What is the one thing that you most want the audience to remember about the project? We wanted to do work with both rigor and care for the people who shared with us, and I hope that this community of professionals finds value there-and also lets me know what they think. I won’t say “fellow” here because I am just an amateur playing at the form, but I hope that oral historians are interested in the podcast because of the richness of information that I think is part of all of our interviews, and because the team really worked hard to get it right. “Writing conveys a level of factual information and words, but oral histories contain emotion and texture.” Why will fellow oral historians be interested in your project? I think many times, the information encoded there is more useful in understanding the past than information you get from writing or even images. I’m interested in why they talk, and in tone and the relationship between them and an interviewer. I’m also just interested in how people talk. Writing conveys a level of factual information and words, but oral histories contain emotion and texture. In my opinion, oral history carries so much information that other mediums cannot. What do you like about using oral history as a methodology? We created a systemic interviewing process that we hoped would be sensitive to traumatic experience, and in the making of the podcast joined those interviews with contemporaneous news footage from Katrina and historical archives to help create the sense that the listener is always inside the moment being described. Our goal was not to replicate those works nor to reinvent the wheel, but to credit them and draw inspiration from them as north stars for our methods. Some of the archives and projects that meant the most to us in our research, such as the Neighborhood Story Project, the House of Dance and Feathers, and the Lower Ninth Ward Living Museum are all based on a bed of rigorous and rich oral histories. Floodlines is available online wherever you get your podcasts.