Podcast appearances and mentions of bill cleveland

What if changing a podcast title could spark a deeper, more powerful shift in how we understand the role of artists in shaping society? Not likely, but if you've ever felt like your creative work is meaningful but invisible in the fight for justice and transformation, this episode digs deep into how storytelling isn't just a method—it's the foundation. We're in a moment where the narratives driving political and cultural realities are being rewritten, and artists are at the heart of this seismic shift.Discover why “Art is Change” isn't just a rebrand—it's a strategic move to make vital work more visible and more impactful.Learn how artists across the world are using creativity to counter dominant, damaging narratives and reclaim public imagination.Hear real stories of transformation, from mosaic-filled lots in Philly to clown-led protests in Serbia, showing how art actively reshapes communities.Tune in to uncover how changing the story—and the title—can change the world, one bold act of creativity at a time.Notable MentionsPeopleOn ART IS CHANGE: Lily Yeh: A Conversation With Lily Yeh Dijana Milosevic: Arts Driven Social Change & Environmental Justice In Serbia Ben Fink: Cultural Organizing in Appalachia: Building Trust, Equity, and Economic Resilience – Part 1 and Part 2******Bill Cleveland – Host of the podcast, long-time community arts worker, founder of the Center for the Study of Art & Community. Learn moreSlobodan Milošević – Former Serbian leader during whose regime artists staged creative protests. Learn more2. Events / ProjectsVillage of Arts and Humanities – Community arts organization in North Philadelphia that evolved from Lily Yeh's project. Learn morePerforming Our Future – A cultural organizing initiative based in Appalachia, Kentucky, through Appalshop. Learn moreMass protests in Serbia – Referenced in the context of creative resistance during the Milošević regime. Learn more3. OrganizationsAppalshop – Media, arts, and education center in Appalachia. Learn moreCenter for the Study of Art & Community – Host organization of the podcast and Bill Cleveland's longtime initiative. Learn...

What can we learn from artists who survived the chaos of 1980s prisons—and how can their lessons help us resist authoritarianism today?From the Center for the Study of Art & Community, this is Change the Story / Change the World: A chronicle of art and social change, where artivists share and learn the skills and strategies they need to thrive as creative community leaders. My name is Bill Cleveland. As censorship and threats escalate for activist artists and community leaders, navigating today's polarized world demands more than passion. This episode draws powerful insights from prison arts programs to help creatives and organizers thrive amid rising societal conflict and control.Discover 11 practical rules for building credibility, resilience, and respect in high-stakes, divided environments.Learn why sustained relationships and long-term commitment are the foundation for real, transformative change.Gain essential strategies for navigating us-versus-them traps, telling bold yet responsible stories, and protecting mental health in toxic climates.Listen now to unlock time-tested survival strategies that can empower your activism, deepen your community work, and sustain your creative mission.Notable Mentions1. PeopleBill Cleveland: Host of Change the Story, Change the World. Director of the Center for the Study of Art and Community, he draws on decades of experience working with artists in prisons and conflict zones.Jim Reeves: Author featured in previous episodes, discussed teaching and writing inside prisons.Noel Raymond: Theater director and cultural leader, spoke about operating arts organizations under political duress.Vern McKee: Incarcerated artist, president of Vacaville Prison's Art and Musicians Guilds, who developed the core “Verne's Rules” that guide arts engagement in high-stakes environments .2. EventsCalifornia's Arts-in-Corrections Program (1980-90's): A transformative initiative bringing arts education into state prisons during the 1980s, led by Bill Cleveland. A current program under the same name is being operated by the California Arts Council and the California Department of Corrections and Rehabilitation is carrying on the program The Troubles (Northern Ireland): A period of political and sectarian conflict (late 1960s–1998) cited for comparison with the U.S. authoritarian climate.Khmer Rouge Regime (Cambodia): Post-genocide rebuilding efforts included cultural recovery, referenced here as a parallel to U.S. challenges.Serbia under Slobodan Milošević: Cited as a reference...

Can the right song, painting, or museum exhibit spark real political change? What if culture is the missing strategy in today's social movements?From the Center for the Study of Art & Community, this is Change the Story / Change the World: A chronicle of art and social change, where activist artists and cultural organizers share and learn what they need to thrive as creative change agents. My name is Bill Cleveland.If you've ever felt like your efforts for justice aren't hitting deep enough, it might be because the culture hasn't caught up with your message. In this episode, labor organizer and social change strategist Ken Grossinger shares how his journey from labor organizing to cultural advocacy revealed a truth many overlook: policy changes fade, but stories—and the art that tells them—have staying power. In this episode:Discover how blending power analysis with artistic expression can amplify grassroots campaigns and drive long-term social change.Hear powerful case studies—from a revolutionary museum exhibit in Louisville to a musical uprising in Alaska—that reveal how art can expose injustice and build movements.Learn from real-world collaborations between artists and organizers that shift narratives, challenge power, and activate communities in ways no policy paper ever could.Tune in now to hear how Ken Grossinger's book ART WORKS and his work in communities across the U.S. show us why art isn't just a reflection of justice—it's how we get there.BIOKen Grossinger, has been a leading strategist in movements for social and economic justice for thirty-five years, in unions, philanthropic and community organizations.For two decades, Ken was one of the labor movement's leading strategists. He represented workers in the Service Employees International Union and then directed legislative field operations for the AFL-CIO, running large-scale issue campaigns including against the privatization of Social Security and for health care reform, economic and civil rights. Grossinger is widely regarded as an expert in pioneering national field strategies for labor and community organizations and is well known for building long-enduring alliances between the two.Formerly a community organizer, Grossinger co-launched the Human SERVE Fund, a national advocate organization that initiated and led the successful decade-long fight for passage of the National Voter Registration Act, commonly known as Motor Voter.Grossinger is active on several boards including the University of the District of Columbia (Trustee), Hirshhorn Museum (Trustee), People's Action Institute (Director), Skylight Pictures (Director), and the CrossCurrents Foundation, (Chair).Among other cultural projects, he co-executive produced the award-winning Netflix documentaries Social Dilemma and Bleeding Edge and served as Executive Producer of Boycott and the forthcoming film Borderland.Ken is the author of ART WORKS: How Organizers and Artists are Creating a Better World Together, published by the New Press in July 2023. He lives part-time in Washington, DC., and Telluride, Colorado.Change the Story / Change the World is a podcast that chronicles the power of art and community transformation, providing a platform for activist artists to share their experiences and

The MAGA storm system continues to exert a profound influence on community members, activist artists and cultural organizers living and working in Minneapolis' Powderhorn Central Community. Bill Cleveland's dialogue with Noel Raymond reveals the complexities of navigating activism amidst the destabilizing forces fast moving Trumpian juggernaut. Raymond describes the fraught material emotional landscape faced by artists and cultural organizers, characterized by feelings of fear, rage, and disorientation. Takeaways:Understand why the disorientation that we're all experiencing is used as a tactic to prevent resistance, and that recognizing this helps us stay grounded.Find out how an organization like Pillsbury House, uses the practice of sanctuary is a means of both safety and. And strategy.Learn how creating spaces of safety and joy and cultural expression can be a powerful form of defiance and that the communities stories, whether they're in small circles or on stage, are a lifeline.Other Key Points:And when people tell their truths without mediation, they build solidarity and power and the possibility of change.The discussion emphasizes the critical need for community support and the importance of creating safe spaces for artistic expression. Through the lens of Pillsbury House's mission, the conversation underscores the power of storytelling as a tool for resistance and empowerment. Raymond's insights into the organization's efforts to center marginalized voices, particularly during moments of heightened tension, illuminate the intersection of art and activism. As the episode unfolds, listeners are encouraged to reflect on their roles within their communities and the ways in which they can contribute to building solidarity and resilience in the face of adversity. Ultimately, this episode serves as both a poignant commentary on the challenges of the present and an inspiring call to action for those seeking to effect meaningful change.Change the Story GoFundMe CampaignNotable MentionsIn this episode, host Bill Cleveland sits down with Noel Raymond of Pillsbury House + Theatre to explore how artists and cultural organizers are navigating political backlash, erasure, and community survival in the heart of Minneapolis. Below is a curated list of the people, organizations, events, and references that came up during their powerful conversation. People Bill Cleveland: Host of Change the Story / Change the World and Director of the Center for the Study of Art and Community.Noel Raymond: Senior Director of Narrative Arts and Culture at Pillsbury House + Theatre, leading narrative strategy and performance-based organizing.Mike Hoyt: Artist and cultural organizer at Pillsbury House + Theatre, noted for his community work and collaboration with Noel.Judy Munsen: Composer of the podcast's original theme and soundscape.Events & Social MovementsTrans Day of Visibility: Annual event on March 31 to honor and raise awareness for the transgender community.

SummaryCan somethings as mundane a publishing be a revolutionary act. This podcast episode delves into the profound significance of mission centered publishing as illuminated through the life and work of Lynne Elizabeth, the founding director of New Village Press. Our conversation underscores the notion that books serve as instruments for social change, bridging divides and igniting action within communities. Lynne, who affectionately refers to her role as a "book doula," passionately discusses the transformative power of literature and the imperative of publishing with purpose. Throughout the dialogue, we explore the intersection of creativity and social justice, emphasizing how authors who are deeply embedded in their communities can shape narratives that inspire resilience and hope. This episode ultimately celebrates the magic inherent in storytelling and its potential to foster understanding and collaboration in an increasingly complex world.The StoryThe dialogue between Bill Cleveland and Lynne Elizabeth unfolds as an exploration of the intricacies of mission-driven publishing. Elizabeth articulates the unique position of New Village Press within the broader publishing landscape, highlighting its commitment to elevating voices often marginalized in mainstream narratives. The conversation reveals the serendipitous connections among authors and the familial bonds that develop within the New Village community. Elizabeth's insights into the collaborative nature of book publishing provide a glimpse into how her organization curates works that resonate with contemporary social issues, thereby fostering a dialogue about community engagement and activism through literature. The episode underscores the notion that books are not merely products but rather vessels of change, encouraging listeners to reflect on the role of storytelling in shaping societal values and inspiring collective action.Notable MentionsPublications:1. Inspired and Outraged – By Alice Rothschild. A memoir of a physician's journey into feminism, activism, and social justice, written in free verse.2. Beginner's Guide to Community-Based Arts – By Mat Schwarzman and Keith Knight. A visually engaging book that introduces community-based arts as a tool for social change.3. Root Shock – By Mindy Fullilove. A powerful examination of how urban renewal policies have devastated African American communities.4. Urban Alchemy – By Mindy Fullilove. A guide on how cities can heal from the damage of urban renewal through community-driven design.5. The Women's Revolution – By Muriel Fox. A firsthand account of the fight for women's rights from one of the founders of the National Organization for Women (NOW).6. Place Making with Children and Youth – A book that highlights the importance of including young people in urban design and community planning.7. Awakening Creativity: The Dandelion School – By Lily Yeh. A story about transforming an...

SummaryThis podcast episode features a compelling conversation between Bill Cleveland and Jack Bowers, highlighting the transformative power of arts programs within the prison system. Bowers shares his experiences as a musician and educator at Soledad Prison, emphasizing how curiosity and opportunism led him to create profound connections and foster a vibrant creative community among incarcerated individuals. The discussion reveals the significant impact of art in mitigating the harsh realities of prison life, allowing participants to explore their identities and express themselves in ways that transcend their circumstances. Cleveland and Bowers reflect on the challenges and triumphs of building an arts program in a structured and often oppressive environment, illustrating the necessity of respect and collaboration among diverse groups. Ultimately, the episode serves as a testament to the resilience of the human spirit and the vital role of creativity in healing and transformation.The StoryBill Cleveland's conversation with Jack Bowers offers a unique glimpse into the world of Arts and Corrections, a movement that has redefined the relationship between art and incarceration. Through their discussion, Jack recounts his journey from a working musician to a significant figure in the California prison arts scene, highlighting how he embraced opportunities that led him to teach music and songwriting to inmates. This exploration is not just about the act of teaching; it delves deep into the emotional and psychological landscapes of both the artists and the incarcerated individuals they serve. Jack paints a vivid picture of how creativity became a crucial lifeline for inmates, providing them with a means of expression, connection, and ultimately, a path to personal transformation.At the core of their dialogue is the profound impact that art can have in a prison setting. Jack reflects on the challenges he faced in establishing trust and building a community among inmates and staff, emphasizing the necessity of fostering a safe and supportive environment for creative exploration. This episode highlights the complex relationships that develop within such institutions, where art becomes a bridge between disparate worlds. Jack's stories reveal the intricacies of navigating the prison system, where respect and permission from inmates and staff alike were essential for the arts program to thrive. The discussion also touches on the broader implications of what it means to be an artist in such a challenging environment, exploring themes of resilience, hope, and the importance of community.As Jack shares his experiences, listeners are treated to an authentic performance of his song, “Soledad Morning,” which encapsulates the struggles and aspirations of those living in a correctional facility. The song serves as a poignant reminder of the realities faced by inmates, capturing the essence of longing and the fleeting nature of connection in a world defined by confinement. This episode not only celebrates the transformative power of art but also challenges listeners to reconsider their perceptions of prisons and the individuals within them. It is a powerful testament to the idea that creativity can flourish even in the most restrictive environments, offering hope and healing to those who need it most.Takeaways: Jack Bowers describes his journey as an opportunistic musician, highlighting the unexpected paths that led him to work in prisons. The Arts and Corrections program created a unique environment where creativity thrived despite the challenges of prison life. Building a sense of community and connection is essential for artists working in correctional settings. Jack emphasizes the transformative power of art, illustrating how it can help mitigate the harsh realities of incarceration. The complexities of prison life...

Episode SummaryIn this second of two episodes exploring democracy as a creative practice Bill Cleveland leads a rich discussion with theater workers Arnaldo Lopez, Ben Fink, and Scott Rankin, and labor organizer Ken Grossinger, who share how artistic endeavors can bridge differences, foster justice, and inspire community engagement. The conversation delves into the transformative power of storytelling and the role of cultural democracy in redefining citizenship and identity. As the guests recount their experiences, they highlight the importance of trust and cooperation in collaborative projects that address social issues. Ultimately, this episode underscores the vital relationship between art and democracy, encouraging listeners to consider how creative practices can drive meaningful change in society.Key Moments00:11 - Exploring Democracy as a Creative Practice01:08 - Exploring Art and Democracy16:20 - The Role of Art in Organizing28:05 - The Power of Cultural Change33:01 - The Flow of Change and LearningThe StoryThe exploration of democracy as a creative practice takes center stage in this engaging podcast episode led by Bill Cleveland. The conversation invites listeners to consider the intricate relationship between art and democratic engagement, showcasing how creative expression can serve as a powerful tool for fostering community, dialogue, and social change. Throughout the episode, Cleveland draws on insights from a diverse range of guests—artists, theater practitioners, and labor organizers—who share their personal experiences and the transformative impact of art in their respective fields. This multifaceted dialogue not only highlights the challenges faced by contemporary democracies but also illuminates the potential for creative practices to bridge divides and cultivate understanding among disparate communities.Guests such as Arnaldo Lopez and Ken Grossinger articulate the importance of storytelling in reclaiming democratic spaces and asserting the narratives of marginalized groups. Their contributions underscore the essential role that art plays in illuminating social injustices and inspiring collective action. The podcast does not shy away from addressing the complexities of cultural democracy, emphasizing the necessity for inclusive practices that honor and celebrate cultural differences. Cleveland thoughtfully weaves these narratives together, painting a rich tapestry of insights that challenge listeners to reflect on their own roles within the democratic process.As the episode unfolds, it becomes clear that the journey towards a creative democracy is ongoing and requires active participation from all individuals. The discussions culminate in a compelling call to action, urging listeners to embrace their creative potential and engage in the collaborative efforts necessary for meaningful change. By fostering a deeper understanding of the interplay between art and democracy, the podcast presents a hopeful vision for the future—one where creative practices not only enrich our understanding of ourselves but also empower us to collectively shape the world around us. In this light, the episode serves as an inspiring reminder of the enduring power of art to catalyze social transformation and reinforce the fundamental ideals of democracy.Takeaways The podcast explores the role of art in fostering democracy and collaboration. Art can serve as a powerful tool for reclaiming democratic spaces and identities. Collaborative art-making helps bridge cultural differences and create common ground among communities. Effective organizing requires integrating artistic practices to shift narratives and foster engagement. Trust and cooperation are essential for successful collaborative artistic endeavors...

DEMOCRACY is a practice that we haven't been practicing. The gap between the story we've been telling ourselves about our participatory democracy and our actual experience leaves us unprepared for the Resistance and Reclamation project that we're about to undertake. To get better at Democracy, we need to treat it as a creative practice!This is the first of two episodes that explore the intricate relationship between art and democracy. This episode delves into the idea that democracy is not merely a system of voting, but a dynamic practice that requires active participation and creativity from its citizens. In his conversation with past guests, Bill Cleveland posits that our understanding of democracy is flawed, as too many citizens view it solely as a transactional process rather than a communal endeavor. Through insights gathered from creative change agents who have engaged deeply with the intersections of art and democratic practices, the episode illustrates how creative expression can act as a catalyst for civic engagement. The narrative reveals a pressing concern about the current state of American democracy, where apathy and division threaten the very fabric of communal life. Cleveland advocates for a renewed commitment to practicing democracy as a form of art, where citizens actively contribute to shaping their society, thereby enriching not only their own lives but also the collective experience of democracy itself.Takeaways: Democracy is a practice that requires active participation, not just voting in elections. The fragility of American democracy stems from a lack of understanding of its true nature. Creative practices in democracy can help bridge divides and foster community engagement. Sharing personal stories can play a crucial role in understanding and practicing democracy. The connection between art and democracy emphasizes the importance of collective storytelling. Democracy thrives when citizens engage in meaningful dialogues and collaborative efforts together. Chapters:00:11 - A New Direction in Storytelling00:41 - Democracy as a Creative Practice09:33 - The Role of Stories in Democracy16:18 - The Legacy of Lydia Hamilton Smith22:30 - Animating Democracy: The Role of Arts in Community Engagement25:47 - The Power of Creative Engagement in Social Issues32:29 - The Role of Arts in Cultural Democracy37:08 - The Role of the Culture Bearer46:31 - The Connection Between Civic Engagement and Creative Practice47:52 - The Impact of Citizenship Schools on DemocracyNotable MentionsIndividuals:Bill Cleveland – Center for the Study of Art and CommunityLeni Sloan – Leni Sloan bioPam Korza – Animating DemocracyBarbara Schaefer Bacon – Animating DemocracyHarry Boyte – Humphrey InstituteCarlton Turner – Mississippi Center for Cultural ProductionLori Poirier –

Explore creative community transformation with teaching artist Jeff Mather as he shares stories of art, collaboration, and social change in education.Jeff Mather's work as a teaching artist and public art digital storytelling alchemist underscores the vital role of art in fostering community resilience and engagement. The conversation with Bill Cleveland reveals how, despite the challenges posed by recent global events, Mather remains optimistic about the transformative potential of creative collaborations. By reflecting on his experiences in various educational and community settings, he illustrates how art can bridge divides, empower youth, and reinvigorate spaces that have been overlooked or abandoned. His dedication to involving students in the artistic process not only cultivates their creativity but also instills a sense of agency and responsibility for their environment.The episode captures the essence of Mather's philosophy: art is not merely an aesthetic endeavor but a powerful tool for social change. Mather recounts the impactful project in West Baltimore, where he worked with local youth to design and install an environmental sculpture in a park that had long been neglected. This initiative not only beautified the area but also engaged the community in a dialogue about safety, ownership, and the importance of reclaiming shared spaces. Mather's insights into the dynamics of teaching and collaboration highlight the necessity of recognizing and valuing each participant's unique contributions, which ultimately enriches the artistic outcome.Furthermore, the discussion delves into the challenges and rewards of community-based art practices, particularly in relation to trust-building and navigating complex social landscapes. Mather emphasizes the importance of entering communities with humility and a willingness to learn, rather than imposing external solutions. His experiences with Alternate Roots showcase the power of grassroots movements in advocating for social and economic justice through art. As the episode unfolds, it becomes evident that Mather's work embodies a vision of art as a communal endeavor—one that celebrates diversity, fosters connection, and cultivates a shared sense of purpose in navigating the challenges of our times.Key Moments00:18 The Turning Point: Reflections on Change and Future Challenges00:35 Reflections on Creative Change Agents13:59 Alternate ROOTS and Community Engagement22:55 The Impact of Community Engagement in Public Art31:14 Engaging with Community Through Art40:03 The Impact of Art and CommunityBIOJeff is a community-based public artist and teaching artist in Georgia, (and South Carolina and Massachusetts and Utah), for over 30 years. He is the STEAM artist-in-residence at Drew Charter School 45 days each semester/90 days each year and has presented on his partnership work there at national and international conferences. He was a delegate and presenter at the 1st International Teaching Artist Conference in Olso in 2012 and at the ITAC3 in Edinburgh and at ITAC6 in Oslo. He is an ITAC Innovator, leading Think Tank webinars. He has been on the Georgia Council for the Arts registry of visiting artists since 1992. He has a BA degree in Proxemics from Hobart College. He served as president of the Atlanta Partnership for Arts in Learning, an arts infusion non-profit that he helped to co-found in 2001. He toured a program for nine years with a choreographer - and also a storytelling program with a master storyteller. Jeff has facilitated Learning Exchanges for teaching artists for Alternate ROOTS and for the Community Built Association. Jeff is also the lead artist for the Beverley Taylor Sorenson Arts Access Program in northern Utah and runs interdisciplinary residencies there twice a year. He directed several experimental theater productions at the Center for

Given the differences in power, and definitions of success, how can arts and change collaborations between institutions of higher learning and their local communities be equitable and accountable? And how can change oriented artists practice effectively and ethically with a foot in each camp? Billy Yalowitz has had a career as a theater director and choreographer that I think provides provocative answers to both questions and more.This podcast features a rich conversation between Bill Cleveland and Billy Yalowitz, focusing on the intersection of community arts and social justice. At the heart of their discussion is the importance of facilitating equitable collaborations between artists and their communities, particularly in the context of higher education. Yalowitz shares insights from his diverse career as a theater director and choreographer, emphasizing the necessity of understanding one's own heritage and community narratives before engaging with others. The dialogue also explores the significance of storytelling as a means of empowerment and healing, particularly in marginalized communities. Ultimately, the episode highlights the transformative power of art in bridging divides and fostering mutual understanding across different cultural backgrounds.A key highlight of the episode is the Black Bottom Performance Project, where Yalowitz worked to amplify the voices of a community displaced by urban renewal. This project not only sought to reclaim lost stories but also fostered a sense of belonging among participants. Yalowitz emphasizes the importance of creating spaces for collective memory and narrative sharing, illustrating how art can bridge divides and facilitate healing. The project serves as a testament to the potential of community arts to address historical injustices and promote social cohesion, prompting listeners to consider the power of storytelling in their own lives.As the episode progresses, the discussion evolves into pressing contemporary issues, particularly climate justice and the disconnection from land that many communities experience. Yalowitz shares his ongoing work in the Hudson Valley, where he seeks to reconnect with his cultural roots while collaborating with indigenous peoples. This aspect of the conversation underscores the interconnectedness of social justice and environmental stewardship.Key Moments03:47 The Keys to the Kingdom: Billy's Building Project05:29 Exploring Identity and Community08:48 Golden's Bridge: A Cultural Sanctuary15:22 The Tradition of Community Arts21:40 The Legacy of Folk and Modern Dance26:05 The Black Bottom Performance Project27:23 Community Stories and Reparations32:15 Migrations and Hyphenations: An Israeli/Palestinian Sago36:25 The Birth Narrative and Twin, Twin Transfusion Syndrome41:54 Challenges and Breakthroughs in Rehearsal47:06 Land Amnesia and Climate Justice51:40 Reflections and InspirationsBIOBilly Yalowitz is a writer, director and community arts practitioner whose writings and interdisciplinary performance works draw from public history and chronicle grassroots movements for self-determination.Yalowitz's interdisciplinary performance works have been presented off-Broadway and internationally. He has directed critically acclaimed and nationally profiled community-based performance-installations in Philadelphia neighborhoods since 1991. Yalowitz has been named “Best Unclassifiable Theater Artist” by Philadelphia's City Paper, Best Choreographer by the Philadelphia Inquirer, and was nominated for a Barrymore Award for his work at People's Light & Theater Company. He was commissioned by the Philadelphia Museum of Art to create a performance-festival, The Fathering Circle.Yalowitz's work has been featured in the New York Times

How do you describe a Laurie Meadoff? Start off with a big heart, add a piercing intellect, an insatiable curiosity, and a gargantuan exploding fireworks extravaganza of an imagination. Then add that she's a can't-sit-still, serial do-gooder problem solver who translates the word "NO" in any language, as the starting gun for the next story in the million chapter book she's been living, entitled There's no Such Thing as an Impossible Dream!In this episode of 'Change the Story, Change the World,' host Bill Cleveland introduces Laurie Meadoff, a transformative entrepreneurial force in community arts, youth development, and social change. Laurie reflects on her life's work, including founding the internationally recognized CityKids Foundation, producing Emmy-nominated series, and engaging in art-based change initiatives across the globe. The conversation explores her unique approach to social justice, cultural democracy, and health equity through creative endeavors. Meadoff shares stories of impactful moments, like connecting youth worldwide and encouraging new generations to channel their creativity for activism, ultimately underlining the importance of listening, community empowerment, and sustained social impact.00:00 Meet Laurie Meadoff: A Force of Nature03:59 Laurie's Journey and Impact06:16 Community Empowerment and Creativity08:42 The Power of Listening and Adaptability09:55 Art and Social Justice11:00 Personal Reflections and Global Impact18:25 Lean on Me: A Musical Interlude22:05 Chat the Planet: Bridging Global Youth28:53 Keith Haring's Legacy and City Kids30:11 Artivism in Chicago31:44 Take Back the Mic Africa35:16 The Role of Artists in Society39:06 Innovations in Health and Artivism41:02 The Power of Observation and Witness42:15 What You Going to Do About Hate?48:52 Reflections and Future Aspirations51:41 Closing Remarks and ResourcesBIOLaurie Meadoff is a leader, an innovator, and a change maker. Through artistic and expert use of her wide array of talents, Laurie has been able to make monumental strides toward a more tolerant and compassionate world through her media and community engagement strategies. Internationally acclaimed for her more than forty-five years of work and accomplishments, Laurie Inc. & Team's current clients list include:Take Back The Media /Amp.it, a digital media platform that helps content owners know ‘Who's Watching and Why'. Creator of double Emmy nominated "Take Back the Mic: Africa”. We are now building a state of the art film and television studio in Africa.Geoversity, Nature's University in Panama, focusing on biocultural and indigenous leadership and environmental action.The UN Global Mental Health Task Force, alongside The CityKids Foundation, Deepak Chopra's Chopra Foundation and Social Architects. We are committed to a world where mental health is universally recognized as a fundamental human right.Bodimetrics - the newest technology, addressing healthcare inequities by offering continuous blood oxygen and pressure with FDA-cleared medical devices.Rozana Health Diplomacy, an international organization promoting access to quality healthcare in Palestine and Israel, through joint initiatives between communities in conflict. Laurie is committed to moving disruptive groundbreaking companies forward while networking with her social impact investors. Laurie has always had her pulse on youth culture. Laurie launched Authentik Inc. with partners Tony Krantz, Derrick Ashong and Siobhan Kavanagh. Authentik Inc is an innovation firm based out of NY and LA. Authentik Inc helps top brands stay culturally and socially...

Dr. Banerji: In this episode of 'Change the Story, Change the World,' Bill Cleveland explores the inspiring journey of Dr. Subhasis Banerji, a bioengineer from Singapore. Dr. Banerji shares how he utilized the interplay between art, science, and the human mind to help brain-injured and stroke patients recover. After suffering severe injuries himself, Dr. Banerji's personal tale of recovery through a combination of physical therapy, yoga, and martial arts led him to develop SynPhne—a groundbreaking therapeutic device integrating real-time brain and muscle feedback for accelerated healing. The discussion also parallels the transformative power of creative practices in prison arts programs, highlighting the human capacity for self-recovery and growth. This episode sheds light on the significant overlap between artistic creativity and medical innovation, offering profound insights into the potential of the mind-body connection. 00:00 Introduction to Change the Story, Change the World 00:46 Meeting Dr. Banerji 02:36 From Ignorance to Wisdom 04:54 The Journey of Self-Healing 08:31 Creating Synphne 11:02 A Moment to Remember 19:30 Common Ground 24:51 Final Thoughts and AcknowledgementsBIO Dr. Subhasis Banerji: Founder, Inventor Director of SynPhNe. Subhasis has over 20 years of experience in developing cutting-edge technology, 5 years of practicing therapy and10 years in clinical research. His diverse background led him to invent and commercialize the world's first fully wearable and connected brain plasticity training tool that trains Brain and Body as parts of ONE system. SynPhNe™ is the outcome of his PhD (Biomechatronics) study. He is involved in research in biomechanics, neuroplasticity, movement analysis, learning mechanisms and ageing. He has been a yoga and martial arts practitioner for the past 25 years.Notable MentionsAfter four years of study, collaborative research, prototype building and testing Dr. Banerji and his partners at Singapore's Nanyang Technological University ultimately produced the therapy that he described to me when we met in Washington D.C.Put simply, SynPhNe accelerates Dr. Banerji's painstaking visioning and learning process by reading brain and muscle signals, representing them graphically, and then teaching the patient how to self-correct the signals through their thought processes.The early 1980's was a building period for the Arts-in-Corrections program. At each of our six pilot sites we had been scrambling to secure the spaces we needed to establish the stable and sustained learning environments that we knew would have the most positive and persistent impact on the prisoners who were flocking to the program. Our guide, so to speak in this was the visionary poet and potter M. C. Richards who, in her book, Centering, articulated the transformative power embodied in the simple act of throwing a pot on a spinning wheel.These breakthroughs, the state Psychologist

Further Adventures of L. O. SloanIn this milestone 100th episode, Bill Cleveland engages in a deep, reflective, and often humorous conversation with his longtime friend and legendary activist, actor, dancer, playwright, impresario, and historian, Lenwood Sloan. The discussion spans many topics, including Sloan's incredible career in the arts, his reflections on social change, and the societal impacts of the COVID-19 pandemic. The episode also touches on the roles of art and artists in activism and democracy, shining a spotlight on historical figures like Lydia Hamilton Smith and their untold contributions. The conversation serves as both a celebration of Sloan's legacy and a poignant commentary on current social issues.00:00 Introduction to the Episode00:33 A Rambling Conversation with Lenwood Sloan03:16 Reflections on Pain and Perseverance06:07 The Impact of COVID on Social Interactions08:06 The Power of Decision Making and Imagination18:43 Lydia Hamilton Smith: An Unsung Hero27:27 The Role of Art in Social Change31:52 Call to Action for Citizen ArtistsBIOFor the past 40 years, Lenwood Sloan has provided inspiration, leadership and technical assistance both in the public and private sector.On October 7, 2013, Mr. Sloan received the Distinguished Service Humanitarian award from Pennsylvania Humanities Council for his outstanding work in community organizing.He is currently an International Consultant collaborating with the U.S. Embassy in Brussels and the multi nation “Liberation Route” on a new international WWII heritage trail. He is creative consultant for the Cameron Museum of Wilmington, N. C. USCT project, collaborator on the innovative “Two Roads “ series for the Irish Cultural Center of New York, Throughout 2011 Sloan served as Pennsylvania's film commissioner and was certified by the Association of Film commissioners international (AFCI). In that capacity, he directed the 60 million dollar film tax credit office.From 2005 to 2011, Mr. Sloan served as director of Pennsylvania's Cultural and Heritage Tourism Program His portfolio included the Pa festival initiative, the Appalachian Regional Commission's 13 state geo- tourism initiative, the artisans' craft trails , the PA Civil War trails Lenwood Sloan has served as Director of the National Endowment for the Arts' Presenting and Commissioning program , Deputy Director of Services to the field for the California Arts Council , Director of New Orleans Arts and Tourism partnership . He is recipient of the Louisiana Travel and Tourism leadership award for business innovations, His artistic credits include creating “art in the market place” programs for the Rouse Corporation in New Orleans, St. Louis, Boston, and Baltimore. In addition, he participated on the artistic team for five national public television documentaries, Treme- Untold Story, Emmy award winning Ethnic Notions, Stephen Foster, the internationally acclaimed Re-imaging Ireland, and the Emmy award winning Dance Black America.For the past 40 years, Lenwood Sloan has provided inspiration, leadership and technical assistance both in the public and private sector. On October 7, 2013, Mr. Sloan received the Distinguished Service Humanitarian award from Pennsylvania Humanities Council for his outstanding work in community organizing. He is currently an International Consultant collaborating with the U.S. Embassy in Brussels and the multi nation “Liberation Route” on a new international WWII heritage trail. He is creative consultant for the Cameron Museum of Wilmington, N. C. USCT project, collaborator on the innovative “Two Roads “ series for the Irish Cultural Center of New York, Throughout 2011 Sloan served as Pennsylvania's film commissioner and was certified by the Association of Film commissioners international (AFCI). In that capacity, he...

In this episode we will hear why Ken Grossinger believes that "organizers can't work effectively without culture, and that art is essential to creating the narrative shifts that make effective organizing possible. In our conversation we explore his new book , ART WORKS: How Organizers and Artists are Creating a Better World Together. BIOKen Grossinger, has been a leading strategist in movements for social and economic justice for thirty-five years, in unions, philanthropic and community organizations.For two decades, Ken was one of the labor movement's leading strategists. He represented workers in the Service Employees International Union and then directed legislative field operations for the AFL-CIO, running large-scale issue campaigns including against the privatization of Social Security and for health care reform, economic and civil rights. Grossinger is widely regarded as an expert in pioneering national field strategies for labor and community organizations and is well known for building long-enduring alliances between the two.Formerly a community organizer, Grossinger co-launched the Human SERVE Fund, a national advocate organization that initiated and led the successful decade-long fight for passage of the National Voter Registration Act, commonly known as Motor Voter.Grossinger is active on several boards including the University of the District of Columbia (Trustee), Hirshhorn Museum (Trustee), People's Action Institute (Director), Skylight Pictures (Director), and the CrossCurrents Foundation, (Chair).Among other cultural projects, he co-executive produced the award-winning Netflix documentaries Social Dilemma and Bleeding Edge and served as Executive Producer of Boycott and the forthcoming film Borderland.Ken is the author of ART WORKS: How Organizers and Artists are Creating a Better World Together, published by the New Press in July 2023. He lives part-time in Washington, DC., and Telluride, Colorado.How Are Artists & Organizers Creating a Better World Together?In this episode of 'Change the Story / Change the World,' host Bill Cleveland interviews Ken Grossinger, a labor movement strategist turned advocate for the significant role of arts in social and economic justice. Grosinger discusses his journey from traditional labor organizing to recognizing the vital contribution of arts to narrative shifts needed for effective change. Highlighted is his book, 'ART WORKS: How Organizers and Artists are Creating a Better World Together,' which underscores the power of collaborations between artists and organizers. The dialogue explores various case studies and personal anecdotes that demonstrate the intersection of art, activism, and community building, including impactful art-centric social movements, the strategic use of power analysis in organizing, and the role of museums and artists in fostering social change. Special attention is given to the unique capacity of music and art to drive narrative transformations and mobilize communities against injustice.00:00 Introduction to Change the Story / Change the World00:08 Ken Grosinger: From Labor Strategist to Arts Advocate01:09 The Power of Art in Social Change03:20 The Strategic Mind of a Social Change Leader08:01 Art and Organizing: A Synergistic Approach11:36 Exploring the Impact of Art and...

The recorded conference presentation you are about to hear includes a made up game show, a scene from a novella about artists working in a fictional prison, and a visit to a fake town in the midst of a harsh reckoning around issues of race, justice, othering, and belonging. (A Reprise of Episode 27) Welcome to a Bonus edition of Change the Story Change the World —- as we pay a visit to the 16th Annual Art in Society Conference. Bill Cleveland: Hi I'm Bill Cleveland, the host of Change the Story / Change the World. This week we are going to do something a bit different. A few episodes back we shared a conversation with writer Jan Cohen Cruz to commemorate the New Village Press publication of Meeting the Moment by her and artist activist Rad Periera. This week's bonus episode is indirectly related to another soon to be published New Village volume called the Book of Judith, "an homage to the life of poet, writer, and teaching artist Judith Tannenbaum and her impact on incarcerated and marginalized students." Judith, who passed away in 2019, taught me a lot about both art making, and the imagination. In my own teaching her lessons have been a constant presence, often manifesting through the stories she shared in her work. This was the case In June of 2021 when I participated in an international conference convened by the Art in Society Research Network. My part in this online conference was a presentation about using story-based strategies for community arts training. My approach was to share few stories, including one of Judith's about how using stories can help prepare artists for work in real life communities and social institutions. So, the recorded conference presentation you are about to hear includes a game show, a scene from Judith's novella about artists working in prison, and a visit to a fake town in the midst of a harsh reckoning around issues of race, justice, othering, and belonging. Welcome to a special edition of change the story Change the World —- as we pay a visit to the 16th Annual Art in Society Conference. Hi: I'm Bill Cleveland. I am speaking to you from, Alameda CA, near Oakland which is the traditional land of the Ohlone people and home our county's new VP Kamala Harris. I run the Center for the Study of Art & Community. Our name is a mouthful to be sure but we have a pretty simple mission. Which is basically, helping to Create new community art partnerships in service to building caring, capable & equitable communities and then telling the stories that rise up. Over the past couple of decades, the Center has done that by conducting research, providing cross-sector community arts training, and producing studies, articles books and a podcast on arts-based community development and social change efforts all over the world. Enough about us. I'd like to begin this presentation by inviting you to participate in one of our fabulous Quiz shows. The show is actually a little game called TRUTH OR NO. The object of the game is to spark your imaginations and have a bit of fun. To do this you will need write a few things down, Yeah, I know you thought this conference would be just sitting and watching, but please, indulge me here. I'll give you 30 seconds to grab a pencil and paper. OK now lets start. The game goes like this: In a little bit I am going to share 4 really short-stories that may or may not be true. Your job is to identify the ones that are false. Before I start t you will need to write 1 through 4 on a piece of paper. Now after each little story I tell write T for those you think are true and N for No for the fabrications. This will happen very fast. So here we go. Space Out: Way back in the 20th century the US Space Program felt they needed more public support. So, they decided to engage artists to help them to draw more positive attention to their efforts. This NASA arts program started with a bang – hiring Oh Superman, Laurie Anderson and Pop artist, Robert...

Sandra Agustin; she/her/titaCre8tive Navigator Facilitator/ArtistSandy has an extensive history of arts, social and racial justice and leadership. She is a nativeMinnesotan, the youngest child of a Filipino immigrant and 5th generation Euro-Minnesotan.Since the age of 9, she has professionally performed and taught dance, later moving into artsadministration as executive and artistic director at Intermedia Arts where she curated,fundraised, managed, consulted artists and built relationships. She is a former co-artistic coremember of Mu Performing Arts where she acted, directed, choreographed over 20 shows andwas an early member of the Asian American Renaissance. Since its inception in 2002, Sandyhas frequently co-facilitated cohorts of arts and community development leaders in the Creative Community Leadership Initiative alongside Bill Cleveland of the Center for the Study of Art and Community. She has served on non-profit boards including the Minnesota Dance Alliance, Minnesota Citizens for the Arts/MCA, and currently serves on the boards of Maji ya chai Land Sanctuary, Speaking Out Collective and the Tango Society of Mn. As a resident teaching artist through the Children's Theatre Company's Neighborhood Bridges program Sandy led an in-school critical literacy and theatre program engaging young people to question power, write their own stories and develop community . She recently co-founded Theatre 55 providing performance opportunities for folks over 55 years of age, where she also occasionally performs and choreographs. Sandy is a part of the Southwest Minnesota Housing Partnership's artist roster, working in St. Peter, MN. She is a performer and choreographer and contributor with Pangea World Theatre's latest production called Life Born of Fire, an ensemble based public performance ritual, created in a post-uprising Minneapolis environment.Sandy's recent facilitations have included ArtPlace America and the Local Control Local Fields program, Southwest Initiative Foundation, a rural community development organization; Leadership on the Way a two-year leadership mentoring program for associate Lutheran pastors across the US; Longfellow Rising a newly formed organization committed to an equitable rebuild in the wake of George Floyd's murder and the uprisings that took place in South Minneapolis. She considers herself a cre8tive navigator, helping individuals and organizations to find their creative "north". She sees her calling and role in shifting energy, holding tender and playful space and validating all perspectives. She brings creative/arts based engagement tools and deep listening practices as mentor-learner into every and all settings. She is currently the Director of Creative Engagement for Inspire to Change, LLC., whose mission is to support purpose driven change and change makers around the globe.Aside from the arts, she is an advocate-lover for all animal species, the environment and HIV/AIDS causes.

This Bonus episode of Change the Story / Change the World is in celebration of the publishing of https://nyupress.org/9781613321546/meeting-the-moment/ (Meeting the Moment: Socially Engaged Performance - 1965-2020 by Those Who Lived It,) by Jan Cohen Cruz and Rad Pereira. Hi this is Bill Cleveland. I'd like to welcome you to a Bonus episode of Change the Story / Change the World in celebration of a publishing milestone. For the past 4 decades Jan Cohen Cruz has been working at the crossroads of theater and social change, as a performer, as a teacher, and as a storyteller documenting the continuing evolution of socially engaged performance. Now, I'm very happy to announce that her new book Meeting the Moment, shines a light on that extraordinary history by sharing the stories of the people lived it. In this episode, first broadcast in November of 2021, Jan talks about her own history as an activist, performer and teacher, and the genesis of Meeting the Moment, which was recently released by https://www.newvillagepress.org/about-us/mission-statement/ (New Village Press.) Links to both New Village, and a related episode featuring https://change-the-story-chan.captivate.fm/episode/episode-46-carlton-turner-sipp-culture-rising (Carlton Turner) who wrote the book's forward can be found in our show notes. Jan Cohen-Cruz has given a lot to the field of arts-based community development. By that, I mean that there's a significant body of academic and community-based artwork, scholarship, teaching, and organizing that are absolutely covered with her fingerprints. BIOJan Cohen-Cruz was the founding editor of http://public.imaginingamerica.org/ (Public: A Journal) of Imagining America. She directed Imagining America: Artists and Scholars in Public Life (2007-12), and for 28 years before that, was a professor at NYU, directing a minor in applied theatre and initiating socially-engaged projects and courses. She wrote Engaging Performance: Theatre as Call and Response and Local Acts: Community‑Based Performance in the US. She edited Radical Street Performance and co‑edited Playing Boal: Theatre, Therapy, Activism and A Boal Companion. Jan was also a University Professor at Syracuse University. In 2012, she received the Association for Theatre in Higher Education's Award for Leadership in Community-Based Theatre and Civic Engagement. Here latest book, https://nyupress.org/9781613321546/meeting-the-moment/ (Meeting the Moment: Socially Engaged Theater, 1965 To 2020) written with https://nyupress.org/author/rad-pereira (Rad Pereira) will published by https://www.newvillagepress.org/about-us/mission-statement/ (New Village Press )in May 2022. Notable Mentions (in order of appearance)https://change-the-story-chan.captivate.fm/episode/episode-46-carlton-turner-sipp-culture-rising (Carlton Turner) is a brilliant artist and creative change agent whose work across the country and in his hometown of Utica Mississippi dramatically proves that if you can "see" a different future you can make make a different future. He makes this point and much more in his eloquent introduction to https://nyupress.org/9781613321546/meeting-the-moment/ (Meeting the Moment), the new book by this episode's guest Jan Cohen Cruz and Rad Pereira. https://change-the-story-chan.captivate.fm/episode/episode-46-carlton-turner-sipp-culture-rising (You can hear more from Carlton in Episode 47 ) https://www.newvillagepress.org/about-us/mission-statement/ (New Village Press:) “The mission of New Village Press is to promote and enrich public discussion and understanding of issues vital to the development of healthy, creative, and socially just communities. To that end, New Village publishes transdisciplinary books that animate emerging movements in societal transformation. In conjunction, the Press also sponsors lectures, forums, and exhibitions for the public, especially for those communities that are underserved.”...

Monday, November 15, 2021: President Joe Biden will sign his infrastructure deal today, 3News' Jay Crawford breaks down how the Cleveland Browns seem to have gone back in time, the Cleveland Guardians could eventually have a new owner, what you need to know about Ohio's Vax-2-School drawing registration deadlines, and more on 3News Now with Stephanie Haney. Need a break from bad news? Watch It's All Good (News!) with Stephanie Haney, every Wednesday: https://www.youtube.com/watch?v=ch9re5SX4MQ Like this show? Check out the 3 Things to Know with Stephanie Haney podcast: http://wkyc.com/3thingstoknow 3News Now with Stephanie Haney is also available as a podcast: https://www.wkyc.com/article/news/local/now-you-can-get-your-3news-now-digital-updates-as-a-podcast/95-e4d5a072-b625-4180-9f8e-733ab730ee90 Connect with Stephanie here: http://twitter.com/_StephanieHaney http://instagram.com/_StephanieHaney http://facebook.com/thestephaniehaney Read more here: President Biden to sign $1T infrastructure bill Monday https://www.wkyc.com/article/news/nation-world/biden-signing-infrastructure-bill/507-a8399ecb-2561-4421-a1df-7651bf82c567 Commentary from 3News' Jay Crawford: The Cleveland Browns turn back the clock, and not in a good way https://www.wkyc.com/article/sports/commentary/commentary-3news-jay-crawford-cleveland-browns-turn-back-the-clock/95-bc05e4ec-f632-49f3-949e-5f34c21ce009 Kevin Stefanski responds to Myles Garrett's comments about Cleveland Browns' lack of adjustments https://www.wkyc.com/article/sports/nfl/browns/kevin-stefanski-myles-garrett-browns-patriots-comments/95-921330b7-a7e0-4f68-b154-cea86de356bc Report: Cleveland Guardians Paul Dolan seeking new investor; could lead to eventual ownership change https://www.wkyc.com/article/sports/mlb/cleveland-guardians/report-guardians-dolan-seeking-new-owner/95-8413bc60-3206-4f5c-93b6-a44b0582134a Yes, a potentially deadly parasite that enters people through bare feet is in the US https://www.wkyc.com/article/news/verify/parasite-bare-feet-united-states/536-8725c29b-9866-46a8-b09b-d03222074e13 COVID-19 in Ohio: State reports 3,927 new cases in the last 24 hours https://www.wkyc.com/article/news/health/coronavirus/coronavirus-numbers/coronavirus-ohio-updates/95-e2faeb56-d02a-443a-bcdb-141f2c7fafe8 Deadlines approaching for Ohio's Vax-2-School drawings: Here's how you can sign up https://www.wkyc.com/article/news/health/coronavirus/vaccine/deadlines-ohio-vax-2-school-drawings/95-4ca78f59-39c1-4048-91bf-2d78859fe904 Journey bringing 'Freedom Tour' to Cleveland next spring; Toto to join them at Rocket Mortgage FieldHouse https://www.wkyc.com/article/entertainment/music/journey-cleveland-next-spring-toto-rocket-mortgage-fieldhouse/95-92b6bd8d-40bf-4077-933e-ccc9002ea7c7 Ohio State Marching Band halftime show: The music of Top Gun https://www.wkyc.com/article/sports/football/ohio-state-marching-band-top-gun-halftime-show/530-69ec00f8-308f-4846-ad95-2e0bd6602d48 PHOTOS: Your pics from the first snow of the season in Northeast Ohio! https://www.wkyc.com/article/weather/show-us-your-pics-first-snow-of-the-season-northeast-ohio/95-6b214eb1-ef67-4342-bd05-7f1afd433910

Please join us in welcoming Carrie Cleveland to chat with Heart of Indie Radio Host Eddie Davis (Captain Eddie) & Co-Host Emme Lentino Carrie Cleveland was an Oakland resident and regular performer at hotels and clubs around the San Francisco Bay area in the 1970's. Her first recording is also considered her best. It was a self-produced promotional 45rpm record featuring "Make Love To Me" on Side A and "I Need Love" on Side B. Both songs were written by her husband, Bill Cleveland. These recordings were later commercially released as a 45 but were remastered with an electronic keyboard that is generally considered too loud and less soulful than the original, making the promo much more desirable. Carrie Cleveland released an LP titled "Looking Up" which also contained her single, "Make Love To Me" this time with a disconnected and produced reggae sound. The original promo version of "Make Love To Me" is also featured on the compilation "Gilles Peterson Digs America Vol. 2" Social media links: Her sons page to promote her https://instagram.com/hestoncleveland?utm_medium=copy_link https://twitter.com/cclevelandmusic?s=21 Her sons page to promote her https://twitter.com/clevelandheston?s=21

Episode 29: Becky Reardon - Finding the Moon Becky Reardon describes herself as “In the music” Her songs, tell us about the human community, our mother earth, and the reverence, and awe, and humility, and joy, and solace, and deep understandings that can rise up when you make time and space to listen to what she has to say. Becky Reardon's voice is familiar to the millions of people who heard her sing on the Charlie Brown TV specials (Charles Schultz called her his favorite singer!). She is a composer whose songs and rounds are sung by community and university choirs, and song circles throughout the US, Canada, British Isles, and Germany. Sometimes jazzy and fun-loving, sometimes trance-inducing and deeply spiritual, her music always conveys her passion for the natural world and the cycles of life. She teaches and performs nationwide, using improvised singing and movement to inspire singers to write their own songs. She is currently writing a musical about a women's singing circle. Delicious Quotes If you know anything about Juniper trees, their bark starts hanging off of them. But if you've ever had a Juniper in a fire and you've split a piece of Juniper, the center of it is dark pink. it's "red is rose." And so, I wrote this song to compare myself to a Juniper tree that was growing older and feeling myself, and going through my years, just being in the bright blue sky out here and still having a lot of passion in my heart....when I'm receiving writing and working on a song, I am trying my very best to make the song, carry the feelings that inspired the song. So that when you sing the song, you go to the place that, that I felt. I try, I really try hard to do that....you look around he community ...and you ask, what does that community need that I have something special to, to give to? What is my special thing that I can give my community? So, there's that part of it. And also, there is your own desire. And maybe that part comes first. Its like, “what do I love to do?Transcript BC: [00:00:00] If you're lucky, every once in a while, you cross paths with a singular soul whose way in the world Intersects with yours at an inflection point that contains a powerful lesson that makes profound sense for you, in that moment. Becky Reardon is one of those, at least for me. We met at a while back during the deep mask times. On a bench by the San Francisco Bay. She and her wife were visiting my friend and Change the Story / Change the World musical collaborator, Judy Munson. Now, Becky describes herself as “In the music” I'm thinking, it's more like, “She is the music.” And that music has a compelling story to tell about the profound wisdom that surrounds us here on our planet. Her songs, tell us about humans, and our mother earth, the reverence, and awe, and humility, and joy, and solace, and deep understandings that can rise up when you take the time, and make the space to listen to what she has to say. We're all lucky that Becky has been kind enough to share those songs through her records, and concerts, and workshops all across the country, over the past decades. We spoke in the spring of 2021 about these things: The natural world and community, and the place of songs in the spaces where they come together. This is. https://change-the-story-chan.captivate.fm/listen (Change the Story / Change the World): A chronicle of art and community transformation, I'm Bill Cleveland. Listeners, you will notice that this episode includes a lot of Becky's wonderful music. If you are interested in hearing more, you can go to https://beckyreardonmusic.com/ (beckyreardonmusic.com) or click on the link in our show notes. Now here's Becky sharing, among other things, her recipe for finding the moon. BC: [00:02:07] Part 1: In the Music So, it looks like you've returned home in one place in one piece. Yeah. Yeah. BR: [00:02:14] To one place, one piece I'm here. Glad to be here.  Were you out at the bench this morning? BC:... Support this podcast

THE NOUVELLA: STORY-BASED COMMUNITY ARTS TRAINING Hi I'm Bill Cleveland, the host of https://change-the-story-chan.captivate.fm/listen (Change the Story / Change the World.) This week we are going to share something a bit different. In June of 2021 I participated in an international conference convened by the https://artsinsociety.com/ (Art in Society Research Network.) My part was a presentation about using story-based strategies for community arts training. Because of the pandemic, the conference was entirely online, with most of the presentation were delivered asynchronously, or what I call In UNREAL TIME, Which I have to admit is not my favorite mode of teaching. My response was to use a few stories about how using stories help prepare artists and their partners from other community sectors for work in communities and social institutions.  What we came up with is a game show, a scene from a novella about artists working in prison, and a visit to a fake town in the midst of a harsh reckoning around issues of race, justice, othering, and belonging.  Welcome to a special edition of change the story Change the World —- as we pay a visit to the 16th Annual Art in Society Conference.  ***** Hi: I'm Bill Cleveland. I am speaking to you from, Alameda CA, near Oakland which is the traditional land of the Ohlone people and home our county's new VP Kamala Harris.   I run the Center for the Study of Art & Community Our name is a mouthful to be sure but we have a pretty simple mission. Which is basically, helping to Create new community art partnerships in service to building caring, capable & equitable communities and then telling the stories that rise up. Over the past couple of decades, the Center has done that by conducting research, providing cross-sector community arts training, and producing studies, articles books and a podcast on arts-based community development and social change efforts all over the world.  Enough about us. I'd like to begin this presentation by inviting you to participate in one of our fabulous Quiz shows.  The show is actually a little game called TRUTH OR NO. The object of the game is to spark your imaginations and have a bit of fun. To do this you will need write a few things down, Yeah, I know you thought this conference would be just sitting and watching, but please, indulge me here. I'll give you 30 seconds to grab a pencil and paper.  OK now lets start. The game goes like this: In a little bit I am going to share 4 really short-stories that may or may not be true. Your job is to identify the ones that are false. Before I start t you will need to write 1 through 4 on a piece of paper. Now after each little story I tell write T for those you think are true and N for No for the fabrications. This will happen very fast. So here we go.  Space Out: Way back in the 20th century the US Space Program felt they needed more public support. So, they decided to engage artists to help them to draw more positive attention to their efforts. This NASA arts program started with a bang – hiring Oh Superman, Laurie Anderson and Pop artist, Robert Rauschenberg as resident artists to make art celebrating the exploration of the cosmos.  CRACKED: Once upon a time A group of neighbors found themselves with a crack house problem. They responded by engaging law enforcement, zoning officials, and the city council, all to no avail. In their desperation they turned to a group of artists from the community. These artists went crazy, whipping out a mural that was so powerful that within 24 hours of its completion the dope peddlers had totally fled the scene, never to return.  MAXED OUT: If you are incarcerated in SuperMax prison you spend 90% of your life locked in an 8x10 cell and will breath fresh air only 60 minutes a week. A woman artist who felt that this was a terrilble thing decided to use her... Support this podcast

CSCW EP 24: David O'Fallon - Power PlaysPlease know that this episode contains descriptions of war that include violence and psychological trauma. We endeavor to do our best to engage these hard stories with care and respect. Please also be aware that there is a lot of hope, healing and optimism contained herein. We hope you will join us whenever you are willing and able. Threshold Questions and Delicious QuotesOf what use are the arts in these turbulent times? I think one of the most powerful technologies we have is to actually be in the presence of another person. ...We could go on about how many friends you have on Facebook, how many things you posted on YouTube, how many hits on Instagram and so on, it takes a different kind of courage to be in the room with the person, sharing your story, or listening carefully, looking somebody in the eye, there's a physical presence that you must deal with, and that for me has always been the power particularly of theater,... Why humanities and vets? But if you've been in a room with men and women, who've been not all it in combat, but just in service in this almost invisible war, that's still going on, as you and I are talking today and they're not seen as fully human or they think once with a fly over at a football game or something yeah, the power of literature of storytelling of theater of music of creation is unbelievable. it's deep and it's strong and its essential. You want to go back to basics. You asked about, story and in some ways these men and women live the power of story. What is the value of stories in this hard boiled cynical world? So, I think the struggle has always been who gets to tell your story. Do you believe you can tell your own story? And a lot of people start out by saying, I ain't got nothing to say. I got no story to tell. I don't do anything. Who am I? So that's where all of us who tried to work in the arts world have had to create a vessel if you will, and the structures of support and encouragement, so that in fact, a person can say," I got this poem I wrote, I've been keeping it underneath my underwear drawer. Maybe I'll say it out loud." And they do, and they discover a voice. Why are new stories particularly important now? ...the fact is the world is changing and we have dominant stories right now, some of which are being told by genuinely evil people that denigrate others, that build walls and shut people out, and hurt children in cages along the border, because they're not seen fit to enter our country. Who's telling that story? Who gets to tell that story? And there are many voices trying to tell another different story, and I'm going to be very blunt right here. I think those who are wishing and working to create a nation that's based on patriarchal white nationalism, they will fail. That world is impossible, but they can do a great deal of harm as they push that narrative, CSCW EP 24: David O'Fallon - Power Plays Transcript Bill Cleveland: David O'Fallon builds things. Theater sets, theater companies, 12-foot puppets, visionary art schools for teen artists and community musicians, theater programs for veterans from the Afghanistan and Vietnam wars, and more. The through line for David's wonderfully twisty journey is a couple of simple, but powerful questions. What is the story you want to tell? and how can it be shaped and shared with your community? Which of course are also the central questions we ask all of our guests. Please know that this episode contains descriptions of war that include violence and psychological trauma. We endeavor to do our best to engage these hard stories with care and respect. Please also be aware that there is a lot of hope, healing and optimism contained herein. We hope you will join us whenever you are willing and able. This is Change the Story, Change the World, a Chronicle of Art and Community Transformation. I'm Bill Cleveland.   Part One: Relations. BC: So, I'll just begin... Support this podcast

Episode 21: Justin Laing: - Taking Back The LandJustin LaingBefore starting Hillombo in 2017, Justin worked as a Senior Program Officer of Arts & Culture at The Heinz Endowments for more than a decade. His work focused on small and midsized arts organizations, out-of-school time arts education, and Black arts organizations, with a particular interest in participatory grantmaking. He came to philanthropy having worked for ten years as the Assistant Director of Nego Gato, Inc, an Afro Brazilian Music, Dance, and Martial Arts company where he taught, performed, and ran the day-to-day operations. Justin has a BA in Black Studies from the University of Pittsburgh and a Masters Degree in Public Management from Carnegie Mellon University. Justin serves as the co-chair of ArtsinHD, an arts planning and creation process in Pittsburgh's Hill District to support the neighborhood's master plan and mark the neighborhood as a place for liberatory Black culture. Justin is the son of Susan and Clarence Laing, the father of Kufere, Etana, and Adeyemi Laing, and a member of Omega Psi Phi Fraternity. Threshold Questions And Delicious QuotesWhat does "taking back the land mean? the idea ... was ...from a person named https://en.wikipedia.org/wiki/Am%C3%ADlcar_Cabral (Amilcar Cabral.) This idea that you work in small territories. [...] you try to take back the land, like square mile by square mile. So, I was working in one major place called the Hill District... And culture was a critical piece to liberate our minds and the way that European culture oppressed black people was through this indoctrination of its art, its culture is everything is being superior. And so, culture had to be part of the strategy.You talk about working constructively with the tensions that are present in many organizations. What does this entail? So, one of the ways that I've tried to do that is by naming some of these frameworks, whether it's white supremacy, culture, what fragility, white privilege, and like you said, trying to bring that into the organization so that, that can be part of the official speak. Because again, going back to that black studies beginning, there was a whole lot of language that wasn't allowed that I didn't see being taken advantage of the nonprofit arts sector at all.You see racism and capitalism as intrinsically connected in our society. How does this play out in your work with nonprofit arts organizations? ...we're supposed to be the bravest ones, the creatives... and I've been starting to see, the class contradictions battle inside an organization. Cause you're raising issues that people have different interests in and I think that's, that's a bit of the tension that you're facing, one thing I've been trying to understand more is the intersections of patriarchy, capitalism, racism inside organizations. And to the extent that we are talking about racism, there's some level of tension. I think the extent that we include capitalism in that, there's even more tension about that.What is the meta-message of a Euro-centric culture? ...all of the things that are happening when you go into an orchestra performance. And the way that you step into space and you engage the regal-ness of it, and the carpet, and the chandelier's and everything is sending a message that you are now in sacred space. And I think if you take this idea of ideology, that is its own aggression, TranscriptBill Cleveland: [00:00:00] Hey there. Ponder, if you will, a few unlikely juxtapositions: Capoeira the Brazilian martial arts, spiritual and dance practice, Karl Marx, The Pittsburgh Penguins. How about the Heinz Endowments, white supremacy anti-racism, and the Minnesota Orchestra? If you're curious, keep listening. This is https://change-the-story-chan.captivate.fm/listen (Change the Story, Change the World), a Chronicle of Art and Community Transformation. My name is Bill Cleveland. Now, Justin Laing is a pioneer of sorts in that he helps arts and... Support this podcast

Episode 19: Mary Cohen - Freeing Silenced VoicesThreshold Questions and Delicious QuotesHow can singing a song help change the mind and the heart? ...the thing about singing that's really valuable for me at least is it's embodied. We're using our breath. We're using our voice. We're using our ears. We're feeling the vibrations in our bodies. So being able to do that with other people is super- it can be powerful. One of the students in the peace building class last spring shared such an insightful comment. She said, if you're in there singing together with your eyes closed, we don't know which voice is going to be walking out of the [00:31:00] prison at the end of the rehearsal, in which voices be staying in the prison. What is ubuntu, and how does it relate to prison choir work? Ubuntu Is that beautiful concept from South Africa, meaning a lot of things, a person as a person through other people. Desmond Tutu defined it as, "my humanity is inextricably bound with your humanity". ...But we need to know who we are and be at peace with ourselves in order to step forward and find our sense of common humanity with others...you can only imagine a choir has songs with lyrics and some of those lyrics may resonate with one person and not so much with someone else, particularly if it's songs that have some kind of a religious connection. However, if we [00:12:00] follow deeply the idea of Ubuntu, we ideally can sing these songs because we're looking at our relationship with the larger communal body when we're singing together.What do the Oakdale Prison, the Soweto Gospel Choir, and the TV show Friends have in common? I found a song calledhttps://oakdalechoir.lib.uiowa.edu/2019/06/04/changes-we-choose/#more-694 ( How Shall We Come Together) by ... Maggie Wheeler. Do you know Maggie? ... on the TV show Friends, Maggie played the role of Janice. The character that would go "oh my God", that's Maggie! ...So, I contact Maggie completely out of the blue to ask permission to use her song. And after a series of conversations, Maggie's like "Mary, you want to use my song in a prison with the Soweto gospel choir? I'm coming to Iowa". How can a prison choir contribute to prison abolition, to excarceration? You know, we have 3,144 different stories of prison growth, one for every County. So this imagination that the abolition thinkers are requiring of us needs to [00:34:00] happen at a very local level, and the way that I've tried to apply it through the building class I've started, and through the work we do with the choir is that local space of creating the healing needs to happen internally, each person developing a sense of inner peace building. That's the project, the primary project we do in this class, and in the Oakdale Choir, we've actually done it these 10 years through the writing exchange changes where the choir members write reflective components and they share it with one another and that broadens their awareness of what people are experiencing, what their stories are related to each choir season, the songs we're doing, the original songs that have been created. Transcript Bill Cleveland: [00:00:00] I'm curious, is there something more to singing than just voices moving the melody and the words out into the world? Can the simple act of singing a song together, turn a deeply feared "other" into an "us"? Mary Cohen thinks so, actually, she knows, so because she's been doing just that for 11 years at Iowa's Oakdale Prison. This is https://change-the-story-chan.captivate.fm/listen (Change the Story, Change the World,) a chronicle of art and community transformation. I'm Bill Cleveland. As you're probably aware the us has one of the world's highest COVID death rates. Sadly, we also bear the distinction of the highest per capita prisoner rate, by far, leaving Turkmenistan, Russia, and China in the dust. The enormity of our prison population, we have a little over 4% of the globe's people in 25% of its prisoners,... Support this podcast

Episode 15: Sharnita Johnson – Queen of Community Threshold Questions & Delicious QuotesWhat was the path that led you into cultural philanthropy? I never saw anyone that looked like me, a black woman in philanthropy, in a city like Detroit, which is where I'm from, which has I think the population is like 90% African American so it just never clicked. that was something that I could do, even though I certainly had the skills and the education, et cetera. Until I did see someone who looked like me, a black woman in philanthropy, who became a mentor to me and, helped pave the way for me to get into the field, which was not easy.You were involved in some contentious debates about the appropriateness and value of public art when you worked in Flint Michigan. What did those struggles teach you? This commissioner at one point came up to me years later and said, I just want to apologize to you. I was a little bit confused, and I said, “Apologize for what? And he said, “I gave you so much flack about that mural, but I love it. I look at it every day. I can see it from my house and when my family and friends come to visit, it's the first thing that I showed them.”So that was again, transformational because I just saw what the power of love and the arts can doAre you thinking that when ... the doors reopen, when the streets repopulate, that there's a particular role for the makers and creators in our community to help with that. (pandemic reconstruction) There is a critical role, and I'll say, as devastating as the pandemic has been for all of us, and particularly, those who have lost loved ones, and the communities that have been devastated, but the creatives are still creating. I was on a zoom earlier with some young public artists, ...and they're telling this story ... in a way that journalism isn't going to tell it. They're going to tell ... it through pictures and stories and music and poetry. Transcript Bill Cleveland: Now, if you peel back the wrapping on a concert, play a festival, a poetry reading, or an art exhibit in most American communities. You'll find the indelible fingerprints of what arts folks call funders. These arts funders come in all shapes and sizes. There are local, state, and national funders on the public side. There are individual donors, and then there are private individuals and foundations whose contributions are often referred to as cultural philanthropy, which, in 2017, contributed nearly $3 billion to America's artists and arts organizations. Needless to say, the people who manage the programs that grant these funds have an interesting job. Who wouldn't want to give away money to deserving folks in their communities? But, as is often the case, it's harder than it sounds. The job certainly comes with the power to influence and do good. But, also the responsibility to apply that influence judiciously with the clear understanding that gifts given with the best of intentions can do harm as well. Throughout my career, I've worked with many funders on the giving side and as a recipient, and advisor. Along the way I've had the privilege of collaborating and learning from some truly creative and insightful souls. Shanita Johnson, who is the https://www.grdodge.org/what-we-fund/arts/ (Arts Program) Officer at the https://www.grdodge.org/ (Geraldine. R Dodge Foundation), is one of these. As you will hear in this episode of Change, the Story, Change the World. She's one of those unique people who can deliver both the good news and bad inherent to her work, all the while, maintaining the trust of the people in communities she serves. This is https://change-the-story-chan.captivate.fm/listen (Change the Story, Change the World), a chronicle of art and transformation. My name is Bill Cleveland. In my conversation with Shanita Johnson, we start off with a short discussion of prison arts and the possibility of sharing videos of prominent poets performing at the https://www.dodgepoetry.org/... Support this podcast

Episode 14: DIVA CATS - PART 2 Threshold Questions and Juicy Quotes You artists are volunteers right? "No! We're professional artists. Everybody gets paid and they get paid well" because I won't have it any other way" They may say, "Oh, well, isn't it nice that those men are able to learn some arts and crafts stuff?" No, we don't use paper plates or pipe cleaners, and to Pacia's point, we are not trying to help them. They are learning to figure out how they can help themselves. Con Christeson What does sustainability mean when you are working with vulnerable people and communities? I'm sure that Roseanne and Con can both attest to it, you don't really clock out from these kinds of things. you don't take your teaching artists or community care or counselor or administrator hat or smock off when you go home. Right. So the biggest way is that the work has shown up is that it's always present, you get phone calls, you get emails, you're invited to come to this thing, you don't, clock out, you know, It's like your partner or your child or your parents that you care for. Right. It's omnipresent. It's always kind of over here. Pacia Anderson What does "with not for" mean? Doing something with a group of people means you're side by side with them, you are succeeding and failing with them, you are listening to each other. You are understanding what needs to happen. When we come someplace and we have a plan, then we are doing something for a community. We're not listening to the community, to the people there. We don't know all the things that are going on underneath the surface because we think we're doing something for people because we decided they needed it. Who are we to decide? Roseann Weiss Where does the work fit? In the altered landscape that has emerged around us?  (I am experiencing) ...my accountability, shifting of power, amplification of marginalized voice, liberation of all oppressed people everywhere, more than I feel like I've ever seen in my forty-two years. (In this context the creative process works ) ...as medium, as conduit, as inspiration, as catharsis as an example of possibility as documentation. Yeah, as the material and inanimate embodiment of what an artist is. Pacia Anderson TranscriptPacia Anderson: ...And though distance may divide or routine in time rendering your spaces high as the tide Still the look that holds tight two the ends of the flash back I am rich memories I am fond intensity Held in place by the mere desire to create it When one comes alive When our atoms collide With twin flames, one desire Sacred names bathed in fire, bathed in fire, bathed in fire fire, fire, fire, fire Still life pretty and shinny I could hold its sweetness in my hand Tickle the linchpin Stroke the beautiful danger A delicate malevolence The simple and gentle miserable symbol hold this opus the explosive closeness So focused that I didn't notice the dagger in my back... BC: That was Pacia Anderson, or as she calls herself Pacia Elaine Anderson, one of the three remarkable women we have dubbed, the DIVA Cats, who shared their wisdom and stories in our last episode. In that conversation they talked about the different paths that led them CAT, the nationally recognized https://racstl.org/art-community/community-arts-training-cat-institute/ (Community Arts Training Institute,) at the https://racstl.org/ (Saint Louis Regional Arts Commission). In this episode we dig deeper into the CAT story with questions like: What makes a CAT, and what difference does it make in places like Ferguson and the https://www.facebook.com/peterandpaulstl/ (Peter and Paul) facility for unhoused men.  From the Center for the Study of Art and Community, this is Change the Story, Change the World. I'm Bill Cleveland  Chapter 4: Re-imaging the Village BC: So, Con. You've been involved now in putting pen to paper around practice a couple of times you got your beautiful little book, and... Support this podcast

Episode 12: https://issuu.com/williamcleveland/docs/story_story_full_issuu_pages (Story story) Check out the film version of Story story https://youtu.be/CXNojjZHvC (HERE)And the book version https://issuu.com/williamcleveland/docs/story_story_full_issuu_pages (HERE)TranscriptIn the beginning there was a word, the word, a word, I don't know but that word doing its best o state afloat at the confluence of time and space spinning at the hot center of the minds-eye vortex had no choice but to go forth and multiply and…beget a Story  These are the first few lines of a prose poem called Story story, which will be shared in full later in this podcast. It comes from the soundtrack of a film of the same name that explores the evolution of "story" as an essential aspect of human development and history. In this episode I will share the story of Story story, what prompted it and how it evolved. Along the way we examine some threshold questions: Where do stories come from; what is their function, and most importantly, what is their power for good or ill? From the http://www.artandcommunity.com/ (Center for the Study of Art & Community), this is https://change-the-story-chan.captivate.fm/listen (Change the Story / Change the World.) I'm Bill Cleveland. Part 1: Art and Upheaval In the early spring of 2005, my wife Carla and I found ourselves unpacking in a small, well-appointed room in a 15th-century Italian palazzo named Villa Serbelloni, overlooking the blue expanses of Lake Como. We had traveled to northern Italy at the Rockefeller Foundation's invitation to spend a month as residents of the Bellagio Retreat and Conference Center. I had come to write, and Carla, to paint. My book project, called Art and Upheaval, would tell the stories of artists working on what I was characterizing as the world's frontlines, which translates literally as eleven communities across the globe facing extreme conflict and disruption.  During our time there, we shared meals and good cheer with the dozen or so artists and scholars who were our fellow residents. Many mornings Carla and I started our day across the breakfast table from a poet from Maine named Wesley McNair and his wife, Diane. Wesley's poems, which I came to admire a great deal, were powerful, intense, and often very personal.  One morning, he shared a work in progress describing an abusive encounter between a New York couple and a clerk in a roadside store near Wesley's home in rural Maine. Like most of his work, it was short and unsparing. By the time he looked up from the page, there was no mistaking the deep sense of violation he felt when fair weather and fancy cars heralded the annual migration of a particular species of callous interloper to his beloved rural refuge.  Over the next day or so, I pondered the story — particularly the blithely self-absorbed couple whose fast-accelerating BMW concluded the poem. No doubt, the clerk had been mistreated, and by extension, the community sullied. But I also felt an intense curiosity about what those two were talking about as they continued up the coast. Did they have any idea what they had left in their wake? Were they oblivious, or sorry? Did they argue? I guess you could say I was interested in the “other story” revealed in that disturbing scene in the store. Who were these people, and why did they act that way?  These questions led me to reflect on my work at the Villa. I was spending my days exploring the lives of artists working to heal and provoke change amid appalling conflict and trauma in places like Northern Ireland, Watts, California, Milosevic-ruled Serbia, and post Keymer Rouge Cambodia. My efforts to animate these harrowing and inspiring stories respectfully and compassionately had been humbling. In the process, I found myself caught up in, no, actually overwhelmed by the infinitely faceted, interconnected... Support this podcast

Episode 9: Erik Takeshita - Creative People PowerDear Listener: In this podcast Erik describes agency and connection as essential elements for emergence of creative people power. If you are interested in exploring this idea further here are two resources that might be of interest. https://springboardforthearts.org/creative-people-power/ (Creative People Power Web Site & Report @ Springboard for the Arts) Small Towns, Big Stories: Arts-based Community Development Makes its Mark in Southwest Minnesota - A Center for the Study of Art and Community Blog Post Threshold Questions & Juicy QuotesWhat do the challenges inherent to equitable philanthropy, light rail construction and the sanctity of sacred space have in common? Art and Culture exists everywhere... it needs to be be nurtured. You know, there is solar power, because the sun exists, or there is wind power because the wind exists. And what we need to do is create the capacity to harness and transmit that (cultural) power that exists. Why art and culture in these challenging times? I would say that art and culture is... most essential when we as individuals, and we as communities are struggling, because it's actually part of what makes us human. It's part of what creates our connections to our humanity, but also our connections to one another. But it's it can be the kind of glue that can help bind this together and common experience and inspiration and ideas. How do human creative capacities contribute to building caring, capable, just communities When people have hope, and agency, and they have connections, that can then lead to collective efficacy, That's a kind of a necessary underpinning for me about how change happens in communities. And what's interesting to me is that art and culture becomes an easy on ramp for this, it becomes a way to practice some of those skills. it becomes a way to help give people a sense of agency and a sense of hope. Transcript Bill Cleveland: So, what do the challenges inherent to equitable philanthropy, light rail construction and the sanctity of sacred space have in common? Well, according to Eric Takeshita, they all meet in a place he refers to as creative people power. Now, Eric is one of those rare individuals who make an impression and a difference by calling upon both the head and the heart. I spoke to him about his life's path in early 2020, just before the COVID justice/stew began to boil over.  From the Center for the Study of Art and Community, this is Change the Story, Change the World, a chronicle of art and transformation. I'm Bill Cleveland. Part One: Shoulders, and Ladders.  BC: You are the first person that I have ever seen use one of those back scratchers. Yeah.  Erik Takeshita: Oh yeah, I love these. I have one here on my desk, I use it all the time. BC: That is wonderful. That is  ET: I have two, I have one here and one upstairs. BC: There you go. Okay, a true addiction. So, I'll just start. You've had a long and a storied career in a world that spans many realms, some of which don't normally come together, our community development, storytelling, art making being a potter. So, I'm just going to ask, how do you describe what you do in the world?  ET: I'll try to answer your question by naming what I'm most interested in. And my passion is this nexus of, of how art and culture can be leveraged to create a healthy, more equitable, and sustainable world and planet and community. I have been very, very fortunate to have had a number of different platforms from which to pursue that passion. I've had the opportunity to work in the community development sector, I've had the opportunity to work in the arts community, I've had a chance to be an artist, I've had a chance to work in philanthropy, I've had a chance to work in government. But what I would say is that through the through line for all that work is really the, for me, it's this intersection of how Support this podcast

Episode 7: Barry Marcus - Creative Culture Dear Reader: Barry Marcus' story about Creative Culture touches on a number of questions related to the impact that arts learning can have on youth development. One of these is how active art making can strengthen a sense of ownership and agency in young artists. If this peaks your interest you might want to take a look at : http://www.creativeplacemaker.net/blog (23 Admonitions, Insights and Ideas from the Great Masters) at the Center for the Study of Art and Community's website. Transcript Bill Cleveland: Barry Marcus is clever, funny, and a good friend. He also personifies one of my favorite human characteristics; that's quirkiness. You never know what he's going to do, or say, or sing for that matter. Barry Marcus: The duck goes quack, the cow says moo I say hello, how do you do? You talk to me and I'll listen to you Talking and a squawkin'' till our lips turn blue  BC: Now, that's Barry singing the title track from his CD of children's songs. These days, he describes himself as a visual storyteller. Back in the 90s, when I met him, he was not only a prolific songwriter, but also a therapist and a director of children's mental health programs. Although the first spark in our friendship was through music, our enduring connection has been fueled by our mutual passion for exploring the kinds of questions that have sustained our lives work and giving rise to this podcast. Namely, can the creative process be a potent force for healing and change, and if so, how do we do that really, really well?  From the Center for the Study of Art and Community, this is Change the Story, Change the World and I'm Bill Cleveland. We're calling today's episode creative culture, and today's conversation with creative culture, facilitator, and advocate Barry Marcus took place during May of 2020. For myself in Alameda, California and Barry on Bainbridge Island near Seattle, we were coming to the end of our third month living at the intersection of six feet and Sequesterville. Part One: Rhythms and Seasons. With your permission, I would like to ask you to recount a piece of your history. A focus of bringing creative process to bear on very difficult circumstances, particularly for young people that you were serving at the place called Families First. Would you be willing to talk about how it came about, how you came to it, and what happened? BM: Well, can I give a little prelude to that?  You know, I was at the Sacramento children's home for 13 years prior to that. And because of my role as one of the directors, holding the position of intake, and seeing how people translated what an intake summary looked like into their day to day residential care. These kids were 24 hours a day in the care. In both circumstances--the children's home and Families First--these are kids that blew out of foster homes. Multiple, five, seven foster homes are had very acute and dramatic needs to be removed. They were in institutions, and the people that worked with them primarily besides the clinical step are really the line staff, and they're called childcare work. And they would look at an intake summary, and they would see this description of a troubled child, most often, behaviorally, because that's how children experience trauma, and they would define them by their deficits. So, the first thing I did was I created a thing called “guess who's coming”. Instead of saying, here's this broken-down kid and that's it, I said, here's the profile of our newest guests. And the first they thought it was a joke, but it said, Oh, no, I want you to treat this child like a guest.  So, in essence, what I really knew was that these children could be relegated to the garbage basket, as soon as they entered the door or sometimes even before. I was recruited as a creative person. What I wanted to do is use the institutional setting as a community of creativity, and use the children's lives and... Support this podcast

Transcript Episode 7: Sandy Agustin - The Navigator Sandy Agustin: Why do you want to change? Why do you want to change? Now? What do you all hold true? What do you see as missing? It's asking the right questions, finding really generous and generative questions. And when people get stuck, sometimes we push, and we name what's hard. Sometimes we just shake it up and we have to move around. We have to play a little bit; we have to think and move physically through the space to get to something different. So, in many of the cases of the groups I've been working with lately, I find out that they've had the ruby slippers on, and the ability all the time. They just are looking at things through a lens that wasn't necessarily theirs, you know.  Bill Cleveland: From the Center for the Study of Art and Community, this is Change the Story Change the World, a chronicle of art and transformation.  I'm Bill Cleveland. Like Leni Sloan, from our first two episodes, SA: is what one might characterize as a creative polymath. A dancer, choreographer, university and community educator, a producer, a community leader, healer, an artful alchemist whose work in the US and overseas spans three decades. She's fueled her explorations and adventures with questions. “What's your story? Who are your heroes? Where do you want to go? And how can we help you get there?”. I spoke to Sandy in mid-May of 2020 in the midst of the global question, mark that I've been calling Planet COVID. Certainly, a suitable moment for a lively conversation with somebody who describes herself as a navigator.   Part One, Learning to Drive.   So Sandy, this may be a daunting task for you because you're so many things to so many communities, and so many different people, but give it a shot. Try to describe what it is you do in the world.  SA: Okay. I have had to define this more and more right, as the world has gotten more complex, and for me to say what I do is that I'm a creative navigator. If you say, you want to go to a place, let's say you want to go up north to a particular town, my job would be to help you figure out what kind of car is the right car? What kind of fuel is the right fuel? If there are stops along the way, to define why is that the best place, and who are the people that should be in the car or who are the people in those places that you want to see along the way. So, it really is helping me individuals and organizations that navigate where they're going. My methodology is creative, and creative means anything that will get us out of only intellectualizing the story. But to find the heart of the story, that may be writing, it might be movement, it might be being really silly and playful and being humorous, it might be individual writing, and it might be talking in small groups or communicating and story sharing with one other person. BC: So, the metaphor you're using is the journey. road trip, actually one of my absolute favorite things, using creative tools and strategies to help folks and communities navigate a journey of decision making or change. Can you share an example? SA:  Maybe most recently, the Regional Arts Council, they're looking at equity and equitable giving, giving to communities that haven't typically been given to before. You want to look at what, what has been your vehicle of choice or inherited vehicle. Are those still the right ones? Why do you want to change? Why do you want to change? Now? What do you all hold true? What do you see as missing? It's asking the right questions, finding really generous and generative questions, and when people get stuck, sometimes we push, we name what's hard. Sometimes we just shake it up and we have to move around. We have to play a little bit; we have to think and move physically through the space to get to something different. So, in in many of the cases of the groups I've been working with lately, I find out that they've had the ruby slippers on and... Support this podcast

Threshold Questions and Juicy Quotes:Can collective creation change settled world views? I mean, there are a couple of Mexican families in Brussels. They're no black folks. So, I would always kid that I was like, you know, that's a cute little house, and if I bought that, I'd be okay. Like, yeah. You know, for some of those students, this was prayerfully life changing in how they see folks and communities that are different than them and for our students from Normandy. Can we build lasting bridges between communities separated by race and culture? You've got to have people love each other. You've got to have people like, "Can't wait to see you at rehearsal."... because then on stage, I got your back ... that experience it was so affirming to me about the power of just having people just talk to each other, you know, so they fell in love with each other. I fell in love with them.   What kind of leadership grows community ownership and accountability? I'm humbled by the whole experience. You know, because often people don't know or really care who the director is, and that's okay. That's my goal. So, it's nice to just be on the ferry and nobody know what my roll was in it and hear people like, this is so cool. Oh my gosh, I can't believe we're doing this. Linkshttps://www.facebook.com/pages/category/Performing-Arts-School/Blackberry-Productions-724325074317604/ (Blackberry Productions) https://stlshakes.org/ (St. Louis Shakespeare Festival: ) https://stlshakes.org/in-the-streets/ (Shakespeare, in the Streets) https://nyupress.org/9780976605461/art-and-upheaval/ (Art and Upheaval), https://vimeo.com/6034613 (Wedding Community Play). https://www.facebook.com/CHIPSHealth (CHIPS Health: )Community Health-In-Partnership Services (d/b/a CHIPS Health and Wellness Center) is the place where uninsured and underserved people in the St. Louis metropolitan area can receive free primary and preventive health care services. Bread and Roses Missouri An organization with the mission of organizing arts and humanities projects about workers and their families.  Transcript Margaret Mischeaux Next week is a very big week. It will not only be the 24:1 festival, but it will also be the premiere of Shakespeare in the Street, Love at the River's Edge, a rendition of As You Like It with a little bit of a twist. We are combining the counties of Brussels and St. Louis's 24:1. So basically, we talk about the divides into two communities; our similarities, our differences, our very unique ways of living. Bill Cleveland: From the Center for the Study of Art and Community This is Change the Story, Change the World, a chronicle of art and transformation. I'm Bill Cleveland:. The voice you heard at the beginning of this week's episode was Margaret Mischeaux. A student and actress from Normandy High School, near St. Louis, who was one of the dozens of people touched by the story we are about to tell. We call this week's episode of Change the Story, Change the World, Love at the River's Edge. In it, we hear from actor, director, dancer and educator Kathi Bentley, whose life's journey has taken her from St. Louis, to the Freat White Way, and back again to the home of the Gateway Arch. Along the way, we learn how an aspiring young thespian grows to become a respected theatre professional, anti-racism activist, and recipient of the 2020 St. Louis Visionary Award.  This tale of two cities segues nicely into another powerful story of two extremely different places: the very rural Brussels, Illinois, and the St. Louis ring city of Pagedale, Missouri whose citizens are brought together by way of the unlikely interlocutor of William Shakespeare's, As you Like It in the fall of 2019. Kathi's direction of this ambitious collaboration initiated by Shakespeare Festival St. Louis's Shakespeare in the Streets Program involved hundreds of community members from both towns, as well as the Normandy School's Collaborative, Brussels High... Support this podcast

Episode 5:  Beth Thielen - Love and Freedom  Bookmakers at San Quentin. Not surprising, given "Q's" clientele. But no, we're talking about real books with real pages that are awe-inspiring works of art.  Transcript Bill Cleveland: At the time, what came to be known as the classic or a version 1.0 was considered a modern marvel. After a short wait for what was called booting up, and a few clicks, the text seemed to appear magically on a ten by twelve screens set into a plastic computer case. Eventually, the white on black text gave way to a gloriously glowing black on white. Moving through the text was accomplished using a small, palm-sized oblong disk that was endearingly called a mouse. Unfortunately, the computer was quite heavy and wired, so reading was typically a one person, one stationary screen affair. Then, the "two point oh" model with names like Kindle and Nook changed everything. It still had a screen and needed juice, but the wires were gone, and it was small and thin and light enough to take anywhere without a hassle. Going through text with the push of a button or flick of a finger on the screen made reading almost fun. There were a few downsides, though. After you paid for the machine, you still had to fork over for whatever it was you wanted to read. The thing also needed charging, and eventually, they would quit working from being dropped or just wearing out, which meant you lost whatever you were reading, which wasn't that big a deal because you actually never really owned it.   But today, with the advent of the extraordinary Codex 3.0, also known as, "a book," all that came before seems quaint. This new text delivery system has so taken the world by storm, seven in ten humans now consider reading their number one favorite personal activity. While retaining the handiness and readability of its predecessors, this new model is both less expensive and far more versatile. This is due, in part, to the fact that after you purchase it, you actually own it, which means these books can be gifted or shared or even sold. There is speculation that eventually books will be collected in repositories that some are already calling libraries and could actually increase in value over time. But the most delightful features of these clever little packages of text are embodied in their design. Now, depending on their size, which is varied, they can fit neatly in your hands or lap for easy reading. They're ingenious cover, and page feature allows you to open, feel, and manipulate the enclosed paper sheets in sequence from front to back, the reverse, or even randomly. This is called browsing. If you want to remember where you left off, you can use what is called a bookmark or even bend the corner of those little pages. It's your choice. Another improvement is its sturdiness. You can drop it, sit on it, even step on it. And it will still function like it was new. And best of all, there are no batteries, no wires, and no moving parts. Finally, each book comes with a multigenerational lifetime guarantee that stipulates that with reasonable care and handling, each book will be fully functional for hundreds, if not thousands of years.  Bill Cleveland:  Excerpted from the "Modern Marvels of the Post Pandemian Epoch" by William T. William, 2047 A.D., also referred to as 26 P. P. E.  Bill Cleveland: From the Center for the Study of Art and Community, this is Change the Story Change the World. I'm Bill Cleveland. Bill Cleveland:  Long before the advent of Books, Inc., Amazon, and the Kindle, the making of books was considered a vital and essential art form. Over many millennia, the connections forged between humans and their books were seen as both fundamental to human progress, and as sacred and dynamic relationships. Given this, if I were to add yet one more evolved stage to the oddly imagined Future Books saga I just shared, it would be embodied in both this venerable history and in... Support this podcast

This week we'll meet activist/performer/impresario and historian Lenwood O. Sloan, a man whose extraordinary career has unfolded like a half century-long social change musical. THRESHOLD QUESTIONS AND DELICIOUS QUOTES?What defines a "gunrunner for the arts?" "I try to take things that already exist, and through positioning and repositioning to create magic, you know, to motivate, but performance and visual art, literature and writing, film, you know, whatever medium is the best catalyst or elixir for the magic, but I'm a gun runner for the arts" ? How does history become an art form? "Well, you know, everything has a history, and everything has a story, and it's the human person that is the juice that brings the linear, sequential, chronological history, and oral tradition of storytelling together into art. It's not what happened in 1864, 1791, or 2018 you know. It's who were the people? What does it mean to you? What relevance does it have for your story today?" ?What can the historic struggles for the passage of the 15th and 19th amendments to the U.S. Constitution teach us as we navigate the Covid Universe? "You know African American women, 1918 to 1920, who were trying to not only support to vote for women but to find a place for themselves and that they were doing that against the landscape of the 1918 flu. They were doing it in a pandemic year. You know, they were doing it with their men coming back from World War One having segregation in their communities. They, they were doing it on the eve of a national election of 1920, and they were doing it on the eve of the 1920 Census." ?Monuments have often been used to distort and obscure our complex history. How can a monument reveal and celebrate these buried stories? "So I felt that it was essential that we do something old and big and exciting between the primary and the national election to call African Americans and women through the vote, and I felt that we needed to do something Bill that was not about ribbon cutting or confetti, but that we needed to do something bold and audacious" TRANSCRIPT Episode 2—Leni Sloan: A Gunrunner for the Arts Bill Cleveland: Leni Sloan's father was an iron worker in Pittsburgh, Pennsylvania. He made his mark scaling and helping to erect the tallest buildings in that city's newly soaring post World War Two skyline. When he wasn't climbing iron, Leni's dad would wander local fields lovingly netting butterflies for his precious collection. When Leni was a teenager, his dad took a fall on the job that put him in a wheelchair for the rest of his life. When I met Leni in the late 1970s, he described a play he was working on. A tribute to his father called Wheels and Butterflies, which, in turn inspired me to make this song. From the Center for the Study of Art and Community, this is Change the Story Change the World, a chronicle of art and transformation. I'm Bill Cleveland. When I was a kid, I fell in love with the 1930s movie musicals that would often appear on late-night TV. I'm not sure what it was that attracted me. I suppose their airy predictability was reassuring, a little romance, a little drama all wrapped up in a comforting embrace of those inevitably over the top song and dance numbers. "Hey, kids, listen up. I'm going to write a show for us, and we could put it on right here." Now, my friend Leni Sloan grew up watching those old TV shows too, and like me, he took them to heart. The first time I saw, Leni was on a Sacramento stage, starring in a musical played also written and directed called the Wake. The Wake also had a provocative subtitle, three black, and three white refined Jubilee minstrels. It had been commissioned by San Francisco's de Young Museum as a part of the 1976 us bicentennial celebration. The production I saw was in the middle of a three-year World Tour. The story was set in the backstage dressing room at the Ziegfeld Follies, where the ghosts of six famous minstrels, three black and three... Support this podcast

Bad home, Drugs, and prison. A predictable story? Sure, except when you throw in the National Cathedral choir, a geodesic dome, and the stubborn belief that art can save the world. This is the first episode of a new podcast produced by the Center for the Study of Art & Community called Change the Story, Change the World. My name is Bill Cleveland. In this first episode I share the very personal story of how this podcast came to be and try to answer why would anybody want to listen to it. It's a journey of many decades. It begins in the leafy suburbs of our nation's capital around the time that America started losing what some have called its innocence---Along the way we encounter hippie communes, the requisite drugs, sex and rock and roll, art colonies in prisons, and armies of artists doing battle with the likes of the Slobodan Milosevic, Pol Pot and the US Department of Justice. This week on Change the Story, Change the World, I share how my story crosses paths with the early history and extraordinary growth of the global community arts movement. THRESHOLD QUESTIONS AND DELICIOUS QUOTES ?Can the creative process be a lifeline for people who are struggling?   "The pervasive, penetrating pulse of all that music was a god damn miracle, all at once a soothing balm, a shattering depth charge, and a transcendent window into other dimensions." ?Can art help us re-imagine and recreate the social and cultural fabric of our communities? "One of the bedrock understandings of the hippie universe was, to coin a phrase “you can't always get what you want, but if you really need it, well, you can make it yourself.” So, in no time at all, we found ourselves imagining that we could make our OWN music.” ?What was CETA and how did it give birth to an ever-expanding community arts movement? "The prison partnerships we forged … were both groundbreaking and challenging. They taught is a whole lot in a hurry about what artists need to do to build trust with new communities and neighborhood organizations." ? How can art help change the toxic nature of America's prisons?  "In those instants, we could see prison artists kind of tuning in, you know, moving from static to clear reception." ?How can these transformative stories feed the development of a growing community of creative change agents? "By the end of the Art in Other Places Conference, we had a mountain of documentation on artists and programs from all over the country. We had made a commitment to NEA to produce … a report, but to really tell the story of what was going on we had to do more, much more." ?How can artists help re-build civic infrastructure, heal unspeakable trauma, and give new voice to the forgotten and disappeared? "Art and Upheaval took me on an 8-year global journey, documenting artists working in communities facing intense, real-time conflict and trauma.” ?What is Change the Story / Change the World and why should anyone want to tune in? "We are doing this because we believe that meeting the obvious and daunting challenges of this century is going to require a revolution of thought and deed — in essence, a new set of stories powerful enough to change beliefs and behaviors." LINKSThe Hangin' On, William Cleveland from https://itunes.apple.com/us/artist/cleveland-plainsong/id340743673 (Songlines, by Cleveland Plainsong) Washington's https://en.wikipedia.org/wiki/Howard_Theatre (Howard Theater) played host to many of the great Black musical artists of the early and mid-twentieth centur was billed as the "Theater of the People." https://en.wikipedia.org/wiki/Fritz_Perls (Fritz Perls,) a German-born psychoanalyst Perls coined the term 'https://en.wikipedia.org/wiki/Gestalt_therapy (Gestalt therapy)' to identify the form of psychotherapy that he developed with his wife, Laura Perls, in the 1940s and 1950s. Perls became associated with the https://en.wikipedia.org/wiki/Esalen_Institute (Esalen Institute) in 1964, and he lived... Support this podcast

The Shades Cahaba Owl has had a very interesting life. It first appeared when Shades Cahaba High School was built in 1920. It stood watch over the front entrance as “a symbol of learning to all who enter here.” It stayed there until the end of high school in 1949 and then it disappeared. No one seemed to know where it was. It wasn’t until almost 30 years later that the owl appeared again to take its place on top of the roof to look over all the elementary students who entered its doors. Why did the owl leave? Where did the owl go? How did it get back to Shades Cahaba Elementary School. All these questions and more are answered in this edition of the Shades Cahaba Oral History Podcast.Special thanks to the following people who helped me piece together this episode. Sheryl Summe, Laura Estes, Herb Griffin, Bill Cleveland and Dale Turnbough. And thanks to friends from Facebook who gave me stories and information in my search for the story of the owl. SPONSORThis podcast is sponsored by ShawnWrightArt.com which has a collection of Shades Cahaba Centennial shirts, sweatshirts, hoodies and accessories. They feature the centennial owl logo or the interlocking SC athletic logo. Get yours at https://www.shawnwrightart.com/product-category/shadescahabaSUBSCRIBESubscribe to the show at Apple Podcast, Spotify, Stitcher or wherever you subscribe to your favorite podcasts. You can also listen directly on our website at shadescahabahistory.com.If you prefer YouTube, the show has been uploaded to a Shades Cahaba Oral History Project playlist at https://www.youtube.com/playlist?list=PLYJ3JNJIzmnnIxnAaSRAofgma_9mS0oVn.If you like the show we would appreciate it if you would rate us at Apple Podcast and share the show with your friends.Support the show (https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=AHZ7BBDRTVMCW&source=url)

Dr. Bill Cleveland is the Superintendent of the Homewood City School system and he has been in this role since 2008. But more importantly, Bill is a homegrown student and was a Shades Cahaba student before moving on to the middle school and high school where he graduated in the class of 1985. It’s always humbling to realize that the superintendent of your children’s school graduated with your little brotheWe talk about the Homewood school system today, what it is like coming back and leading a school system where they know all your history and what it was like when Bill attended Shades Cahaba. We also take a look at what was going on at Shades Cahaba during the 1930s.SUBSCRIBEYou can subscribe to the Shades Cahaba Oral History Project at Apple Podcast, Spotify, Stitcher, iHeart Radio or wherever you subscribe to your favorite podcasts. And you can also listen directly on our website at shadescahabahistory.com.SPONSORThe Shades Cahaba Oral History Project is supported by ShawnWrightArt.com. You can buy Shades Cahaba Centennial Logo shirts and accessories there, proceeds of which go to support this project. Visit shadescahabahistory.com/storeREVIEW THE SHOWIf you loved listening to this podcast, please leave us a review at Apple Podcasts. And tell your friends about the showSUBSCRIBE TO THE PODSupport the show (https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=AHZ7BBDRTVMCW&source=url)

Join Host Ron Camacho as he discusses the state of things with Bill Cleveland of ESS.

Today we have a wonderful podcast for you as we have Bill Cleveland a Co-Owner of Savvy Digital works! He grew up in Pontiac and has been here for most of his life! In this episode we go into some great restaurants downtown, bill shares some stories and we chat about what we would like to see in Pontiacs future! Remember we are on just about every listening platform so tune in every Thursday afternoon for great content on what’s happening next to the city of Pontiac! We run through Cryptocurrency, Cannabis, and the Community! Thanks for listening and if just audio isn't enough for you feel free to head on over to our social media to see more awesome content! Facebook: https://bit.ly/2Q3FlOj Instagram: https://www.instagram.com/pontiac.now/ Website: www.pontiac-now.io

Join Ron Comacho, when he talks with Jay Boylan and Bill Cleveland of the SSEP

Join Ron Comacho, host of The Business Hour to learn more about healthy ecosystems in urban environments and what forward-thinking cities, counties and regions are doing to create and sustain healthy ecosystems when he talks with Bill Cleveland of the Sandy Springs Environmental Project

Join Ron Comacho, when he talks with Bill Cleveland, Chairman of the SSEP to learn more about how public and private partners are working in concert to preserve, create and maintain beautiful, healthy and economically stronger communities

Guest: Bill Cleveland, MBA, CPA, Host: Larry Kaskel, MD Where and how should you invest in a down market? What strategies have been used by some of the wealthiest investors over time? Join host Dr. Larry Kaskel as he explores personal finance with Bill Cleveland, a certified financial planner with Preston & Cleveland Wealth Management. What are some of the best strategies for doctors? How do you find opportunities in a down market? What are keys to a well rounded portfolio? Listen in to find out.

Guest: Bill Cleveland, MBA, CPA, Host: Larry Kaskel, MD Personal financial decisions are often less clear for us than making tough medical calls. How much disability insurance should we carry, if any at all? Should we pay insurance premiums with pre-tax dollars? If we have income outside of our primary working situation, can we--and should we--contribute to a 401k? Host Dr. Larry Kaskel quizzes Bill Cleveland, a certified financial planner from Preston & Cleveland Wealth Management, about key money management strategies.