Clip from RJI News Archives: INTERVIEWER: I think maybe archiving has been taken for granted a little bit. But why do you think it has taken a bit of a back seat in the industry? NEIL MARA: It's really connected to the overall difficulties that the news industry has been facing over the past decade and more. With the shift to digital, there have been cutbacks in the resources that traditionally have been used for news preservation. We've had layoffs in newsrooms across the country, newsrooms that are really a fraction of their former size. And so I think that's really one of the problems because the experts who would have been there to help guide the transition to digital archiving really haven't been there. [MUSIC PLAYING] CHARLIE BENNETT: You are listening to WREK Atlanta, and this is Lost in the Stacks, The Research Library Rock and Roll Radio Show. I'm Charlie Bennett in the studio with everybody Alex, Marlee, Fred, Cody, and a guest to be named later. There's a lot of secrecy about the guest. You wouldn't even give me a hint last time. Each week on Lost in the Stacks, we pick a theme and then use it to create a mix of music and library talk. Whichever you're here for, we hope you dig it. ALEX MCGEE: I just want to build suspense, that's all. Charlie. CHARLIE BENNETT: You love suspense. ALEX MCGEE: Yeah. Our show today is called, "There's an Archivist for that?" It's our latest installment in our newer occasional series that highlights archivists doing work where you may not expect to find them. CHARLIE BENNETT: Now, Alex, I know I asked you to join the show, but you've become a little too skilled at making it into an archives rock and roll radio show. ALEX MCGEE: Guilty. FRED RASCOE: I don't mind. I kind of like it. CHARLIE BENNETT: Fred. MARLEE GIVENS: Well, OK. Fred, that's because you do spend a fair amount of time with the archives here. ALEX MCGEE: Marlee's right. You're basically one of us. Fred. I'll say it. You can hang. FRED RASCOE: All right. Thanks, Alex. Does that mean I can go work where our guest works? ALEX MCGEE: Never say never, man. FRED RASCOE: All right. MARLEE GIVENS: Well, with you two being so coy about it, I guess we can keep our guest's identity and place of work a secret for a little bit longer. Fred, let's get the music started. FRED RASCOE: Our songs today are about newspapers-- ALEX MCGEE: Hint, hint. FRED RASCOE: And how they're put together, and preservation. And we'll start our music where our guest started her career, in Chicago. This is "Chicago" by Sufjan Stevens right here on Lost in the Stacks. [SUFJAN STEVENS, "CHICAGO"] MARLEE GIVENS: You just heard "Chicago" by Sufjan Stevens. Our show today is called, "There's an Archivist For That? It's our latest show about meeting archivists in places you may not expect to find them. ALEX MCGEE: That's right. And so today-- drumroll, please-- we are joined by Allison Schein, Director of Archives and Rights Management for the Atlanta Journal-Constitution. Thank you so much for being here today, Allison. ALLISON SCHEIN: Thank you so much for having me. ALEX MCGEE: So I want to start with our getting to know you. And I really want to start with how did you come to be an archivist? ALLISON SCHEIN: The short story is all of my friends were going to library school, and I was working for Columbia College in Chicago. I had just finished up my degree in audio engineering and was trying to figure out what to do because I was too opinionated to make crappy music. I felt my cohort could do that much better. They were younger than me. I was a little bit older when I had entered into undergrad. And one of our new professors had come in, and he had been working at a transfer house in the East Coast. And he was just like, hey, have you ever thought about being an audio archivist? And I was like, what? So I started exploring that, and I was lucky enough to start an internship at the Creative Audio Archive, which is out of the Experimental Sound Studio in Chicago. And Experimental Sound Studio is the largest improvisational and experimental hub, at least in the Midwest, if not the country. And they had the Creative Audio Archive, which was without a doubt the largest experimental and improvisational jazz archive, absolutely, in the country. And they had such a great mixture of collections that I was-- while I was transferring materials, they had no idea what I was saying to them. So I could have all the opinions, and no one knew because I was the only one in the control room listening. CHARLIE BENNETT: You said a little bit earlier that all of your friends were going to library school, which is not anything anyone has ever said on this show before, except when Fred and Ameet were talking about their past. Everybody was going to library school? ALLISON SCHEIN: It felt like that. CHARLIE BENNETT: What was dragging people into information school? ALLISON SCHEIN: I don't know. We were a bunch of nerds who loved music, who loved information, who loved accessibility. I really don't know what the impetus was, but it just seemed like there were so many that were. And once I realized that there could be a career for this, I was like, well, this seems right. So I got into library school. And interestingly enough, the program that I got into was really known for school media libraries, or librarians. And I walked in and was like, I don't want to work in a library. I want to work-- audio is my jam, and I want to work in the archives. And what was great about the program is that they really embraced that because I had been working in a studio, or at least interning at the studio. So there was this knowledge share with the cohort where we could do different programs at the studio that was outside of their scope. So I was able to lead some projects that they never would have maybe done before. And that's how I got into getting into archives. ALEX MCGEE: What was your first paid job for Archives? ALLISON SCHEIN: I'm trying to think if it was the-- is it ESS, or I also-- or was it reorganizing the library archive of the Arts Club of Chicago, which was incredible? Either one of those two, I think, at the same time, I think happened. And the Creative Audio Archive was really interesting because of the different types of collections that were there. There was a jazz cat, Sun Ra. His audio collection was with us while the ephemera was with the jazz archive. And then there was the own institutional archive. And then there was one archive by a guy, Malachi Ritscher, who was essentially a bootlegger and who had documented the scene so well, starting a new wave in the '70s and '80s of Chicago and the Midwest, and then had branched out and had given us the most complete collection and snapshot of Chicago's improvisational jazz. And he would show up to gigs and help with equipment so it would be less squeaky, or set up signs to ask people to be quiet because he was recording. And some of the recordings that he had done, actually, bands released later on. So that was really incredible. And then he had a sad end, unfortunately self-immolating on the Kennedy protest of the Iraq war, and donated the collection to someone, who then in turn donated it to us so we could care for it and do things. And so we had fundraised to do so, which was really great, to transfer the collection, which had some really, really incredible musicians in there, including Nirvana's first appearance at the Metro in Chicago. So that was pretty great-- and early Beastie Boys stuff, in addition to a bunch of really great jazz and punk. ALEX MCGEE: I don't know that I can name drop that many cool people when I talk about my work, so-- ALLISON SCHEIN: I've been very lucky. [LAUGHTER] CHARLIE BENNETT: Do you think that the archives work would still get you, even if it didn't align with your cultural interests? Do you get excited about the minutia? Or are what you're really enjoying is the working with the history of the stuff that you really like? ALLISON SCHEIN: I don't think that there's a difference for me. I think the minutia does get it for me. I think if there was an ideological clash, that would be hard. But I have wide, varied interests. When I was in an intro archives class, and they're going around and they're talking about what's your dream archives? And of course, I want to be like, I want to be Trent Reznor's archivist because that is my dream job. But also, I'm obsessed with cults. So part of it is I am so fascinated, I would almost want to work on an archives of a cult because I'm so curious as to what makes believers believe. And I'm just so curious about that. So I'm often led by curiosity, but the minutia is cool because that leads to accessibility. It leads to someone who really wants to see it. And it's also the ethical dilemmas, which are curious. And that happened early on in my career with the Sun Ra collection. Sun Ra gave a series of lectures at Berkeley that were never meant for the white man to listen to. But a white man owned the collection. And what did that mean for folks that wanted to listen to that? So it was interesting challenges, which was minutia, but also just bringing the metadata to life, bringing the collection, whatever it is, to life. I still nerd out about both. MARLEE GIVENS: We love to nerd out here too. This is Lost in the Stacks, and we'll be back with more with our guest, Allison Schein after a music set. ALEX MCGEE: File this set under PN5118.E-27. [GRUPPO SPORTIVO, "NEWSPAPER"] (SINGING) --drama in Jonestown, and I didn't know The most used drug is alcohol [PETE SEEGER, "NEWSPAPERMAN"] (SINGING) Let's give three cheers for freedom of the press ALEX MCGEE: That was "Newspaperman" by Pete Seeger, and before that "Newspaper" by Gruppo Sportivo. Gruppo Sportivo? I don't know. Songs about what you find in newspapers and how it gets there. [THEME MUSIC] FRED RASCOE: This is Lost in the Stacks, and today's show is called, "There's an Archivist For That?" MARLEE GIVENS: We're talking with Allison Schein, Director of Archives and Rights Management for the Atlanta Journal-Constitution. And I have questions about all of that. So tell us what you do as an archivist for the AJC. ALLISON SCHEIN: Whew. Well, thankfully, there had been a solid archival staff and information staff for quite a while, so I have some things to work off of, which is great. Now what I'm trying to do is find really cool things that folks maybe aren't interested in keeping anymore to build a physical collection that can be showcased at our new location in Midtown, which is really great, and really help the reporters-- my internal stakeholders, if we want to be fancy archivists-- but my colleagues to make it easier for them to use our reporting in their stories for no matter what platform that is. And so it had been a little bit fragmented. And so now it's just how can I get this to them? What was really wonderful-- I've only been at the paper for a year, just over a year. What was really encouraging is a lot of the times we have this problem where we have to advocate for use for the Archives. I came in here, and I didn't have to advocate for that because they weren't necessarily using the word archive. But they were always talking about past reporting, past stories. Oh, we've done that, and we can pull it in, and we can pull it in. So I didn't have to go on a bribing baked goods tour to get folks to acknowledge that because they were already doing it. It was very, very fortunate. So really, what I try to do in my day to day is make it easier for them to find the materials that they want to use for their reporting. And to help, we stood up a video team. And to help the video team create visuals so they can also use it in their video-- not only the stories, but also so they can showcase, oh, yeah, here. So that's on the archive side. That's kind of what I'm doing. MARLEE GIVENS: Yeah, and I guess I sometimes forget that newspapers have websites. And they have videos on those websites. And so, yeah, I was wondering about going from-- working strictly with audio collections and then going to what I was assuming was more of a print collection. But you've got other stuff it sounds like. ALLISON SCHEIN: Yes, absolutely. So I do have some great print stuff, which I love, especially when I'm giving tours because I love to demonstrate the evolution of language and how we report things. I have this edition, this final edition from December 1963, where they're talking about the Kennedy files. They're talking about vaccines. They're talking about the budget. They're talking about this place called Georgia Tech and their football team. And I'm like, do we talk about these things now? But would we use this language, the same words now that we used then? And that's why I think it's so powerful and so fun. And then finding the different aspects of how the paper looked, the illustrations, the ads. And how did everybody read such tiny print? [LAUGHTER] CHARLIE BENNETT: Can you talk a little bit about the difference between a collection that you're designing finding aids for and presenting the story to interested patrons versus what it sounds like at AJC, where you have this active collection that reporters are coming to you on deadline and saying, hey, I need this material from before, where they're driving what you present out, maybe? I'm probably not finding exactly the difference, but can you talk about the difference between those two kinds of collections? ALLISON SCHEIN: Sure. So our collection-- I will say our newspaper collection is available through anyone who has a library card. So that is an easier way for my reporters or anyone else to find historical content. So for me, it is how do we find that absolute thing that they are looking for as quickly as possible in the five systems I have to look into, maybe four? No, it's about five. So there is no finding aid. For the AJC, it is just the daily paper. We've been a daily paper for a long time now. So that is the accessible part. They have to know this is the thing that I'm looking for. I'm writing on this topic. Did we ever cover before? Can you help me get to that? Whereas, before it is, nobody knew what this collection is, so how are we going to present to the masses this encoded finding aid? And are they going to be able to find it? Because the reason why I have never gravitated towards a more traditional archive setup is because I personally feel a lot of the ways that we present information isn't necessarily very accessible to the folks that are looking for it, to users. And that was a big problem for me, and I think I didn't have the fight in me to battle that. So I always picked places where I didn't have to do an AD finding aid. CHARLIE BENNETT: So we only have a minute left in the segment, so we can't possibly cover it all. But can you start talking a little bit about what you mean by that, that it's not accessible to the folks who are looking for it? ALLISON SCHEIN: Now, granted, I have not been in that space for about 10 years, maybe 15 years. But it just-- not everybody knew what Control F could do for you when you're finding something in a finding aid. I think it just seemed a little overly complicated for us to present the material for nonacademics. MARLEE GIVENS: You're listening to Lost in the Stacks, and we'll hear more from Allison on the left side of the hour. [THEME MUSIC] [MUSIC PLAYING] SNOWDEN BECKER: OK. I've got it. All right, I'm Snowden Becker. I'm an archivist who's worked with everything from film and home movies to bricks and pieces of bedsprings. And you're listening to Lost in the Stacks on WREK Atlanta. [MISSION OF BURMA, "WEATHERBOX"] Every man thinks he does what he can Then he [INAUDIBLE] And he's holding the weatherbox ALEX MCGEE: Today's show is called "There's an Archivist For That?" And speaking with our guest, I was reminded about the unique challenges that come with preserving newspapers, so unique that there have actually been special summits, the Newspaper Archive Summit, most recently in 2021, to discuss this. They summarize the crux of their concerns neatly. Quote, "Newspapers, assembled in haste and printed on bad paper, were never intended to last more than a few days. After all, there will be another one tomorrow morning or next week. To date, worrying about preserving them has been limited to a few people in the academic library and archive sector and news librarians. For journalists and publishers, the general threats from short-lived digital media are an interesting story they sometimes write about, such as lost NASA data. But it has never occurred to them to apply these threats to their own material. Obviously, publishers of newspapers have other things to think about, like survival. But in the numerous angst-ridden analysis of the future of newspapers, reference to making money off the archives is often a given, an assumption that seems to presuppose that the archives will be there in the first place. That assumption is not rooted in reality. The threats are very real." File this set under F294.88 no dot H8. [THE FRESHIES, "IF IT'S NEWS"] [JIMMY CLIFF, "THE NEWS"] (SINGING) Wild fire, propaganda, lies, libel, uhh, uhh, uhh, yeah CHARLIE BENNETT: You just heard "The News" by Jimmy Cliff. And before that, "If It's News" by The Freshies. Those were songs about old news still being of interest. [THEME MUSIC] This is Lost in the Stacks, and our show today is another installment in the newish series called "There's an Archivist For That?" And today we're speaking with Allison Schein, Director of Archives and Rights Management for the Atlanta Journal-Constitution. So I have had a sort of overly romantic vision of the Archives. I've imagined reporters running up to you and saying, I need a story from-- how do people contact you? How do your internal stakeholders contact you? And how do external stakeholders contact you when they need your help with the archives? ALLISON SCHEIN: Well, you're not wrong. They do come up to the office, and I'm sitting in there. And they're like, could you help? Did we-- how do I get access? Please, help me? So that does happen because we are in the newsroom. I'm embedded in the newsroom. CHARLIE BENNETT: And it sounds like you're explaining to them what you do at the same time that you're helping them. They're not quite sure what it is? ALLISON SCHEIN: Oh, no, they're sure. They're just like, we are not sure if we can have-- we can't find it. We don't know where to look. And I wouldn't say that it was necessarily siloed so much as it's just a little complicated right now. So they're on deadline. They have things to do. So they're not sure which is the right resource out of many to get to. So oftentimes, I will just say to them, here, here's how you get in if you want to do your searching. Or here, tell me what you need, and I will get you all the things. So it's a little bit of both. Or they'll Slack me. They'll be like, hey, I'm working on this such and such story I can't talk about because I don't want to ruin anyone's scoop. Do you have all of this? And I'm like, when do you need it by? And then I've got an assistant archivist who helps out, who's absolutely amazing, who has been with the organization for over 20 years. So that's also very helpful because she's so much more familiar. And so we can tag team what's needed. So it goes many ways, but often it's in person. And they'll just be like, do you think you could? Or another who is not necessarily a reporter but still on deadline is our creative services department, where they're like, well, we want to showcase some of our historical storytelling. Where do I find that? How do I find that? And most importantly, do we have the rights to use it? [LAUGHTER] FRED RASCOE: That's what I wanted to ask about because part of your title, which we haven't really gotten to, is rights management-- because we've had a lot of energetic archives talk, which always happens when we talk about archives. But yeah, there is that-- maybe it's a little less sexy, the rights management. But what happens-- ALLISON SCHEIN: I find it pretty sexy. FRED RASCOE: OK. Tell us what happens with that. ALLISON SCHEIN: Well, rights management is a lot. There's a lot wrapped into that. That is how are we using third-party content within the parameters of fair use law. How do we negotiate licensing for that? Who are we licensing from? What permissions look like, what do permissions look like when we want to use someone's Instagram post or picture or embed a TikTok, something like that, or GoFundMe, right? How can we use that media within our reporting? Can we use it across all platforms? Can we use it only in one platform? Have the courts made up their mind on whether we can embed X or Twitter tweets and YouTube because there is this East Coast, West Coast court brawl going about-- FRED RASCOE: We've had shows about that for sure. ALLISON SCHEIN: So there's a lot about that and how I always talk about it's an evolving landscape. So for me that's very exciting because it's great. I want to be able to say, I'm sorry I told you no last week. But guess what? It's different this week. And that brings them joy because it makes it a little easier. And then also, they can come to me and say, this is a set of tools or a place, like Google Maps, for instance. How can we navigate using Google Maps in our reporting or Google Earth? And then I will go and talk to Google and be like, hey, how can we use this? So it's all about helping to negotiate the landscape so they can enhance and really drive home the points and the stories that they're trying to tell, which is really great. And then it's also dealing with is everything in our archives ours? Is everything in the content management system that we have in there visually able to be used, and is that rights metadata up to date? Is it current? And most importantly, is it accurate? FRED RASCOE: Do you have a favorite experience, either getting rights, or maybe it's a favorite experience in your archives, access to your reporters or your other users? ALLISON SCHEIN: I don't yet have one. My most favorite thing, which is a little nerdy, is it relates to the training that we do for our reporters and our interns and our colleagues when they go through copyright training. And I end it with the Naruto case, which was-- is anyone familiar? In a nutshell, a photographer set up a series of cameras and triggers in a jungle. FRED RASCOE: Is it the monkey selfie? ALLISON SCHEIN: It's the monkey selfie. His name is Naruto, has been anointed by PETA. FRED RASCOE It's a Gibbon. It's not a monkey. ALLISON SCHEIN: Yeah, no, absolutely. And I talk about-- because that's what I want them to see. Well, I want to showcase the monkey selfie because it's so adorable. But I want it to drive home-- I use it to drive home the point of, technically he would have owned the copyright had he been a human because he framed it, and he engaged the trigger even though it wasn't his equipment. And so they don't realize that, often. And it's always like this aha moment. So I feel like I'm doing a little bit of good. I'm hoping to explain that it's not just as, oh, I can just grab this from the internet, or I can grab whatever. There's got to be a little bit of thought behind that. So I'm hoping to educate them a little bit just to make better decisions to enhance their already great reporting, right? So that's currently my favorite. The other one is, I guess, purging the system of things that we just didn't have the rights to anymore. We were able to just set that up where it was like, OK. These parameters, just take it out of the system. It's not ours. We can't be using it, so we're not going to do it. MARLEE GIVENS: Charlie, that sounds like burning it all down, doesn't it? Charlie's favorite things. CHARLIE BENNETT: It just sounds fun, especially if you get to watch the files disappear. ALLISON SCHEIN: It relieves a lot of folks who have had these problems for a while, and there had been no capacity or no one to really just be able to take that on and say, oh, hey, yes, this is a huge headache. Here's some Advil. [LAUGHTER] I have worked towards doing things like that. And seriously, my job is to make it easier for them to do their job, right? And so for things like that, that's been really great from a rights standpoint, to be able to do things like that. ALEX MCGEE: And you've only been there just over a little over a year? I don't know. It sounds like you've done a lot. ALLISON SCHEIN: I've tried. ALEX MCGEE: Yeah. ALLISON SCHEIN: I've really been able to work with some great people, and that's been helpful. They've been very welcoming and open and honest. It's been rough. As new people come in, it always is. But I've tried really hard to help them understand that I see the archives and my position as a service position for them In order to do what they want to do and then to come see the cool artifacts I have in the archives office, right, and the fun things. FRED RASCOE: And hats off to the AJC for recognizing that an archivist needs to be on staff. MARLEE GIVENS: Totally. Yeah. This is Lost in the Stacks, and our show today was called, "There's an Archivist For That?" ALEX MCGEE: Our guest is Allison Schein, Director of Archives and Rights Management for the Atlanta Journal-Constitution. Thanks so much for being on the show, Allison. ALLISON SCHEIN: Thank you for having me. This was great. MARLEE GIVENS: File this set under Z700.S43. [BUFF MEDWAYS, "ARCHIVE OF 1959"] [ATOMIC ROOSTER, "SAVE ME"] (SINGING) Baby, baby, save me, save me, save me, save me, save me, baby. FRED RASCOE: You just heard "Save Me" by Atomic Rooster, and before that "Archive of 1959" by the Buff Medways, songs about preservation. [MUSIC PLAYING] This is Lost in the Stacks, and today's show was called "There's an Archivist For That?" And we spoke with Allison, who is an archivist for the Atlanta Journal-Constitution. Since she's joining us from a newspaper archive, I wanted to see if folks in the room had a unique Atlanta memory, or a story, that you would want to find in the AJC archives. Fred, what you got? FRED RASCOE: The first thing that I think of is somehow getting information from an archive so I could go on a venue tour of classic music venues. CHARLIE BENNETT: Dude, that's mine too, yeah. [INAUDIBLE] all the stuff about [INAUDIBLE]. FRED RASCOE: Because I was really thinking about that first from the legendary Sex Pistols tour in 1978. They played at this place Broadway strip mall, which I think has been torn down and is now Lindbergh Plaza. But just seeing all these kind of places in music history. Marlee, how about you? MARLEE GIVENS: I think I would want to read about the founding of CNN and all the great Ted Turner stories from back then. How about you, Cody? CODY TURNER: I think mine's more recent. I would love one day to see a list of characters on the belt line. I think about the guy that had a TV on his head that would walk around or the woman that would play a violin just walking up and down. And she got significantly better over the year that I was living. And then most recently, there's a guy that is on-- he's always on roller skates, listening to music, singing very loud and very badly, very endearingly, and pointing at everyone as he passes by. So I feel like it's an important part of the city. Alex, what do you got? ALEX MCGEE: So with the 30th anniversary of the Olympics coming up, I've got the Olympics on the brain because, spoiler, we're going to do stuff here at Georgia Tech about it. So I am thinking about the torch route through the city when they brought it in. I know there's a lot of interesting stories with the construction of all these places throughout the city and how that impacted neighborhoods. So I'd be interested in that, yeah. FRED RASCOE: Before we roll the credits, Allison, do you think you could help us with any of these from the AJC Archives? ALLISON SCHEIN: I know off the top of my head I can help Marlee out because I recently had to look that up. So I can confirm that we do have some great stories there. And interestingly enough, Alex-- ALEX MCGEE: Was there-- y'all are also doing some Olympics stuff? ALLISON SCHEIN: We don't know what we're doing yet, but of course, we've got our iconic front page. And then we have a flag, an Atlanta Journal-Constitution flag that people would walk through the crowds because we would be selling the newspaper throughout the crowd. And so we've got-- ALEX MCGEE: People find them-- ALLISON SCHEIN: --how people found them. And I actually carried the flag across the finish line of the Peachtree Road race. ALEX MCGEE: Oh. ALLISON SCHEIN: But-- ALEX MCGEE: AJC Peachtree Road race. ALLISON SCHEIN: Right, but yes, so we definitely have that. We'll talk, absolutely. CHARLIE BENNETT: Alex, when you're doing the torch route story, you need to find out who the guys were in the golf cart that accidentally got in front of the torch and only realized that these beer backs were on the route. ALEX MCGEE: Some hard-hitting reporting about that, it sounds like, yeah. CHARLIE BENNETT: And when you talk to Eddie, tell him Charlie said hi. OK. Roll the credits. [MUSIC PLAYING] Lost In the Stacks is a collaboration between WREK Atlanta and the Georgia Tech Library, written and produced by Alex McGee, Charlie Bennett, Fred Rascoe, and Marlee Givens. Cody Turner is our steadfast board op. ALEX MCGEE: Legal counsel and a pristine copy of the Sun Ra interview from 1997 live at WREK were provided by the Burrus Intellectual Property Law Group in Atlanta, Georgia. Special thanks to Allison for chatting with us today, to journalists for doing the meaningful work that needs to be preserved. And thanks, as always, to each and every one of you for listening. CHARLIE BENNETT: Our web page is library.gatech.edu/lostinthestacks, where you'll find our most recent episode, a link to our podcast feed, and a web form if you want to get in touch with us. MARLEE GIVENS: Next week, we're talking about equity and open access and how far we have to go to achieve it. FRED RASCOE: Pretty far. So time for our last song today. We're going to deviate a little bit from the newspaper preservation theme of the day to celebrate the life of another rock pioneer who left us this week. As you probably know, the Prince of Darkness himself, Ozzy Osbourne, passed away. Who knows what happens beyond the grave, but I like to think that he's now among the stars. He certainly took enough trips to outer space in his lifetime. CHARLIE BENNETT: Watch out for libel laws. FRED RASCOE: So let's close out the show with a rocking track about leaving the Earth behind. This is "Supernaut" by Black Sabbath right here on Lost in the Stacks. Have a great weekend, everyone. Ozzy, Ozzy, Ozzy. [BLACK SABBATH, "SUPERNAUT"]