently on Facebook, Twitter, Goodreads and Delicious under my real name. I use them for outreach to our donors (it’s how I keep in touch with living SF writers who archive with me), as well as for link-sharing with other cultural heritage professionals and people in shared fandoms. Most of these accounts are linked in some way: my Delicious account posts automatically to my blog; the blog posts automatically to our departmental Facebook page. My Goodreads account, which picks up my blog automatically, is visible on the blog and on Facebook. I use Twitter to post links to Facebook, and that is often how I publicize new blog posts. I also have FriendFeed and LinkedIn profiles that are basically dormant, created as part of the research for Special Collections 2.0.

I’m on LiveJournal, where I maintain a personal blog under a different username focused on my family and the media fandoms that I follow, rather than on my library work. That blog is also linked from my Facebook account. It’s mostly an easy way for far-flung friends and family to keep in touch, and for me to be part of a community of fans.  I’m also on Ravelry (a knitting/crochet community) under the same username.

What advice do you offer other collections specialists who are exploring social media as a way to communicate?

The biggest lesson that I have learned from social media is that you really need to please, inform, interest and entertain yourself first. The grease for the social media engine is interesting, consistent content. Empty profiles are boring: if you aren’t going to use your account consistently, don’t bother building the profile in the first place. The best way to ensure consistency is to contribute what interests you. If you’re bored, so are your readers.

You can set expectations for your account that fit with your comfort level. For example, I subscribe to quite a few professional blogs that only post a few times a month, but the posts are worth waiting for: really engaging, well-thought out and interesting. I know when I subscribe that they are not high-traffic, based upon the information given in the blog’s profile; their quality rather than their quantity keep me subscribed.

The other part of working with social media is figuring out how much of yourself as a person or a professional that you would like to post. Many folks maintain dual profiles, one professional (say, on LinkedIn) and one personal (Facebook), and that works well for them. The key is to manage expectations; state your policies about “friending” or “following” outright on your profile, so that folks know where best to connect with you for their situation.

That’s not to say that everything has to be personal: there are plenty of special collections blogs out there that are about the collections, not the people that work with them. If the collections are interesting enough, that can work really well. There are some great correspondence blogs, for instance, that post a letter every few days from their collections, and archival blogs that post pictures and transcripts of recently processed materials.

Because I work extensively in the science fiction writing and fandom community as part of my job, and am a fan myself, I don’t bother to separate my at-work and not-at-work identities: my fandom is, in my case, a professional asset, and a large group of the SF authors that I work with follow my LiveJournal rather than Confessions of a Curator. Your mileage may vary.

That being said, despite the fact that I’m fairly public about much of my personal and professional life, there are certain things that I choose not to blog about or share on social media. I firmly believe that nothing on the web is truly anonymous or hidden, even if you can make it rather difficult to tie the person to the pseudonym. My rule of thumb is that if you wouldn’t want to see it published on the front page of your local newspaper, don’t post it on social media sites. What constitutes “willing to share publicly” is an individual choice: it’s all about figuring out what you’re comfortable with.

In this edition of the Voices of the Past Netcast, we meet Kaitlin O’Shea. Kaitlin is the creator of the Preservation in Pink blog and newsletter. She will explain how the iconic pink flamingo, and a group of bloggy friends, have helped her find her voice to take the conversation about historic preservation to a wider audience. Also features posts: Exploring Archaeology on the Social Web and Shawn Graham of the Electric Archaeology blog.

Intro: Coming up on the Voices of the Past Podcast, we’ll meet a blogger who’s painting the preservation world in pink.

And welcome to Voices of the Past, the podcast that connects you to the world of heritage online. I’m Jeff Guin, and today I’m talking to Kaitlin O’Shea of the blog Preservation in Pink. Kaitlin uses a combination of collaborative blogging and printable media to reach her audience.

And Kaitlin, thanks for being here, and I wonder if you would just start by telling us, what is Preservation in Pink?

O’Shea: Well, it’s a long story. I am happy to share it. It was first a newsletter. When I graduated from Mary Washington in 2006, I went to work for a couple of years. And in the first six months, I realized just how much I missed my classmates and the comfort of the department, and the constant conversation that we would have anytime of the day. Whether we were in classes or studying or out drinking coffee or whatever. I suddenly had this one project that I loved. It was an oral history project. But it was only one thing. I didn’t have my buildings, I didn’t have my conversations. I was interviewing people and transcribing. And that was the extent of my day usually. So I decided that I need to do something. And I could have just read book after book, but when you get home from work, you are still kind of tired. So I have always loved to write and once upon a time, I had a dream of working with a preservation magazine. And I decided that maybe I could write about it. I have this one friend who had been blogging, but she just had a personal blog. And I thought, well, that is kind of interesting, but I didn’t start with a blog. So I decided to try a newsletter. I had four years of journalism experience in high school. I still remember all the lessons that I learned there. I did layout and editing and things like that. My very first issue, I think I only told one preservation friend about it. And she encouraged me. She’s like my preservation cheerleader. And I said, well, I am just going to write all the articles and show people what I can do. And then next time I will ask people to contribute. And she wrote one article, and I wrote six pages of stuff and sent it out to everybody I knew.

Also back in school, senior year, in one of my classes, we watched an anti-Walmart video about how Walmart came into Ashland, Virginia. And the people were fighting, and for whatever reason they chose the pink flamingo to be anti-Walmart. And the movie, it was just so heart-wrenching and by the end Ashland, Virginia lost and they got their Walmart. And my friends and I, we were distraught. We were heartbroken. Some of us were already not shopping at Walmart, and we decided we loved the pink flamingos. And so that kind of just picked up speed that last semester of school.

To fast forward again to the newsletter. This time, flamingos have just been out of control. We would send each other little flamingos and do little things like that. So I was tossing around the idea of including flamingos just for fun, and thought it was not that serious, but then I decided that it was going to be mine and I wanted it to be fun and not just “preservation.” Somehow I came up with Preservation in Pink, and it just kind of went from there.

Guin: Excellent. I think sometimes when people think preservation and they think preservationists, they think strident… obstructionists… just talking about average, everyday people. And this seems to be a reputation that has developed overtime, justified or not, but looking at your blog and even the beginnings of it, you’ve got some elements in there where you have a very strong preservation ethic, but it’s presented so well and so subtly that it has a different tone to it. Is that something that was intentional on your part?

O’Shea: I started Preservation in Pink with the mission of teaching people and showing them that preservation is not just academic, it’s not just professional, it really applies to every part of everyone’s life. Because it’s not just buildings, it’s not just battlefields. It’s quality of life, it is pride where you live, it’s heritage, it’s knowing where you came from and where you want to go in respect to the past. And all these things together, whether it is shopping locally or respecting the environment, it’s really important and if we do all that then we will all live in a better place.

And that is a lot to take in all at once, so I try to insert it here and there where it is talking about local shopping or this fun preservation activity, I mean really. I can connect anything to preservation, just give me a few minutes.

Guin: Well, how do you define historic preservation? What’s your personal definition?

O'Shea visits one of her favorite places: the architectural salvage shop

O’Shea: It means a lot of things to different people. For me, preservation is collectively looking toward the future with respect for the past. It’s understanding communities, the way of life, your built environment, your heritage values, in the sense that we need to remember the past in order to create a brighter future. That’s the basis of my definition. But the methods of doing that are all the facets of historic preservation, which to me is this huge umbrella term. But it involves architecture history, research, community and preservation maintenance, folklore, museum studies, economics, archeology..the list is never ending. For historic preservation, it provides us the opportunity to shape and direct a world in which people are proud of where they live even though people may be proud of different areas for different reasons. We have to respect cultures and areas and regions. When people have tried in what they and where they live and where they came from, then every action they do in a place matters. And that’s how we can create a better place and that’s how I believe historic preservation has the ability to save the world.

Guin: I guess in that same thing, taking that a step further, looking at your blog, you have a lot of things that are strictly historic preservation or strictly heritage values, but then you sometimes go into some things that are a little peripheral there. And you mentioned Walmart earlier, and actually one of your most popular posts is about Walmart. Can you talk about that?

O’Shea: Sure. That post–Save Money, Live Better–I wrote because the campaign just bugs me, and I won’t go into that. I think that one is one of the most popular because people are Googling “Walmart” or “save money, live better,” and for whatever reason, Preservation in Pink just pops up. So that remains one of the most popular posts every single day. We can get 100 views in one day, just that one.

Guin: Looking at your popular posts, and what people seem to respond to, what seems to make up a good blog post?

O’Shea: I guess I would categorize a good blog post in a few different ways. One is obviously a popular one. One like Save Money, Live Better. If that is getting a lot of people to visit Preservation in Pink, and maybe see the blog and are looking for something preservation related, and not just Walmart related, then that’s great. That helped increase the visibility.

But I guess a good blog post, from my perspective, is one that is well thought out and meaningful, and brings people to historic preservation maybe in a way that they didn’t know before. There is just some little anecdote I told that they became more interested in it. Maybe the story was interesting that day or maybe one of the guest bloggers wrote something fun, maybe broadening their horizons, and hoping that they will come back.

Sometimes I say that a good blog post is one that my sister, who is a freshman in college, will comment on. Because she is just starting to understand what I talk about and what I do. And if she found it enjoyable, then I figured that a lot of people might have enjoyed the post that day.

Guin: Well, tell me bout your favorite blog post on Preservation in Pink. What’s the must read blog post on your site?

O’Shea: I have a few that are my favorite, a lot of them relate to my oral history project, kind of just days on the job. Because they mean a lot to me and to kind of share what I do and what I did as an oral historian, and remember a fun day of what it was like to be in oral history every single day.

One of my favorite to write is called, Why they don’t let me outside. And the title is inspired because most of the time I am inside. But once in a while, in my office we would just go outside. And that day I jumped and kind of twisted my ankle and it was still a really good day, but by the time I got home and sort of fainted from a swollen ankle. And it was a mess of a day. But after I fainted and woke back up, I was fine.

Guin: And you still have good memories of that day?

O’Shea: Yeah. So kind of posts like that. Another one is Oral History and Me: It is Complicated. Not love-hate, but sibling relationship with oral history. It’s so frustrating, but you love it no matter what.

And then I have some others that are more personal reflections. One is called Old Memories: The Evolution of My Favorite Place. And that’s about my grandmother’s town in New York. And I grew up playing on the beach, but now that I’m older, I don’t play as much, but I run on the beach. And I appreciate the place in a different way. And all of those I attribute to touching out on preservation values in a non academic way that I hope people enjoy.

Guin: The reason that we have these cultural resources is because of the people and the traditions handed down. In talking with those people you get a lot more insight and context about the cultural resources themselves. So I think that’s great. Well, you mentioned earlier your newsletter and your journalism experience, and design and layout. You’ve used that in the Preservation in Pink newsletter. Now not many bloggers do this. Why did you do this, and who is this newsletter targeted to?

O’Shea: Again, the newsletter was first and the blog came after. I needed a way to keep Preservation in Pink on the web for anyone who wanted to access it because I can’t afford to print it and mail it to everybody. And that is kind of silly since everything is on the web. So the blog, at first, was just two posts a year. I need articles for the newsletter, and then in 2008, I started putting on more posts every couple of months. And then toward the end, I really wanted people to read Preservation in Pink. I really needed this to go somewhere, and so I started making it a daily blog. And the newsletter and the blog are intended for the same audience. But it is a wide audience. It is anyone who is interested in preservation because it is what they do or because they don’t know much about it. And I try to gather articles from the wonderful contributors that seem to always be willing to add something. But everyone has different experiences, and for me to just share my own on the blog is not the same as having a newsletter. Having a newsletter kind of bring out more voices than my own, which I imagine people don’t want to read all the time.

Guin: Then let’s look at how your blog has developed over time because aside from having a newsletter, which is kind of rare for a blogger, you also have multiple contributors. And that’s not that rare for a blog. For a heritage blog it is fairly rare. How did that start?

O’Shea: Really, having a 5-day per week blog was kind of hard. And to come up with something that is hopefully interesting everyday. Right now it is three to four with grad school getting in the way. But I thought maybe I could be like other bloggers. I read a lot of different blogs: running blogs, wedding blogs, friends blogs. And a lot of people have guest bloggers. And I thought that would be a good way to draw in more readers/viewers. People could say, hey I wrote for this blog, go read it.

So the guest bloggers, I guess they started out kind of slowly. People I knew, my friends from college and fellow preservationists. And it was a nice break for me, and I figured it was a nice break for the readers. It was something different. It was something I couldn’t write about because I didn’t know much about it. And now I have a permanent posting up on Preservation in Pink asking for contributors and bloggers. Some people are more willing to contribute to the blog because it seems like less pressure. I mea, it is. I always feel like the blog is less serious than the newsletter. I mean, when I talk about cats and flamingos and whatever, it is a little more fun. And it is also more time-sensitive. So, one guest blogger, Brad Hatch, he has a ton of “preservacation” blogs, as he calls them, because he has a whole series that he wrote for me. And we posted them every couple of weeks or so. Whereas keeping all that for the newsletter would be a lot. And having a series in the newsletter that’s only twice a year is hard because that is asking readers to remember or go back six months ago and follow up from that first article. Whereas on the blog, I can link from post to post and readers can find it that way.  So I guess the newsletter developed the same way, there was not a lot of people at first and now there is many many people. For this next issue, I have even different contributors than usual. It’s really just helped to bring more of an audience. And more diversity.

Guin: Excellent. Well, you talked about being a grad student. I know that’s a lot of pressure. I want to hear about how you balanced being a grad student with doing such a rigorous blog schedule. Also, I am sure you are involved with other forms of online media or social networks as well. How do you balance all that?

O’Shea: I am just the type to do what I have to do. And it was a concern, maybe I wouldn’t have enough time. But I decided, no. It has come this far, it is still getting a lot of viewers. And I really enjoy it. It is kind of an outlet. So, if I don’t feel like writing my paper, maybe I can do something a little bit easier like writing a blog post. It also keeps me connected with everyone in my grad-school bubble. It’s the same of balancing anything else. I like to run a lot, I help out with the UVM track team. As far as other social networking, I have a few other blogs that are not like Preservation in Pink, they are just for fun or to keep track of running or something. Those I only do when I have the time.

Guin: Do you promote Preservation in Pink through any other networks? Do you do anything else other than consistent blogging to attract readership?

O’Shea: I do. I have a Preservation in Pink Facebook group page. And when I have a newsletter or I am asking for contributors, I pretty much email everyone who has ever met me. Any more former and current classmates have done a lot to help. They will share it with people they know. Send on the newsletter or send on the website. Last year I made business cards and postcards. So anyone who wrote for me, I send them a “thank you” with some business cards and also a Preservation in Pink magnet. Some people put it up at work so their coworkers saw the magnet and asked about the website. I try to make sure the tags and the categories are sometimes general and sometimes specific. So it could come up in photography, it could come up in preservation, and people could come across it that way. I have it on my resume. I like to share it with fellow preservationists.

Guin: Knowing that you are in graduate school right now, and knowing that you are going to have to get a job, does that affect what you blog or what you blog about?

O’Shea: It’s the same as when I started. I won’t write anything that I think is too judgmental or something that I would look back and go, “Oh geez, why did I write that?” I mean, my opinions might slightly change or my intellectual understanding of something might change, but I feel that what I put on Preservation in Pink is fit for anybody to read. And I am really honored when people way above me have read it.

Guin: Well the great thing about a blog is that if you do evolve intellectually or learn something new, you can always update the post or you can go and write another post and reference the old one. And it’s OK to show that you’ve learned something. And your readers learn along with you. So that’s great. Well, you mentioned early about using WordPress, and I use WordPress. I am active in the WordPress community. And you talked about tags and categories. And I don’t think that is something I have covered on Voices of the Past before. Can you tell me, in your opinion, what the different is between a tag and a category. And how you use those concepts to optimize your posts.

O’Shea: Well, this is just my understanding, and I might be slightly off. But from what I found, is tags are what people come across when they Google something and categories seem to be just within the site itself. I have a lot of tags because of all the posts, and I try to minimize the categories. So categories I use if someone is searching within Preservation in Pink itself. How can I find out your roadtrip posts. Whereas tags I look at as something people search on the web that could bring them to Preservation in Pink.

Guin: You said that you actually get inspiration from other blogs sometimes. What other blogs do you actively follow?

O’Shea: A new blog that you just did a feature on, My Own Time Machine by Sabra Smith. I think we are blog soulmates. Our blogs are similar, they are complimentary, they are a lot of fun. I love what she writes, so I have been following that since she started.

I follow Place Economics, which is not updated that much, but I like reading whatever he writes.

I follow Route 66 blog. Another WordPress blog. It is like the clearinghouse for Route 66 news.

Then I follow unrelated preservation blogs as well.

Guin: Obviously social media and blogging and all this stuff is growing. And a lot of heritage folks, although some have been slow in coming on board to using the social networks, that is going to change. And folks are getting on there wondering, what do they do to get started. Especially with blogging because that seems to be the heart of any social media effort. What advice do you have for those individuals or organizations getting involved in blogging for the first time?

O'Shea and the "flamingo girls."

O’Shea: I would say, if you have something that you love and you want to start a blog and write about it and talk about that subject, don’t start it expecting tons of readers and comments. Do it because you love it and keep doing it. I mean, Preservation in Pink isn’t the biggest blog out there by any means or even close to it, but the readership has grown immensely between this year and last year, and it is just consistency and I don’t really do it for anyone other than myself. I write for people who are interested in preservation, but I do it for myself too. So just keep at it and share your blog with anyone you know. I guess that’s my best advice for anyone.

Guin: OK, I want to take a step back a bit. What made you decide to use WordPress instead of any of the other blogging platforms that are out there?

O’Shea: Well, I love WordPress, let me just say that. I don’t really like Blogger for a professional looking blog. I think it is too simplistic and too kind of bubbly. You can’t create very many pages, and I don’t know much about creating your own template. Whereas WordPress had all these beautiful templates and you could change them all the time. And add all these Widgets, I think we call them. And those were really the only two I knew. I guess TypePad and so many others you have to pay for, or at least you used to. But anyone who is going to start a blog, I always recommend WordPress because it is just really easy and really fun.

Guin: Well, good. Kaitlin, thanks for being on Voices of the Past.

O’Shea: Thank you very much!

Outro: And that was Kaitlin O’Shea of blog and newsletter, Preservation in Pink.

Now, if you would like to learn more about Kaitlin and Preservation in Pink, that is at voicesofthepast.org. There you will find a transcript of this interview plus several others we have done with other folks in the heritage field using social media to make a difference in their world.

That’s all for this edition of Voices of the Past. Until next time, I’m Jeff Guin, and we’ll see you online.

Guest post by David Connolly and Maggie Struckmeier of Past Horizons & BAJR Federation

With the increase in social networking and interactive web-based systems over the past few years, archaeology has in general been slow on the uptake, however, there were those there at the start and those that are catching on to the potential, with more appearing on a weekly basis.  They range from the stunning, innovative and genuinely useful (which get filed under favourite) to those that may have the best intentions but miss the point completely.

Not wanting to focus on the negative, it goes without saying that Voices of the Past, Past Horizons and BAJR Federation are great examples of technological openness and creativity, but it would be unfair to put them into our top ten sites.  So, without further adieu, these are the websites we feel add to the experience, by utilising the social web that now has become so much a part of lives.

Facebook Groups & Fan Pages

There are several hundred ‘archaeology groups’ and pages – however, the secret is in the interactivity, rather than just sitting there, with a never ending procession of people advertising their own pages, which then contain a list of other people advertising their page or group.   There are three stand-out groups/pages that make a good start to any day, are unique in their content and also have an active membership who contribute, comments, photos and useful links.

The Official Movement To Bring Sexy Back To Archaeology: Funny, irreverent and with attitude–a great supplement to the main website/blog.

Arch Points: Everything you never thought you wanted to know.  One nugget of information a day, from how to survive a charging buffalo to recording painted plaster.

How to be an Archaeological Fieldfashionista: An outlet for both those moments of archaeological fashion genius as well as those archaeological fashion disasters. Good fun and a way to keep connected.

Flickr

Flickr is another site with a plethora of groups dedicated to archaeology from the local through experimental, aerial and world views.  But my current favourite:

Archaeology Travel Photos: Love this group as the photographs are constantly being added (over 22,000 at last count) and this means that you can travel the world of archaeology and find places and sites you may have never heard of.  Many images are complete with locations and detailed descriptions, which means you can learn a little more each day.

Canmore: Search over 275,000 buildings, archaeological and maritime sites across Scotland. Discover what photographs, drawings, manuscripts and books are in their collections and view over 100,000 digital images

And now our favourite bit: Add your own contributions to Canmore. Search for a site, register, and upload an image or add some information. Next time you go for a walk, and take a good image of a site … upload it! Next time you see a site and feel that it could do with a better description, or want to update the condition, or have additional information from local studies … add it! This is the way that National Records are supposed to be!

YouTube/Vimeo

You would think that archaeology and video would go well together, but strangely, this is a desert in as far as dedicated channels are concerned.  We are always on the look out for new ideas and inspiration from videos on YouTube, but can go for weeks without a single decent upload. But there are 3 exceptions!

Archaeological Institute of America channel: Videos about archaeology by the Archaeological Institute of America — excavation, site preservation, interviews with archaeologists, and more!

Penn State Abington Anthropology: For students in the Anthropology and American Studies courses taught by Dr. P.J. Capelotti at Penn State Abington College. Here you will find videos related to the history and archaeology of polar exploration methods in historical archaeology and more.

Thames Discovery on Vimeo: We love theses, because they range from the informative and very, very watchable, to the very, very funny! All created by Anies Hassan of Tollun Films, he has a slew of videos that show what can be done in archaeology, with a bit of imagination and an eye for a show.  Training videos on the Thames Discovery Programme, Timelapse at Catal Hoyuk, records of an excavation and even a bit of dance.  What more do you want?!

Scribd

A document sharing site that links to every other social network from Twitter to Facebook, allowing the easy sharing of documents, reports and articles with a mass audience, as well as creating a stored archive.  The early adopters of this technology have remained the leaders so as we have to ignore the BAJR reports and guides, we will point towards a specific Archaeology Scribd contributor, that always has something fresh to read:

Wessex Archaeology: With 317 documents and reports online, they are doing their best to make archaeology accessible. And with over 17,000 subscribers, they must be doing something right.

Teaser photo elements courtesy of webtreats and Wessex Archaeology

Greg originated the popular MythShow podcast. In this interview, he talks about the importance of the storytelling tradition, building a quality web presence around your podcast, and setting personal priorities with new media

Click to play (Click to Play)

Guin: Greg, thanks so much for joining us on Voices of the Past. I wanted to start out by asking you how you actually got into the world of mythology. Was that something you went to school for or was it something that you grew up with an interest in?

Lemon: I think it began as growing up with an interest in mythology. I remember in elementary school going around the library, I found this book on myths and mythology, and I picked it up and I really enjoyed it. So, I am a computer professional by training, but I really enjoy stories and storytelling and mythology specifically.

Guin: What’s your favorite myth?

Lemon: It is really hard to pick a favorite myth. I really lean closely to the classical Greek and Roman mythology and pantheon. But if I were to pick a favorite book, it would be Joseph Campbell’s “The Hero with a Thousand Faces,” where he goes in and talks about the mythical journey or the hero’s journey that is found common through many mythologies. So if I had to pick a favorite book, it would be that one.

Guin: You have to have a passion for this to actually turn it into a podcast. A podcast is a lot of work, and it’s a lot of commitment. How did that passion translate into you creating a podcast?

Lemon: Well I love podcasting and I love the technology around the podcasting. At the time when I was doing the podcast, I was really excited. I had a lot of interest in it, and I loved sharing stories and the storytelling and trying to convey that interest to other people. The one thing that I see that is missing today is the art of storytelling. And people are so interested in–or in education they are so interested in the reading, the writing and the arithmetic and tests that the have to take, that they forget the human side of the history. They forget the human side of this experience that we have, and I feel that myths, folklore, fairy tales and things of that nature really help to bring that back. I feel that’s kind of missing and I saw that that was missing from my kids’ education and felt that was something that needed to be brought back.

Guin: Well, you don’t actually consider yourself a “quote” heritage professional. Is that right?

Lemon: Correct.

Guin: Well then, what were your goals when you were actually creating the podcast? How did you want to add to the conversation?

Lemon: I wanted to be able to provide stories. And as I had mentioned before, I felt that the education material that was presented was missing a lot of that. My kids didn’t know who the Gods and Goddesses of the mythologies, they didn’t know the characters from the American folklore, they were missing that kind of stuff. And I felt that if I had the same feeling that perhaps there would be parents out there that felt the same. So I created these podcasts as an introduction to these stories, myth, folklore, fairy tales and what not. As an educational resource that people could turn to to maybe supplement what they were maybe learning in education.

Guin: You seem like such a natural podcaster. I mean it seems like something…you’ve got the voice and you’ve got the relational interview style. Were you in broadcast before this?

Lemon: Actually no. I was a Sunday-school teacher for many years, and I was a scout leader for the Boy Scouts of America. So i developed the art of storytelling around a campfire or sitting around in a Sunday-school classroom. The comfort with podcasting and with interviewing just comes with time. I’ve been doing this since 2006, I think…I’ve been doing this for many years, and so I’ve enjoyed it and I’ve become more comfortable communicating via person, via Internet, via video, via audio. And so that’s something that just comes over time with practice. I did have aspirations to go into broadcast at one time, but career paths being what they are, I feel that I enjoy podcasting and the intimacy that comes with this new media much more preferable.

Guin: Do you have any favorite podcasts that you’ve done?

Lemon: That I’ve done or that I’ve listened to?

Guin: Well, both. We’ll start with the ones that you have actually done yourself or your favorite episodes where there was some piece of information that you just connected to, or a guest that you just really enjoyed…

Lemon: I have had many wonderful opportunities to interview individuals on the Mythshow podcast. There’s the Celtic Myth podshow. A wonderful partnership between Gary and Ruth. In England, I was able to interview them and their podcast specifically focuses on Celtic mythology. But they tell it in more of a roundtable. As you would imagine a bard around a campfire, they use many voices, they use sound effects, and you really get the feel that you’re in a campfire. And you really get the feel of the storytelling.

Guin: Alright. Then let’s talk about the podcasts you enjoy listening to that are not your own. What do you listen to in your leisure time?

Lemon: The ones related to history that I really enjoy: there’s the History of Rome podcast, while not mythologically based, it does have that wonderful historical element that has gone and is continuing to go through the history of Rome. There’s also the 12 Byzantine Rulers podcast, which has since concluded since he’s covered all the Byzantine Rulers. But that was a wonderful history-based podcast that took the…because we know about Rome and we know about the Middle Ages, and this covered that stance in between. And so those are two wonderful solo-reading, one-person podcasts that I really enjoyed. I mentioned the Celtic Myth pod show. Wonderful stories are being shared there. But then I also enjoy the technical podcasts as well. There are many daily podcasts on news and technology, the weekly commentary technology shows and just a variety of fun shows out there.

Guin: Why do you think these stories are important to share in this new media format?

Lemon: We need to be able to remember that sharing stories has been a past time for generations if not even before recorded history. In fact, some of the earliest recorded history are these ancient stories. If we could think of Homer’s Iliad and Odyssey, that was originally an epic poem that he recited. We need to remember that there’s the story element, the human aspect. We as people are not names, places and dates and events, but it is the stories between those names and places that really captures the human element. I feel that with mass entertainment, while I do enjoy a good Disney movie and I really do enjoy the efforts they have done to bring those fairytales–or the mythologies–into modern dialog, we’ve got to remember that that’s not the only thing out there. The Disnefication of the Little Mermaid or the different princesses or even “Beauty and the Beast” and “Aladdin,” those are wonderful stories that they’ve been able to interpret, but we need to be able to share the stories ourselves. How wonderful would it be if we were able to have a digital recorder in the pockets of the soldiers storming into Normandy on D-Day. How wonderful would it have been to have had audio recordings of the people in the Civil War or of times past. We have snippets of that, we have the official histories by governments, but if we could have that insight into the regular soldier’s life. If we could have that pioneer that was crossing the plains to the farmer. If we had those stories, how much more rich of an understanding would we have of our heritage or of heritages around the world?

Lemon: One of the favorite stories that I am reading to my children now are the Laura Ingalls Wilder stories. While not mythology-based, I really enjoy sharing with my daughters the story of a young girl who lived in a completely different time under completely different circumstances. And I hope that the values and lessons that Laura Engles learned on the prairie can be translated into things that my own daughters can use.

Guin: You said that you weren’t originally a broadcast person and you kind of got into it in 2006–that was practically the ancient days of social media. How did you actually learn how to do it and get into it?

Lemon: Well the very first podcast that I listened to was one called “Muggle Net,” which is a podcast based around the Harry Potter books. I’m a big fan of the books, I loved reading them and sharing those stories. It’s a whole new fantastical story there and I started listening to it. And I really got into the technology of podcasting. There’s just so much more to podcasting than just clicking the record button. There’s the website, there’s the technology, there’s the audio editing, there’s the production, there’s the marketing. All of those things fascinated me, and in 2006, I went to the Podcasting and New Media expo. And I went there without an idea. I went there trying to figure out, I wanted to be involved with it. This would be a great, what could I do? And during that expo, I was brainstorming and I came up with the idea, I love to share stories. And I went home that night of the first expo and registered the domain name and started recording. And from then on, the association with other podcasters, with those at the time in Orange County, Calif., and those that I’d met throughout the country, and honestly throughout the world. That I enjoyed the interaction with the people. Probably too much, because as time went on the podcast started to get more slowly produced. But I enjoyed the social interaction and the technology surrounding it.

Guin: What technology do you use to do your podcasts?

Lemon: Well, the first couple of podcasts that I have, you see the headset that I use in this video stream. I started with just my computer plugging in a headphone. And honestly those podcasts sound terrible. But I got out there and I was enjoying the technology. Eventually, I was able to upgrade my equipment. You can tell a distinct different when I got a new H4 microphone, and I still use that today for recording podcasts. And it’s not so much that my hardware improved, but being more comfortable around the microphone. Knowing what I wanted to share, being able to speak more eloquently so I would have fewer edit cuts and it would take less time to edit the podcast, and also making sure I knew what I wanted to say, even practicing it. Most of my podcasts were written out, word for word. And it sounds like I am reading them, and it’s because, well, I was. I didn’t try to hide the fact. And that saved a lot on the editing time. But then again, open conversations like this one was a lot of fun as well.

Guin: Yeah. Well, you know, it is all about the content. And actually creating content that people can use. So, whether that’s scripted or whether that’s free-form, as long as people are getting something out of it and they are coming back for more, it’s all OK.

Lemon: The basic premise that I had with my podcast shows was that it was written, it was educational, and so I felt that it should start from the basis of a written essay. Whereas interviews and other shows, depending on how well they know their audience, depends on the kind of content that they should deliver.

Guin: Well tell us about that because audience is critical to having any form of successful online presence. Tell us about your audience and what you do to try to cater to that audience and build your audience.

Lemon: In full disclosure, the Mythshow and the Mythminute podcast that I produce have been on hiatus for over a year now. And so I have lost a little bit of the contact with the individuals that listen to the show. I still see that people are downloading it and still enjoying the content, but I have not been actively podcasting that due to economic situations, due to commitments with my family. Because when it comes to recording a podcast or reading a story to my kids, the kids win every time. And I think that is how it should be. And so, I wish I could have more time, but there’s only 24 hours in a day.

But to know your audience is so critical. Even if you don’t know individual names, you need to define the person you want to talk to or your desire to communicate. Are you looking for teenagers, are you looking for adults, are you looking for professionals in a certain genera, are you doing it for your family and your future posterity. Recording your own stories so that they can be enjoyed in years to come. Knowing your audience now will make the decisions so much easier in the future. You’ll be able to not agonize over every single decision, but you’ll be able to say, “Well, what would my ideal audience member want?” And go with that.

Guin: Well, do you have any tips for people who are just trying to get into podcasting?

Lemon: Well first of all, have fun. This is an exciting technology, and it is a lot of fun to participate in it. Like we said previously, know your intended audience. Be very specific about planning your podcast, even going as far as writing up a profile of who you would want to be. Name, age, gender, profession. Know this person and know why you are talking to this person. And why the information is important to them. Also, set realistic goals with your content creation. A lot of knew podcasters, when they start out, they go, “well, I’m going to produce an hours worth of content every week. Well, that goes two or three weeks, and then it goes two weeks in between and then it goes a month, and the content gets shorter and shorter, and I speak of this from personal experience.

You’ve got to set realistic goals. If you can only commit a couple of hours a month, understand that that’s what you can do, and don’t set the expectation for your audience that you’re going to provide a weekly show when in fact you can only provide a monthly show. Also, this is a new technology, this is a lot of fun, but record a few podcasts, experiment with the content. The format, the length. Try to get into a grove before releasing your shows. A rule of thumb I have often heard is record five full shows before releasing any, that way you have been able to record, produce and enjoy the process of five shows and you can see what works. And also, one last thing, is to build a community. Being a solo podcaster is kind of hard because you don’t have a group of individuals around you if have an historical society, if you have a group of like-minded individuals who want to create a podcast, share the responsibility. Share the fun, and then that way you can keep each other motivated. And you can share the work load.

Guin: You mentioned before that a podcast is only part of the undertaking. Tell us a little bit about that. What do you do to help support your podcast?

Lemon: There are many different forms that a podcast can take. You can have the simple RSS feed, which is really simple syndication. It’s the technology used to deliver the actual audio. You can be as simple as that, or you can have a website with shownotes so that people can add comments and you can start that discussion. You can even go as far as establishing a web forum, where people can converse and start to share a lot of information. Whatever you decide, you need to know your community. If the people that are listening to your podcast are very passive and only want to get the content and go, then it may be difficult to form a community. However, if you have an organization and the people begin really active, become really active with comments, a blog with comments, with active discussion and even a forum would be a great way to build that community. As you start out, there’s going to be very few people. But as long as you put out good quality content on a regular basis, whether week, month or whatnot, you’ll begin to build that audience. But you also need to send out emails. You need to be able to rank well in search engines. Contacting people in traditional off-line methods. Those ways you can bring them online and build your audience. And there are many books by professionals on the subject matter, and if I had the “holy grail” of podcast production and getting my message out there, I’d have a lot more time to produce podcasts.

Guin: Are there other forms of social media that you use to either support you podcast or to just maintain your presence in the social space?

Lemon: I use Facebook. I have a personal account on Facebook. I also have a fan page for the podcast as many other do. The Celtic Myth Podshow is an excellent example of people who have used Facebook to an excellent degree on being able to promote their podcast. I use Twitter. I have multiple accounts. I have a personal account, I have a podcast account. And so other people can follow me there. I have a lot of interaction with social media that way, but also just going out there and having fun. There are meet up groups that you could meet up with, and there’s Tweet ups, Social Media Club. There’s podcamps; there’s a lot of groups out there ready, willing and wanting to share this information to help you start your own podcast. This community is wonderful and you don’t have to go at it alone. There are so many people out there willing and wanting to help. And there are excellent resources available at your local bookstore to learn how to podcast.

Guin: Greg, thanks so much for joining us.

Lemon: Glad to help.

That’s the phrase I often use to describe my experience as a new intern in the heritage preservation field. But the more bloggers I meet and with each news article that crosses my screen, I realize the ignorance behind the statement.

I was convinced  preservation and heritage values were for the elitists. They were things far beyond my grasp that required a doctorate to participate or even comprehend. Granted, those things might help with understanding some of the more technical jargon, but they are not a necessity.

I will never forget meeting Folklorist Dale Jarvis from Newfoundland, Canada soon after I volunteered to help  at Voices of the Past. We discussed his uses of new media and how they intertwined with his job as a folklorist. He discussed boat builders and campfires and fairy tales. And there was something about the conversation that intrigued me. Dale became the first of many heritage-minded folks I began to “follow” and “RSS” (a term I have learned because of my new interest in heritage preservation).

There was a question that was addressed during the interview that seems ingrained in my mind. “Is this storytelling a dying art?”

To which Dale responded,

“I really believe that things are always in a constant state of evolution. I think traditions are always changing, and I think that the rise of things like YouTube indicate that people are really passionate about storytelling. They really want to share their own personal stories.”

The thing about heritage preservation, it’s more than simply excavations, campfires and tombstones.

Heritage focuses beyond keeping the “old” around. Rather, heritage focuses on ensuring the “old” remains relevant. Heritage is about the “why”: a word as a future journalist I have come to adore.

Why King Tut was brought to Dallas, Texas. Why Twitter has become a phenomenon. Why everyone and their grandmothers (literally) are on Facebook. Why you come and visit Voices of the Past.

I didn’t have the “baptism by fire” experience I thought, rather it has been this ongoing experience throughout my life. It is the endless days I would sit mesmerized with my grandparents as they shared their stories. It is the shoebox of memories buried at the top of my closet and the homecoming mums that dominate my childhood-bedroom wall. It is my fascination with the Mona Lisa and the folks’ desire to discover if she is the infamous da Vinci in drag.

Heritage isn’t something that we need a degree to participate in or comprehend. Heritage is found in the simplicities around us. And as Dale said, it is the constant state of evolution we all participate in.

The key is taking your good ideas and intentions with social media and developing them into more defined goals, objectives and tactics that can be measured for results.

Most organizations start with general goal statements that contain a little of all these elements, but are not quite any of them. As a longtime public relations professional and occasional adjunct professor on the topic, I can tell you the PR planning mindset may seem counterintuitive to your good social media intentions.  I’ll start by giving you a very general rundown of how I plan using a fictional “Clementine Hunter Art Museum.” Your mileage may vary.

1. Goals are extremely general and are rooted in the organization’s mission. They are based on changing your organization’s position in either reputation, relationships or the work of “getting things done.” They are your guiding light, Pollyanna statements about your organization’s perfect world, stated in present tense. This sounds stupid at first, and is surprisingly hard to do, but still necessary to the effectiveness of your ultimate plan. You can’t really measure these.

For example: CHAM is the top-of-mind source among publics who require easy online access to information about the life and art of Clementine Hunter.

2. Objectives are specific, measurable, time-based tasks that support your goals. Usually you have three or more.

For example: “To increase weekly traffic to the CHAM website 30% by the end of the current calendar year through an aggressive Facebook campaign targeted to students at art colleges.”

3. Tactics are the tools that you will use with intention to accomplish your objectives–Flickr, YouTube, direct mail, a poster contest, etc., etc. In this case, we’ll continue with the theme above.

For example:

1. CHAM conservator will post weekly updates (augmented with photos and video) to the Facebook page on the “journey” of conserving a work of art.
2. Initiate a Facebook ad campaign with appropriate demographics
3. Post monthly updates to art college Facebook pages
4. Facebook video contest — “How is CHAM’s legacy inspiring you?” Winner–museum membership, free print, small scholarship, etc.
5. Emphasize through semi-weekly updates, photos of the artist and woman as well as trivia about her technique, etc. (Folks want to feel connected to her, and the people  preserving her legacy, not to a “museum.”)
6. Secure and publicize a “shortlink” name for the Facebook page (e.g. facebook.com/clementinehunterart)
7. Produce a direct mail postcard advertising CHAM’s website and unique Facebook content.

The critical leap to success depends on your tactics being rooted in larger goals and objectives for the organization. Your organization may have already done this. If not, the more effective and productive method would be a staff retreat, even if it’s just after hours at the museum. It’s an exhausting, but fruitful process. The Hoshin Method (http://www.siliconfareast.com/hoshin.htm) is effective for this purpose.

Just remember, the principles of social media will often engage naturally when you are using the social tools while intentionally remembering who your audience is and what drives them. This will make participation from the staff and publics much easier as well.

Graphic by by Lograi on Flickr