AM Show Hr 3 | Faces of Justice, Fleebag Fallout & Football NIL Fumbles

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Episode Transcript

Speaker 1 (00:04):
It's that time time, time, luck and load.

Speaker 2 (00:11):
So Michael vari show is on the air.

Speaker 3 (00:23):
I read a post by fellow named mikein Netter that
I follow, and he said, Lois Gibson holds the world
record for the most identifications made by a forensic artist.
Since joining the Houston Police Department in nineteen eighty nine,
her detailed sketches became a powerful tool for solving crimes.
By twenty twelve, her work had contributed to cracking one

(00:46):
two hundred and sixty six cases. She would work another
nine years, so who knows how many. Gibson officially retired
in twenty twenty one, leaving behind a legendary legacy as
the most accomplished and prolific forensic sketch artist in history.
Lois became a sketch artist after surviving an attacked by
someone later found to be a serial rapist and murder.

(01:09):
She took her pain and trauma and made it into
something to help others. We should all hope to be
the type of person who could turn trauma into power.
So I read this, I started calling cupo that I
knew and they would say, oh, yeah, Lois Gibson, She's
a legend. Called assistant district attorneys over the legend. So
one of them said, call your buddy ray Hunt.

Speaker 2 (01:30):
He'll know her.

Speaker 3 (01:31):
So I did and he did, and it really is
an amazing story, an absolutely amazing story. And she's our guest.
Leis welcome to the program.

Speaker 1 (01:42):
Oh hey, Michael, I'll try to be nice to you.

Speaker 2 (01:45):
Oh please, I don't know what the alternative would be.

Speaker 1 (01:49):
Well, I'm really strong and I'm persuasive on the phone.

Speaker 2 (01:53):
So whatever, Oh my goodness.

Speaker 1 (01:55):
Anyway, it's great to be here.

Speaker 3 (01:56):
Roll y'all might have to give us an you are
a legend. First, I want to talk about how you
got into this. A horrible thing happened to you, and
you took that trauma and turned it. Tell us, however
comfortable you are talking about what happened.

Speaker 1 (02:13):
Oh, I have no problem.

Speaker 4 (02:15):
It was.

Speaker 1 (02:18):
Fifty years ago. I was twenty years old. I was
a dancer on TV and I modeled and dayd movie
stars or wherever and way before I got attacked, I
decided I wanted to leave LA because well, is it
ever shallow? Ooh? And the dating is terrible? And then
a man attacked me in my apartment. He got in
by a rouse You know, Oh, criminals don't lie. No,

(02:40):
after working forty years on crime, I know they lie.
So he goes, I live in the building here, and
I want to why don't we just get acquainted. He
was outside my door, and I was very secure building.
It was near UCLA of professors and dentists lived there,
and so I thought okay, and I opened the door
and immediately snapped my head almost off of my thought.
So he was into choking and then he just choked me.

(03:04):
Now it was about twenty five minutes, but you lose
track of time when you're dying. And then he allowed
me to come too. He blacked me out, choking really
well while he's attacking me, while he's committing the quote
unquote assault. So he's choking me out. Four times I
blacked out, and the fourth time I came to the

(03:26):
way I saved myself is I laughed at him. This
true story. It just came to me after I went
to a seminar and I saw a woman who was
successfully hung to death. It was a post mortem a slideshow.
Now I'm going back to now two years ago, I
saw a girl who successfully had hung herself to death.
So that's what I looked like in the mirror, but

(03:48):
I blacked it out back to when I'm getting attacked.
The fourth time I came to I was positive I
was going to die. Trust me, so weak, so very weak,
after being strangled, and he's just strangling and having fun strangling.
So then I thought, you a good girl, because this
is it, this is my eternal perspective. How am I
going to be? And I thought, yeah, I couldn't think

(04:09):
of anything bad I'd done. I was a little goody
goody girl. Then for the first time, while I was
being choked to death, trust me, you'll close your eyes.
You will close your eyes. So I thought, okay, I
don't know why. I thought, I'll open my eyes. And
when I opened my eyes, it was the most terrific,
horrible person that I will not try to describe. But

(04:29):
I knew that the lowest place, the worst place in hell,
this man was going to go. And I immediately the
number one the only feeling I had was sympathy and
compassion because he was so bad. So I thought of
him like my brother and I thought, oh, he's terrible.

(04:49):
And then when I thought back to me, it made
me laugh. And if you're dying, you will laugh. So
I threw my head back well, I opened my mouth.
I gasped for breath. I came to and I I
got him to finish. I got him to go limp.
I got him to exhaust himself. So he went limp,
and then we both ran for the door. I was
living in an ice apartment. We ran for the door.

(05:11):
He got there first. I was real weak. He pushed
me back and closed the door, and I locked all
the locks. And then I went and saw myself as
a hung woman. Now he I forgave. Do you understand
I forgave the man that was killing me while he
was killing me. That's the only way you can think

(05:31):
of it, because the first and only thing I thought
was I felt sorry for him. Isiah took him and
as a brother. Then flashboard, I left La. I had
already saved money. I rode out and I moved to
Texas by picking it out on a map I had drawn.
After I turned around seven times, five out of times,
my finger landed on Texas, and so I drove there

(05:54):
with no friends, no job. It just made it work.
Got my degree. That's why I came back and I
started at ut Arlington back in anyway, it took me
eight years to get through college. I waited tables. I
love waiting tables. I made a fortune in today's dollars.
I was making two to three thousand, well, that was

(06:15):
doing portraits on the Riverwalk. I'm sorry, one to two
thousand waiting tables. And then I stuffed the memory down
of being nearly killed. But when I got to Texas,
eventually I graduated from UT Austin and went to the
Riverwalk in San Antonio and did tourist portraits, which is

(06:37):
the most beautiful time of my life. I just sat
there and took cash from people. That's when I was
making around three thousand a night, and I did beautiful
fine art portraits of kids and people on honeymoons. And
after I was doing that, I did about three thousand
portraits so I could draw like a fish swims and

(07:00):
I drew so good. And then I fell in love
with the guy that I drew and moved to Houston.
And then I heard the news and I couldn't listen
to the news. And then the way I saw what
I was going to do is I was at my
girlfriend Diane's house on hewittt At forty third and they

(07:24):
came on the TV talking about a terrible rape of
a lady in Galveston. She was a dance instructor in
front of her little students, who were like children, twelve
eleven year old little girls. And I was so shocked.
I stood up. I never listened to the news because
I couldn't stand a here the R word. I can't

(07:45):
say rape. So they said that, and I went to
turn the TV off, and I relived my attack, and
I told Diane, I said, I could draw that guy.
Why don't they let me draw the guy? All they
do is say five for ten brown here, brown eyes.
I'm going that's everybody, yes, And then she goes, we'll

(08:07):
just call the cops, and I said no, I got
a practice hold on just a moment.

Speaker 3 (08:13):
The most prolific sketch artist in American history solved more
cases than anyone, well over one thousand.

Speaker 2 (08:20):
Lois Gibson is our guests. More coming up, mister Michael
Berry taken from us far too soon.

Speaker 3 (08:33):
I said, Grandpa wants this picture here. It's all black
and why and it ain't real clean?

Speaker 1 (08:41):
Is that you there?

Speaker 2 (08:43):
He said, yeah?

Speaker 3 (08:45):
I was celebrated sketch artist Lois Gibson with the time
Houston Police Department for decades, well over a thousand cases
solved because of her sketches you'll see.

Speaker 2 (08:56):
On the Blast today.

Speaker 3 (08:57):
You can go to Michael Berryshow dot com and sign
up for the Black and you'll see some of the
here's the bad guy and here's the sketch she drew
that led to his apprehension. It's pretty darn impressive to
think from memory how these things were conveyed to her,
and then she made it happen just before we get
into the actual cases.

Speaker 2 (09:16):
You didn't, I.

Speaker 3 (09:18):
Guess you glossed over. How did you know how to draw?
I mean, if you were able to draw those portraits
of tourists, where did you learn that skill?

Speaker 1 (09:29):
Oh? No, no, no, I was born with it. People
some people are just born and they haven't urged to
just draw faces. And that was me. So anyway, when
I was with Diane, I sent her to the gas station.
She got changed, and she came back. I couldn't see
the guy, and it seemed impossible. In fact, I tried
to quit, and she would push me around and I
finished drawing from her description, and then she said it

(09:51):
looks like him, and I broke down. We drove to
the gas station and it looked exactly like him. I
taught myself how to do it by just having someone
look at somebody hadn't seen before. I'm coming back and
I can't see them, and I offer people to do
that exercise themself. I have instructions on my Facebook page
and on my Lowest Gibson dot com, and I can

(10:13):
teach you how to do this. But back to yes,
the first time I did it. But then here's the
hard part. I needed to convince the police. Nobody uses
forensic artists. In fact that you know, the entire country
has only two states that have forensic artists, and there's
just one in Georgia who does the entire state. She
took my class, Kelly Lawson. She's better than me. A

(10:37):
love her, She's like my daughter. And then I have
started four artists here in Texas. The rest of the
country has none because everybody does not believe I can
do what I can do. But yes, even a semi
talented artist can draw a face that's going to resemble
the perpetrator for someone's memory. I'm positive, but I need

(10:59):
to come people. I wrote a book, Forensic Forensic Art Essentials.
You can get it on Amazon. I have it on
my Facebook and I suffered greatly for two years that thing.
Will give it to you. I made that book to
teach you, if you're out there and you can draw,
how to be a forensic artist for after I pass
away and go to the big drawing board in the sky.

Speaker 3 (11:22):
Well, let's talk about that. So you didn't have official
training in that. Let's talk about in case Paul Baker,
who's my private investigator and dear friend, when his brother
was robbed and shot. He said, Lois Gibson came to
the hotel in the hotel of the hospital and drew
the assailant the purp. When you go in, when you're

(11:43):
brought in to begin drawing a sketch, walk me through
how that process works.

Speaker 1 (11:49):
Well, it's really easy, and I have it describing my book.
But I'm going to tell you in sixty seconds how
you do it. If you're one of these weirdo artists
like me. There is a book called the Steinberg Catalog.
The whole the world uses it, and it has pictures
of eyes, lips, noses, et cetera. Right, wouldn't that be good?
And you can't even if you can't even talk. I
have people who can't talk. A four year old Jesus

(12:10):
parents killed. Anyway, the witness looks and picks out. You
get two books. So you have a book and they say,
that's the nose, that's the lips, and there's about two
hundred per category. And that's what I've used for years,
helped to solve over one thousands. So you get that
book and they say, it's those eyes. You draw those eyes,
these nose, draw that nose, et cetera. And you do

(12:31):
it where they're not looking. You compose it in good proportion,
and then you say, hey, I'll change anything you want.
And then you turn it around and do that. You
change anything you want, and that's how you do it.

Speaker 3 (12:43):
So put yourself into the mindset of all these people
who had to convey something to you, and you're you're
like a medium. You know, you're the vessel through which
their memory has to has to come to life. What
are the shortcomings of rememory? Because I think to myself,
I look across the glass ramone every day. If I
sat down with you right now and we had to
draw him other than him being bald, I don't really

(13:05):
know that I could figure. I don't know what his
nose looks like, or his chin or whatever else.

Speaker 1 (13:09):
Oh my gosh, I'm sure Ramona is just adorable and gorgeous.
But listen, you say what everybody else says. Everybody says
they can't do it, but they're wrong. I'm right, Yes
you can. I've got people that were shot fifteen times.
I've got people and walked to football fields and nearly
blood to death. And I got a sketch that got
the guy. I had a four year old so parent

(13:29):
slashed death. I did one six years later from a
girl who couldn't speak and only blink for you. So
to now, no, no, no, false, Your belief is false.
If you got with me. First of all, I know
how to relax people really good. I know how to
make you feel better better because you feel terrible. And
then if you relax enough, you can remember your third

(13:50):
grade school teacher, or your first kiss. What did that
person look like? It's in there? And then if I
have a feature catalog Samantha Steinberg's feature catalog, if I
give you that, you will recognize features that are similar.
I'm positive I have proof. But everybody believes like you

(14:11):
and that's why no police department in the whole country
almost has a forensic artist, and they should all have them.
They should all am positive. Of course, you think you're
talking from the the fronnelobe. You're talking about speech, and oh,
I don't know, But the visual cortex is in the
back of your brain. And if I show you pictures

(14:32):
of noses and lips, instantly you recognize something that's similar.

Speaker 2 (14:37):
Do you think that.

Speaker 3 (14:39):
In a moment of trauma, a rape, of beating, an assault,
these awful things that your mind locks in with greater
acuity than you would normally.

Speaker 1 (14:52):
Finally, you're right about witness memory. Correct. The worse the trauma,
the better the sketch. If you know how to handle someone,
have to be a bag and wonderful because you're gonna
meet with somebody that the worst thing in the news
just happened to them. So yeah, you just have to
get them relaxed. And there's so many techniques. I describe

(15:13):
them in my book Forensic Art Essentials. You take the
task away first of all, Like with you, I'd say, oh,
we don't have to draw a detailed no, no, no,
now we just have to draw the hair. Everybody remembers hair,
and you get them relax and like, was it a
man or a woman? Where Mon's a man? Okay, we've
gotten rid of half the population of the world. It's

(15:35):
a man anyway. You just narrow it down, get the
person relaxed, and show them pictures and they will It
will reach their visual cortex, which is very vivid. I've
done this from mentally disabled people. They could drive a
car but not do masks. I've done it from a
four year old who saws parents slash ship and you

(15:57):
listens Kansas and you just use the book. The four
year old he only spoke Spanish. I mean, could I
know have more handicapped.

Speaker 2 (16:05):
Right this one moment.

Speaker 3 (16:08):
Lois Gibson, sketch artist Extraordinaries our guests, just.

Speaker 1 (16:16):
In here listening my very.

Speaker 2 (16:22):
Lois Gibson as our guest.

Speaker 3 (16:24):
She was the sketch artist for Houston Police Department for decades,
with a listing in the Guinness Book of World Records
for most crimes solved because of her sketches. Lois looking
at the sketches for some of the cases where the
guy was found. It feels like you're literally looking at

(16:46):
this photo and then drawing it because it is that good.
And again, part of your skill, as you said, is
not just drawings what's conveyed to you, but getting that
person to give you enough specificity to get this thing
down on paper. But tell me if there is one
case of yours that you are most proud of that

(17:09):
you say we nailed it well.

Speaker 1 (17:14):
Officer Paul Deeson was on patrol and a guy got out,
shot him in the head, shot him in the back,
and then as he lay on the ground, and shooter
got in the car in renove and drug him sixty
five feet so he almost died. But I went to
the hospital just a little bit later and he was
all wrapped up in gauze and he doesn't remember doing
this sketch with me that I whispered in his ear.

(17:37):
I knew I was just going to be a voice,
and I tried to just sound wonderful, and I got
a sketch from him and they released it. Two guys
at the jail thought he looked like the sketch looked
like a guy that was arrested for shoplifting a chainsaw
from sears. Donald Dunn was shoplifted a chainsaw and got

(18:00):
caught for that and the guys at the jail said
that looks like the sketch, and they had a video
lineup and Paul these officers hospital and then he picked
him out. And then they went to the scene and
found the car that the show was in and this
is a Paul skin and uniform were hanging from the
edder carriage. So that was him. Now we nailed it.
I got him. I reached out for a helpless officer

(18:23):
who got killed, but he didn't die. He's the toughest guy.
I love this guy just because he's tough. But yeah,
I love that I reached out for a helpless.

Speaker 2 (18:33):
Officer absolutely so.

Speaker 3 (18:34):
I got an email from a fellow Tony who writes
Lois is awesome. I worked with her at HPD back
in one I took one of her sketches from the
roll call room at Westside and made it my mission
to find the Inwood rapist. While on patrol, I observed
a blackmail and a brown Oldsmobile driving east on Briar Forrest,
turning north onto Lake Side of States. The driver was

(18:56):
not wearing his seat belt, and after running his plates,
I found that the registration was expired. He pulled into
the car wash Greg Bingham's car wash and I pulled
in behind him conducting a traffic stop. I contacted Homicide
Sex Crimes took who agreed to accept a hold on
the suspect, so I arrested him on New traffic. When
they interviewed him, he confessed to his crime, to this

(19:16):
crime and ate others. It would not have been possible
to catch him so quickly if not for Lois Gibson.

Speaker 2 (19:22):
She is a hero. That's gotta be nice for people
to see.

Speaker 4 (19:26):
Oh love.

Speaker 1 (19:29):
And then Tony, why didn't you tell me all that
that's wonderful. There's over a thousand stories. It's beautiful. It's beautiful.
That's why I live for. That's why I put up
with the grief. And I don't go insane with rage
and grief because I have to look at this horrible stuff.
But I get a chance to get the bad guy.

Speaker 4 (19:49):
I love that.

Speaker 1 (19:50):
I love that, Tony.

Speaker 3 (19:52):
Well, you know the presence of forensic files and Dateline
and all these television shows and catching the bad guy.

Speaker 2 (20:01):
To get to.

Speaker 3 (20:02):
Do that in that way, I would have to think
it's so rewarding.

Speaker 1 (20:09):
Oh yeah, I got no everybody's trains. I'm weak, I'm
over emotional you can tell, but I use those emotions
in my art and to catch somebody. It's so beautiful.
It's a beautiful symbiosis of you feel so sorry for
the person that's been nearly killed, and that emotion makes
you draw faster and better. Wow, I mean it enhances.

(20:33):
And then if it's a baby kidnapping. There was a
ten hour old baby kidnapped and I got with the
mother and that thing looked like a photograph and I
couldn't go to sleep. I said, I can't. After I
got home from the hospital and I said, I can't
go to sleep with that baby out there ten hours. Oh,
and they came on and Dave Ward was gone. They
got the baby bag and I saw them with the

(20:55):
baby and the girlfriend the kidnapper called up and they
got her instantly. So, oh no, there's no fulfillment for
an artist that compares to this.

Speaker 2 (21:08):
I can't imagine.

Speaker 3 (21:09):
I mean, I can't imagine how rewarding that, how many people,
how few people get this opportunity in the course of
their life. I can also imagine the trauma that you endure,
because we know that just like being a medic or
in a Raq or Afghanistan, or just like serving in
Iraq or Afghanistan or Vietnam, you deal with that trauma

(21:30):
as well. I'm looking at a photo that's on your website,
and there you make reference to age progression.

Speaker 2 (21:38):
So when we've got somebody that.

Speaker 3 (21:40):
We maybe we even have a photo of and we
have to you have to do age progression, how do
you process what you're going to do there?

Speaker 1 (21:49):
Oh that is so easy, and I covered in the book.
I mean I've done those since I was like a
little girl. They'd show Pat Sajak as a baby and
I go, oh, that's Pat Sajack. I mean, I do
it in my mind. So that's I'm the best at that.
I had one in two year old baby pictures and
they've been separated from the sister for thirty years. She'd

(22:11):
been looking for sixteen and I got her on Unsolved
Mysteries and they got her back that day and they
looked just like them. No, no, No, age progression is easy.
I love it. If you do my work, if you
do skulling constructions, and I have it in my book,
I have how to do edge progressions. It's real simple
if you're an artist. So I can look at babies

(22:32):
and I can tell who the mom and dad is,
and also I can tell how they'll look at like
as an adult. And I started doing that, and then
I had grand babies. I want to tell you my
grandbabies are going to be so good looking when they're older.

Speaker 3 (22:46):
And I'm betting there's going to be lots and lots
of drawings of them as they get older and grow
into those photos.

Speaker 1 (22:55):
Oh, I already painted the one to the baby before
she got hair. No, No, I'm obsessive portraits of my
of my grandbabies for sure.

Speaker 3 (23:04):
I think it is absolutely fantastic. It's it's incredible. I
think of all the victims who survived and their family
members and those who did not become victims of people
who were put away because of your work. It really
is incredible. Lois, a life well lived and incredible public service.
Thank you for being our guest, my dear. Our website

(23:27):
is Lois Gibson dot com, Lois Gibson dot.

Speaker 1 (23:38):
Well. Thank you, Michael Berry. There's no artists doing this.
I want to start as many careers just happening.

Speaker 2 (23:49):
Good, go ahead, you're good.

Speaker 1 (23:53):
A bet at the bureaucracy where you're at to try
to get you used okay, be a forensic artists.

Speaker 5 (24:04):
It strikes me as one of those things that as
big and bloated as major urban police departments are, or
if nothing else, the DPS doing it and sending it
in when they're needed.

Speaker 2 (24:18):
The sad part is that there are this many crimes
for which we need for rental artists.

Speaker 3 (24:24):
State Representative Brian Harrison, a Republican who has been very
hard on Abbott, Patrick Burrows and the Republicans in the House,
Senate and Governor's office to get the work done and
stop allowing the Democrats to obstruct it. He points out

(24:46):
that for all their tough talk two weeks ago, they've
now welcomed the Democrats back with open arms. State Representative
Brian Harrison.

Speaker 4 (24:54):
It was literally two weeks ago today the governor issued
his threat any Democrat who doesn't show up at three
pm loses their job, gets booted out of the legislature.
That was three weeks ago.

Speaker 6 (25:06):
Two weeks ago today, zero Democrats had their seats vacated.

Speaker 4 (25:11):
They all came back to their parking.

Speaker 6 (25:13):
Spots which were waiting there for them, and their staff
and their keys to their offices and the floor, and
they were welcomed back with hugs, hugs from the House
leadership team on the floor, hugging the Democrats. No, I actually,
for as low as I hold these the corrupt leadership
of the Texas House, I was actually I was expecting

(25:34):
some punishment, drama.

Speaker 1 (25:35):
I thought we'd have.

Speaker 4 (25:36):
Some fake punishments. They didn't even bother. He just welcomed
evolve back in, said that we need to move on
and get back to the people's business.

Speaker 7 (25:46):
And don't call.

Speaker 4 (25:47):
Each other any names.

Speaker 6 (25:48):
Let's be nice, let's be kind, and then you're not
gonna get You're not gonna believe this one.

Speaker 4 (25:53):
Not only did zero Democrats.

Speaker 6 (25:55):
Get punished, okay, not one seed vacated, not one arrest.

Speaker 4 (25:58):
And by the way, the warrants were supposedly still out
when they all showed up to the Capitol. I mean
they're like, you know, right there with DPS troopers. Not
one arrest, not one seniority, not one committees. You know,
whatever worse, the unimaginable he is rewarding at least one.
He has prioritized the bill of one of the radical

(26:19):
Democrats that broke Kormat, passing over just about.

Speaker 6 (26:23):
Every other elected Republican to allow this Democrat who just
broke korm for the last two weeks to prioritize getting
a Democrat bill passed. Its House Bill ten, meaning it's
the tenth highest priority for the speaker, a Democrat bill
over the eighty eight Republicans in the Texas House. So
not only are there no punishments happening, they're being rewarded.

Speaker 2 (26:47):
Well.

Speaker 3 (26:49):
Disappointing but true. A Northern Illinois head football coach by
the name of Thomas Hammock had some very strong words
for young athletes. This is a subject that has interested
me to a great extent, and the reason is because
I like to create. I like to create scenarios where

(27:12):
you can have discussions of principles and use that scenario
to discuss the principles. To me, the issue of the
name image likeness, which really meant which really turned into overnight,
which we all knew it would. Paying players is a
fascinating discussion because I have friends who are damn near libertarian.

(27:36):
Their free market lass a fair believers, hyak proponents, and
they believe that the market place decide and everything except
college football. People get really weird on college football. Principles
don't matter in college football, so players can't get paid

(27:59):
in college foot.

Speaker 2 (28:00):
You just can't have that.

Speaker 3 (28:01):
You can't have it. They need to go to school.
They're getting getting they're going to school already, but they're not. Well,
we're paying for their school already, So that's the compensation.
That's not the compensation they choose. They don't want to
go to school. That's why you have to make them
go to school. That's why you have to punish them
if they don't go to school, because you're playing this
whole game. It's all a game, and we know it.

(28:21):
I love college football. I love the sport. I love
to watch it. But let's stop the student athlete thing. Sure,
there are some student athletes, there are some kids that
are going to get educations that wouldn't. But why on
earth do we waste all this classroom space and education
money on kids that don't want to be there in
the first place when there's other kids that do want

(28:43):
to be there. And if that is the point, these
are entertainers that we will spend a lot of money
to watch them play against each other at an age,
at a level in a way that is in some
cases more interesting even then pro football. I find that fascinating.

(29:03):
Why can't we just be honest about that. And then
you have guys like Nick Saban, who retired I think
early because he could no longer control the players because
now they were making money, so he could get ten
million dollars a year, but all they could have was
a scholarship and room and board, so he needed to
be making all the money, so they needed to come
to him, and then when all of a sudden, they

(29:25):
could leave him and go get paid somewhere else. He
didn't like that, and he said, I can't control the players.
That's also why he wasn't successful as a professional coach.
And I love Nick Saban, don't get me wrong, But
when he could no longer withhold being on the playing field,
which is your shot to the pros, he could no
longer motivate. So if you can't, if you can't coach,

(29:46):
that's the reason it's so different to coach guys that
are making a lot of money versus coaching college kids. Well,
now those kids can make a lot of money. So
this coach lost nineteen players to the transfer portal after
last year, and now he's pouting about it. Here's his statement.

Speaker 7 (30:02):
I told our team the other day, you know we
lost all these guys, Let's see who plays. So it's
all good when people put it on Twitter. Hey, all
glory to God. I'm going on the transfer portal. Let's
see if they play. How many other guys gonna play
or travel or get snaps? You know, I was thinking
I was gonna tweet something the other day, a picture
of me and say, you know what, I enjoyed my

(30:23):
college experience. I didn't get one dying, but the lessons
I learned was more valuable than any money you can
ever pay me. And I appreciate that because.

Speaker 2 (30:34):
That is long term.

Speaker 7 (30:36):
People are losing the fact that this is short term.
I coached in the National Football League for five years.
Five years, right, don't lose fact, don't lose focus or
work the long term. Get your degree, learn valuable lesson
that's going to help you in the long term of
your life. That's the whole purpose. This is a transition

(30:58):
from being a kid to or grown up, and I
hope people don't lose focus of that. Everybody's talking about
everything else besides what is the most important thing for
going to college? Because if you going to college to
go get a couple of dollars, you might have to
go get a job. This is too hard to go
get a couple dollars. Learn the lesson that you need

(31:19):
to learn to be successful in life for the next
forty to fifty years of your life. That I would
do it again for free, for free because of the
things I learned. That's why I'm standing here today, because
of what I learned in college, not because of how
much somebody gave me. That's what I would tell people
and parents. They need to learn that lesson too. Stop

(31:40):
trying to live through your kids. Teach your kids what
of the things they need to learn to be successful.
That's what I'm telling my kids.

Speaker 3 (31:48):
All of those things are true. But this guy knows
where he recruited these kids from.

Speaker 2 (31:56):
You recruit these kids.

Speaker 3 (31:57):
From the Acres homes in the third ward, in the
fifth ward, Sunnyside, and Hiram Clark. You recruit these kids
out of poor black neighborhoods where they live with their
grandmother and there's no money in that house. And that
kid at this age, as long as he doesn't blow
his knee or his ankle or his shoulder, as long

(32:19):
as he doesn't get into trouble, he can make money
right now, good money. Playing football. And you don't think
he wants to take care of his grandma. You don't
think he wants to drive a fancy car like Eric Dickerson.
You don't think he wants to make some quick cash,
probably more cash than in many cases they're going to

(32:40):
make the rest of their lives. And you're going to
tell them to deny that because you want them on
your team, because you want to win. And why do
you want to win, because then you won't be at
Northern Illinois University. You'll make more money at another school.
I think there are coaches that care about their kids.
I do, but I've had it with the virtue signaling

(33:02):
coaches that really just loved these boys. I remember Tom Herman.
He would kiss the boys at UH before they went
on the field, and then he dumped those same boys
and went to UT who he played off with LSU
to get the pay. He can't give a damn about
those kids. He recruited those kids that came to UH.
That was before they could transfer. He had kids. Tommy Tubberville,

(33:26):
the senator when he was at Tech, he had kids
that he took to a recruiting dinner. This is legendary
and true. And he's telling them how much he wants
them to come to the university, and you know, they're
the best kids ever. He gets the call, the deal
is done. He's going to Auburn. He gets up and
leaves the dinner, leaves them there. How do you think
those kids felt. Some of those were already commits.