[AUDIO PLAYBACK]

PEE-WEE HERMAN: Today's secret word is "cool." Ha-ha.

Now, you all remember what to do whenever anyone says the secret word, right?

ALL: Scream!

PEE-WEE HERMAN: That's right.

For the rest of the day, whenever anyone says the secret word, scream real loud!

Come on, let's try it.

He-he.

[BOING-BOING] Hey, Mr.

Kite.

MR.

KITE: Hi, Pee-wee.

PEE-WEE HERMAN: Boy, it feels a little cold out today.

MR.

KITE: Well, it's not really cold.

PEE-WEE HERMAN: No?

How would you describe it?

MR.

KITE: I'd describe the weather as cool.

[LAUGHTER]

PEE-WEE HERMAN: See you Later, Mr.

Kite.

[END PLAYBACK] [THEME MUSIC]

CHARLIE BENNETT: You are listening to WREK Atlanta, and this is Lost in the Stacks, the Research Library Rock'n'Roll Radio Show.

I'm Charlie Bennett in a nostalgia bomb from listening to Pee-wee Herman.

No, I'm in the studio with the whole crew, Fred Rascoe, Alex McGee, Molly Givens, Cody Turner.

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 are here for, we hope you dig it.

ALEX MCGEE: Our show today is called.

There's an Archivist for That?

CHARLIE BENNETT: What?

ALEX MCGEE: I know, right?

[LAUGHTER] It's our latest installment in our occasional series that highlights archivists doing work where you may not expect to find them.

CHARLIE BENNETT: I'm laughing and enjoying it.

But also, I think we need to do some kind of accounting of how many archivist shows we've done this year because I feel like the number is going up and up and up and up.

FRED RASCOE: Yeah, we've done a lot, Charlie.

But this one today is pretty cool.

[LAUGHTER]

MARLEE GIVENS: It's certainly a new flavor of archives for the series.

ALEX MCGEE: That's right.

Today we are talking to our first film archivist.

CHARLIE BENNETT: Nice.

MARLEE GIVENS: And the range of films she has worked with is quite varied, but we're going to highlight two of the biggest collections in size and scope today.

FRED RASCOE: Our songs today are about film preservation, about the subjects of film preservation, to be described by our guest.

Film and video archivists are doing important work to make sure that those formats have a life beyond their initial use as disposable entertainment.

CHARLIE BENNETT: Easy there.

FRED RASCOE: So let's start with a song about the importance of moving images.

This is "Video Life" by Chris Spedding right here on Lost in the Stacks.

[CHRIS SPEDDING, "VIDEO LIFE"] [MUSIC PLAYING]

MARLEE GIVENS: That was "Video Life" by Chris Spedding.

Our show today is called, There's an Archivist for That?

It's our latest show about meeting archivists in places you might not expect to find them.

FRED RASCOE: Our guest is Brittan Dunham, an archivist and filmmaker in Los Angeles, California.

She was the founding archive director at Parkwood Entertainment and archivist to Beyoncé Knowles-Carter, contributing to the visual albums Beyoncé and Lemonade to iterations of the Mrs.

Carter Show world tour, the On the Run tour, and Tour Film Formation world tour, and Homecoming.

[LAUGHTER]

CHARLIE BENNETT: Fred, are you all right?

ALEX MCGEE: The list kept going.

FRED RASCOE: That was a lot.

ALEX MCGEE Most recently, Brittan co-produced and managed the archive for Matt Wolf's Emmy-winning Pee-wee as Himself, which premiered at the 2025 Sundance Film Festival and is available now on HBO Max.

CHARLIE BENNETT: We started by asking Brittan about her journey to archives.

ALEX MCGEE: I want to know how you came to be an archivist.

When did you learn about archives and figure out that this was for you?

And then your particular flavor of moving image archiving, when did you discover that?

BRITTAN DUNHAM: I would say I came to it through movies, like a lot of us in the field.

Just a big movie buff as a kid.

And by college I was gigging in production wherever I could.

I'm from Texas, so I was working in local independent film production in Texas and TV, PAing and whatever.

And then I became an AC on really micro-budget independent films.

But I was working with this great cinematographer and professor of cinematography, David Pinkston, who shot on 35 still.

And it was my first most-- we were shooting digital even though it was the early 2000s.

But this was my first experience working with 35 and loading magazines and getting to touch the film.

And I became obsessed with it.

At the same time, I was working at a film festival, the AFI Dallas Film Festival.

I was helping to program repertory series.

And so I started calling film archives to try to get prints for the repertory series.

And I had no idea prior to that that film archives existed.

It had never crossed my mind that someone was preserving old movies that were on celluloid film.

That, coupled with me getting to touch film, I was like, I got to go to grad school and learn about this.

It was also 2008-2009.

Working in independent film and film festivals was not maybe the most-- let's just say grad school seemed like a viable option at that time.

So I went to NYU, and they have a moving image archiving and preservation program.

I just loved it.

All in, we were doing film handling.

I was projecting for the cinema studies classes.

So I was getting to touch film all the time.

They were still projecting 16 millimeter in the classrooms.

I interned at a bunch of archives, did some really great private archive collections that I worked on and processed.

And at the end of the program, we got to do a film restoration project.

And I worked with the artist Andrea Callard on her 1970s amateur art films that she shot around New York City.

And it was an amazing experience.

I really loved it, and I came out of that program and pretty much immediately started working on private archives.

FRED RASCOE: When you were working on film productions as a student for Andrea Callard and others, that seems like it was this 2008-2009 timeframe.

That seems like the time when things are starting to shift more heavily towards the digital rather than the film.

Were you working primarily with people who were intentionally using film?

Did you gravitate towards that tangible medium?

BRITTAN DUNHAM: Yeah, so at that point, I remember working on a film where we had a red camera, and it was a huge deal, which was this digital format in the mid-2000s that became really popular.

And it was like, oh, we're shooting on a red.

And it was this giant camera.

And I remember it being a really big deal.

So mostly, it was digital.

Yeah, I worked with this one DP who still shot film, and he was really the one that taught me how to handle it and how to load the camera.

He also gave me a film camera-- still camera, and I started shooting-- he was just like, go out and shoot stuff.

And just see what you can get on film.

And you only have one chance to get that good shot.

So he introduced me to film in that way, and that's when I became really interested in it.

And it really did contribute to my wanting to go to grad school and study film preservation.

ALEX MCGEE: I went to grad school a little bit later than you, but I didn't get as much exposure to digital materials.

And so I'm curious, when you were at NYU doing moving image studies, were you doing mostly celluloid film?

NYAP was very well-rounded.

We did film handling, repair, cleaning.

And I had a work study job in the film archive at NYU.

So I also was working as my job film handling and projecting film to.

So I did a lot of film work.

And then our end of the program film restoration projects we did with Bill Brand from BB Optics in New York.

And those were all, obviously, film.

But we also had video preservation classes.

I work with video in my career way more than I do with film.

And so, yeah, we learned video preservation, and we learned how to work on the decks and maintain them.

As for digital, it was interesting.

I was in school from 2009 to 2011.

And I would say in NYAP our digital preservation was still fairly theoretical.

We talked a lot about high-level theories and history of digital preservation and the real intricacies of open access and how digital preservation can help with access.

And I don't know that we got as much hands-on digital preservation experience.

We were certainly transferring videotapes and learning how to make digital preservation masters, access copies, and things like that.

We were doing it, but I don't think we were doing it yet in the way that somebody's studying it now would at all.

I came out of school and went right into a production environment as an archivist.

And it was really like my feet were to the fire.

I had to learn super quick about digital asset management and over the next eight years became-- that could have been a career path that I took that I didn't end up taking.

But I could have really gone into digital asset management because you really have to learn that in a production environment.

ALEX MCGEE Yeah.

BRITTAN DUNHAM: Yeah, I came out of school with the tiniest bit of knowledge and had a lot of learning to do.

FRED RASCOE: I imagine back then there was a lot of, well, digital preservation is making a digital scan of it.

And there we go.

It's digitally preserved.

BRITTAN DUNHAM: Yeah, Howard Besser was the head of our program, and he's just amazing in terms of his history with the earliest iterations of the internet and digital preservation.

But he's such a genius.

And he's so-- he has such this deep, deep wealth of historical knowledge of coming into digital preservation that we were-- I am grateful that I got all of that downloaded into me.

I learned so much that informed the way I think about digital preservation and more than anything about access.

But in terms of what I was going to do at work every day to manage petabytes worth of files, that I had to learn on the job for sure.

ALEX MCGEE This is Lost in the Stacks, and we'll be back to find out more about our guest, Brittan Dunham and her work with film archives after a music set.

File this set under PN1993.4.H3.

[DRUM MUSIC] [EXPLODED VIEW, "NO MORE PARTIES IN THE ATTIC"]

CHARLIE BENNETT: That was "No More Parties in the Attic" by Exploded View.

And before that, "Movie Loves a Screen" by April Smith and The Great Picture Show.

Those were songs about finding old stashes of film and the meaningful ways to enjoy them.

[THEME MUSIC] This is Lost in the Stacks.

Today's episode is another installment of our occasional series, There's an Archivist for That?

ALEX MCGEE: I really like how we all put our emphasis differently on it.

CHARLIE BENNETT: Got to find the perfect way.

ALEX MCGEE: Yeah.

We are talking all things film archives with Brittan Dunham, a filmmaker and archivist based in Los Angeles.

To begin this segment, I asked Brittan to tell us about how she came to work for the one and only Beyoncé as an archivist.

BRITTAN DUNHAM: OK.

So coming out of grad school, I was consulting.

I was a member of the Association of Moving Image Archivists.

I knew, by that point, s lot of people in the AMIA world.

And so Parkwood Entertainment, Beyoncé's company, was working on a documentary about Beyoncé called Life is But a Dream for HBO.

And they were encountering many roadblocks in managing her archival assets, namely that they had been stored on very old hard drives.

Or some of them were on legacy formats, and they were scattered about.

Not scattered, they were all in one place, but they were not organized in any way that anything could be easily found.

And then, also there was the big question of how do we manage these once we get through production?

One of her producers asked the Library of Congress, asked around with friends at the Library of Congress for someone they thought would be good.

And someone who knew me and knew that I had a production background suggested me.

And it was as simple as that, and I started working.

And it turned out to be quite a good fit.

I had the right kind of production experience, and I think I had what they needed in terms of archive.

And I had worked with people, not at her level, I would say.

But I had worked with celebrities before.

It was a comfortable fit.

It was good.

Also, half the staff and herself were from Texas.

We all gelled.

So I just dove right in.

Here's a room full of hard drives, and you got to figure out what to do with them.

And so I started with what was in the documentary or what was going into the documentary and just started getting things as secure as I could first.

They had a lot of security measures in place, but there has to be a plan around how to use them.

So that was the big part of my coming in at first, and then just getting things organized.

My job really grew from there to now we want to be able to search the archive.

So we needed an asset management system.

And that became a large part of what I was doing.

And then there's other assets at other locations being managed by other entities.

But they're not owned by those entities.

They're owned by her, so how do we get those and add those?

And then we're going on tour, and we're going to shoot in 8k at a million different venues all over the world.

And what are we going to do with all those files?

So then it became a media management job.

Definitely the best and most interesting and fun part of the job for me was that she has such a massive archive that she is able to use it as a stock footage library.

So for her, music videos and films and documentaries and online content.

And also for her screen content on tour, which changes every couple shows, they go back to the archive and find footage of clouds, footage of her as a child, footage of Paris in 2015, whatever.

There's everything you could ever imagine, because someone's had a camera around her for most of her life, in her archive.

So we would get to do the really creative work.

And we had a really-- at that time, it was a very small staff of people.

So it was all hands on deck for everything that we were creating.

So it was a very creative, inspiring part of the job, that we all would come together and go, ooh, what kind of footage do we have, and what can we do with it for this new thing we're making?

And I was there through her self-titled album, Beyoncé, Lemonade, and I think four tours, and Homecoming, her Coachella concert.

And yeah, it was really fun.

It was a really fun crash course in learning to use archival for storytelling.

FRED RASCOE: So you just casually mentioned, oh, yeah, Parkwood, Beyoncé's archive.

That is a name that just is weighed with so much cultural significance and celebrity.

And of course, you're coming at this as a professional, an archival professional.

Was there any trouble negotiating that?

Or was it overwhelming, thinking, well, I'm doing my archival practice, but then weighing that against the factor, the oh, my God factor, this is Beyoncé?

BRITTAN DUNHAM: I certainly had experiences that I think most people wouldn't have at work.

There were definitely pinch-me moments, for sure.

FRED RASCOE: Like what?

BRITTAN DUNHAM: Well, when her self-titled album, Beyoncé was released in 2013, it was a big secret, including to all of us.

There were like two people that knew.

It was like, OK.

Everybody's not going home tonight.

You're staying in the office.

No one can leave.

We're bringing in food.

And we're like, what?

FRED RASCOE: It's like state secrets.

BRITTAN DUNHAM: We all knew we were close to finishing the album, but that's how she does what she does.

It was really amazing.

And yeah, so we're in the top floor of this building in Midtown, and you can see the Empire State Building out the window.

And all these people from Sony and Columbia are coming over for some secret thing.

And then it turns out it's the watch of the album.

And we're all going to watch it, and then it's going to drop at midnight.

And it was just a surreal moment.

And there are a million moments like that when you're in that world.

But my day-to-day was not that.

My day-to-day was how do I recover this failed hard drive?

How do I get the sticky stuff off these negatives?

FRED RASCOE: Yeah.

BRITTAN DUNHAM: Even the creative part of the job, that was really, really thrilling for me and informed the direction that I wanted my career to go after that.

Even that was we're all sitting in a room together brainstorming and watching stuff and having a creative discussion about how we're going to use the archive.

It was exciting, but it was also, she was a normal person sitting in a room with her colleagues.

It was never like, oh, my God, Beyoncé's here at that point.

She would come to work in the office with her hair in a ponytail like a normal person.

And we would all work together.

So it was very fun, but it was not like-- it did feel like a fun job but a job.

ALEX MCGEE: I think you mentioned an interesting challenge for you as an archivist versus me.

I usually work with a lot of people where they're done with their career.

They're giving us stuff at the end.

And in this instance, you were working with someone who had a bunch of stuff already but then was actively creating every day they were on tour or when they were traveling or whatever.

So I just think that's such a specific challenge for you as an archivist in that role.

BRITTAN DUNHAM: Yeah, it was.

The DAM part of it and the media management part of it was really, really intense and difficult.

And the budget part of that-- and every single archivist in the world has this problem, I think, of trying to appeal to the powers that be for a budget that covers the expenses for you to be able to do your job and manage your collections.

And this was no different.

It was like, well, we have the archivist.

It's fine.

It's going to the archive.

But it's really, really difficult to maintain an archive of that size with new media coming in all the time and just the sheer manpower needed and money needed.

But I was able to hire some staff.

And so Samantha Losben and Samantha Oddi, they still run the archive to this day.

But they came on as a cataloger and assistant archivist.

And they really helped me get through the big hump to make the archive usable and sustainable, so that when I left they could keep it going.

MARLEE GIVENS: You are listening to Lost in the Stacks, and we'll hear more from Brittan on the left side of the hour do.

[THEME MUSIC] [MUSIC PLAYING]

WENDY HAGENMAIER: Hi, I'm Wendy Hagenmaier, and I'm passionate about digital archives, emulation, and how research and memory organizations can step even more into their collective power.

I'm also a Lost in the Stacks alum and forever fan.

Speaking of which, you are listening to Lost in the Stacks on WREK Atlanta.

[MUSIC PLAYING] ALEX MCGEE Today's show is called, There's an Archivist for That?

Our guest, Brittan Dunham, has worked with multiple celebrity archives in her career.

But Marlee wanted to know about something else.

MARLEE GIVENS: It's exciting to hear about celebrities and working with celebrities, but I was wondering if you had a favorite project that didn't involve a celebrity, just something quieter that really brought you a lot of fulfillment.

BRITTAN DUNHAM: In grad school, I really loved working on amateur filmmaker collections.

Andrea Callard is the big one because I did the restoration of her films.

I worked on some that were amateur filmmakers in the 1930s.

And his granddaughter had a box of his old films.

And did a few of those.

You see the talent in people that no one ever heard of.

The summer between my two years of grad school, I worked at the University of Hawaii, West Oahu, on their Center for Labor Education and Research collection.

It was about the labor history of Hawaii, oral histories and archival footage.

It was a fascinating collection.

They were in the process of building the big archive that's there now.

And [INAUDIBLE] the archive.

I learned so much there because we didn't have access to a lot of things that were on the mainland that were too expensive for this little department of this university to get.

We couldn't repair our U-matic deck, so I learned how to repair a U-matic deck and just figured it out on the phone with somebody at NYU that I knew who knew how to repair decks.

And that's a skill I have.

Every project has been like that, where I feel like I get to become an expert momentarily in whatever this collection is that I'm working on.

And I get to learn about a new thing that I didn't know about before.

And I get to learn a new skill.

MARLEE GIVENS: File this set under ML3930.K66G67, which is the call number of a Beyoncé biography.

CHARLIE BENNETT: Wait.

MARLEE GIVENS: I know that WREK doesn't normally play super popular artists like Beyoncé, but--

CHARLIE BENNETT: Wait.

MARLEE GIVENS: But today's episode really feels like a "get out of jail free" card on format breaking.

CHARLIE BENNETT: OK.

[BEYONCÉ, "XO"] (SINGING) Your Love is bright as ever, ever, ever.

[BEYONCÉ, "BEFORE I LET GO"] (SINGING) Before I let go Before I let go

MARLEE GIVENS: "Before I Let Go" by Beyoncé, and before that "XO" by Beyoncé.

Songs from Beyoncé projects for which our guest, Brittan Dunham provided film archivist assistance.

[THEME MUSIC]

ALEX MCGEE: This is Lost in the Stacks, and our show today is the next installment in a new series that we started earlier this year called There's an Archivist for That?

CHARLIE BENNETT: We're speaking with Brittan Dunham, a filmmaker and archivist based in Los Angeles.

In this segment, we talked about her experience working with Paul Reubens on his personal archive for the documentary Pee-wee as Himself.

ALEX MCGEE: This was a project that you worked with Matt Wolf on.

And honestly, I am very fascinated about this because how much-- obviously, he had his own archive, and it was film.

In the documentary you see film from when he was a kid with his family up through Pee-wee as we know him before he passed away.

And so I'm just curious.

How did you get brought into that project?

You mentioned that working with Beyoncé and the creative aspect gave you a direction for your career.

So what made you-- how did you get to this next step?

BRITTAN DUNHAM: When I left Parkwood, I pivoted into documentary development on archival documentaries.

I worked on several.

It was a kind of easy pivot into music documentaries because people in the music world kind of knew me at that point.

I got really into development.

I liked that part of it, finding the archive, going through the archive, finding the story in it, finding the characters, doing all the research, writing out-- I still love development.

It's really fun.

It's the most fun kind of research, I think.

I had done several films by the time I was approached for Pee-wee.

And originally, I was approached as an archivist, just like Paul has a massive archive.

We don't even know where to start.

Can you come in and start working on it.

So I started working in Paul's house and getting to know Paul.

And he did have a very massive archive.

I think at the end of the film there's a shot of the warehouse.

But all of that was in his house or in other places at that time.

So we were just trying to wrap our heads around it.

It was really amazing working with Paul because he is an archivist, an untrained archivist, but an archivist of his life.

And he saved everything that he ever liked or did or saw, or everything.

He also had all these amazing memories and stories.

And so everything that we looked at, he had a story for.

And so through the process of going through his archive with him, I learned about him.

And it would inform Matt.

And Matt would know what to ask him about.

And we would have this lovely discovery period of who Paul was.

Getting to know his personality through that also helped to inform aesthetic choices in the film later.

And I think my role in the film became much, much deeper through that process of getting to know Paul.

Paul and I got pretty close, and I got close with Alison, who's in the film, who is his assistant for a long time.

And she and I are still very close.

Yeah, my relationship with Paul through that was totally born out of the process of going through his archive, became a big part of what the film became.

I think he had 1,200 maybe-ish VHS tapes-- or not just VHS, 1,200 or so tapes.

And we went through all of them.

And I think we landed on about 700 total that we ended up digitizing.

I did a lot of it here in my own little studio.

And we also outsourced some things, like his home movies and some film elements that we found.

It was many years.

It was four years in total.

Paul passed away in the middle of that.

And then I continued to work with Alison to just go through every single closet, every drawer, everything.

And it was incredible.

I've worked on a lot of archives of people who are at the ends of their careers as well.

And I've never known anyone who was as good at keeping things as Paul and documenting things.

ALEX MCGEE: Do you know, is there any plan for what will happen to the archive of his life?

Are they considering donating it or anything to a repository?

BRITTAN DUNHAM: There's so much that I don't think it will make sense for it all to go to one place.

It's all still up for discussion.

It's still all still in progress.

Pee-wee bike just went to the Academy Museum.

I'm sure there will be plans for the Pee-wee stuff.

All of his other various collections-- there's many, many different types-- those things will probably go to various different places.

His moving image archive, I don't know yet.

But there's many, many plans, various different plans for all of those things.

FRED RASCOE: You mentioned how as the process working with the director and working with Paul went on you got deeper into it, got more involved, more integrated into it.

Is there a moment in the finished documentary that stands out to you, where you see it and you think, well, that is a really great example of how I contributed to this?

BRITTAN DUNHAM: Yeah, it took me some distance.

At Sundance when we premiered, I saw a couple of things where I was like, wow!

Oh, that was me.

And then a few months later, having some space from it at the premiere, I was able to really fully-- it actually made me very emotional.

I was really, really fully taken the moments that I knew were me.

And yeah, I think a couple that I can point to are the very beginning of part one, Paul is talking about his earliest memories of his childhood.

I had the idea to use Len Lye's mid-century experimental animation as an overlay over his family home movies of him as a little child, and then things that he mentions like Howdy Doody and things like that.

And also, we pulled some Americana footage from NARA and the use of all of those things to root you in the time and space of the '50s, early '60s, and also to give the whimsy of Paul's personality through that animated overlay.

That was something that I talked to Paul about early on because I had this idea and that he really liked and I felt like is really impressionistic and makes an impact.

And then we ended up using the animation again at the end as a sign-off as well.

And so that was me.

And then there was another section after he's arrested in 1991, where we had a hard time with coverage.

We don't know how to show this in a way that is nuanced and not just tabloid headlines.

And so I and also Vanessa Martino, who is an associate editor on the film, I was like, we have to go back to the archive.

We have to go back to his personal footage, even if it's not literal.

It needs to feel like you are with him and in his mind.

And so she and I, we pored through, we dug through the archival, every second that we could find.

And it ended up quite cool.

We-- [CHEERING SOUND EFFECT] --put together this string-out of all these little moments of him.

He's in a phone booth on the side of the road.

He's filming out the window.

He's in an airplane bathroom, and you get a glimpse of his face in the mirror, these frenetic moments that could be cut together quickly to make you feel the panic and the moment that he's having emotionally.

And then we also found some moments of calm, where it's just him with his beard and his long hair.

He doesn't look like Pee-wee, but it's in the right time period.

And one of my very favorite moments is he found this baby bunny stranded on his property, and he's rehabbing the baby bunny and saving it.

And he's holding it, and he's just giving it little pets and kisses.

And it's a longer tape, but that little moment of that's who Paul is, that's who he was.

So I'm really proud of that.

I'm really proud that we took the time to-- we had watched his home videos 1,000 times at that point and couldn't see anything new.

But we were like, we have to figure out this section, and we have to make it about Paul and from his point of view.

And I think it turned out really nice.

MARLEE GIVENS: Our interview today was with Brittan Dunham, a filmmaker and archivist based in Los Angeles.

FRED RASCOE: File this set under VBL5643.

[OINGO BOINGO, "PRIVATE LIFE"] [PEGGY LEE, "FEVER"] (SINGING) What a lovely way to burn FRED RASCOE: "Fever" by Peggy Lee, and before that, "Private Life" by Oingo Boingo, songs about bringing the private to the public by artist Paul Reubens loved and incorporated into his art.

[THEME MUSIC]

CHARLIE BENNETT: Today's show was called There's an Archivist for That, and we spoke with Brittan Dunham about her work as an-- I can hear you all giggling.

[LAUGHTER] I just wanted to make it maybe kind of cool.

[SCREAM] CHARLIE BENNETT: Gotcha.

So I want to ask, whose personal archive would you all like to work with in the way that Brittan got to work with these big celebrity archives?

For me, I got three that are all equal weight.

MARLEE GIVENS: Three?

CHARLIE BENNETT: Brian Eno, Paul Auster, or PJ Harvey, I would be down for any of those.

How about you, Fred.

FRED RASCOE: Well, this is a recency bias because I just finished reading a Yoko Ono biography.

So I think a Yoko Ono archive would be pretty cool.

Marlee?

MARLEE GIVENS: Julia Child.

Cody?

CODY TURNER: Lorne Michaels?

MARLEE GIVENS: Oh.

CODY TURNER: Alex choice.

ALEX MCGEE: I got children's shows on the brain, so I'm going to go with Ms.

Rachel.

That's what Teddy and I are deep in right now.

MARLEE GIVENS: Oh.

CHARLIE BENNETT: All right.

I love those.

I think we should all think on those people as we 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 room full of hard drives were provided by the Burrus Intellectual Property Law Group in Atlanta, Georgia.

Special thanks to Brittan for chatting with us and being really cool.

[SCREAM] To Conky, Chairry, Pterri, Globy, and Jambi for the Playhouse whimsy I still need in my life today, clearly.

And thanks, as always, to each and every one of you for listening.

FRED RASCOE: Our web page is library.gatech.e du/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.

ALEX MCGEE: Next week we're talking about imposter syndrome, even if maybe we're not qualified to talk about it.

[LAUGHTER]

FRED RASCOE: Time for our last song today.

I don't think we can end a show where we talk about Pee-wee Herman without playing the track that is arguably the most associated with him.

CHARLIE BENNETT: Hey.

FRED RASCOE: This instrumental track was first released in 1958 and was an immediate hit and continued to get airplay for the next 20 some years.

But in 1985, when the movie Pee-wee's Big Adventure was released, Pee-wee practically claimed this song as his own.

CHARLIE BENNETT: With some big shoes.

FRED RASCOE: This is "Tequila" by The Champs right here on Lost in the Stacks.

We're all doing the Pee-wee dance now because we're-- well--

ALEX MCGEE: Say it.

FRED RASCOE: We're cool.

[SCREAM] [THE CHAMPS, "TEQUILA"]