Podcasts about Arapaho

Making a living from your art takes more than passion and talent. In this solo episode, Alyson Stanfield walks through the real considerations — from committing to your studio practice to making friends with marketing — for artists who are serious about turning their practice into a livelihood. It starts with a question worth considering: is this really for you? In this episode, Alyson covers: Why marketing your art too early can undermine everything you're working toward The financial math many artists avoid, and why ignoring it is not an option The old stories that hold you back and what it means to let them go Why your artist community is a valuable asset The difference between being busy and being productive Structure is what makes creative freedom possible Why you need to make friends with marketing. Read more and get links and resources on the extensive companion post   Email me to discuss strategic consulting for your long-term career goals. Think you'd make a good guest on The Art Biz? Read This   The Art Biz is recorded on the traditional land of the Cheyenne, Arapaho and Ute tribes.  

USFS LEO (and former NPS ranger) Brian Fields shares some wild tales from his time in the US Forest Service - we're not kidding - you can't make this stuff up.  But still... just a day in the life of a law enforcement officer sworn to protect a few million acres of our public lands.Support the show!For bonus content join our Patreon!patreon.com/CrimeOfftheGridFor a one time donation:https://www.buymeacoffee.com/cotgFor more information about the podcast, check outhttps://crimeoffthegrid.com/Check out our Merch!!  https://in-wild-places.square.site/s/shopFollow us on Instagram https://www.instagram.com/crimeoffthegridpodcast/ and  (1) Facebook

This episode includes the following stories:Annie: the fastest gunslinger on high heels... Indian Silver: A prospector tries to make a deal with an Arapaho band... The Crossing: Getting to the Oregon Trail was as dangerous as the trail itself... Narrow Escape: A young girl wanders away from a wagon train... ...and the poem "Starlight and Time" by Rick Steber. All stories and poems by Rick Steber. Used by permission of the author. Theme music is "Slobro Daze" by Danny Lee Allison. Sound effects found on YouTube and the Freesound Project. Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode includes the following stories:Annie: the fastest gunslinger on high heels... Indian Silver: A prospector tries to make a deal with an Arapaho band... The Crossing: Getting to the Oregon Trail was as dangerous as the trail itself... Narrow Escape: A young girl wanders away from a wagon train... ...and the poem "Starlight and Time" by Rick Steber. All stories and poems by Rick Steber. Used by permission of the author. Theme music is "Slobro Daze" by Danny Lee Allison. Sound effects found on YouTube and the Freesound Project.Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode includes the following stories:Annie: the fastest gunslinger on high heels... Indian Silver: A prospector tries to make a deal with an Arapaho band... The Crossing: Getting to the Oregon Trail was as dangerous as the trail itself... Narrow Escape: A young girl wanders away from a wagon train... ...and the poem "Starlight and Time" by Rick Steber. All stories and poems by Rick Steber. Used by permission of the author. Theme music is "Slobro Daze" by Danny Lee Allison. Sound effects found on YouTube and the Freesound Project. Learn more about your ad choices. Visit megaphone.fm/adchoices

Venues aren't looking for artists who need them, they're looking for artists who are ready. Host Alyson Stanfield introduces the attraction method: a way of building genuine relationships with venues long before you ever make an ask. For alternative venues, the timeline from first contact to a yes can be weeks instead of years. In this episode, Alyson covers: Why readiness is more than finished work, and what signals to a venue that you're prepared How alternative venues operate on an entirely different timeline than galleries The research and in-person visit steps that show a space you're worth talking to What separates "Can I show my art here?" from an opener that actually starts a conversation Why consistent, genuine presence means venues sometimes do the asking before you do Visit this episode's page for all resources MENTIONED Beyond White Walls workshop Elevate Your Art workshop RELATED EPISODES The artists who don't wait to be chosen (264) Use the attraction method for art venues before you make the ask (265)   Email me to discuss strategic consulting for your long-term career goals. Think you'd make a good guest on The Art Biz? Read This   The Art Biz is recorded on the traditional land of the Cheyenne, Arapaho and Ute tribes.  

You don't need a gallery to put your work in front of people. You don't need to wait for the next juried show application just for the promise to compete with a hoard of other artists. In this episode of The Art Biz, host Alyson Stanfield makes the case that waiting for gallery representation — or cycling through the same juried shows — keeps artists from the kind of visibility they could be creating themselves. This is a practical, imagination-expanding episode for artists who are ready to take control. In this episode, Alyson shares: Why "white walls" can be a metaphor for playing it too safe Three real art shows she attended that will stretch what you think is possible The lesson a hotel show taught her about personal invitations The difference between announcing, commanding, and inviting, and when to use each for promoting your show RESOURCES MENTIONED Elevate Your Art on-demand workshop Why the lone artist mindset keeps you small (263) How to write an art show invitation: announcing, commanding, or inviting? (article) BEYOND WHITE WALLS :: May 7 Workshop Your next exhibition space is closer than you think. Join Alyson on May 7 for Beyond White Walls, a 70-minute live workshop on finding and approaching non-traditional venues for your work. Registration is $37 and includes email templates, a companion guide, and the recording. Details at https://artbizsuccess.com/whitewalls Email me to discuss strategic consulting for your long-term career goals. Think you'd make a good guest on The Art Biz? Read This The Art Biz is recorded on the traditional land of the Cheyenne, Arapaho and Ute tribes.

On this month's episode, Jessica speaks with Dr. Neyooxet Greymorning (University of Montana; Departments of Anthropology and Native American Studies) about language rejuvenation. Dr. Greymorning tells the story of his journey into the work of language rejuvenation, as well as his own experiences with Arapaho as a child. He then explains how he developed his rapid language teaching methods based on how children learn and understand language but that would also fit the context of where he would be teaching. Dr. Greymorning describes the incredible language learning of his students using this method, as well as the challenges in getting educators to try to accept the method and the possible outcomes. Ultimately, these challenges led to one aspect of his current work where he is conducting language learning tests with dolphins! Links Heritage Voices on the APN Natives Strengthening Indigenous Languages & Cultures Raising Indigenous Voices in Academia and Society webpage Raising Indigenous Voices in Academia and Society YouTube Dr. Greymorning's Faculty Page at the University of Montana Being Indigenous: Perspectives on Activism, Culture, Language and Indentity (Book by Dr. Greymorning) ABC Fox News Article "UM professor tests dolphins for language" Contact Jessica Jessica@livingheritageanthropology.org @livingheritageA ArchPodNet APN Website: https://www.archpodnet.com APN on Facebook: https://www.facebook.com/archpodnet APN on Twitter: https://www.twitter.com/archpodnet APN on Instagram: https://www.instagram.com/archpodnet Tee Public Store Affiliates Motion Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

On this month's episode, Jessica speaks with Dr. Neyooxet Greymorning (University of Montana; Departments of Anthropology and Native American Studies) about language rejuvenation. Dr. Greymorning tells the story of his journey into the work of language rejuvenation, as well as his own experiences with Arapaho as a child. He then explains how he developed his rapid language teaching methods based on how children learn and understand language but that would also fit the context of where he would be teaching. Dr. Greymorning describes the incredible language learning of his students using this method, as well as the challenges in getting educators to try to accept the method and the possible outcomes. Ultimately, these challenges led to one aspect of his current work where he is conducting language learning tests with dolphins! Links Heritage Voices on the APN Natives Strengthening Indigenous Languages & Cultures Raising Indigenous Voices in Academia and Society webpage Raising Indigenous Voices in Academia and Society YouTube Dr. Greymorning's Faculty Page at the University of Montana Being Indigenous: Perspectives on Activism, Culture, Language and Indentity (Book by Dr. Greymorning) ABC Fox News Article "UM professor tests dolphins for language" Contact Jessica Jessica@livingheritageanthropology.org @livingheritageA ArchPodNet APN Website: https://www.archpodnet.com APN on Facebook: https://www.facebook.com/archpodnet APN on Twitter: https://www.twitter.com/archpodnet APN on Instagram: https://www.instagram.com/archpodnet Tee Public Store Affiliates Motion Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In this solo episode of The Art Biz, host Alyson Stanfield explores why collaboration is often the missing piece in an artist's growth. While working alone feels easier, it can quietly limit what's possible. This episode makes the case for thinking bigger by asking a simple but powerful question: Who else belongs in your work? Alyson shares: Two powerful examples of artist collaborations and how they reached audiences that the artists couldn't have reached on their own How collaborations build accountability, momentum, and deeper work Why it's important that your work be part of the larger dialogue What to look out for when collaborating Visit this episode's page for all resources   RELATED EPISODES ON COLLABORATING This Artist Turned Six Partnerships Into a Sold-Out Gallery Show with Meredith Nemirov (262) A Collaboration Between 2 Artists that Led to Creative Growth (183) Multiply Your Audience and Expand Your Show's Impact with Jill Powers (27) Multi-State Multi-Year Multi-Artist Art Project with Marilyn Artus (30) Knit Democracy Together with Eve Jacobs-Carnahan (64) Collaborating on Your Art Business with Rebecca Crowell and Jerry McLaughlin (86) Play Tops Work, Connection Tops Solitude, and Confidence Tops Fear with Willie Cole (126) Expanding Your Skillset to Respond to Opportunities with Detour (128)   Email me to discuss strategic consulting for your long-term career goals. Think you'd make a good guest on The Art Biz? Read This The Art Biz is recorded on the traditional land of the Cheyenne, Arapaho and Ute tribes.  

https://m.ebay.co.uk/sch/i.html?sid=tindogpodcast&_pgn=1&isRefine=true&_trksid=p4429486.m3561.l49496 Atlantis: The Lost Empire is a 2001 American animated science fiction adventure film directed by Gary Trousdale and Kirk Wise, produced by Don Hahn, and written by Tab Murphy. Produced by Walt Disney Feature Animation, it stars Michael J. Fox, James Garner, Cree Summer, Don Novello, Phil Morris, Claudia Christian, Jacqueline Obradors, Florence Stanley, David Ogden Stiers, John Mahoney, Jim Varney, Corey Burton and Leonard Nimoy. Set in 1914, the film follows young linguist Milo Thatch, who gains possession of a sacred book, which he believes will guide him and a crew of mercenaries to the lost city of Atlantis. Development of the film began after production had finished on The Hunchback of Notre Dame (1996). Instead of another musical, directors Trousdale and Wise, producer Hahn, and screenwriter Murphy decided to do an adventure film inspired by the works of Jules Verne. Atlantis: The Lost Empire was notable for adopting the distinctive visual style of comic book artist Mike Mignola, one of the film's production designers. The film made greater use of computer-generated imagery (CGI) than any of Disney's previous traditionally animated features and remains one of the few to have been shot in anamorphic format. Linguist Marc Okrand constructed an Atlantean language specifically for use in the film. James Newton Howard provided the film's musical score. The film was released at a time when audience interest in animated films was shifting away from traditional animation toward films with full CGI. Atlantis: The Lost Empire premiered at the El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001, and went into its general release on June 15. The film received mixed reviews from critics. Budgeted at around $90–120 million, Atlantis grossed over $186 million worldwide, $84 million of which was earned in North America; its lackluster box office response was identified as a result of being released in competition with Shrek, Lara Croft: Tomb Raider, The Fast and the Furious and Dr. Dolittle 2. As a result of the film's box office failure, Disney cancelled a planned spin-off animated television series, Team Atlantis; an underwater Disneyland attraction; and a volcanic Magic Kingdom attraction based on it. Atlantis was nominated for several awards, including seven Annie Awards, and won Best Sound Editing at the 2002 Golden Reel Awards. The film was released on VHS and DVD on January 29, 2002, and on Blu-ray on June 11, 2013. Despite its initial reception, reception in later years became favorable and has given Atlantis a cult following[5] and reappraisal from critics as a mistreated classic, due in part to Mignola's unique artistic influence.[6][7] A direct-to-video sequel, Atlantis: Milo's Return, was released in 2003. Plot In 1914 Washington, D.C., archaeo-linguist Milo Thatch obsesses over finding the legendary lost city of Atlantis, believed to have sunk thousands of years ago. His employers ridicule his theories, but he gains an unexpected ally in eccentric millionaire Preston B. Whitmore, a friend of Milo's deceased adventurer grandfather who also sought the city. Determined to honor his old friend's quest, Whitmore recruits Milo for an expedition to Atlantis, having recently uncovered the Shepherd's Journal, an ancient Atlantean manuscript that contains directions to the lost city. Aboard the submarine Ulysses, Milo meets his teammates: Commander Lyle Tiberius Rourke, Lieutenant Helga Sinclair, demolitions expert Vincenzo Santorini, geologist Gaetan "Mole" Molière, medical officer Joshua Sweet, mechanic Audrey Ramirez, radio operator Wilhelmina Packard, mess cook Jebidiah "Cookie" Farnsworth, and a platoon of mercenaries. Upon reaching a cave entrance leading to the lost city, the submarine is destroyed by a massive mechanical leviathan, killing most of the crew. Milo and the survivors escape in smaller craft, navigating through the cave to emerge among ancient ruins. Milo translates the journal, guiding the team through caves beneath a dormant volcano until they reach the worn remains of Atlantis. There, they are greeted by Princess Kidagakash "Kida" Nedakh, who, despite being around 8,500 years old, has the appearance of a young woman. She leads them to her father, King Kashekim, who orders them to leave. Learning that Milo can read their language—a skill lost to the Atlanteans over millennia—Kida asks for his help in uncovering their forgotten history and highly-advanced technology, without which the city has declined and resources have dwindled. Milo learns that Atlantis is powered by the Heart of Atlantis, a massive crystal that grants longevity and health to its citizens through the smaller crystals they carry. Rourke betrays Milo and the Atlanteans, revealing his true intention to steal the Heart for profit, despite knowing the Atlanteans will perish without it. He mortally wounds the King while seizing control and uncovers the crystal's hidden location beneath the city. Sensing the danger, the crystal merges with Kida, who is then captured by Rourke. He departs with the crystallized Kida and his mercenaries, except for Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie, who refuse to take part in the Atlanteans' destruction. Before dying, the King reveals that Atlantis was devastated by a megatsunami after he attempted to weaponize the crystal's vast power. To protect the city, the crystal merged with a royal family member, Kida's mother. This created a protective dome over the city's inner district, shielding it from total destruction as Atlantis sank beneath the waves, but Kida's mother never returned. To prevent the crystal from ever merging with Kida, the King hid it, inadvertently accelerating Atlantis' decline. He warns Milo that Kida will be lost forever if she is not soon separated from the crystal and pleads with him to save her. Alongside his allies, Milo rallies the Atlanteans to reactivate their long-dormant flying machines. Together, they eliminate Rourke and his mercenaries in the volcano. Milo and the others fly the crystallized Kida back to Atlantis as the volcano erupts. Kida ascends into the air and awakens Stone Guardians, who erect a barrier that shields the city from the lava flow. With Atlantis saved, the crystal separates from Kida and remains suspended in the sky. Milo chooses to stay in Atlantis with Kida, having fallen in love with her. Before returning to the surface, Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie each receive a small crystal and a share of treasure. The six reunite with Preston on the surface and agree to keep their adventure a secret to protect Atlantis. Preston opens a package from Milo containing his own crystal and a note thanking him. The newly crowned Queen Kida and Milo carve a stone effigy of her father to join those of past rulers floating beside the Heart of Atlantis, as the city stands restored to its former glory. Voice cast Production layout sketch of Milo and Kida. Milo's character design was based in part on sketches of the film's language consultant, Marc Okrand. Michael J. Fox as Milo James Thatch, a linguist and cartographer at the Smithsonian who was recruited to decipher The Shepherd's Journal while directing an expedition to Atlantis. James Garner as Commander Lyle Tiberius Rourke, the leader of the band of mercenaries for the Atlantean expedition. Cree Summer as Kidagakash "Kida" Nedakh, the Princess of Atlantis and Milo's love interest. Natalie Strom provided dialogue for Kida as a young child. Summer also voiced the unnamed Queen of Atlantis, Kida's mother and Kashekim's wife who was "chosen" by the Crystal during the sinking of the city. John Mahoney as Preston B. Whitmore, an eccentric millionaire who funds the expedition to Atlantis. Lloyd Bridges was originally cast and recorded as Whitmore, but he died before completing the film. Mahoney's zest and vigor led to Whitmore's personality being reworked for the film.[8] Claudia Christian as Lieutenant Helga Katrina Sinclair, Rourke's German-born second-in-command. Don Novello as Vincenzo "Vinny" Santorini, an Italian demolitions expert. Phil Morris as Dr. Joshua Strongbear Sweet, a medic of African-American and Arapaho descent. Jacqueline Obradors as Audrey Rocio Ramirez, a Puerto Rican mechanic and the youngest member of the expedition. Corey Burton as Gaetan "Mole" Molière, a French geologist who acts like a mole. Jim Varney as Jebidiah Allardyce "Cookie" Farnsworth, a Western-style chuckwagon chef. Varney died in February 2000, before the production ended, and the film was dedicated to his memory. Steven Barr recorded supplemental dialogue for Cookie. Florence Stanley as Wilhelmina Bertha Packard: an elderly, sarcastic, chain-smoking radio operator who is also the expedition's photographer. Leonard Nimoy as Kashekim Nedakh, the King of Atlantis and Kida's father. David Ogden Stiers as Fenton Q. Harcourt, a board member of the Smithsonian Institution who dismisses Milo's belief in the existence of Atlantis. Production Development The production team visited New Mexico's Carlsbad Caverns to get a sense of the underground spaces depicted in the film. The idea for Atlantis: The Lost Empire was conceived in October 1996 when Don Hahn, Gary Trousdale, Kirk Wise, and Tab Murphy lunched at a Mexican restaurant in Burbank, California. Having recently completed The Hunchback of Notre Dame,[9] the producer, directors and screenwriter wanted to keep the Hunchback crew together for another film with an "Adventureland" setting rather than a "Fantasyland" setting.[10] Drawing inspiration from Jules Verne's Journey to the Center of the Earth (1864) and Twenty Thousand Leagues Under the Seas (1870), they set out to make a film which would fully explore Atlantis (compared to the brief visit depicted in Verne's novel).[11] While primarily utilizing the Internet to research the mythology of Atlantis,[12] the filmmakers became interested in the clairvoyant readings of Edgar Cayce and decided to incorporate some of his ideas—notably that of a mother-crystal which provides power, healing, and longevity to the Atlanteans—into the story.[13] They also visited museums and old army installations to study the technology of the early 20th century (the film's time period), and traveled underground in New Mexico's Carlsbad Caverns to view the subterranean trails which would serve as a model for the approach to Atlantis in the film.[14] The filmmakers wanted to avoid the common depiction of Atlantis as "crumbled Greek columns underwater", said Wise.[15] "From the get-go, we were committed to designing it top to bottom. Let's get the architectural style, clothing, heritage, customs, how they would sleep, and how they would speak. So we brought people on board who would help us develop those ideas."[16] Art director David Goetz stated, "We looked at Mayan architecture, styles of ancient, unusual architecture from around the world, and the directors really liked the look of Southeast Asian architecture."[17] The team later took ideas from other architectural forms, including Cambodian, Indian, and Tibetan works.[18] Hahn added, "If you take and deconstruct architecture from around the world into one architectural vocabulary, that's what our Atlantis looks like."[19] The overall design and circular layout of Atlantis were also based on the writings of Plato,[18] and his quote "in a single day and night of misfortune, the island of Atlantis disappeared into the depths of the sea"[20] was influential from the beginning of production.[9] The crew wore T-shirts which read "ATLANTIS—Fewer songs, more explosions" due to the film's plan as an action-adventure (unlike previous Disney animated features, which were musicals).[21] Language The Atlantean letter A, created by artist John Emerson. Kirk Wise noted that its design was a treasure map showing the path to the crystal, "The Heart of Atlantis". Main article: Atlantean language Marc Okrand, who developed the Klingon language for the Star Trek television and theatrical productions, was hired to devise the Atlantean language for Atlantis: The Lost Empire. Guided by the directors' initial concept for it to be a "mother-language", Okrand employed an Indo-European word stock with its own grammatical structure. He would change the words if they began to sound too much like an actual, spoken language.[16] John Emerson designed the written component, making hundreds of random sketches of individual letters from among which the directors chose the best to represent the Atlantean alphabet.[22][23] The written language was boustrophedon: designed to be read left-to-right on the first line, then right-to-left on the second, continuing in a zigzag pattern to simulate the flow of water.[24] The Atlantean [A] is a shape developed by John Emerson. It is a miniature map of the city of Atlantis (i.e., the outside of the swirl is the cave, the inside shape is the silhouette of the city, and the dot is the location of the crystal). It's a treasure map. — Kirk Wise, director[25] Writing Joss Whedon was the first writer to be involved with the film but soon left to work on other Disney projects. According to him, he "had not a shred" in the movie.[26] Tab Murphy completed the screenplay, stating that the time from initially discussing the story to producing a script that satisfied the film crew was "about three to four months".[27] The initial draft was 155 pages, much longer than a typical Disney film script (which usually runs 90 pages). When the first two acts were timed at 120 minutes, the directors cut characters and sequences and focused more on Milo. Murphy said that he created the centuries-old Shepherd's Journal because he needed a map for the characters to follow throughout their journey.[28] A revised version of the script eliminated the trials encountered by the explorers as they navigated the caves to Atlantis. This gave the film a faster pace because Atlantis is discovered earlier in the story.[29] The directors often described the Atlanteans using Egypt as an example. When Napoleon wandered into Egypt, the people had lost track of their once-great civilization. They were surrounded by artifacts of their former greatness but somehow unaware of what they meant. — Don Hahn, producer[30] The character of Milo J. Thatch was originally supposed to be a descendant of Edward Teach, otherwise known as Blackbeard the pirate. The directors later related him to an explorer so he would discover his inner talent for exploration.[31] The character of Molière was originally intended to be "professorial" but Chris Ure, a story artist, changed the concept to that of a "horrible little burrowing creature with a wacky coat and strange headgear with extending eyeballs", said Wise.[32][33] Don Hahn pointed out that the absence of songs presented a challenge for a team accustomed to animating musicals, as action scenes alone would have to carry the film. Kirk Wise said it gave the team an opportunity for more on-screen character development: "We had more screen time available to do a scene like where Milo and the explorers are camping out and learning about one another's histories. An entire sequence is devoted to having dinner and going to bed. That is not typically something we would have the luxury of doing."[16] Hahn stated that the first animated sequence completed during production was the film's prologue. The original version featured a Viking war party using The Shepherd's Journal to find Atlantis and being swiftly dispatched by the Leviathan. Near the end of production, story supervisor John Sanford told the directors that he felt this prologue did not give viewers enough emotional involvement with the Atlanteans. Despite knowing that the Viking prologue was finished and it would cost additional time and money to alter the scene, the directors agreed with Sanford. Trousdale went home and completed the storyboards later that evening after visiting a strip club where he boarded the new sequence on a napkin.[34] The opening was replaced by a sequence depicting the destruction of Atlantis, which introduced the film from the perspective of the Atlanteans and Princess Kida.[35] The Viking prologue is included as an extra feature on the DVD release.[36] Casting Kirk Wise, one of the directors, said that they chose Michael J. Fox for the role of Milo because they felt he gave his characters his own personality and made them more believable on screen. Fox said that voice acting was much easier than his past experience with live action because he did not have to worry about what he looked like in front of a camera while delivering his lines.[37] The directors mentioned that Fox was also offered a role for Titan A.E.; he allowed his son to choose which film he would work on, and he chose Atlantis.[38] Viewers have noted similarities between Milo and the film's language consultant, Marc Okrand, who developed the Atlantean language used in the film. Okrand stated that Milo's supervising animator, John Pomeroy, sketched him, claiming not to know how a linguist looked or acted.[24] Kida's supervising animator, Randy Haycock, stated that her actress, Cree Summer, was very "intimidating" when he first met her; this influenced how he wanted Kida to look and act on screen when she meets Milo.[39] Wise chose James Garner for the role of Commander Lyle Tiberius Rourke because of his previous experience with action films, especially war and Western films, and said the role "fits him like a glove". When asked if he would be interested in the role, Garner replied: "I'd do it in a heartbeat."[40] Producer Don Hahn was saddened that Jim Varney, the voice of Jebidiah Allardyce "Cookie" Farnsworth, never saw the finished film before he died of lung cancer in February 2000, but mentioned that he was shown clips of his character's performance during his site sessions and said, "He loved it." Shawn Keller, supervising animator for Cookie, stated, "It was kind of a sad fact that [Varney] knew that he was not going to be able to see this film before he passed away. He did a bang-up job doing the voice work, knowing the fact that he was never gonna see his last performance." Steven Barr recorded supplemental dialogue for Cookie.[41] John Mahoney, who voiced Preston Whitmore, stated that doing voice work was "freeing" and allowed him to be "big" and "outrageous" with his character.[42] Dr. Joshua Sweet's supervising animator, Ron Husband, indicated that one of the challenges was animating Sweet in sync with Phil Morris' rapid line delivery while keeping him believable. Morris stated that this character was extreme, with "no middle ground"; he mentioned, "When he was happy, he was really happy, and when he's solemn, he's real solemn."[43] Claudia Christian described her character, Lieutenant Helga Katrina Sinclair, as "sensual" and "striking", and was relieved when she finally saw what her character looked like, joking, "I'd hate to, you know, go through all this and find out my character is a toad."[44] Jacqueline Obradors said her character, Audrey Rocio Ramirez, made her "feel like a little kid again" and she always hoped her sessions would last longer.[45] Florence Stanley felt that her character, Wilhelmina Bertha Packard, was very "cynical" and "secure": "She does her job, and when she is not busy, she does anything she wants."[46] Corey Burton mentioned that finding his performance as Gaetan "Mole" Molière was by allowing the character to "leap out" of him while making funny voices. To get into character during his recording sessions, he stated that he would "throw myself into the scene and feel like I'm in this make-believe world".[47] Kirk Wise and Russ Edmonds, supervising animator for Vincenzo "Vinny" Santorini, noted Vinny's actor Don Novello's unique ability to improvise dialogue while voicing the role. Edmonds recalled, "[Novello] would look at the sheet, and he would read the line that was written once, and he would never read it again! And we never used a written line, it was improvs, the whole movie."[48] Michael Cedeno, supervising animator for King Kashekim Nedakh, was astounded at Leonard Nimoy's voice talent in the role, stating that he had "so much rich character" in his performance. As he spoke his lines, Cedeno said the crew would sit there and watch Nimoy in astonishment.[49] Animation For comparison, the top image (panoramic view of Atlantis) is cropped to Disney's standard aspect ratio (1.66:1); the bottom image was seen in the film (2.35:1). At the peak of its production, 350 animators, artists and technicians were working on Atlantis[50] at all three Disney animation studios: Walt Disney Feature Animation (Burbank, California), Walt Disney Feature Animation Florida (Orlando), and Disney Animation France (Paris).[51] The film was one of the few Disney animated features produced and shot in 35mm anamorphic format. The directors felt that a widescreen image was crucial, as a nostalgic reference to old action-adventure films presented in the CinemaScope format (2.35:1), noting Raiders of the Lost Ark as an inspiration.[52] Because switching to the format would require animation desks and equipment designed for widescreen to be purchased, Disney executives were at first reluctant about the idea.[16] The production team found a simple solution by drawing within a smaller frame on the same paper and equipment used for standard aspect ratio (1.66:1) Disney-animated films.[52] Layout supervisor Ed Ghertner wrote a guide to the widescreen format for use by the layout artists and mentioned that one advantage of widescreen was that he could keep characters in scenes longer because of additional space to walk within the frame.[53] Wise drew further inspiration for the format from filmmakers David Lean and Akira Kurosawa.[16] The film's visual style was strongly based upon that of Mike Mignola, the comic book artist behind Hellboy. Mignola was one of four production designers (along with Matt Codd, Jim Martin, and Ricardo Delgado) hired by the Disney studio for the film. Accordingly, he provided style guides, preliminary character, and background designs, and story ideas.[54] "Mignola's graphic, the angular style was a key influence on the 'look' of the characters," stated Wise.[55] Mignola was surprised when first contacted by the studio to work on Atlantis.[56] His artistic influence on the film would later contribute to a cult following.[57] I remember watching a rough cut of the film and these characters have these big, square, weird hands. I said to the guy next to me, "Those are cool hands." And he says to me, "Yeah, they're your hands. We had a whole meeting about how to do your hands." It was so weird I couldn't wrap my brain around it. — Mike Mignola[56] The final pull-out shot of the movie, immediately before the end-title card, was described by the directors as the most difficult shot in the history of Disney animation. They said that the pull-out attempt on their prior film, The Hunchback of Notre Dame, "struggled" and "lacked depth"; however, after making advances in the process of multiplaning, they tried the technique again in Atlantis. The shot begins with one 16-inch (40.6 cm) piece of paper showing a close-up of Milo and Kida. As the camera pulls away from them to reveal the newly restored Atlantis, it reaches the equivalent of an 18,000-inch (46,000 cm) piece of paper composed of many individual pieces of paper (24 inches [61 cm] or smaller). Each piece was carefully drawn and combined with animated vehicles simultaneously flying across the scene to make the viewer see a complete, integrated image.[58] Scale model of Ulysses submarine by Greg Aronowitz, used by digital animators as reference during production.[59] At the time of its release, Atlantis: The Lost Empire was notable for using more computer-generated imagery (CGI) than any other Disney traditionally animated feature. To increase productivity, the directors had the digital artists work with the traditional animators throughout the production. Several important scenes required heavy use of digital animation: the Leviathan, the Ulysses submarine and sub-pods, the Heart of Atlantis, and the Stone Giants.[60] During production, after Matt Codd and Jim Martin designed the Ulysses on paper, Greg Aronowitz was hired to build a scale model of the submarine, to be used as a reference for drawing the 3D Ulysses.[59] The final film included 362 digital-effects shots, and computer programs were used to seamlessly join the 2D and 3D artwork.[61] One scene that took advantage of this was the "sub-drop" scene, where the 3D Ulysses was dropped from its docking bay into the water. As the camera floated toward it, a 2D Milo was drawn to appear inside, tracking the camera. The crew noted that it was challenging to keep the audience from noticing the difference between the 2D and 3D drawings when they were merged.[62] The digital production also gave the directors a unique "virtual camera" for complicated shots within the film. With the ability to operate in the z-plane, this camera moved through a digital wire-frame set; the background and details were later hand-drawn over the wireframes. This was used in the opening flight scene through Atlantis and the submarine chase through the undersea cavern with the Leviathan in pursuit.[63] Music and sound Since the film would not feature any songs, the directors hired James Newton Howard to compose the score after they heard his music on Dinosaur. Approaching it as a live-action film, Howard decided to have different musical themes for the cultures of the surface world and Atlantis. In the case of Atlantis, Howard chose an Indonesian orchestral sound incorporating chimes, bells, and gongs. The directors told Howard that the film would have a number of key scenes without dialogue; the score would need to convey emotionally what the viewer was seeing on screen.[64] Gary Rydstrom and his team at Skywalker Sound were hired for the film's sound production.[65] Like Howard, Rydstrom employed different sounds for the two cultures. Focusing on the machine and mechanical sounds of the early industrial era for the explorers, he felt that the Atlanteans should have a "more organic" sound utilizing ceramics and pottery. The sound made by the Atlantean flying-fish vehicles posed a particular challenge. Rydstrom revealed that he was sitting at the side of a highway recording one day when a semi-truck drove by at high speed. When the recording was sped up on his computer, he felt it sounded very organic, and decided to use it in the film. Rydstrom created the harmonic chiming of the Heart of Atlantis by rubbing his finger along the edge of a champagne flute, the sound of sub-pods moving through the water with a water pick, while a ceramic pot from a garden store was used for the sounds of the movement of the Giant stone guardians.[66] Release Atlantis: The Lost Empire had its world premiere at Disney's El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001[67] and a limited release in New York City and Los Angeles on June 8; a wider release followed on June 15.[4][61] At the premiere, Destination: Atlantis was on display, featuring behind-the-scenes props from the film and information on the legend of Atlantis with video games, displays, laser tag, and other attractions. The Aquarium of the Pacific also loaned a variety of fish for display within the attraction.[68] Promotion Atlantis was among Disney's first major attempts to utilize internet marketing. The film was promoted through Kellogg's, which created a website with mini-games and a movie-based video game give-away for UPC labels from specially marked packages of Atlantis breakfast cereal.[50] The film was one of Disney's first marketing attempts through mobile network operators, and allowed users to download games based on the film.[69] McDonald's (which had an exclusive licensing agreement on all Disney releases) promoted the film with Happy Meal toys, food packaging and in-store decor. The McDonald's advertising campaign involved television, radio, and print advertisements beginning on the film's release date.[70] Frito-Lay offered free admission tickets for the film on specially marked snack packages.[71] Home media Atlantis: The Lost Empire was released on VHS and DVD on January 29, 2002.[72] During the first month of its home release, the film led in VHS sales and was third in VHS and DVD sales combined.[73] Sales and rentals of the VHS and DVD combined would eventually accumulate $157 million in revenue by mid-2003.[74] Both a single-disc DVD edition and a two-disc collector's edition (with bonus features) were released. The single-disc DVD gave the viewer the option of viewing the film either in its original theatrical 2.39:1 aspect ratio or a modified 1.33:1 ratio (utilizing pan and scan). Bonus features available on the DVD version included audio and visual commentary from the film team, a virtual tour of the CGI models, an Atlantean-language tutorial, an encyclopedia on the myth of Atlantis, and the deleted Viking prologue scene.[72] The two-disc collector's edition DVD contained all the single-disc features and a disc with supplemental material detailing all aspects of the film's production. The collector's-edition film could only be viewed in its original theatrical ratio, and also featured an optional DTS 5.1 track. Both DVD versions, however, contained a Dolby Digital 5.1 track and were THX certified.[72][75] Disney digitally remastered and released Atlantis on Blu-ray on June 11, 2013, bundled with its sequel Atlantis: Milo's Return.[76] Reception Box office Before the film's release, reporters speculated that it would have a difficult run due to competition from Shrek and Lara Croft: Tomb Raider. Regarding the market's shift from traditional animation and competition with CG-animated films, Kirk Wise said, "Any traditional animator, including myself, can't help but feel a twinge. I think it always comes down to story and character, and one form won't replace the other. Just like photography didn't replace painting. But maybe I'm blind to it."[61] Jeff Jensen of Entertainment Weekly noted that CGI films (such as Shrek) were more likely to attract the teenage demographic typically not interested in animation, and called Atlantis a "marketing and creative gamble".[77] With a budget of $100 million,[3] the film opened at #2 on its debut weekend, behind Lara Croft: Tomb Raider, earning $20.3 million in 3,011 theaters.[78] During its second weekend, it would drop into fourth place behind the latter film, Dr. Dolittle 2 and The Fast and the Furious, making $13.2 million.[79] The film's international release began September 20 in Australia and other markets followed suit.[80] During its 25-week theatrical run, Atlantis: The Lost Empire grossed over $186 million worldwide ($84 million from the United States and Canada).[4] Responding to its disappointing box-office performance, Thomas Schumacher, then-president of Walt Disney Feature Animation, said, "It seemed like a good idea at the time to not do a sweet fairy tale, but we missed."[81] Critical response Atlantis: The Lost Empire received mixed reviews from critics,[82][83][84] many of whom criticized its story.[85] The review aggregator website Rotten Tomatoes reports that 48% of 144 professional critics have given Atlantis: The Lost Empire a positive review; the average rating is 5.5/10. The site's consensus is: "Atlantis provides a fast-paced spectacle, but stints on such things as character development and a coherent plot".[86] Metacritic assigned the film a weighted average score of 52 out of 100 based on 29 reviews from critics, indicating "mixed or average" reviews.[87] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[88] While critics had mixed reactions to the film in general, some praised it for its visuals, action-adventure elements, and attempt to appeal to an older audience. Roger Ebert gave Atlantis three-and-a-half stars out of four. He praised the animation's "clean bright visual look" and the "classic energy of the comic book style", crediting this to the work of Mike Mignola. Ebert gave particular praise to the story and the final battle scene and wrote, "The story of Atlantis is rousing in an old pulp science fiction sort of way, but the climactic scene transcends the rest, and stands by itself as one of the great animated action sequences."[89] In The New York Times, Elvis Mitchell gave high praise to the film, calling it "a monumental treat", and stated, "Atlantis is also one of the most eye-catching Disney cartoons since Uncle Walt institutionalized the four-fingered glove."[90] Internet film critic James Berardinelli wrote a positive review of the film, giving it three out of four stars. He wrote, "On the whole, Atlantis offers 90 minutes of solid entertainment, once again proving that while Disney may be clueless when it comes to producing good live-action movies, they are exactly the opposite when it comes to their animated division."[91] Wesley Morris of the San Francisco Chronicle wrote positively of the film's approach for an older audience: "But just beneath the surface, Atlantis brims with adult possibility."[92] Other critics felt that the film was mediocre in regards to its story and characters, and that it failed to deliver as a non-musical to Disney's traditional audience. Owen Gleiberman of Entertainment Weekly gave the film a C+ rating, writing that the film had "gee-whiz formulaic character" and was "the essence of craft without dream".[93] Kenneth Turan of the Los Angeles Times said the storyline and characterizations were "old-fashioned" and the film had the retrograde look of a Saturday-morning cartoon, but these deficiencies were offset by its "brisk action" and frantic pace.[94] Todd McCarthy of Variety wrote, "Disney pushes into all-talking, no-singing, no-dancing and, in the end, no-fun animated territory."[95] Stephanie Zacharek of Salon wrote of Disney's attempt to make the film for an adult audience, "The big problem with Disney's latest animated feature, Atlantis: The Lost Empire, is that it doesn't seem geared to kids at all: It's so adult that it's massively boring."[96] Rita Kempley of The Washington Post panned the film, calling it a "new-fashioned but old-fangled hash" and wrote, "Ironically Disney had hoped to update its image with this mildly diverting adventure, yet the picture hasn't really broken away from the tried-and-true format spoofed in the far superior Shrek."[97] In 2015, Katharine Trendacosta at io9 reviewed the film and called it a "Beautiful Gem of a Movie That Deserved Better Than It Got" and said that the film deserves more love than it ended up getting.[6] Lindsay Teal considers "Atlantis" to be "a lost Disney classic". Describing the film as highly entertaining, she praises the writing and characterisation – in particular, Sweet, Helga and Kida.[7] In particular, much praise has been given to the character of Kida.[98] Summer has regarded the character of Kida as one of her favourite roles and even considers the character among the official Disney Princess line-up. Themes and interpretations Several critics and scholars have noted that Atlantis plays strongly on themes of anti-capitalism and anti-imperialism. M. Keith Booker, academic and author of studies about the implicit messages conveyed by media, views the character of Rourke as being motivated by "capitalist greed" when he pursues "his own financial gain" in spite of the knowledge that "his theft [of the crystal] will lead to the destruction of [Atlantis]".[99] Religion journalist Mark Pinsky, in his exploration of moral and spiritual themes in popular Disney films, says that "it is impossible to read the movie ... any other way" than as "a devastating, unrelenting attack on capitalism and American imperialism".[100] Max Messier of FilmCritic.com observes, "Disney even manages to lambast the capitalist lifestyle of the adventurers intent on uncovering the lost city. Damn the imperialists!"[101] According to Booker, the film also "delivers a rather segregationist moral" by concluding with the discovery of the Atlanteans kept secret from other surface-dwellers in order to maintain a separation between the two highly divergent cultures.[102] Others saw Atlantis as an interesting look at utopian philosophy of the sort found in classic works of science fiction by H. G. Wells and Jules Verne.[103] Nadia: The Secret of Blue Water controversy When the film was released, some viewers noticed that Atlantis: The Lost Empire was similar to the 1990-91 anime Nadia: The Secret of Blue Water, particularly in its character design, setting, and story.[104] The similarities, as noted by viewers in both Japan and America, were strong enough for its production company Gainax to be called to sue for plagiarism. According to Gainax member Yasuhiro Takeda, they only refrained from doing so because the decision belonged to parent companies NHK and Toho.[105] Another Gainax worker, Hiroyuki Yamaga, was quoted in an interview in 2000 as saying: "We actually tried to get NHK to pick a fight with Disney, but even the National Television Network of Japan didn't dare to mess with Disney and their lawyers. [...] We actually did say that but we wouldn't actually take them to court. We would be so terrified about what they would do to them in return that we wouldn't dare."[105] Although Disney never responded formally to those claims, co-director Kirk Wise posted on a Disney animation newsgroup in May 2001, "Never heard of Nadia till it was mentioned in this [newsgroup]. Long after we'd finished production, I might add." He claimed both Atlantis and Nadia were inspired, in part, by the 1870 Jules Verne novel Twenty Thousand Leagues Under the Seas.[106] However, speaking about the clarification, Lee Zion from Anime News Network wrote, "There are too many similarities not connected with 20,000 Leagues for the whole thing to be coincidence."[107] As such, the whole affair ultimately entered popular culture as a convincing case of plagiarism.[108][109][110] In 2018, Reuben Baron from Comic Book Resources added to Zion's comment stating, "Verne didn't specifically imagine magic crystal-based technology, something featured in both the Disney movie and the too similar anime. The Verne inspiration also doesn't explain the designs being suspiciously similar to Nadia's."[110] Critics also saw parallels with the 1986 film Laputa: Castle in the Sky from Hayao Miyazaki and Studio Ghibli (which also featured magic crystals, and Atlantis directors Trousdale and Wise both acknowledged Miyazaki's works as a major influence on their own work)[104] and with the 1994 film Stargate as Milo's characteristics were said to resemble those of Daniel Jackson, the protagonist of Stargate and its spinoff television series Stargate SG-1 — which coincidentally launched its own spinoff, titled Stargate Atlantis; the plot of the 1994 film is also paralleled involving a group visiting an unknown world, a fictional language made for the other world's people, the main protagonist having apparent knowledge of the people's culture, falling in love with one of the female locals and electing to stay behind when the others return home.[111] Accolades Award Category Name Result 29th Annie Awards[112] Individual Achievement in Directing Gary Trousdale and Kirk Wise Nominated Individual Achievement in Storyboarding Chris Ure Nominated Individual Achievement in Production Design David Goetz Nominated Individual Achievement in Effects Animation Marlon West Nominated Individual Achievement in Voice Acting – Female Florence Stanley Nominated Individual Achievement in Voice Acting – Male Leonard Nimoy Nominated Individual Achievement for Music Score James Newton Howard Nominated 2002 DVD Exclusive Awards[113] Original Retrospective Documentary Michael Pellerin Nominated 2002 Golden Reel Award[114] Best Sound Editing – Animated Feature Film Gary Rydstrom, Michael Silvers, Mary Helen Leasman, John K. Carr, Shannon Mills, Ken Fischer, David C. Hughes, and Susan Sanford Won Online Film Critics Society Awards 2001[115] Best Animated Feature Nominated 2002 Political Film Society[116] Democracy Nominated Human Rights Nominated Peace Nominated World Soundtrack Awards[117] Best Original Song for Film Diane Warren and James Newton Howard Nominated Young Artist Awards[118] Best Feature Family Film – Drama Walt Disney Feature Animation Nominated Related works Main article: Atlantis (franchise) Atlantis: The Lost Empire was meant to inspire an animated television series entitled Team Atlantis, which would have presented the further adventures of its characters. The series would have been akin to an animated steampunk version of The X-Files and feature a crossover with Gargoyles. However, because of the film's underperformance at the box office, the series was not produced.[119] On May 20, 2003, Disney released a direct-to-video sequel titled Atlantis: Milo's Return, consisting of three episodes planned for the aborted series.[120] Disneyland planned to revive its Submarine Voyage ride with an Atlantis: The Lost Empire theme with elements from the movie. These plans were canceled and the attraction was re-opened in 2007 as the Finding Nemo Submarine Voyage, its theme based on the 2003 Pixar film Finding Nemo, which was far more successful commercially and critically.[121] In addition, after the Submarine Voyage's Magic Kingdom counterpart, 20,000 Leagues Under the Sea: Submarine Voyage, closed down in 1994, four years before Disneyland's, there were proposals of a new attraction that would take its place, with one of them a volcano attraction inspired by that film's Vulcania location, being approved for the Magic Kingdom's Adventureland area. Around 1999, during development of Atlantis: The Lost Empire, it was decided that it would be themed to the movie, with it taking place in 1916, two years after the film's events. The ride would have focused on Preston Whitmore, a character from the film, seeking to make Atlantis existence public and offer expeditions to visitors in newly developed vehicles. However, due to mishaps, the vehicles would be forced to make a detour through the lava-filled caverns of the volcano. The attraction would have used a unique hybrid ride system, in which it would start as a standard coaster before the trains hook up to a suspended track midway through to fly through the caverns. The attraction would have been accessed by a new canyon path in between Pirates of the Caribbean and a re-routed Jungle Cruise that would have led to a Whitmore Enterprises base camp at the edge of the Walt Disney World Railroad path, with the mountain itself being built outside the berm. However, like the previous Submarine Voyage retheme, the ride was cancelled due to the film's disappointment in the box office.[122]

Artist Meredith Nemirov joins host Alyson Stanfield to walk through how she built a rare sold-out show — not by luck, but by design. Starting with a short proposal to a national nonprofit before she ever approached her gallery, Meredith assembled six collaborators, two opening nights, and a donation structure that gave everyone a reason to say yes. Meredith reveals: Why she approached a national nonprofit before she walked into her own gallery The three options she gave American Rivers for the collaboration How the gallery staff went far beyond hanging the work, and why it mattered The missed opportunity she'd handle differently next time How having people depending on her changed what happened in the studio Connect with Meredith Visit this episode's page for all resources Email me to discuss strategic consulting for your long-term career goals. Think you'd make a good guest on The Art Biz? Read This The Art Biz is recorded on the traditional land of the Cheyenne, Arapaho and Ute tribes.  

Send us Fan MailA railroad can feel inevitable when you see it on a map. Up close, it's a gamble with a hard deadline, exhausted men, and miles of empty country that refuse to cooperate. We pick up the Santa Fe's high-stakes race across the Arkansas Valley, where March 3, 1873 hangs over every hammer swing. Miss the Colorado border and the land grants that bankroll the dream can disappear, taking the company with them. Beat the clock and the “paper railroad” becomes a steel fact that rewires the American West.As we move with the railhead, we trace the human cost of railroad construction: cramped boarding cars, dust-choked days, and the volatile boom towns that spring up overnight. We revisit the Newton General Massacre and the way violence trails commerce on the frontier. Then the lens widens to the railroad's collision with Cheyenne, Arapaho, Kiowa, and Comanche homelands, including Satanta's push to meet expansion with sovereignty and negotiation, even as resistance sparks along the line.Dodge City arrives like a shock to the system: no proper depot, just a boxcar office and stacks of buffalo hides waiting for eastern buyers and global markets. The Santa Fe doesn't merely carry passengers, it accelerates the buffalo hide trade and the near-erasure of the herds, with consequences that ripple through Plains tribes, local boom economies, and the landscape itself. When the buffalo era collapses, the town pivots hard, welcoming Texas Longhorns and earning its “Queen of the Cowtowns” crown as cattle flood the stockyards.If you care about Wild West history, the Santa Fe Railroad, Dodge City, the buffalo extinction, and how transportation transforms economies and lives, ride this line with us. Subscribe, share the episode with a friend, and leave a review with the moment you can't stop thinking about.Support the showIf you'd like to buy one or more of our fully illustrated dime novel publications, you can click the link I've included. 

The daily work of running an art business always feels urgent. The strategic work doesn't. So it waits. But postponing that deeper evaluation isn't okay. In this solo episode, host Alyson Stanfield names five specific costs that accumulate when the strategic work keeps getting pushed to next month, next quarter, next year. In this episode: Why tactical delays and strategic delays are two different problems The question Alyson asks every client when a deadline feels far away What it means to leave money on the table, and why it's such an easy cost to ignore How unresolved strategic questions become a constant tax on your attention Why execution without direction is just activity What happens psychologically every day you don't begin the work you've been putting off Resources & links Stop Being Busy. Start Being Strategic. (258) Do You Have the Art Business You Actually Want? (259) The Art Business Self-Assessment Every Artist Should Do (260) Read more in depth, get links, and see featured artists Email me to discuss strategic consulting for your long-term career goals. Think you'd make a good guest on The Art Biz? Read This The Art Biz is recorded on the traditional land of the Cheyenne, Arapaho and Ute tribes.  

My Art Business Assessment — Used with Every Client 50% In this solo episode of The Art Biz, host Alyson Stanfield introduces the 3-zone framework she uses with every private client to assess where an art business actually stands. It's the same structure at the heart of the Art Business Reset workshop, and this episode is your chance to walk through it on your own. Alyson covers: The question she asks before any strategy conversation The 3 zones that account for everything you do to build your art business outside of making the work: Outreach, Presence, and Systems The breakdown of what each zone covers and questions to ask for your assessment Why you can't neglect in-person networking and follow-up Mentioned Do You Have the Art Business You Actually Want? (259) Stop Being Busy, Start Being Strategic (258) Art Business Reset on March 31, 2026 Read more, get mentioned resources, and see featured artists Email Alyson to discuss strategic consulting for your long-term career goals. Think you'd make a good guest on The Art Biz? Read This The Art Biz is recorded on the traditional land of the Cheyenne, Arapaho and Ute tribes.

Most artists didn't design their art business — they drifted into it. In this solo episode, Art Biz host Alyson Stanfield invites you to slow down long enough to ask a question most artists never take time to ask: if you were starting fresh today, would you build it this way? In this episode, Alyson covers: Why most artists are running a business they drifted into rather than designed — and why that matters What a business model actually is (and why you already have one whether you designed it or not) The difference between examining your business and evaluating it, and why the order matters The foundational question she asks every new private client before anything else The six areas to examine when you're ready to take honest stock of what you've built Read more, get links, and see featured artists Mentioned Stop Being Busy, Start Being Strategic (258) When You Want to Sell More Original Art (257) Beyond Information: Why Artists Need Frameworks (251) Email me to discuss strategic consulting for your long-term art career goals. Think you'd make a good guest on The Art Biz? Read This The Art Biz is recorded on the traditional land of the Cheyenne, Arapaho and Ute tribes.

It's YOUR time to #EdUp with Dr. Stephanie Fujii, President, Arapaho Community CollegeIn this episode, President Series #453, powered by ⁠⁠⁠Ellucian⁠⁠⁠, sponsored by the ​ELIVE 2026​ Conference in Denver, Colorado, April 19-22, the ​HigherEd PodCon​ II happening July 16 & 17, & the 2026 AcOps Conference July 29-31 by CoursedogYOUR host is Dr. Joe SallustioHow does Denver's oldest designated community college with 15k students avoid the enrollment cliff while suburban growth & housing development create opportunities in Douglas & Arapahoe Counties?Why do legislators separate their valued local community college from negative higher ed rhetoric while appreciating workforce partnerships & economic impact?What happens when workforce Pell regulations strangle innovation through compliance layers designed for the few bad actors instead of empowering the majority doing good work?Listen in to #EdUpThank YOU so much for tuning in. Join us on the next episode for YOUR time to EdUp!Connect with YOUR EdUp Team - ⁠⁠⁠⁠⁠ ⁠⁠⁠⁠Elvin Freytes⁠⁠⁠⁠⁠⁠⁠⁠⁠ & ⁠⁠⁠⁠⁠⁠⁠⁠⁠ Dr. Joe Sallustio⁠⁠⁠⁠● Join YOUR EdUp community at The EdUp ExperienceWe make education YOUR business!P.S. Want to get early, ad-free access & exclusive leadership content to help support the show? Become an #EdUp Premium Member today!

Being busy is boring. In episode 258 of The Art Biz, host Alyson Stanfield makes the case that most artists are so deep in execution mode that they never step back to evaluate, redirect, or ask whether any of it is actually working. This episode draws a clear line between working IN your art business and working ON it, and explains why both matter, but one gets almost all of the attention. IN THIS EPISODE Why execution without direction is just activity, and what it costs you. The side-by-side difference between IN and ON work across four common artist tasks The two failure modes: too much IN (reactive, no filter) and too much ON (perfect systems, no execution) What working ON your business actually looks like in practice, including the questions to ask Why multi-year plans have lost their usefulness, and what to hold onto instead QUESTIONS TO ASK IN YOUR "ON" TIME What is actually working — and why? Is this still where I want to go — and why? What on my to-do list no longer serves me? What has the best potential for a long-term payoff? Where am I playing it too safe? How can I enjoy my art business even more? Read more, get links, and see featured artists Email me to discuss strategic consulting for your long-term career goals. Think you'd make a good guest on The Art Biz? Read This The Art Biz is recorded on the traditional land of the Cheyenne, Arapaho and Ute tribes.  

Two new healing centers count on location, cultural practice, and family connections to break the destructive effects of substance abuse. In Lodge Grass, Mont., organizers plan an integrated foster care facility to complement a campus designed to support families affected by addiction. The non-profit organization behind the center estimates that number reaches as high as 60% of residents in the small town on the Crow Reservation. The Pawnee Nation in Oklahoma is also expanding adult residential and outpatient services close to home, as well as support for children whose lives are disrupted. We'll hear about a promising focus on cultural treatment options, harm reduction, and strengthening families to break addiction's generational cycles. GUESTS Mary Blackowl (Cheyenne and Arapaho, Pawnee, and Comanche), tribal opioid response prevention specialist for the Pawnee Nation of Oklahoma Karaya Fritzler (Apsáalooke, Aaniiih, and Lakota), certified behavioral health peer specialist for the Mountain Shadow Association Megkian Doyle, executive director of the Mountain Shadow Association Mike Ortiz, program coordinator for the Pawnee Nation of Oklahoma's substance abuse program

This year marks the 150th anniversary of the Battle of Little Bighorn, which is also called the Battle of the Greasy Grass or Custer's Last Stand. Ahead of commemorative events planned in late June near Crow Agency, Mont. are reports that the National Park Service (NPS) is removing signs sharing the Native perspective on the battle. Brian Bull (Nez Perce) of Buffalo's Fire reports. In late January, the Washington Post reported that President Trump ordered the removal of signage through his so-called “restoring truth and sanity to American history” directive, which pushes an ideology that the U.S. has an “unmatched record of advancing liberty, prosperity, and human flourishing.” The Battle of Little Bighorn Battlefield National Monument is on the list of sites. Wallace Bear Chum is chairman for the Northern Cheyenne Cultural Commission. Along with the Lakota Sioux and Arapaho, his tribe defeated Lieutenant Colonel George Armstrong Custer and 7th Cavalry Regiment in 1876. Bear Chum says federal officials and tribes need to discuss any changes per their government-to-government relationship. “We're still finding out what exact changes that they're going to make. And the Northern Cheyenne, it was a victory for us there. And our story's there, I mean how can you change that story? Y'know, there's no way you can do that. And what exactly are they trying to change?” The Northern Cheyenne Tribe unanimously approved a resolution last month to prevent any changes to markers, signage, and monuments that recognize Native people at Little Bighorn, a direct challenge to the Trump administration. Meanwhile, an email from the U.S. Secretary of the Interior's Office denies any signage has been taken down at the battlefield monument. It says parks are complying through an ongoing review process with subject-matter experts, tribal partners, and park leadership. Courtesy NPS An Alaska doctor has documented the first case of a rare and potentially risky infection from contact with a brown bear. Alaska Public Media’s Rachel Cassandra reports. The infection is known as “seal finger” and people typically get it handling seals, especially during seal hunting and processing, but in 2024, Dr. Benjamin Westley diagnosed it in a man who had cut his hand skinning a brown bear hunted on the Alaska Peninsula. He had three days of redness and painful swelling that didn't resolve with standard antibiotics. Dr. Westley says early tests “did not find anything definitive, so eventually he sent a tissue sample to a lab for more comprehensive analysis. “What was particularly shocking about this patient was he had a finger infection after skinning a brown bear that was not responding properly to antibiotics. So I sent special PCR tests, but I did not expect this bacteria.” Seal finger is not uncommon in Alaska and circumpolar regions, but Westley says this is only the second time this potentially more serious strain of the infection has been identified in the state. He diagnosed the first case too, in a patient whose finger infection had spread to his hip. “So when the report came back, I was shocked, because the first case was my own patient 10 years prior, and now it was the exact same bacteria for the second time in Alaska, but from a brown bear exposure, not from a seal exposure.” The infection is only a risk through direct or indirect animal contact. Other cases outside the state have been tied to a polar bear and a domestic cat. Scientists do not know if those animals caused seal finger because they had contact with a seal or through other means. In this case, the patient was treated at first with the wrong type of antibiotics used for bacterial infections. That allowed the infection to worsen and ultimately caused dead tissue, a damaged tendon and a bone infection. He recovered, but still has lingering finger stiffness. Seal finger is often misdiagnosed and a delay in treatment can cause serious problems, so Westley urges health care providers to consider treating patients for seal finger if they have an infection and had contact with seals, bears, or cats. That is even before getting bacterial test results. Westley says Alaskans can also protect themselves when hunting and processing seals or bears. “Try not to get injured through the skin, cut or let bacteria from an animal you’re working with into the tissue, because that can result in a manner of weird infections that can be hard for doctors to sort out.” And he says to wash your hands with soap if you get a wound. Get National Native News delivered to your inbox daily. Sign up for our daily newsletter today. Download our NV1 Android or iOs App for breaking news alerts. Check out today’s Native America Calling episode Tuesday, March 3, 2026 — Proximity and family outreach hold promise for tribal addiction treatment

Selling products — giclées, pillows, aprons, notebooks — made sense when you started. But if you've been asking how to sell more original art and not getting traction, something may need to shift. Host Alyson Stanfield draws on her background as a museum curator and educator to explore what actually gets in the way and what to do about it. In this episode: Why the pivot to products is understandable, and when it starts working against you The fear that drives you away from leading with originals What collectors are actually buying when they choose to live with original art The screen equalization problem: why your $4,000 painting and your $40 print look identical online (and what to do about it) Two tactics for selling more original art Read more, get links, and see featured artists Check out Elevate Your Art: Museum-Quality Standards That Command Higher Prices Email me to discuss strategic consulting for your long-term career goals. Think you'd make a good guest on The Art Biz? Read This The Art Biz is recorded on the traditional land of the Cheyenne, Arapaho and Ute tribes.

Send a textA county's name hides a better story than any barroom legend. We pull back the curtain on Colonel James Hobart Ford—the Union officer whose grit, speed, and stubborn discipline shaped the ground beneath Dodge City long before gunfighters made it famous. From Ohio roots to the Colorado Territory, Ford rose fast, helped raise the 2nd Colorado Infantry, and proved himself at Glorieta Pass, where Union forces stopped Confederate designs on the Southwest. Then came the crucible: the Kansas–Missouri border, where guerrilla raids and burned homes defined the fight and where Ford's aggressive command went head-to-head with bushwhackers like Quantrill.We follow Ford into the decisive sweep of 1864, where his leadership mattered at the Battle of Westport and across the pursuit of Sterling Price, driving Confederate hopes out of Kansas and back into Arkansas. As the Civil War shifted to the plains, Ford took command of the District of the Upper Arkansas, often working from a tent under open sky. Here the mission changed: protect the Santa Fe Trail, balance settler pressure against Cheyenne, Arapaho, and Kiowa resistance, and hold a fragile peace along a corridor that powered trade and migration. Out of this work rose a modest sod outpost that later became Fort Dodge, a linchpin for the region and a seed for Dodge City's explosive future.Ford died at 38, never seeing the cowboy capital take shape. Yet five years later, Kansas named Ford County in his honor—a recognition not of legend, but of logistics, patrols, and hard choices made along a dangerous border. We share archival insights from the Ford County Historical Society and the Ford County Legacy Center to bring his story to life: a portrait of a commander who traded romance for results and left a county that still bears his name. If you're ready to rethink Dodge City's origin story through the eyes of the soldier who secured it, press play, subscribe for more frontier deep dives, and leave a review sharing the detail that surprised you most.Support the showIf you'd like to buy one or more of our fully illustrated dime novel publications, you can click the link I've included.

Artist and tax advisor Hannah Cole knows firsthand how shame can poison an artist's relationship with money. When her dad's accountant asked "When are you gonna get a real job?" instead of helping her understand quarterly taxes, she experienced the dismissal that makes so many artists avoid financial conversations altogether. In this episode, host Alyson Stanfield and Hannah explore why artists develop allergies to money talk and what it takes to build confidence with your numbers. Hannah reveals: Why "when are you gonna get a real job?" creates a lasting money allergy How believing money corrupts prevents you from advocating for fair pay Her ritual for making bookkeeping feel like self-care instead of dread Why you must have a separate bank account for your art biz What losing 20 years of art in a hurricane revealed about capitalism and grief Connect with Hannah: SunlightTax.com The Sunlight Tax podcast LinkedIn: Hannah Cole Instagram: @sunlighttax Tiktok: Sunlight Tax Youtube: Sunlight Tax   Email me to discuss strategic consulting for your long-term career goals. Think you'd make a good guest on The Art Biz? Read This The Art Biz is recorded on the traditional land of the Cheyenne, Arapaho and Ute tribes.  

Daniel Sipe and Karlë Woods didn't set out to start an arts organization. They just wanted to talk to artists during the pandemic. Four years later, Lights Out has produced 95 artist documentaries, thrown 18 popup exhibitions across Maine, and built a funding model that includes everything from $10 monthly donors to six-figure state contracts. Their story, shared with host Alyson Stanfield, offers a masterclass in starting before you're ready, investing in what matters (yes, including marketing), and building something sustainable through collaboration rather than competition. They reveal: Why a power outage became the best thing that could have happened at their first art show The $800 investment that felt reckless at the time but proved essential to their credibility How they turned what could be seen as competition into their superpower The state contract that nearly bankrupted them before it saved them The simplest way artists can support arts organizations in their communities Read more, see images, find resources mentioned   Connect with Lights Out Website Videos on YouTube Instagram Email me to discuss strategic consulting for your long-term career goals.   Think you'd make a good guest on The Art Biz? Read This The Art Biz is recorded on the traditional land of the Cheyenne, Arapaho and Ute tribes.  

Damien Davis is a visual artist and writer who questions the art world's power structures from an artist's perspective. In this conversation with host Alyson Stanfield, he exposes the gatekeeping mechanisms—from application fees to institutional approval—that keep artists competing for artificially scarce opportunities instead of recognizing the abundance they could create together. Damien reveals: How learning business skills like grant writing and fundraising allowed him to stop waiting for gatekeepers and reclaim his studio practice Why he defines a successful artist as simply someone who keeps making art, regardless of galleries or institutional validation How barriers like application fees serve to keep artists competing for resources that should be abundant Why people at the center of the art ecosystem benefit from keeping artists in perpetual competition with each other How his writing exposes exploitation directly while his colorful sculptures draw viewers into uncomfortable conversations about erased histories Read more, see images, find resources mentioned Connect with Damien: Website and Newsletter Instagram Hyperallergic Articles   Email me to discuss strategic consulting for your long-term career goals. Think you'd make a good guest on The Art Biz? Read This The Art Biz is recorded on the traditional land of the Cheyenne, Arapaho and Ute tribes.  

Host Alyson Stanfield reveals an uncomfortable truth in this solo episode: the problem isn't that you don't know enough. The real challenge is building the confidence to act on what you already know. After 23 years of teaching artists, Alyson has realized she's been contributing to information overwhelm when what artists actually need are practices that build steady confidence. In this episode, you'll discover: The five major confidence killers that derail your plans Six practical confidence-building practices you can start today Why your January plans typically fade by February How to close the gap between planning and execution The difference between accumulating knowledge and trusting yourself HIGHLIGHTS 00:00 Alyson reflects on episode 251 and her realization about information overwhelm 01:00 The real problem isn't lack of knowledge—it's information overload 02:00 What typically happens to January plans by February 03:10 Three things that kill confidence: doubt, false beliefs, and comparison 04:10 How perfectionism is actually procrastination in disguise 05:30 The inner critic voices that keep you stuck 06:30 Learning from outside critics versus harsh feedback 07:20 Six practices for building steady confidence 13:00 The gap between planning and working your plan 14:30 Practice steady confidence this season SUGGESTED ACTION This week, start one confidence-building practice. Choose the one that resonates most: begin a daily wins list, create your "loved" file, write one affirmation, or commit to one self-care practice. You don't need to do all of them at once. Pick one and practice it consistently. RELATED EPISODES Beyond Information: Why Artists Need Frameworks (251) What Your Failures Are Teaching You with Laura Petrovich-Cheney (96) How to Be a More Confident Artist with Gwen Fox (24) To read more, see images, find resources mentioned, and leave a comment, visit https://artbizsuccess.com/steady-confidence

Ben Nighthorse Campbell (Northern Cheyenne) is remembered as an effective congressional leader who passionately advocated for Native American issues. He served in both the U.S. House of Representatives and the U.S. Senate. Among other things, he was instrumental in the political advocacy for establishing the National Museum of the American Indians (NMAI). Harvey Pratt (Cheyenne and Arapaho) was a national voice in support of Native American arts. A large part of his career was as a police sketch artist. He also headed the Indian Arts and Crafts Board for a decade. A former U.S. Marine, he was an advocate for military veterans. His design for a Native American Veterans Memorial was chosen and built on the NMAI campus in 2022. GUESTS Suzan Shown Harjo (Cheyenne and Hodulgee Muscogee), president of the Morning Star Institute and recipient of the Presidential Medal of Freedom Rick West (Cheyenne and Arapaho), founding director and director emeritus of the Smithsonian National Museum of the American Indian Shanan Campbell (Northern Cheyenne), founder and CEO of Sorrel Sky Galleries and daughter of Ben Nighthorse Campbell Gina Pratt (Muscogee and Yuchi), wife of Harvey Pratt Nathan Pratt (Cheyenne and Arapaho), artist and son of Harvey Pratt Dee Cordry, former Oklahoma State Bureau of Investigation and author of “Children of White Thunder” Break 1 Music: I Walk with You (song) Joseph Fire Crow (artist) Face the Music (album) Break 2 Music: Put Your Feathers On (song) Blue Moon Marquee & Northern Cree (artist) Get Your Feathers Ready (Album)

host: Alyson Stanfield In this coaching-style episode, host Alyson Stanfield coaches Ebony Iman Dallas through the challenges of building a sustainable public art career while navigating motherhood, a regional market, and the fear of rejection. Ebony makes 90% of her income from public art but struggles with systems, marketing that highlights events instead of her work, and waiting for opportunities instead of creating them. If you've ever felt stretched between creative work and life responsibilities—or stuck in a local market—you'll recognize yourself here. HIGHLIGHTS 01:30 Ebony's journey from advertising to opening the first art gallery in post-war Somaliland to full-time public art practice 06:10 How Ebony's income breaks down: 90% public art, 10% studio sales 08:30 Why she needs both institutional recognition and sales to spread her messages about Black Oklahoma history 16:30 Ebony admits she has no systems for tracking proposals and keeps everything in her head 21:10 Her graphic memoir Through Abahay's Eyes aims to clear her father's name and show healing is possible 30:20 The critical marketing shift: promote primarily—over events 33:10 Building a VIP list and postcard strategy to stay visible with the right people 40:50 Why fear of rejection keeps your dreams small 44:00 Weekly accountability check-ins take the emotion out and make it a numbers game 46:20 The three main takeaways: accountability structure, VIP postcard strategy, and intentional art-focused marketing ACTION Take one of these strategies and put it into action this week. Reach out to one curator or gallery director. Start your VIP list of people who should know about your work. Or schedule a weekly check-in with an accountability partner to share what you've applied for. RELATED EPISODES Remove Barriers to Buying Your Art (237) How to Guarantee that People Remember You with Skip Hill (187) Risk, Rejection, and Resilience with Christine Aaron (114) To read more, see images, find resources mentioned, and leave a comment, visit https://artbizsuccess.com/shape-opportunities ⭐️ Connect with Ebony and see more of her art: https://ebonyimandallas.com

What happens when you realize the way you've been working isn't sustainable? When you've built something successful but it's costing you sleep, peace of mind, and the very things you set out to protect? In this solo episode, host Alyson Stanfield gets really vulnerable with a question most artists face at some point: Who am I if I change the way I've always done things? It's about the pressure to maintain what you've always done because that's what you identify with, the FOMO that makes you say yes when your gut says no, and the overwhelm that comes from adding more and more to your plate. Artists don't need more information—they need containers to organize it, filters to prioritize it, and boundaries to protect themselves from overwhelm. You'll hear about identity shifts, the power of asking "where can I lower the bar?" and what it looks like to evolve from consuming content to building frameworks that actually support your business.

The Battle of the Little Bighorn - also known as the Battle of the Greasy Grass - was one of the most dramatic and important clashes in American history. In June 1876, on the rolling plains of Montana, Colonel George Armstrong Custer and the 7th Cavalry charged into a vast encampment of Lakota and other tribes — and were utterly destroyed by the superior native forces who fought to defend their sacred lands from the encroaching United States.In this episode, Dan is joined by former National Parks historian Paul Hedren to explore how this battle came to define the struggle between the U.S. government and the Plains tribes, what led to Custer's fatal mistake, and how the Lakota, Cheyenne, and Arapaho achieved a stunning, if fleeting, victory.Paul's new book is called 'Sitting Bull's War: The Battle of the Little Bighorn and the Fight for Buffalo and Freedom'.The terminology to use when exploring and discussing Indigenous and native peoples, history, and culture is sensitive and complex. You can find out more on language use here: https://americanindian.si.edu/nk360/informational/impact-words-tipsProduced by Mariana Des Forges and edited by Dougal Patmore.Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe.We'd love to hear your feedback - you can take part in our podcast survey here: https://insights.historyhit.com/history-hit-podcast-always-on.You can also email the podcast directly at ds.hh@historyhit.com. Hosted on Acast. See acast.com/privacy for more information.

host: Alyson Stanfield In 2020, Dawn Trimble was laid off from her interior design job during the pandemic while navigating a divorce—and she felt relief. That moment became a turning point. Within months of painting full-time, she launched her first collection, which sold out in days and matched her corporate paycheck. Dawn talks about the practical steps she took to build momentum, what she brought from her design background into her art business, how she thinks about creativity as service rather than self-expression, and why she believes the most important thing any artist can do is simply start. HIGHLIGHTS 01:40 Dawn describes her serene watercolor paintings 03:00 The relief of being laid off during the pandemic 05:40 Creating her first collection and selling out in days 08:00 The three-legged stool business approach 26:00 Wall covering licensing partnerships that surprised her with the size of the first checks 29:00 How she structures her week 32:00 Marketing through storytelling and connection 39:00 The "Memories" collection and her father's dementia 44:00 Her faith, viewing herself as conduit, not source 47:20 Her advice to other artists: just do it DAWN'S ACTION FOR YOU Dawn reminds us that everyone has insecurities and everyone is afraid. But you have to start anyway. As she mentioned, inspiration has to find us working. You can't sit around wishing—it has to be an action. So this week, get into your studio and make something. Let inspiration find you working. To read more, see images, find resources mentioned, and leave a comment, visit https://artbizsuccess.com/trimble-revenue Connect with Dawn and see more of her art: https://dawnmtrimbleart.com

Happy Happy December,HEY FAM HEYYYY! Let's talk WATERFOUL in another episode in our sacred fats series!  Sit tight, grab a PSL or a hot cocoa, and enjoy this episode!As always, we want to thank you for all of your support, in all the ways! Sources and what's discussed in the pod:1. The Power of Place and Community  Karina and Asia begin the episode by acknowledging the lands they inhabit. Karina shares her appreciation for the Tongva people, while Asia reflects on her roots in Cheyenne, Ute, and Arapaho lands. This practice of honoring indigenous peoples not only enriches their connection to the earth but also emphasizes the importance of community in healing and wellness. By recognizing the land, listeners are encouraged to consider their own relationships with the places they call home.2. Reflections on Personal Growth  As the conversation progresses, Asia discusses her recent presentation on "meat as medicine" at the Colorado Ayurvedic Conference. To her surprise, many attendees admitted that their veganism was performative, revealing a hunger for authentic nourishment. This moment of vulnerability among participants highlights the ongoing journey of understanding what truly nourishes our bodies and souls. Asia emphasizes the importance of being open to new philosophies and letting go of rigid beliefs about food and wellness.3. The Creativity of Cooking  Karina shares her recent culinary adventures, illustrating how creativity can flourish even in moments of exhaustion. During her menstrual cycle, she found herself inspired to cook late into the night, creating delicious dishes such as apple chips and blackberry mint limeade. This creativity not only serves as an expression of her femininity but also acts as a preventative measure against seasonal depression. Through her experiences, listeners are reminded of the power of food and creativity in nurturing both body and mind.4. The Importance of Animal Fats  In a segment focused on animal fats, Asia introduces the medicinal properties of waterfowl fats, particularly goose and duck fat. She explains how these fats contain omega-3 fatty acids, which promote heart health and smooth blood flow. Moreover, Asia delves into the significance of vitamins A and K2 found in these animal fats, highlighting their roles in immunity and bone health. This discussion serves as a reminder to embrace traditional foods that have sustained cultures for generations.(homie shoutout) Justin Robinson - IG (homie shoutout) Suni Reid - IG(scholarly article) NIH - The Role of Matrix Gla Protein (MGP) in Vascular Calcification (scholarly article) NIH Racial Differences in Bone Strength (scholarly article) NIH Growing Evidence of a Proven Mechanism Shows Vitamin K2 Can Impact Health Follow us on social:⁠⁠@pettyherbalist⁠⁠ ⁠⁠@bonesbugsandbotany⁠⁠Rate us to show your support! Thank You!#StayReady #BePetty***if you read this far, send me a dm @pettyherbalist for a shoutout!***

Steve from Matthew 5:42 Ministries, and Briseidy and Hallee from Next Generation for Christ joined Wake Up Tri-Counties to talk about their service to the community, volunteer needs, monthly community meals, working with the homeless, and clothing and furniture assistance. A group of dedicated teens from Next Generation for Christ is making a difference in Kewanee by organizing free monthly community meals at First Christian Church, which are on the last Saturday of the month. Volunteers of all ages prepare and serve food, with donations in the form of cash, checks, or supplies eagerly accepted. Their efforts extend beyond meal service, as members personally deliver food to homebound individuals and those experiencing homelessness. Their efforts don't stop there; December will see a Christmas event offering crafts and fun for kids, while parents can enjoy a night out. They will need volunteers to assist in babysitting the children. Partnering closely with Matthew 5:42 Ministries, they also support initiatives in furniture, clothing, and resources such as job applications and resumes. The Thanksgiving community dinner drew an impressive 148 attendees, with 30 dedicated volunteers serving up hearty meals. Organizers expressed gratitude as every bite was enjoyed, leaving behind no leftovers, a remarkable feat considering previous years often resulted in surplus food donations to local hospitals and emergency workers. The demand for meals underscores a growing need in the community. Organizers encourage local teens and anyone interested to join efforts through volunteer programs such as Key Club or Matthew 5:42, extending a warm invitation to both contributors and helpers. The First Christian Church is coordinating volunteer sign-ups and donation opportunities. Call 309-853-4298 if you need assistance, want to volunteer, or want to donate. A local church is preparing a special Christmas festival this December, offering a unique opportunity for parents to enjoy holiday shopping or a night out while their children are cared for. Aimed at kids ages five to eleven who are potty-trained, the event promises crafts, games, and a variety of fun activities. Organizers are still finalizing the exact date, with December 13th as the tentative choice. Updates and finalized details will be shared on the church's "Next Generation for Christ" Facebook page. Volunteers with skills in babysitting, crafts, or creative arts are encouraged to get involved and help make the event a festive success. First Christian Church is preparing to launch a community food pantry, with donations of canned goods now being accepted. Michelle Quagliano will lead this new outreach, an extension of the Matthew 5:42 ministry. The initiative is supported by a dedicated team, each focusing on essential needs—from Paula handling clothing distribution to Steve managing furniture donations. The food pantry is expected to open its doors soon, once shelves are fully stocked. Next-Gen, a local youth group, is also collaborating to ensure success. Organizers invite the community to contribute as they work together to address hunger and support families in need. Next Generation for Christ, launched three years ago, embarked on their journey with a visit to a Native American Reservation in Arapaho, Wyoming—a trip that left a lasting impact on its members. Beyond providing meals, the organization extends support to the community through various outreach activities. Volunteers assist with educational programs, youth mentorship, and cultural exchange events, fostering strong connections. They participate in cleanup projects and help facilitate access to essential resources. Group members emphasize that their mission goes beyond service, aiming to build lasting relationships and address the broader needs of the local population. Matthew 542 has become a cornerstone in the Kewanee community, focusing not only on feeding those in need but also building lasting trust with the area's homeless population. Over the last five years, this initiative—anchored by the First Christian Church—has expanded to reach more individuals, partnering with groups like Next Gen and Finish Well Ministries. Volunteers regularly deliver meals and essentials, fostering relationships and understanding. The unique approach ensures everyone is welcome at community dinners, regardless of their circumstances. Organizers say the key is treating guests with respect and dignity, paving the way for further help and spiritual support. Paula is gearing up to launch a series of clothing drives starting in January, aimed at providing essential items to those in need. Alongside these initiatives, resource fairs and job application workshops are planned to empower community members with new skills and opportunities. Within the Matthew 5:42 service, volunteers and staff often work shoulder to shoulder with recipients, forging a sense of shared purpose. Michelle also has exciting updates on the food pantry, ensuring broader community support. Many recipients of furniture assistance become regular volunteers, a clear sign of impact as the cycle of giving continues to grow and inspire others.

Despite promises by elected leaders to address the disproportionate number of Native Americans and Alaska Natives who are murdered or go missing, Missing and Murdered Indigenous Relatives (MMIR) advocates say there is little progress and even steps backward for victims and their families. Advocates say the Trump administration's removal of the Not One More report from the Department of Justice's website is a setback for public awareness and the work to fight the ongoing problem. Advocates also complained that Alaska officials are not adequately acknowledging the number of unsolved cases. Since that complaint, state officials added 50 names to the unsolved cases list. Numerous data sources point to the disproportionate rate that Native people are victims of violence and their cases go unresolved. GUESTS Charlene Aqpik Apok (Iñupiaq), executive director of Data for Indigenous Justice Karrisa Newkirk (Caddo), president and founder of Missing and Murdered Indigenous Women-Chahta LaRenda Morgan (Cheyenne and Arapaho), cousin of Ida Beard and Missing and Murdered Indigenous People (MMIP) advocate Cheryl Horn (Nakota and Aaniiih), Fort Belknap MMIP advocate

What really happened at the Battle of Little Bighorn and how did a single momentous victory seal the fate of the Plains tribes?Join me this week as I dive into the events that led to Custer's defeat, the broken treaties and gold rush that fueled the conflict, and how the Lakota, Northern Cheyenne, and Arapaho achieved one of the most decisive Native victories in U.S. history. I also explore how the aftermath reshaped federal policy, public opinion, and the future of the Great Plains.Support the show

host: Alyson Stanfield Alicia Bailey and Melinda Laz are part of a four-artist collaborative group in Denver that's been working together for years because it's made them better artists. In this conversation, they share the practical realities of collaboration: the systems that keep things organized, the communication that prevents problems, and the trust that makes it all possible. If you've ever wondered whether working with other artists is worth the effort, this episode will show you what's possible when you get it right.

In part one of this conversation (episode 247), Stephanie Brown shared how she strategically funded her education and built her early career foundation. Now it's time to talk about what happens next: the messy, real, day-to-day work of sustaining an art practice. Stephanie breaks down her actual income streams with host Alyson Stanfield—sharing her five-year vision for gallery representation and explaining how becoming a mother made her bolder and more focused rather than holding her back.

Too many artists graduate from art school with crushing debt and then spend years figuring out how to make money while trying to maintain a studio practice. Stephanie Brown did the opposite. She graduated from a private art school debt-free, secured a fully funded MFA, and has been treating her art career like a business from day one. In this conversation with host Alyson Stanfield, Stephanie breaks down exactly how she did it, and why being strategic about money doesn't make you any less of an artist.

Your art doesn't exist in a vacuum. Where and how you show your work shapes how people perceive its value before they even look closely at the piece itself. The venue, the lighting, the labels, the other work nearby—all of it sends signals about whether your art should be taken seriously. In this episode of The Art Biz, host Alyson Stanfield explores what falls within your control and what doesn't, and why understanding that difference can transform how collectors see you and your work. She encourages you to vet opportunities before committing, establish non-negotiables to establish for yourself, and move strategically toward increasingly prestigious venues rather than staying comfortable with familiar options. Whether you're just starting out or you've been showing for years, you'll learn how to raise your standards and make choices that honor the work you've put into your art. HIGHLIGHTS 00:30 A gallery story that reveals how presentation can undermine even the most exquisite artwork 02:50 Joshua Bell's subway experiment and what it reveals about context over content 04:20 What you can't control after committing: organizers' behavior, placement, promotion, and who else is in the show 06:00 The power of vetting opportunities before you say yes: research methods and setting non-negotiables 09:00 Moving strategically to increasingly prestigious venues rather than staying comfortable 11:40 Being selective even when starting out: choosing the best option available at your career stage

host: Alyson Stanfield La Vaughn Belle is a visual artist based in St. Croix whose interdisciplinary practice explores colonial histories and Caribbean identity. Host Alyson Stanfield talks with La Vaughn about building a thriving art career outside traditional art centers through strategic networking, intentional collaboration, and the bold decision to hire a publicist for her monument project I Am Queen Mary. La Vaughn reveals How she built strategic networks that expanded her reach beyond her local community Why collaboration with people outside her discipline opened unexpected doors The power of consistent newsletter practice and following up with genuine curiosity How she hired a publicist for her monument project and landed coverage in The New York Times, Guardian, and Time Magazine Why separating your work (obra) from your career (carrera) requires different strategies How dedicating 20 studio hours per week transformed her practice HIGHLIGHTS 01:30 How living in the Caribbean has shaped La Vaughn's cosmopolitan perspective as an artist 06:40 How La Vaughn's work explores colonial histories through material remnants and storm metaphors 09:00 The three key practices La Vaughn built to develop her reputation outside St. Croix 10:30 What La Vaughn looks for in collaboration and how working with non-artists sharpens her practice 17:00 How people find La Vaughn for collaborations and the importance of a strong website 20:10 La Vaughn's consistent newsletter practice and how she asks permission to add people to her list 23:40 Why La Vaughn's friend insisted she hire a publicist and how she overcame her resistance 26:30 Describing the two-and-a-half-story sculpture that combined coral stones and a reimagined Huey P. Newton image 33:30 How La Vaughn dove into her practice after the media attention died down 38:40 Using affirmations and strategic positioning to attract the right gallerist 43:20 The difference between obra (work) and carrera (career) that La Vaughn learned in Cuba 46:40 Why committing to 20 studio hours per week is essential for competing at an international level

Working with a gallery means putting your art, reputation, and trust in someone else's hands. That relationship can be transformative (or tense) depending on how it's managed on either side. In this episode of The Art Biz, host Alyson Stanfield talks with Katherine Hébert, founder of Gallery Fuel, which helps small and mid-size galleries strengthen their businesses. Katherine has seen both sides of the artist–gallery dynamic and knows what helps these relationships thrive: communication, transparency, and mutual respect. You'll hear: What mutual respect between artists and galleries looks like. How to establish trust early in the relationship. Why open communication prevents power imbalances throughout the evolution of the relationship. What “trust signals” artists send through professionalism and follow-through. The role of regular check-ins and collaborative planning. HIGHLIGHTS 00:40 Katherine shares her journey from art history to founding Gallery Fuel. 05:00 Why she focuses on small and mid-size “Main Street” galleries. 07:00 What genuine trust between artists and galleries means, and how to establish it through clear communication. 11:10 How galleries can assess fit before signing artists. 13:00 The professionalism cues (or “trust signals”) artists send to galleries. 15:40 Empowering artists to ask questions and clarify expectations. 20:00 Why regular communication and quarterly check-ins matter. 28:20 Contracts as a foundation for mutual respect and protection. 34:00 How younger collectors are changing the gallery landscape. 41:40 Creative experiences galleries can offer to build connection. 46:20 Alyson's closing thoughts: take what you've learned and put it into action.

When Alissa Quart's 90-year-old mother received a terminal diagnosis, she faced a daunting question: what to do with 400 paintings created over three decades. Her solution was unconventional, distributing the work directly to neighbors, friends, and anyone who wanted to live with her mother's art. The story she shares with host Alyson Stanfield touches on something much larger: what artists actually need to sustain their practice and how we think about legacy when the traditional art world isn't an option. You'll learn: How to approach inventorying and distributing an artist's work when they can no longer do it themselves Why affordable housing is critical infrastructure for artists and what happens when creative communities are priced out The legal and economic barriers that prevent cities from supporting working artists How one New York Times article elevated an artist's work in ways decades of painting couldn't When to stop building an artist's legacy and how to set boundaries around the work HIGHLIGHTS 01:30 Barbara Quart's journey from East Village bohemian to 30 years of daily painting  05:40 The horror story that sparked a mission to honor her mother's wishes 08:20 Looking for external validation through local gallery shows in the Berkshires 10:40 The circumstances that allowed 30 years of sustained art practice 12:50 Why artists need community, not just queen bees but worker ants too 14:40 Legal barriers that restrict housing developments for artists 17:00 How art production creates billions in economic activity 23:10 Starting with an inventory and creating a catalog system 26:30 Women who inherit their husband's art and sacrifice their own lives 29:20 The art destruction party where artists let go of their work 34:10 How one piece in the New York Times changed everything 38:10 Barbara started painting again after the article's positive response 42:00 Collective joy and questioning the myth of individualism 44:00 The promise that consciousness can persist beyond the hand that picked up the brush

host: Alyson Stanfield Artist and activist Malene Barnett joins host Alyson Stanfield to unpack how she balances a multidisciplinary practice while designing work that “holds memory” in space. Malene shares the planning, community, and process-sharing that keep a long, installation-driven practice moving, and she offers a resonant lens on clay as a tool for liberation grounded in Caribbean and West African heritage. Bits of her wisdom: Plan your studio around time-intensive mediums so momentum never stalls. On social media, share process, tools, and research to connect when finished work is scarce. Think in space: design work and installations that carry memory and story. Build stability outside the studio to support long-term creative growth. Form intentional communities for critique, support, and opportunity. HIGHLIGHTS 02:10 Family lineage and a first-generation background shape Malene's practice. 04:20 The pact to center ancestry and identity in her work from art school onward. 08:20 Clay as a tool for liberation through Caribbean pottery history and markets. 13:10 Leaving bespoke rugs, after a sabbatical, to reclaim her voice and move into clay. 19:20 Tiles and architecture as ways to create a space that holds memory. 21:00 Planning around clay's long timelines for drying, firing, and glazing. 22:20 Residencies, film, and building an archive of Caribbean potters. 26:40 Why sharing process, tools, and research sustains audience connection. 32:10 Founding the Black Artists and Designers Guild and how to start a community. 35:10 Crafted Kinship: agency, blurred lines between art, craft, and design. 41:10 Career advice: seek stability, invest, and take the long view. 43:20 What's next: a large-scale ceramic mural in Greensboro, with installation in 2027. ACTION This week, share one piece of your process with your community: a tool you rely on, a test tile, or a research thread you're following.

Culture keepers and historians are closely watching President Donald Trump's review of the Smithsonian's National Museum of the American Indian (NMAI) and other institutions to eliminate what he calls derisive or partisan narratives. It's among eight museums that receive federal funding are that are currently under review. NMAI's exhibits include Native American perspectives on historical documents and events that include treaties, Indian Boarding Schools, the Termination Era, the American Indian Movement, and the Indian Child Welfare Act, among many others. Those watching are concerned Trump's directive could permanently alter how those topics are presented to the public. NMAI also develops educational curricula that counters incomplete instruction on historical events, like Thanksgiving. We'll hear from those who were instrumental in NMAI's founding, as well as get perspective on Defense Secretary Pete Hegseth's announcement that soldiers that took part in the Wounded Knee Massacre would retain their Medals of Honor. GUESTS Dr. Suzan Shown Harjo (Cheyenne and Hodulgee Muscogee), president of the Morning Star Institute, a founding trustee of NMAI, and recipient of the Presidential Medal of Freedom Rick West Jr. (Cheyenne and Arapaho), CEO emeritus of the Autry Museum of the American West and founding director of NMAI OJ Semans Sr. (Rosebud Sioux), co-executive director of Four Directions Vote

host: Alyson Stanfield Pinterest isn't just for recipes and home décor—it's one of the most underutilized marketing tools for artists. In this episode, host Alyson Stanfield talks with artist coach Hayley Price about how she's still getting traffic from pins created years ago and why Pinterest should be part of your long-term strategy. Discover how to turn your existing content into evergreen visibility for your art. Why Pinterest functions more like a search engine than a social platform How pins can drive traffic for years, not hours or days The easiest way to start using Pinterest if you already post on Instagram Smart strategies for linking pins so they keep working—even after artwork sells How to use Pinterest not just for marketing but also for creative inspiration HIGHLIGHTS 00:30 Meet Hayley Price—artist, gallerist, coach, and podcast host 02:20 Why Pinterest offers long-term visibility compared to Instagram 03:20 How Pinterest functions as a search engine (not social media) 05:10 How interior designers and collectors use Pinterest to discover art 06:30 Doubling your SEO efforts by linking blog posts to pins 08:40 First steps: setting up a business account and connecting Instagram 12:20 Creating multiple pins from one piece of content (without extra work) 19:00 What kinds of pins perform best for artists 24:40 How to keep pins working even after artwork has sold 28:20 Success story: 40–50% of gallery traffic still coming from old pins 29:50 Why ads often perform better on Pinterest than Instagram 33:20 Pinterest as a digital mood board for artistic inspiration 37:00 Hayley's creative routine and how she balances her multiple roles ACTION Choose one Inspired Pinterest Action: Repurpose something you've already shared on Instagram Start a new board for your blog posts or a collection Revive an old board with fresh pins Just one step this week can set you up for visibility long after you hit publish.

Send us a textNovember 29, 1864 dawned cold on the Colorado plains as Cheyenne and Arapaho families slept peacefully under an American flag—a gift promising protection. By nightfall, over 200 Native Americans lay dead in what would become one of the most shameful episodes in American history.The Sand Creek Massacre didn't happen in isolation. It grew from a toxic brew of broken treaties, gold rush fever, and political ambition. Once respected Cheyenne and Arapaho territories, recognized in the 1851 Treaty of Fort Laramie, were systematically stripped away as miners and settlers poured into Colorado. When tribes resisted this invasion, territorial officials seized their opportunity. Governor John Evans issued proclamations essentially authorizing the killing of any Native Americans, while Colonel John Chivington—a Methodist minister with political aspirations—assembled a regiment specifically to confront the "Indian problem."What makes this story particularly heartbreaking is that Chief Black Kettle and other peace-seeking leaders had been actively working with authorities, believing they were under military protection at Sand Creek. Instead, Chivington's troops unleashed unspeakable violence: women and children shot as they fled, bodies mutilated, scalps and body parts taken as souvenirs to be displayed in Denver theaters. As one witness testified: "It was hard to see little children on their knees have their brains beat out by men professing to be civilized."Though three federal investigations condemned the massacre in the strongest terms, justice remained elusive. Chivington escaped punishment by resigning his commission, while brave whistleblowers like Captain Silas Soule paid with their lives for speaking truth. The massacre transformed the American frontier, shattering trust between Native peoples and the government and igniting decades of intensified conflict across the plains.By exploring this difficult history, we confront uncomfortable truths about our nation's past and the human capacity for both cruelty and courage. Join us for Dr. Jeff Broom's upcoming presentation at the Dodge City Library on October 4th, where he'll examine the complex narratives surrounding this pivotal event through rigorous historical research and primary sources.Support the showIf you'd like to buy one or more of our fully illustrated dime novel publications, you can click the link I've included.

Host Alyson Stanfield talks with Katie Hunt about the findings from her 2025 State of the Product Industry survey. While Katie's audience includes product-based artists and makers, many of the themes—pricing pressures, burnout, and the need for stronger systems—apply across the creative sector. They explore what's really happening behind the scenes of creative businesses right now: why some are thriving while others are closing or stalling, how tariffs are complicating planning and profitability, and the surprising number of businesses still not using email marketing. Katie and Alyson reflect on the connection between sustainability and simplification, and how support, community, and structure can make all the difference. 03:50 Who was surveyed and what kinds of businesses they run 09:00 How hiring and systems correlate with reduced hours and greater sustainability 11:30 Why email marketing is still underused—and still effective 15:30 The mindset blocks around unsubscribes and “bothering” your list 17:40 Social media as a visibility tool vs. a sales driver 18:30 Why community, mentorship, and education accelerate growth 21:00 Emotional tone of the industry: cautiously hopeful, but tired 24:20 Following up and closing the loop when no one responds 26:40 30% of respondents have considered closing their business 30:00 Tariffs, planning challenges, and the ripple effect on pricing 34:20 What separates those who sustain their business from those who burn out 38:00 The role of peer support and accountability

Text usIn this episode of Anthology of Horror, we dig deep into the haunted history of Colorado—a land as drenched in blood as it is crowned in beauty. From the sacred landscapes of the Ute, Cheyenne, and Arapaho, to the atrocities of Sand Creek and the retaliatory wars that followed, the story of Colorado is layered with tragedy and restless spirits. We move through the outlaw boomtowns of Leadville and Cripple Creek, where gambling debts were paid in blood and brothels left their shadows, down into the mines where Tommyknockers and curses echoed beneath the rock.The 20th century brought new horrors: labor wars that left children and families dead at Ludlow, hospitals and prisons that turned suffering into industry, and the Stanley Hotel where ghosts still waltz in empty ballrooms. From haunted highways to skinwalker stories in the San Luis Valley, to the infernal reputation of Riverdale Road, Colorado emerges not just as a state, but as a monument of memory and death—where every ridge and gulch carries stories the living can't forget and the dead won't release.This episode was produced by Mickie Eberz, with scoring and the closing song “Ghost Town” by Empress.Support the showDemented Darkness https://open.spotify.com/show/2ausD083OiTmVycCKpapQ8Dark Side of the Nerd https://open.spotify.com/show/6cwN3N3iifSVbddNRsXRTuFoxhound43 https://rumble.com/user/Foxhound43

host: Alyson Stanfield Artists thrive on creative expression, but that same impulse can scatter your marketing. Without consistency, collectors are left confused about who you are and what you stand for. In this solo episode, I share why identity comes before design, what goes into a brand kit, and how it saves time while building trust. Your next collector is just one connection away. Make it a memorable one. ✨ HIGHLIGHTS 00:00 When artists relied on printed packets 02:40 Why tactile marketing materials still matter today 05:40 The tough love: artists aren't designers (and why that matters) 08:00 Why your Identity — with a capital “I” — comes first 10:20 What a brand kit includes and how it helps 12:00 The pitfalls of DIY and how we can give you support in Essentials 13:40 Wrapping up: identity, design, and consistency in action

When a celebrated Colorado musician disappears in February 2020, law enforcement quickly connects dots between him and a gruesome discovery in Arapaho and Roosevelt National Forests. The web of violence that surrounds the victim and a woman he was planning to meet unveils a dangerous third party who carried out the unimaginable.Honor Scott Session's life and his love of music by listening to his work with The Movers and Shakers here and here. If you or a loved one is experiencing domestic abuse of any kind, you are not alone. You can call the National Domestic Violence Hotline at 800-799-7233 or text START to 88788 for help.More Than a Phone partners with domestic violence programs across the country to provide free smartphones and data service to the survivors they support. For more information, visit morethanaphone.org.Coburn Place works to provide support and safe housing options for survivors of domestic violence and their children in the Greater Indianapolis area. For more information, visit coburnplace.org. View source material and photos for this episode at: parkpredators.com/the-musician Park Predators is an audiochuck production. Connect with us on social media:Instagram: @parkpredators | @audiochuckTwitter: @ParkPredators | @audiochuckFacebook: /ParkPredators  | /audiochuckllcTikTok: @audiochuck