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Oregon's only contribution to a time capsule organized for the America250 commemoration is a pin by Lillian Pitt, an artist from the Confederated Tribes of Warm Springs known for her focus on Native Americans' 12,000 years of history. In a statement, Pitt says she's gratified that the work will remind the people who open the capsule 250 years from now “of those who have made this land their home since time immemorial.” The National Museum of the American Indian is compiling a quilt with panels created in a series by different artists offering interpretations of the country's history through a Native lens. They are among the many contributions by Native individuals and organizations during the nation's semiquincentennial. GUESTS Elizabeth Woody (Warm Springs, Navajo, and Yakama), executive director of The Museum at Warm Springs Lillian Pitt (Warm Springs, Wasco, and Yakama), artist Gabriel Fray (Passamaquoddy), artist Tracy Goodluck (Oneida Nation of Wisconsin and Muscogee), executive director of the Center for Native American Youth Emma Alcazar (Chickasaw), a designer for the Quilt Along Break 1 Music: This Land (song) Keith Secola (artist) Native Americana – A Coup Stick (album) Break 2 Music: Round Dance (song) Black Lodge (artist) Enter the Circle – Pow-Wow Songs (album)
After more than a century of advocacy and decades of federal struggle, the Lumbee Tribe of North Carolina has been officially recognized as America's 575th federally recognized American Indian tribe. In this important episode of The Neoliberal Round Podcast, host Renaldo McKenzie is joined by Phoenix Moon and Dr. Nolan Fontaine to discuss the historic passage of the Lumbee Act (S.107), the significance of federal recognition, and the role the Urban Indian Heritage Society played in supporting Indigenous advocacy and visibility.The conversation explores the Lumbee people's long journey from state recognition in 1885 to federal recognition in 2025, their history as the "People of the Dark Water," and broader questions surrounding Indigenous identity in America. The guests also discuss the work of the Urban Indian Heritage Society, Indigenous education, cultural preservation, reclassification efforts, and the ongoing debate over identity, ancestry, and belonging.Are African Americans, Black Americans, Indigenous Americans, or some combination of these identities? How do history, genealogy, race, and politics shape the way we understand ourselves? This episode tackles these challenging questions while examining the intersections of Native American and African American history.Join us for a thoughtful discussion on history, identity, recognition, and the continuing struggle for Indigenous visibility in America.Hosted by Renaldo McKenzieA production of The Neoliberal Corporation and The Neoliberal Round Podcast.Visit:The Neoliberal CorporationRenaldo McKenzie Official WebsiteSubscribe to The Neoliberal Round Podcast on your favorite podcast platform.
If you were to walk out onto the street right now and ask the average person to close their eyes and picture an “American Indian,” what images would flash across their mind? For most, those images wouldn't be of contemporary indigenous lawyers, scientists, artists, or tribal leaders navigating the complex realities of the 21st century. Instead, their minds would automatically drift to a beautifully lit cinematic landscape: a weathered warrior in a majestic feather headdress standing on a desert ridge, or a mystical shaman whispering ancient riddles by a campfire.We live in a culture saturated by these images. But where do they actually come from, and whose needs do they really serve?In this episode, we are going to dive into a brilliant, blistering, and profoundly witty critique of American pop culture written in 1980 by the legendary Standing Rock Sioux scholar, historian, and activist, Vine Deloria, Jr. Deloria wrote a groundbreaking foreword titled “American Fantasy” for a book called The Pretend Indians: Images of Native Americans in the Movies, edited by Gretchen M. Bataille and Charles L. P. Silet.Deloria's central premise is as shocking as it is liberating: he argues that the “Indians” we see on movie screens, in television shows, and in popular literature have absolutely nothing to do with real Native Americans. Instead, they are completely artificial projections—a collection of “pretend” figures manufactured by white society to fulfill its own psychological needs, soothe its historical guilt, and escape its own deep identity crises.In a world that prefers comforting myths over complex realities, Deloria challenges us to flip the script. He invites us to look at Hollywood not as a window into indigenous history, but as a mirror reflecting the fragmented, alienated psyche of the American white man.So, let's step into this urban fantasy together, look beneath the silver screen, and explore what happens when a culture replaces living people with a myth—and how Native communities brilliantly learned to use that very myth as a shield for survival.listener comments? Feedback? Shoot us a text!Lignum is a haven for culture, rest, and resistance. We believe in celebrating community and honoring the land that holds us. At our urban “milpa,” we practice indigenous science that respects the natural cycles of the region, and most of our workshops are hosted by indigenous and local experts. Every project we do is grounded in collective memory, creativity, and respect for the land and its people. Order "NEVER WILL IT BE LOST" and get $5 off!Support Lignum: A Cultural Haven in MéridaYour Hosts:Kurly Tlapoyawa is an archaeologist, ethnohistorian, and filmmaker. His research covers Mesoamerica, the American Southwest, and the historical connections between the two regions. He is the author of numerous books and has presented lectures at the University of New Mexico, Harvard University, Yale University, San Diego State University, and numerous others. He most recently released his documentary short film "Guardians of the Purple Kingdom," and is a cultural consultant for Nickelodeon Animation Studios.@kurlytlapoyawaRuben Arellano Tlakatekatl is a scholar, activist, and professor of history. His research explores Chicana/Chicano indigeneity, Mexican indigenist nationalism, and Coahuiltecan identity resurgence. Other areas of research include Aztlan (US Southwest), Anawak (Mesoamerica), and Native North America. He has presented and published widely on these topics and has taught courses at various institutions. He currently teaches history at Dallas College – Mountain View Campus. Find us: Bluesky...
WIND, SOLAR, AND THE WAR ON GRAZING LANDS WITH HANK VOGLER Nevada rancher Hank Vogler joins Trent Loos for a hard-hitting conversation about the real cost of industrial wind and solar energy on rural America. A Nevada wind development can't turn a profit and has been forced to buy power — and that's just an example of how horrible these monsters are.
Matt Walsh- Black Jurors Won't Convict Karmelo Anthony. Defense Is Already Falling Apart. Yesterday was the first day for the trial of Karmelo Anthony for the murder of Austin Metcalf. New information proves everything we were told was a lie. We will get into the details. Watch this video at- https://youtu.be/PVOaMhWZ1mA?si=uG-Kt_sb7xanP_Sl Matt Walsh 3.42M subscribers 226,160 views Premiered 20 hours ago The Matt Walsh Show Ep. 1791 -- -- -- Today's Sponsors: Mount Titano Media - Go to https://mounttitanomedia.com to get your copy of "Finding Our Words: Words That Made America" - a collection of the greatest speeches in American history. You can read it or listen to the new audible edition. Ethos - Protect your family with life insurance from Ethos. Get up to $3 million in coverage in as little as 10 minutes at https://ethos.com/WALSH. Application times may vary. Rates may vary. -- -- -- LIKE & SUBSCRIBE for new videos daily. / @mattwalsh Click here to join the member-exclusive portion of my show: https://dwplus.watch/MattWalshMemberE... -- -- -- Sources: https://pbs.twimg.com/media/HJ51Aw8XQ... • No Black jurors selected for Karmelo Antho... • Jury seated in Karmelo Anthony trial after... https://pbs.twimg.com/media/HJ-akbVWc... https://pbs.twimg.com/media/HJ-akYfWs... https://x.com/Bodittle/status/2062601... https://x.com/frontlinestpusa/status/... https://pbs.twimg.com/media/HKAh2Y0XM... https://x.com/MaryAnnreports/status/2... https://x.com/NextGenAction/status/20... -- -- -- DailyWire+: Become a Daily Wire Member and watch all of our content ad-free: https://dwplus.watch/RealHistorySubsc...
In front of an audience at the Newport Beach TV Fest, the trailblazing writer/director/producer/actress reflects on her time on 'The Office' and how it shaped the series she subsequently created, including 'The Mindy Project,' 'Never Have I Ever' and 'The Sex Lives of College Girls'; the sense of responsibility and pressure that comes with being an American-Indian creator and making shows with American-Indian protagonists; and why she has enjoyed working strictly behind the camera on her most recent series. Learn more about your ad choices. Visit megaphone.fm/adchoices
Photo: More than an hour after the levee was breached, channels in the Siuslaw Estuary begin to fill up with a mix of fresh and salt water on May 29, 2026. (Brian Bull / KLCC) A major conservation project near the Oregon town of Florence has achieved its goal: connecting a large swath of restored farmland to the ocean. The Siuslaw Estuary is a 217-acre expanse that is expected to accommodate the return of salmon, lamprey, and native plants as it transforms with the tides. KLCC's Brian Bull reports. On a cool, misty morning at the estuary, Dan Kirk waves a burning bundle of sage as they walk through an old dairy farm site called the Waite Ranch. Kirk is the restoration manager for the Confederated Tribes of Coos, Lower Umpqua, and Siuslaw Indians (CTCLUSI). “I’ve been blessing the site almost daily, we really care about this project, and just putting as much intention and good thoughts and good feelings and gratitude as much as we can.” Besides the tribes, members of the Siuslaw Watershed Council and McKenzie River Trust gathered to witness something historic. Margaret Treadwell of the McKenzie River Trust watched a towering excavator crawl towards an earthen levee. It held back the Siuslaw River from the estuary. “It's really exciting, I have never seen a levee breach before.” After the excavator broke apart the levee, brackish water surged in immediately. People cheered. CTCLUSI Chief Doug Barrett watched as the reformed farmland became submerged. “I kinda got goosebumps. It's been a long time comin'.” The restoration work took nearly three years and $15 million. Barrett shared its new name. “Now it's called haich ikt' at'uu. Haich ikt' at'uu is the ‘heart of the river’, and so this is a pretty awesome place now to call our home. Just awesome to see the water coming in, knowing that the salmon and lamprey could come in here and hide from all of our predators. It's a pretty good feeling.” Four hours later, a contingent of tribal council members arrived in “Lottie” a 32-foot long canoe. After crossing through the mouth of the newly-opened channel, the group sprinkled tobacco and tule seeds into the water. Members of the Confederated Tribes of Coos, Lower Umpqua and Siuslaw Indians paddle “Lottie” a 32-foot dugout canoe, towards the Siuslaw Estuary on May 29, 2026. (Photo: Brian Bull / KLCC) Jesse Beers, CTCLUSI cultural stewardship manager, lowered the remains of a salmon into the currents. “When we were in the channel there, almost brought tears to my eyes. Returned some salmon remains to let the Salmon People know it's a good place to come again. And fatten up and be healthy. It's just an amazing experience.” The White House has nominated a citizen of the Klamath Tribes to lead the Indian Health Service (IHS). The nomination comes after more than a year without a Senate-confirmed director at the agency responsible for providing health care to Native communities across the country. The White House this week nominated Mark Cruz of Oregon to serve as IHS director. If confirmed by the Senate, Cruz would oversee an agency that provides health care services to approximately 2.8 million American Indians and Alaska Natives through federal, tribal, and urban Indian health programs. The nomination was announced June 1. Cruz currently serves as Senior Advisor to Health and Human Services Secretary Robert F. Kennedy Jr. on Native health issues. He became one of the highest-ranking Native officials in the department after being sworn into the position last year. Native health advocates say the nomination is significant because IHS has operated without a permanent director since January 2025. The agency continues to face challenges including workforce shortages, aging facilities, and growing health care demands in tribal communities. Get National Native News delivered to your inbox daily. Sign up for our daily newsletter today. Download our NV1 Android or iOs App for breaking news alerts. Check out today’s Native America Calling episode Friday, June 5, 2026 — The life of Chief Powhatan and the fight to preserve his birthplace
The thirteen colonies that became the United States were just half of the British colonies that existed in the 18th century. The empire stretched from New England, south to Georgia and Florida and the islands of the West Indies, east to India, Scotland, and Ireland, and south again to British forts on the West coast of Africa. Because of this, the revolution of 1776 wasn’t isolated to the North American eastern seaboard. It was a world-historical crisis that swept up American Indian nations, Caribbean islands, West African forts, Indian cities, Scottish drawing rooms, German principalities, Cuban harbors, Chinese trading houses, and a fledgling colony in Sierra Leone. The result is a Revolution that was on the one hand a political struggle for the 13 colonies, but it was also a genuinely global catastrophe in which Indigenous nations, enslaved Africans, German soldiers, French philosophes, Caribbean planters, Indian merchants, and Spanish generals all fought for their own competing visions of what "freedom" actually meant. Today’s guest is Sarah Pearsall, author of Freedom Round the Globe. We see how the fight for liberty went far outside the borders of the American colonies. When the British Parliament imposed the Stamp Act in 1765, the protests and violent crowd actions that erupted were not confined to Boston or Virginia, they broke out with equal fury in St. Kitts, Nevis, Antigua, and other Caribbean colonies. But they chose to stay loyal because they feared slave uprisings more than they resented Parliament. The French alliance that saved American independence at Yorktown drove France itself toward bankruptcy and revolution. And there were at least two would-be fourteenth colonies (British Florida and Quebec) courted by Americans but believed their fortunes were better served in other places than the Revolution. The Revolution was not a contained colonial rebellion. It was a world war, and the Treaty of Paris in 1783 settled the claims of dozens of nations, most of whom had nothing to do with the thirteen colonies.See omnystudio.com/listener for privacy information.
Guest: Denee BexShow Notes:Indigenous foodways aren't trends, they're heart-healthy blueprints. This episode maps how traditional ingredients, cooking methods, and land stewardship support cardiovascular health today, with practical ideas for reconnecting even when access is limited.Guest Bio:Denee Bex is a Registered Dietitian & CDCES from the Diné (Navajo) Nation and is the owner of Tumbleweed Nutrition LLC, a dietetics and nutrition education consulting firm. She teaches her Native community about nutrition without judgement. Denee provides inclusive & evidence-based nutrition education for organizations which honor American Indian heritage.Quote:“Food is more than sustenance. Food is also community. Food is also family. Food is also connection. And that's something that many of our Indigenous families, Native families have known for centuries, if not thousands of years.”Question of the Day:Which traditional or ancestral food from your own culture would you like to explore or incorporate more often for better heart health?On This Episode You Will Learn:Why culturally relevant nutrition care is essential for Indigenous communities.How traditional Indigenous foods can support heart health and blood sugar.How food plays a role in culture, identity, and connection, not just nutrition.Why Indigenous foods are often missing from mainstream nutrition research.How individuals and healthcare providers can better support Indigenous food systems.Connect with Yumlish!Yumlish Website: YumlishYumlish on Instagram: @yumlish_Yumlish on Facebook: YumlishYumlish on Twitter: @yumlish_Yumlish on LinkedIn: YumlishConnect with Denee Bex!Website URL: www.tumbleweednutrition.comInstagram URL: @tumbleweed_nutritionFacebook URL: Tumbleweed Nutrition
Before a joint legal project between the Native American Rights Fund and the National Congress of American Indians started 25 years ago, tribes were losing 80% of their cases at the U.S. Supreme Court. Now, they are winning 70% of those cases. That's from an analysis just put out by the Tribal Supreme Court Project in conjunction with its 25th anniversary. We'll look at some of those wins and losses and what they add up to a quarter century later. We'll also get updates on two important lawsuits in Oklahoma: a class action lawsuit claims the federal government owes as many as 10,000 Native land owners compensation for oil and gas development — and the Oklahoma Supreme Court ruled against a novel jurisdiction agreement between the Muscogee Nation and the city of Tulsa, Okla. GUESTS Hazel James (Chickasaw), plaintiff in Tyson v. United States Peggy Immohotichey (Chickasaw), plaintiff in Tyson v. United States Melody McCoy (Cherokee), senior staff attorney for the Native American Rights Fund Jason Salsman (Muscogee), press secretary for the Muscogee Nation Jeffrey Nelson, partner of mctlaw, manager of the Indian Law Practice Group Break 1 Music: Hatchet (song) Blaine Bailey (artist) Indian Country (album) Break 2 Music: Trick Song (song) Battle River (artist) Hard Times (album)
Before a joint legal project between the Native American Rights Fund and the National Congress of American Indians started 25 years ago, tribes were losing 80% of their cases at the U.S. Supreme Court. Now, they are winning 70% of those cases. That's from an analysis just put out by the Tribal Supreme Court Project in conjunction with its 25th anniversary. We'll look at some of those wins and losses and what they add up to a quarter century later. We'll also get updates on two important lawsuits in Oklahoma: a class action lawsuit claims the federal government owes as many as 10,000 Native land owners compensation for oil and gas development — and the Oklahoma Supreme Court ruled against a novel jurisdiction agreement between the Muscogee Nation and the city of Tulsa, Okla. GUESTS Hazel James (Chickasaw), plaintiff in Tyson v. United States Peggy Immohotichey (Chickasaw), plaintiff in Tyson v. United States Melody McCoy (Cherokee), senior staff attorney for the Native American Rights Fund Jason Salsman (Muscogee), press secretary for the Muscogee Nation Jeffrey Nelson, partner of mctlaw, manager of the Indian Law Practice Group Break 1 Music: Hatchet (song) Blaine Bailey (artist) Indian Country (album) Break 2 Music: Trick Song (song) Battle River (artist) Hard Times (album)
In this episode of Plan Sea, hosts Anna Madlener and Carbon to Sea's Senior Manager for Communications Danny Gawlowski record from Carbon to Sea's 2026 Annual Convening in Halifax, Nova Scotia, Canada. They sit down with Fawn Sharp, and Francesca Hillery, and Ken Paul for a conversation on Indigenous knowledge systems, ocean climate solutions, and the future of ocean alkalinity enhancement (OAE).In this episode, Anna and Danny explore how Indigenous knowledge can shape ocean-based carbon dioxide removal (oCDR). They're joined by Indigenous leaders: Ken Paul, former national Director of Fisheries with the Assembly of First Nations, current Principal of Pokiok Associates and member of the Wolastoqey Nation at Neqotkuk; Fawn Sharp, former president of the National Congress of American Indians, former president of the Quinault Indian Nation, and current President of Indigenous Greenhouse Gas Removal Commission; and Francesca Hillery, Director of Programs and Partnerships for Tribal Carbon Solutions and member of the Round Valley Tribes in California, to discuss the importance of meaningful partnership, sovereignty, and Indigenous science in climate innovation.Fawn, Francesca, and Ken reflect on the role of Indigenous knowledge systems in environmental stewardship, emphasizing that these systems are grounded in centuries of observation, ecological understanding, and relationships with the natural world, and paired with cutting-edge scientific capabilities. Sharp emphasizes there is not a one-size-fits-all approach to Indigenous engagement. Instead, meaningful relationships should be collaborative, equitable, and rooted in Indigenous-led science and governance.The conversation also explores the risks of developing oCDR without collaboration with Indigenous communities. Without Indigenous input, Paul and Hillery warn of premature scaling and the commodification of nature. They emphasized the opportunity for Indigenous knowledge to guide and influence this emerging field. Plan Sea is a semi-weekly podcast exploring ocean-based climate solutions, brought to you by the Carbon to Sea Initiative and the American University Institute for Responsible Carbon Removal.ACRONYMS/CONCEPTS:mCDR: marine carbon dioxide removaloCDR: ocean-based carbon dioxide removalOAE: ocean alkalinity enhancementNGO: non-governmental organizationFAO: Food and Agriculture OrganizationUNESCO: United Nations Educational, Scientific, and Cultural OrganizationCOP: Conference of the PartiesIPCC: Intergovernmental Panel on Climate ChangeGIS: Geographic Information SystemsPlan Sea is a semi-weekly podcast exploring ocean-based climate solutions, brought to you by the Carbon to Sea Initiative & the American University Institute for Responsible Carbon Removal.
What Schools Don't Teach You About American Indians Watch this video at- https://youtu.be/mxapaXrHr1Y?si=cF0XXPt02WgEhCLK Matt Walsh 3.41M subscribers 3,192,761 views Apr 2, 2026 #RealHistory #MattWalsh #TheMattWalshShow The Real History of the American Indians What do Snow White, Cinderella, and smallpox blankets have in common? They're all fairytales. In this shocking episode of "Real History," Matt Walsh rips apart the myth of peaceful, noble Indians who were supposedly victimized by evil white settlers. Matt takes on the biggest mainstream myths and left-wing shibboleths about the settling of the American West. It's time to ditch the self-loathing propaganda designed to demoralize us and replace it with raw, unfiltered history that radical academics and Hollywood don't want you to see. Real History Ep. 2 The Real History of Slavery is available on youtube here: • What Schools Don't Teach You About Slavery The Real History of the Civil War is available, exclusively on DailyWire+ https://dwplus.watch/RealHistoryTheCi... -- -- -- LIKE & SUBSCRIBE for new videos every day: https://youtube.com/MattWalsh?sub_con... -- -- -- Today's Sponsors: Balance of Nature - Join hundreds of thousands of customers in one simple routine that's changing the world. Go to https://BalanceofNature.com to subscribe and save today. Grand Canyon University (GCU) - Find your purpose at Grand Canyon University. Visit https://GCU.edu to learn more. -- -- -- CHAPTERS: 00:00 Intro/Trail of Tears Myth 06:57 The "Peaceful Indian" Myth 14:19 Colonization escalated violence? 21:47 Counting Coup, Scalping, & becoming a War Chief 26:16 Indians & Property Rights 30:01 The Fort Parker Massacre 32:50 American Indian War Tactics 41:30 The Rise of Texas Rangers 43:28 Guns that Won the West 46:07 Major Indian Victories 49:55 How the US Finally Won 51:33 The Smallpox Blanket Myth 59:02 It Wasn't a "Genocide" -- -- --
Photo: Diné Bizaad is the latest mobile app created by Albert Haskie, the lead developer, who is Diné and from the Navajo Nation. (Courtesy Adoonee) Across the United States, there are over 575 federally recognized American Indian tribes. According to the U.S. Census, Native North American language use fell by 6% from 2013 to 2021, but among those who spoke a Native language, nearly half spoke Navajo. KUNM's Jeanette DeDios (Jicarilla Apache and Diné) spoke to a Diné software developer who has created a mobile app to help preserve the Navajo language. Albert Haskie (Diné) spent two years building the app Diné Bizaad with a group of Navajo employees. “I’m making it for us, and that’s the primary goal.” Haskie says he learned the Navajo language at a young age but in sixth grade he transferred to a non-Navajo language school and that it was a cultural shock for him. “I kind of always missed it and always wanted to figure out how to reintroduce it into my life, but also try to reintroduce it to a lot of other people’s lives.” Haskie says users can build their own curriculum and it includes fun tools like the word of the day. He says the app differs from other language apps because this one has richer content and a practicing Navajo speaker who consulted on every word and phrase. Diné Bizaad was independently built without collaboration of the Navajo Nation. “I’ve showed them multiple times, but they just couldn’t find anything to work with me. I was more than happy to try to figure out working with them. But the reality is, it would have probably not launched within the time I wanted it to be.” A representative from the Department of Diné Education said Haskie talked with members within the department and that they are open to working with interested parties on preserving the Diné language. Haskie says he is in talks with other tribes to create language apps for their members. Whaling captain William ‘Wiyu’ Parks, right, and his wife Crystal on their way back from Punguk Island after a 3-month-long camping trip. (Courtesy Crystal Newhall) Whaling is an essential part of subsistence hunting in Siberian Yupik culture. High school student Tracy Tungiyan in the village of Gambell, Alaska on St. Lawrence Island wanted to understand more about it, so he interviewed a whaling captain from the community, William Parks, nicknamed Wiyu. He spoke to Parks in the library of the Gambell school and asked him whether whaling is easy or difficult. “There’s a degree of difficulty in it. You got to think of how enormous the whale is. You’re in basically a wash tub compared to the size of that whale. Depending on how the whale is moving, it could be pretty straightforward, catch up to it, strike. And there’s some days where the tails are really thrashing. You can’t get close to them. “We use these harpoons that have a barrel on there. We call them Puskaan [Siberian Yupik word]. I don’t know what they’re called in English. I’ve always known them as Puskaan. It has a harpoon, buoy, line buoy, and it fires either a black powder bomb or a penthrite bomb into the whale. Tungiyan asked Parks what hunting means to him and whether it was easier back then. “That’s a good question. To me, hunting is mostly about survival, it’s about tradition, and it’s about feeding family, relatives as a community, which is the most important part of life, in my opinion. You need food to survive. “I think mostly it’s like second nature to me. I don’t even think of how important this is to me anymore, more so that it’s the way I was brought up to live. It’s a part of me. It’s been a part of me since I was two, three years old. “Back then it was- seasons were more predictable. Weather was more predictable. In a way, it was easier. Nowadays, with lack of ice, bigger storms, shorter opportunities to head out. Yeah, I think it’s more difficult now compared to back then. The windows of good weather are getting shorter. “I know that everybody that goes hunting isn’t doing it for fun or sport. They’re doing it (as a) means of trying to harvest food. It's a part of who we are as people, as the community. Hunting is part of our nature. It’s been for thousands of years.” Tungiyan then asked him why catching a whale is so important for Gambell. “I think it’s important mostly because of the size of the catch. There’s enough to feed everybody. Just the sheer size of the whale. It’s an opportunity to feed the community, to have a community gather. Whaling has been part of our culture since the first whale swam and man saw it. It was a means of survival.” Tungiyan produced this story with former KNOM reporter Wali Rana and Alaska Public Media's Rachel Cassandra. Get National Native News delivered to your inbox daily. Sign up for our daily newsletter today. Download our NV1 Android or iOs App for breaking news alerts. Check out today’s Native America Calling episode Monday, May 18, 2026 – Trump administration takes aim at American buffalo
In this episode, co-hosts Dr. Davina Two Bears and Dr. Farina King speak with Dr. Carlton Shield Chief Gover about how Indigenous scholars are reshaping archaeology from within. Carlton reflects on his journey into a field long seen in Native communities as a “colonial science,” and how he now practices what he calls American Indian archaeology, which is centered on tribal sovereignty, government-to-government relationships, and the specific histories and priorities of Native Nations such as the Pawnee Nation.A citizen of the Pawnee Nation, Carlton is an Assistant Professor of Anthropology and Assistant Curator of Archaeology at the University of Kansas, with affiliate appointments in Museum Studies and Indigenous Studies. He earned his Ph.D. in Anthropology from the University of Colorado-Boulder, where his dissertation, "The Seeds of Ethnogenesis," examined the formation of Central Great Plains Villages through Indigenous perspectives and advanced chronological modeling. His research focuses on Great Plains archaeology, Indigenous/American Indian archaeology, and the integration of oral traditions with archaeological science.The conversation highlights how treating oral traditions as rigorous historical records, combined with tools like radiocarbon dating, can overturn long-standing academic narratives about migration, corn agriculture, and the deep homelands of Native Nations. Carlton, Davina, and Farina also discuss the emotional and spiritual realities of working in museum collections, the importance of NAGPRA and tribal cultural centers, and why public-facing work like the Great Plains Archaeology Podcast is vital for sharing knowledge with Native communities and inspiring the next generation of Indigenous archaeologists.Resources:Carlton Shield Chief Gover official University of Kansas Department of Anthropology faculty webpageGreat Plains Archaeology PodcastA podcast hosted by Dr. Carlton Shield Chief Gover on the Archaeology Podcast Network, focusing on the archaeology, histories, and communities of the Great Plains region.NAGPRA and Tribal Sovereignty in PracticeFor listeners interested in the legal and ethical context Carlton discusses (sovereignty, compliance, and NAGPRA), see the U.S. National Park Service's official NAGPRA page.Indigenizing Archaeology: Putting Theory into Practice (University Press of Florida)
At the Smithsonian's National Museum of the American Indian, archivists are working with Native communities to correct the historical record … one photo at a time.In this episode, we go inside the archives, where century-old photographs once labeled “Indian man” or “woman in costume” are being reexamined and renamed so they can be reconnected to living descendants. It's a painstaking effort that's also challenging the romanticized imagery popularized by photographers and anthropologists of the late 1800s, early 1900s. Think there might be photos of your ancestors in the Smithsonian Online Virtual Archives? Check here: https://sova.si.edu/You can read about the Smithsonian's Ethical Returns and Shared Stewardship Policy here: https://ncp.si.edu/SI-ethical-returnsTo submit a shared stewardship or ethical return inquiry or request, complete this form: https://survey.alchemer.com/s3/7447374/Shared-Stewardship-and-Ethical-Returns-Inquiry-Request-Submission-Form If you have questions about the policy, contact nmai-sser@si.edu.Guests: Emily Moazami, head archivist at the National Museum of the American Indian (NMAI) Archive CenterNathan Sowry, reference archivist at the National Museum of the American Indian (NMAI) Archive CenterRachel Menyuk, processing archivist at the National Museum of the American Indian (NMAI) Archive CenterSpecial thanks to the Harmon Family:Leonard Harmon, Pam Pierce Harmon Johnston, Mike Harmon and Matthew Harmon
Comedian and podcast host Tom Kelly continues his Massapequa School Board interview series with current board member and candidate Cheryl Lepre. - Recorded at Paradise Studios in Massapequa, Long Island, this long-form conversation covers: - The "Save the Chief" lawsuit Taxpayer money and school budgets COVID and mask policy fallout Anonymous Facebook politics Transgender locker room controversy Universal Pre-K Education, AI & vocational training Why Massapequa has become a national political flashpoint And whether local politics has become too mean This episode focuses heavily on tone, community identity, and what Cheryl Lepre believes keeps Massapequa schools successful. - ⏱️ TIMESTAMPS 1:19 – "Anyone who runs for school board is either crazy or a career politician" 1:41 – Cheryl explains her 7 years on the school board 1:58 – Why she continues to run for reelection 2:15 – PTA volunteer work & helping Boy Scouts become Eagle Scouts 2:43 – Tom asks if national politics have taken over local school boards
Creepshow 2 reminds us that it is easy to dupe old Ray Spruce with your fake American Indian plastic trinkets that you likely pulled from a "gumballum" machine for 25 American cents. It also reminds us that if you sleep creep your lady friends that you'll get eaten by a lake trash bag monster, and that you can likely find a Nathan Fillion look-a-like to plow you at a rate of $25 per orgasm.LinksSupport Our Work - https://lsgmedia.net/joinDiscord - https://discord.com/invite/8FmrT9DrvuAcknowledgementsFloyd Frye (Intro/Outro Voice): https://www.tiktok.com/@floydfrye George C Music (Music): https://www.youtube.com/@GeorgeCMusicDisclaimer: This episode features impressions and parodies of celebrities and characters for entertainment purposes only. All impressions are satirical and fictionalized. Clips used in this episode fall under fair use for commentary, criticism, and parody. This is a movie podcast meant purely for entertainment— no affiliation with any celebrities, studios, or rights holders.
This week, we look at how a federal decision on copper mining could affect Minnesota tribal treaty territory, and a recap of last week's American Indian Month kick-off celebration in Minneapolis.-----Producers: Chaz Wagner, Deanna StandingCloudEditor: Chaz Wagner, Deanna StandingCloudAnchor: Marie RockMixing & mastering: Chris HarwoodEditorial support: Victor Palomino, Emily Krumberger----- For the latest episode drops and updates, follow us on social media. instagram.com/ampersradio/instagram.com/mnnativenews/ Never miss a beat. Sign up for our email list to receive news, updates and content releases from AMPERS. ampers.org/about-ampers/staytuned/ This show is made possible by community support. Due to cuts in federal funding, the community radio you love is at risk. Your support is needed now more than ever. Donate now to power the community programs you love: ampers.org/fund
A new exhibit called “Water's Edge” at the Smithsonian National Museum of the American Indian showcases work by late artist Truman Lowe of the Ho-Chunk nation. Exhibit curator Rebecca Trautmann details how a sculpture titled “Feather Canoe” represents Lowe's work and what his artistic style contributes to the story of America.And, how did you check the weather this morning? Back in the late 1800s and 1900s, people traveled to their local post office to see the forecast in a Farmers' Bulletin. Smithsonian National Postal Museum curator Lynn Heidelbaugh explains how the Farmers' Bulletin system first developed and why it was so critical for a growing nation.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy
The Book of Mormon (Part 4)The Book of Mormon is a volume of holy scripture comparable to the Bible, used by Latter Day Saints. It is a record of God's dealings with the ancient inhabitants of the Americas.The book was written by ancient prophets through the spirit of prophecy and revelation. It gives an account of two great civilizations. One came from Jerusalem in 600 B.C., and afterward separated into two nations, known as the Nephites and the Lamanites. The other came much earlier when the Lord confounded the tongues at the Tower of Babel. This group is known as the Jaredites. After thousands of years, all were destroyed except the Lamanites, and they are among the ancestors of the American Indians.The crowning event recorded in the Book of Mormon is the personal ministry of the Lord Jesus Christ among the Nephites soon after his resurrection. It puts forth the doctrines of the gospel, outlines the plan of salvation, and tells men what they must do to gain peace in this life and eternal salvation in the life to come. (Summary by Elaine Webb)Genre(s): ReligionLanguage: EnglishKeyword(s): lds (7), Mormonism (6), mormons (4), latter day saints (2)
On this episode of History 605, Craig Fehrman discusses his new book, using the biographies of Jefferson, Lewis, Clark, Sacagawea, and others to illuminate the expedition through multiple perspectives. By weaving together these viewpoints, he offers a vivid account that clarifies key decisions, highlights the American Indian perspective, and deepens understanding of the expedition's lasting impact.
The Book of Mormon (Pt.3)The Book of Mormon is a volume of holy scripture comparable to the Bible, used by Latter Day Saints. It is a record of God's dealings with the ancient inhabitants of the Americas.The book was written by ancient prophets through the spirit of prophecy and revelation. It gives an account of two great civilizations. One came from Jerusalem in 600 B.C., and afterward separated into two nations, known as the Nephites and the Lamanites. The other came much earlier when the Lord confounded the tongues at the Tower of Babel. This group is known as the Jaredites. After thousands of years, all were destroyed except the Lamanites, and they are among the ancestors of the American Indians.The crowning event recorded in the Book of Mormon is the personal ministry of the Lord Jesus Christ among the Nephites soon after his resurrection. It puts forth the doctrines of the gospel, outlines the plan of salvation, and tells men what they must do to gain peace in this life and eternal salvation in the life to come. (Summary by Elaine Webb)Genre(s): ReligionLanguage: EnglishKeyword(s): lds (7), Mormonism (6), mormons (4), latter day saints (2)
The Book of Mormon (Pt.2)The Book of Mormon is a volume of holy scripture comparable to the Bible, used by Latter Day Saints. It is a record of God's dealings with the ancient inhabitants of the Americas.The book was written by ancient prophets through the spirit of prophecy and revelation. It gives an account of two great civilizations. One came from Jerusalem in 600 B.C., and afterward separated into two nations, known as the Nephites and the Lamanites. The other came much earlier when the Lord confounded the tongues at the Tower of Babel. This group is known as the Jaredites. After thousands of years, all were destroyed except the Lamanites, and they are among the ancestors of the American Indians.The crowning event recorded in the Book of Mormon is the personal ministry of the Lord Jesus Christ among the Nephites soon after his resurrection. It puts forth the doctrines of the gospel, outlines the plan of salvation, and tells men what they must do to gain peace in this life and eternal salvation in the life to come. (Summary by Elaine Webb)Genre(s): ReligionLanguage: EnglishKeyword(s): lds (7), Mormonism (6), mormons (4), latter day saints (2)
The Book of Mormon (Pt.1)The Book of Mormon is a volume of holy scripture comparable to the Bible, used by Latter Day Saints. It is a record of God's dealings with the ancient inhabitants of the Americas.The book was written by ancient prophets through the spirit of prophecy and revelation. It gives an account of two great civilizations. One came from Jerusalem in 600 B.C., and afterward separated into two nations, known as the Nephites and the Lamanites. The other came much earlier when the Lord confounded the tongues at the Tower of Babel. This group is known as the Jaredites. After thousands of years, all were destroyed except the Lamanites, and they are among the ancestors of the American Indians.The crowning event recorded in the Book of Mormon is the personal ministry of the Lord Jesus Christ among the Nephites soon after his resurrection. It puts forth the doctrines of the gospel, outlines the plan of salvation, and tells men what they must do to gain peace in this life and eternal salvation in the life to come. (Summary by Elaine Webb)Genre(s): ReligionLanguage: EnglishKeyword(s): lds (7), Mormonism (6), mormons (4), latter day saints (2)
Jesus shows up on a beach after the worst week of his friends' lives and asks a disarmingly simple question: have you eaten anything? This week we push back against the lie of scarcity and practice the defiant, countercultural act of believing there is enough. LINKS: Current Conversation | Connect | YouTube | Coming Up TRANSCRIPT: Eat Something: Waking Up to Being Fed The Question That Shouldn't Be Radical A beat of honesty to begin… This week's message is built around a phrase that should not be controversial. It shouldn't raise anyone's blood pressure. It shouldn't feel political. It shouldn't require courage to say. The phrase is: There actually is enough. And yet… depending on your life experience, where you grew up, what your bank account looks like, what neighborhood you're in… that phrase might land anywhere from obviously true to laughably false to offensive, because you don't know my life. So before we go anywhere else, let's hold all of that. Let's hold the complexity of that sentence in the room together. The Story… Breakfast on the Beach (John 21:1–14) Tell the story… Let's paint the scene: It's after the resurrection. The disciples are rattled, confused, grief-stained. They've seen what they've seen, but nothing has quite settled yet. So they do the thing people do when they don't know what else to do: they go back to work. Peter says, I'm going fishing. And the others say, We'll come too. They fish all night. They catch nothing. Then, as dawn is breaking, a figure appears on the shore. He calls out: "Hey, you don't have any fish, do you?" They say no. He tells them to throw the net on the other side of the boat. They do — and suddenly there are so many fish they can't haul the net in. And then — and this is one of my favorite mental pictures of Jesus ever — they get to shore, and he's already has a charcoal fire going. Fish already on it. Bread already there. He doesn't wait for them to bring what they caught and make it into something. There is already something prepared. And he says: "Come and have breakfast." There's no moment of like… “let's debrief the last week.” or “I need you to understand what just happened.” Come and have breakfast. Pull up some sand and have a seat. The first thing the newly-alive Jesus does with his bewildered, grieving, exhausted friends is to feed them. The Lie of Scarcity Now — here's where we need to be honest with each other, and honest about the world we actually live in. Because it is not true that everyone in this room or in this city, or this country has always had enough to eat. Or enough to feel safe. Or enough to rest. In 2024, nearly 1 in 7 U.S. households — that's 47.9 million people — experienced food insecurity at some point during the year. Nearly 1 in 5 households with children were food insecure, the highest rate since 2014. And those numbers are not distributed evenly. Almost 1 in 4 Black households, 1 in 5 Hispanic households, and nearly 1 in 3 American Indian and Alaska Native households were food insecure in 2024 — at least double the rate for non-Hispanic white households. These inequities reflect the impact of structural barriers rooted in systemic racism and other forms of discrimination that result in higher rates of poverty. So when we talk about scarcity — we have to say this plainly: for a lot of people in our lives and community, scarcity has not been a philosophical problem or a spiritual metaphor. It has been Tuesday. An embodied, lived reality. And we have to also say: that is not because the earth doesn't produce enough. It's not because there isn't enough food, or enough housing, or enough care to go around. The pie is plenty big. But the slices are cut unevenly.. Research from the Federal Reserve Board shows that Black families' median wealth was approximately 15% that of white families — $44,900 compared to $285,000 — in 2022. Studies indicate these racial disparities persist even when factors like income and education are accounted for, suggesting that pervasive racism embedded in historical, political, and economic systems continues to drive the gap. Scarcity, as most of us experience it, is manufactured. It is the product of systems — empire systems, to use a biblical word — that concentrate abundance at the top and make the rest fight over the remainder. The problem is not that there isn't enough fish in the sea. The problem is who controls the nets. What Jesus Keeps Doing And this is where the Easter story opens up into something larger than one morning on a beach. Because if you read the Gospels as a whole — if you trace the arc of what Jesus actually did — you start to notice a pattern. Feeding keeps happening. Abundance keeps showing up in the middle of scarcity. Five loaves and two fish for thousands of people, and there are baskets left over. Water turned to wine at a wedding — not a trickle, but somewhere between 120 and 180 gallons. A woman who loses a coin and sweeps her whole house until she finds it, then throws a party that probably costs more than the coin. A father who sees his prodigal kid coming from a long way off and kills the fatted calf — we're celebrating tonight. Over and over, Jesus enacts this: there is enough. More than enough. Abundance is the character of the divine, not scarcity. And then he dies. And the people who crucified him — Rome, the religious gatekeepers, the systems that depended on keeping people in their place — they thought that was the end of it. But here's what resurrection means, in part: his teachings didn't die with him. The practices didn't die. The communities he formed kept forming. Throughout history, untold numbers of people, inspired by this life and death, have put their bodies and their resources on the line to insist — there is enough, and we're going to share it. The church at its best — not its worst, not its empire-adjacent self, but its best — has always been a community that takes the fish off the fire and says come and have breakfast. That is what resurrection looks like in a neighborhood. In a coalition. In a food pantry. In a protest. In a community that shows up, over and over, to say: the story of scarcity is a lie, and we're not going to live by it. What We're Doing Here, Fabric… And here's where I want to get concrete, because I think this community is doing exactly that kind of work — and I don't want us to miss it or undervalue it. Our new partnership with ISAIAH — a statewide coalition of congregations and allies working for racial and economic equity in Minnesota GuideStar — is one expression of this. ISAIAH was founded in 2000 and has won real, tangible things: healthcare access for all children regardless of immigration status, billions in public transit funding, paid leave, homeowners' rights. These are not small things. These are exactly the kind of retooling… taking systems built on scarcity and bending them toward abundance… that the beach breakfast points toward. When Fabric shows up in public — at Fabric on the Town events like this past Friday at Midtown Global Market, for Fabric in Action events, or simply at tables in the neighborhood— we are not doing outreach in the old-school sense of trying to recruit people to our club. We are practicing what it looks like to be a community that shows up and says: we're here. We see you. There's room at the table. When you show up on Sunday, or in your Fabric group, or check in on someone during the week — you are participating in this same movement. You are part of a network that is slowly, stubbornly, defiantly insisting that there is enough connection, enough care, enough belonging to go around. This is not soft or peripheral… this is the work. The Hard Part: Receiving But here's where I want to gently push, because there's a move in this story that's easy to skip over. The disciples don't just witness the breakfast. Jesus tells them to bring what they caught — and they do. And then he says: come and eat. Receiving is part of this. And for a lot of us — especially those of us who've been trained by scarcity, by systems that told us our needs were a burden, by communities or families that taught us to make do and not ask — receiving is actually the harder practice. Self-compassion researchers Kristin Neff and Christopher Germer have spent years documenting something that resonates here: one of the key barriers to human flourishing is not a lack of generosity toward others, but an inability to extend that same generosity to ourselves. Their work in Mindful Self-Compassion identifies a move they call mindful awareness — which is simply this: noticing what is actually happening in your experience right now, without immediately narrating it, judging it, or trying to fix it. Not: I shouldn't feel this way. Not: Other people have it worse. Not: If I just work harder, I'll feel okay. Just: This is what is happening in me right now. That kind of honest, gentle noticing — of your own hunger, your own exhaustion, your own longing — is actually a prerequisite for being able to receive. You can't take food you don't know you need. Closing Practice So let's close with something simple. An invitation to practice mindful awareness — and what this story might call coming to the fire. Take a breath. Let your feet feel the floor. And ask yourself — without judgment, without fixing — one of these questions. Just one. Let whichever lands, land. Where am I running on empty right now? What kind of nourishment have I been telling myself I don't need, or don't deserve, or can wait?
The Matt Walsh Show- Would you trade 1 year in prison for $25 Million?, I Did A Deep Dive Into Our Welfare System, And It's WORSE Than I Thought A woman moved into a multi-million-dollar mansion she didn't own, and the system let her stay. Even after being arrested, she came right back, exposing how broken property rights and enforcement have become. -Would you trade 1 year in prison for $25 Million? Matt Walsh 3.38M subscribers 251,853 views Apr 14, 2026 #MattWalsh #TheMattWalshShow #DailyWire - -- -- LIKE & SUBSCRIBE for new videos every day: https://youtube.com/MattWalsh?sub_con... -- -- -- DailyWire+: Become a Daily Wire Member and watch all of our content ad-free: https://dwplus.watch/RealHistorySubsc...
Matt Schaeffer, Assistant Special Agent in charge of the FBI Phoenix Office, joins Arizona’s Morning News to talk about Operation Not Forgotten. It investigates cold cases and rampant violent crimes within the American Indian and Alaska Native communities.
Love can never be fully defined, but it opens the heart and evokes wholeness, as does the natural world, which is radically diverse. Today, we are blessed to have with us two people who not only possess strong intellects, but also have real world experience in nature. Their track record of doing good works in the world reveals their good heart. I invited these gentlemen in part because I have just released a book on Original Love: The Timeless Source of Wholeness, and I am excited to engage in dialogue with them on the subject of Love and the Wholeness of Nature. Thomas Rain Crowe is the author of many books, most recently New Natives: Becoming Indigenous in a Time of Crisis and Transition, and most famously, his award-winning Zoro's Field, a partial tribute to Henry David Thoreau, documenting Rain Crowe's own retreat into the Appalachian woods. An internationally recognized author, editor, and translator of more than thirty books, he became known first for being a member of the San Francisco Beat Generation of poets and creative folks living out there in the 1970s before returning to his native western North Carolina community and founding New Native Press. He has belonged to and worked with many environmental organizations. He is also a translator of some of the more renowned Sufi mystical poets, such as Hafiz and Kabir. Although not usually in his bios, I know he also resonates with the work of Meher Baba, another mystic explorer of love. Don Trent Jacobs (also known as Wahinkpe Topa, or Four Arrows, is a professor of educational leadership at Fielding Graduate, is a made relative of the Oglala Lakota and member of the Medicine Horse Tiospaye. He is a pipe carrier, having fulfilled his Sun Dance vows while living on the Pine Ridge reservation and serving as director of education at Oglala Lakota College. Author of many books, including Restoring the Kinship Worldview and Teaching Virtues, both of which I have read, and numerous scholarly articles covering diverse topics in decolonization, counterhegemonic democracy, and Indigeneity. He has been endorsed by people like Gregory Cajete, Daniel Wildcat, Vandana Shiva, Bill McKibben. Thom Hartmann, and others, and is the recipient of a Martin Springer Institute Moral Courage Award for his activism on behalf of American Indians. Glenn Aparicio Parry's latest book Original Love was published on February 13, 2026 and is available wherever books or ebooks are sold.
In this episode of the Hope In The Valley series, host Ramon Sanchez and co-host Dr. Ashleigh Herrera sit down with Johnny Delgado and Cheyenne Bond from the Bakersfield American Indian Health Project (BAIHP). Together, they pull back the curtain on the unique challenges facing the American Indian and Alaska Native communities in Kern County regarding opioid and stimulant use disorders.From the impact of intergenerational trauma to the power of culturally grounded healing, this conversation explores how tradition and evidence-based treatment can work hand-in-hand. We discuss the role of gender-based taboos, the importance of "trusted messengers," and how to remove the systemic barriers—like rural isolation and stigma—that prevent individuals from seeking life-saving care. Join us for a deeply respectful and insightful look at resilience and the path to wellness in the Valley.
TRN Podcast Nick Estes live in conversation with Kim TallBear about the conference they organized, Holding Our Ground: Voices and Strategies Against Self-Indigenization. You can watch the individual panels that were livestreamed on our YouTube channel https://www.youtube.com/playlist?list=PLKWiQX270BMoLRv25dDskRfsJ2pptPf3Z Conference description: "This two-day, hybrid symposium will convene leading experts, community members, and "first responders" to the global issue of self-Indigenization, particularly in the form of "Indigenous ethnic fraud," or "pretendianism," as it is referred to in North America. The symposium will be held in Minneapolis, on the traditional homelands of the Dakota people, who were imprisoned and eventually exiled in 1863 to aid settler appropriation of "Minnesota," a word also taken from the Dakota. On top of seizing land, US citizens have for centuries "played Indian" via sports mascots and appropriating Native nation names and iconography in scouting and in industries including the military. In the twenty-first century, we see ballooning numbers of US citizens make mythological claims to belong to Native lineages and nations. Some capitalize on those claims to appropriate Indigenous resources and opportunities, and to seize governance of institutions. We see an obviously violent example of self-Indigenization in the Department of "Homeland Security" whose agents seize governance of these lands, terrorize, imprison, and threaten to exile. As multiple forms of self-Indigenization converge, not all are grasped as violent, yet they combine to further colonial extraction. Extractive self-Indigenization, including Indigenous ethnic fraud, not only targets American Indians, but also First Nations, Métis, and Inuit in Canada; and global Indigenous communities in Aotearoa/New Zealand, Australia, Mexico, and elsewhere. This symposium will bring participants together to engage in critical discussions, learn from one another, and discuss actionable strategies to disrupt this global problem." Empower our work: GoFundMe: https://www.gofundme.com/f/empower-red-medias-indigenous-content Subscribe to The Red Nation Newsletter: https://www.therednation.org/ Patreon https://www.patreon.com/redmediapr
In Minnesota, high school students can earn college credit for proficiency in a language besides English. The Minnesota Bilingual Seals Program has been around since 2014 to help recognize multilingualism as an asset. The program recognizes 32 languages and this year for the very first time, a student was awarded a World Language Proficiency Certificate for Ojibwe. Tecumseh Fahrlander is a senior at Hinckley-Finlayson High School and is a member of the Mille Lacs Band of Ojibwe. He spoke with Minnesota Now host Nina Moini about the experience alongside Annie Huberty, the director of American Indian education at the Minnesota Department of Education.
Lawmakers in Washington, D.C. are proposing to update a key housing law for Tribal Nations, as communities across Indian Country continue to face severe housing shortages. Last week, U.S. Rep. Troy Downing (R-MT) introduced the American Housing and Self-Determination Modernization Act. The legislation would modernize and reauthorize the Native American Housing Assistance and Self Determination Act (NAHASDA), which provides federal funding for tribal housing programs, but it has not been fully reauthorized in more than a decade. Rep. Downing said in a press release that “Homeownership is the foundation of the American dream – that doesn't stop with Americans in our tribal communities.” The new act would increase funding and give tribes more flexibility to build, repair, and manage housing, Downing says. He said that, across Indian Country, many Native families are living in overcrowded homes with multiple generations sharing limited space. During that time, tribal leaders say the need has only grown. Mark Macarro, President of the National Congress of American Indians, says in a prepared statement that “the time to reauthorize and modernize NAHASDA is now.” Sharon Vogel is the president of United Native American Housing Association. She says that the legislation “will provide a stable environment for Indian housing development which will have a positive impact on meeting the needs of our tribal communities and families.” Other supporters of the act, quoted in a press release, say the changes are long overdue and warn that, without sustained investment, the gap between available housing and the need will continue to widen. U.S. Sens. Lisa Murkowski (R-AK) and Brian Schatz (D-HI) are leading similar legislation in the Senate. The Skiku team traveled to several Interior villages along the Yukon River – Grayling, Anvik, Shageluk, and Holy Cross — to teach kids skiing. (Courtesy Skiku) Skiku is a non-profit that brings skiing to communities across rural Alaska. This year, organizers tried something new to make the activity stick – training a village resident to be a coach. As the Alaska Desk’s Alena Naiden from our flagship station KNBA reports, the idea is to encourage kids to ski throughout winter. Justin River Lechton was a fifth grade student in Aniak, in Southwest Alaska, when he learned to ski. He loved it and started going out on the river with his dogs, breaking trail, and enjoying the freedom the activity brought him. “It brought me outdoors. It took me outside to nature. And I was just enjoying it so much.” Now, Lechton is 21 and becoming a ski coach. In February, he joined the nonprofit Skiku, which taught him how to ski and has been bringing the sport to kids across Alaska. Together, he and the Skiku team traveled to several Interior villages – Grayling, Anvik, and Shageluk. The February trip culminated with a week in another community in the same region – Holy Cross, where Lechton now lives. There, he ran the show. Next winter, he will be the coach for Holy Cross kids. “They’re mostly inside, and it’d be great to get them outside and to do something outdoors, all together, as a team.” Skiku has been around for more than a decade, bringing cross-country ski coaches and equipment to kids in Alaska villages. Tyler Henegan is its executive director. He says usually, after the visit, the skis go back in the closet. Henegan says what's missing is an adult who will take kids out. “To kind of keep those four communities shredding. In my mind, I have a Jedi Padawan situation where we can kind of have that person mentor folks out there and really kind of hope to make something a little more sustainable too, that’s really more community driven.” That is where Lechton comes in, to keep it going throughout the season. Sonta Hamilton Roach says that children in the region stay active by hauling wood and working outside, but she says they do not get many chances to try themselves in competitive sports. And Roach is happy all four villages in her area are part of this project. “We’re all the same people trying to live good, healthy, quality lives in our communities. When you really see our tribes come together, we can do cool things.” The organizers say they hope to find more residents like Lechton in each of them to keep kids skiing throughout the season. Get National Native News delivered to your inbox daily. Sign up for our daily newsletter today. Download our NV1 Android or iOs App for breaking news alerts. Check out today’s Native America Calling episode Monday, March 30, 2026 – Understanding the Jack Abramoff Indian gaming scandal 25 years later
Send us Fan MailEPISODE 692 - Sandra Freels - Anneke Jans in the New World - an ordinary woman who lived an extraordinary lifeOriginally from Indiana, Sandra Freels majored in Russian at Indiana University and then completed a PhD in Slavic Languages and Literatures at Stanford University. The author of three textbooks, for many years she headed the Russian Program at Portland State University. An interest in genealogy led Sandra to the Council Records of New Netherland and the delicious stories of the people who once lived there. She claims descent from Anneke Jans and sixteen other major and minor characters in her debut novel, Anneke Jans in the New World. Sandra at present lives in Portland, Oregon, with her husband Joel and their two cats.COMING JANUARY 6, 2025Timed perfectly to publish just as New York celebrates its 400th birthday, a riveting story of a spirited young mother who faces the unknowns of seventeenth-century New Amsterdam after fleeing the Old World in search of a better life.It's 1630, and Anneke Jans has just arrived in the fledgling colony of New Netherland with her husband, Roelof, and their two young daughters to create a new life for herself and her family. One of very few women in the colony, Anneke quickly realizes that she will need to make her own rules if she is to survive.When Roelof dies, Anneke marries Everardus Bogardus, the flamboyant minister of the Dutch Reformed Church. With this marriage, Anneke joins the elites of the colony—but when the colony's new director provokes war with the region's American Indians and her new husband emerges as the head of the anti-war opposition, she also finds herself in the midst of political turmoil. As difficulties mount, she must rely more than ever on her quick wits to protect herself and her growing family.Based on real events, Anneke Jans in the New World tells the story of an ordinary woman who lived an extraordinary life.https://sandrafreels.com/Support the show___https://livingthenextchapter.com/podcast produced by: https://truemediasolutions.ca/Coffee Refills are always appreciated, refill Dave's cup here, and thanks!https://buymeacoffee.com/truemediaca
Episode No. 751 features artist Kahlil Robert Irving and curator Rebecca Head Trautmann. Irving is included in "Monuments," at the Museum of Contemporary Art, Los Angeles. The exhibition juxtaposes decommissioned Lost Cause monuments with artworks that address the histories the Lost Cause aimed to whitewash. "Monuments" features two Irvings: New Nation (States) Battle of Manassas - 2014, 2024-25; and Viewfinder, 2024 which address the 2014 police killing of Michael Brown Jr. in Ferguson, Missouri and its aftermath. The exhibition, which is on view through May 3, was curated by Hamza Walker, Kara Walker, and Bennett Simpson with Hannah Burstein and Paula Kroll. The museum says that a catalogue is forthcoming. Irving has had solo exhibitions at the Museum of Modern Art, New York, the Walker Art Center, Minneapolis, and at the Contemporary Art Museum Saint Louis; he's been featured in group exhibitions at the Carnegie Museum of Art in Pittsburgh, MASS MoCA in North Adams, Mass., the Whitney Museum of American Art in New York, and more. He was also a guest on Episode No. 591 in 2023. Trautmann is the curator of "Water's Edge: The Art of Truman Lowe" at the National Museum of the American Indian, Smithsonian Institution, Washington, DC. "Water's Edge" is the first career-length survey of Hoocąk (Ho-Chunk) artist. It is on view through January 1, 2027. Smithsonian Books published a catalogue of the exhibition; Amazon and Bookshop offer it for about $33-37. Instagram: Kahlil Robert Irving, Tyler Green. Air date: March 26, 2026.
Kelly and Mark discuss this unforgettable episode. We Hope you enjoy it! “Dr Mike tells Grace and Robert E that their son might not survive his illness, while Sully pursues peace between the American Indian warriors and the settlers.” A Place Called Home originally aired on November 1, 1997 Now there’s a place to buy Dr QuinnCast Merchandise! https://www.etsy.com/shop/ForYourLittleHouse The post A Place Called Home first appeared on Dr.QuinnCast Podcast.
Indigenous Women's Leadership with NMAI Director Cynthia Chavez Lamar and co-hosts Kahstoserakwathe and Taiawentón:ti' It's an Awesome Auntie co-hosting collaboration this month as Taiawentón:ti' Chelsea Sunday (Kanyen'kehà:ka) joins Kahstoserakwathe to visit with Smithsonian National Museum of the American Indian Director Cynthia Chavez Lamar (San Felipe Pueblo, Hopi, Tewa, and Navajo).Cynthia is the first woman director of the Smithsonian's National Museum of the American Indian, including its three locations in Washington, D.C., New York City, and the Cultural Resources Center in Maryland.Taiawentón:ti' and Kahstoserakwathe first met Cynthia last summer at the 2025 Smithsonian Folklife Festival. Taiawentón:ti''s land-based language revitalization organization, Ionkwahronkha'onhátie', was one of four groups featured for their language, place, and ways of learning. Kahstoserakwathe was there co-producing a documentary about their work.When Cynthia came to visit the group on the National Mall, Taiawentón:ti' noticed her openness and the path she has taken as an Indigenous woman in leadership. That moment sparked this conversation.In this episode, the three talk about leadership, creative direction, and building institutions that remain accountable to Indigenous communities.Cynthia is a curator, author, and scholar whose work focuses on Southwest Native art and collaborative practice with Indigenous communities. She has served on national arts and cultural boards, including the Institute of American Indian Arts and Alaska Native Culture and Arts Development and the New Mexico Arts Commission. Hosted on Acast. See acast.com/privacy for more information.
House Committee on Appropriations Subcommittee on Interior, Environment, and Related Agencies Date: Tuesday, March 18, 2026 – 1:00 PM Location: Capitol Complex, 2008 RHOB, Washington, DC, 20515, USA • LIVESTREAM: https://youtu.be/1iTI_qqEM3E Witnesses Panel one Cynthia Petersen President, Yakutat Tlingit Tribe Panel two Jarred-Michael Erickson Chairman, Confederated Tribes of the Colville Reservation Jeremy Takala Tribal Councilman, Confederated Tribes and Bands of the Yakama Nation Panel three Kristopher Peters Chairman, Squaxin Island Tribe Loni Greninger Vice-Chair, Jamestown S'Klallam Tribe Quintin Swanson Chairman, Shoalwater Bay Indian Tribe Robert de los Angeles Chairman, Snoqualmie Indian Tribe Panel four Guy Capoeman President, Quinault Indian Nation William (Bill) Iyall Chairman, Cowlitz Indian Tribe Louie Ungaro Councilman, Muckleshoot Indian Tribe Panel five Annette Bryan Councilwoman, Puyallup Tribe of Indians Panel six Derek Bowman Tribal Council Member, Bear River Band of the Rohnerville Rancheria Joe Davis Chairman, Hoopa Valley Tribe Panel seven Ed Johnstone Chairman, Northwest Indian Fisheries Commission Jon Panamaroff Co-Chair, Native American Contractors Association Ervin Carlson President, InterTribal Buffalo Council Cody Desautel President, Intertribal Timber Council Panel eight Mark Macarro President, National Congress of American Indians Ira L. Matt Executive Director, Indigenous Diplomacy and Federal Relations, National Association of Tribal Historic Preservation Officers Amy Minniear Treasurer, NAFOA More on Indianz.Com: https://indianz.com/News/2026/03/16/video-american-indian-and-alaska-native-public-witness-hearing-day-2-afternoon-session-2/
House Committee on Appropriations Subcommittee on Interior, Environment, and Related Agencies Date: Tuesday, March 17, 2026 – 1:00 PM Location: Capitol Complex, 2008 RHOB, Washington, DC, 20515, USA • LIVESTREAM: youtu.be/UX1i9N0arHI Witnesses Panel one Chuck Hoskin Jr. Principal Chief, Cherokee Nation Jonodev Chaudhuri Ambassador, The Muscogee (Creek) Nation Reggie Wassana [Note: Did not appear in person] Governor, Cheyenne and Arapaho Tribes Panel two James Naranjo Governor, Pueblo of Santa Clara Charles Riley Governor, Pueblo of Acoma Panel three Verlon Jose Chairman, The Tohono O'odham Nation of Arizona Dr. Buu Nygren President, Navajo Nation Panel four Robyn Sunday-Allen [Note: Did not appear in person] President-Elect, National Council of Urban Indian Health Francys Crevier Chief Executive Officer, National Council of Urban Indian Health A.C. Locklear Chief Executive Officer, National Indian Health Board Abigail Echo-Hawk Director, Urban Indian Health Institute Conrad Jacket Board Member, Albuquerque Area Indian Health Board, Inc. Panel five Teresa Sanchez Board President, Riverside-San Bernardino County Indian Health, Inc., Tribal Member of the Morongo Band of Mission Indians Esther Lucero President and Chief Executive Officer, Seattle Indian Health Board Aaron Hines Chair, Northwest Portland Area Indian Health Board Leanndra Ross Vice President, Executive and Tribal Services, Southcentral Foundation of Alaska Panel six Angelique Albert Chief Executive Officer, Native Forward Scholar Fund Ahniwake Rose President & CEO, American Indian Higher Education Consortium Panel seven Cecilia Fire Thunder President, Oglala Lakota Nation Education Coalition (OLNEC) Aurene Martin Secretary, National Indian Child Welfare Association More on Indianz.Com: https://indianz.com/News/2026/03/16/video-american-indian-and-alaska-native-public-witness-hearing-day-1-afternoon-session-2/
Father Joseph Illo joins Patrick to discuss St. Patrick's Day (3:33) who was Saint Patrick? (13:26) Sylvia - I heard St. Patrick raised people from the dead. Is that true? (18:53) Break 1 (20:29) Natalia - Origins...I wondered if father is familiar with How the Irish Saved Civilization. There's a discrepancy as to where St. Patrick was born. I think he was Roman and living in North Africa...I believe in Carthage when he was captured by the Irish and taken to Ireland. (26:38) Patricia - Could Patricia be synonymous with St. Patrick because there is no St. Patricia. I look at Catholic names...most of my kids have Catholic names. Carmen - My grandfather was Irish and American Indian. One tradition we had was about getting the family together and my mom would make a pot of Irish stew and dad would make corned beef and cabbage. I haven't heard anybody mention that. We have an Irish population in Hawaii. On St. Patrick's Day, they go all out with festivities. Drinking problems in Ireland, especially around St. Patrick’s Day. (37:18) Break 2 (39:11) Dr. Gerard - Thanks to my priest who gave me sacraments and communion. They came from Ireland to India. I'm now a cardiologist for the last 35 years. in US. Very thankful for St. Patrick. John - Could you comment on St. Patrick's prayer. Christ before me, behind me, etc. How could he survive in that environment? He had Christ present with him and it made him so powerful. This is what made people take heed of it. So many Irish hear...after the famine. People had to pay 7 pounds to live there or pay 4 pounds to come to America. (45:30) Cassidy - He's my patron saint and confirmation saint. How can I incorporate the life of St. Patrick during the feast with my family and share that with them?
What makes a character so compelling that readers will forgive almost anything about the plot? How do you move beyond vague flaws and generic descriptions to create people who feel pulled from real life? In this solo episode, I share 15 actionable tips for writing deep characters, curated from past interviews on the podcast. In the intro, thoughts from London Book Fair [Instagram reel @jfpennauthor; Publishing Perspectives; Audible; Spotify]; Insights from a 7-figure author business [BookBub]. This show is supported by my Patrons. Join my Community and get articles, discounts, and extra audio and video tutorials on writing craft, author business, and AI tools, at Patreon.com/thecreativepenn This episode has been created from previous episodes of The Creative Penn Podcast, curated by Joanna Penn, as well as chapters from How to Write a Novel: From Idea to Book. Links to the individual episodes are included in the transcript below. In this episode: Master the ‘Believe, Care, Invest' trifecta, how to hook readers on the very first page Define the Dramatic Question: Who is your character when the chips are down? Absolute specificity. Why “she's controlling” isn't good enough Understand the Heroine's Journey, strength through connection, not solo action Use ‘Metaphor Families' to anchor dialogue and give every character a distinctive voice Find the Diagnostic Detail, the moments that prove a character is real Writing pain onto the page without writing memoir Write diverse characters as real people, not stereotypes or plot devices Give your protagonist a morally neutral ‘hero' status. Compelling beats likeable. Build vibrant side characters for series longevity and spin-off potential Use voice as a rhythmic tool Link character and plot until they're inseparable Why discovery writers can write out of order and still build deep character Find the sensory details that make characters live and breathe More help with how to write fiction here, or in my book, How to Write a Novel. Writing Characters: 15 Tips for Writing Deep Character in Your Fiction In today's episode, I'm sharing fifteen tips for writing deep characters, synthesised from some of the most insightful interviews on The Creative Penn Podcast over the past few years, combined with what I've learned across more than forty books of my own. I'll be referencing episodes with Matt Bird, Will Storr, Gail Carriger, Barbara Nickless, and Sarah Elisabeth Sawyer. I'll also draw on my own book, How to Write a Novel, which covers these fundamentals in detail. Whether you're writing your first novel or your fiftieth, whether you're a plotter or a discovery writer like me, these tips will help you create characters that readers believe in, care about, and invest in—and keep coming back for more. Let's get into it. 1. Master the ‘Believe, Care, Invest' Trifecta When I spoke with Matt Bird on episode 624, he laid out the three things you need to achieve on the very first page of your book or in the first ten minutes of a film. He calls it “Believe, Care, and Invest.” First, the reader must believe the character is a real person, somehow proving they are not a cardboard imitation of a human being, not just a generic type walking through a generic plot. Second, the reader must care about the character's circumstances. And third, the reader must invest in the character's ability to solve the story's central problem. Matt used The Hunger Games as his primary example, and it's brilliant. On the very first page, we believe Katniss's voice. Suzanne Collins writes in first person with a staccato rhythm—lots of periods, short declarative sentences—that immediately grounds us in a survivalist mentality. We care because Katniss is starving. She's protecting her little sister. And we invest because she is out there bow hunting, which Matt pointed out is one of the most badass things a character can do. She even kills a lynx two pages in and sells the pelt. We invest in her resourcefulness and grit before the plot has even begun. Matt was very clear that this has nothing to do with the character being “likable.” He said his subtitle, Writing a Hero Anyone Will Love, doesn't mean the character has to be a good person. He described “hero” as both gender-neutral and morally neutral. A hero can be totally evil or totally good. What matters is that we believe, care, and invest. He demonstrated this beautifully by breaking down the first ten minutes of WeCrashed, where the characters of Adam and Rebekah Neumann are absolutely not likable, but we are completely hooked. Adam steals his neighbour's Chinese food through a carefully orchestrated con involving an imaginary beer. It's not admirable behaviour, but the tradecraft involved, as Matt put it—using a term from spy movies—makes us invest in him. We see a character trying to solve the big problem of his life, which is that he's poor and wants to be rich, and we want to see if he can pull it off. Actionable step: Go to the first page of your current work in progress. Does it achieve all three? Does the reader believe this is a real person with a distinctive voice? Do they care about the character's circumstances? And do they invest in the character's ability to handle what's coming? If even one of those three is missing, that's your revision priority. 2. Define the Dramatic Question: Who Are They Really? Will Storr, author of The Science of Storytelling, came on episode 490 and gave one of the most powerful frameworks I've ever heard for character-driven fiction. He explained that the human brain evolved language primarily to swap social information—in other words, to gossip. We are wired to monitor other people, to ask the question: who is this person when the chips are down? That's what Will calls the Dramatic Question, and it's what he believes lies at the heart of all compelling storytelling. It's not a question about plot. It's a question about the character's soul. And every scene in your novel should force the character to answer it. His example of Lawrence of Arabia is unforgettable. The Dramatic Question for the entire film is: who are you, Lawrence? Are you ordinary or are you extraordinary? At the beginning, Lawrence is a cocky, rebellious young soldier who believes his rebelliousness makes him superior. Every iconic scene in that three-hour film tests that belief. Sometimes Lawrence acts as though he truly is extraordinary—leading the Arabs into battle, being hailed as a god—and sometimes the world strips him bare and he sees himself as ordinary. Because it's a tragedy, he never overcomes his flaw. He doubles down on his belief that he's extraordinary until he becomes monstrous, culminating in that iconic scene where he lifts a bloody dagger and sees his own reflection with horror. Will also used Jaws to demonstrate how this works in a pure action thriller. Brody's dramatic question is simple: are you going to be old Brody who is terrified of the water, or new Brody who can overcome that fear? Every scene where the shark appears is really asking that question. And the last moment of the film isn't the shark blowing up. It's Brody swimming back through the water, saying he used to be scared of the water and he can't imagine why. Actionable step: Write down the Dramatic Question for your protagonist in a single sentence. Is it “Are you ordinary or extraordinary?” or “Are you brave enough to love again?” or “Will you sacrifice your principles for survival?” If you can't answer this with specificity, your character might still be a sketch rather than a person. 3. Get rid of Vague Flaws, and use Absolute Specificity This was one of Will Storr's most important points. He said that vague thinking about characters is really the enemy. When he teaches workshops and asks writers to describe their character's flaw, most of them say something like “they're very controlling.” And Will's response is: that's not good enough. Everyone is controlling. How are they controlling? What's the specific mechanism? He gave the example of a profile he read of Theresa May during the UK's Brexit chaos. Someone who knew her said that Theresa May's problem was that she always thinks she's the only adult in every room she goes into. Will said that stopped him in his tracks because it's so precise. If you define a character with that level of specificity, you can take them and put them in any genre, any situation—a spaceship, a Victorian drawing room, a school playground—and you will know exactly how they're going to behave. The same applies to Arthur Miller's Willy Loman in Death of a Salesman, as Will described it: a man who believes absolutely in capitalistic success and the idea that when you die, you're going to be weighed on a scale, just as God weighs you for sin, but now you're weighed for success. That's not a vague flaw. That's a worldview you can drop into any story and watch it combust. Will made another counterintuitive point that I found really valuable: writers often think that piling on multiple traits will create a complex character, but the opposite is true. Starting with one highly specific flaw and running it through the demands of a relentless plot is what generates complexity. You end up with a far more nuanced, original character than if you'd started with a laundry list of vague attributes. Actionable step: Take your protagonist's flaw and pressure-test it. Is it specific enough that you could place this character in any situation and predict their behaviour? If you're stuck at “she's stubborn” or “he's insecure,” keep pushing. What kind of stubborn? What kind of insecure? Find the diagnostic sentence—the Theresa May level of precision. 4. Understand the Heroine's Journey: Strength Through Connection Gail Carriger came on episode 550 to discuss her nonfiction book, The Heroine's Journey, and it completely reframed how I think about some of my own fiction. Gail explained that the core difference between the Hero's Journey and the Heroine's Journey comes down to how strength and victory are defined. The Hero's Journey is about strength through solo action. The hero must be continually isolated to get stronger. He goes out of civilisation, faces strife alone, and achieves victory through physical prowess and self-actualisation. The Heroine's Journey is the opposite. The heroine achieves her goals by activating a network. She's a delegator, a general. She identifies where she can't do something alone, finds the people who can help, and portions out the work for mutual gain. Gail put it simply: the heroine is very good at asking for help, which our culture tends to devalue but which is actually a powerful form of strength. Crucially, Gail stressed that gender is irrelevant to which journey you're writing. Her go-to examples are striking: the recent Wonder Woman film is practically a beat-for-beat hero's journey—Gilgamesh on screen, as Gail described it. Meanwhile, Harry Potter, both the first book and the series as a whole, is a classic heroine's journey. Harry's power comes from his network—Dumbledore's Army, the Order of the Phoenix, his friendships with Ron and Hermione. He doesn't defeat Voldemort alone. He defeats Voldemort because of love and connection. This distinction has real practical consequences for writers. If you're writing a hero's journey and you hit writer's block, Gail said, the solution is usually to isolate your hero further and pile on more strife. But if you're writing a heroine's journey, the solution is probably to throw a new character into the scene—someone who has advice to offer or a skill the heroine lacks. The actual solutions to writer's block are different depending on which narrative you're writing. As I reflected on my own work, I realised that my ARKANE thriller protagonist, Morgan Sierra, follows a hero's journey—she's a solo operative, a lone wolf like Jack Reacher or James Bond. But my Mapwalker fantasy series follows a heroine's journey, with Sienna and her group of friends working together. I hadn't consciously chosen those paths; the stories led me there. But understanding the framework helps me write more intentionally now. Actionable step: Identify which journey your protagonist is on. Does your character gain strength by being alone (hero) or by building connections (heroine)? This will inform every plot decision you make, from how they face obstacles to how your story ends. 5. Use ‘Metaphor Families' to Anchor Dialogue and Voice One of the most practical techniques Matt Bird shared on episode 624 is the idea of assigning each character a “metaphor family”—a specific well of language that they draw from. This gives each character a distinctive voice that goes beyond accent or dialect. Matt explained how in The Wire, one of the most beloved TV shows of all time, every character has a different metaphor family. What struck him was that Omar, this iconic character, never utters a single curse word in the entire series. His metaphor family is pirate. He talks about parlays, uses language that feels like it belongs in Pirates of the Caribbean, and it creates this incredible ironic counterpoint against his urban setting. It tells us immediately that this is a character who sees himself in a tradition of people that doesn't match his immediate surroundings. Matt also referenced the UK version of The Office, where Gareth works at a paper company but aspires to the military. So all of his language is drawn from a military metaphor family. He doesn't talk about filing and photocopying; he talks about tactics and discipline and being on the front line. This tells us that the character has a life and dreams beyond the immediate scene—and it's the gap between aspiration and reality that makes him both funny and believable. He pointed out that a metaphor family sometimes comes from a character's background, but it's often more interesting when it comes from their aspirations. What does your character want to be? What world do they fantasise about inhabiting? That's where their language should come from. In Star Wars, Obi-Wan Kenobi is a spiritual hermit, but his metaphor family is military. He uses the language of generals and commanders, and that ironic counterpoint is part of what makes him feel so rich. Actionable step: Assign each of your main characters a metaphor family. It could be based on their job, their background, or—more interestingly—their secret aspirations. Then go through your dialogue and make sure each character is consistently drawing from that well of language. If two characters sound the same when you strip away the dialogue tags, this is the fix. 6. Find the Diagnostic Detail: The Diagonal Toast Avoid clichéd character tags—the random scar, the eye patch, the mysterious limp—unless they serve a deep narrative purpose. Matt Bird on episode 624 was very funny about this: he pointed out that Nick Fury, Odin, and eventually Thor all have eye patches in the Marvel Cinematic Universe. Eye patches are done, he said. You cannot do eye patches anymore. Instead, look for what I'm calling the “diagonal toast” detail, after a scene Matt described from Captain Marvel. In the film, Captain Marvel is trying to determine whether Nick Fury is who he says he is. She asks him to prove he isn't a shapeshifting alien. Fury shares biographical details—his history, his mother—but then she pushes further and says, name one more thing you couldn't possibly have made up about yourself. And Fury says: if toast is cut diagonally, I can't eat it. Matt said that detail is gold for a writer because it feels pulled from a real life. You can pull it from your own life and gift it to your characters, and the reader can tell it's not manufactured. He gave another example from The Sopranos: Tony Soprano's mother won't answer the phone after dark. The show's creator, David Chase, confirmed on the DVD commentary that this came from his own mother, who genuinely would not answer the phone after dark and couldn't explain why. Matt's practical advice was to keep a journal. Write down the strange, specific things that people do or say. Mine your own life for those hyper-specific details. You just need one per book. In my own writing, I've used this approach. In my ARKANE thrillers, my character Morgan Sierra has always been Angelina Jolie in my mind—specifically Jolie in Lara Croft or Mr and Mrs Smith. And Blake Daniel in my crime thriller series was based on Jesse Williams from Grey's Anatomy. I paste pictures of actors into my Scrivener projects. It helps with visuals, but also with the sense of the character, their energy and physicality. But visual details only take you so far. It's the behavioural quirks—the diagonal toast moments—that make a character feel genuinely alive. That said, physical character tags can work brilliantly when they serve the story. As I discuss in How to Write a Novel, Robert Galbraith's Cormoran Strike is an amputee, and his pain and the physical challenges of his prosthesis are a key part of every story—it's not a cosmetic detail, it's woven into the action and the character's psychology. My character Blake Daniel always wears gloves to cover the scars on his hands, which provides an angle into his wounded past as well as a visual cue for the reader. And of course, Harry Potter's lightning-shaped scar isn't just a mark—it's a direct connection to his nemesis and the mythology of the entire series. The rule of thumb is: if the tag tells us something about the character's interior life or connects to the plot, it's earning its place. If it's just there to make the character visually distinctive, it's probably a crutch. Game of Thrones takes character tags further with the family houses, each with their own mottos and sigils. The Starks say “Winter is coming” and their sigil is a dire wolf. Those aren't just labels—they're worldview made visible. Actionable step: Start a “diagonal toast” notebook. Every time you notice something strange and specific about someone's behaviour—something that feels too real to be made up—write it down. Then gift it to a character who needs more texture. 7. Displace Your Own Trauma into the Work Barbara Nickless shared something deeply personal on episode 732 that fundamentally changed how I think about putting pain onto the page. While starting At First Light, the first book in her Dr. Evan Wilding series, she lost her son to epilepsy—something called SUDEP, Sudden Unexplained Death in Epilepsy. One day he was there, and the next day he was gone. Barbara said that writing helped her cope with the trauma, that doing a deep dive into Old English literature and the Viking Age for the book's research became a lifeline. But here's what's important: she didn't give Dr. Evan Wilding her exact trauma. Evan Wilding is four feet five inches, and Barbara described how he has to walk through a world that won't adjust to him. That's its own form of learning to cope when circumstances are beyond your control. She displaced her genuine grief into the character's different but parallel struggle. When I asked her about the difference between writing for therapy and writing for an audience, she drew on her experience teaching creative writing to veterans through a collaboration between the US Department of Defense and the National Endowment for the Arts. She said she's found that she can pour her heartache into her characters and process it through them, even when writing professionally, and that the genuine emotion is what touches readers. We've all been through our own losses and griefs, so seeing how a character copes can be deeply meaningful. I've always found that putting my own pain onto the page is the most direct way to connect with a reader's soul. My character Morgan Sierra's musings on religion and the supernatural are often my own. Her restlessness, her fascination with the darker edges of faith—those come from me. But her Krav Maga fighting skills and her ability to kill the bad guys are definitely her own. That gap between what's mine and what's hers is where the fiction lives. Barbara also said something on that episode that I wrote down and stuck on my wall. She said the act of producing itself is a balm to the soul. I've been thinking about that ever since. On my own wall, I have “Measure your life by what you create.” Different words, same truth. Actionable step: If you're carrying something heavy—grief, anger, fear, regret—consider how you might displace it into a character's different but emotionally parallel struggle. Don't copy your exact situation; transform it. The emotion will be genuine, and the reader will feel it. 8. Write Diverse Characters as Real People When I spoke with Sarah Elisabeth Sawyer on episode 673—Sarah is Choctaw and a historical fiction author honoured by the Smithsonian's National Museum of the American Indian—she offered a perspective that every fiction writer needs to hear. The key message was to move away from stereotypes. Don't write your American Indian character as the “Wise Guide” who exists solely to dispense mystic wisdom to the white protagonist. Don't limit diverse characters to historical settings, as though they only exist in the past. Place them in normal, contemporary roles. Your spaceship captain, your forensic scientist, your small-town baker—any of them can be American Indian, or Nigerian, or Japanese, and their heritage should be a lived-in part of their identity, not the sole reason they exist in the story. I write international thrillers and dark fantasy, and my fiction is populated with characters from all over the world. I have a multi-cultural family and I've lived in many places and travelled widely, so I've met, worked with, and had relationships with people from different cultures. I find story ideas through travel, and if I set my books in a certain place, then the story is naturally populated with the people who live there. As I discuss in my book, How to Write a Novel, the world is a diverse place, so your fiction needs to be populated with all kinds of people. If I only populated my fiction with characters like me, they would be boring novels. There are many dimensions of difference—race, nationality, sex, age, body type, ability, religion, gender, sexual orientation, socio-economic status, class, culture, education level—and even then, don't assume that similar types of people think the same way. Some authors worry they will make mistakes. We live in a time of outrage, and some authors have been criticised for writing outside their own experience. So is it too dangerous to try? Of course not. The media amplifies outliers, and most authors include diverse characters in every book without causing offence because they work hard to get it right. It's about awareness, research, and intent. Actionable step: Audit the cast of your current work in progress. Have you written a mono-cultural perspective for all of them? If so, consider who could bring a different background, perspective, or set of cultural specifics to the story. Not as a token addition, but as a real person with a real life. 9. Respect Tribal and Cultural Specificity Sarah Elisabeth Sawyer on episode 673 was emphatic about one thing: never treat diverse groups as monolithic. If you're writing a Native American character, you must research the specific nation. Choctaw is not Navajo, just as British is not French. Sarah described the distinct cultural markers of the Choctaw people—the diamond pattern you'll see on traditional shirts and dresses, which represents the diamondback rattlesnake. They have distinct dances and songs. She said that if she saw someone in traditional dress at a distance, she would know whether they were Choctaw based on what they were wearing. She encouraged writers who want to write specifically about a nation to get to know those people. Go to events, go to a powwow, learn about the individual culture. She noted that a big misconception is that American Indians exist only in the past—she stressed that they are still here, still living their cultures, and fiction should reflect that present reality. I took a similar approach when writing Destroyer of Worlds, which is set mostly in India. I read books about Hindu myth, watched documentaries about the sadhus, and had one of my Indian readers from Mumbai check my cultural references. For Risen Gods, set in New Zealand with a young Maori protagonist, I studied books about Maori mythology and fiction by Maori authors, and had a male Maori reader check for cultural issues. Research is simply an act of empathy. The practical takeaway is this: if you're going to include a character from a specific cultural background, do the work. Use specific cultural details rather than generic signifiers. Sarah talked about how even she fell into stereotypes when she was first writing, until her mother pointed them out. If someone from within a culture can fall into those traps, the rest of us certainly can. Do the research, try your best, ask for help, and apologise if you need to. Actionable step: If you're writing a character from a specific culture, identify three to five sensory or behavioural details that are particular to that culture—not the generic version, but the real, researched, lived-in version. Consider hiring a sensitivity reader from that community to check your work. 10. Give Your Protagonist a Morally Neutral ‘Hero' Status Matt Bird was clear about this on episode 624: the word “hero” simply means the protagonist, the person we follow through the story. It's a functional role, not a moral label. We don't have to like them. We don't even have to root for their goals in a moral sense. We just have to find them compelling enough to invest our attention in their problem-solving. Think of Succession, where every member of the Roy family is varying degrees of awful, and yet the show was utterly compelling. Or WeCrashed, where Adam Neumann is a narcissistic con artist, but we can't look away because he's trying to solve the enormous problem of building an empire from nothing, and the tradecraft he employs is fascinating. As I wrote in How to Write a Novel, readers must want to spend time with your characters. They don't have to be lovable or even likable—that will depend on your genre and story choices—but they have to be captivating enough that we want to spend time with them. A character who is trying to solve a massive problem will naturally draw investment from the audience, even if we wouldn't want to have tea with them. Will Storr extended this idea by pointing out that the audience will actually root for a character to solve their problem even if the audience doesn't actually want the character's goal to be achieved in the real world. We don't really want more billionaires, but we invested in Adam Neumann's rise because that was the problem the story posed, and our brains are wired to invest in problem-solving. This connects to something deeper: what does your character want, and why? As I explore in How to Write a Novel, desire operates on multiple levels. Take a character like Phil, who joins the military during wartime. On the surface, she wants to serve her country. But she also wants to escape her dead-end town and learn new skills. Deeper still, her father and grandfather served, and by joining up, she hopes to finally earn their respect. And perhaps deepest of all, her father died on a mission under mysterious circumstances, and she wants to find out what happened from the inside. That layering of motivation is what turns a flat character into a three-dimensional one. The audience doesn't need to be told all of this explicitly. It can emerge through action, dialogue, and the choices the character makes under pressure. But you, the writer, need to know it. You need to know what your character really wants deep down, because that desire—more than any external plot device—is what drives the story forward. And your antagonist needs the same depth. They also want something, often diametrically opposed to your protagonist, and they need a reason that makes sense to them. In my ARKANE thriller Tree of Life, my antagonist is the heiress of a Brazilian mining empire who wants to restore the Earth to its original state to atone for the destruction caused by her father's company. She's part of a radical ecological group who believe the only way to restore Nature is to end all human life. It's extreme, but in an era of climate change, it's a motivation readers can understand—even if they disagree with the solution. Actionable step: If you're struggling to make a morally grey character work, make sure their problem is big enough and their methods are specific and interesting enough that we invest in the how, even if we're ambivalent about the what. 11. Build Vibrant Side Characters Gail Carriger made a point on episode 550 that was equal parts craft advice and business strategy. In a Heroine's Journey model, side characters aren't just fodder to be killed off to motivate the hero. They form a network. And because you don't have to kill them—unlike in a hero's journey, where allies are often betrayed or removed so the hero can be further isolated—you can pick up those side characters and give them their own books. Gail said this creates a really voracious reader base. You write one series with vivid side characters, and then readers fall in love with those side characters and want their stories. So you write spin-offs. The romance genre does this brilliantly—think of the Bridgerton books, where each sibling gets their own novel. The side character in one book becomes the protagonist in the next. Barbara Nickless experienced this firsthand with her Dr. Evan Wilding series. She has River Wilding, Evan's adventurous brother, and Diana, the axe-throwing research assistant, and her editor has already expressed interest in a spin-off series with those characters. Barbara described creating characters she wants to spend time with, or characters who give her nightmares but also intrigue her. That's the dual test: are they interesting enough for you to write, and interesting enough for readers to demand more? As I wrote in How to Write a Novel, characters that span series can deepen the reader's relationship with them as you expand their backstory into new plots. Readers will remember the character more than the plot or the book title, and look forward to the next instalment because they want more time with those people. British crime author Angela Marsons described it as readers feeling like returning to her characters is like putting on a pair of old slippers. Actionable step: Look at your supporting cast. Is there a side character who is vivid enough to carry their own story? If not, what could you add—a specific hobby, a distinct voice, a compelling backstory—that would make readers want more of them? 12. Use Voice as a Rhythmic Tool Voice is one of the most important elements of novel writing, and Matt Bird helped me think about it in a technical, mechanical way that I found really useful. He pointed out that the ratio of periods to commas defines a character's internal reality. A staccato rhythm—lots of periods, short sentences—suggests a character who is certain, grounded, or perhaps survivalist and traumatised. Katniss in The Hunger Games has a period-heavy voice. She's in survival mode. She doesn't have time for complexity or qualification. A flowing, comma-heavy style suggests someone more academic, more nuanced, or possibly more scattered and manipulative. The character who qualifies everything, who adds sub-clauses and digressions, is a different kind of person from the character who speaks in declarations. This is something you can actually measure. Pull up a passage of your character's dialogue or internal monologue and count the periods versus the commas. If the rhythm doesn't match who the character is supposed to be, you've found a mismatch you can fix. Sentence length is the heartbeat of your character's persona. And voice extends beyond rhythm to the words themselves. As I discussed in the metaphor families tip, each character should draw from a distinctive well of language. But voice also encompasses their relationship to silence. Some characters talk around the thing they mean; others say it straight. Some are self-deprecating; others are blunt to the point of rudeness. All of these choices are character choices, not just style choices. I find it useful to read my dialogue aloud—and not just to check for naturalness, but to hear whether each character sounds distinct. If you could swap dialogue lines between two characters and nobody would notice, you have a voice problem. One practical test: cover the dialogue tags and see if you can tell who's speaking from the words alone. Actionable step: Choose a key passage from your protagonist's point of view and read it aloud. Does the rhythm match the character? A soldier under fire should not sound like a philosophy professor at a wine tasting. Adjust the ratio of periods to commas until the voice feels right. 13. Link Character and Plot Until They're Inseparable Will Storr made the case on episode 490 that the number one problem he sees in the writing he encounters—in workshops, in submissions, even in published books—is that the characters and the plots are unconnected. There's a story happening, and there are people in it, but the story isn't a product of who those people are. He said a story should be like life. In our lives, the plots are intimately connected to who we are as characters. The goals we pursue, the obstacles we face, the same problems that keep recurring—these are products of our personalities, our flaws, our specific ways of being in the world. His framework is that your plot should be designed specifically to plot against your character. You've got a character with a particular flaw; the plot exists to test that flaw over and over until the character either transforms or doubles down and explodes. Jaws is the perfect example. Brody is afraid of water. A shark shows up in the coastal town he's responsible for protecting. The entire plot is engineered to force him to confront the one thing he cannot face. Will pointed out that the whole plot of Jaws is structured around Brody's flaw. It begins with the shark arriving, the midpoint is when Brody finally gets the courage to go into the water, and the very final scene isn't the shark blowing up—it's Brody swimming back through the water. Even a film that's ninety-eight percent action is, at its core, structured around a character with a character flaw. This is the standard I aspire to in my own work, even in my action-heavy thrillers. The external plot should be a mirror of the internal struggle. When those two are aligned, the story becomes irresistible. Will also made an important point about series fiction, which is where most commercial authors live. I asked him how this works when your character can't be transformed at the end of every book because there has to be a next book. His answer was elegant: you don't cure them. Episodic TV characters like Fleabag or David Brent or Basil Fawlty never truly change—and the fact that they don't change is actually the source of the comedy. But every episode throws a new story event at them that tests and exposes their flaw. You just keep throwing story events at them again and again. That's a soap opera, a sitcom, and a book series. As I wrote in How to Write a Novel, character flaws are aspects of personality that affect the person so much that facing and overcoming them becomes central to the plot. In Jaws, the protagonist Brody is afraid of the water, but he has to overcome that flaw to destroy the killer shark and save the town. But remember, your characters should feel like real people, so never define them purely by their flaws. The character addicted to painkillers might also be a brilliant and successful female lawyer who gets up at four in the morning to work out at the gym, likes eighties music, and volunteers at the local dog shelter at weekends. Character wounds are different from flaws. They're formed from life experience and are part of your character's backstory—traumatic events that happened before the events of your novel but shape the character's reactions in the present. In my ARKANE thrillers, Morgan Sierra's husband Elian died in her arms during a military operation. This happened before the series begins, but her memories of it recur when she faces a firefight, and she struggles to find happiness again for fear of losing someone she loves once more. And then there's the perennial advice: show, don't tell. Most writers have heard this so many times that it's easy to nod and then promptly write scenes that tell rather than show. Basically, you need to reveal your character through action and dialogue, rather than explanation. In my thriller Day of the Vikings, Morgan Sierra fights a Neo-Viking in the halls of the British Museum and brings him down with Krav Maga. That fight scene isn't just about showing action. It opens up questions about her backstory, demonstrates character, and moves the plot forward. Telling would be something like: “Morgan was an expert in Krav Maga.” Showing is the reader discovering it through the scene itself. Actionable step: Look at the main plot events of your novel. For each major turning point, ask: does this scene specifically test my protagonist's flaw? If not, can you redesign the scene so that it does? The tighter the connection between character and plot, the more powerful the story. 14. The ‘Maestra' Approach: Write Out of Order If you're a discovery writer like me, you may feel like the deep character work I've been describing sounds more suited to plotters. But Barbara Nickless gave me a beautiful metaphor on episode 732 that reframes it entirely. Barbara described her evolving writing process as being like a maestra standing in front of an orchestra. Sometimes you bring in the horns—a certain theme—and sometimes you bring in the strings—a certain character—and sometimes you turn to the soloist. It's a more organic and jumping-around process than linear writing, and Barbara said she's only recently given herself permission to work this way. When I told her that I use Scrivener to write in scenes out of order and then drag and drop them into a structure later, she was genuinely intrigued. And this is how I've always worked. I'll see the story in my mind like a movie trailer—flashes of the big emotional scenes, the pivotal confrontations, the moments of revelation—and I write those first. I don't know how they hang together until quite late in the process. Then I'll move scenes around, print the whole thing out, and figure out the connective tissue. The point is that discovery writers can absolutely build deep characters. Sometimes writing the big emotional scenes first is how you discover who the character is before you fill in the rest. You don't need a twenty-page character worksheet or a 200-page outline like Jeffery Deaver. You need to be willing to follow the character into the unknown and trust that the structure will emerge. As Barbara said, she writes to know what she's thinking. That's the discovery writer's credo. And I would add: I write to know who my characters are. Actionable step: If you're stuck on your current chapter, skip it. Write the scene that's burning in your imagination, even if it's from the middle or the end. That scene might be the key to unlocking who your character really is. 15. Use Research to Help with Empathy Research shouldn't just be about factual accuracy—it's a tool for finding the sensory details that create empathy. Barbara Nickless described research as almost an excuse to explore things that fascinate her, and I feel exactly the same way. I would go so far as to say that writing is an excuse for me to explore the things that interest me. Barbara and I both travel for our stories. For her Dr. Evan Wilding books, she did deep research into Old English literature and the Viking Age. For my thriller End of Days, I transcribed hours of video from Appalachian snake-handling churches on YouTube to understand the worldview of the worshippers, because my antagonist was brought up in that tradition. I couldn't just make that up. I had to hear their language, feel their conviction, understand why they would hold venomous serpents as an act of faith. Barbara also mentioned getting to Israel and the West Bank for research, and I've been to both places too. Finding that one specific sensory detail—the smell of a particular location, the specific way an expert handles a tool, the sound of a particular kind of music—makes the character's life feel lived-in. It's the difference between a character who is described as living in a place and a character who inhabits it. As I wrote in How to Write a Novel, don't write what you know. Write what you want to learn about. I love research. It's part of why I'm an author in the first place. I take any excuse to dive into a world different from my own. Research using books, films, podcasts, and travel, and focus particularly on sources produced by people from the worldview you want to understand. Actionable step: For your next piece of character research, go beyond reading. Watch a documentary, visit a location, talk to someone who lives the experience. Find one sensory detail—a smell, a sound, a texture—that you couldn't have invented. That detail will make your character feel real. Bonus: Measure Your Life by What You Create In an age of AI and a tsunami of content, your ultimate brand protection is the quality of your human creation. Barbara Nickless said that the act of producing itself is a balm to the soul, and I believe that with every fibre of my being. Don't be afraid to take that step back, like I did with my deadlifting. Take the time to master these deeper craft skills. It might feel like you're slowing down or going backwards by not chasing the latest marketing trend, but it's the only way to step forward into a sustainable, high-quality career. Your characters are your signature. No AI can replicate the specificity of your lived experience, the emotional truth of your displaced trauma, or the sensory details you've gathered from a life of curiosity and travel. Those are yours. Pour them into your characters, and they will resonate for years to come. Actionable Takeaway: Identify the Dramatic Question for your current protagonist. Can you state it in a single sentence with the kind of specificity Will Storr described? Is it as clear as “Are you ordinary or extraordinary?” or “Are you the only adult in the room?” If you can't answer it with that kind of precision, your character might still be a sketch. Give them a diagonal toast moment today. Find the one hyper-specific detail that proves they are not an imitation of life. And then ask yourself: does your plot test your character's flaw in every major scene? If you can align those two things—a precisely defined character and a plot that exists to test them—you will have a story that readers cannot put down. References and Deep Dives The episodes I've referenced today are all available with full transcripts at TheCreativePenn.com: Episode 732 — Facing Fears, and Writing Unique Characters with Barbara Nickless Episode 673 — Writing Choctaw Characters and Diversity in Fiction with Sarah Elisabeth Sawyer Episode 624 — Writing Characters with Matt Bird Episode 550 — The Heroine's Journey with Gail Carriger Episode 490 — How Character Flaws Shape Story with Will Storr Books mentioned: The Secrets of Character: Writing a Hero Anyone Will Love by Matt Bird The Science of Storytelling by Will Storr The Heroine's Journey by Gail Carriger How to Write a Novel: From Idea to Book by Joanna Penn You can find all my books for authors at CreativePennBooks.com and my fiction and memoir at JFPennBooks.com Happy writing! How was this episode created? This episode was initiated created by NotebookLM based on YouTube videos of the episodes linked above from YouTube/TheCreativePenn, plus my text chapters on character from How to Write a Novel. NotebookLM created a blog post from the material and then I expanded it and fact checked it with Claude.ai 4.6 Opus, and then I used my voice clone at ElevenLabs to narrate it. The post Writing Characters: 15 Actionable Tips For Writing Deep Character first appeared on The Creative Penn.
In this episode, Jennifer Wallace and Elisabeth Kristof are joined in person by Dr. Lovey Bradley, NSI certified practitioner, BrainBased facilitator, and facilitator of the NSI BIPOC Affinity Group. Together they examine how racial stress and systemic oppression live in the body, how they shape nervous system patterns across generations, and what post-traumatic growth actually requires when the environment itself keeps activating survival. Dr. Lovey opens by sharing what brought her to this conversation, including a moment of messaging Elisabeth out of frustration, asking why race still has to be such a defining factor, and what it would take to start breaking those walls down. The answer they keep returning to: it starts with having the conversations. From there the episode moves into the physiology of racial stress, how chronic exposure to discrimination activates the HPA axis, elevates cortisol, suppresses progesterone, and drives the specific health disparities that show up disproportionately in melanated bodies, including fibroids, endometriosis, heart disease, hypertension, and chronic pain. Dr. Lovey names what she sees in the women she works with and connects those physical realities directly to suppressed expression, ancestral stress load, and the specific demands placed on bodies that have never had the systemic safety to soften. Elisabeth grounds the conversation in current research including the work of Resmaa Menakem on embodied racial trauma and Tema Okun's writing on white supremacy culture, which she connects directly to nervous system dysregulation rather than personality or ideology. The episode also traces how cultural conditioning normalizes threat-based behaviors like urgency, perfectionism, and emotional repression as efficiency or success, and what that means for everyone living inside those systems. Dr. Lovey also shares the story of how she accidentally created a healing community for melanated women after a single post went viral in a Facebook group, and what the response revealed about the collective hunger for real, unperformed connection. Topics Covered How racism functions as a chronic threat signal that reshapes the nervous system, not just belief or behavior What the HPA axis, cortisol, and progesterone have to do with racial stress and women's health outcomes How suppressed expression contributes to physical disease in melanated bodies What Resmaa Menakem's framework adds to neuro somatic approaches to racialized trauma Why white supremacy culture traits like urgency and perfectionism map directly onto chronic stress behaviors How the urgency to fix or regulate can itself become a form of bypassing in healing spaces What post-traumatic growth looks like at a collective level, not just an individual one Why witnessing state violence on social media is a genuine nervous system stressor, even for those not directly targeted How Dr. Levy's community for melanated women came to life and what it is building toward Chapter Markers 0:00 - Why This Conversation Had to Happen 01:57 - Welcome: Racial Trauma, the Nervous System, and Post-Traumatic Growth 07:25 - What Racial Stress Looks Like in the Body, for White and Melanated Bodies 10:44 - Post-Traumatic Growth at the Collective Level: What It Actually Requires 15:35 - The Danger of Regulating Out of Activation Before the Cycle Completes 18:09 - The Neuroscience: HPA Axis, Allostatic Load, and Chronic Racial Threat 24:27 - How Racial Stress Shows Up in Hormones, Cycles, and Women's Health 29:25 - Resmaa Menakem, White Supremacy Culture, and the Nervous System 38:42 - Dr. Levy's Community for Melanated Women and What It Is Building 41:35 - Witnessing Violence at Scale: What It Does to All Nervous Systems 49:11 - What This Work Has Made Possible: Dr. Levy on Choosing to Create a Different World 51:59 - Closing Reflection: What Post-Traumatic Growth Requires of Us Collectively Ways to Engage with Neurosomatics: Neurosomatic Intelligence is now enrolling : https://neurosomaticintelligence.com/nsi-certification Join us for a two week trial of neurosomatic practices at rewiretrial.com Free BrainBased neurosomatic workshop for entrepreneurs at rewirecapacity.com Sacred Synapse: an educational YouTube channel founded by Jennifer Wallace that explores nervous system regulation, applied neuroscience, consciousness, and psychedelic preparation and integration through Neurosomatic Intelligence. Wayfinder Journal: Track nervous system patterns and support preparation and integration through Neurosomatic Intelligence. Learn to work with Boundaries at the level of the body and nervous system at https://www.boundaryrewire.com Resources: Brave Heart, Maria Yellow Horse. "The Historical Trauma Response Among Natives and Its Relationship with Substance Abuse: A Lakota Illustration." Journal of Psychoactive Drugs, vol. 35, no. 1, 2003, pp. 7–13. Brave Heart, Maria Yellow Horse, and Eduardo Duran. "Healing the Soul Wound: Counseling with American Indians and Other Native Peoples." Teachers College Press, 1995. DeGruy, Joy. Post Traumatic Slave Syndrome: America's Legacy of Enduring Injury and Healing. Joy DeGruy Publications Inc., 2005. Hobson, J. M., M. D. Moody, R. E. Sorge, and B. R. Goodin. "The Neurobiology of Social Stress Resulting from Racism." Social Cognitive and Affective Neuroscience, vol. 17, no. 2, 2022, pp. 181–191. Hicken, Margaret T., et al. "Everyday Discrimination, Chronic Stress, and Cardiovascular Health." American Journal of Epidemiology, 2014. Geronimus, Arline T. "Weathering and the Health of African-American Women." Ethnicity & Disease, 2006. Menakem, Resmaa. My Grandmother's Hands: Racialized Trauma and the Pathway to Mending Our Hearts and Bodies. Central Recovery Press, 2017. Okun, Tema. "White Supremacy Culture." Dismantling Racism Works, originally published 1999, revised 2021. Williams, Monnica T. "Racial Trauma: Theory, Research, and Healing." American Psychologist, vol. 74, no. 1, 2019, pp. 33–42.
The Chandler Museum in Arizona has a new exhibit called “Being Eddie Basha.” It is a retrospective of the hometown-turned-statewide grocer who died in 2013. And as KJZZ's Gabriel Pietrorazio reports, this 3,800 sq ft installation is all about unpacking the man behind the grocery king persona. Chandler Museum's storytelling coordinator, Sarah Biggerstaff, literally leaned on Basha's own words for one interactive display. “This is our telephone. There's about 20 clips, and they range from, like, 20 seconds to a minute. You can pick it up, give it a couple seconds, but then you hear him actually speaking. And at our opening, it was really moving.” “I would want my epithets to have to say, ‘Eddie Basha, he was a good man, but a bad boy.’ And that's how I want to be remembered.” An interactive telephone display inside the “Being Eddie Basha” exhibit at Chandler Museum. (Photo: Gabriel Pietrorazio / KJZZ) Another one of his principles was putting people over profits. The great-grandson of Lebanese immigrants brought his family brand to tribal lands beginning in 1981 with the Diné Supermarket in Chinle. Basha even committed 25 cents of every dollar to the Navajo Nation. “And of course, the relationship with the Navajo became extremely powerful and fruitful and still exists today.” From Tuba City to Window Rock, stores kept popping up. More locations would follow on Apache land in Peridot and Whiteriver. The one-time gubernatorial candidate was also an avid collector of Western and American Indian art. Basha owned one of the world's largest private collections, most of which has since been donated to the Heard Museum in Phoenix, Ariz. Parker Kenick of Nome competing in the One Hand Reach at the Arctic Winter Games in Whitehorse, Yukon Territory, Canada. (Photo courtesy Carter Photography) Athletes, coaches, and spectators crowded Main Street in downtown Whitehorse, Yukon Territory, Canada Saturday for the closing ceremonies of the Arctic Winter Games, also known as the Olympics of the North. And Team Alaska had a lot to celebrate. Among the six Arctic nations, it led the count for ulus, the medals shaped like the curved knife emblematic of Arctic life. Alaska had 227 ulus, followed by Team Yukon with 174 and Alberta North with 127. As KNBA's Rhonda McBride tells us, Parker Kenick of Nome took home three gold ulus and many lessons about life. Although Parker Kenick started learning traditional Alaska Native games when he was eight, he did not take part in the Arctic Winter Games until later in life. This year he competed in the adult category and won gold ulus in the Two Foot High Kick, the Alaskan High Kick, and the One Hand Reach. Kenick says he is grateful for the community support that made it possible for him to travel to the games. “Our spirits get lifted here because there's so many people here that want to see us do our best, to our absolute limit.” Kenick competed in his first Arctic Winter Games in 2023 and says he was lucky to be mentored by some of the best Indigenous athletes in the world. Now he's returning the favor. One of his coaches, Candace Parker, says when Kenick first started out, he was very quiet and kept to himself. Today, he readily volunteers to coach the younger athletes. “I would say full circle moment for him to be out on the floor passing on the knowledge. May not have been technical but doing more encouraging.” Parker Kenick of Nome, center, enjoys mentoring younger students at the Arctic Winter Games in Whitehorse. (Photo courtesy Carter Photography) Parker says young people can be self-absorbed, but the games teach them to think beyond themselves. She says it is an important exercise in humility, one that athletes like Kenick have embraced. Parker has been coaching since 1996, but this year she reached an important milestone – having three generations of her family compete in this year's Arctic Winter Games. Get National Native News delivered to your inbox daily. Sign up for our daily newsletter today. Download our NV1 Android or iOs App for breaking news alerts. Check out today’s Native America Calling episode Monday, March 16, 2026 – What's in a (tribe's) name?
Across many Indigenous traditions of North America, stories of “Star People” are not fringe mythology but part of living cosmology. Nations such as the Zuni and Hopi describe ancestral relationships with celestial beings and migrations guided by star knowledge. These traditions appear repeatedly in oral histories collected by scholars and Indigenous knowledge keepers. This program brings together Native elder Clifford Mahooty, Indigenous scholar Paulette Steeves, and researcher Ardy Sixkiller Clarke to explore whether these traditions preserve encoded knowledge about ancient migrations, cosmology, or contact narratives. The conversation bridges Indigenous oral memory with academic archaeology and anthropology.Clifford Mahooty — Zuni Pueblo elder, retired civil/environmental engineer, and wisdom keeper active in Zuni religious orders including the Kachina and Galaxy Medicine Society. On Earth Ancients he discusses Zuni oral history, ritual life, kachinas, and connections to star people.Dr. Ardy Sixkiller Clarke — Professor Emeritus at Montana State University who devoted her career to Indigenous populations and published work on Native accounts of “Star People.” Earth Ancients presents her as a noted American Indian researcher whose interviews collected first-person Indigenous narratives.Dr. Paulette SteevesCree-Métis archaeologist and professor (Algoma University). Author of The Indigenous Paleolithic of the Americas. Her research argues Indigenous presence in the Americas extends far earlier than mainstream archaeology recognizes.Become a supporter of this podcast: https://www.spreaker.com/podcast/earth-ancients--2790919/support.
Story of the Week (DR):WarSaudi Aramco CEO issues stark warning: Iran war could bring ‘catastrophic' shock to global oilPrediction markets face questions on Iran war bets, from regime change to nuclear detonationThe Maduro Capture (Jan 2026): Just hours before the U.S. captured Venezuelan President Nicolás Maduro, a new Polymarket account wagered $30,000 on his removalIsraeli Military Indictments (Feb 2026): At least two individuals in the Israeli defense forces were reportedly indicted for using classified intelligence to place winning bets on the specific dates of military strikes in IranNational Security Risk: A recent report by Responsible Statecraft warns that officials with the power to influence military timing could alter operations to maximize their payout The Atlantic Council recently warned that foreign adversaries can "weaponize the odds" by dumping money into a thinly traded market to create a false narrative that a country is about to collapse, potentially triggering a real-world panic or bank run.Kalshi (private)1/13/25: Kalshi names Donald Trump Jr. as strategic advisorPolymarket (college dropout Shayne Coplan)8/26/25: Kalshi Advisor Donald Trump Jr. Joins Rival Polymarket BoardTrump Jr.'s 1789 Capital is making an eight-figure investment in the controversial prediction-market company.AI JobsAnthropic just mapped out which jobs AI could potentially replace. A ‘Great Recession for white-collar workers' is absolutely possibleThe most AI-exposed group is 16 percentage points more likely to be female, earns 47% more on average, and is nearly four times as likely to hold a graduate degree compared to the least exposed group.Sam Altman admits AI is killing the labor-capital balance—and says nobody knows what to do about itOracle expected to slash thousands of jobs as massive AI spending creates financial cash crisisLayoffs are feeling awfully tempting for a lot of companies right nowCEOs are using one number in the AI age to decide how many people they still needRevenue per employeePatreon's CEO says AI will be a 'bloodbath for the world's creative people' unless tech companies pay upAtlassian slashes 10% of workforce to 'self-fund' investments in AI and enterprise salesThe unexpected 92,000 drop in payrolls is a clue we might be reading the AI jobs narrative all wrongWorker painAI Is Forcing Employees to Work Harder Than EverAI Job Loss Is Breaking the Psyche of Workers, Psychiatrist Warns‘AI brain fry' is real — and it's making workers more exhausted, not more productive, new study findsEconomist Dambisa Moyo says CEOs must play a role in sustaining the consumer class as AI eliminates jobsThis could only happen if we weren't controlled by the TechBro Dropout GangCII‘Not a goodbye…': What Adobe CEO Shantanu Narayen told employees after announcing decision to step downShantanu Narayen, CEO of Adobe for 18 years, will step down once a successor is appointed, while continuing as board chairman.Google Hands Sundar Pichai $692M Package Tied to AI BetsPackage uniquely ties executive pay to Waymo autonomous vehicle and Wing drone delivery venture performanceCompensation structure sets precedent for linking CEO pay to specific AI business unit success rather than overall company metricsSo now CEOs can either game their bonus by obsessively focusing on one thing or doom the rest of the company by obsessively focusing on one thing or bothAs You Sow Files Lawsuit Challenging Chubb's Refusal to Put Shareholder Proposal Addressing Climate-Driven Insurance Crisis on Company ProxyThe proposal asks shareholders to vote on whether Chubb should commission a report assessing whether pursuing subrogation claims against parties responsible for climate change could reduce losses, benefit shareholders, and help preserve affordable homeowners insurance.This lawsuit follows the SEC's decision to abandon its longstanding role as a neutral arbiter in the shareholder proposal process. In November 2025, the SEC announced that it would no longer review corporate no-action requests under Rule 14a-8, effectively forcing these matters into court—an expensive and lengthy process.Sen. Elizabeth Warren Slams SEC As 'Lap Dog For Trump's Billionaire Buddies' After It Dismisses Another Crypto Case"The SEC should not be a lap dog for Trump's billionaire buddies"Live Nation, Ticketmaster's Owner, Settles Antitrust Case With Justice DeptThat was fastLive Nation Entertainment board includes Trump administration bro Richard Grenell 2 of 12 are womenGrenell is somehow the president of the Kennedy Center for the Performing Arts despite no background in anything resembling “the Arts.”He replaced a woman, Deborah Rutter. The chair is President Trump. Of course. And the board now is down to only one woman: 2 years ago it was 60% female.Glass Lewis recommends voting against Starbucks director over ‘board-level E&S oversight'New York State Comptroller, New York City Comptroller, SOC Investment Group, Canadian responsible investment association SHARE, Merseyside Pension Fund, and Trillium oppose the re-election of lead independent director Jørgen Vig Knudstorp, as well as Beth Ford, chair of Starbucks' Nominating and Corporate Governance (NCG) committee.Ford was chair of the EPCI committee and now leads the NCG committee, which assumed some of the responsibilities of the EPCI when it was disbanded.In its benchmark policy proxy paper, Glass Lewis has recommended investors vote against Ford.Goodliest of the Week (MM/DR):DR:Uber rolls out women-only option in the USDR: CEOs of failed banks would have to surrender pay under bipartisan planSenate legislation would mandate “clawbacks” of executive pay, three years after the collapse of Silicon Valley Bank.MM: 24 states, Nintendo sue Trump over tariffs as refund fight growsCostco CEO Ron Vachris Pledges to Return Tariff Refunds to ShoppersMM: Andrew Yang says we should stop taxing workers — and start taxing AIAssholiest of the Week (MM):War on Women: part 1Alex KarpPalantir CEO Makes Shocking Confession on Disrupting Democratic PowerPalantir CEO Alex Karp thinks his AI technology will lessen the power of “highly educated, often female voters, who vote mostly Democrat” while increasing the power of working-class men.“This technology disrupts humanities-trained—largely Democratic—voters, and makes their economic power less. And increases the economic power of vocationally trained, working-class, often male, working-class voters,” Karp said in a CNBC interview Thursday. “And so these disruptions are gonna disrupt every aspect of our society. And to make this work, we have to come to an agreement of what it is we're going to do with the technology; how are we gonna explain to people who are likely gonna have less good, and less interesting jobs.”To Alexandra Schiff, ex WSJ reporter and daughter of Tom Wolfe, who wrote a semi adoring Silicon Valley book in 2017 holding Peter Thiel as a god (and now sits on this board with Thiel), and to Lauren Friedman Stat, who only seems to post Palantir sizzle reels and as best I can tell is married to a “David Stat” who is the name of a “Director” (not on the board?) of Palantir who is in a Form 4 for selling stock:What the fuck are you doing. Do you read what this dude says? Are you that cucked to the tech bro elite you can't stop and say, “Hey, Alex, maybe tone down the suggestion you're trying to stop female Democrats from voting?”War on Women: part 2Glass Lewis recommends voting against Starbucks director over ‘board-level E&S oversight'Because Starbucks disbanded the Environmental, Partner and Community Impact committee of the board - launched in 2023, dissolved in November 2025Committee launched after majority supported SHP to focus on labor issuesJorgen Knudstorp and Daniel Servitje, the OTHER committee members, somehow escape entirelyKnudstorp is the Lead independent director, Niccol is the CEO and chair of the board (yes, chair)But instead of targeting Niccol or even Knudstorp, Glass Lewis targeted the female chair of the committee… ONLYIf the CEO gets to be chair - doesn't the CEO have to take responsibility for board overall? If you have an LID, are they accountable?? Why would the chair of a committee be target without the chair of the board or LID? Can a committee chair dissolve their own committee??Cracker Barrel - the scapegoat was the person of color who had “diversity” in their job description, not the longest tenured director who was also chair of the board but was a white guy - and Glass Lewis suggested voting out the brown dudeWar on Women: part 3 speed roundDOGE, DEI, and climate changeBlack women were disproportionately impacted by DOGE cuts. A year later, they're rebuilding careers for themselves and each otherI Watched 6 Hours of DOGE Bro Testimony. Here's What They Had to Say For ThemselvesOver the course of a six hour long or so deposition, Justin Fox, a former investment banker turned DOGE bro, refused to define what he believes counts as DEI; admitted he used ChatGPT to scan government contracts for terms such as “Black” and “homosexual” but not “white” or “caucasian;” and said that one of the grants he helped slash was “not for the benefit of humankind” before walking that claim back.Why ‘bringing your whole self to work' is a trap, especially for womenFormer Goldman Sachs CEO says DEI programs are ‘counterproductive,' arguing ‘you're branding the people in that program'Climate change: Women face worst impacts as funding support falls shortIn 2025, a UN women report warned that under a worst-case climate scenario, up to 158.3 million more women and girls may live in extreme poverty globally as a result of climate change by 2050Headliniest of the WeekDR: Shell CEO's Pay Jumps 60% Despite Profit Drop and Fatal AccidentsDR: Jack Dorsey Defends Wearing “Love” Hat While Firing 4,000 Employees in Pivot to AI: "I wanted to approach the whole situation with love."MM: Ozempic mania has even Olive Garden and The Cheesecake Factory cutting back on portion sizesMM: Cracker Barrel sales, traffic continue to slump months after failed rebrandWho Won the Week?DR: National Museum of the American Indian and the coffee at CII, was actually pretty not grossMM: The Council for Institutional Investors Spring Conference, who got to witness Proxy Countdown livePredictionsDR: CII loses our phone numberMM: The women start the uprising now:
“Indian Makes An Attempt to Kill.” That was the newspaper headline about my great-great uncle, Cicero - a story I've shared many times. But on one retelling, something unexpected happened. The story didn't just revisit the past - it opened the door to an entirely new world of family connections I never knew existed. In Part 2, we weave together Cicero's story with my own and how, somehow, his history guided me straight to my cousin, Cheryl Stone Pitchford, and a whole new branch of our family tree. Recorded 2 years ago, in this series, Cheryl and I are on an Okie roadtrip and on a mission to visit her ancestor, Mushulatubbee's old stomping grounds, while tracing our own family roots across Choctaw Country along the way. What you'll hear in this series is a heartfelt blend of history, humor and remembrance - a hodgepodge of adventures in the very best way. Next up, we'll head to Shady Point to visit the breathtaking Ranch at Latham, owned by Choctaw, Jonathan Watson to see the land where Chief Mushulatubee lived. In this episode, I proudly sport my lovely earrings, perfectly crafted by Jennifer Ikelman (Registered Tribal Artist of the Choctaw Nation) of Acorn and Oak Crafts. https://www.etsy.com/shop/AcornAndOakCrafts?ref=shop_sugg This series is one I hope you'll watch on YouTube to see the photos and visuals along the way. Yakoke! #cherystonepitchford #theranchatlatham #choctawnationofoklahoma #nativechoctalkpodcast #nativechoctalk #rachaelellenyoungman #rachaelyoungman #Choctaw #chahta #nativeamerican #AmericanIndian #nativepodcast
In this episode, Alex Kemper, MD, MPH, MS, FAAP, editor-in-chief of the journal Pediatrics, offers a sampling from the March issue. David Hill, MD, FAAP, and Joanna Parga-Belinkie, MD, FAAP, also speak with Allison Empey, MD, FAAP, about considerations in research with American Indian and Alaska Native communities. For resources go to aap.org/podcast.
The US hockey team emerges triumphant at the Olympics, and we discuss why it was so awesome; another apparent assassination attempt against President Trump is thwarted; and Tucker Carlson makes a fool of himself with Ambassador Mike Huckabee. Ep. 2372 - - - Click here to join the member-exclusive portion of my show: https://dwplus.watch/BenShapiroMemberExclusive - - - Facts Don't Care About Your Feelings - - - Today's Sponsors: PureTalk - Make the switch in as little as 10 minutes and start saving today! Visit https://PureTalk.com/SHAPIRO Shopify - Sign up for your $1-per-month trial and start selling today at https://Shopify.com/shapiro - - - DailyWire+: Become a Daily Wire Member and watch all of our content ad-free: https://www.dailywire.com/subscribe
Clay interviews the award-winning historian Joe Ellis about America's tragic legacy of slavery, and about the dispossession of American Indians from their sovereign homelands. Professor Ellis has often argued that what happened with respect to African Americans was Shakespearean tragedy — in other words, if the better angels of American life had prevailed, things might have turned out differently; but that the dispossession and cultural genocide America wrought with Native Americans was probably inevitable. Clay has repeatedly challenged that view, and Joe Ellis suggested that Listening to America feature a serious discussion of how things might have turned out differently in both cultural intersections. The problem of what Clay calls "the Myth of Inevitability" is that it lets white America off the hook. If it could not have turned out any other way, perhaps we don't need to wring our hands too much. It's a critical discussion of agency and complicity in America's problematic history. This episode was recorded on December 15, 2025.
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