Podcasts about Anthropology

The rate of overdose deaths linked to fentanyl is skyrocketing and Native Americans are many times more likely to be affected. The cheap and potent drug is replacing its related cousins — heroin and oxycodone — as the biggest addiction threat. Among the bright spots: the Cherokee Nation is investing in a state-of-the-art in-patient treatment facility to combat the ravages of opioid addiction. GUESTS Chairwoman Angela Elliott-Santos (Manzanita Band of Kumeyaay Nation), chairwoman of the Manzanita Band of Kumeyaay Nation Juli Skinner, senior director of behavioral health for the Cherokee Nation Dr. Joseph Gone (Aaniiih), professor of Anthropology and of Global Health and Social Medicine at Harvard University Joseph Friedman, researcher at UCLA

In a historic event, on Monday the United Nations commemorated al-Nakba, which means “catastrophe,” and marked the beginning of the apartheid state of Israel and the massacre and displacement of hundreds of thousands of Palestinians from their homes. Despite what Americans are taught, Israel was not created as a safe haven from oppression — in fact, the origin of Israel has anti-Arab, anti-Semitic, and imperialist roots. Brian is joined by Dr. Nazia Kazi, a professor of Anthropology at Stockton University, and author of the book “Islamophobia, Race, and Global Politics,” which was just updated and re-released. Please make an urgently-needed contribution to The Socialist Program by joining our Patreon community at patreon.com/thesocialistprogram. We rely on the generous support of our listeners to keep bringing you consistent, high-quality shows. All Patreon donors of $5 a month or more are invited to join the monthly Q&A seminar with Brian.

THE HEALER'S DREAM, 15min., Canada/India, Documentary Directed by Roxana Mares Ayurveda is an ancient tradition of medicine that originated in India, with certain branches established and taught in Nepal. Various regions in Nepal, in particular the Kathmandu Valley, became centers of ancient knowledge where the medical and spiritual traditions of Ayurveda are being preserved. https://www.instagram.com/thehealersdreamfilm/ From the Filmmaker: My love for Anthropology, positive personal experience with Ayurveda, and passion for sharing impactful stories with the world, motivated me to make this film. You can sign up for the 7 day free trial at www.wildsound.ca (available on your streaming services and APPS). There is a DAILY film festival to watch, plus a selection of award winning films on the platform. Then it's only $3.99 per month. Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

One of the great revolutions in the history of the development of humankind is the controlled use of fire.  When did we as a species learn to keep and make fire?  What changes did it make to humans socially and physically.  Jeni, our resident Anthropologist, has the answers.

We welcome former Writers Guild of America (West) president and current co-chair of the negotiating committee, David Goodman, who also happens to be the head writer for many of your favorite TV shows like “The Family Guy” to tell us why TV and movie writers are on strike. Then, grad students Sandra Oseguera and Jesus Gutierrez stop by to update us on their continuing fight to save the anthropology library at UC Berkeley, a battle that has wider implications for how more and more universities across the country are becoming corporatized. Plus, Ralph highlights some trenchant listener feedback.David A. Goodman has written for over 20 television series. His best-known work is as head writer and executive producer on Family Guy. He was the president of the Writer's Guild of America West from 2017 to 2021. In that capacity, Mr. Goodman led the Guild in a campaign to force the Hollywood talent agencies into adopting a new Code of Conduct to better serve the needs of their writers.  Today, he serves as co-chair of the WGA negotiating committee in their strike against the Alliance of Motion Picture and Television Producers.These companies that we work for are spending billions of dollars, making billions of dollars on the product that we create. And writers currently (many of them) can't afford to pay their rent. Can't afford to live in the cities where they're required to work. Need to take second jobs. Now, that's a very familiar situation in labor across this country. And what we're saying is if these companies are profitable… we need to fight.David Goodman, co-chair of the WGA negotiating committeeThe reason that our strike does have power is because America and the world relies on this product that we create. Those stories that we create are a connection, are a way for people to connect. And because of corporatization some people are losing sight of that, and hopefully this strike will bring them back.David Goodman, co-chair of the WGA negotiating committeeLet our listeners know that a lot of those programs that they watch on TV or listen to on the radio all over the country are written by the people who are on the picket lines and are pretty mercilessly exploited by the corporate titans that rake off the profits.Ralph NaderSandra Oseguera and Jesús Gutiérrez are graduate students in the Anthropology department at the University of California, Berkeley.  Earlier this year, campus administration announced their plan to close the Anthropology Library, one of only three dedicated Anthropology libraries in the US. In response, stakeholders including students and faculty have organized to demand that the Anthropology Library be protected and fully supported by the University.We truly disagree with the vision that the administration has for this university, and we believe that it can be different. That this can truly be a public university for students, underrepresented minorities, but also for the public. The public can come here—especially to our library— and be curious, collect knowledge, and have a refuge where they can find themselves in the shelves.Sandra OsegueraIt has been really inspiring to see our occupation space make our Anthropology Library into the space of encounter and transformation that it is supposed to be. The administration— and the press, to some degree initially— portrayed us as passively occupying, just sleeping and reading in the space. But the reality on the ground has been that the library has become an organizing space. Those of us who are occupying also gather, and then from there we fan out and make plans to go talk to our fellow students, make plans to go confront these core decision makers and hold them accountable for what they are doing to our education, what they are doing to these essential public resources.Jesús GutiérrezWe are not chasing symbolic wins. We want a fully functional library. That is what matters to us. And the overwhelming desire of the department, faculty, and grad students is to keep our library open.Sandra OsegueraDear Ralph Nader & Radio Hour Staff,I Hope that you and your families are all doing well. I look forward weekly to your Radio Hour via KPFA.org Mondays 11am-12pm.I was excited at the beginning of the hour that you were addressing the topic of sports in the U.S.A. By the end of the hour, I was extremely disappointed at the coverage. I have never been disappointed in the years listening to your radio show and otherwise.Neither the staff, your guest speaker, nor yourself, mentioned the state of affairs for women in sports, their unfair disadvantages, lack of equity in competing for sports funding from cradle to grave, competing for funding in infrastructure building of training centers, stadiums…, unfair medi coverage, and lastly focusing on the today's show coverage, girls and women's injuries, physical, psychological, whether she plays recreationally, professionally, or is not able to reach her potential due to discrimination against her gender, race, ethnic composition, language/cultural barrier, disability visible and non-visible. Shocking that you did not address sexual harassment, abuse, and rape of female athletes at all levels by coaches and male peers! As well as sexual abuse of boys and male athletes by male coaches and peers! Specially in the light of the well documented but short-lived media stories, selective amnesia, about the sexual abuse and rape of many Olympic gymnastics athletes by their team doctor!!!Concussions are very serious injuries in many sports including but not limited to: football, soccer, baseball, martial arts, boxing, gymnastics, skiing, skating, cycling, surfing, even running slipping and falling on ones head. Serious injuries in many sports are not exclusive to boys and men players! They are definitely not only prevalent in boys and men's football and baseball only! But as usual, girls and women are not mentioned even in one of the most progressive radio shows in the U.S!!! Shocking and infuriating!How many more centuries will it take for all of you to acknowledge, research, interview, respect, fund, divulge girl and women's issues, reality, financial inequity, needs, demands, and listen to Her-Story??!!I urge you to have an entire show on girl's and women's sports addressing the above points I wrote about and much more.FYI. I follow the news all day. I read papers and online, listen to the radio and follow it on TV. When the sports news section is on, I listen to the first couple of seconds. Undoubtedly and unfortunately, coverage always starts, ends and with boys and male sports and hardly ever over girls and women sports as if we don't exist and/or don't play sports at the same rate and intensity!!! Infuriating! So after a couple of seconds, I turn the medium off as a protest and because I can't bear not being represented!I am 67 years old and have been, until recently due to health challenges, a serious athlete and played a variety of sports since I was very young. I was born and grew up in Lebanon of a Palestinian athletic father who was a refugee in Lebanon, and an Argentinian artistic mother. I competed in swim competition in Beirut at the age of 9 and on. Started practicing Taekwondo-Do at age 12at the YMCA in Beirut. Practiced 7 days a week about 3-5 hours daily until age 19. I am the first Arab woman receiving a Black Belt in Martial Arts. I also taught Taekwondo-Do to men, women, and children At the YMCA and the AUB.At age 17 in Lebanon, I was SCUBA Certified by the Lebanese Gov't via the American University of Beirut's Biology Department and Diving Club.  At 19 I had to flee Lebanon due to the deadly and long civil war.In the U.S, among other things, I practiced Taekwondo-Do and Judo. Taught Kickboxing. Did skydiving, swimming, backpacking, camping, spinning, cycling, Tango dancing master classes, practiced and performed Dabkeh Palestinian folkloric dancing, and other sports and activities. When my son turned 10 and I turned 53, him and went on a 278 mile ride across California in 6 days, riding through the most spectacular California scenery, coast, high desert of Anza Borrego, sand dunes, pastures…under the hot sun, sand wind, and rain. The ride of a lifetime!I am writing, briefly, about my life and some of my accomplishments, to bring home to you that this herstory is one of billions that needs to be talked about every day, in all industries, and in all aspects of life and living. My story is different but not unique. Every action, gain, and defeat was earned by working more than double than white men in the U.S. and men in general in other parts of the world. I forge ahead against all odds: Ethnic and gender discrimination, gender and general violence, war, trauma, immigration, poverty, housing and food insecurity, divorce, single motherhood, injuries, chronic and degenerative disease.I urge you to pay attention, and not ignore 52% of the world population. We have the same feelings and get injured at the same rate as men. We are your mothers, grandmothers, sisters, relatives, girlfriends, friends, neighbors, teachers, coaches, doctors, farm workers, nationals including Native Americans, immigrants, refugees, asylum seekers, prisoners, governors, and hopefully soon president of an equitable and peaceful  U.S.A nationally and internationally.Sincerely,Randa BaramkiDear Ralph,I have to take issue with a few things Shanin Spector stated. I'll confine this comment to one: The advice that no lawyer can afford to take a $250,000 medical malpractice case and at least, implicitly, that elderly people are out of luck if they fall victim to medical malpractice (which is probably the largest demographic that are victims).Lawyers, even well-seasoned ones with profitable practices, can and do take risky malpractice cases for elderly people for a variety of reasons-even in venues where the jurors are instinctively in favor of local doctors. See, E.g., Cooper v. Hanson, 2010 MT 113, 234 P.3d 59. In fact, most trial lawyers--even good ones-- don't have the luxury of Cherry Picking only multi-million dollar cases. We take risks, which is why we are allowed to charge contingency fees.A medical malpractice case for an elderly person can be done profitably, although the lawyer is not going to get rich. Most jurisdictions have mechanisms to cut costs and streamline some of the proceedings, at least if you have a good judge. Depending on the facts, you could conduct the whole case for less than $100,000 in legal costs and at any rate, costs are the client's obligation if you win and should only be the lawyer's if he or she loses (Although some lawyers regrettably charge either way. Avoid them if that is what they do).Moreover, a general statement about pain and suffering damage caps on elder cases needs to be qualified for a variety of reasons. Loss of earning capacity may not be the driving generator of damages. It might be the medical costs and rehabilitation costs, which could run into the millions and hence, would generate millions in damages. Moreover, the presence and amount of caps varies from jurisdiction to jurisdiction. Washington, for instance, has no caps.I will agree that risks have to be considered. One has to make a back of the envelope determination if the firm, given its financial status, can take the risk. An expensive, complicated case of questionable liability probably could not be considered. On the other hand, a relatively straightforward case with relatively clear liability could be.A big factor is the seriousness the lawyer pays to his or her duty to perform pro bono work. You are supposed to take cases as part of your duty to the community. You don't always take cases--even risky cases-- to make the big bucks. At least, you should not.There are benefits other than getting paid a lot. An ambitious young lawyer with a limited practice, but good skills, might jump at the opportunity to go to trial (Though sad to say, many who call themselves trial lawyers do everything they can to stay out of the scary courtroom, but there are some serious trial lawyers too.).One thing, which was not touched upon, is that an elderly person who suffers the injuries of a medical mistake SHOULD NOT HAVE TO PAY ANYTHING FOR A CONSULTATION WITH A CONTINGENCY FEE LAWYER. THAT SERVICE IS FREE IN ALL CASES. As should be clear from the above, whether or not the lawyer can take the case depends on the facts and circumstances and there is no charge for telling the lawyer the facts.I know Mr. Spector qualified his advice near the end of the podcase, but judging from some of the listeners' questions, they got the impression that if you are old and injured by medical malpractice, you were out of luck. I think that impression needs refinement.Thanks for giving me this opportunity to present my little dissertation. I mean no disrespect to Mr. Spector, but I felt as if a more nuanced response would help your listeners.Erik Thueson Get full access to Ralph Nader Radio Hour at www.ralphnaderradiohour.com/subscribe

00:00 - Introduction 00:00 - Free-for-All (No Free-for-All) 6:15 - Main Topic (The Tower of Babel) In episode TWO HUNDRED AND TWENTY-NINE, Mike, Jason, Wade, and Mark Braun continue the guys' discussion of anthropology with the final episode in the series, now talking about the Tower of Babel.  We hope you enjoy the episode!  We are grateful to the 1517 podcasting network. If you haven't done so yet, make sure to go check out all of the great podcasts they have to offer, as well as the other wonderful content at 1517.org. If you're enjoying the show, please subscribe, rate, and review us on the following sites and apps: iTunes Stitcher Google Play TuneIn Radio iHeartRadio You can also like us on Facebook and follow us on Twitter and Instagram. You can also follow our Telegram Channel, where we post our new episodes as well as other content that we think you might enjoy. And, of course, share us with a friend or two! If you'd like to contact us we can be reached at podcast@LetTheBirdFly.com, or visit our website at www.LetTheBirdFly.com. Thanks for listening! Attributions for Music and Image used in this Episode: “The Last One” by Jahzzar is licensed under an Attribution-ShareAlike 3.0 International License. “Gib laut” by Dirk Becker is licensed under an Attribution-NonCommercial-NoDerivatives (aka Music Sharing) 3.0 International License. “Whistling Down the Road” by Silent Partner. “Not Drunk” by The Joy Drops is licensed under an Attribution 4.0 International License.

In this episode, Rebecca and Mike, an anthropologist, discusses the topic of happiness and its relationship to humans as a species. The conversation touches on the evolution of humans and their pursuit of happiness.   The concept of happiness is explored, including a discussion on what brings joy to different species and how humans have engaged in natural activities, such as walking, sleeping, and eating a varied diet, which have provided happiness for generations.   Listen along as we offer understanding and insights into how people can experience, express and achieve happiness in multiple ways.   Host: Rebecca Hintze Guest Speaker: Mike Hintze

God's creation—the cosmos, the land and sea, creatures and humans. It was all created and formed by God on purpose for a purpose. It sounds simple, but most of us have lingering questions. When was the world made? Why did God make me this way? What is my purpose here on earth? This week we tackle the theology of Anthropology by starting at the very beginning, in Genesis 1, to look at the creation and formation of the world, our humanity, and God's clear call on us as image bearers. Listen in to gain clarity about the big questions of creation.

Episode 192 - William D.S. Daniel can be considered an Assyrian icon in our modern day history. He was a prolific Assyrian writer, musician, and composer, credited with creating some of the earliest original Assyrian music and responsible for the artistic and cultural advancement of his people. He also created the “Epic of Kateeni Gabbara” that not only revived a dying Assyrian epic, but also exposed the beauty and potentiality of the modern Assyrian language as a medium of poetry and dramatic expression. The epic is written in three volumes and contains over 7,000 verses. In this episode, Dr. Arianne Ishaya, the author of William Daniel's biography, “William Daniel, the Portrait of an Assyrian Icon”, takes us through the journey of his life and legacy.  About the guest:  Dr. Arianne Ishaya was born in Urmia - a town in Northwestern Iran with a large Assyrian population.  She obtained her master's degree in Anthropology from the University of Manitoba, and her Ph.D. from UCLA in Cultural Anthropology. Her publications include: “New Lamps for Old”, which documents the remarkable history of the Assyrian colony in North Battleford, Saskatchewan, Canada. The Assyrians were among the very first settlers of the region. The family histories in this book reveal the success story of a people who built a human chain across thousands of miles and gradually reunited separated husbands and wives, parents and offspring, and reconstituted their families.    The detailed family histories in another of her publications, “Familiar Faces in Unfamiliar Places” take the reader to the world at large from where the members of this dispersed refugee nation have come together to form the Turlock-Modesto colony in the heartland of California. It contains poignant accounts of a people who started out with modest beginnings; but whether they came as penniless hopefuls in search of farmland, or traumatized refugees from the Middle East, they worked hard and were able to establish themselves as a stable and even well-to-do part of the Turlock-Modesto community.   She wrote the biography of William Daniel titled “William Daniel, Portrait of An Assyrian Icon” published in 2015. Her most recent works are a reprint of the three volumes of “Kateeni Gabbara”, and “Discourse on the Spelling Method in The Assyrian Language” by William Daniel published in 2022. She also translated “The Last Days of Atla Kandi” by Eddie Davoud from Farsi into English published in 2022. Currently, she is working on documenting the post-World War I history of Assyrians in the two towns of Hamadan and Kermanshah, Iran.   You can connect with Dr. Arianne Ishaya at arian_ishaya@yahoo.com    To inquire about purchasing William Daniel's poetry books, “The Epic of Kateeni Gabbara”, “William Daniel, Portrait of An Assyrian Icon”, and/or others, please reach out to info@aaasj.org.  Episode musical references:  Kubelik: Dvorak - Symphony No. 9 "From the New World"  William Daniel's, “Spinning Wheel” sung by Lorraine Davis William Daniel's, “Nineveh” sung by Janelle Yausif   Audio of the Epic of Kateeni Gabbara   Outro:  Tribute to William Daniel: speech by William Daniel (1986) William Daniel's, “Marganita” sung by Albert Shahbaz William Daniel's “Lullaby” sung by Christina (Tina) Boosahda Harrell William Daniel's, “Shara” sung by Water Aziz  Other resources: https://www.assyrianfoundation.org/files/2003-1new.pdf  https://www.qeenatha.com/artists/WilliamDaniel/92/  https://www.assyrianfoundation.org/files/2000-3.pdf 

Amy is joined by Dr. Srimati Basu to discuss her book The Trouble With Marriage: Feminists Confront Law and Violence in India and explore the complicated gender politics behind divorce.Srimati Basu is a Professor of Gender and Women's Studies and Anthropology, and a member of the Committee on Social Theory. She serves as the President of the Association for Feminist Anthropology, 2021-2023. Srimati has an Interdisciplinary Ph.D. from Ohio State University in Cultural Studies/ Anthropology/ Women's Studies, and her teaching, research and community work interests include Global Feminisms, Law, Gender-Based Violence, Social Movements, Feminist Methodologies, and Masculinities. At present, she is writing a monograph on anti-feminist men's rights groups, following a 2013-14 Fulbright Fellowship to conduct fieldwork with MRAs across Indian cities. She has recently begun a research project on Indian women private detectives with fellowships from National Endowment for Humanities/ American Institute of Indian Studies and from Sisters in Crime.

Dr. Anna Simons: The Anthropology of Mission Critical TeamsDr. Anna Simons recently retired as a Professor of Defense Analysis at the Naval Postgraduate School. She holds a PhD in Social Anthropology from Harvard University and an A.B. from Harvard College. She is the author of Networks of Dissolution: Somalia Undone and The Company They Keep: Life Inside the U.S. Army Special Forces. Most recently she is the co-author of The Sovereignty Solution: A Commonsense Approach to Global Security. Simons' focus has been on conflict, intervention, and the military from an anthropological perspective. Her work examines ties that bind members of groups together as well as divides which drive groups apart.

In this special episode, I discussed why we still need a statement of principles on artificial intelligence as we seek to navigate the fundamental questions being asked about humanity and these emerging technologies. In 2019, the ERLC launched the first faith-based statement of ethical principles in order to aid the church in thinking proactively about AI as well as to participate in the larger conversations about how these tools are shaping every aspect of our lives.Resources:Artificial Intelligence: An Evangelical Statement of Principles (English or Spanish pdf)The Age of AI: Artificial Intelligence and the Future of Humanity - Jason ThackerThe Digital Public Square: Christian Ethics in a Technological Society - Jason Thacker (editor)

Men's Leadership Training

In this episode, we talked with Amanda Davison in our latest Community Member Showcase. Amanda went from Anthropology and Archaelogy to a Masters in Education, which ultimately led her to corporate training. Previously in the construction industry, she is now working in the travel space as a Learning Specialist, with a variety of learning responsibilities to oversee. Meet Amanda and listen to her story. We also discussed her forays into AI and the interesting adventures she's up to now.

This week on Conversations with Kenyatta, Kenyatta is joined by an award-winning author, documentarian, and photographer.  Kenyatta and Candacy discuss her work, her struggles as an artist, and what it means to learn about yourself, and your history, through your work.The music for this episode, as always, is "Good Vibe" by Ketsa. 

TODAY'S GUEST   Dr. Tobias Rees is CEO of Transformations of the Human School, and was formerly the William Dawson Chair at McGill University and the Reid Hoffman Professor of Humanities at the Parsons School of Design. He is a Fellow of the Canadian Institute for Advanced Research and holds degrees in philosophy, anthropology, and neurobiology.   In the early 2010s, he recognized that contemporary technology not only disrupts our historical established ways of thinking and doing, but also creates new ones: radically new possibilities that unfold beyond what we take for granted. This, he believes, is not only a sweeping event in the history of thought, but also a major opportunity; technology itself has become philosophical, and it has become possible to “do” philosophy by building and inventing new technologies.   This led him on a path to building a new institution, dedicated to the interplay of philosophy, art, science, and engineering, and to the way they blur the lines between the human and nonhuman.   EPISODE SUMMARY   In this conversation we talk about: Growing up with no books and few words in a small peasant village in Southern Germany. The importance and uses of silence which stayed with him ever since. How he became interested in philosophy, and the big questions after his grandfather's death. Moving freely from philosophy to comparative religion to anthropology and art history. The happy accident that led him to studying neurobiology and learning to see himself as a brain. The importance of concepts in framing our day-to-day experience. What do terms like human and humanity mean? When were they introduced? How did they evolve? What is the relationship between nature, humans, and machines? His work with some of the largest technology companies who are building a future to bring philosophy and art into the room. Where does creativity lie with AI algorithms like DALL·E 2? And the need to always reexamine our assumptions about the world and our values.    This conversation with Tobias is one of many weekly conversations we already have lined up for you with thinkers, designers, authors, makers, activists, and leaders who are working to change our world for the better. So follow this podcast on your favorite podcast app, or head over to RemakePod.org to subscribe.   And now let's jump right in, with Dr. Tobias Rees.   TIMESTAMP CHAPTERS   [5:18] Life in the Present [7:00] Early Childhood Silence [13:44] An Educational Journey  [22:49] The Importance of Concepts [32:04] A Period of Growth and Sadness [40:47] An Opening of Doors [44:55] The Term 'Human' [56:12] Anthropology of Machines [1:11:35] Merging Philosophy with Engineering [1:17:55] A Short Sermon   EPISODE LINKS Tobias' Links

SPECIAL GUEST: DINESH D'SOUZA In this episode, I'm sounding the alarm on the influx of migrants expected to pour across the Texas-US border in the coming days as Title 42 expires. Plus, the NY Times believes it found the 'smoking gun' text message from Tucker Carlson that supposedly got him fired. The text shouldn't have surprised Tucker. Might the bigger issue for Fox News have been fear of regulation from Democrats? And, the Federal Reserve raised rates to the highest level in 16 years but, it's still not enough to fix inflation. Joining me today is conservative thought leader, Dinesh D'Souza. Dinesh, a filmmaker and media commentator, is the host of the Dinesh D'Souza podcast. In today's discussion, we look at why gender dysphoria has become the topic du jour for both sides of the aisle. According to Dinesh, it may mark a dangerous turning point for Western civilization. Today's show is sponsored in part by: https://LegacyPMInvestments.com https://Ruffgreens.com    Support the show: https://trishregan.store/See omnystudio.com/listener for privacy information.

Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is  Kelly Molson, Founder of Rubber Cheese.Download the Rubber Cheese 2022 Visitor Attraction Website Report - the first digital benchmark statistics for the attractions sector.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website rubbercheese.com/podcast.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on Twitter for your chance to win the books that have been mentioned in this podcastCompetition ends July 31st 2023. The winner will be contacted via Twitter. Show references: https://twitter.com/ChelsPhysicGdnhttps://www.chelseaphysicgarden.co.uk/https://twitter.com/FSampershttps://www.linkedin.com/in/frances-sampayo-6a4939100/ Frances Sampayo is the Deputy Director of Chelsea Physic Garden. In her day to day role she leads visitor experience, learning & public engagement, volunteering and interpretation. Ensuring that these areas are central to the organisations strategic vision.  Frances has worked for galleries, museums, heritage attractions, palaces, and now a botanic garden. She brings to life completely unique events at each site, ensuring they are rooted in people. This includes visitors, staff and collaborators. For Frances, the places she works often have many barriers for visitors, and programming offers the chance to break these down. You may not feel a botanic garden is for you, but why not start with a music night instead? The more complicated and creative the event, the better.  Transcriptions: Kelly Molson: Welcome to Skip The Queue, a podcast for people working in or working with visitor attractions. I'm your host, Kelly Molson. Each episode, I speak with industry experts from the attractions world. In today's episode I speak with Frances Sampayo, Deputy Director (Visitor Experience) at the Chelsea Physic Garden.We discuss the transformative journey the garden has been on with it's public programming calendar, and the exciting and unexpected outcomes that's brought the organisation.If you like what you hear, you can subscribe on itunes, Spotify and all the usual channels by searching Skip The Queue.Kelly Molson: Frances, it's so lovely to have you on the podcast. Thank you for coming to join me. Frances Sampayo: Oh, thank you so much. A longtime listener. So thrilled to be here. Kelly Molson: Always lovely to hear. Well, will you be thrilled after the icebreaker questions? Who knows? Let's go. Right, I want to know, when you go out for dinner, are you a starter and a main kind of gal or main and a pudding, or all three? I mean, you can have all three. Frances Sampayo: I think it's pudding, especially if it's Tiramisu. That's it. Decision made. Kelly Molson: Okay, so Tiramisu is on the menu. That's the one you're going for. That's it. That's the focus.Frances Sampayo: Yeah, I'd probably just have that over the main, to be honest. Kelly Molson: Do you know what? There is a pudding. Yeah. So there are pudding restaurants, though, aren't there, where you can go and yeah, there's one in Cambridge. I walked past it last week while were in town and it's basically just puddings. Frances Sampayo: Oh, great. Kelly Molson: You can have a main pudding, a starter pudding and a pudding. Frances Sampayo: I will never go there. That's too dangerous for me. But, yeah. Kelly Molson: Open invite to come and join me. I would go crumble all the way. Frances Sampayo: Oh, nice. Kelly Molson: Okay, good. If you had to pick one item to win a lifetime supply of, what would you pick? Frances Sampayo: Probably something really boring like sunblock, because I am so pale to that. That would be really handy for me. Kelly Molson: Well, we should all wear sunscreen. Very important. Doesn't matter about being pale. More important to not have skin cancer. Frances Sampayo: Very true. Very true. Kelly Molson: Okay, good. Final one. If you could be any fictional character, who would you like to be and why? Frances Sampayo: That is a great question. I would love to probably go into, like, a Regency novel, but I wouldn't want to be a main character. I'd probably just want to be someone on the sidelines who gets to see everything and just kind of fly on the wall and kind of see everything that's happening in these amazing worlds.  Yeah, that would be great. I like it. Yeah. Kelly Molson: What's the draw to that kind of era? Is it the architecture? Is it the clothing? Frances Sampayo: Can I give a real kind of sector answer? Kelly Molson: Absolutely.Frances Sampayo: Part one would be we so often use as filming locations, so there's a lot of Regency dramas. That would be great to see something like this happening in one of these spaces. And the second is, I once duty managed a kind of 18th century themed party at a site I worked where everyone was in fancy dress from the era. And it was amazing sharing people were just sheivelling as the evening went on, stockings were falling down, men had rouge on, all of those amazing things. And just seeing that come to life was amazing. So I'd love to kind of get to see it kind of happening in actual Regency time period, as opposed to just kind of as an event in the 21st century. Kelly Molson: I love that. Really kind of sets the tone for what we're going to talk about today as well, the events. All right, that was an excellent answer. Thank you. Right, Frances, what is your unpopular opinion? Frances Sampayo: So I'm not a fan of false Jeopardy, which is a big component of reality TV, particularly cooking shows, where someone will take a bite of food and then just the camera pauses for what feels like five minutes and they do all the close up shots of everyone looking really tense, and I just, "Oh, I hate it". So I know it's something very popular, it's in all the reality TV shows, but I always skip that bit, look at my phone or do something else. Kelly Molson: Just get on with it. Just get on with it. Frances Sampayo: Get on with it. Kelly Molson: Or you don't we don't need the drama or the tense. Frances Sampayo: Just put this poor person out of their misery. And you think it's better than anything, like, I could have ever even imagined I cooked. And you just dragging this poor person's emotional journey out. So, yeah, just think just get over it. Just do it. Tell them whether it's good or not. Kelly Molson: I like it. Yeah, I would like that. I'd just like to know yes or no. Don't keep me hanging around. It's like it causes more anxiety than you need it to be. Kelly Molson: I'm definitely one of those people. If someone says, can we have a chat on Monday? I'm like, can we just do it now? Do we need to wait over the weekend? Is it good or is it bad? Because I will just think about this continuously now for the week. So let's just get it out of the way. Frances Sampayo: Let's do it now. Yeah. My team liked me to do if I book in a catch up. We had to catch up, good thing. Catch up, constructive thing, just to help.Kelly Molson: Yeah, that's really useful.Frances Sampayo: Because, again, it is that forced Jeopardy thing of, "Yeah, oh, no, I've got to wait the whole weekend and I don't know what this meeting is about". “It's a good thing. Ten minutes. It's fine, don't worry.”Kelly Molson: That's a really good positive tip, isn't it? Yes, but what if it's not a good day?Frances Sampayo: Then I'll call it something else. Kelly Molson: Okay. Catch up. Not okay. Frances Sampayo: Yes, catch up. It's all gone wrong. Kelly Molson: Okay, that is an excellent tip, I can say that. Share that with the team after our call. Thank you. We've got so much to talk about today. I'm really excited about this chat. Can you tell our listeners a little bit about what they can expect at the Chelsea Physic Garden and then just a little bit about what your role is as well? Frances Sampayo: So Chelsea Physic Garden is a four acre garden. We're in Chelsea, as the name suggests, and we've got over four and a half thousand plants that you can come and see. So we've got a living collection. Most collections in museums are behind glass, but us is living, we have to take care of it and we've got an amazing team of gardeners that do that. So we call ourselves London's oldest outdoor classroom because we've always been a place for people to come and learn about plants. So we've got a really fantastic learning team, but we've also got a really dynamic engagement programme, which helps people connect in different ways to plants, because it can be quite intimidating, I think, particularly if you grew up in a city you don't know much about nature, you might not have had a garden. Frances Sampayo: So we've got a really dynamic programme, giving people lots of different entry points. This year, we turned 350. So in September, we're opening glass houses that have all been restored with support of the National Heritage Fund. So if you're going to come and visit and you've got a restoration project coming up, September is a great time to come to the garden. But we always say, whatever day you come, that's the best day to come, because you're going to see something no one else gets to see, because flowers can change one day to the next 1 hour to the next. So it's a really special place to come and just connect with nature, really. So that's a bit about the garden now, a bit about my role. I've got quite a broad role. So we're a small site, we're a small team. Frances Sampayo: And I think when you have a small site and a small team, you get jobs that actually have quite a lot within their remit. So I, as Deputy Director of the organisation, was brought in to bring a cohesive visitor experience across the site. And that meant I lead different teams that look after all of our people touch points. So visitors learning, public engagement volunteers and then everything that sits behind that holistically to give people a great visit or to support them in a different way. So safety, security facilities interpretation, that comes under my remit as well, because it's supporting that visitor experience ultimately. So it's quite a kind of unique role. It's really dynamic. Every single day is different. Can go from planning our ten year strategy to what's going to happen in the next ten minutes because the toilets have all overflown. Frances Sampayo: So it's really dynamic role and just like the garden. So it's great fun here. Kelly Molson: Yeah, it sounds it as well. So I think that when we spoke a few weeks ago, I came away from the call just thinking, wow, the remit of what you have there is quite phenomenal, the different things that you can be doing all the time. But I also thought, what a privilege it must be to be there, because, like you say, it is a living museum and it just must be incredible to see it change, literally on a daily basis. Frances Sampayo: Yeah, it's amazing. So we're recording this just after our Easter weekend, and I had a great time on Sunday, were out in the garden helping people do their Planet Hero trail to learn about how to be more sustainable. And the tulips just got a little bit of sun and suddenly they all opened up and they were just really expressive, dancing kind of around, and then a cloud came over and they all closed up again and you just think, I don't have a garden, I didn't grow up with a garden, grew up in a flat. And so you just get to see things that you never get to see before. Frances Sampayo: And it's been a real privilege to get to learn how the garden operates over the year and to see there are plants now that I think I can't wait until May, because I'll get to see that in flower and it's really amazing. Kelly Molson: Wow. Well, that's kind of what we're going to talk about today, because as an organisation, you've been on a bit of a transformative journey with your public programming, and a lot of that is about kind of education and getting people to kind of understand what you have there and how things grow and how that all works together. But I kind of want to just go back and talk about, what the starting point for this journey? How did that come about, where did that start? Frances Sampayo: Yeah, and it really has been a journey. So I joined the garden back in 2018 and we had a really established programme of walks, talks and workshops. So quite a formal learning programme. And it was really great, really established, always sold well. And I went on a conference with LEAF, which is the London Environmental Education Forum, and as I was talking to people, they heard I was from Chelsea Physic Garden, and they go, “Oh, I love that workshop you do. We do one similar.” And I started to understand that actually, our programme had been an inspiration point for a lot of people, which is great, we love a bit of professional learning, but of course, that's our competitors. Frances Sampayo: So that was a starting point for me to think, we need to think about something new and then we have the kind of emergence of the experience economy. And we had retailers on the King's road, like Anthropology, running wreath making sessions, floristry sessions. And it really alerted me to the fact that, actually, if we didn't diversify our programme, if we didn't start thinking a bit differently, not only were our competitors going to catch up, but actually other sites that we would never have thought of as competitors because of the new kind of economic model. So, yeah, it was a really important moment for us to start thinking differently. Kelly Molson: That's crazy, isn't it? Because that's the comparison that was made quite a lot, I think, during and after the pandemic, is that attractions, you're now competing with things like Netflix, and you would never have considered that before. So that's really interesting to hear you make that kind of comparison to retail. And that's not something that I would have considered before either. Frances Sampayo: No, it was amazing. I wanted to sign up for a lot of these in person classes. I'm the kind of heritage person and I'm being taken by the retail model, so I've got to try and bring it back. So, yeah, that was a big starting point. And, yeah, as you say, kind of Netflix. You can sit and watch, you could sit on YouTube and just watch a plant grow and on a time lapse for 20 minutes and you say, “Oh, no, actually, you want to get out into nature. So how are we going to get those people here?”Kelly Molson:  Yeah. So what kind of objectives did you set for the programme? Frances Sampayo: So I've got to be honest, I'm not the best at kind of setting formal objectives, particularly, I think, because this programme was really around culture change and I think whenever you bring people into doing a cultural shift within an organisation, they're going to bring new ideas. So I didn't set kind of formal objectives and say, we're going to achieve 20% increase in this or that. I've done that in other areas, but it didn't feel right to do that with our public programme. So what we did instead was talk about giving people more kind of creativity to create new programmes. So kind of, what can we do that's new that we haven't done before? What have you always really wanted to try but haven't been able to? Because this is the time for us to try and fail and learn and adapt. Frances Sampayo: And actually, what sits behind that the kind of team don't always pick up on, is you're introducing a feedback cycle and you're saying, actually, we're going to evaluate everything. And we haven't necessarily had that culture where we listen to what people responded to within our sessions that they liked, that they didn't like. So we wanted to start that feedback loop and then ultimately, we wanted to future proof our programme. So we need new audiences, we've got to diversify our model, become financially sustainable. So those are the kind of key areas I really wanted to push, but I didn't kind of set them as specific objectives. They all kind of developed naturally as more people get involved, we're able to expand the ambition. Frances Sampayo: And now, five years on, we've got our own public programme manager, so it's really become embedded and they're going to again challenge us and push us up a whole other level. So it's been really brilliant to let it grow, but set a kind, of course, I guess, for how we want to deliver it and how we want to change. Kelly Molson: I'm really interested to know what's changed. So what was a kind of typical programme previously and what does your programme look like now? Like, how brave have people been? Frances Sampayo: Yeah, we've been pretty brave. It's been a big change. So I think the first area where there's really been a shift is moving away from an academic forum. So being a learning space for 350 years, that really carried into our learning programme and all of our public programmes. So even sessions where were getting people to do botanical soap making, that started with a formal lecture, really, about what the botanicals were you were going to use, why they were so brilliant. So we've really shifted away from that and we put that same information into our sessions, but not in a formal way. It's much more informal, much more exciting, and people learn through connecting with the plant itself, as opposed to being told with a presentation and some slides, this is how brilliant lemon is, or things like that. Frances Sampayo: So that shift away from the academic has been really fundamental, but you might not necessarily notice that kind of straight away with the session that's more in terms of the content. We've also looked at our accessibility, so we've got a broader range of price points now, a broader range of length of sessions. So we used to have sessions that were a full day or a half day and that was it. Now people are a lot more time poor, so we've got some sessions that are an hour, some that are 2 hours, a full day or even multiple days, but people can select now what they want and there's a much better variety. So we're seeing we get a lot more visitors come onto a kind of two hour session instead of a four hour half day. Frances Sampayo: And our youth panel also talked to us about the different price points and making the journey a lot easier to buying a ticket. So we've got lower price points now. And also you don't have to buy a ticket to the garden on top of buying a ticket to an event, which has been a big shift. So those are kind of some behind the scenes things, which are pretty bold, but not the kind of glamorous thing. But in terms of that kind of more dynamic programming, we did a lot during the pandemic because of being an outdoor attraction, so we had some ideas that were kind of on the back burner that were able to bring forward. So were able to launch Plant Fair when outdoor retail returned, which was brilliant. Frances Sampayo: We were able to introduce a series of concerts on the lawn called The Lawn Session, so those music nights have stayed, and also Family Theatre, which we hadn't done before in the garden, so we now do that every year. So were able to bring in some really new programming, which was really bold for us as a site, because we hadn't really connected with those audiences or felt like audiences that would go to a music night would come to the garden. So that was really great fun. But the most bold programme we launched was our Dash of Lavender programme, so that's LGBTQ plus History Month celebration, and that happens in February. So we've got an exhibition in the garden and then lots of different events, from poetry nights to drawing workshops. Frances Sampayo: And this year, our volunteer guides also got involved and they launched tours around the garden to tell people more about LGBTQ history and horticulture, which was really fantastic, because that, again, is an example of growing support for the programme bit by bit, and people saying, “Okay, now I understand what this is. I want to get more involved.” And we've been supported through that by an amazing partner called Sixto, who runs Queer botany, who's just a great presence within the sector and doing amazing things. I'm sure everyone wants to work with them now, which is really frustrating for us. Frances Sampayo: We love Six, though, but, yeah, that's been the kind of most dynamic programme that we've introduced and has had the biggest impact, but because we'd done all of those smaller steps, that it felt like a really natural progression for the site to do this and it's been really accepted and understood. Whereas previously, if we'd said we're going to do a History Month celebrating LGBTQ plus individuals, people really wouldn't have understood it. So it's made a huge impact. Kelly Molson: That is phenomenal to hear. It's really interesting. As you were talking, we just go back to the start of this section where you were talking about the soap making, and I thought, “Oh, that sounds really interesting. I'd probably like to do that.” But I probably wouldn't have booked onto the previous incarnation of it because I would have thought, "Maybe this is just a bit not for me". I'm kind of doing it because I'm interested in the fragrances and how you make them and that kind of side of it. I'm not sure I want to be lectured about the botanicals themselves, so it might put me off, so I guess it might put a lot of other people off. So have your audiences changed since you introduced the new programme? Kelly Molson: And it would be interesting to know if you set out and defined what you wanted those new audiences to be and how if you've achieved that. Frances Sampayo: Oh, great question. So we did do some kind of planning of new audiences and who we wanted to engage, but we also wanted to make sure we brought our existing audience and our members kind of along with us and make sure that they felt really taken care of. So, in terms of our existing audience, particularly our members, they're 50% of our visitor profile post pandemic, and they're predominantly white, female, cisgendered, able bodied, or potentially have kind of corrected sight through using glasses. They're retired. So that's our kind of core audience, if you will. So we wanted to make sure that we really supported them as well, so they have had some new benefits introduced, like a quiet hour at the garden in the morning, so kind of private access before everyone else comes in. Frances Sampayo: We also started running coffee mornings for them, social isolation is a really big challenge within the Royal Borough of Kensington and Chelsea. So we've got some older members of our membership community, so that helps them get involved. And they also get early access to a lot of our member events or a lot of our public programme events. So they feel like they're getting a lot of special treatment, but it's a lot of stuff that we would have been doing anyway. And I think that's helped them kind of come with us on the journey as we've brought in a lot of new audiences. So people under 40, families, people living within walking distance of the garden within a 30 minutes catchment, that's actually really quite a disruptive audience to bring in against that traditional model. Frances Sampayo: So we've got people who live in Wandsworth, Lambeth, Vauxhall, all really local to us, who wouldn't see the garden as a place for them. We've got people living in Battersea who are part of the new, amazing community in Battersea with all these developments, but they've got the park right next to them and we're on the other side of the Thames, so why do they want to come here? So it's really helped us establish we are here for local people. We've got things that interest under 40s, we've got things that interest families, but throughout all of that, we've really considered how we're going to bring our core audience on that journey with us. So, yeah, we've tried to balance it, but it has really changed. Kelly Molson: Were you worried about how, when you talked about what your existing kind of demographic was for your members and your audience, were you quite worried about how they might react to some of the new ideas that you were bringing in? Frances Sampayo: I wasn't really worried, if I'm completely honest. I think I knew that we were going to take care of them and I knew that some people would appreciate that and some people would really enjoy coming into the garden for a quiet hour in the morning or coming to a coffee morning. So I knew that some of the visitors that are part of that membership community would really enjoy that. And I thought, if they don't, that is kind of up to them to self select and not come to the garden. But ultimately we have to change because you can't exist for 350 years by standing still. And I think that is quite brave, I think, to say that. And it's not dismissive of our kind of core audience or our existing audience, it's just saying there's space for everyone, there's space for more people here. Frances Sampayo: And if you're not okay with that, you've got your quiet hour, you can come then. We're trying to accommodate you. But actually, if you want to come to Chelsea History Festival weekend, where we've got circus performers and a military band in the garden, come along to that. That's great. You're going to really have a good time if you want. So we kind of accepted that we might lose some visitors and I, unfortunately, sometimes get complaints from people about, "I've ruined the garden or I've ruined the atmosphere", but for every complaint I get like that, I get 20, "I would never have come here if you weren't doing this. And I discovered the garden because you had a poetry evening and I thought that was amazing, or I came on the lawn sessions for a date and now I'm coming back to see the collection in the day." Frances Sampayo: So it really is worth it and you just have to be kind of resilient and true to what you're doing and why and stick to it, because we're kind of here for people and we want as many people to enjoy the garden as possible. So there has to be a bit of disruption and a bit of change.Kelly Molson: Yeah. I mean, we all like to say that we don't like change, though, don't we? You're always going to get somebody who really don't like change and it's really uncomfortable for them, but you can't stay the same for those people. How do you think? Because this has all happened over quite a short period of time, really, hasn't it? I mean, we can throw COVID into the mix and I think it goes without saying, really, that everybody became a bit braver during that time, because it was a time of, "Well, let's just try it. What else could go wrong?" Right? But what do you think that you've been able to kind of change and adapt so quickly? Frances Sampayo: Yeah, so I think it's all about people. We've got a really amazing team here and they're really committed to what we're doing. I kind of label it as persistent, professional radicalism, which people enjoy, but that's kind of what we're doing. We want to make change, so we have to be persistent. We'll consider the fact that some visitors might not like it, but others will, and we've got data to support us and then we're kind of radical because that's just what we're doing, being really bold as we approach things. And this team of people that I get to work with, really kind of support that and want to work in that way. At the start, weren't all saying we're being radical at work and we're being really bold. People weren't necessarily comfortable with that. Frances Sampayo: So there were a lot of conversations that needed to have with people around, giving them permission to explore new things and say, "What are you excited about that we've never done in the garden before, that you think would be really cool that you'd want to come to, or what do you want to do?" And gradually people started understanding that actually there was permission for them to try new things and to work in new ways. So one of the learning team really wanted to learn more about podcasting. So brilliant. There's a training course on podcast. You go on that, you tell me why it would be good for the garden and if you can convince me, I'll back you up and we'll make sure that we kind of get this going and get you the equipment you need and the space you need. Frances Sampayo: So were able to do that and now we've got a really great podcast that's available in all good podcast places that you can listen to about the garden and it helps people that aren't here connect with it. And that just came from a mad idea from one of the teams saying, "Actually, I'd really like to learn a bit more about this, and were able to just kind of go with it." So empowering the team has been really key to that. And then also for me, I'm really lucky that our director, Sue Medway is really supportive of kind of what we're doing. And our trustee board as well have kind of become used to me coming in and saying, “Oh, we're now teaching children how to make broomsticks for Halloween.”Kelly Molson: It's such a great idea.Frances Sampayo: So it's so great and it's a sustainable way of using twigs, things like that. So we use all kind of organic well, all materials from the garden. They learn how to make them and yeah, cool, they get to pretend that they've got magic powers and can fly around the garden, but also they can take that home, they can help with the housework, they know a bit more about sustainable cleaning, don't have to buy a new broom. So there's all kinds of things that we're doing and people have just kind of accepted now that we're going to do things a bit differently. And when they open their kind of board papers, there might be something a bit mad in there, but they really enjoy it. So it's great. Kelly Molson: That is a brilliant idea and it kind of sums up the ethos of the whole place, right? You're teaching children to do something really fun with the things that you have there and they're learning about sustainability. It's absolutely perfect. Yeah, I really love that. I should probably book onto that podcasting workshop that you talked about as well. Add that to my list of things to do. When we talked a few weeks ago as well, I think you mentioned, I think you kind of mentioned, like, the 80 20 rule that we talk about quite frequently. About 80% of what you do is kind of in fixed once the programme is decided, but you have that kind of 20% of flexibility where if something is relevant, you can go, “Hey, we've got a little bit of space here, let's put something on.” So it's nice to be able to have that level of flexibility and kind of agileness about what you do. Frances Sampayo: Yeah, definitely. So, again, when I first joined, actually, that was something that were kind of not confident in. So by November, the whole following year would be planned and then the walks, talks and workshops, leaflets that were produced would talk you through the whole year. So we'd printed the whole year in advance. That was it. This is the programme, we're sticking to it. So now we kind of print only kind of two or three months in advance. And we also use QR codes a lot to say just check our website for what's happening. And that really gives us the space to be agile. So we now programme 80% and then it gives us that space that if you pick up a really amazing phone call from someone, can do an event. Frances Sampayo: We get a lot of really interesting artistic projects, we also get some really amazing kind of sell out events and it's actually we've got to have capacity to run that event again because it was so popular. So, yeah, that's been a really big shift, is just having that kind of 80 20 and it also helps the team with capacity management, I think, because sometimes when we get approached for things like we had this really amazing approach for kind of a shadow puppet theatre to come into the garden and it was a really interesting opportunity for us. It would have been a bit of a kind of learning curve, but we just didn't have capacity. Frances Sampayo: And it was really good to be able to say to the team, “Actually, we've already factored in five new events in the next four months, so do we think that we can build this one in as well? Because those are five new events that we haven't run before.” So it just made us a bit more kind of structured in our decision making process of what we could take on and couldn't. And so that went on the back burner and we said we potentially be available in the future. But yeah, it just makes us have decisions that are kind of really grounded, I guess, from what I'm saying. It seems like we just say yes to everything, but sometimes we do say no and think about whether something's right for us or whether we've got capacity for it. And 80 20 has really helped. Kelly Molson: Yeah, that felt like a considered no, not a reflex no, but actually with other things that we have on, we don't need to do this right now. We'd love to, but we don't need to. And that's a good position to be in, to be able to make that kind of decision. I would love to know what you've learned about it all and what's the one thing that surprised you the most about the process that you've been through? Frances Sampayo: Well, I've learned a lot. It's been a really amazing journey and obviously I've learned a lot just about our collection and from our horticultural team. But aside from that, it's really been about listening to people that your team are going to make you better, they're going to make your programme better, and sometimes you have to listen to challenge and critique just as much as you have to listen to positivity. I think that gives you a lot to learn from. And again, that's that feedback cycle and loop from earlier, I think it's really important to be excited and that makes your team excited about things and want to go the extra mile and put in the energy that it takes to get these things off the ground. Really about empowerment, that's been the key to the success, is just having an empowered team. Frances Sampayo: And I think particularly recently, I've been reflecting on just how important it is to be grateful. And I think I've learned a lot about being grateful not only to the team, but also to our visitors and our audiences that come here and the fact that they've chosen to come to us and making sure that we're grateful for that. So those have kind of been some recent learnings that I've been reflecting on. And then in terms of surprise, well, I think something that I wish I could have used as my answer to your earlier question about objectives and kind of what you set out to achieve actually came as a surprise to me. Frances Sampayo: So we've had at least three staff members and more volunteers cite the public programme as the way that they discovered the garden and also as part of their motivation for joining and wanting to apply. Yeah, so it's been really interesting, and I wish that I'd kind of gone into it at the beginning and kind of said, "Well, yeah, well, this is going to lead to an increase in applicants for jobs and diversity of applicants for jobs", but I just didn't really consider it as an outcome. And it's been great. And actually, one of our Cafe team who cited the Dash of Lavender programme as a motivation for joining went so above and beyond. During Dash of Lavender this year, they had the inclusive pride flag all over. Frances Sampayo: We had a whole range of lavender themed, like macaroons and desserts, and they really took it to another level, because they felt like we, as an organisation, were accepting of this programme and therefore would just really support them to deliver what they felt was their interpretation of the programme. And we did, even if that did mean having to have lavender themed macaroons every day, which is a really hard life. Kelly Molson: That sounds really tough. Frances Sampayo: Oh, no, what a shame. But, yeah, it was just brilliant because they really took it and ran with it and that just makes us better and hopefully our visitors will enjoy that as well. But, yeah, that was completely unexpected. Kelly Molson: That's such an amazing outcome, isn't it? And like you said, completely unexpected that they've really taken ownership of it. They've taken ownership of the programme and put more into it than you ever could have imagined. Frances Sampayo: Yeah, because I could never have done that. And I think I'm really lucky every single day here, because I work with such amazing people. I get to say, "Oh, brilliant. I get to represent everything that people have done and achieved and come up with". And that's just one of those completely unexpected outcomes, which is delicious and great fun. I think they even created a cocktail for out of hours events that transformed. So the cocktail started pink and then they poured in a blue gin and then it turned into a lavender colour. Kelly Molson: They really thought about it. Frances Sampayo: It was amazing. And then the visitors that came here, it's just such an added benefit. So, yeah, creativity comes from everywhere and it's brilliant to see.Kelly Molson: That is brilliant. Yeah, that's another question, actually, is unexpected outcomes. So that was one of the unexpected outcomes, which you had no idea that it could have been an objective that was achieved. But there's been some other things that have come out of this as well, hasn't there? Can you tell us a little bit about them? Frances Sampayo: Yeah, and it comes back to that idea that 80 20 and just having space to pick up the phone and have those conversations. So we do a lot more working in collaboration than we've ever done before. And I think it's maybe because we've caught people's attention as a partner and people are interested in what we're doing now, not just from that kind of LEAF forum, but a lot more dynamic organisations, not just kind of botanically rooted organisations. So many plant puns. I have to apologise, it's just what. Happens when you want to kit. Kelly Molson: We're pun agnostic on this brilliant show.Frances Sampayo: Yeah, one of my favourite activities that we've launched is the Chelsea History Festival, which we run in collaboration with the National Army Museum and the Royal Hospital, which are our neighbours along the Royal Hospital road. And the three of our sites are really different. We have really different audience bases, but we've come together for this week long festival each year and because of that, we've had a military band in the garden that would never have happened if we didn't collaborate and weren't open to collaborating. We've seen a real kind of increase in visitors because of that. And what's been interesting is a lot of visitors go to the National Army Museum because they have a soft play, so there's a lot of families that go there who now come here afterwards, and so they're actually going to both sites.Yeah. Kelly Molson: Oh, that's great.Frances Sampayo: Whereas before, they might have just gone to the Army Museum and not known that were here. So it's really brilliant for us to be doing that work in partnership. And the Royal Hospital are doing more and more to open up. Obviously, their primary function is to be a care home for the Chelsea Pensioners, that's their priority. But they are doing more to connect with the local community and so we're able to facilitate that, maybe host some things for them and just continue to work as a trio of sites as opposed to three independent institutions, which is really exciting moving forward. I think it's really going to change how we all operate. And so that's kind of one collaboration that we just wouldn't have happened if weren't open to working in that way. Frances Sampayo: And we've also launched Crossing the Floors with David Hingley, who's been on the podcast. I'm sure many people know that initiative to kind of link up front of house teams to get experience of working in different sites. Kelly Molson: Such a great idea. Frances Sampayo: It's such an amazing idea. And we're kind of completely different as a site, as an outdoor site. So a lot of people working in places might never have got to come to an outdoor site before. And they get to kind of see how we programme things, how we deliver activities in a very different way, very seasonal way, as opposed to kind of exhibition, programme driven. So that's been really interesting. And, yeah, other collaborations have just come from picking up the phone. We do a lot of work with the University of Westminster now to help blind and partially sighted people have a multisensory experience in a botanical garden, which doesn't sound you think? Well, yeah, of course it's multisensory being in a garden, but actually, you can't touch a lot of our collection. A lot of it's poisonous. Frances Sampayo: It's going to do you a lot of harm if you touch it. So, yeah, how do we kind of layer that in a safe way? So there's so much that can come from collaborating with different sites and, again, that just is going to improve everything we do here and we learn a lot. Kelly Molson: That's so good, isn't it? And I guess all of those things, by changing the programme, you've changed the profile of the garden and you've raised your kind of perception, or changed the perception of it to so many different audiences. And now those audiences will go to the attractions and the places that are next door to them, and yet you don't suffer any visitor loss from that. And likewise, because they're now coming to two of the different ones on the same day, it's just perfect. Frances Sampayo: Yeah, it's great. And hopefully in the future we'll be able to keep building on that as three sites and continue to work together. We're an independent charity, so every kind of penny we earn, we have to earn ourselves. NAM have got a different funding model, as have the Royal Hospital, so we've got a lot to learn as well from each other as organisations of how we approach things and what we need to consider, so it's even better for organisational learning as well. It's just going to help elevate everyone. And as you said earlier, I think people became a lot bolder following the pandemic in terms of sharing and wanting to help each other, whereas before were all very isolated, so that's really helped things. Kelly Molson: It's brilliant. Thank you for coming on to share this with us today. It's been so lovely to talk to you about it. We always ask our guests to share a book that they love, so have you prepared something for us today? Frances Sampayo: Yes, so that was a really hard question and I thought about the book that I've gifted the most. So last year I read Black Tudors by Miranda Kaufman. I don't know if anyone's recommended it previously. Kelly Molson: No, I don't think so. Frances Sampayo: So it's a really fantastic history book. And as someone who's worked at sites with kind of Tudor history in the past, it completely blew my mind to hear about how dynamic the range of black people were in Britain and beyond in the Tudor times, because we really don't get to hear about that. I think, kind of in traditional academic circles. So it's a great read and I think I gifted about five copies of it last year, so I think people would it's just brilliant and I hope someone gets to enjoy it. Kelly Molson: Well, listeners, as ever, if you want to listen, if you want to win a copy of Frances's book, you know what to do. Head over to our Twitter account. And if you retweet this episode announcement with the words, I want Frances's book, then you might get the chance for us to gift you us to gift it to you, not Frances. She can save her pennies. Thank you so much for coming on. It's been such a pleasure. I don't know, you've sold it to me. I mean, I want to come and make a broomstick and some soap. Frances Sampayo: Yeah, soap and a broomstick. Kelly Molson: That's like my perfect day out. Frances Sampayo: That's our tagline for 2024, actually. Just visit garden. Soap and a broomstick. Kelly Molson: Sold. I'll order my ticket in advance. Thanks, Frances. Frances Sampayo: Thanks, Kelly. Kelly Molson: Thanks for listening to Skip the Queue. If you've enjoyed this podcast, please leave us a five star review. It really helps others find us. And remember to follow us on Twitter for your chance to win the books that have been mentioned. Skip The Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. You can find show notes and transcriptions from this episode and more over on our website, rubbercheese.com/podcast.

Leoni McKeon is a world expert in the interpretation and usage of the 36 Strategies (derived from Sun Tzu, 'The Art of War'). Like many people, when Leonie first read ‘The Art of War', she questioned the relevance this had in the contemporary business world. While living in the Greater China Region, among the experts in negotiation, she realized that these strategies were the keys to strategic negotiation. Living away from Australia provided her with the awareness that most Western people have little understanding of how to negotiate strategically. Consequently, she has systematically unpicked each ancient strategy and identified modern-day examples to explain how the strategies can be used in the contemporary business world. Leonie shares the rules of ancient Chinese wisdom, which is the knowledge used by the best and most confident negotiators in the world. The 36 Strategies provide a comprehensive framework to enable high-level strategic thinking for negotiating in any business environment.     Leonie shares in this episode: Traveled through Israel, Turkey, and Egypt for a year and a half until the money ran out when she was in Hong Kong; where a chance encounter sent her to Taiwan where they could get work teaching English. Whilst staying in Taipei, there was no English spoken, so Leonie had to learn Mandarin and she stayed there for 4 years, practicing speaking and writing Mandarin during the day and teaching English at the night. After a while, Leonie moved to a more remote region where there was no English at all, which really helped Leonie's Mandarin skills grow massively, so she was able to start importing clothes from Katmandu and sell them at night markets. Leonie started to travel over the whole country and started to understand that there were Mandarin accents, just like in Western cultures. How she earned a degree in Anthropology and Mandarin and started her first business to help people deal with China, and this business ran for 15 years and sold it to her senior team. How the 36 strategies from ‘The Art Of War' changed her life, and how it is so fundamental to the Chinese culture. Leonie spent time with Chinese experts to really codify the 36 strategies for a modern-day business, and that led to workshops and keynote speaking. Leonie helps people understand these strategies through “Idioms” and has written a series of 6 books on the topic.  “The Dao Of Negotiation Series”; a way of negotiating that increases collaboration and win/win  How she has been able to have the books published internationally, including translation into German and Indonesian. A great example of how a business can use one of these strategies “Make a noise in the east, attack in the west” eg, if you are selling expensive real estate, you can focus on all the benefits, so the price becomes irrelevant. “Move from guest to host” - if you are the host, people don't question what you do; they trust you.  How do you move into the position of the host in your business? Her life-changing question: Am I doing what I want to do?  It is important to follow intuition more than overthinking things.  Making decisions from intuition can create flexibility, and this is what led Leonie to travel, speak a new language and create successful businesses and a series of books. How removing herself from her own environment allowed her to reflect on her environment and her life - and how that reflection helps Leonie learn new things to share with others.     Resources mentioned in this episode:Leonie@LeonieMcKeon.com www.leoniemckeon.com  https://www.leoniemckeon.com/books.php https://www.linkedin.com/in/leonie-mckeon-90480523/   If you would like more insights on profit maximization for your business visit www.ProfitHive.com.au

While women were granted the right to vote in 1920 with the 19th Amendment to the Constitution, that right was not easily protected for Black women. Now, the stories of these suffragists are on display at a new exhibit at the Historic New Orleans Collection, “Yet She is Advancing: New Orleans Women and the Right to Vote, 1878-1970.” Exhibit curator Elizabeth Neidenbach joins us for more on the pioneering women who paved the way for voting rights. Back when Jazz Fest first began in New Orleans in 1970, many said there were more performers than guests in attendance. But over the years, more attendees, performers, and vendors found themselves at the Fairgrounds each spring, building exciting and meaningful experiences. And for nearly a decade, LSU Libraries has been capturing Jazz Fest memories in their oral history archive. Eight years ago, LSU's Dr. Helen Regis, Professor of Geography and Anthropology, and Jennifer Cramer, the director of the T. Harry Williams Center for Oral History, led their students through a Jazz Fest research project Now, Cramer joins us for more on what her students unveiled years ago. Plus, we listen back to some of the interviews her students conducted to hear memories of past Jazz Fests. But first, back in Ukraine, Mykola Vyshyvanyuk owned a dress shop and lived in a beautiful home with his wife, three children and their dog — that was until Russian troops invaded their home country. The Gulf States Newsroom's Taylor Washington and WBHM's Ritika Samant reported on how the family has been able to find refuge and a new beginning in Alabama. Today's episode of Louisiana Considered was hosted by Diane Mack. Our managing producer is Alana Schreiber and our digital editor is Katelyn Umholtz. Our engineers are Garrett Pittman and Aubry Procell. You can listen to Louisiana Considered Monday through Friday at 12:00 and 7:30 pm. It's available on Spotify, Google Play, and wherever you get your podcasts.  Louisiana Considered wants to hear from you! Please fill out our pitch line to let us know what kinds of story ideas you have for our show. And while you're at it, fill out our listener survey! We want to keep bringing you the kinds of conversations you'd like to listen to. Louisiana Considered is made possible with support from our listeners. Thank you!See omnystudio.com/listener for privacy information.

Elliott talks to us about the Rohingya political situation amidst dislocation and mass violence, especially after the coup in Myanmar, and how R-Coin is a new initiative helping stateless Rohingya diaspora in Malaysia. --- Elliott Prasse-Freeman is a political anthropologist studying social movements, violence, and symbolic culture in Burma. As part of a related ongoing project on the Rohingya genocide, he is exploring novel forms of personhood and conceptions of the political as they are mediated by and generated through new technologies such as blockchain, biometric scanners, and AI. He received his PhD from the Department of Anthropology at Yale University and his Bachelors and Masters from Harvard University. He has conducted long-term fieldwork in Myanmar, and currently teaches sociology and anthropology at the National University of Singapore. He has a book, titled Rights Refused: Grassroots Activism and State Violence in Myanmar (Stanford University Press) on Burmese subaltern political thought as adduced from an extended ethnography of activism and contentious politics in the country's semi-authoritarian setting. --- Support this podcast: https://podcasters.spotify.com/pod/show/sugar-nutmeg/support

In this episode, Angela Saini, award-winning science journalist and author of “The Patriarchs: How Men Came to Rule,” traces the material and social roots of patriarchy with host Adam Gamwell. The duo explores how anthropology can help us better understand the patriarchy and patriarchical power by contextualizing and breaking down big ideas. Anthropology enables us to examine broad, complex topics through specific cultural and historical lenses. It also helps us dissect grand narrative ideas to reveal their historical trajectories. But perhaps most importantly, anthropology reminds us that we need to think about big ideas contextually, especially emotionally and politically charged ideas like the patriarchy. They dive into the definition of patriarchy and its ties to social structures, social privileges, and oppression. The conversation also touches on how different cultures interpret and shape the deployment and maintenance of gender and power to reflect their unique social norms. Saini emphasizes the importance of understanding the social variation and how male domination adapts to different changes. Drawing on many forms of evidence, she discusses the multiplicities of patriarchies, how patriarchy today functions and shapes different aspects of our lives, and how we can think big about what form of society we'd like to continue, reinvent, or totally change for ourselves and our children. Saini's work aims to bring awareness to the many different kinds of patriarchies that exist and how they are being recreated and reasserted today.Episode Highlights:[05:57] Why we shouldn't think of the patriarchy as a monolith[09:31] Why pre-history wasn't necessarily patriarchal[13:44] Why thinkers started to question where patriarchy came from[17:16] Why James Mellaart believed Çatalhöyük was a matriarchal society[23:55] How the Haudenosaunee inspired the beliefs of women's rights activists[26:57] How early civilizations' concerns about population led to binary gender norms[30:24] Possibilities that slavery and patrilocality informed each other[36:32] Why freedom and women's liberation are nuanced[43:05] The Kitchen Debate and the clash of capitalism and communism[50:40] How Kerala, India now positions itself as a beacon of women's empowerment[55:54] How we can build the society we hope to see in the futureLinks and Resources:The Patriarchs: The Origins of InequalitySuperior: The Return of Race ScienceInferior: How Science Got Women WrongConnect with Angela Saini via LinkedInCheck out Angela Saini's websiteConnect with Adam Gamwell via email, LinkedIn, or TwitterSubscribe to the This Anthro Life newsletter

In 2002 at the age of 23, after graduating university in Anthropology, Hamilton opened Blue Morpho, the first healing center in the Peruvian Amazon focusing on Amazonian natural medicine and the sustainable use of Amazonian Visionary Medicines. He is one of the first Westerners to be accepted into an Amazonian Traditional Plant Medicine Lineage and the first person in this field to be globally covered by western media including National Geographic Adventure, The New York Times, Oprah Magazine and Time. Blue Morpho has hosted thousands of plant medicine and psychedelic ceremonies with thousands of people from around the world.In this episode Hamilton Souther and Beth Weinstein discuss…▶ Hamilton's visions in his first ceremony that called him to study ayahuasca in the Amazon▶ The material realities of building a retreat center in the jungle▶ Dedication to healing and the medicine as a lifelong path▶ How plant medicines are now being used to optimize, not only to treat illness and trauma▶ The need for integration after ceremony, which is just the beginning of a long journey ▶ You receive the benefits of ayahuasca by making changes in your life after ceremony▶ The misunderstanding that the plants are here to be in service to you when they are in fact autonomous beings▶ Realizing that the problems you have in your life are interwoven with how you live▶ Should Westerners be serving traditional plant medicines?▶ How to know if you are skilled enough to serve plant medicine▶ Blue Morpho's ayahuasca facilitation training program, The Blue Morpho Academy▶ The implications of taking plant medicines out of their natural form and synthesizing new compounds▶ The properties and effects of angel/trumpet vine, a plant medicine similar to datura that is extremely dangerousHamilton Souther's Links & Resources▶ Website: https://bluemorphotours.com/▶ Instagram: https://www.instagram.com/bluemorphoretreats/▶ Facebook: https://www.facebook.com/BlueMorphoRetreats/▶ Youtube:https://www.youtube.com/@BlueMorphoTours/featured

Parallel Architecture is a theory of the mental representations involved in the language faculty. These representations are organized in three orthogonal dimensions or levels: phonology, syntax, and semantics, correlated with each other through interface links. Words are encoded in all three levels and serve as part of the interface between sound and meaning. In the representation of an entire sentence, the words are spread out across the combinatoriality of the three levels. An important requirement for a theory of language is that it must offer an account of how we can talk about what we see. It is proposed that conceptual structure in language interfaces with a level of physical space – which in turn interfaces with visual, haptic, and proprioceptive perception, and with the planning of action. Thus, the basic principles of the Parallel Architecture for language can be extended to major aspects of mental function. Series: "CARTA - Center for Academic Research and Training in Anthropogeny" [Humanities] [Science] [Show ID: 38684]

In Mirrors of Whiteness: Media, Middle-Class Resentment, and the Rise of the Far Right in Brazil (U Pittsburgh Press, 2023), Mauro P. Porto examines the conservative revolt of Brazil's white middle class, which culminated with the 2018 election of far-right candidate Jair Bolsonaro. He identifies the rise of a significant status panic among middle-class publics following the relative economic and social ascension of mostly Black and brown low-income laborers. The book highlights the role of the media in disseminating "mirrors of whiteness," or spheres of representation that allow white Brazilians to legitimate their power while softening or hiding the inequalities and injustices that such power generates. A detailed analysis of representations of domestic workers in the telenovela Cheias de Charme and of news coverage of affirmative action by the magazine Veja demonstrates that they adopted whiteness as an ideological perspective, disseminating resentment among their audiences and fomenting the conservative revolt that took place in Brazil between 2013 and 2018. Mauro P. Porto is Associate Professor of Communication at Tulane University. He is the author of Media Power and Democratization in Brazil: TV Globo and the Dilemmas of Political Accountability and Televisão e Política no Brasil.  Reighan Gillam is an Associate Professor in the Department of Anthropology at the University of Southern California. Her research examines the ways in which Afro-Brazilian media producers foment anti-racist visual politics through their image creations. She is the author of Visualizing Black Lives: Ownership and Control in Afro-Brazilian Media (University of Illinois Press). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

In Mirrors of Whiteness: Media, Middle-Class Resentment, and the Rise of the Far Right in Brazil (U Pittsburgh Press, 2023), Mauro P. Porto examines the conservative revolt of Brazil's white middle class, which culminated with the 2018 election of far-right candidate Jair Bolsonaro. He identifies the rise of a significant status panic among middle-class publics following the relative economic and social ascension of mostly Black and brown low-income laborers. The book highlights the role of the media in disseminating "mirrors of whiteness," or spheres of representation that allow white Brazilians to legitimate their power while softening or hiding the inequalities and injustices that such power generates. A detailed analysis of representations of domestic workers in the telenovela Cheias de Charme and of news coverage of affirmative action by the magazine Veja demonstrates that they adopted whiteness as an ideological perspective, disseminating resentment among their audiences and fomenting the conservative revolt that took place in Brazil between 2013 and 2018. Mauro P. Porto is Associate Professor of Communication at Tulane University. He is the author of Media Power and Democratization in Brazil: TV Globo and the Dilemmas of Political Accountability and Televisão e Política no Brasil.  Reighan Gillam is an Associate Professor in the Department of Anthropology at the University of Southern California. Her research examines the ways in which Afro-Brazilian media producers foment anti-racist visual politics through their image creations. She is the author of Visualizing Black Lives: Ownership and Control in Afro-Brazilian Media (University of Illinois Press). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

In Mirrors of Whiteness: Media, Middle-Class Resentment, and the Rise of the Far Right in Brazil (U Pittsburgh Press, 2023), Mauro P. Porto examines the conservative revolt of Brazil's white middle class, which culminated with the 2018 election of far-right candidate Jair Bolsonaro. He identifies the rise of a significant status panic among middle-class publics following the relative economic and social ascension of mostly Black and brown low-income laborers. The book highlights the role of the media in disseminating "mirrors of whiteness," or spheres of representation that allow white Brazilians to legitimate their power while softening or hiding the inequalities and injustices that such power generates. A detailed analysis of representations of domestic workers in the telenovela Cheias de Charme and of news coverage of affirmative action by the magazine Veja demonstrates that they adopted whiteness as an ideological perspective, disseminating resentment among their audiences and fomenting the conservative revolt that took place in Brazil between 2013 and 2018. Mauro P. Porto is Associate Professor of Communication at Tulane University. He is the author of Media Power and Democratization in Brazil: TV Globo and the Dilemmas of Political Accountability and Televisão e Política no Brasil.  Reighan Gillam is an Associate Professor in the Department of Anthropology at the University of Southern California. Her research examines the ways in which Afro-Brazilian media producers foment anti-racist visual politics through their image creations. She is the author of Visualizing Black Lives: Ownership and Control in Afro-Brazilian Media (University of Illinois Press). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latin-american-studies

In Mirrors of Whiteness: Media, Middle-Class Resentment, and the Rise of the Far Right in Brazil (U Pittsburgh Press, 2023), Mauro P. Porto examines the conservative revolt of Brazil's white middle class, which culminated with the 2018 election of far-right candidate Jair Bolsonaro. He identifies the rise of a significant status panic among middle-class publics following the relative economic and social ascension of mostly Black and brown low-income laborers. The book highlights the role of the media in disseminating "mirrors of whiteness," or spheres of representation that allow white Brazilians to legitimate their power while softening or hiding the inequalities and injustices that such power generates. A detailed analysis of representations of domestic workers in the telenovela Cheias de Charme and of news coverage of affirmative action by the magazine Veja demonstrates that they adopted whiteness as an ideological perspective, disseminating resentment among their audiences and fomenting the conservative revolt that took place in Brazil between 2013 and 2018. Mauro P. Porto is Associate Professor of Communication at Tulane University. He is the author of Media Power and Democratization in Brazil: TV Globo and the Dilemmas of Political Accountability and Televisão e Política no Brasil.  Reighan Gillam is an Associate Professor in the Department of Anthropology at the University of Southern California. Her research examines the ways in which Afro-Brazilian media producers foment anti-racist visual politics through their image creations. She is the author of Visualizing Black Lives: Ownership and Control in Afro-Brazilian Media (University of Illinois Press). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/political-science

In Mirrors of Whiteness: Media, Middle-Class Resentment, and the Rise of the Far Right in Brazil (U Pittsburgh Press, 2023), Mauro P. Porto examines the conservative revolt of Brazil's white middle class, which culminated with the 2018 election of far-right candidate Jair Bolsonaro. He identifies the rise of a significant status panic among middle-class publics following the relative economic and social ascension of mostly Black and brown low-income laborers. The book highlights the role of the media in disseminating "mirrors of whiteness," or spheres of representation that allow white Brazilians to legitimate their power while softening or hiding the inequalities and injustices that such power generates. A detailed analysis of representations of domestic workers in the telenovela Cheias de Charme and of news coverage of affirmative action by the magazine Veja demonstrates that they adopted whiteness as an ideological perspective, disseminating resentment among their audiences and fomenting the conservative revolt that took place in Brazil between 2013 and 2018. Mauro P. Porto is Associate Professor of Communication at Tulane University. He is the author of Media Power and Democratization in Brazil: TV Globo and the Dilemmas of Political Accountability and Televisão e Política no Brasil.  Reighan Gillam is an Associate Professor in the Department of Anthropology at the University of Southern California. Her research examines the ways in which Afro-Brazilian media producers foment anti-racist visual politics through their image creations. She is the author of Visualizing Black Lives: Ownership and Control in Afro-Brazilian Media (University of Illinois Press). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology