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Stories have a way of helping us recognize ourselves, and that's exactly what happened in my conversation with Nana Ekua Brew-Hammond. Nana shares what it was like to grow up in Queens, then suddenly move to a boarding school in Ghana, and how that experience shaped her identity in ways she's still uncovering today. As Nana describes her path from writer to author, her years of persistence, and the curiosity that led to books like Powder Necklace and Blue, I felt a deep connection to her commitment to keep creating even when the process feels uncertain. We also explored trust, partnership, and the lessons my guide dogs have taught me—all ideas that tie into the heart of Nana's storytelling. This conversation is an invitation to see your own life with more clarity, courage, and compassion. Highlights: 00:00:10 – Step into a conversation that explores how stories shape courage and connection. 00:01:41 – See how early environments influence identity and spark deeper questions about belonging. 00:02:55 – Learn how a major cultural shift can expand perspective and redefine personal truth. 00:23:05 – Discover what creative persistence looks like when the path is long and uncertain. 00:27:45 – Understand what distinguishes writing from fully embracing authorship. 00:33:22 – Explore how powerful storytelling draws people into a moment rather than just describing it. 00:46:45 – Follow how curiosity about history can unlock unexpected creative direction. 00:59:31 – Gain insight into why treating a publisher as a partner strengthens both the work and the audience reach. About the Guest: Nana Ekua Brew-Hammond is the author of Powder Necklace: A Novel, the award-winning children's picture book Blue: A History of the Color as Deep as the Sea and as Wide as the Sky, the collection Relations: An Anthology of African and Diaspora Voices, and My Parents' Marriage: A Novel.  Tapped for her passion about Africa's rich fashion traditions and techniques, Brew-Hammond was commissioned by the curators of Brooklyn Museum's "Africa Fashion" exhibit to pen and perform an original poem for the museum's companion short film of the same name. In the clip, she wore a look from the made-in-Ghana lifestyle line she co-founded with her mother and sister, Exit 14. The brand was featured on Vogue.com. Every month, Brew-Hammond co-leads the Redeemed Writers Group whose mission is to write light into the darkness. Learn more about it here.Learn more at nanabrewhammond.com. Ways to connect with Nana**:** Instagram, Facebook and Threads: @nanaekuawriter Twitter: @nanaekua  www.NanaBrewHammond.com  ORDER my new novel   MY PARENTS' MARRIAGE Read 2023 NCTE Award Winner & NAACP Image Award Nominee   BLUE: A History of the Color as Deep as the Sea and as Wide as the Sky   Read RELATIONS: An Anthology of African and Diaspora Voices , stories, essays & poems by new and established Black writers   Shop Exit 14 , all weather, uniquely designed, 100% cotton apparel sustainably made in Ghana About the Host: Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog. Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards. https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/ accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/ Thanks for listening! Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below! Subscribe to the podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset . Leave us an Apple Podcasts review Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts. Transcription Notes: Michael Hingson  00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us. Michael Hingson  01:20 And a pleasant, Good day to you all, wherever you happen to be, I would like to welcome you to another episode of unstoppable mindset. Today, we get to have a conversation with Nana Ekua Brew-Hammond And Nana has a lot of interesting things to talk about. She's written books, she's done a variety of different things, and rather than me giving it all away, it'll be more fun to let her tell the stories and get a chance for us to listen to her. She is in Oakland, California, so she's at the other end of the state for me, and we were just comparing the weather. It's a lot colder where she is than where I live down here in Victorville, where today it's 104 degrees outside. And Nana, you said it was like, what, somewhere around 70. Yeah, it's 68 There you go. See lovely weather. Well, Nana, I want to welcome you to unstoppable mindset. We're really glad you're here, and I want to thank you for taking the time to be with us. Nana Ekua Brew-Hammond  02:23 I feel the same way. Thank you for having me on your amazing show. And it's so wonderful to be in conversation with you. Michael Hingson  02:30 Well, I'm glad we get a chance to spend some time together and we can, we can talk about whatever we want to talk about and make it relevant and interesting. So we'll do that. Why don't we start with what I love to do at the beginning of these is to talk about the early Nana growing up and all that. So take us back as close to the beginning as your memory allows. Nana Ekua Brew-Hammond  02:52 Oh gosh, as my memory allows. Um, I so I was born in Plattsburgh, New York, which is upstate near Montreal, Canada. Michael Hingson  03:06 Been there. Oh, cool in the winter. I even crossed the lake in an icebreaker. Nana Ekua Brew-Hammond  03:12 But yeah, oh my gosh, wow. Okay, yeah. Bring back memories. Well, I was only there for till I was, like two years old. So, but I do, I have gone up there in the winter and it is cold. Yes, it is cold, yeah. So I was born there, but I grew up in New York City and had that really was sort of my life. I lived in New York, grew up in Queens, New York, and then at 12 years old, my parents decided to send me to Ghana to go to school. And that was sort of like a big, the biggest change of my life, like I know that there was a before Ghana and an after Ghana, Nana and so, yeah, wow. Michael Hingson  04:02 So, so when was that? What year was that that you went to Ghana? Nana Ekua Brew-Hammond  04:06 That was 1990 August of 1990 actually. Michael Hingson  04:11 So what did you think about going to Ghana? I mean, clearly that was a major change. Nana Ekua Brew-Hammond  04:15 Yeah, you know, I, you know, my parents are from Ghana originally. So when, you know, they would always talk about it. We, you know, back then phones, long distance phone calls to Ghana. I, you know, that was, that was the extent of my sort of understanding of Ghana, the food that we ate at home, etc. So going to Ghana was just sort of mind blowing to me, to sort of be crossing, you know, getting on a plane and all of that, and then being in the country that my parents had left to come to the United States, was just sort of like, oh, wow, connecting with family members. It was just, it was a lot. To process, because life was very, very, very, very different. So yeah, it was just sort of a wild eye opening experience about just the world and myself and my family that ultimately inspired me to write a book about it, because it was just, I just, it was a lot to process. Michael Hingson  05:25 Why did they want you to go to to Ghana to study? Nana Ekua Brew-Hammond  05:30 Yeah, so in the 90s, in New York City or and in the late 80s, there was the crack epidemic was happening, and we, you know, I mean, I remember, we lived in a house in Queens, and when we would, you know, part of our chores was to sweep in front of the house, you know, rake the leaves, that kind of thing in the fall. And we would, all the time there would be crack files, you know, like as we're sweeping up, and I didn't get there where we were young. My sister was, you know, a teenager. I was 12, and my, you know, my younger brother had just been born. He was just like a, like, a little under a year old. And I think my parents just didn't feel that it was a safe place for us as kids to grow up. And so, yeah, they wanted to kind of give us an opportunity to get out of, you know, that environment for a while. Michael Hingson  06:33 What did you think of it? Nana Ekua Brew-Hammond  06:35 I mean, you know, as a kid, you never want to leave what to you. So it was, I would say it was, it was, it was interesting. Because initially I loved it. I was like, I actually campaigned, you know, I was like, I really, you know, would like to stay in Ghana, but I didn't want to stay for, you know, the three years, which is what I what happened? I wanted to stay for maybe, like a year, kind of try it, you know, go to school for a year. I found it this really cool adventure, go to boarding school and on all of that. But my parents made the decision that we should just sort of ride it out and finish like I had to finish high school. And, yeah, so, so great for me. Michael Hingson  07:25 So you were there for three years, yes. So by you were 12, so by 15, you had finished high Nana Ekua Brew-Hammond  07:32 school, yeah, because the system there is different. It's it was at the time the British system. So it was like a form system where I saw I entered in form three, because it was, it wasn't quite the equivalent in the sense that I probably should have started in form two or form one, but I was also an advanced student, and and they, the way the system there works is you have to take a common entrance exam from primary school to get into secondary school. So it's very difficult to get into school midstream there. So we had to go through all of these hoops. And, you know, there was an opening in form three, and that was higher than my, you know, than where I should have been, but I was advanced, so I was able to get into that school that way. You did okay. I assume I did. I mean, I struggled, which was interesting, because I was a very, you know, good, strong student in the States, but I struggled mightily when I first got there, and throughout, it was never easy, but I was able to manage. Michael Hingson  08:49 Now, did your sister also go to Ghana? She Nana Ekua Brew-Hammond  08:52 did, and she was hopping mad. Michael Hingson  08:55 How old was she when you were 12, she was Nana Ekua Brew-Hammond  08:59 17, so she Okay, yeah, almost about to go to college. She was really excited about, like, that portion of life. And then it was like, okay, she's in Ghana. She was hopping mad. Michael Hingson  09:13 Well, how long did she stay? Nana Ekua Brew-Hammond  09:16 Well, so she stayed for two years. Because what Ghana has is sort of like, at the time it was something called sixth form, which is, again, the British system. So it's sort of like a college prep in between the equivalent of that. So she basically did that in Ghana. Michael Hingson  09:38 Okay, well, and your little brother didn't go to Ghana, Nana Ekua Brew-Hammond  09:44 not yet, not not yet. You Michael Hingson  09:47 mean they didn't send him over at one year? No, okay, well, that's probably a good idea. Well, so looking back on it, what do you think about having spent three years in. Nana Ekua Brew-Hammond  10:00 Ghana, looking back on it, I think it was actually really, really good for me. I mean, it was that doesn't take away from the fact that it was very difficult. It was very, very challenging, not only academically. It was I was bullied really hard at this boarding school that I went to. The girls just kind of made my life hell. But what was amazing about it for me was that I had, I had exposure to Ghanaian culture in a way that I would never have had in the States. As I mentioned to you, Ghana was sort of that country over there when I lived in America. And you know, it existed as you know, family members coming to visit, long distance phone calls, the food that we ate, that you know, the accents that we had, things that made us different, and at the time, that was not cool. You know, as a kid, you just want to fit in and you don't want to be different. And going to Ghana was my opportunity to learn that, wow, I didn't have to be embarrassed or ashamed of that difference. There was so much to be proud of. You know, my family was, you know, a sprawling family, you know, my my grandmother owned a business, my grandfather owned a business, you know, it was, it was really, it was eye opening, just to sort of be in another environment. People knew how to, you know, pronounce my name, and I didn't have to, you know, just explain things. And that was really affirming for a 12 year old and a 13 year old when you're going through that, you know. So it was really good for me. And in Ghana is where I came to know Christ. I became a Christian, and it was something that spiritually, I was not really, I don't know, I just didn't really think about spiritual. I did on some level. But going to Ghana, it everything just felt so palpable. It was really like we're praying for this. And it happened, you know what I mean, like, yeah. It felt very Yeah. It was just a time in my life when life really felt very the mysteries of life really felt like they were open to me, Michael Hingson  12:37 interesting and so you clearly gained a lot of insight and knowledge and experience over there that you were able to bring back with you when you came Yes, yes. Nana Ekua Brew-Hammond  12:55 When I returned to the States, I was just, I think of myself, I guess, as a weirdo. Like, when I came back, I just felt so weird because I couldn't really, fully, you know, connect with my friends, because I had missed out on three years of culture, you know. And you You don't realize how much culture means, like, until, like, you know, you don't have those references anymore. I didn't know the songs that were popular. I didn't, you know, know about, I forget, there was some sort of genes that were really popular while I was gone. I didn't know what they were. I didn't have a pair of them. So it was just sort of this, this interesting time. And I was also young, because I had finished high school, and I was 15, yeah, my friends were, you know, sophomores, yeah, you know, and I was beginning the process of looking into college. So it was just a really isolating time for me and I, but also, you know, interesting and I, again, I say it was, it was ultimately in the in the wash of it. I think it was good because it enabled me to sort of, I guess, mature in a way that enabled me to start college earlier. And, you know, sort of see the world in a much different way. Michael Hingson  14:26 So when you went to college, what did you want to do? Or had you had you decided to start laying plans for a major and what you wanted to do post college, Nana Ekua Brew-Hammond  14:36 I did not know what I wanted to do. I kind of, I mean, I kind of thought I wanted to be a doctor. I thought I wanted to be a doctor. Like, all my life, growing up, I was like, I'm going to be a doctor. And I was a science student in Ghana, but I struggled mightily. But still, I went. I entered college with us. You know, the plans? To become a bio psychology major. And you know, I took two, three classes, well more than that, I did, like, a year of classes. And I was just like, This is not for me, not for me at all. But yeah, yeah. So it was, it was that was a little rough. Michael Hingson  15:21 Things happen. So what did? What did you go off and do? Nana Ekua Brew-Hammond  15:25 Then I ended up majoring in political science and Africana Studies, and it was, I remember taking a political science class my freshman year, and I, my my professor was amazing, but it was, it was interesting to me. I think looking back now, being able to think about the world in a way that was sort of linking history and politics and culture together. And I think that was interesting to me, because I had just come from Ghana and had been exposed to, like, sort of this completely different culture, completely different political system, and, you know, kind of having that, I that thinking, or that wonderment of like, wow, you can Life can be so different somewhere else, but it's still life, and it's still happening, but also having that connection as an American to America and what's happening there. And so holding both of those things in my hands when I got to college, I think I was, I just what I was really sort of intrigued by the idea of studying politics and studying culture and society, Michael Hingson  16:48 and that's what you did. Yes, I did. So you got a degree in political science. Nana Ekua Brew-Hammond  16:54 Yes, a double degree political science and Africana Studies. Michael Hingson  16:57 Africana Studies, okay, and again, that that's probably pretty interesting, because the the Ghana influence had to help with the Africana Studies, and the desire to to do that, and you certainly came with a good amount of knowledge that had to help in getting that as a part of your major. Nana Ekua Brew-Hammond  17:16 Well, interestingly, my focus was on African American Studies, because I really growing up as an immigrant, like with immigrant parents, their understanding or their their thought process wasn't necessarily, I don't know they weren't. They didn't really raise us to think about race or being black, because their consciousness wasn't about that. It was they were immigrants. You know what? I mean, they weren't thinking about that. So I was actually quite curious, because I did grow up in America and I was black, but I didn't understand, you know, the history of America in that way. And I remember, actually, when I was in was it the third or maybe it was the second or third grade, or maybe it was fifth grade. I did a project on the Civil War, and I remember being so interested in it, because I had, I just didn't, you know, it wasn't. I was so fascinated by American history because I really wasn't. I didn't, I didn't understand it in the way that maybe somebody who wasn't the child of immigrants, you know, might, you know, connect with it. So I was just Yeah, so I was really fascinated by African American history, so I ended up double majoring in it and concentrating on African American politics, which was really fascinating to me. Michael Hingson  18:55 Yeah, and there certainly has been a fair amount of that over the years, hasn't there? Yes, there has, but you can, you can cope with it and and again. But did your time in Ghana, kind of influence any of what you did in terms of African American Studies? Did it help you at all? Nana Ekua Brew-Hammond  19:15 Um, I, I don't know, because I don't because, because I think what, what I what, what Ghana helped me with was, I remember, I'll say this. I remember one time in Ghana, in class, we were reading a book by an author who had we were reading a play, actually by a Ghanaian writer who was writing about a Ghanian man who married an African American woman and brought her to his home. And there was a lot of clash between them, because, you know, they were both black, but they had different sort of backgrounds. Yeah, and I remember the teacher asking, because the. The the wife that he brought home, the African American woman, mentioned certain things about America, and no one in the classroom could answer any questions about America, and I was the only one who could. And I was, you know, very, very sort of shy in that in that school and in that context. But I remember that day feeling so emboldened, like I was, like, I can actually contribute to this conversation. And so maybe, you know, in on some level, when I got back to the states, maybe there was some interest in linking those two things together. But it wasn't as as is in life. It wasn't obvious to me. Then it was sort of just kind of me following my interest and curiosity. And I ended up, I didn't set out to be an Africana Studies double major, but I ended up taking so many classes that I had the credits. And, you know, I was like, Okay, I guess I'm I have two degrees now, or two, two concentrations, Michael Hingson  21:02 yeah, did you go and do any advanced work beyond getting bachelor's degrees? Nana Ekua Brew-Hammond  21:08 No, I did not. When I graduated, I initially thought I might get interested, get in, go to law school. But this was me again, following my muse. I realized that my real interest was in writing papers when I was in college. You know, give me a 15 page paper, 20 page paper, I was ecstatic. I loved writing papers. And I think that's one of the reasons, too, why I loved political science and Africana Studies, because we were assigned tons of papers, and it enabled me to sort of, you know, writing these papers enabled me to kind of think through questions that I had, or process what I was reading or thinking about or feeling. And so when I graduated from college, you know, I got, you know, a job, and was working, trying to figure out, Okay, do I want to go to law school? But at the time that I graduated, that was also during the time of, like, the.com boom, and there were a lot of online magazines that were looking for writers, and so I started, kind of, you know, submitting, and I got some some things published. And as that was happening, I was like, I think this is what I want to focus on. Michael Hingson  22:30 So when did you really know that you were a writer? Then? Nana Ekua Brew-Hammond  22:34 I mean, I don't I think that when I got back, when I started working, so I, ultimately, I got a job in advertising, and I was working, you know, as an assistant in the on the account side of things, but there was this whole creative department that, you know, got to, you know, come up with all of the, you know, the the taglines and write commercials and write jingles and all that kind of stuff. And I was, like, so fascinated by that, and that's what I thought, okay, I could if you know, I need a job, I need money, and I want to write, so maybe this is what I need to be doing. And so I ultimately did get a job as a copywriter and and I still, you know, do that work today, but I think I always knew that I needed to write, and I wanted to actually write about my experience in Ghana. So I remember, you know, I started kind of very fledgling. Would began to write into that, and I ultimately started writing that the book that became my first book, powder necklace, on the subway to and from work. Every morning I would wake up very early, write what I could get ready for work, right on the bus, right on the subway, you know, get to work after work. You know, repeat. And it took me many years, but that's what I did. And I wrote my first book, Michael Hingson  24:14 and that was published in 2010 right? Yes, it was, did you self publish? Nana Ekua Brew-Hammond  24:18 Or I well, I did not self publish. I was published by Simon and Schuster. Simon and Schuster's Atria Books, Washington Square press. And part of my process was I started just kind of, you know, the Internet. The Internet was new. It was something that was available to me. So I started just kind of Googling, how do you get published? And they said you needed a literary agent. So I started looking online for literary agents. And because I lived in New York City at the time, I would literally write my my query letters and like, hand deliver them different agencies. 90s, and one woman, after four years of looking, said, Okay, this sounds interesting. I'd love to meet with you. And I didn't believe. I was like, wow, I've been rejected for four years, and somebody actually wants this, and she was able to sell the book. And I was shocked. I was like, Simon and sister, okay? And at the time they bought it, the, you know, the America, the US, was going through the whole financial, you know, crisis, the recession, in 2008 so they held my book for a year, and then we began the process in 2009 and then they, you know, we were on track to publish it in 2010 Michael Hingson  25:46 Wow. Well, tell me about that book. Yeah. Nana Ekua Brew-Hammond  25:51 Powder necklace is a novel. It's a fictionalized account of my experience going to high school in Ghana. I when I went to school in Ghana. I went to a girls boarding school in the mountains of Ghana central region, and that school was going through a major water crisis. We did not, I mean, we the short story is that, I guess, because of we were on the mountain, the water pressure was very low, and so it was really difficult to get the water up that mountain. And they didn't have like enough, you know, tanks around the school and what have you. So we had one artificial well, and then we had, like, an underground well, and that was it. And the underground well wasn't always, you know, full of water to service the whole school. It was really difficult. So, you know, we had to bring in our own water, some. And then it became, if you had money, you could bring water. But if you didn't have money, you didn't and it was a very desperate time for for young girls without being not being able to take a shower on demand. And it was, it was wild. Michael Hingson  27:15 Where does the title powder necklace come from? Nana Ekua Brew-Hammond  27:19 So the title, I named it powder necklace, because, as I mentioned, taking a shower became this like symbol of the haves and the have nots. And, you know, all of this having water, really. And if so, what, what the girls, what we would do is, you know, after you've taken a bath, people would put tons of powder on their necks. And it was sometimes it was okay we didn't take a bath, so we're going to put powder on our necks to scented powder to cover the odor. But it was also a way, like if you had bathed, to sort of, you know, show off that you'd bathed. So for me, it was as I was reflecting on the on this as I was writing this story and reflecting on that whole experience, I thought, wow, it was sort of our way of holding our heads up, you know, in the difficult situation, and kind of making the best of it. So that's why I called it powder necklace, Michael Hingson  28:17 okay? And that was for children. Nana Ekua Brew-Hammond  28:20 Well, it was for young adults, young adults, but Michael Hingson  28:25 it was more writing than pictures. Nana Ekua Brew-Hammond  28:27 Yeah, it was a young adult novel. I actually, I mean, this was my first book. I really didn't know what I was doing. I just, I wrote the book and I didn't know that it was a young adult novel, until people were like, Yeah, you wrote a young adult novel. I'm like, okay, Michael Hingson  28:47 works for me. Well, what does, what does being a writer mean to you? Nana Ekua Brew-Hammond  28:54 Um, I think being a writer means to me being able to articulate. A time, a place, a mood, a moment, being able to articulate it, one for myself, but also to create a record that helps people who don't necessarily have that gift to be able to sort of put words to the experience of living at a time place, having a certain feeling about something. Michael Hingson  29:34 Do you think there's a difference between being considered a writer and being an author, are they the same, or are they really different? Nana Ekua Brew-Hammond  29:45 I do think that there is a difference, and not in a sort of, you know, highfalutin way. I think the difference is the fact that when you I think, like, when you asked me initially, like, when do you think that you you became. Became a writer. My My instinct is to say that I think I was always a writer, because I think if you write, you're a writer. And whether you're published or not, you're a writer. If you have that inclination, that gift, and you sort of invest in that gift, and invest and develop it. I think you're a writer, but I think with an author, I think then that's to me. I think of it as the business of being a writer, or the business of being, yeah, you are now sort of in business with your publisher. Publisher has invested a certain amount in you, and it then becomes a more sort of public facing thing. The work is not just for you anymore. The work is now being disseminated to a group and hopefully to as many people as possible, and you as the writer now have to figure out, like, how do I get to my audience? How do I maximize or expand the reach of this thing that I wrote? How do I connect with people around the story and build build a readership. And how do I ultimately, you know, the my desire and goal would be to live off of this. How do I make turn this into something that I can, I can do, you know, full time and live off of Michael Hingson  31:38 so you turn from a writer to being an author. Nana Ekua Brew-Hammond  31:42 I'm, yes, I am an author, and I'm and I'm hoping to get to the to the, you know, the point where I can do it 100% full time, and it be, you know, 100% lucrative in that way. Michael Hingson  31:56 So what are you doing now? In addition to doing books, I Nana Ekua Brew-Hammond  32:01 also freelance as a copywriter, so I'm still copywriting, Michael Hingson  32:05 okay, I was wondering what you what you did? So you're doing, still marketing and jingles and all those things, yeah, well, I Nana Ekua Brew-Hammond  32:13 I'm my focus. I do do that, but my focus is mainly in the digital space. So I write lots of websites and web ads and social media copy, and, you know, things of that nature, campaign work. Michael Hingson  32:33 Well, that's, is there anything that you've written or copy written that we would all know, Nana Ekua Brew-Hammond  32:42 yeah, I mean, I did. I've done a lot. I guess the maybe the most recent thing that I've done that people might be aware of, or some people might be aware of, is the Brooklyn Museum in New York, did a an exhibition called Africa fashion. And I, they created a short film to promote it, and I, they commissioned me to write an original piece for it. And so I wrote that piece and and performed it in the film. So, you know, people who are into that kind of thing a museum, that that museum might be aware of it. But I've also written for, I did a lot of work for L'Oreal Paris, USA, and I've just done a lot of beauty work. So many of the beauty brands you might be aware, you know, you might know, I've done some work for them, cool. Michael Hingson  33:45 Well, that, you know, you do have to do things to earn an income to to be able to afford to write until you can do it full time. Nana Ekua Brew-Hammond  33:53 Yeah, yeah. And I actually really love copywriting. I think it's an it's been an incredible teacher in the sense of how to how to crystallize an idea in very short, you know, in just a few words, how to convey emotion in just a few words. And also that storytelling is not just the words, it's how you deliver the story that's all part of it. So I think it's been an incredible teacher in that way. Michael Hingson  34:28 I know for me as a speaker, it is how you tell the story. And I've learned over 23 and a half years of speaking how to take people inside the World Trade Center and actually have them travel with me and do all the things that, and experience all the things that that I went through, and then come out of the other side and I and I say that because so many people after I speak somewhere, well. Come up and say, we were with you in the building. We were with you with everything that you did. And I appreciate that there is a real significant art to storytelling, and part of it is also, and I'm sure that this is true for you as a writer and an author, that part of it has to be that you have to actually connect with the audience. You've got to understand the audience. You've got to connect with them, and you have to bring them along, because they're not expecting to go with you. Nana Ekua Brew-Hammond  35:33 Absolutely, absolutely. And I will say that I started one of your books just the beginning of it, and I was just running with Roselle, and I was so taken, so absorbed by the first few pages of it. You really do immerse us. And I think that that's the best kind of of writing. You know, when you're able to kind of present material that people may or may not be familiar with, and make it riveting and really bring us into it, and then have us invest being, feel invested well. Michael Hingson  36:16 And I think the last book that we did last year live like a guide dog. I worked really hard to make sure that we were drawing people into the experiences, because every chapter is actually taking lessons from one of my guide dogs and also from Fantasia, which who is my wife's service dog, but each chapter relates to one of those dogs, and I wanted them to be environments where people again were drawn in and appreciate the dogs for what they are and what they do, not just some dumb Animal that comes along. Yeah. Nana Ekua Brew-Hammond  37:00 Yeah, absolutely. I mean, yeah, so interesting. I think there's, there's so much, I guess. I don't want to use the word, I guess what I want to say, there's a lot of mystery in in the sort of human animal interaction, and people just aren't aware of how powerful it is, and I can, I'm saying that I speak for myself, because growing up, actually, I was really, really scared of dogs and animals, all animals, and I so there's, there's two, there's kind of two stories I'll share. But one is when we were, when we were growing up, my parents, you know, were from Ghana. They wanted to eat goat meat. And at the time, you couldn't just go to a supermarket goat meat. So we used to go to a farm out in New Jersey that had goats, and we would have to go and have the goat, you know, slaughtered and, you know, cut up and all that kind of stuff for the meat. And I remember that whenever the hand would go into, you know, the pen where the goats were, the goats would just were. They would be so stressed out, they would like, you know, part like the ocean walked in, and if he picked, when he picked one out. There would be other people, other goats in the pen that would start screaming in agony, along with the goat that had been picked out. And I was just like, Oh my gosh. That must be his family members, like, or his loved ones. And it was so I remember that was so eye opening to me, like, wow. So I ended up years, years later, I wrote a short story, and I actually did some research on goats and how brilliant they are, and I was just like, wow, oh my goodness, I remember that so well. But I have a cat right now, and my kitty cat is just such a such a joy, like just sort of to build that relationship with, with my with my pet, is just such a beautiful thing, and how she just kind of, because I grew up really scared of pets, and I sort of inherited her when I got when I got married, you know, she's been very patient with me, like, because at first I was so skittish around her, and I could see her, kind of like rolling her eyes, like, I mean, you no harm. You can pick me up. It's all good. And she's just been so wonderfully patient with me. We've built that bond over time. Michael Hingson  39:31 Well, yeah, I have, of course, my my eighth guy, dog, Alamo, and stitch the cat. Stitch is 15 and a half and a real cutie pie. We rescued her. Actually, there were people who were living next to us, and he was moving out. His wife had died, and he just told the people who were moving all of his stuff out, take the cat to the pound. I don't want anything to do with it. And we, we said, Absolutely not. We'll find it a home. And then I asked, What the. Cat's name was, and they told me the cat's name was stitch. And I knew that this cat wasn't going to go anywhere because my wife had been, well, my wife had been a quilter since 1994 and a quilter is never going to give away a cat named stitch. Yes. Nana Ekua Brew-Hammond  40:14 Oh, I'm so glad stitch found a home with you. Michael Hingson  40:18 Oh, yeah. Well, we found a stitch. Nana Ekua Brew-Hammond  40:20 Oh, that's right, that's right. Michael Hingson  40:23 And, and, and so she's, she's got lots of personality. And so it really works out pretty well. No, no complaints. And I've always said, Whenever I get a guide dog, because my wife has always had cats, when I get a new guide dog, I've always said, and will continue to say, it has to be a dog that's been raised around cats and has no problems with cats. I have seen a couple of Guide Dogs, actually, that hated cats, and one almost killed a cat, and that's I will never tolerate that. Yeah, they have to get along. Yeah, absolutely, absolutely now, when we brought Alamo home, stitch had a few concerns about this dog in her house. She got over it when she decided that Alamo wasn't going to do anything to bother her and they they talk all the time now and rub noses and all that sort of stuff. Oh, that's so cool, yeah, but, but it's, it is great, and they, they bring so much joy and so many lessons to us that I think it was really important to learn. Nana Ekua Brew-Hammond  41:34 Yeah, yeah. You're reminding me the first dog, because my grandmother actually loves animals, and when I went to Ghana, she got a dog, and, you know, as a kid, so we got a puppy. And I remember the puppy was initially supposed to be a guard dog, but we I, I would feed the I would hand feed the dog sausages and just spoil the dog so much. Could not be a guard dog, so I loved that dog. Joshua, yeah, Joshua, Michael Hingson  42:07 well, but you and Joshua got along really well. On we got along great. One of the things that people sometimes ask me is if my dog trained to protect and the answer is no, they're not trained, and then they've said, Well, what would happen if somebody were to decide to attack you with the dog around? And my response will always be and rightly so, I wouldn't want to be the person to try that and find out what will happen, because much more than guarding, there's love. And I've always believed that dogs love unconditionally. I think trusting is a different story. They are open to trust, but, but you have to earn their trust. They'll love you, but will they trust you? That depends on you. And so it's it's really pretty cool, but I would not want to be the person to ever decide to try to attack us, because I, I am sure that Alamo would not tolerate that at all. Nana Ekua Brew-Hammond  43:10 Oh, not at all. How do, how do you or how have you built trust with your your pets? Michael Hingson  43:17 Well, a lot of it has to do with they want us to be the pack leaders. They want us to be their team leader. And so I have to set the ground rules. So, for example, no jumping on the furniture and all that. But again, it's also how you convey that. So if my dog is going to jump up on something and I don't want that, I'll say, leave it. And as soon as the dog obeys, I'll give the dog a food reward, a kibble, to let the dog know, and I'll also use a clicker, but I'll let the dog know I approve of what you did, not punishing them for, you know, something else. Yeah, so it's not punishment, it's positive rewards. I think that's extremely important, but also it is in the stressful times being very focused and calm. So if we're walking somewhere and we get lost, that is not the dog's fault, because it's my job to know where to go and how to get where I'm going, and it's the dog's job to make sure that we walk safely to get there, so if we get lost, that's on me. And what I can't do, or shouldn't do, is panic and become very fearful and upset, because the dog will sense that I have to stop and figure it out and continue to praise the dog, saying what a good job you're doing, and so on. And those kinds of things are the things that will, over time, build that trust. I think it takes a good year to truly build a trusting relationship that is second. To none. And that's the kind of teaming relationship that you want, whether it's a guide dog or any dog. And even as far as that goes, although they're different cats, yeah, but it's, it's all about building that relationship and conveying the command and conveying that you want to trust and be trusted? Nana Ekua Brew-Hammond  45:24 Yeah, yeah. I think you're you. What you said that really resonated with me is that they want to know. They want you to be the pack leader and the and part of that is, you know, you lay down the ground rules, but also you're responsible for them and their well being. And, yeah, that really, that really resonated with me. Michael Hingson  45:48 Well, so you wrote your first book, and then when did you write your second book? Nana Ekua Brew-Hammond  45:55 My second book came out in 2022, so it was a 12 year spread in my first book and my second book, Why so long? Oh my gosh, my book, I was the book I was working on, like to sort of follow, was just rejected for, for all that whole time, and I was, you know, in more and more distraught, and, you know, in despair about it. I didn't know what to do about it. And I actually, you know, I was actually reading the Bible, and I came across the fact that there was a curtain, a blue curtain, in King Solomon's temple. And I was like, why does it matter that the curtain was blue? And so I just started googling casually, and I discovered that there was a snail in antiquity that was harvested for the blue drops that it it secreted, or it secreted drops that were ultimately oxidized to turn blue. And I was like, what I've never heard about this? I started doing some more research, and I realized, like, oh my gosh, the color blue has such a fascinating history. Kids need to know about this. And so I wrote it really as a poem initially, but then I thought, you know, I really want to see if I can get this published. And I was able to get it published, and that became my children's book blue, which was such a bomb to my soul, because after sort of a decade of getting, you know, rejected, and, you know, close to a decade of getting rejected, this, this sort of beautiful, like, sort of knowledge, you know, I came across, But I was able to create a book, and it's just been a wonderful experience with the children's Michael Hingson  47:45 book, wow, so the full title of blue is, Nana Ekua Brew-Hammond  47:51 it's blue a history of the color as deep as the sea and as wide as the sky. Wow. Michael Hingson  47:57 That should be enough to get the book sold. But as you point out, there's, there's a lot of history, yes, and that, that's pretty cool. So it was, it was released in 2022 and they finally, the publishers finally bought into that, huh? Nana Ekua Brew-Hammond  48:16 Well, yeah, I mean, that wasn't the novel that I've been working on. So I was still working. I ultimately, I did sell the novel, but that was its own journey, and I ended up writing another book that became the book is called my parents marriage, and it is not about my actual parents marriage. It's a novel about a young woman for adult readers. It's my first book for adult readers, and it is about a young woman whose parents are in a polygamous union, and how they're they have a really turbulent polygamous union, and how that relationship kind of kind of cast a shadow on this woman's, you know, choices in relationships and marriage for herself. Michael Hingson  49:10 So you you publish that my parents marriage. You also did a collection relations. Tell me about relationships. Nana Ekua Brew-Hammond  49:18 I did. Yeah, so relations is an anthology of its stories, essays and poems that are by writers from all across the continent of Africa. So I have Egyptian poets and Libyan you know essayists and you know, Nigerian storytellers, just it was, it was a really amazing project to work on. I started working on it during August of 2020, which was sort of like I've heard it described as peak pandemic, right? You know, we were several months. Into lockdown, and you know, it became this wonderful way for me to kind of connect while I was sort of holed up in my apartment in New York. Michael Hingson  50:15 Okay, now, were you married by then? Nana Ekua Brew-Hammond  50:18 No, I was not. I had just started dating my now husband, and I was like, Am I ever gonna see this man again? Because he lived in California, so at that time, the planes were grounded. I remember we were, like, on the first, very first flights that were able to start, you know, that started and be on planes, there'd be like, four people on the entire plane. Michael Hingson  50:42 Yeah, hopefully you both weren't on planes going against each other at the same time. No, you did communicate a little more than that. Oh, good. Well, so you published. So when was well? What was relations published? Nana Ekua Brew-Hammond  51:02 Relations came out in 2023 okay, February of 2023, and my parents marriage came out in July of 2024. Just came out in July of 2025, Michael Hingson  51:14 which one the paperback of the paperback? Oh, okay. Have any of them been converted to audio Yes, Nana Ekua Brew-Hammond  51:23 all, but my first book, are audio books. So blue is an audio book, beautifully read, and then their relations, the stories and essays and poems are read by two speaking artists, and then my parents, marriage is is also wonderfully performed. So, yeah, they're all an audience. Michael Hingson  51:50 That's cool, yeah. So when you're writing, what, what's kind of the difference, or, how do you differentiate between writing for young people and writing for adults. There must be differences. Nana Ekua Brew-Hammond  52:07 Yeah, I think, I think with for young people, and the practical thing that I try to do is make sure that the vocabulary is are is familiar to them, mostly familiar. I like to put in a stretch word now and then to kind of get them to, like, get to the dictionary and find out what. But if I'm right, when I when I wrote blue, for example, knowing that, you know, the the age group is, the age spread is four to 888, year olds are in third grade. Four year olds are in pre K, so that's that's pretty big spread. So my sweet spot is first and second grade vocabulary words. Okay, it has to be something that they've been exposed to. So thinking of it in that way, the other thing too is breaking down concepts that are, you know, as adults, you know, we just assume that you know, or you can go look it up, but just kind of thinking it through. So if I'm talking about, instead of saying that, you know, there was a snail in antiquity who, you know, heart, you know, dyers were harvesting blue dye from these snails through after a process of oxidation. I wouldn't use any of those words. I would say, snail produced some drops that when exposed to the air and the sun turned blue. And so just sort of really, kind of being mindful of that, and also thinking very visually, writing, very visually. How can I create pictures with words that would be familiar to a child, that can sort of ignite their imagination? Michael Hingson  53:53 Yeah, I think it's extremely important to to deal with the visual aspects of it, but using words and really drawing again, drawing people in because if you just say, well, you can see this in this picture. That doesn't mean a lot, and you're also, I would think, helping to teach or create the concept that some people might some children might want to go off and write because they like how you say and what you say Nana Ekua Brew-Hammond  54:24 absolutely and when I when I talk to kids, I go or visit schools, I invite them like I wrote about the color blue. What's your favorite color? These are some some things that I did to kind of learn about it. You can do these things to learn about your favorite color and write your own book? Michael Hingson  54:42 Yeah, yeah, it's, I think, so important to really draw people in and get them to think. And I think it's so much fun for me, I do some of that, but I have probably more of a chance. Challenge, because kids want to play with the dog. Yeah, it's all about the dog. I did a lecture at a K through six elementary school in San Francisco several years ago. I'm trying to remember what school it was anyway, and the teacher said you can only talk for about 10 or 12 minutes, because they just won't pay attention any longer than that. 35 minutes later, I finally ended the discussion, because they were so fascinated to hear me talk about what my dog did. And then I carried that over to how blind people work and function and all that. And the fact is, they were fascinated. The teachers couldn't believe it, but for me, it was a great lesson to know that it's all about creating these pictures that people can follow, Nana Ekua Brew-Hammond  55:53 yeah, and also to extending those pictures or those words into an experience for kids. Yeah, they really, they really appreciate, sort of like seeing it, kind of, you know, see if the having the concept come to life, yeah, way. And so I'm sure when they see your dog, or are able to interact with your dog, that must be so wonderful for them, Michael Hingson  56:22 but it's important for them to understand what the dog is all about. So by the time they get to interact with the dog, we've talked about things like, you never pet a guide dog in harness. This is what a guide dog does, and this is what they don't do. There are a lot of things to to cover. So it's great when I have the opportunity to really teach them. And sometimes we'll walk around a classroom and I'll show them what he does. Yeah, it's important to be able to do that. Oh, I love that. I love that. And he loves it, of course, all the way. So no question about that. He's you haven't lived until you've seen two or 300 kids all wanting to pet this dog. And the dog knows what to do. He's down on the floor with every appendage stretched out as far as he can go to maximize petting places, petting. Oh, it is so funny. I love that. He loves it. He's, he's, he's so happy. He doesn't care whether he'll do it more with kids even than adults, but, yeah, he'll do it with everybody. It's all about petting me and just remembering I'm the dog. I love that. Well, you've gone through a fair amount of time between books, and I'm sort of curious, what do you think about all the various kinds of changes and ebbs and flows that have come along in the book business, in the book publishing business and so on. Nana Ekua Brew-Hammond  57:56 Yeah, there have been a lot of changes. Um, I think, um, when my first book came out, like things like, you know, Instagram Bookstagram did not exist. There weren't many sort of podcasts or things of that nature. So I think that there is, there's definitely, there are more venues and more platforms to, you know, get the message out about the book. But I think also there is, it's also just hard. It's in some ways, it also feels in some ways more challenging to get the word out, because in addition to, like, yes, there are more venues in that way, regard, there are fewer book reviewers and fewer places to get a book reviewed, and there's a whole kind of interesting business about around getting reviews. So it's just not the same in that way. But then at the same time. I think what remains the same is connecting with readers. I think the most effective thing is, you know, writing a book that's good and then getting people who have read it and liked it to evangelize, to tell people I liked it, please buy it, or you should have you heard of and because at the end of the day, you know, that's what's going to, you know, give it some wind Michael Hingson  59:30 when thunder dog came out, and we did mention about reviews, and it actually has had, like well over 1600 reviews since it came out in 2011 live like a guide dog hasn't had, of course, so many yet, but every time I get a chance to talk about that book, I ask people to go review it and tell them why it's so important, because potential readers want to know what people think of the book. Yeah, for sure. For sure, it's. It really is important for readers to review and just be honest and say what you think. It's fine, but people should do that. For me, I think one of the biggest things that I see that publishers are doing less of is in a lot of ways, true marketing. You don't, you know, you don't see them doing nearly as much. Of course, I know it's more expensive, but to help create book tours or anything like that, they focus only on social media, and that's not the way to market the book. Nana Ekua Brew-Hammond  1:00:33 Yeah, I think, I mean, I've never worked inside a publishing office, so I don't know what actually, how they make these decisions and what goes on, but I do. I think what I have come to sort of think, how I've come to think of it, is the publisher is my business partner, sort of invested in terms of, they've given me an advance. They're going to do the turn key things like, you know, make sure the book gets reviewed by Publishers Weekly, or, sorry, Publishers Marketplace, or no Publishers Weekly. I was correct, and Kirkus review, Kirkus right, and all those kinds of things. And maybe they'll do a mailing to you know who they believe are the people that they need to mail it to. But outside of that, unless you know you, you know it's stipulated in your contract, or you know you are that high, yeah, you know that that celebrity author, or that that best selling author that they you know, are willing to put that money behind. You're working with some your publicist, who's been assigned to your book has is probably working on 10 other books. Can devote so much to it. And so what I've learned is thankful. I'm thankful that, you know, I have this publisher, but I also know that I need to do a lot of work on my own to get Michael Hingson  1:02:04 you've got to be your best marketer, yes, but, but there's value in that too, because you can tell the story whatever it is, like no one else, exactly, exactly. And so that's that's really pretty important, yeah, Nana Ekua Brew-Hammond  1:02:18 for sure, for sure. And you can be, you know that I think, also giving yourself permission to be creative, yeah, you know, how can you get the word out in really creative ways, like, again, the publisher. These are things that like, if there was, you know, people, there were many people dedicated to your book for this amount of time, they could kind of sit there and brainstorm and do all those things. But, you know, the reality is, in most cases, it's a small it's a lean and mean team. They don't have that bandwidth, so yeah, just kind of coming up with creative ways. And at times, what I have learned to do is, how can I, if I have an idea that is maybe low cost and but I can't necessarily do it on my own? How can I ask them for support, because they do have, you know, a little bit more resources, Michael Hingson  1:03:16 yeah, and, and the how is really pretty simple. Actually, you just ask exactly, exactly, and you know either they will or they won't, or you'll share it, or whatever. And I have found that same thing to be true. Well, Nana, if people want to reach out to you, how do they do that? If they might want to talk about you doing copywriting for them or whatever, how can people find you? Nana Ekua Brew-Hammond  1:03:41 So my website is Nana brew-hammond.com, can you spell please? It's n, a n, a, b, r, e, w, H, A, M, M, O, N, d.com, and I have a newsletter there. So a newsletter sign up. So they can sign up to be a part of my newsletter and connect with me that way. They can also find me on Instagram, I'm at n, a, n, a, e, K, U, a writer on Instagram, and I'm also on Facebook at that same name, and then on Twitter, I am that without the writer. So, n, a, n, a, e, K, U, a, Michael Hingson  1:04:28 okay, cool. Well, I hope people will reach out and and I hope that they will read your books and like them and review them. I hope the same thing. Well, I want to thank you for being here, and I want to thank all of you for listening and watching us today. We really appreciate you being here with us. I'd love to hear what you think. Please feel free to email me. I'm reachable at Michael H, I m, I C, H, A, E, L, H i at accessibe, A, C, C, E, S, S, I. B, e.com, Michael H i@accessibe.com love to hear your thoughts and love to get your your opinions. I would really appreciate it if you would give us a five star rating when you have the opportunity to review this podcast. We really value your ratings and reviews very highly, and definitely want to know what you think, but please give us a great rating. We love that. If you know anyone who wants to be a guest on a podcast, or you think ought to be a guest, we're always looking for guests. And Nana you as well. If you know anyone, we're always looking for more people to come on the podcast and tell their stories. So we appreciate it. If you'd let us know. By the way, you can also go to my podcast page, www dot Michael hingson, M, I C, H, A, E, L, H, I N, G, s o n.com/podcast, that's another way to reach out to me as well. But definitely anything you can do to bring more folks to us, we value it very highly. And so with that, once again, Nana, I want to thank you for being here. This has been great. Nana Ekua Brew-Hammond  1:06:01 Thank you so much. I really appreciate you having me on, and you are such an inspiration. And thank you. Michael Hingson  1:06:13 You have been listening to the Unstoppable Mindset podcast. Thanks for dropping by. I hope that you'll join us again next week, and in future weeks for upcoming episodes. To subscribe to our podcast and to learn about upcoming episodes, please visit www dot Michael hingson.com slash podcast. Michael Hingson is spelled m i c h a e l h i n g s o n. While you're on the site., please use the form there to recommend people who we ought to interview in upcoming editions of the show. And also, we ask you and urge you to invite your friends to join us in the future. If you know of any one or any organization needing a speaker for an event, please email me at speaker at Michael hingson.com. I appreciate it very much. To learn more about the concept of blinded by fear, please visit www dot Michael hingson.com forward slash blinded by fear and while you're there, feel free to pick up a copy of my free eBook entitled blinded by fear. The unstoppable mindset podcast is provided by access cast an initiative of accessiBe and is sponsored by accessiBe. Please visit www.accessibe.com . AccessiBe is spelled a c c e s s i b e. There you can learn all about how you can make your website inclusive for all persons with disabilities and how you can help make the internet fully inclusive by 2025. Thanks again for Listening. Please come back and visit us again next week.

The Road to Mount Zion: Walking Toward God's Peace The Gospel recounts Jesus' warning that the coming of the Son of Man will be sudden, . . . . . . just as the flood came unexpectedly in the days of Noah. Therefore, believers must remain spiritually awake and prepared at all times. The Homily connects this vigilance to the Advent call for peace and reconciliation. Reflecting on the United Nations monument inspired by Isaiah's prophecy . . . “They shall beat their swords into plowshares” . . . the Homily notes that true peace does not come from political power or military strength but from turning toward God, the God of Jacob. Despite global efforts, . . . . . . wars persist, reminding us that peace must begin within each person. During Advent, Christians are invited to “beat their swords into plowshares” by reconciling with those who have hurt them. The greatness of a Christian lies in seeking peace, healing relationships, and living each day as though the Lord is coming in every moment. Paul's call to “wake from sleep” emphasizes living daily life in holiness, attentiveness, and readiness. Advent begins not with the beginning of time but with the end in view . . . the ultimate fulfillment when God will be all in all and peace will reign. The Church becomes the place where this peace begins as believers set aside hostility and walk together toward God. Listen to this Meditation Media. Listen to: The Road to Mount Zion: Walking Toward God's Peace ------------------------------------------------------------------------------- Art Work The Journey of the Magi: French Painter: James Tissot: 1894 Part of the online collection of the Brooklyn Museum. Why was this panting selected for this post: A visual metaphor for pilgrimage toward God, paralleling Isaiah's call to “go up to the mountain of the Lord.” ------------------------------------------------------------------------------- Gospel Reading: Matthew 24: 37-44 First Reading: Isaiah 2: 1-5 Second Reading: Romans 13: 11-14

In this episode of PhotoWork with Sasha Wolf, artist, photographer, and filmmaker Tyler Mitchell joins Sasha to discuss his Aperture book, Wish This Was Real. Tyler speaks candidly about learning by doing, the value of taking risks, and the creative rewards that follow. He and Sasha also explore the central role of collaboration in his practice, particularly how that ethos shapes his approach to building tableaux. https://www.tylermitchell.co https://www.tylermitchell.co/books/wish-this-was-real-book Tyler Mitchell (b. 1995, Atlanta, GA) is an artist, photographer, and filmmaker based in Brooklyn. He received a BFA in Film and Television from New York University's Tisch School of the Arts in 2017. Mitchell's work reimagines narratives of Black beauty and desire, embracing history while envisioning fictionalized moments of an aspirational future. His photographs and films present Black life through themes of play, empowerment, and self-determination. Mitchell's work is held in numerous public and private collections, including the Museum of Modern Art, New York; High Museum of Art, Atlanta; Brooklyn Museum; Los Angeles County Museum of Art (LACMA); Museum of Fine Arts, Boston; Smithsonian's National Portrait Gallery, Washington, D.C.; and FOAM Fotografiemuseum, Amsterdam, among others. He has presented exhibitions internationally, including The New Black Vanguard (Aperture Gallery, New York); I Can Make You Feel Good (FOAM, Amsterdam; ICP, New York); Chrysalis (Gagosian, London); Domestic Imaginaries (SCAD Museum of Art, Savannah); and Idyllic Space (High Museum of Art, Atlanta). His European touring exhibition, Wish This Was Real (C/O Berlin, 2024), brought together a decade of work exploring Black beauty, leisure, and imagination, traveling to Helsinki, Lausanne, and concluding at the Maison Européenne de la Photographie, Paris (2025–26). Mitchell's photography has appeared in Aperture, Dazed, i-D, Vogue, Vanity Fair, WSJ, and Zeit Magazin, alongside collaborations with Gucci, Loewe, Ferragamo, and JW Anderson.

We praise Christ as King today.   Should we?  This is rather strange for us as Americans, who typically don't like kings.  The pilgrims, in fact, were fleeing England because they were upset with the king's interference in religion.Turns out the rest of the Bible also has some pretty negative things to say about human kings too.So why do we praise Jesus Christ as King?  It turns out that Jesus is not like other kings.  The way in which he revealed to us his kingship on the cross casts judgment on all other kings and teaches all of us something about power. The kings of this world use their power to create their own paradise, come what may for others.  Jesus uses his power to create a paradise for others, come at the cost of his own life.   And the power he uses to create that paradise, as it turns out, is mercy.  And for this mercy, we can give thanks!Art credit, Wikipedia, The Embarkation of the Pilgrims, an 1857 portrait by Robert Walter Weir now housed at Brooklyn Museum

This week on Blocked and Reported, Jesse and Katie discuss a new report on intellectual capture at the BBC. Plus, antisemitism in NYC. The Office for the Prevention of Hate Crimes 2024 Annual ReportIn NYC, Jews targeted in hate crimes more than all other groups combined in 2024Vandals Splash Graffiti on Home of Jewish Director of Brooklyn MuseumApparent Gaza activists hurl paint at homes of Brooklyn Museum leaders, including Jewish director | AP NewsThree Charged with Hate Crimes Related to Defacing and Vandalizing Homes of the Brooklyn Museum's Director and Board Members – The Brooklyn District Attorney's OfficeStatement on the “Hate Crime” Charges Against NYC Journalist Samuel Seligson — WRITERS AGAINST THE WAR ON GAZAJournalist Charged With Hate Crime for Covering Gaza ProtestDoes Trump have a defamation case against the BBC? | ReutersBBC director general Tim Davie and News CEO Deborah Turness resign over Trump documentary editWhen the BBC's disinformation correspondent lied on her CV - The New WorldCar insurance quotes higher in ethnically diverse areasResearch into trans medicine has been manipulatedInternet replaces TV as UK's most popular news source for first time | Media | The GuardianBBC apologises to Trump over Panorama edit but refuses to pay compensation This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.blockedandreported.org/subscribe

At an unexpected juncture in her life, artist Jordana Munk Martin turned to the legacy of her grandmother's trove of textile books. Edith Wyle founded the Craft and Folk Art Museum in Los Angeles in 1973, curating unconventional exhibits and instilling a love of art in her family. Her granddaughter found inspiration and comfort in the books, then opened the library for other artists to explore. That original collection is now the core of Tatter, a nonprofit organization named for soft, worn, well-used textiles. It includes the iconic Tatter Blue Library, an array of classes, a journal, and retail. “We're really a conversation about cloth, housed in a cultural arts organization,” says Jordana. Tatter's educational offerings began with classes in stitching, adding online classes and presentations when in-person learning became unavailable. One longstanding subject is the World Embroidery Series, which has offered detailed instruction in dozens of stitches and introduction to the rich cultural origins. The library invokes the cultural and spiritual connotations of the color blue. In an elegant dark blue–paneled space, the collection includes not only books but also drawers of buttons, a collection of swatches following the stitch patterns in Barbara Walker's knitting treasuries, tools, and textiles. Tatter's holdings now include treasured collections of 12 women: embroidered samplers, thimbles, darners, textiles, tools, and a luxurious assortment of fiber art books and periodicals. The Brooklyn Museum recently transferred 200 objects to Tatter, reflecting the organization's deep and growing Brooklyn roots. Like Tatter, our conversation combines cultural inquiry with human connection. Links Read Jordana's description of the Tatter Blue Library at “The Building of a Library.” (https://tatter.org/the-building-of-a-library/) Fina a list of Tatter's online and in-person classes (https://tatter.org/events/). The third issue of Tatter's journal, entitled Blue (https://tatter.org/issues/issue-3/), is available online. Read updates on the organization's new home (https://tatter.org/230-ashland-place-capital-campaign/) in Brooklyn's Cultural District. This episode is brought to you by: Treenway Silks (https://www.treenwaysilks.com/index.php) is where weavers, spinners, knitters and stitchers find the silk they love. Select from the largest variety of silk spinning fibers, silk yarn, and silk threads & ribbons at TreenwaySilks.com (https://www.treenwaysilks.com/). You'll discover a rainbow of colors, thoughtfully hand-dyed in Colorado. Love natural? Treenway's array of wild silks provide choices beyond white. If you love silk, you'll love Treenway Silks, where superior quality and customer service are guaranteed. Learning how to weave but need the right shuttle? Hooked on knitting and in search of a lofty yarn? Yarn Barn of Kansas (https://www.yarnbarn-ks.com/) has been your partner in fiber since 1971. Whether you are around the corner from the Yarn Barn of Kansas, or around the country, they are truly your “local yarn store” with an experienced staff to answer all your fiber questions. Visit yarnbarn-ks.com (https://www.yarnbarn-ks.com/) to shop, learn, and explore. Peace Fleece began in a small Maine town with a mission: to produce a yarn that brings together parties from areas of historic conflict, transcending boundaries through the commerce of wool. From Russian farmers to the Navajo Nation, the original owners set the foundation for meaningful trade. Today, the spinning mill at Harrisville Designs continues the tradition of sourcing fine wool from Navajo farmers, combining it with US wool and a touch of mohair to create the unique Peace Fleece blend. Visit our website at peacefleece.com (https://peacefleece.com/) to learn more.

Marilyn Minter (b. 1948, USA) is an artist based in New York. Recent solo exhibitions include Marilyn Minter, Lehmann Maupin, Seoul, South Korea (2024). Marilyn Minter, LGDR, New York, NY (2023); Marilyn Minter, Lehmann Maupin, Hong Kong, China (2021); All Wet, Montpellier Contemporary (Mo.Co), Montpellier, France (2021); Smash, MoCA Westport, Westport, CT (2021); Fierce Women, The Cube, Moss Arts Center, Virginia Polytechnic Institute and State University, Blacksburg, VA (2020); Nasty Woman, SCAD Museum of Art, Savannah GA (2020); among others. From 2015 through 2017, her retrospective, Marilyn Minter: Pretty/Dirty, traveled to the Contemporary Arts Museum, Houston (TX); the Museum of Contemporary Art, Denver (CO); the Orange County Museum of Art, Newport Beach (CA); and the Brooklyn Museum, Brooklyn (NY). Her video Green Pink Caviar was on view at The Museum of Modern Art, New York from 2010-2011.Minter is the recipient of numerous prestigious awards, including the Louis Comfort Tiffany Grant (2006) and the Guggenheim Fellowship (1998). Minter's work is in the collections of many museums globally, including the the Museum of Contemporary Art, Los Angeles (CA); San Francisco Museum of Modern Art, San Francisco (CA); (MA); the Museum of Modern Art, New York (NY); the Perez Art Museum, Miami (FL); the Tate Modern, London (U.K); the Solomon R. Guggenheim Museum, New York (NY); and the Whitney Museum of American Art, New York (NY), among many others.She and Zuckerman discussed shaming young and beautiful women, trust, how we take care of ourselves, making things her own, progress, the ability to copy anything, getting rid of narrative, finding out who we are, identifying people's gifts, seeing joy and the love of making, making bad things, the reality of self-doubt, looking for things that bother you, piggy backing, and how hard it is to be alive!

Learn more at TheCityLife.org

The parable of the pharisee and the tax collector (or publican) is again a parable about prayer but also a parable about the sin of pride and the virtue of humility. Pride leads to be being happy about oneself and the humility leads to being at rights with God. The latter is what we should be striving towards.The image used in this podcast is "The Pharisee and the Publican" by James Tissot painted somewhere between 1886 and 1894. It is the collection of the Brooklyn Museum, New York. If you would like to contact me to provide feedback, suggestions or to ask questions you can do this via email:frpchandler@armidale.catholic.org.auAlso if you would like to support me in this work, please send me an email and I will provide details for how you can make a donation. Music by Samuel F. Johannson and by Tomomi Kato from Pixabay

Raina Lampkins-Fielder is the Curator of Souls Grown Deep, a nonprofit that advocates for the artistic recognition and social and economic empowerment of Black artists from the American South. With a distinguished career as an art historian, museum educator, and curator of 20th century and contemporary American Art, focusing on African American creative expression, Lampkins-Fielder has worked for over 20 years in museums and cultural institutions including the Brooklyn Museum, the New Museum of Contemporary Art, the Andy Warhol Museum, and the Whitney Museum of American Art. She has curated and produced many exhibitions, served as a juror for artist residency programs, organized and participated in numerous academic conferences, and spoken widely on audience accessibility to the arts in the US and abroad. She holds a BA in English from Yale University and an MA in the History of Art from the University of Cambridge, England.She and Zuckerman discuss finding solace in museums, assumptions, play as fearlessness, stewardship of precious sharing, saying thank you, vulnerability, lines of life, how art saves lives—including hers, burdens of history, stories of abundance, using sound as a curatorial strategy, being a mom and how that influences her practice, how there is no sound bite for why art matters, how art speaks to the unspeakable, and overjoying in creation!

Read OnlineWhile Jesus was speaking, a woman from the crowd called out and said to him, “Blessed is the womb that carried you and the breasts at which you nursed.” He replied, “Rather, blessed are those who hear the word of God and observe it.”  Luke 11:27–28This short Gospel reading reveals much about what makes one “blessed” in life. Specifically, Jesus considers those truly blessed who do two things: “hear the word of God” and then “observe it.” Though this seems quite obvious at first read, it is often harder than it seems.The first step to a blessed life is hearing the Word of God. To “hear” implies that we do much more than become familiar with the Gospels. Hearing means we are not only aware of all that our Lord has revealed, it also means that we have truly internalized it, understanding all that our Lord requires of us.Have you heard our Lord? It's important to understand that the Gospel is alive. In other words, becoming familiar with the Word of God is not the same as reading some ancient book of lessons. Rather, hearing the Word of God means we hear a Person: the Son of God, speaking to us and guiding us each step of our lives. God's Word is something that must speak to us every moment of every day, inspiring us to do this and avoid that. It is accomplished through a lifelong habit of prayerful communion with our Lord through which we are attentive to His voice always.Hearing the very Person of the Son of God, the Word made flesh, necessarily implies that we also observe all that He speaks to us. In fact, failure to follow His continuous and gentle command to love will result in us being unable to clearly hear Him at all. We will become confused and will easily become directed by the many other voices in our world, unable to discern the glorious path chosen for us by our Lord. Reflect, today, upon whether or not you struggle in any way with both hearing and observing the voice of God. If this is your struggle, then recommit yourself to a time of humble and wholehearted discovery. Tell our Lord that you are sorry for not being attentive to Him and set yourself on a mission to seek and find Him. Reject the confusion and anxiety of life, reject the many other voices of “wisdom” within our world, and listen for His gentle but clear voice. He is always speaking. He is always calling you. He is always present. Open the eyes of your soul and give Him your full attention. And when you sense Him speaking to you, respond with the utmost generosity and obedience. Doing so will result in you discovering what it means to be truly blessed by our Lord. My blessed Lord, You are glorious beyond all things, and You invite me and all Your creatures to share in Your very life. Give me the grace I need to turn from the confusion and deceptions of life so that I will hear only You and respond only to Your voice. I commit myself to Your holy will, dear Lord. As I do, please bestow upon me every blessing You desire to give. Jesus, I trust in You.Image: A Woman Cries Out in a Crowd by James Tissot, Brooklyn Museum, Public Domain.Source of content: catholic-daily-reflections.comCopyright © 2025 My Catholic Life! Inc. All rights reserved. Used with permission via RSS feed.

Artist Claude Monet is most famous for his impressionist paintings of France. But in a new exhibition at the Brooklyn Museum, Monet's later paintings of Venice are the star of the show. "Monet and Venice" displays over 100 Monet artworks and other materials. Museum curator Lisa Small explains what makes Monet's paintings of the historic Italian city significant.

Arrested with women charged with defacing NYT building A Cold Spring photographer who has documented protests against the Gaza war was arrested on Sept. 28 on charges of threatening an editor at The New York Times over its coverage of the conflict. Alexa Wilkinson, 38, was detained after officers from the New York Police Department, with assistance from the state and Cold Spring police, executed a search warrant at a residence in the village. Investigators were on the scene for several hours. That same day, police arrested Sarah Schaff, 30, on charges that she vandalized The Times building on Eighth Avenue with red paint at 4 a.m. on July 30 and Anna Owens, 24, for being "a lookout." Cleaning up and repairing the damage cost $108,000, according to investigators. The two women were protesting The Times' coverage, which they consider biased against Palestinians, according to prosecutors. All three were arraigned Monday (Sept. 29) on single felony charges - Wilkinson for second-degree aggravated harassment as a hate crime and Owens and Schaff for second-degree criminal mischief. Wilkinson returns to court on Nov. 17. Wilkinson "is a respected photojournalist with no criminal record," The Legal Aid Society told The New York Times. Wilkinson "did not participate in or encourage any unlawful activity," it said, and the charge is "wholly unfounded." According to the criminal complaint, the charge against Wilkinson stems not from the vandalism but from a post that appeared on Instagram that targeted Joseph Kahn, executive editor of The Times, who is Jewish. In a complaint obtained from the Manhattan District Attorney's Office, a detective with the NYPD's Bias Incident Investigations Unit said a person identified as Wilkinson shared a post that read: "They hanged newspaper editors at Nuremberg," the German city where the Allies tried Nazi officials following World War II. Police said the post was captioned: "Looking at you [Kahn]." A month after the damage to the Times building, someone using red paint vandalized the apartment building where Kahn lives. The investigation into that incident is ongoing, according to the complaint. Last November, a New York City videographer was indicted on felony hate crime charges after he recorded protestors hurling red paint at the homes of the director and president of the Brooklyn Museum. According to a criminal complaint, Samuel Seligson, 31, traveled with the group as it spray-painted doors and sidewalks with messages that accused the two leaders of supporting genocide. Seligson's attorney, Leena Widdi, said her client was acting in his capacity as a credentialed member of the media, describing the hate crime charges as an "appalling" overreach by police and prosecutors. A law enforcement official at the time described Seligson as a participant who was not directly involved in the property damage. Seligson returns to court on Oct. 15 and, according to court records, is considering a plea offer. The Associated Press contributed reporting.

In the middle of the Gospel of Luke (16:19-31), Jesus tells a haunting parable about a rich man, a poor man (Lazarus) and a heavenly messenger (Abraham). It would be easier if the parable simply spoke about ultra rich, but the more we ponder it, the more we realize it is about us, our money and the people in need around us.  The parable makes abundantly clear, that in God's eyes, Lazarus and others in need are in help and in need of care.  Which makes us wonder -- do we do enough for the Lazarus's of our lives?  Are we like Abraham (or even Jesus), who show unending compassion for those in need?The more we ponder the parable, the more we realize that we too are in need of help, help that only Jesus can give.The artwork is by James Tissot and is housed at the Brooklyn Museum of Art.

Michi Jigarjian is the CEO and founder of Work of Art Holdings (WOAH) and a Managing Partner at 7G Group, advancing art-led, socially responsible projects that strengthen communities. She helped shape the award-winning Rockaway Hotel's arts-driven revitalization, led Baxter St at CCNY, serves on the Brooklyn Museum's executive committee and the National YoungArts Foundation board (DEAI Chair), and has taught at Bard College.Jigarjian and Zuckerman discuss community building and designing platforms, interruptions, problem-solving, what the next step can be, ecosystems of athletes, perfect practice, flow, bringing the creative back into the game, what actually matters, how women lead differently, deserving to sit at the table, things that are bigger, who provides agency, how we do both, finding joy, loving to host, sport hobbies, letting things grow bigger than you, seeing actual change happen because of Art, and non-transactional conversations!

This week's episode was recorded and broadcasted live from the Axel Contemporary Truck onto Radio Tomada in Santa Fe. Thibault talks with Mathew and Jerry about woo, and talks with Zina about the sound bath she did at Electra Gallery, living in Arkansas, and the art world. About Radio TomadaRadio Tomada 87.9 is a mobile radio broadcast project organized by Autumn Chacon for SITE Santa Fe's International Biennial curated by Cecila Alemani. Zina Al ShukriZina Al-Shukri was born in Baghdad, Iraq in 1978. She moved with her parents to the United States when she was 5 years of age. Al-Shukri received her BA from the University of Arkansas at Little Rock, and attended the California College of the Arts, receiving her MFA in 2009.Zina Al-Shukri is an emerging artist whose exhibition history includes Jack Hanley Gallery, San Francisco, and Pulliam Deffenbach Gallery, Portland, Oregon.Zina's workMatthew Chase-DanielMatthew Chase-Daniel  was born in Cambridge, Massachusetts in 1965 and lived in New York City in the 1960s. In the mid and late 1980s, Chase-Daniel studied at the Ojai Foundation in Ojai, California, at Sarah Lawrence College in Bronxville, New York (B.A.), and in Paris, France, where he studied cultural anthropology, photography, and ethnographic film production (Ecole Pratique des Hautes Etudes & Sorbonne). Since 1989, he has lived in Santa Fe, New Mexico, making family, and roaming the landscape to make his art. His photography and sculpture have been exhibited across the U.S. and in Europe.He is the co-founder, co-owner, and co-curator of Axle Contemporary, a mobile gallery of art, founded in 2010, a radio/podcast host at Coffee and Culture, curator of The Lena Wall, and a member of the Railyard Art Committee, all in Santa Fe.Jerry WellmanJerry Wellman is a Santa Fe-based artist whose cultural work includes curatorial projects, performance, writing, video and studio production. Wellman earned an MFA from CalArts. Wellman's paintings and drawings have been exhibited at the Brooklyn Museum of Art, Holly Solomon Gallery in New York City, Pierogi Gallery in Brooklyn, The Downey Museum, and The Orange County Center of Contemporary Art in California, The El Paso Museum of Art, The Revolving Museum in Boston, and The Paseo Project in Taos, NM. His drawings were selected for a traveling show sponsored by the Smithsonian. His work with Axle Contemporary has been exhibited at SITE Santa Fe, 516 Arts in Albuquerque, The. Navajo Nation Museum in Window Rock AZ, The Western Heritage Museum in Hobbs NM and the Roswell Art Center in Roswell NM. Awards of note include: Art Matters Foundation Grant, LINE Grant, Puffin Grant, and an NEA grant. Wellman has taught at the Pasadena College of Art and Design, CalArts, and New Mexico State University. He was formerly the head curator at Los Angeles Institute of Contemporary Art. He is the co-founder, co-director and co-curator of Axle Contemporary artspaceAbout The Side WooThe Side Woo podcast was created to open a frank dialogue about the overlaps of mental health, queer stories, the metaphysical (woo), and creativity as a way to understand how one builds a sustainable creative life, and to shine a light on the ways artists overcome trauma and adversity. New episodes come out on Thursdays.About ThibaultThibault² is a trans, interdisciplinary artist based in New Mexico. To learn more you can follow them on their blog, artdate.substack.com

Episode 489 / Alexis RockmanBorn in 1962 in New York, Alexis Rockman has depicted a darkly surreal vision of the collision between civilization and nature – often apocalyptic scenarios on a monumental scale – for over three decades. Notable solo museum exhibitions include “Alexis Rockman: Manifest Destiny” at the Brooklyn Museum (2004), which traveled to several institutions including the Wexner Center for the Arts (2004) and the Rhode Island School of Design (2005). In 2010, the Smithsonian American Art Museum organized “Alexis Rockman: A Fable for Tomorrow,” a major touring survey of his paintings and works on paper. Concurrent with Rockman's 2013 exhibition at Sperone Westwater, the Drawing Center mounted “Drawings from Life of Pi,” featuring the artist's collaboration with Ang Lee on the award-winning film Life of Pi. His series of 76 New Mexico Field Drawings was included in “Future Shock” at SITE Santa Fe (2017-18). “Alexis Rockman and Mark Dion: A Journey to Nature's Underworld” was presented at the Bruce Museum, Greenwich, CT (2023) and traveled to the Virginia Museum of Contemporary Art (2024). It will be on view at the Tang Teaching Museum at Skidmore College, Saratoga Springs, NY until 5 January 2025, and at the Palmer Museum of Art at Penn State from August 30th through December 7th. His work is represented in many museum collections, including the Baltimore Museum of Art; Brooklyn Museum; Crystal Bridges Museum of American Art; Grand Rapids Art Museum; Los Angeles County Museum of Art; Museum of Fine Arts, Boston; New Orleans Museum of Art; San Francisco Museum of Modern Art; Smithsonian American Art Museum; Solomon R. Guggenheim Museum; and Whitney Museum of American Art. Rockman's first solo exhibition with Sperone Westwater, “Evolution,” was presented in 1992. He has had subsequent solo exhibitions at the gallery in 2013, 2018, 2020-21 and 2023. He lives and works in Warren, Connecticut.

This week, BA fam—grab your coffee, get cozy, and let’s talk all things The Ghosts of Gwendolyn Montgomery, our official August/September book club pick! Mandi Woodruff-Santos sits down with none other than Clarence Haynes, author, publishing pro, and all-around NYC icon for a bold, joyful, and real convo packed with gems. Want to join the BA Book Club? All you've got to do is become a free member of our Patreon > Show recap: Mandi introduces Clarence and gets real about what inspired the Brown Ambition Book Club and her own book altar game. Clarence shares how the powerful women of NYC—and some serious Shirley Chisholm style—sparked his creation of Gwendolyn Montgomery. Dive deep into the book’s plot: a high-powered publicist with mystical secrets, a fashion event gone wild at the Brooklyn Museum, and a botanica in the South Bronx run by an Afro-Latine queer psychic Discussion on breaking generational trauma, mother wounds, fierce ambition, and why we’re all haunted by more than just ghosts. A real talk about dating as a queer Black man in NYC—Clarence gets candid on finding intimacy in the big city and the sometimes wild, sometimes isolating dating scene. The realities of Black-centered speculative fiction—why it matters and what hustle it takes to get these stories out there. Follow Clarence on IG @clarenceahaynesSee omnystudio.com/listener for privacy information.

Why the Disciples Failed . . . and How We Can Avoid It This Homily begins with the Shema . . . “Hear, O Israel: The Lord is our God, the Lord alone” . . . . . . as a call to attentive listening, not just speaking or acting on our own plans. Scripture shows the consequences of listening or failing to listen: Adam disobeyed because he did not listen, while Abraham, Mary, and the saints prospered in God's will because they did. “Israel” refers to those who cling to God, even in struggle. God alone is to be valued above all else . . . above self, possessions, and ambitions . . . and loved with heart (passions), soul (spiritual being), and strength (talents). St. Augustine's counsel . . . love God in all things and all things for God . . . reminds us to see Him behind all creation and relationships. How? The Homily tells us! Why Did The Disciples Fail Today's Gospel account of the disciples failing to heal a possessed boy illustrates that without God's direction, we can do nothing, even if we have succeeded before. Only by allowing God to lead us, through the Holy Spirit, can we truly forgive, heal, and love. The Homily ends with a prayer for openness and surrender to God's guidance. Hear more within this Meditation Media. Listen to: Why the Disciples Failed . . . and How We Can Avoid It --------------------------------------------------------- The Exhortation to the Apostles: French Painter: James Tissot: 1886 Part of the online collection of the Brooklyn Museum. --------------------------------------------------------- Gospel Reading: Matthew 17: 14-20 First Reading: Deuteronomy 6: 4-13

What if your multidimensionality is your greatest creative power?In this intimate conversation, Sarah Faith Gottesdiener connects with artist, educator, and designer Silas Munro about what it means to live and create as a whole, multidimensional person. From honoring grief to challenging design norms, Silas shares how integrating identity, spirituality, and activism has transformed his work and life.You'll hear:Why embracing all your parts—artist, mystic, educator, activist—is a radical actWhat poetic research is and how it can guide your creative processHow Silas turns surfing into a spiritual practice and grief into creative fuelThe power of community and co-creation within Moon Studio spacesHow Clear Channels helped Silas merge purpose with visibilityThis is a deeply moving episode about multidimensionality, poetic research, and the magic that unfolds when we stop trying to fit into boxes and start showing up as our full selvesMore on Silas Munro:Silas Munro is a designer, artist, writer, researcher, curator, surfer and descendant of the Banyole people of Eastern Uganda. He is the founder of the design studio Polymode based in Los Angeles and Raleigh that works with clients across cultural spheres. Commissions and collaborations include: The New York Times Magazine, MIT Press, Nike, Airbnb, the Brooklyn Museum, Storefront for Art and Architecture, the Art Institute of Chicago, Dia Art Foundation, and the Cooper Hewitt Smithsonian Design Museum.https://www.polymode.studio/https://bipocdesignhistory.com/Join Our Community: Join the Moon Studio Patreon: https://www.patreon.com/themoonstudioBuy the 2025 Many Moons Lunar Planner: https://moon-studio.co/collections/all-products-excluding-route/products/many-moons-2025Subscribe to our newsletter: https://moon-studio.co/pages/newsletterFind Sarah on Instagram: https://www.instagram.com/gottesss/Upcoming Events: September 6, 2025 + September 7, 2025: Clear Channels Online Workshop - https://moon-studio.co/products/clear-channels-fall-2025?variant=50100396327207

Ep.252 Howardena Pindell was born in 1943 in Philadelphia, Pennsylvania and lives and works in New York. She has exhibited extensively, including selected solo exhibitions at Fruitmarket, Edinburgh, UK, touring to Kettle's Yard, Cambridge, UK, Spike Island, Bristol, UK, and Irish Museum of Modern Art, Dublin (2022–23); Baltimore Museum of Art, Maryland (2022); The Museum of Fine Arts Houston, Texas (2022); The Shed, New York, touring to Oklahoma Contemporary, Oklahoma City (2021–22); Museum of Contemporary Art, Chicago, Illinois (2018); Spelman College Museum of Fine Art, Atlanta, Georgia (2015); Cleveland Institute of Arts, Ohio (1994); Wadsworth Atheneum, Hartford, Connecticut (1989); The Studio Museum in Harlem, New York (1986); Birmingham Museum of Art, Alabama (1985); A.I.R Gallery, New York (1983); and Rockefeller Memorial Galleries, Spelman College, Atlanta, Georgia (1971). Selected group exhibitions include The Kitchen, New York (2024); Louisiana Museum of Modern Art, Humlebæk, Denmark (2024); Museum of Modern Art, New York (2023); National Gallery of Art, Washington, DC (2022); Guggenheim Bilbao, Spain, touring to Centre Pompidou, Paris (2021); Tate Modern, London, touring to Brooklyn Museum, New York and Broad Museum, Los Angeles, California (2017–19); Brooklyn Museum, New York (2017); Museum Moderner Kunst Stiftung Ludwig Wien, Austria, touring to Museum Brandhorst, Munich, Germany (2016); Contemporary Arts Museum, Houston, Texas (2013); Seattle Art Museum, Washington (2009); Museum of Contemporary Art, Los Angeles, California (2007); and The Studio Museum in Harlem, New York (2006). Credit: Howardena Pindell, 2018, Photo © Nathan Keay White Cube https://www.whitecube.com/gallery-exhibitions/howardena-pindell-hong-kong-2024 Garth Greenan https://www.garthgreenan.com/artists/howardena-pindell MoMA https://www.moma.org/artists/4625-howardena-pindell NYTimes https://www.nytimes.com/interactive/2025/06/09/t-magazine/howardena-pindell.html | https://www.nytimes.com/2020/10/16/arts/design/howardena-pindell-shed-video.html Fruitmarket https://www.fruitmarket.co.uk/howardena-pindell/ Stony Brook University https://www.stonybrook.edu/commcms/art/people/faculty-staff/howardena-pindell

Today, Ceri is joined by Dr Livia Alexander a Brooklyn based curator, writer and professor of Visual Studies at Montclair State University whose curatorial work bridges continents, disciplines and philosophies. Her work lives at the intersection of contemporary art, film and expanded media with a focus on artists and practices from Southwest Asia and North Africa. She is co-founder of Arte East and has contributed to and supported curatorial programmes for the Museum of Modern Art, Tate Modern, the Brooklyn Museum and the digital screen programme at Moynihan train station in New York. Livia reminds us that visionary work often happens out of sight, slow, durational and deeply relational.  This episode is a master class in curating as care infrastructure and expansive thinking. KEY TAKEAWAYS Livia´s use of diverse mediums and explorative, nuanced approach uncovers the quietly radical and overlooked perspectives. By prioritizing  thoughtful exploration over spectacle, Livia enables us to engage more meaningfully with the world and its challenges. Be true to your values but know when to let go. Have humility, recognise that your perspective is just one of many, and be open to other possibilities. Explore interactive media and gaming, they have great potential and allow audiences to interact with stories in new ways. BEST MOMENTS “We need to create those spaces to have conversations between unusual suspects - between the banker and the artist.” “Creativity isn't just about output. It's about asking better questions, slower ones, ones that resist spectacle and lean into complexity.” “Livia´s work makes space for friction, for paradox, for multiplicity. She invites us to listen across disciplines, across cultures, across power structures, without rushing to resolution.” RESOURCES https://www.livalex.net @liviajalexander PODCAST HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. **** The Artist Mastermind Circle: Ready to stop second-guessing and start building momentum in your art career? Applications are now open for the next Artist Mastermind Circle—a six-month coaching programme for mid-career artists who are serious about growing their confidence, income, and opportunities. Apply by September 15th 2025 at https://cerihand.com/artist-mastermind-circle/ and take the next bold step. Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ **** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ **** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com **** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative. This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

The uncanny is an unsettling experience, bringing to light that which has been hidden underneath the surface. Artist Lorraine O'Grady is an agent of this unsettling effect. Throughout her prolific career, Lorraine O'Grady has used her art to challenge boundaries imposed upon Black Artists and to problematize binary thinking. In this week's episode of Tomorrow is the Problem, Host Dr. Donna Honarpisheh sits down with Dr. Stephanie Sparling Williams, the Andrew W. Mellon Curator of American Art at the Brooklyn Museum, and Harry Burke, an art critic and PhD candidate at Yale University, to discuss Lorraine O'Grady's work.Audio excerpts of Lorraine O'Grady from the 2018 Soul of A Nation symposium, an event hosted by the Tate Modern and Crystal Bridges MuseumTomorrow is the Problem is brought to you by the Knight Foundation Art + Research Center and is produced in partnership with FRQNCY Media.

For our 48th episode, we shared time with the brilliant Emily Manwaring—an artist from and living in New York City whose tender, evocative, & multidimensional works on canvas have been shown at galleries and institutions such as Canada, New Image Art, the Brooklyn Museum, and the Venice Biennale. We first came into contact with Emily when we licensed one of her paintings to illustrate our 2023 book about nameplate jewelry and have remained drawn both to her prolific creativity and generous spirit. We spoke about what led her to start making images, the need to stay grounded and purposeful while navigating the fickle pressures of the art industry, and how the poetry of NYC life and heritage emerges in her work. Our intro (“Love is Love”) and outro (“My Ace”) are courtesy of KING VISION ULTRA, 2025.

Jesus Tells Us Do Not Be Afraid: Discipleship in a Challenging World Today's reading is from the Gospel of Matthew, which explores Jesus' call to discipleship, . . . . . . emphasizing that to follow Christ means not only learning from Him but being formed into His likeness. The Homily begins by reflecting on the ritual of kissing the Gospel . . . whether its message is comforting or challenging . . . underscoring that all of God's Word is sacred and to be cherished. The Homily then unpacks Jesus' teaching that a disciple must not expect an easier path than the Master's, preparing listeners for the resistance they may face when living according to Christ's truth in a world that often rejects it. The Homily urges believers not to fear opposition but to value the Gospel deeply and live it fully, recognizing that the Christian journey, though difficult, leads to eternal life. Jesus' presence in the Eucharist is highlighted as a constant source of strength, reminding us that we are never alone. The Homily concludes by encouraging trust in God's guidance, assurance in His care, and boldness in living out the Gospel despite life's trials. Listen more to this meditation Media. Listen to: Jesus Tells Us Do Not Be Afraid: Discipleship in a Challenging World --------------------------------------------------------------- Jesus Sends Out Disciples Two By Two: French Painter: James Tissot: 1886 This painting resides in the Brooklyn Museum. --------------------------------------------------------------- Gospel Reading: Matthew 10: 24-33 First Reading: Genesis 49: 29-32; 50:15-26

Beth Lipman is an American artist whose sculptural practice generates from the Still Life genre, symbolically representing the splendor and excess of the Anthropocene and the stratigraphic layer humanity will leave on earth. Assemblages of inanimate objects and domestic interiors, inspired by private spaces and public collections, propose portraits of individuals, institutions, and societies.  Through works in glass, wood, metal, photography, and video, Lipman presents a meditation on our relationship to Deep Time, a monumental time scale based on geologic events that minimizes human lives. Each installation is a reimagining of history, created by placing cycles often separated by millenia in proximity, from the ancient botanical to the cultural. The incorporation of prehistoric flora alludes to the impermanence of the present and the persistence of life. The ephemera of the Anthropocene becomes a symbol of fragility as the human species is placed on a continuum where time eradicates hierarchy. Lipman has exhibited her work internationally at such institutions as the Ringling Museum of Art (FL), ICA/MECA (ME), RISD Museum (RI), Milwaukee Art Museum (WI), Gustavsbergs Konsthall(Sweden) and the Renwick Gallery of the Smithsonian American Art Museum (DC). Her work has been acquired by numerous museums including the North Carolina Museum of Art, Brooklyn Museum of Art (NY), Kemper Museum for Contemporary Art (MO), Smithsonian American Art Museum (DC), Jewish Museum (NY), Norton Museum of Art, (FL), and the Corning Museum of Glass (NY).  Lipman has received numerous awards including a USA Berman Bloch Fellowship, Pollock Krasner Grant, Virginia Groot Foundation Grant, and a Louis Comfort Tiffany Foundation Grant. She has been an Artist in Residence at the Alturas Foundation, the John Michael Kohler Arts Center's Arts/Industry Program, and the Smithsonian Artist Research Fellowship. Recent works include Living History, a large-scale site-specific commission for the Wichita Art Museum (KS) that investigates the nature of time and place and Belonging(s), a sculptural response to the life of Abigail Levy Franks for the Crystal Bridges Museum of American Art (AR). Lipman's work is on view now in three independent installations including: Hive Mind at Iowa State University, Ames, Iowa; ReGift at the Toledo Museum of Art (TMA), Toledo, Ohio; and the permanent installation One's-Self I Sing at theMuskegon Museum of Art (MMA), Muskegon, Michigan. To celebrate the official unveiling of One's-Self I Sing, the MMA is hosting an Artist Talk and Unveiling Reception this Thursday, July 17 at 7 p.m. The event is open to the public and free to attend. Find out more at www.muskegonartmuseum.org Suspended in the museum's central atrium, the sculpture explores the interconnectedness of time, culture, and nature through materials such as glass, wood, metal and gypsum. Measuring approximately 240 x 120 x 60 inches, One's-Self I Sing functions as an “exploded” still life – an expansive, suspended constellation of objects that invites viewers to reflect on humanity's place within Deep Time and the Anthropocene. Says Lipman: “The marriage of transparent and opaque forms alludes to what is seen and known juxtaposed with what is concealed and lost over time.” The sculpture spans both floors of the museum, encouraging viewers to encounter it from multiple vantage points. Braided suspension cables carry the piece vertically through space, suggesting both ascent and descent, growth and entropy. Lipman incorporates subtle visual references to the Muskegon Museum of Art's permanent collection, binding the sculpture to the museum's history while extending its meaning outward across time. “One's Self I Sing is a showstopping first impression when visitors walk into the museum,” says Kirk Hallman, Executive Director of the Muskegon Museum of Art. “It's a powerful and visually stunning complement to the museum's new Bennett Schmidt Pavilion and a bold reflection of the MMA's ongoing commitment to celebrating women artists.” Enjoy this conversation with Lipman about current installations, artistic motivations and the behind the scenes challenges of creating site-specific work that communicates to viewers.    

Learn more at TheCityLife.org

If I Can Just Touch Him: Resting in the Presence of God Today's Homily reflects on two Scripture passages . . . . . . a vision of Jacob at Bethel and the Gospel story of the raising of the official's daughter and the healing of the woman with the hemorrhage. The Homily begins by exploring the nature of a shrine, emphasizing Jacob's recognition of God's presence and the spiritual importance of resting in a holy place. Jacob's dream of a ladder connecting heaven and earth becomes a symbol of God's grace descending and the soul ascending. In the Catholic tradition, this ladder is often identified with Mary, who brought Christ into the world and continues to be a spiritual bridge between heaven and earth. The Homily then turns to the Gospel, highlighting the deep faith of the Jewish official who believes Jesus can restore his dead daughter, and the desperate yet confident faith of the woman who believes that even touching Jesus' garment can heal her. Their stories emphasize the transformative power of physical contact with the Lord. This culminates in the sacrament of the Eucharist, where the faithful come forward to be physically touched by Christ, receiving healing and grace. All the faithful are urged to rest and make a true thanksgiving after communion, allowing the grace of Christ's touch to fully penetrate their lives. How? Listen more to this Meditation Media. Listen to: If I Can Just Touch Him: Resting in the Presence of God -------------------------------------------------------------------- Quote From The Homily . . . the Lord gives us his blessing. The Lord gives us his goodness, but we never fully receive it. We see it as it comes to us, but so much of life calls us away so quickly. We end up laying it aside or only receiving it partially. Jacob in this reading shows us something different because he rests in this place. -------------------------------------------------------------------- The Woman with an Issue of Blood: French Painter: James Tissot: 1886 This painting resides at The Brooklyn Museum. -------------------------------------------------------------------- Gospel Reading: Matthew 9: 18-26 First Reading: Genesis 28: 10-22

"These spaces are sacred." The Brooklyn trio reflect on 12 years of throwing parties that celebrate New York's queer community of colour. New York nightlife has a truly unique ecosystem. And for the last 12 years, the art collective Papi Juice has been right at the center of it, hosting parties, workshops, artist residencies, performances and exhibitions that affirm and celebrate the lives of queer and trans people of colour. In this RA Exchange recorded during Pride Weekend in Brooklyn, reviews editor Kiana Mickles sits down with the Papi Juice trio—Mohammed, Adam and Oscar—to talk about intersectionality and how they've maintained their principles and political integrity by continuing to put their community first. The DJs and multimedia artists have been active in leading fundraisers for Black trans organisations and archiving queer nightlife in Brooklyn. They recently received an award from the City Council of New York for their contributions to culture and have partnered with institutions like The Brooklyn Museum, MoMA PS1, El Museo del Barrio, Creative Time, The Metropolitan Museum of Art and the Leslie-Lohman Museum of Gay and Lesbian Art. In this interview, Mohammed, Adam and Oscar reflect on meeting for the first time, navigating New York's cabaret laws, creating a distinct visual identity, learning to work through internal conflict and differences in taste, and working towards a shared vision across many years. Listen to the episode in full. -Chloe Lula

With Plein Air Easton right around the corner, Jess and Marie talk with the 2025 festival judge Peter Trippi.  They discuss his early introduction to art history, his position as Editor-in-Chief at Fine Art Connoisseur magazine, and his approach to curation and judging. Peter Trippi has edited Fine Art Connoisseur since 2006. Previously, he directed New York's Dahesh Museum of Art, which specialized in 19th-century European academic painting and sculpture. Before that, he held senior posts at the Brooklyn Museum and Baltimore Museum of Art. In 2002, Phaidon Press published Trippi's monograph J W Waterhouse, which reassesses the Victorian painter best known for his Lady of Shalott at Tate Britain. Trippi went on to co-curate the Waterhouse retrospective that appeared 2008–10 in the Netherlands, England, and Canada. In 2016, Trippi co-curated the exhibition Lawrence Alma-Tadema: At Home in Antiquity, which visited museums in the Netherlands, Austria, and England. His 2021 curatorial projects were the 45-work exhibition Artful Stories: Paintings from Historic New England, in Milton, Massachusetts, and the five-artist show Flora Nova: Painting Nature Now at Sugarlift (New York City). Follow Fine Art Connoisseur: Official Site Facebook Instagram X Follow Plein Air Easton: Official Site Facebook Instagram YouTube To inquire about being a guest or sponsoring the Plein Air Easton Podcast, send us an email at info@pleinaireaston.com. Music in this episode was generously provided by Blue Dot Sessions and Scott Gratton.

Learn more at TheCityLife.org

Iran's foreign minister is in Europe meeting with diplomats there as war with Israel continues. Meanwhile, Iranians have been cut off from the global internet for nearly two full days now and hundreds of Israelis are caught in Cyprus, the EU country closest to Israel, still trying to get home. Also, cases of the recently identified COVID-19 variant dubbed "razor blade throat" are rising. And, the Enhanced Games allows athletes to actually take performance enhancing drugs. Plus, the Brooklyn Museum opens a Tibetan Buddhist Shrine Room.Listen to today's Music Heard on Air. Learn about your ad choices: dovetail.prx.org/ad-choices

While you may know the Brooklyn Museum for its wildly popular cutting-edge exhibitions, the borough's premier art institution can actually trace its origins back to a more rustic era -- and to the birth of the city of Brooklyn itself.On July 4, 1825, the growing village laid a cornerstone for its new Brooklyn Apprentices Library, an educational institution to support its young "clerks, journeymen and apprentices." This was a momentous occasion in the history of Brooklyn, a ceremony overseen by the Marquis de Lafayette and observed by a young boy named Walt Whitman.The library was part of a movement -- started a century before by Benjamin Franklin-- to make knowledge readily available within the young country.The Brooklyn Museum's celebratory new exhibition Breaking the Mold: Brooklyn Museum at 200 looks back at its storied origins and eventual growth, encompassing most of the young city's cultural institutions and soon expanding into a monumental new home next to the new Prospect Park, designed by McKim, Mead and White.Abigail Dansiger, the Director of Libraries and Archives, and Meghan Bill, the Coordinator of Provenance, join Greg on this week's show to explain the unusual origins of the Brooklyn Museum and the unique philosophies which inform its exhibitions.PLUS: A couple genuine mysteries lurk within the new exhibition, including a bottle-shaped niche within the cornerstone and an Egyptologist's unencrypted notebook.This episode was edited by Kieran Gannon 

Jesus Tells Us to Remain in My Love: The True Heart of Christian Life The Church tells us of the Council of Jerusalem, the first ecumenical council of the early Church, . . . . . . which addressed a critical theological question: Must Gentile converts follow the Mosaic Law to become Christians? The council affirmed that Christianity is not merely a continuation of Judaism, but something fundamentally new, centered not on the law of Moses but on the person and love of Jesus Christ. The Homily draws a distinction between living under the law and abiding in Christ's love, emphasizing that salvation and unity in the Church come through the love of Christ, not through legalistic adherence to the old covenant. The command to “remain in my love” (spoken by Jesus at the Last Supper) is central to Christian life . . . not just visiting or receiving His love occasionally, but abiding in it continually. The Homily also reflects on the Eucharist as the heart of the Church's life, where believers are not only receivers of Christ's love, but also are received by Christ. Remaining in His love means living out His command to “love one another as I have loved you.” This abiding love is the source of unity, strength, and mission for the Christian community in a world full of distractions and fear. Listen to: Jesus Tells Us to Remain in My Love: The True Heart of Christian Life ---------------------------------------------------- A Quote from the Homily Are we going to remain in the gift that we have been given? Or are we going to leave that gift and live under some lesser thing? The temptation to the lesser thing is real. It's constant. It never goes away. And so, the remaining the abiding, or as the colic says, the persevering becomes important. It is one thing to embrace the faith. It is another, to live the faith. It is one thing to experience the love of Christ. It is another to remain in that love. And so, we gather here where it is wonderful that we can reflect on this and why? Because that love abides present here in the tabernacle. That one who loves us with the self-same love. ---------------------------------------------------- The Lord's Prayer: French Painter: James Tissot: 1886-1896 This painting resides at The Brooklyn Museum. ---------------------------------------------------- Gospel Reading: John 15: 9-11 First Reading: Acts 15: 7-21

Within her work, Catalina Chervin (b. 1953, Argentina) depicts what the human mind intuits rather than what the eyes see—replacing empirical knowledge with subconscious feeling. Chervin studied at the Escuela Nacional Superior Ernesto de la Cárcova in Buenos Aires and worked with the Robert Blackburn Printmaking Workshop in New York City. Her work is held in prominent institutions worldwide, including The Metropolitan Museum of Art, New York; The Brooklyn Museum, New York; the New York Public Library; El Museo del Barrio, New York; the Art Museum of the Americas, Washington, DC; the Blanton Museum of Art (University of Texas), Austin; the Victoria & Albert Museum, London; The British Museum, London; and the Albertina Museum, Vienna. Catalina Chervin Untitled, 2004 Hard and soft ground etching with spite bite aquatint, printed on Somerset White paper Master Printer: Lothar Osterburg, New York, 2004 Image size: 15 x 11 in (38.1 x 27.9 cm) Sheet size: 21 x 16 in (53.3 x 40.6 cm) Artist proof edition of 5 Catalina Chervin Song 3, 2010 Hard ground and soft ground etching with dry point, printed on Rives De Lin with Kozo chine collé Master printer: Lothar Osterburg, New York, 2010 Image size: 15 x 11 in (38.1 x 27.9 cm) Sheet size: 21 x 16 in (53.3 x 40.6 cm) Edition of 20 Catalina Chervin, IT 1, 2015, Hard and soft ground etching, printed on Somerset Textured White paper, Master Printer: Lothar Osterburg, New York, 2015, Image size: 15 x 11 in (38.1 x 27.9 cm), Sheet size: 21 x 16 in (53.3 x 40.6 cm), Edition of 20

In this episode of The afikra Podcast, we're joined by renowned journalist Mona Chalabi who discusses her latest animated series "#1 Happy Family USA" with comedian Ramy Youssef, her unique data-driven and illustrated approach to journalism, and the use of humor as an effective communication tool. The conversation delves into Chalabi's upbringing, her views on authority and respect in journalism, the importance of lived experiences in storytelling, and the ethical complexities of representing marginalized voices. We also explore the challenges of the journalism industry, the impact of social media, and the significance of platforming diverse perspectives in media.00:00 Introduction 03:18 Childhood Interests and Ambitions04:53 No to Fan Culture 07:47 Data Journalism and Human Stories12:15 Challenges in Journalism and Representation16:39 Economic Crisis in Journalism21:27 Growing Up During the Iraq Invasion23:12 The Role of Journalists in Shaping Consent24:35 The Challenges and Resilience of Protest Movements26:41 The Importance of Local Reporting29:12 Journalistic Integrity and Future Reflections33:16 Balancing Activism and Media Consumption34:33 The Process of Creating and Revising Work39:23 The Debate on Platforming Opposing Views44:46 Final ThoughtsMona Chalabi's work has earned her a Pulitzer Prize, a fellowship at the British Science Association, and an Emmy nomination and recognition from the Royal Statistical Society. In recent years, her art has been exhibited at the Tate, the Brooklyn Museum, the Design Museum, and the House of Illustration. She studied international relations in Paris and Arabic in Jordan. Mona works beside windows, sometimes in her hometown of London but usually in Brooklyn where she is writing a book about the ways we talk about money. It has been optioned by A24 as a documentary series. She is also the executive producer and creative director of an upcoming animated TV show with Ramy Youssef, A24 and Amazon Studios. Her writing and illustrations have been featured in The New York Times, The New Yorker and The Guardian where she is currently the data editor. Her video, audio, and production work has been featured on Netflix, NPR, the BBC, and National Geographic.Connect with Chalabi

When Prospect Park was first opened to the public in the late 1860s, the City of Brooklyn was proud to claim a landmark as beautiful and as peaceful as New York's Central Park. But the superstar landscape designers — Frederick Law Olmsted and Calvert Vaux — weren't finished.This park came with two grand pleasure drives, wide boulevards that emanated from the north and south ends of the park. Eastern Parkway, the first parkway in the United States, is the home of the Brooklyn Museum and the Brooklyn Botanic Garden, its leafy pedestrian malls running through the neighborhood of Crown Heights. But it's Ocean Parkway that is the most unusual today, an almost six-mile stretch which takes drivers, bikers, runners and (at one point) horse riders all the way to Coney Island, at a time when people were just beginning to appreciate the beach's calming and restorative values.Due to its wide, straight surface, Ocean Parkway even became an active speedway for fast horses. When bicycles became all the rage in the late 1880s, they also took to the parkway and avid cyclists eventually got their first bike lane in 1894 — the first in the United States.FEATURING: A tale of two cemeteries — one that was demolished to make way for one parkway, and another which apparently (given its ‘no vacancy' status) thrives next to another.  Get your tickets for the Bowery Boys Evening Cruise of New York Harbor by visiting Like Minds TravelVisit the website for more information about other Bowery Boys episodes

The Apostles' Witness: Our Questions, Christ's Answer This Homily reflects on the deep significance of the apostles' witness . . . . . . not merely as conveyors of Jesus' teachings, but as those who voiced the questions all hearts ask, receiving direct answers from Christ for the benefit of all future believers. It centers around a Gospel reading from the Last Supper where Jesus emphasizes his oneness with the Father, asserting that to know him is to truly know God. Praying “in Jesus' Name” Jesus prepares his apostles for their mission after his resurrection, entrusting them to act and speak in his name. The homily clarifies that praying “in Jesus' name” is not a formula for guaranteed results but a call to be united in faith, to pray in his spirit, and to live in alignment with his will. Only then does prayer truly become effective. The homily also encourages the faithful to embrace the apostolic mission: to be Christ's presence in the world through unity, witness, and authentic prayer. Listen more to: The Apostles' Witness: Our Questions, Christ's Answer ---------------------------------------------------------------------- Image: The Exhortation to the Apostles: French Painter: James Tissot: 1886 Part of the online collection of the Brooklyn Museum. ---------------------------------------------------------------------- Gospel Reading: John 14: 6-14 First Reading: 1 Corinthians 15: 1-8 ---------------------------------------------------------------------- One of the things that is important to take into account with regard to the witness of the apostles is not simply that their preaching goes out to the entire world and that they heard things from Jesus that they pass on to us, but that they had the privilege and very important position of asking the questions that our hearts naturally have.

Episode No. 705 features curators Dalila Scruggs and Catherine Morris, and artist Beatriz Cortez. With Mary Lee Corlett, Scruggs and Morris are the co-curators of "Elizabeth Catlett: A Black Revolutionary Artist" at the National Gallery of Art, Washington. The exhibition surveys Catlett's career across over 150 sculptures, prints, paintings, and drawings. The exhibition is on view through July 6. An exceptional exhibition catalogue, titled Elizabeth Catlett: A Black Revolutionary Artist and All That It Implies was published by the The University of Chicago Press, the NGA and the Brooklyn Museum, which originated the exhibition. It is available from Amazon and Bookshop for $56-60. Catlett was a feminist, activist, and radical who helped join the Black Left in the US to influences from the Mexican Revolution. Her work continued the practice of earlier US artists such as Thomas Cole, Frederic Church, and Carleton Watkins by using cultural production to advance ideas and ideologies. Cortez is featured in "Seeds: Containers of a World to Come" at the Kemper Art Museum, Washington University in St. Louis. The exhibition features work by ten artists whose research-driven practices are informed by inquiry into plant-human-land relations. "Seeds" was curated by Meredith Malone and Svea Braeunert, and remains on view through July 28. The exhibition brochure is available here. "Beatriz Cortez x rafa esparza: Earth and Cosmos" is at the Americas Society, New York through May 17. The show considers the idea of ancient objects traveling across space and time. Cortez's work explores simultaneity, life in different temporalities, and imaginaries of the future. She has been featured in solo exhibitions at Storm King Art Center, New Windsor, NY,; the Williams College Museum of Art; Clockshop, Los Angeles; and more. Instagram: Catherine Janet Morris, Beatriz Cortez, Tyler Green.

Welcome to this Inwood Art Works On Air podcast artist spotlight episode featuring visual artist, Francisco Alvarado. Francisco Alvarado is an internationally recognized New York artist born in Honduras, has had over 50 individual and 90 group exhibitions. His artwork is represented in various permanent museum collections including the Smithsonian American Art Museum, Brooklyn Museum of Art, Everson Museum of Art and Museo Pablo Serrano in Zaragoza, Spain.www.franciscoalvarado.com

Judas and Mary (of Bethany): Two Hearts Before the Mystery of Christ The Readings and Homily reflect on the profound spiritual themes leading up to Holy Week, . . . . . . beginning with the “Suffering Servant” songs from the Book of Isaiah. It emphasizes the divine calling and mission of the servant, who acts with God's authority yet reveals God's power through humility and suffering . . . not through miracles or displays of strength. This foreshadowing prepares believers for the mystery of Good Friday, where Jesus . . . God in the flesh . . . embraces suffering to redeem the world. An Act of Love and Devotion The Homily then shifts to the Gospel scene in Bethany, where Mary (of Bethany) anoints Jesus with costly perfume. Her act is one of love, devotion, and prophetic insight into Jesus' coming Passion. Judas objects, claiming the perfume should've been sold to help the poor, but his motives are exposed as self-serving. The Homily warns that words can hide wicked intentions and calls out the tendency to misuse faith for personal gain—something Judas exemplifies. Contrasting Judas with Mary , the Homily encourages believers to adopt Mary's posture of heartfelt reverence and presence with Christ, especially during Holy Week and the Eucharist. The faithful are urged not to be distracted by lesser concerns when Christ is present but to attend to Him with gratitude, love, and worship. Listen to this Meditation Media. Listen to: Judas and Mary (of Bethany): Two Hearts Before the Mystery of Christ ----------------------------------- image The Anointing of Jesus' Feet: French Painter: James Tissot: 1900 This painting resides at The Brooklyn Museum. Other Tissot paintings appear on this site here and here. ----------------------------------- Gospel Reading: John 12: 1-11 First Reading: Isaiah 42: 1-7

Episode No. 702 is a holiday weekend clips episode featuring artist María Magdalena Campos-Pons. The J. Paul Getty Museum, Los Angeles is presenting "María Magdalena Campos-Pons: Behold" through May 4. It is the first multimedia survey of Campos-Pons' work in 17 years. The exhibition spotlights Campos-Pons' photography, installation, and performance-based practices, which typically address global histories of enslavement, indentured labor, motherhood, and migration — and how their impacts continue into the present. It was curated by Carmen Hermo and Mazie Harris with Jenée-Daria Strand. It is accompanied by a catalogue published by the Getty and the Brooklyn Museum. Amazon and Bookshop offer it for $33-42. This program was taped on the occasion of the exhibition's presentation at the Nasher Museum of Art at Duke University in 2024. For images, please see Episode No. 656.

Ep.240 Rujeko Hockley is the Arnhold Associate Curator at the Whitney Museum of American Art. She co-curated the 2019 Whitney Biennial. Her current project at the Whitney is Amy Sherald: American Sublime. Other projects include Inheritance (2023), 2 Lizards (2022), Jennifer Packer: The Eye Is Not Satisfied With Seeing (2021), Julie Mehretu (2021), Toyin Ojih Odutola: To Wander Determined (2017) and An Incomplete History of Protest: Selections from the Whitney's Collection, 1940-2017 (2017). Previously, she was Assistant Curator of Contemporary Art at the Brooklyn Museum, where she co-curated Crossing Brooklyn: Art from Bushwick, Bed-Stuy, and Beyond (2014) and was involved in exhibitions highlighting the permanent collection as well as contemporary artists. She is the co-curator of We Wanted a Revolution: Black Radical Women, 1965-85 (2017), which originated at the Brooklyn Museum and travelled to three U.S. venues in 2017-18. She serves on the Boards of Art Matters, Institute For Freedoms, and Museums Moving Forward, as well as the Advisory Board of Recess. Photograph by Jody Rogac Whitney Museum ~ https://whitney.org/2019-biennial-curators ~ https://whitney.org/exhibitions/amy-sherald ~ https://whitney.org/exhibitions/amy-sherald-four-ways-of-being ~ https://whitney.org/exhibitions/inheritance ~ https://whitney.org/exhibitions/2-lizards ~ https://whitney.org/exhibitions/jennifer-packer ~ https://whitney.org/exhibitions/julie-mehretu ~ https://whitney.org/press/protest ~ https://whitney.org/exhibitions/toyin-ojih-odutola Time Magazine https://time.com/7210625/rujeko-hockley-hank-willis-thomas-art-inclusivity/ Observer https://observer.com/2025/04/exhibition-amy-sherald-american-sublime-whitney-dinner-opening-party/ Ursula https://www.hauserwirth.com/ursula/inside-the-issue-ursula-issue-11/ Surface Magazine https://www.surfacemag.com/articles/when-i-call-who-listens-rujeko-hockley-excerpt-for-freedoms/# Forbes https://www.forbes.com/sites/natashagural/2025/04/04/amy-sherald-american-sublime-at-the-whitney-re-imagines-american-realism-with-singular-visual-narratives/ M.M.Lafleur https://mdash.mmlafleur.com/most-remarkable-woman-rujeko-hockley/ Frieze https://www.frieze.com/article/rujeko-hockleys-top-picks-frieze-los-angeles-viewing-room-2023 CCL https://www.curatorialleadership.org/participants/ccl-smh-curators-forum/rujeko-hockley/ Artealdia https://www.artealdia.com/News/NEW-APPOINTMENTS-FOR-MARCELA-GUERRERO-AND-RUJEKO-HOCKLEY-AT-THE-WHITNEY-MUSEUM Culture Type https://www.culturetype.com/tag/rujeko-hockley/ artnet https://news.artnet.com/art-world/career-stories-rujeko-hockley-1962842 Athens Now https://athensnowal.net/sharing-the-spotlight/

What if, instead of fixating on what's left on your bucket list, you created an “anti-bucket list” of things you no longer need to do? This perspective-shifting idea comes from award-winning filmmaker Skye Bergman, who has gathered 3,000 years of collective wisdom from adults 75+ on how to live well.As milestone birthdays like 70 approach, many of us wonder if we'll have enough time to accomplish everything we desire. Bergman's documentary Lives Well-Lived and book Lives Well-Lived Generations challenge our youth-obsessed culture by showcasing vibrant, purposeful aging. Her research identifies four essential elements of a well-lived life: purpose, community, resilience, and positivity. Purpose evolves, especially after retirement, when professional identity shifts. The key is finding what truly brings joy—whether it's making mozzarella for your daughter's deli or volunteering to teach English. Bergman challenges ageist limitations with inspiring examples like her grandmother, who started working out at 80, and Ernestine Shepard, who became a champion bodybuilder in her 50s after losing loved ones to diabetes. These stories prove that age doesn't define what's possible.Bergman also highlights the power of intergenerational connections in combating isolation. Her monthly potluck dinners, bringing together women from ages 20 to 90, dissolve ageist divides and create a meaningful community.Ready to embrace aging on your own terms? It's time to create your anti-bucket list—letting go of what no longer serves you while embracing purpose, connection, and joy. Listen now to start redefining what's possible.Bio Sky Bergman is an accomplished, award-winning photographer. "Lives Well Lived" is Sky's directorial debut. The film is based upon her book "Lives Well-Lived Generations".Her fine art work is included in permanent collections at the Los Angeles County Museum of Art, The Brooklyn Museum, the Seattle Art Museum, the Santa Barbara Museum of Art, and the Bibliothèque Nationale de France (National Library of France) in Paris. Her book, The Naked & The Nude: Images from the Sculpture Series, includes an introduction by Hèléne Pinet, curator of photography at the Rodin Museum in Paris. She has shot book covers for Random House and Farrar, Straus & Giroux, Inc., and magazine spreads that appeared in Smithsonian, Arthur Frommer's Budget Travel, Reader's Digest, and Archaeology Odyssey.Sky Bergman is a Professor of Photography and Video at Cal Poly State University in San Luis Obispo, CA.Websitehttps://www.skybergmanproductions.com/InstagramLinked InFacebookWe hope you have enjoyed this episode. Please like, comment, subscribe, and share the podcast.To find out more about Lynnis and what is going on in the V.I.B.E. Living World please go to https://link.tr.ee/LynnisJoin the V.I.B.E. Wellness Woman Network, where active participation fuels the collective journey toward health and vitality. Subscribe, engage, and embark on this adventure toward proactive well-being together. Go to https://www.vibewellnesswomannetwork.com to join. We have wonderful events, courses, challenges, guides, blogs and more all designed for the midlife woman who wants to keep her V.I.B.E. and remain Vibrant, Intuitive, Beautiful, and Empowered after 40+. Interested in an AI platform that meets all your needs? Click here

Robert Earl Sinclair is a Future Architect & Speculative World-Builder striving to make sense of our rapidly changing world and co-create bold futures. Born in "the hood" of Los Angeles and challenged with dyslexia, Robert became a successful international hip-hop recording artist in his teens and went on to graduate from the Los Angeles County High School for the Arts and NYU's Tisch School of the Arts. Now, this multicultural, classically trained artist, actor and writer uses storytelling to activate the idea that if something is broken, we can fantasize about what it looks like unbroken, and that exercise, in and of itself, can help us to find our way to a solution. This is speculative world-building. In this pursuit, Robert's dyslexia has become an asset, because dyslexic people experience information as story and possess a much higher retention of facts which allows Robert, a voracious reader, to draw from a vast store of resources and disciplines. Dedicated to beauty, justice and inclusive imagination, Robert designs at the crossroads of art, culture and technology and has created original content and world-building workshops for: NYU, Google Creative Lab, Sundance Film Festival, The Guggenheim, the Rockefeller Foundation, Pop Culture Collaborative, The Doris Duke Foundation and For Freedoms, where he co-created For Freedoms News and its month-long residency at the Brooklyn Museum. Robert is an original member of the Guild of Future Architects' celebrated Futurist Writers Room, a diverse community of visionary artists, intellectuals, engineers and technologists. Working with Dot Connector Studio, Robert is working to shape alternative economic models of sustainability and thrivability for everyone. Most recently, Robert has  lectured at USC's School of Cinematic Arts and the ASU Center for Science and the Imagination. He is currently teaching Emergent Expressions at the Harvard Divinity School.Have a Swan Dive to share? Text us!We are always looking for Swan Dive Stories to share so hit us up, send an e mail to Ron: Ron@artbikesjax.com or Stu: Stuart@stuartsheldon.com

Consuelo Kanaga was one of the first women to be hired as a staff photojournalist for a major American newspaper. She used her camera to document social issues such as racial injustice, urban poverty, and labor rights, particularly in Black communities. However, the The Brooklyn Museum – which owns the most extensive collection of her photographs – argues her work is still overlooked. A new exhibition, “Consuelo Kanaga: Catch the Spirit,” sheds light on Kanaga's legacy. Co-curators Pauline Vermare and Drew Sawyer discuss the show, on view at the Brooklyn Museum through August 3.

It seems absurd that more than a year ahead of the next Venice Biennale, one of the major pavilions in the Giardini might be empty for next year's event. But that is the dilemma facing Creative Australia, which is responsible for that country's Biennale presentation. Last month, it announced the team comprising the Lebanese-born Sydney-based artist Khaled Sabsabi and the curator Michael Dagostino as its selection for the 2026 event—and then, within days, rescinded the invitation. An almighty row has engulfed the Australian art world to the extent that the pavilion has been thrown into doubt. So what happened? The Art Newspaper's Australian correspondent, Elizabeth Fortescue, tells Ben Luke about the debacle. A controversial auction of AI art concluded this week on Christie's website. It prompted an open letter signed by thousands of artists and creative people asking Christie's to cancel the sale and accusing the auction house of incentivising the “mass theft of human artists' work”. We talk to Louis Jebb, The Art Newspaper's managing editor, who oversees our technology coverage, about the sale and the latest developments in art and AI. And this episode's Work of the Week is Tired (1946), a terracotta sculpture made by the American-Mexican artist Elizabeth Catlett. It is part of the touring exhibition Elizabeth Catlett: A Black Revolutionary Artist, which arrived this week at the National Gallery of Art in Washington, after premiering at the Brooklyn Museum in New York last year. We discuss the sculpture with Catherine Morris, a senior curator at the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, who co-curated the exhibition, and Lynn Matheny, the National Gallery of Art's deputy head of interpretation and curator of special projects.Elizabeth Catlett: A Black Revolutionary Artist, National Gallery of Art, 9 March-6 July; Art Institute of Chicago, 30 August-4 January 2026.Subscription offer: enjoy 3 issues of The Art Newspaper for just £3/$3/€3—subscribe before 21 March to start your subscription with the April bumper issue including our Visitor Figures 2024 report and an EXPO Chicago special. Subscribe here. https://www.theartnewspaper.com/subscriptions-3FOR3?utm_source=podcast&promocode=3FOR3 Hosted on Acast. See acast.com/privacy for more information.

In this episode of The Art Career, Emily travels to Galerie Lelong & Co in Chelsea to sit down with gallerist Mary Sabbatino. Mary Sabbatino is Vice President and Partner of Galerie Lelong & Co., New York. She was appointed director of the New York location of Galerie Lelong & Co. in 1991 and became a gallery partner in 2007. In 2021, she was awarded the prestigious Chevalier de L'Ordre des Arts et des Lettres (Knight of the Order of Arts and Letters) from the Government of France. Championing a diverse roster of contemporary artists from throughout the world, the gallery has pioneered the community both in presenting a balanced roster of male and female artists, and artists from the Global South. Contributing to the overarching contemporary art scene, she served on the boards of ArtTable and the Executive Board of the Art Dealers' Association of America, during which she initiated and co-authored the ADAA's first code of ethics. Sabbatino served on the Selection Committee for Art Basel Miami Beach (2013-2020), the Art Basel Joint Selection Committee, and is a founding member of the Council for the Elizabeth Sackler Center for Feminist Art at the Brooklyn Museum, New York. In 2020, along with colleagues from international galleries, she initiated the platforms Galleries Curate and SOUTH SOUTH. In addition to fostering the careers and legacies of the gallery's artists, Sabbatino co-curated Art from Brazil in New York (1995) which presented the first solo exhibitions of the region's most vital figures—Waltercio Caldas, Cildo Meireles, Hélio Oiticica, Mira Schendel, and Tunga—and curated Juan Downey: Video Installations and Drawings (1995), at the Museo Bellas Artes, Santiago, Chile. The gallery is proud to have represented leading contemporary artists and estates for over twenty years, including Petah Coyne, Andy Goldsworthy, Jane Hammond, Alfredo Jaar, Cildo Meireles, the Estate of Ana Mendieta, Jaume Plensa, Kate Shepherd, the Estate of Nancy Spero, Ursula von Rydingsvard, and Krzysztof Wodiczko.About Galerie Lelong & CoSince 1991, Galerie Lelong & Co., New York, has championed a diverse roster of contemporary artists from throughout the world. Led by Mary Sabbatino, Vice President and Partner, the gallery has pioneered the community both in presenting a balanced roster of male and female artists, and artists from the Global South. The gallery's programming is noted for its political acuity and museum-quality exhibitions that include contemporary sculpture and installations, as well as its work with artists to help develop large-scale public art commissions beyond the gallery's walls. In tandem with the gallery's artists who present works that examine the human condition and collective consciousness, Galerie Lelong & Co. demonstrates its commitment to social justice and good citizenship through charitable initiatives and collaborations. Galerie Lelong & Co. is a member of the Art Dealers' Association of America, the most esteemed organization of art galleries in the United States.Free Resource for Artists!Want expert guidance on building your art career? Download Navigating the Art World: A Comprehensive Guide for Artists—a free resource covering essential industry insights, practical tips, and more. Get it here:⁠⁠ Download Now⁠⁠Links: ⁠⁠theartcareer.com⁠⁠Follow Galerie Lelong & Co: https://www.instagram.com/galerielelong/?hl=enFollow Mary Sabbatino: ⁠https://www.instagram.com/mary_sabbatino/?hl=enFollow us: ⁠⁠@theartcareer⁠⁠Host: ⁠⁠@emilymcelwreath_art⁠⁠Production + Creative Direction ⁠⁠@soniaruscoe⁠⁠Editing: ⁠⁠@benjamin.galloway⁠⁠ Join our community for exclusive updates, artist resources, and behind-the-scenes content! Sign up at ⁠⁠theartcareer.com⁠⁠ Never miss an episode! Subscribe & leave us a review on ⁠⁠Apple Podcasts⁠⁠ & ⁠⁠Spotify⁠⁠

[REBROADCAST FROM January 23, 2024] In the debut novel from poet Kaveh Akbar, Martyr!, a man who has lost everything becomes obsessed with the idea of becoming a martyr, until he meets a dying woman who has decided to spend her final days talking to people at the Brooklyn Museum.

Episode No. 693 is a Presidents' Day weekend clips episode featuring artist John Edmonds.  The Solomon R. Guggenheim Museum in New York recently announced the acquisition of Edmonds's complete 2018 Untitled (Hood) series. The work was included in last year's Guggenheim exhibition "Going Dark: The Contemporary Figure at the Edge of Visibility." Edmonds discussed his Untitled (Hood) series in detail when he came onto the program in 2020 on the occasion of an exhibition at the Brooklyn Museum. Among the institutions that have collected Edmonds' work are the Art Gallery of Ontario, Toronto, the Columbus Museum of Art, the Philadelphia Museum of Art, the Museum of Fine Arts, Houston, and SFMOMA.   For images, see Episode No. 446.  Instagram: John Edmonds, Tyler Green.