Pastime or profession that requires particular skills and knowledge of skilled work
EVERYDAY PHONE CONVERSATION!! This week's episode we discussed our day of auditions, how we do this for real and more. Enjoy or Fuk Outta Here! YALL OPINIONS ON THE TOPIC? Comment, Email or Dm Us…we'll definitely talk about it! Get Ya Merch — https://foh-merch.creator-spring.com (https://foh-merch.creator-spring.com) Visit our website www.fohbrand.com Sponsors of the podcast: Guerilla Land Clothing @guerillalandmerch Smiley's Crafts & Thangs @smileycraft.thangs IF YOU WANT TO GET SOMEBODY OR SOMETHING THE FUK OUTTA HERE SEND US AN EMAIL AT FOH337@GMAIL.COM Follow us on Instagram: Podcast page @fohpodcast337 Sayso @saysographics DJ Truth @therealdjtruth --- Send in a voice message: https://podcasters.spotify.com/pod/show/fohpod337/message Support this podcast: https://podcasters.spotify.com/pod/show/fohpod337/support
Welcome to our latest podcast episode, filled with exciting updates from our knitting and crochet adventures! Diana has completed her stylish Caged Halter Top and embarked on a new knitting journey with the Jolan Tru Socks. Meanwhile, Jocelyn has finished crafting the elegant Point Edwards Mitts and has begun work on the captivating Endless Summer… Continue reading Episode 337 – Fall Hits, Knit Mitts!
People tend to put offers together like a list of ingredients... guarantees, bonuses, and roadmaps. These things help sell your offer, but the real game-changer may surprise you. Lots of entrepreneurs focus on the offer itself and then build the messaging to go along with it. But this is backward. In this episode, I'm diving in to what makes an offer irresistible. Listen in and learn the secret to crafting and positioning a no-brainer offer, how to add value without adding more to the offer, the four-step process on how to fix your messaging (and create more demand), and where entrepreneurs get stuck and what will cost you sales. I'm here to set the record straight and share the best way to craft an offer you can sell before cart open day! Did you enjoy this episode? I'd love it if you'd share it on Instagram and tag me @iambrandonlucero! Thank you for supporting the show. [FREE GUIDE] Discover The 3 MESSAGING FRAMEWORKS That Generated Profitable DM's In 72 Hours! Get your guide here - https://pages.brandonlucero.com/dm-sales
This episode it's time for One Book One Podcast as we discuss the novel Upright Women Wanted by Sarah Gailey. We talk about spoilers, horse operas, spoilers, relationships, spoilers, queer coming-of-age stories, and spoilers. Plus: Spoilers! You can download the podcast directly, find it on Libsyn, or get it through Apple Podcasts, Stitcher, Google Podcasts, or your favourite podcast delivery system. In this episode Anna Ferri | Meghan Whyte | Matthew Murray | Jam Edwards The Book We Read Upright Women Wanted by Sarah Gailey Other Media We Mentioned River of Teeth by Sarah Gailey Magic for Liars by Sarah Gailey The Echo Wife by Sarah Gailey Once Upon a Time in Hollywood (Wikipedia) Once Upon a Time in Mexico (Wikipedia) The Walking Dead (TV series) (Wikipedia) Trail of Lightning by Rebecca Roanhorse The Murderbot Diaries by Martha Wells Links, Articles, and Things Horse Opera Episode 029 - Westerns Smart Bitches Trashy Books review of Upright Women Wanted Between the Coats: A Sensitivity Read Changed my Life by Sarah Gailey Jam's Upright Women Wanted film cast comprised of internet tabletop roleplayers: Esther: Becca Scott Cye: Erika Ishii Bet: Krystina Arielle Leda: Ashley Johnson Amity: Aabria Iyengar 12+ International Noir Books by BIPOC Authors Every month Book Club for Masochists: A Readers' Advisory Podcasts chooses a genre at random and we read and discuss books from that genre. We also put together book lists for each episode/genre that feature works by BIPOC (Black, Indigenous, & People of Colour) authors. All of the lists can be found here. Easy Motion Tourist by Leye Adenle The Blue Bar by Damyanti Biswas The Old Woman with the Knife by Gu Byeong-mo, translated by Chi-Young Kim The Carnivorous City by Toni Kan Real World by Natsuo Kirino, translated by Philip Gabriel Stolen by Ann-Helén Laestadius, translated by Rachel Willson-Broyles A Death in Denmark by Amulya Malladi Nothing Is Lost by Cloé Mehdi, translated by Howard Curtis Velvet Was the Night by Silvia Morena-Garcia My Annihilation by Fuminori Nakamura, translated by Sam Bett I Do Not Come to You by Chance by Adaobi Tricia Nwaubani The Honjin Murders by Seishi Yokomizo, translated by Louise Heal Kawai Plus many in the Akashic Books noir series, including: Kingston Noir edited by Colin Channer Haiti Noir edited by Edwidge Danticat Manila Noir edited by Jessica Hagedorn Nairobi Noir edited by Peter Kimani Baghdad Noir edited by Samuel Shimon Give us feedback! Fill out the form to ask for a recommendation or suggest a genre or title for us to read! Check out our Tumblr, follow us on Instagram, join our Facebook Group, or send us an email! Join us again on Tuesday, October 3rd get ready for Halloween because we'll be talking about the genre of Horror! Then on Tuesday, November 7th we'll be discussing the non-fiction genre of Crafts and Crafting!
In this podcast episode, DJ invited author, publisher and educator, Terrie Sizemore to the show to discuss her new book, The Little Book of Big Ideas, Activities, Crafts, and Celebrations. We hope you'll stay tuned as we have the privilege of delving into the world of early childhood development, exploring the magic of books and how they expand a child's knowledge, understanding and vocabulary. Terrie is not just an esteemed guest. She's also the publisher of DJ's upcoming book titled Roman is Bigger, which is sure to captivate young hearts and minds. It's a heartwarming story that delves into a young boy's journey of self expression and understanding. TIMESTAMPS• [6:46] Terrie talks about her passion of making children's literature and education actually fun for the kids, and how we can make it fun for them to learn.• [9:38] Terrie and DJ discuss the power of books and learning. • [28:25] “All of my books… they're meant to either bless the person individually, or help parents and children have time together.” • [34:30] Terrie on spending time with and investing in your child's education: “Anywhere you live, there are museums, there are the libraries, there's everything to help put all of that education together.“ For more information on the Imperfect Heroes podcast, visit: https://www.imperfectheroespodcast.com/Connect with Us!DJ Stutz - Website: https://www.littleheartsacademyusa.com/Facebook: https://www.facebook.com/littleheartsacademy/Instagram: https://www.instagram.com/littleheartsacademy/YouTube: https://www.youtube.com/channel/UCOpphCRklDJiFXdS76U0LSQDJ Stutz Booking Link: https://bookme.name/ImperfectheroespodcastCICERONE MASTERS Link: https://www.littleheartsacademyusa.com/courses/cicerone-mastersONE ON ONE COACHING Link: https://www.littleheartsacademyusa.com/courses/one-on-one-coaching-bundleTerrie SizemoreWebsite: http://www.Bestlittleonlinebookstore.comFacebook: http://facebook.com/terriesizemoreLink to The Parenting Owner's Manuel. https://www.amazon.com/Parenting-Owners-Manual-raising-healthy/dp/B0CD13DBNN/ref=sr_1_1?crid=3H0LAO5GRU4JD&keywords=the+parenting+owners+manual&qid=1694645447&sprefix=the+parenting+owners+manual%2Caps%2C215&sr=8-1Link to Terrie's book. https://www.amazon.com/Little-Book-BIG-Ideas-Celebrations/dp/1954191944/ref=sr_1_1?crid=27UQULI51TLWF&keywords=the+little+book+of+big+ideas+%3A+activities%2C+crafts%2C+%26+celebrations&qid=1694535810&sprefix=the+little+book+of+big+ideas+activities%2C+crafts%2C+%26+celebrations%2Caps%2C120&sr=8-1
Support us on Patreon! We have a merch store! You can find us on Instagram, TikTok, Facebook, YouTube, Apple Podcasts, and Spotify as Northern Knits Podcast. You can also email us at northernknitspodcastATgmailDOTcom. Jocelyn can be found on Ravelry as amberdragun, where all her other social media is linked. Her patterns are patterns available on her Etsy store, AmberDragunDesigns. Diana can be found on Ravelry as wool-rat and… Continue reading Episode 335 – September Live
The term "creative realm" refers to the domain of human creativity and imagination, where individuals and groups generate original ideas, concepts, artworks, innovations, and expressions. It encompasses various fields and endeavors, including:1. Art and Design: Painters, sculptors, graphic designers, and artists of all kinds work within the creative realm to produce visual expressions of their ideas and emotions.2. Literature: Authors and writers create novels, poetry, short stories, and other forms of written work that transport readers to new worlds or convey profound thoughts and emotions.3. Music: Musicians and composers compose melodies and lyrics, producing music that evokes emotions and tells stories through sound.4. Film and Theater: Directors, screenwriters, and actors collaborate to create films and theater productions that entertain, inform, and provoke thought.5. Architecture: Architects design buildings and structures that combine functionality and aesthetic appeal, creatively shaping the physical environment.6. Innovation: Innovators and inventors explore the creative realm to develop new technologies, products, and solutions to problems.7. Science and Research: Scientists and researchers often require creativity to formulate hypotheses, design experiments, and make groundbreaking discoveries.8. Culinary Arts: Chefs and food artists experiment with ingredients, flavors, and presentation to create unique culinary experiences.9. Fashion: Fashion designers use creativity to design clothing and accessories that reflect individual expression and cultural trends.10. Crafts and DIY: Hobbyists and artisans engage in various crafts, such as woodworking, pottery, and crafting, to produce handmade items that showcase their creativity.11. Digital Media: Content creators, including YouTubers, podcasters, and social media influencers, use their creativity to entertain and inform their audiences.12. Advertising and Marketing: Marketers and advertisers employ creative strategies to capture consumers' attention and promote products or ideas.The creative realm is boundless and ever-evolving, allowing individuals to explore, experiment, and innovate across various disciplines. It is a space where human imagination knows no limits, and new ideas continually emerge to shape culture, society, and the world.Top of FormFor me, this space is real and tangible, waiting for those willing to pay the price of discipline and ready to lay down the sacrifice of time to harness the energy within this realm and create the future.Support the showYou can support this show via the link below;https://www.buzzsprout.com/1718587/supporters/new
Welcome to the latest episode of our podcast! In this exciting installment, Diana takes us on a fiber-filled adventure as she travels to the Manitoba Fibre Festival. With so many fiber enthusiasts gathered in one place, you can only imagine the amazing things she discovered and purchased. But that’s not all – there’s an unexpected… Continue reading Episode 336 – Manitoba Fibre Festival
Katherine Rundell on her new children's fantasy book, Impossible Creatures. It's a story of two worlds, ours and one where the animals of myth and legend still survive, and thrive. A fantasy which does not shirk from dark themes, and was inspired by the metaphysical poetry of John Donne. The next finalist in the National Short Story Award is South African writer Nick Mulgrew . His story, The Storm, is set in suburban Durban describes a toxic family dynamic against a backdrop of the dramatic and dangerous thunderstorms he remembers from his own childhood. Traditional crafts are associated with homeworking: individuals squirrelled away in studios producing things that end up in galleries or shops. But social media has completely changed that for makers - whose films can attract the interest of the public for reasons as varied as teaching, selling, relaxing or even ASMR, and which at the same time open that craft and maker to a wider world. We talk to two makers – Florian Gadsby, a potter who sells online to his 1.39m followers on YouTube and 788 thousand on Instagram, and Marion Deuchars, illustrator of 20 books, who also has an online audience of thousands. Presenter: Samira Ahmed Producer: Kirsty McQuire Katherine Rundell 1:00 Crafts 14:36 Nick Mulgrew 31:34
The activities we do to relax, have fun, and express ourselves enrich our lives in countless ways, but they can also bury our living spaces in tools, materials, supplies, reading materials, and unfinished projects. In episode #182 of The Clutter Fairy Weekly, Gayle Goddard, professional organizer and owner of The Clutter Fairy in Houston, Texas, examines the stuff that accumulates from hobbies, arts, and crafts and offers strategies for keeping “crafty clutter” from spoiling our fun.Show notes: http://cfhou.com/tcfw182The Clutter Fairy Weekly is a live webcast and podcast designed to help you clear your clutter and make space in your home and your life for more of what you love. We meet Tuesdays at noon (U.S. Central Time) to answer your decluttering questions and to share organizing tools and techniques, success stories and “ah-hah!” moments, seasonal suggestions, and timeless tips.To participate live in our weekly webcast, join our Meetup group, follow us on Facebook, or subscribe to our mailing list. You can also watch the videos of our webcast on YouTube.Support the show
Come little children (and their grown ups), we'll take thee away to a land of kitchen enchantment! Join the Sanderson Sisters in your own “torture chamber” and whip up some spellbinding treats in this first-ever Hocus Pocus cookbook designed for kid chefs. Introducing The Unofficial Hocus Pocus Cookbook for Kids: 50 Fun and Easy Recipes for Tricks, Treats, and Spooky Eats Inspired by the Halloween Classic by Bridget Thoreson [ISBN: 9781646045457; Ulysses Press; September 2023], a kid-friendly follow-up to the USA Today best-seller The Unofficial Hocus Pocus Cookbook (Ulysses Press, 2021). Craft some fun kitchen magic just in time for Halloween with more than 50 recipes inspired by the two movies. These kid-friendly ingredients and easy-to-follow instructions are perfect for All Hallow's Eve, Salem Scare Fest, or any time of year. Young witches and wizards will learn to conjure Magicae “Mac”-xima n' Cheese; Harvest Vegetable Pizza; "A Good Zombie" Toast; Life Potion Punch; Fully Charged Crystal Candy, and more! Perfect for children of all ages and '90s kids who now have children, nieces, and nephews of their own, these nostalgic recipes are so delectable that there will be no crumbs left behind. So store away those brooms and robot vacuums, unless of course it's time to fly! Get your copy HERE: https://amzn.to/46btxfL ► Luxury Women Handbag Discounts: https://www.theofficialathena.... ► Become an Equus Coach®: https://equuscoach.com/?rfsn=7... ► For $5 in ride credit, download the Lyft app using my referral link: https://www.lyft.com/ici/ASH58... ► Review Us: https://itunes.apple.com/us/po... ► Subscribe: http://www.youtube.com/c/AshSa... ► Instagram: https://www.instagram.com/1lov... ► Facebook: https://www.facebook.com/ashsa... ► Twitter: https://twitter.com/1loveAsh ► Blog: http://www.ashsaidit.com/blog #atlanta #ashsaidit #theashsaiditshow #ashblogsit #ashsaidit®
When making mokuhanga and producing The Unfinished Print, I have looked towards various online tools for research and inspiration. One of these tools is ukiyo-e.org. A Japanese woodblock print database which collects and archives woodblock print collections from around the world. John Resig is the chief software architect at the Khan Academy who, in 2013, for his love of mokuhanga and the Japanese woodblock print, and through his own collection, developed ukiyo-e.org. Those researching, collecting, and making mokuhanga can explore some of the best Japanese print collections at the click of a button. In this episode of The Unfinished Print, I speak with ukiyo-e.org developer John Resig about why he decided to create the website and how his collecting of mokuhanga and making mokuhanga affected that decision. We also discuss the evolution of the humanities in mokuhanga, archiving prints, tradition, and the copywriting of images, as well as John's work with the Japanese Art Society of America. Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at email@example.com Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. John Resig - Ukiyo-e.org, Digital Humanities Research, John's personal mokuhanga collection on Airtable, Sky Above Clouds IV: After Georgia O'Keefe (2019) Utagawa Kuniyoshi (1798-1861) - is considered one of the last “masters” of the ukiyo-e genre of Japanese woodblock printmaking. His designs range from landscapes, samurai and Chinese military heroes, as well as using various formats for his designs such as diptychs and triptychs. Five portraits of the actor Ichikawa Danjuro VIII (1823-1854) in various roles (1849) yakusha-e - (役者絵) is the Japanese term for actor prints in mokuhanga. Utagawa Kunisada (1786-1865) Tsukioka Yoshitoshi 1839-1892 (月岡 芳年) was a mokuhanga designer who is famous for his prints depicting violence and gore. His work is powerful, colourful, and one of the last vibrant moments of the ukiyo-e genre of woodblock prints. More information about Yoshitoshi's life and his copious amount of work can be found, here. Iga no Tsubone and the Ghost of Fujiwara Nakanari, from the series One Hundred Ghost Stories from China and Japan (1865) Annie Bissett - is an American mokuhanga printmaker and graphic designer based in Rhode Island, USA. Her work touches on politics, and beauty. Her interview with The Unfinished Print can be found, here. Annie's work can be found, here. Irene (2023) Onchi Kōshirō (1891-1955) - originally designing poetry and books Onchi became on of the most I important sōsaku hanga artists and promotor of the medium. His works are saught after today. More info, here. Portrait of a Poet: Hagiwara Sakutarō (1886-1942) Meiji Era Prints - The Meiji Era of Japan was between 1868-1912 CE. This was a period of immense modernization and industrialization in Japan, where the Japanese economy was booming. New ideas within mokuhanga was occurring as well. Perspective, colour, through new pigments (gamboge, certain yellows), the advancement of photography, and new topics and themes (war, industry, architecture), the Meiji era print designer and publisher had a lot of choice when producing their prints. Shigeru Kuriyama (1912-2010) - was a sōsaku hanga printmaker who worked with Onchi Kōshirō (1891-1956), and U'nichi Hiratsuka (1895-1997). He founded the print magazine Yukari and Kasuri. His prints were focused on folk arts. Fragrance of Lavender (1996) sōsaku-hanga - or creative prints, is a style of printmaking which is predominantly, although not exclusively, prints made by one person. It started in the early twentieth century in Japan, in the same period as the shin-hanga movement. The artist designs, carves, and prints their own works. The designs, especially in the early days, may seem rudimentary but the creation of self-made prints was a breakthrough for printmakers moving away from where only a select group of carvers, printers and publishers created woodblock prints. Your First Print: David Bull - this was the first DVD I ever purchased on how to make mokuhanga. This was in and around 2007. While I look back at that time thinking about why I didn't take it up as seriously as I do now, I sometime wonder, "Where would I be now in my Mokuhanga journey?" I realize that that is a redundant way of thinking. I am where I am now today, and to be happy with just that. You can still find this product on Dave's website. Takuji Hamanaka - printmaker based in Brookly, NY. Uses bokashi, a printmaking technique, predominately in his works. Unique and powerful. website Instagram Collapse (2016) April Vollmer - is an established artist who works predominantly in mokuhanga. Her book Japanese Woodblock Print Workshop is one of the most authoritative books on the subject and has influenced many mokuhanga artists. April's interview with The Unfinished Print can be found, here. Wood Like Matsumura - is an online and brick and mortar store, for woodblock printmaking, located in Nerima City, Tōkyō. Yoshida Hiroshi (1876-1950) - a watercolorist, oil painter, and woodblock printmaker. Is associated with the resurgence of the woodblock print in Japan, and in the West. It was his early relationship with Watanabe Shōzaburō, having his first seven prints printed by the Shōzaburō atelier. This experience made Hiroshi believe that he could hire his own carvers and printers and produce woodblock prints, which he did in 1925. Kiso River (1927) kabuki - is a traditional form of Japanese theatre which started in Kyoto on the banks of the Kamo River in the 17th Century. Today it is a multi million dollar business and is almost exclusively run, professionally, by The Shochiku Company. Kabuki, the word, is separated into three different sounds; ka - meaning to sing, bu - meaning to dance, and ki- meaning skill. There are various families in kabuki which generate actors, passing down tradition throughout the lineage. For more information please read this fine article from Nippon.com. There are many books written on the subject of kabuki, but in my opinion, to begin, one needs to read Leonard Pronko's work Theatre East & West, Kawatake Toshio's Kabuki, and Earl Ernst's The Kabuki Theatre. Online, please visit Kabuki21.com, who's site is unparalleled. On YouTube there is the new(ish) Kabuki In-Depth which is updated regularly on kabuki information and history, and is very well done. Georgia O'Keeffe (1887 – 1986) was a renowned American artist, known for her pioneering contributions to modern American art, particularly in the realm of abstract and contemporary art. Lake George Reflection (1921) bokashi - is a mokuhanga technique, where the pigment fades from a heavy colour to a softer, broad colour. Made famous by prints designed by Hokusai and Hiroshige, this technique is, for me, the most popular technique utilized by mokuhanga printmakers. There are various types: Ichimoji-bokashi or straight line graduation, used in the above mentioned Hiroshige and Hokusai prints. Ichimoji-mura-bokashi or straight line gradation with uneven edge. Ō-bokashi or wide gradation, Ate-nashi-bokashi or gradation without definition. Futa-iro-bokashi or two tone gradation, and ita-bokashi or softer-edge gradation, where the block is cut in a specific way to achieve this style of gradation. All of these styles of bokashi technique take practice and skill but are very much doable. Bertha Lum (1869-1954) - was born in Iowa. Having begun travelling to Japan in 1903, Bertha Lum noticed the decline of the Japanese woodblock print in Japan in the early 20th Century, deciding to take up the medium. Lum began making woodblock prints after learning in Japan from an unknown teacher during her first trip to Japan. Japan, Lafcadio Hearn (1850-1904), and China influenced Bertha Lum's prints. Lum's work focused on these themes through an American lens. Winter (1909) Frances Gearhart (1869-1958) - Born in Illinois, Gearhart was a self-taught artist who spent most of her life in California. Originally a watercolorist, Frances Gearhart began experimenting with Japanese woodblock and linoleum in and around 1913. The themes of her work are predominately landscapes of the Pacific Coast and other areas of California. Her work is associated with the Arts and Crafts movement in California. A fine article on Frances Gearhart's life can be found, here. In The Sun (1930) Fujio Yoshida (1887-1997) - the wife of Hiroshi Yoshida and the mother of Tōshi Yoshida (1911-1995) and Hodaka Yoshida (1926-1995). Fujio was so much more than a mother and wife. She had a long and storied career as a painter and printmaker. Fujio's work used her travels and personal experiences to make her work. Subjects such as Japan during The Pacific War, abstraction, portraits, landscapes, still life, and nature were some of her themes. Her painting mediums were watercolour and oil. Her print work was designed by her and carved by Fujio. Roses (1925) TinEye - is an image search and recognition company. They use technology which allows the user to search an image creating a reverse image match. More information can be found, here. The Metropolitan Museum of Art - is the largest art museum in North and South America. It began to be assembled by John Jay (1817-1894) in the late 19th century. Incorporated in 1870, the museum has collected many essential pieces, such as the works of Henri Matisse (1869-1954) and Pierre-Auguste Renoir (1841-1919). For more information about the MET, you can find it here. Waseda University - is a private research university located in Tōkyō, Japan. It was established in 1882. Waseda has one of the largest woodblock print databases in the world, and are free to use. More information can be found, here. Ristumeikan - is a university founded in 1869, and located in Kyoto and Ōsaka. Like Waseda it holds one of the largest collection of Japanese woodblock prints. You can search their database, here. Mike Lyon - is an American artist. His medium has been varied throughout his career such as "square tiles," or "pixels," through to making mokuhanga, monoprinting, and machine-assisted etching, drawing and mezzotint. Mike Lyon also has a large woodblock print collection which he has curated for the public, here. More information about his work can be found, here. Linda In Black (2019) Frick Reference Library - is a reference library in the Frick Museum in New York City. The museum was once the mansion of wealthy American industrialist Henry Clay Frick (1849-1919). The museum houses some of the finest pieces of sculpture, paintings, and art in the United States. There is also the public Frick Reference Library located on 10E 71st Street in New York City. More information can be found, here. Hokusai: Inspiration and Influence - was an exhibition held from March 26 - July 16, 2023 at the Museum of Fine Arts Boston. More information can be found, here. Japanese Art Society of America (JASA) - Starting in 1973 by a small group of collectors of ukiyo-e in New York City, JASA has expanded to cover many Japanese arts. Their magazine Impressions is a biannual magazine that discusses in a scholarly way various Japanese arts. More information can be found, here. Utagawa Hiroshige (1797-1858) - born in Edo, Hiroshige is famous for his landscape series of that burgeoning city. The most famous series being, One Hundred Famous Views of Edo (1856-1859), and the landcape series, Fifty-Three Stations of the Tōkaidō (1833-1834). His work highlights bokashi, and bright colours. More info about his work can be found, here. Below is, Coastal Landscape In Moonlight (1857) Kingfisher and Iris Scholten Japanese Art - is a mokuhanga-focused art gallery in midtown Manhattan. René Scholten, an avid collector of the Japanese print, founded it. You can find more info here. Katherine Martin is the managing director of Scholten Japanese Art. Katherine has written extensively for the gallery and conducted lectures about Japanese prints. Her interview with The Unfinished Print can be found, here. International Mokuhanga Conference - is a bi-yearly conference dedicated to mokuhanga which started in 2011 by the International Mokuhanga Association. Each conference is themed. The latest conference was in 2021, delayed a year because of the pandemic. More information can be found, here. Cameron Bailey - is a mokuhanga woodblock printmaker based in Queens, New York. His work is predominantly reduction woodblock. Camerons work has shown around the world. You can listen to one of his earliest interviews on The Unfinished Print, here. His work can be found, here. Reflection (2020) sumo - while sumo wrestling has been known to Western audiences for quite some time, it is only in the past several years that the Japan Broadcasting Corporation (NHK) has created content for Western audiences to watch tournaments and engage with wrestlers through videos, such as YouTube. Sumo prints were being produced in the Edo Period (1603-1868), with the Kastukawa school of artists beginning to create prints in the vein of actor prints of the day (yakusha-e). Utagawa Kunisada (1786-1865) A portrait of Inoyama Moriemon (1846) Acolytes of The Baren - is the Facebook group dedicated to Dave Bull and Mokuhankan. It can be found, here. Emerging Hanga - is a Facebook group dedicated to new mokuhanga, and sharing information. It can be found, here. Brush & Baren - is a Facebook group dedicated to sharing the history of mokuhanga of the late 19th and early 20th Century. It can be found, here. Friends of Baren Forum - is a Facebook group dedicated to those interested in mokuhanga and woodblock printing in general. it can be found, here. © Popular Wheat Productions opening and closing musical credit - Flowers & Fire by BLITZ. From the album Second Empire Justice (1983), first released on Future Records. logo designed and produced by Douglas Batchelor and André Zadorozny Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***
EVERYDAY PHONE CONVERSATION!! WE BACK SEASON 4! This week's episode we discussed birdman interview on 85 south show, nfl scores, tink & hitmaka and more. Enjoy or Fuk Outta Here! YALL OPINIONS ON THE TOPIC? Comment, Email or Dm Us…we'll definitely talk about it! Get Ya Merch — https://foh-merch.creator-spring.com (https://foh-merch.creator-spring.com) Visit our website www.fohbrand.com Sponsors of the podcast: Guerilla Land Clothing @guerillalandmerch Smiley's Crafts & Thangs @smileycraft.thangs IF YOU WANT TO GET SOMEBODY OR SOMETHING THE FUK OUTTA HERE SEND US AN EMAIL AT FOH337@GMAIL.COM Follow us on Instagram: Podcast page @fohpodcast337 Sayso @saysographics DJ Truth @therealdjtruth --- Send in a voice message: https://podcasters.spotify.com/pod/show/fohpod337/message Support this podcast: https://podcasters.spotify.com/pod/show/fohpod337/support
What you'll learn in this episode: How Kristen decided to start the next phase of her career at Scotland's University of Dundee Why metalsmithing and jewelry attracts people who like a challenge How creating jewelry can be like creating an opera What young jewelry artists can learn by entering competitive exhibitions Why curiosity can help artists overcome shyness and fear About Kristin Beeler Kristin Beeler joined the faculty of Duncan of Jordanstone College of Art and Design at the University of Dundee, Scotland UK in 2023. From 2002-2023, she was Professor of Art and Coordinator of Jewelry and Metalwork at Long Beach City College in the Los Angeles, California area. She is native to the Blue Ridge Mountains of central Appalachia and is a second generation graduate of historically interracial and craft-centered Berea College receiving a BFA in Crafts and Applied Design with a minor in Philosophy (1989). Her Master of Fine Arts in Jewelry from the University of Arizona (1994) was followed later by post graduate studies at Alchemia Jewellery School in Florence, Italy (2011) and Atelier Rudee, Bangkok, Thailand (2013). Solo exhibitions include Integumentum 2021 at Baltimore Jewelry Center, Baltimore, Maryland, Archive of Rag and Bone at Mesa Contemporary Arts Museum, Phoenix, Arizona (2016) and Beauty and Other Monsters at Velvet da Vinci Gallery, San Fransisco, California (2007). Additional Resources: Kristin's Website Kristin's Instagram Duncan of Jordanstone College of Art and Design The Jewellery and Metal degree programme at Duncan of Jordanstone College of Art and Design Instagram Long Beach City College Metalsmithing IG:@lbccjewelryandmetalwork https://thestrawfactory.com/ IG:@straw.factory Photos Available on TheJewelryjourney.com Transcript: After two decades as a professor at Long Beach City College, artist and jeweler Kristin Beeler is heading back to school herself at Dundee University in Scotland. Although any international move comes with fear, Kristin has relied on a sense of curiosity to keep pushing her work froward. She joined the Jewelry Journey Podcast to talk about why certain artists are drawn to metal; how she tries to create context through her work; and why some of the most important lessons she learned were from submitting her work to competitive exhibitions. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. If you look at Kristin Beeler's jewelry, she looks like she's a risk taker, but that's not really true. She has followed a well-worn path, but she also has risk in her work. She received her master's and then became a professor of art at Long Beach City College. She teaches both metal arts and jewelry. She is the Coordinator of Jewelry and Metalwork for Long Beach City College. Welcome back. Did you have to do a lot of looking to find a school like that in the U.S.? Kristin: It was a school my mother went to, so I was second generation. Sharon: Wow! What are your thoughts about metalwork versus jewelry arts? I saw that you did some gloves in Tyvek. It was hard to pin down what you do because it's very esoteric. It has a lot of meaning. I kept asking, “Why this?” Kristin: The work I do is more driven by an idea and trying to build a full context for an idea. The jewelry is part of that context. It's a bit like going to the opera. I love opera, and I love it because it's a full context. The stage is opera. The music is opera. The singing is opera. The costuming is opera. It is all of those things, and those things come together to produce this one idea. I wouldn't say my work is theatrical, but I think it has some operatic qualities when it works well. It's not meant to follow one particular pathway because, as I said, not everything is a piece of jewelry. Some things are meant to manifest through other things, and jewelry is a part of that. Sharon: I see that you've been in a lot of competitions, where your jewelry is judged. Do you have trepidations? I can't imagine doing anything like that. Kristin: It's really hard at first. It's one of the hardest things to get my students to do because when you do it, the risk of failure is huge. You're going to be rejected, but it is such good practice. That's what being an artist is about: trying to find the place where your work fits, and if your work isn't fitting into the place you want to go and into the trajectory you want, figuring out how to make it go into that trajectory. It makes shifts to what you're working on. I haven't done it in quite a long time; most of what I do now is invitational work, but I do find it interesting to enter competitive exhibitions. It does a couple of things. Usually if I'm applying for a competitive exhibition, it could be because I want to get my work in front of a juror, or it's in a location where I want to go, where I have friends. Or it's a theme I like and I find interesting. But I had to go through a period of doing it and becoming O.K. with someone saying no and doing it anyway. When I was in graduate school, I was told, “Be prepared to wallpaper your room with rejection letters. Get rejected as much and as often as you can because it is a skill to build up and not let that stop you.” Sharon: Are you ever rejected if it's invitational? Kristin: If it's invitational, it's because they've seen my work and they want something in particular. Sharon: That must have been a big hurdle in the beginning. To be rejected must have been a big hurdle. Kristin: It probably was. Looking back on it now, it's funny. I was silly to be so worried about that. I think I was lucky that my work was pretty readily accepted. I think I did quite well. Even going into this new career—I'm basically going into a second career—there are moments when I think, “I don't know if I can do this. What was I thinking?” and I can go back to those moments previously where I tried to do something where uncertainty was guaranteed, or I didn't know how it was going to work out. I can say, “Well, I did that, and it worked out O.K.” Sharon: Did SNAG help you? You were on the board of SNAG. Why don't you tell us what it is? Kristin: The Society of North American Goldsmiths is the organization for the field. I have worked with SNAG since 1999 or 1998. That was when I first started volunteering for them. I started working with SNAG because I would go to the conferences at the encouragement of my graduate faculty, and I was kind of terrified. There were a lot of people there whose work I would see in publications or I'd hear about them. I was quite shy, so the easiest thing for me to do was offer to volunteer for something. If I don't know what to do, I'll work, so volunteering was a perfect thing to do. It was intuitive. It wasn't planned at all, but I met so many interesting people by volunteering at the conferences. They would say, “Oh, would you be able to do this?” and I would say, “Well, yeah,” and then I would meet more interesting people. I don't know that it was a great expansion time for my work because there are only so many hours in the day. When you're putting your energy out for one thing, it's not necessarily going in the other direction. So, I don't know that I was accomplishing as much in my studio, but I was meeting really, really interesting people and having some really interesting conversations. I think that that was one of the most valuable things about being involved with SNAG, just getting to know the community in a deep way. I served on the board of SNAG for five years between 2001 and 2005. I've had some job with SNAG almost every year since then, some small thing, helping with exhibitions. I have worked with the Diversity, Equity, Access and Inclusion Committee. I have worked with the Educational Endowment Committee. Currently I serve as trustee for the SNAG Educational Endowment Scholarship Trust. That is my primary role with SNAG at this point. Sharon: Do you recommend it to your students as a way to learn about the field? Kristin: Always, yeah. That and listening to Jewelry Journey. Sharon: I don't know about that. I was thinking about you listening to other people's opinions. I once heard someone say that they felt they had to know who the artist was before they could wear the piece of jewelry. I just felt like, “Well, is it pretty? Do I like it?” and that sort of thing. That's why I would be intimidated. Kristin: It was interesting to humanize all of those things. Often the work can be much richer once you have a better idea of the person who made it. It can alter your perspective on pieces to know who made it. Sometimes you might not want to know, but I think one of the great blessings of this field is that it is full of generous and warmhearted people who are so willing to share what they know. Sharon: Do you consider yourself one of those people willing to share what you know? Kristin: I hope to be, yeah. Sharon: I'm struck by the fact that you say you were shy, because you don't come across that way at all. Does that present itself in your reluctance in going abroad and when you started teaching? Was that a concern? Kristin: Yes, I was pathologically shy, but more than that I was curious. I think curiosity trumps those reluctances if you allow it to. Being curious takes you outside of yourself. You can become involved in other people's stories and other people's interests. When you change that reflection, then it's much easier to get to know people and enjoy them. As I said, my go-to was to do some work and find other people who are doing work and just help them. Carrying the load together is always a good way of lifting yourself up as well. When I started teaching full-time, I spent probably the first several years pretending to be someone who is comfortable in front of a classroom. I don't know that I was, but I could pretend to be someone who was. I think going to Scotland, now that the challenge is there, it's exciting and terrifying by turns, but I'm so curious. I always want to know what happens when you do this or what happens when I do this. Pulling into that curiosity is a life raft. Sharon: Do you have a history with the country? Did your family come from there? Did you visit it a few times? Kristin: No, I had never been to Scotland before I interviewed, but my family has lived in Appalachia for about 400 years. Sharon: Where? Kristin: Appalachia. Sharon: Oh, 400 years, wow! Kristin: Yes, so they have been there for a very long time. Many people from that area came from Scotland, England, Wales, Ireland, so Scottish history was something we grew up with because of this strong connection to Scottland and Ireland. The music that was local to where I grew up came straight from Scottland. The local dances, the crafts in particular. Things that had been brought 400 years earlier were still practiced, and a lot of those skills came from Scottland. Sharon: Do you lie in bed at night, or are you grocery shopping and an idea comes to you and you start on it? Kristin: For my studio practice? Sharon: Yeah. Kristin: There are probably two tracks to that. One is that it's all a long inquiry that never stops. It‘s one little thing that leads to the next. It doesn't have a beginning or an end. It's kind of all in the middle and ideas roll in one direction or another. Pieces may not finish, but I'm committed to finishing bodies of work. I'm really terrible about it, actually. In terms of solutions—I think maybe what you're asking about is solutions to particular problems—those are things that revolve as well. Sometimes I'll see something, or I'll be making something that doesn't make sense in the moment, but I'll just hold onto it. It's like I'm looking for an answer to a problem. It's like, “Oh, there it is in this book or in this drawer of samples I made.” If I waited for ideas to come to me, I'd be waiting a really long time. I have to go out and hunt for them. They're constantly generating, but the solutions to problems plug in at different locations on a very long timeline. Sharon: For instance, on some of the projects, whether you're invited or you decide to enter a competitive situation, once that's done, do you say, “O.K., that's nice. That's done. Now, I'm on to the next thing,” or is it done? Kristin: These pieces often cycle in and out. Unless a piece is purchased, they all belong to this collection of pieces that are shown in different iterations. For group exhibitions, there may be between two and four pieces that are shown together, but for solo exhibitions, there's a larger body of work. Every time I show that body of work, it may have different pieces in that collection that are shown. Sharon: What happened to the gloves that are made of Tyvek? How did you come up with the idea of Tyvek? Kristin: Oh, I love Tyvek. It is such a fun material. Certain materials just didn't appeal to me, and I have all of these Tyvek mailers. I would get things in the mail, and they come in those Tyvek mailers. I saved all these mailers for years and thought, “I'm going to do something with them.” Then I realized you could just buy it. I had kept it because it has this beautiful, papery, silky quality to it which is really nice. It's virtually indestructible until it's not, so it has this strength but this vulnerability as well. I like that about it. From time to time, I have made gloves over the years because I think they're interesting objects. There's such a strong relationship to the body and what we do with our hands. Those gloves in particular were designed with this young woman in mind who had this scarf. I already said I love opera, so having these opera-length gloves, I used a vintage pattern for that. I had her scarf embroidered on these very delicate but strong gloves that were kind of ethereal. That was perfect for my purpose. Sharon: That's interesting. I saw the pictures, but I wasn't sure what it was. That's very interesting. Thank you very much for being with us today. Good luck in Scotland. We'll be reading about you. Kristin: Thank you so much, Sharon. This was so fun. Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.
Brett Weldele is an artist who’s been in the comic book industry for a long time. He’s worked on several properties during his time illustrating comics but is probably best known for contributing his artistic skill to the graphic novel The Surrogates…which was turned into a motion picture starring Bruce Willis. For the past three […]
What you'll learn in this episode: How Kristen decided to start the next phase of her career at Scotland's University of Dundee Why metalsmithing and jewelry attracts people who like a challenge How creating jewelry can be like creating an opera What young jewelry artists can learn by entering competitive exhibitions Why curiosity can help artists overcome shyness and fear About Kristin Beeler Kristin Beeler joined the faculty of Duncan of Jordanstone College of Art and Design at the University of Dundee, Scotland UK in 2023. From 2002-2023, she was Professor of Art and Coordinator of Jewelry and Metalwork at Long Beach City College in the Los Angeles, California area. She is native to the Blue Ridge Mountains of central Appalachia and is a second generation graduate of historically interracial and craft-centered Berea College receiving a BFA in Crafts and Applied Design with a minor in Philosophy (1989). Her Master of Fine Arts in Jewelry from the University of Arizona (1994) was followed later by post graduate studies at Alchemia Jewellery School in Florence, Italy (2011) and Atelier Rudee, Bangkok, Thailand (2013). Solo exhibitions include Integumentum 2021 at Baltimore Jewelry Center, Baltimore, Maryland, Archive of Rag and Bone at Mesa Contemporary Arts Museum, Phoenix, Arizona (2016) and Beauty and Other Monsters at Velvet da Vinci Gallery, San Fransisco, California (2007). Additional Resources: Kristin's Website Kristin's Instagram Duncan of Jordanstone College of Art and Design The Jewellery and Metal degree programme at Duncan of Jordanstone College of Art and Design Instagram Long Beach City College Metalsmithing IG:@lbccjewelryandmetalwork https://thestrawfactory.com/ IG:@straw.factory Photos Available on TheJewelryjourney.com Transcript: After two decades as a professor at Long Beach City College, artist and jeweler Kristin Beeler is heading back to school herself at Dundee University in Scotland. Although any international move comes with fear, Kristin has relied on a sense of curiosity to keep pushing her work froward. She joined the Jewelry Journey Podcast to talk about why certain artists are drawn to metal; how she tries to create context through her work; and why some of the most important lessons she learned were from submitting her work to competitive exhibitions. Read the episode transcript here. Sharon: Hello, everyone. Welcome to The Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. If you look at Kristin Beeler's jewelry, she looks like she's a risk taker, but that's not really true. She has followed a well-worn path, but she also has risk in her work. She received her master's and then became a professor of art at Long Beach City College. She teaches both metal arts and jewelry. She is the Coordinator of Jewelry and Metalwork for Long Beach City College. She has been at the college for at least seven years, and this is her last term there. She is not afraid to put herself and her work out there, as evidenced by the many exhibitions and jury situations she has been in. She's not afraid for others to judge her work, but her biggest risk is upcoming. That is to be a lecturer in the metal arts department at the University of Dundee in Scotland. We'll hear more about this today. Kristin, I'm glad to have you on the podcast. Kristin: I'm so glad to be here, Sharon. Thank you. Sharon: It's great to have you. First, what are your trepidations about going across the world? Kristin: It is an adventure for sure. I've actually been at Long Beach City College for 21 years. This was my 21st year, so it's been quite an adventure. It's been an amazing time to spend with the students and an impressive faculty at the school. It's been an incredible privilege, and it's also given me the opportunity to develop a really strong program. Our jewelry entrepreneurship program is only a few years old, but we've been able to grow exponentially because of it. It's interesting going to Scotland. I'll be joining the faculty of Duncan of Jordanstone College of Art & Design and the Jewelry and Metal Design Program. It's an amazing faculty there. They're one of the top design schools in the U.K. They have an amazing track record, and the faculty has also been working together for a long time. Here, I know where the funders are. I know where the suppliers are. I know where the galleries are. There, it's all going to be new. I don't know the funders. I don't know the suppliers. I don't know the metrics well enough. All these things are going to be so sparkly and new, so I hope they're patient with me. Sharon: Did they come to you, or did you go to them? Kristin: It's an interesting story. I have put quite a lot of time into the program at Long Beach City College. As I said, it had grown exponentially, and a lot of that growth happened during the pandemic. There was a lot of extra work that had to be done, and last fall, I took a term off to recover. I was a bit worn out. I was really burned out. So, I took a term off and had some time to think about what I wanted to do with myself after teaching for 20 years. I realized that what I wanted to do was go back to school. I was a bit jealous of my students because they were having such a good time. I'd always wanted to get a Ph.D., so I started talking to programs in the U.K. and EU because there are no practice-based Ph.D.s in our field in the U.S. I was looking for programs that I might be able to start either while I was still teaching and going into semi-retirement or after I retired. I had had a wonderful conversation with Sandra Wilson at the University of Dundee. They have a wonderful Ph.D. program in jewelry. There are a number of programs they have practice-based Ph.D.s in, and I had a wonderful conversation with her. She was very supportive. I was getting ready to start putting together an application when they posted a full-time lecturer research position, so I thought, “Well, maybe I'll try that.” I applied for the position and didn't hear anything back for quite a long time. The university processes have their own pace. I think it was a Friday when I got an email saying, “Can you come and interview next Thursday?” There wasn't even time to ask if I could do a Zoom interview. I talked to my family, and they said, “Just go.” I left on Tuesday, interviewed on Thursday, and they made their first offer on Friday and I accepted it. It was serendipitous that I happened to be looking at Sandra Wilson's Instagram. I'd go for days and weeks, months without looking at Instagram, and I happened to look on the right day and see the post about the position opening. Now I'm surrounded by packing boxes. Sharon: Wow! When you say a practice-based Ph.D. or a practice applied Ph.D., what does that mean and how is it different? Kristin: Normally we think of Ph.D.s as being text-based. You present a dissertation that is all textual, and you have a verbal defense of the Ph.D. A practice-based Ph.D. can have other formats. Mine will likely have a text component, but also the practice, the work we do in the studio is part of the work for the Ph.D. That is a huge portion of the research. It requires very particular methodologies for approaching that research, but it's an approach that isn't very common in the U.S. It's much more common in the EU, U.K., Australia. I can't remember if there are any in Asia, but it's not found that much in the U.S., a practice-based Ph.D. Sharon: Yeah, you think of a Ph.D., at least the way I know it from the U.S., as “piled higher and deeper.” You're going to be in a big city. It's mostly what happens. Kristin: It's a wonderful acknowledgement of the actual work and contribution that artists make as opposed to, “Anybody can do that.” When you start to follow a line of inquiry to a very deep level, it allows so much more to unfold. You are able to connect with people who are doing similar work in different fields. I will be talking to people in the life sciences department. They have one of the top life sciences departments in the U.K., so I'll be able to work with them to do some overlap. It provides some really interesting opportunities for study, which I'm very excited about. Sharon: How long would it be if you walked in the door and were accepted? How long of a program is it? Kristin: It's difficult to say. Three to five years would be normal, I think. As I'm teaching, it's actually a part of my job to do that research. I'd be similar to someone who's in the lab doing research for a research lecture. So, I don't know how long. We'll see. Sharon: I had trouble pinning it down because you're described as professor of metal arts and jewelry arts, applied design and an artist, so I didn't know. What are you, in a sense? Kristin: I would hate to have to pick one of those things. We're very multilayered creatures, aren't we? I love making tacos, but I'm not someone who only makes tacos. I think that as makers we have our preferences, but just depending on what someone's interests, inclinations or curiosities are. I primarily work in jewelry because it is a method of approach, a method of inquiry, but what is interesting to me is the relationship to the body, and I particularly enjoy the history of it, its attachments. It has a lot of layering that I find really interesting, but when I get bored or stuck on a problem, I'll make a garment or I'll do drawings. It's not part of my practice to only do one thing. Not everything is a piece of jewelry, even though that's what I am primarily known for. Sharon: How does that fit with metal arts? Kristin: My training is in metal. Understanding both the properties and the way metal works is an interesting challenge. It's what I teach the most; working with metal and how to master it and develop skill bases. In my own practice, metal is a part that is foundational, but not complete. Sharon: Do you see a difference in the way the mind works for the students who are more interested in jewelry versus those who are interested in metal? For instance, how do you differentiate? Is there a way the mind works that's drawn to metal versus a different mind for somebody drawn to jewelry arts or a different area? Kristin: A teacher that I had a long time ago said, “People who are drawn to metal are people that like a little pushback. They like a little resistance.” Metal has its own logic, and you have to understand and follow that logic. Clay, for example, has a lot of process. It's very technology driven, but it also can be very intuitive. Painting can be very intuitive. You can go backwards and forwards. With jewelry, there's a massive skill base that is required technically, so the students who like the idea of working with metal in particular love that challenge. They are turned on by that challenge. They light up when something goes right, and sometimes they even light up when things go wrong because now they have more information. For students who are attracted specifically to jewelry, often that is a gateway. They're attracted to the idea of jewelry. Sometimes they're attracted to the idea of being able to actually make a living in the arts. One of the important things that jewelry has to offer is that you can actually support yourself with your design and art skills. Sometimes, once they get to know the properties of working with metal, they may love it or they may not. Often, they do. Often, they're really compelled by it. Sometimes they have to find their own way to work with materials that have more flexibility in the processing. You're right. They are different mindsets in that way. Sharon: It seems like there would be. Kristin: You're absolutely right. Sharon: You've been there for 21 years at the college. Did you pick up your master's and your Ph.D. while you were teaching, even though some of it's an applied Ph.D.? Kristin: I will be starting my Ph.D. in Scotland. That's part of that plan. I did my Master of Fine Arts at the University of Arizona. That program has closed now. Michael Croft was my primary graduate advisor. Michael is a very gifted educator, fierce when we were in graduate school, but incredibly knowledgeable. He's not someone whose work you're going to hear a ton about because he doesn't aim for the spotlight. He's a quiet guy, but he made a name for himself in the 70s. He's a very highly respected jeweler and educator. His partner is Eleanor Moty, who you may know of. Eleanor Moty was a consistent presence. Even though she was at the University of Wisconsin, Madison, she was a consistent presence in Tucson, where our graduate program was, so she had an influence there. Arizona at the time had four graduate programs in jewelry and metalwork. There was a very strong jewelry and metalwork community in Arizona up until the early 2000s. All of those have either changed or closed in the meantime. So, my inculturation to the jewelry and metalwork community was formed inside, literally, a crucible of the desert of Arizona. There was a very strong community. In some ways, my undergraduate education was equally or possibly even more formative than my graduate education. I went to Berea College in Berea, Kentucky. It was a small, private, liberal arts college that is one of the very few work colleges in the U.S. That means every student who goes there works for the school and, in exchange, pays little or no tuition. It is one of the top schools in that region, particularly in the south. It's an amazing place. There are a couple of things about it. It was founded by abolitionists in 1856 and since that time has had a history of coeducation. It was the first coeducational college in the south. Since that time, that has been its mission: to educate everyone equally. It has also been one of the very few schools that has its own crafts program. The students actually work in college-run craft industries. There is a huge ceramics industry; there's a huge weaving industry. They closed the jewelry industry right before I got there. The work is made by students, produced by the school and sold by the school, and it's sold nationally. It has a new designer residence program. Stephen Burks has been the first designer in residence. He is connected to Berea through Design Within Reach and a chair manufacturing company— Sharon: Herman Miller. Kristin: Herman Miller, thank you. The program has a tremendous amount of reach, and that program had a huge influence on how I think about craft and community. Sharon: We will have photos posted on the website. Please head to The JewelryJourney.com to check them out.
Several years ago, Penn Allen inherited a collection of diaries that had been meticulously maintained by her great grandmother. Penn discovered the diaries documented the building of her great grandmother and grandfather's Arts and Crafts house and the development of the garden that followed. She uncovered an untold story of her family, of plant hunting and of rock gardens - one that has significance to the wider world of horticultural history and in fact, goes some way to rewriting it. Dr Ian Bedford's Bug of the Week: Buddleias and Butterfly Tongues What We Talk About What the book is about and why Penn felt it was important to write it How the garden helped heal; through providing a space to contemplate, a space to communicate, a distraction… Alpines and rock gardening Plant hunters Reginald Farrer Will Purdom What became of house and garden About Penn Allen Having spent most of my life in the UK, I moved permanently to the beautiful Lot region in SW France with my husband around fifteen years ago. I have a passion for my garden and the outdoors and can generally be found either striding over a windswept hillside or upside down in my flower beds, always with a Labrador or two by my side. The Lost Garden of Loughrigg is my first story, though hopefully not my last! Links The Lost Gardens of Loughrigg by Penn Allen Tickets to see Penn Allen at the Kendal Mountain Book Festival Twitter @PennAllenwrites Instagram penn.allen www.modicagardens.com
EVERYDAY PHONE CONVERSATION!! WE BACK SEASON 4! This week's episode we discussed football coach punches player, woman get hitted with a brick and more. Enjoy or Fuk Outta Here! YALL OPINIONS ON THE TOPIC? Comment, Email or Dm Us…we'll definitely talk about it! Get Ya Merch — https://foh-merch.creator-spring.com (https://foh-merch.creator-spring.com) Visit our website www.fohbrand.com Sponsors of the podcast: Guerilla Land Clothing @guerillalandmerch Smiley's Crafts & Thangs @smileycraft.thangs IF YOU WANT TO GET SOMEBODY OR SOMETHING THE FUK OUTTA HERE SEND US AN EMAIL AT FOH337@GMAIL.COM Follow us on Instagram: Podcast page @fohpodcast337 Sayso @saysographics DJ Truth @therealdjtruth --- Send in a voice message: https://podcasters.spotify.com/pod/show/fohpod337/message
Andrew and Devin from YourBestHalloweenEver.com are here to kick off their sixth year of helping you with tips, tricks, and treats, so that you can prepare to have Your Best Halloween Ever! Andrew is also the author of Thirteen Tales for Halloween and Thirteen More Tales for Halloween. Other discussion topics include a recent paranormal experience, the haunt industry, the nostalgia of Halloween from our childhood, and looking back at the special memories made at this year's Midsummer Scream in California. Visit BigSeance.com/228 for more info. Other Listening Options Direct Download Link In this episode: Intro :00 Patreon Paranerd Parties! If you want to learn more about how to become a Patreon supporter, visit Patreon.com/BigSeance :45 Andrew and Devin are the team behind Your Best Halloween Ever! Andrew is also the author of two books, Thirteen Tales for Halloween and Thirteen More Tales for Halloween. 1:39 Andrew was previously on our Half-O-Ween episode from 2022. 2:55 Andrew and Devin introduce themselves. 4:11 Your Best Halloween Ever really started out as a Halloween lifestyle guide. 5:10 Andrew brings the magical and whimsical. He wants to bring back the magic and cuteness of your childhood. With Devin's background in the haunt and makeup industries, he wants to haunt your childhood! 6:40 More about Devin's work in the haunt industry, including a story of working a haunt in the basement of the actually haunted Lemp Brewery in Saint Louis! 9:46 The images, smells, and nostalgia of Halloween! 13:58 Costumes, crafts, recipes, playlists, short stories, 6 weeks of different chili recipes, and the 5 previous years of past content on the site! Plus more on the beginnings of Your Best Halloween Ever! 16:12 What does the Halloween of your childhood look like? 20:41 The smell of duct tape and an old rubber latex mask! Plus creating a character through costume, makeup, and props! 22:42 “Working in a haunted house is so closely related to theater.” “If you can't scare somebody going through a haunt, make them laugh. Make them have some kind of emotional reaction that they can be like, ‘I was at least entertained.' So working at the haunt, I would always give myself a character backstory.” 26:41 Andrew and Devin both had a paranormal experience recently while on vacation with family. “It left us a little freaked out, you might say.” 28:03 Andrew is a trekkie and loves the X-Men! 35:20 Devin loves to collect, loves Celine Dion, and is a total drag nerd! 36:35 Our favorite Beistle Halloween cutouts, and other treasured possessions! 38:02 Three days of non-stop memory making at Midsummer Scream in California! 42:40 All about Andrew's books, Thirteen Tales for Halloween and Thirteen More Tales for Halloween. 50:30 Andrew wanted to be a writer going back to before he could even write! 54:23 Final thoughts from Andrew and Devin and some changes to what's coming up this year on the site. 56:15 Outro 59:05 A special THANK YOU to Patreon supporters at the Super Paranerd and Parlor Guest level! 1:00:20 For more Your Best Halloween Ever! YourBestHalloweenEver.com Andrew's appearance on our Half-O-Ween episode in 2022! Instagram: @YourBestHalloweenEver Facebook: @YourBestHalloweenEver Pinterest: @YourBestHalloweenEver Spotify Playlists Thirteen Tales for Halloween and Thirteen More Tales for Halloween on Amazon. The Big Seance Podcast can be found right here, on Apple Podcasts, Google Podcasts, Pandora, Spotify, TuneIn Radio, Amazon Music, and iHeart Radio. Please subscribe and share with a fellow paranerd! Do you have any comments or feedback? Please contact me at Patrick@BigSeance.com. Consider recording your voice feedback directly from your device on my SpeakPipe page! You can also call the show and leave feedback at (775) 583-5563 (or 7755-TELL-ME). I would love to include your voice feedback in a future show. The candles are already lit, so come on in and join the séance!
Join the Coven for the Season 4 prremiere! Shop our balls here: midwestcovencast.etsy.com Find out more about us at midwestcovencast.com Support us on Patreon! tinyurl.com/3whnfs48 Follow us on our socials: @midwestcovencast (TikTok, Facebook, Instagram) @midwestcoven (Twitter)
Welcome back to Northern Knits Podcast! In this episode, we’re diving into a world of creativity and crafting. Diana has been busy fashioning the captivating Caged Halter Top, perfect for warm weather days. She’s also been putting her skills to work by refinishing a cuff on some socks and delving into the world of amigurumi,… Continue reading Episode 334 – Mittens and Potions
EVERYDAY PHONE CONVERSATION!! WE BACK SEASON 4! This week's episode we discussed social media being attractive, celebrities doing small podcast and more. Enjoy or Fuk Outta Here! YALL OPINIONS ON THE TOPIC? Comment, Email or Dm Us…we'll definitely talk about it! Get Ya Merch — https://foh-merch.creator-spring.com (https://foh-merch.creator-spring.com) Visit our website www.fohbrand.com Sponsors of the podcast: Guerilla Land Clothing @guerillalandmerch Smiley's Crafts & Thangs @smileycraft.thangs IF YOU WANT TO GET SOMEBODY OR SOMETHING THE FUK OUTTA HERE SEND US AN EMAIL AT FOH337@GMAIL.COM Follow us on Instagram: Podcast page @fohpodcast337 Sayso @saysographics DJ Truth @therealdjtruth --- Send in a voice message: https://podcasters.spotify.com/pod/show/fohpod337/message
We talk to @sirjuliuscosplay and do our Blue Beetle review!!! Michael Julius Ford who is known in the Cosplay community as Sir Julius Cosplay, has been cosplaying for 14 years now. He first discovered his passion for cosplay when he attended his first New York City Comic Con in 2008. Always being into Arts and Crafts, seeing so many people in costume and discovering that you can make cosplays, he decided he wanted to do the same. For the next decade he would learn and teach himself different techniques with creating cosplay from pepkura, Eva foam building and 3D printing. He has since continued to host workshops, judge cosplay contest and overall just enjoy the life of cosplaying. Speaking of the impact of Terry Funk and Bray Wyatt and more!! #bluebeetle #review #cosplayer #comicbook #entertainment #blerds #wwe #studioghibli #animeBlue Beetle-Non Spoiler Review (blerdseyeview.org)
It's not about moving on to bigger, better, and more elaborate things. It's about serving with a humble spirit wherever God has placed you, in your job, your family, a college campus, or at work. Let the quality of your work be the pattern from which your stature is cut.
Welcome to the latest episode of Northern Knits Podcast, where we’re back with a fresh dose of knitting and crochet inspiration! Diana has been on a productive streak, triumphantly finishing the Summer Secret Crop and the eye-catching Scrappy Stripey Striping Socks. She’s also been hard at work on the alluring Caged Halter Top, bringing her… Continue reading Episode 333 – Boob Covers and Socks
EVERYDAY PHONE CONVERSATION!! WE BACK SEASON 4! This week's episode we had a special guest owner of Fuego Squad Clothing Brand & friend of us Dwight Alexander. We discussed choices, situation about Ko Blaxk and more. Enjoy or Fuk Outta Here! YALL OPINIONS ON THE TOPIC? Comment, Email or Dm Us…we'll definitely talk about it! Get Ya Merch — https://foh-merch.creator-spring.com (https://foh-merch.creator-spring.com) Visit our website www.fohbrand.com Sponsors of the podcast: Guerilla Land Clothing @guerillalandmerch Smiley's Crafts & Thangs @smileycraft.thangs IF YOU WANT TO GET SOMEBODY OR SOMETHING THE FUK OUTTA HERE SEND US AN EMAIL AT FOH337@GMAIL.COM Follow us on Instagram: Podcast page @fohpodcast337 Sayso @saysographics DJ Truth @therealdjtruth --- Send in a voice message: https://podcasters.spotify.com/pod/show/fohpod337/message
Sherri McConnell shares her patterns, techniques, and so much more at A Quilting Life -- and one of her passions is to help those who love quilting to find time to truly enjoy their hobby and craft! She chats with Sarah about her journey in crafting, the quilting planner she designed herself (!!)), and her suggestions for those looking to find more time to enjoy the things they love. Sherri is also a Best Laid Plans Academy member - she participated in the Spring 2023 cohort and some of her favorite things about the program! Note: Best Laid Plans Academy Round 3 will open for registration September 1, with first signup access via the newsletter! Subscribe at https://theshubox.com/newsletter Where to Find Sherri: Website: https://www.aquiltinglife.com YouTube: https://www.youtube.com/@AQuiltingLife Her planner at Target: https://www.target.com/p/a-quilting-life-planner-and-workbook-by-sherri-l-mcconnell-spiral-bound/ Episode Sponsors: Earth Breeze: Liquid-free laundry detergent! Go earthbreeze.com/plans to get started and receive 40% off your new subscription! PrepDish: Healthy and strategic meal planning! Visit PrepDish.com/plans for your first 2 weeks, FREE Vivaia: Comfortable, beautiful, and sustainable shoes! Go to vivaia.com to get 15% off your purchase with the code PLANS Jenni Kayne: Find your forever pieces at jennikayne.com. Listeners get 15% off the first order by using code PLANS at checkout! Email: firstname.lastname@example.org Voice questions: https://www.speakpipe.com/bestlaidplans Send me a text or voice memo - (305) 697-7189 Do something IRL and learn about Best Laid Plans LIVE in South Florida: https://theshubox.com/courses Sign up for my newsletter: https://theshubox.com/newsletter Leave me a review if you can (Apple Podcasts Link: https://podcasts.apple.com/us/podcast/best-laid-plans/id1525311647) Learn more about your ad choices. Visit megaphone.fm/adchoices
In today's episode, we continue our wandering through the medina of Marrakech, as Azdean visits artisanal workshops, souks and a particularly delectable seafood restaurant.Picture yourself in a bustling wool and cotton workshop, the air thick with stories of craftsmanship as we learn how natural colors like indigo, orange, and even black breathe life into the fabric. You'll almost feel the soft touch of cactus silk while we dig into the secrets of these age-old crafts, by chatting with passionate shop owners. Spinning wheels and looms give way to chisels and saws as we pop into a wood shop, where they make intricate wood carvings for all kinds of useful and decorative items. You'll hear the craftsman talk about his preparation methods and the different types of wood he uses, and we get our microphones right in there as he's chipping, sawing and sanding his next creation.At this point, we're ready for a meal, and fortunately one of Destination Morocco's valued partners is just a few minutes' walk from the medina. Azdean and Sam visit the remarkable seafood restaurant, le Patron de la Mer, where fresh seafood arrives daily by truck from the Atlantic coast, hundreds of kilometres away. The focus is on Mediterranean cuisine, and the decor and entertainment are a blend of European and Moroccan influences.Azdean chats with the delightful manager, Kenza, who generously shares her experiences and takes us on an audio tour of the restaurant. You'll practically taste the seafood, feel the warmth of the hospitality, and be swept up in the rhythm of life in Marrakech. From wool shawls to wood carvings to seafood tastings, imagine yourself on location with us at Destination Morocco podcast, exploring the fabulous medina of Marrakech. Do you dream of exploring the enchanting land of Morocco?Destination Morocco is your ultimate travel experience for those seeking luxury and adventure. We specialize in crafting bespoke itineraries tailored to your unique tastes and desires.If you're a discerning traveler who values an immersive, curated adventure, visit www.destinationsmorocco.com, and let us bring your dream Moroccan vacation to life.Learn more about Azdean and Destination Morocco.Download the stunning Destination Morocco magazine!Follow the podcast and help us grow.
EVERYDAY PHONE CONVERSATION!! WE BACK SEASON 4! This week's episode Truth sits down with his barber Eddie Clutch. They discussed Eddie getting into becoming a barber, owning his own shop, cutting celebrities hair and more. Enjoy or Fuk Outta Here! Follow Eddie Clutch on IG @eddie_clutch YALL OPINIONS ON THE TOPIC? Comment, Email or Dm Us…we'll definitely talk about it! Get Ya Merch — https://foh-merch.creator-spring.com (https://foh-merch.creator-spring.com) Visit our website www.fohbrand.com Sponsors of the podcast: Guerilla Land Clothing @guerillalandmerch Smiley's Crafts & Thangs @smileycraft.thangs IF YOU WANT TO GET SOMEBODY OR SOMETHING THE FUK OUTTA HERE SEND US AN EMAIL AT FOH337@GMAIL.COM Follow us on Instagram: Podcast page @fohpodcast337 Sayso @saysographics DJ Truth @therealdjtruth --- Send in a voice message: https://podcasters.spotify.com/pod/show/fohpod337/message
Episode Summary This week on Live Like the World is Dying, Inmn is joined by author and activist, Michael Novick. They talk about just how horrible fascism really is. Thankfully, there's a simple solution, antifascism. Michael talks about their work with Anti-Racist Action Network, the Turning The Tide newspaper, and his newest book with Oso Blanco, The Blue Agave Revolution. Host Info Inmn can be found on Instagram @shadowtail.artificery. Guest Info Michael (he/they) and The Blue Agave Revolution can be found at www.antiracist.org If you want to take over the Turning The Tide newspaper, find Michael at antiracistaction_ email@example.com Publisher Info This show is published by Strangers in A Tangled Wilderness. We can be found at www.tangledwilderness.org, or on Twitter @TangledWild and Instagram @Tangled_Wilderness. You can support the show on Patreon at www.patreon.com/strangersinatangledwilderness. Transcript Live Like the World is Dying: Michael Novick on Antifascism Inmn 00:15 Hello, and welcome to Live Like the World is Dying, your podcast for what feels like the end times. I'm your host Inmn Neruin and I use they/them pronouns. This week we are talking about something that is very scary and, in terms of things we think about being prepared for, something that is far more likely to impact our lives than say, a zombie apocalypse. Or I mean, we're already being impacted by this. It is actively killing us. But, if I had to choose between preparing for this and preparing for living in a bunker for 10 years, I would choose this. Oh, golly, I really hope preparing for this doesn't involve living in a bunker for 10 years, though. But the monster of this week is fascism. However, there's a really great solution to fascism...antifascism. And we have a guest today who has spent a lot of their life thinking about and participating in antifascism. But first, we are a proud member of the Channel Zero Network of anarchist podcasts. And so here's a jingle from another show on that network. Doo doo doo doo doo. [Singing the words like a cheesy melody] Inmn 02:00 And we're back. And I have with me today writer and organizer Michael Novick, co founder of the John Brown Anti Klan Committee, People Against Racist Terror, Anti-racist Action Network, the TORCH Antifa network and White People For Black Lives. Michael, would you like to introduce yourself with your name, pronouns and kind of...I guess like your history in anti-racist, antifascist struggles and a little bit about what you want to tell us about today? Michael 02:34 Sure. Thanks, Inmn. So yeah, Michael Novick. Pronouns he or they. I've been doing anti-racist and antifascist organizing and educating and work for many many decades at this point. I'm in my 70s. I got involved in political activism in kind of anti-war, civil rights, student rights work in the 60s. I was an SDS at Brooklyn College. And I've been doing that work from an anti white supremacist, anticapitalist, anti-imperialist perspective. And I think that particularly trying to understand fascism in the US context, you have to look at questions of settler colonialism. And, you know, people sometimes use the term racial capitalism. I think that land theft, genocide, enslavement of people of African descent, especially is central to understanding the social formation of this country. I was struck by the name of the podcast in terms of "live like the world is ending," because for a long time, I had an analysis that said that the fear of the end of the world had to do with the projection of the bourgeoisie. The bourgeoisie feels that its rule is coming to an end and therefore thinks the world is coming to an end, but the world will get on fire without the bourgeoisie and the rulers and the imperialists. Except that because of the lease on life that this empire has gotten repeatedly by the setbacks caused by white and male supremacy and the way it undermines people's movements, the bourgeoisie is actually in a position to bring the world to an end. I think that's what we're facing is a global crisis of the Earth's system based on imperialism, based on settler colonialism, and exploitation of the Earth itself. And so I think it's not just preparing for individual survival in those circumstances. We have to think about really how we can put an end to a system that's destroying the basis for life on the planet. And so I think that those are critical understandings. And the turn towards fascism that we're seeing across the...you know, Anti-Racist Action's analysis has always been that fascism is built from above and below and that there are forces within society. I think particularly because settler colonialism is a mass base for fascism in this country, as well as an elite preference for it under the kind of circumstances that we're looking at, in which, you know, as I said the basis for life itself has been damaged by imperialism, capitalism, and its manifestations. And so the need for extreme repressive measures, and for genocidal approaches, and exterminationist approaches are at hand. So, I think that, again, I think that the question of preparation is preparation for those kinds of circumstances. I think we're living in a kind of low intensity civil war situation already, in which you see the use of violence by the State, obviously, but also by non state forces that people have to deal with. So I think that that's the overall approach that I think we need to think about. And that comes out of, as I said, decades of doing work. I think that there are a few key things that we have to understand about this system, which is that it's not just issues that we face, but there is an enemy, there is a system that is trying to propagate and sustain itself that is inimical to life and inimical to freedom. And that if we want to protect our lives and the lives of other species and if we want to protect people's freedom going forward, we have to recognize that there's an irreconcilable contradiction between those things and between the system that we live in. So that's kind of a sobering perspective. But, I think it's an important one. Inmn 06:20 Yeah, yeah, no, it is. And it's funny, something that you said, kind of made a gear turn in my head. So, you know, normally, yeah, we do talk about in preparing to live like the world is dying, we do usually come at it from this context of that being a bad thing that we need to prepare for bad things to happen. But, the way you were talking about like fascism and empire and stuff, I suddenly thought, "Wait, maybe we should live like that world is dying and like there is something better ahead." Because, you know, we do like to approach the show from...I feel like we like to talk about the bad things that are happening and could happen but also the hopefulness and like the brighter futures that we can imagine. Michael 07:15 I think that's right. And I think it's really important to have both of those understandings. I think that, you know, people do not actually get well organized out of despair. I think they do, you know, you want to have...You know, there used to be a group called Love and Rage. And you have to have both those aspects. You have to have the rage against the machine and the rage against the system that's destroying people, but you have to have the love, you have to have that sense of solidarity and the idea of a culture of not just resistance but a culture of liberation and a culture of solidarity. And I think that, you know, there's a dialectic between the power of the State and the power of these oppressive forces and the power of the people and to the extent that the people can exert their power and to the extent that we can free ourselves from the, you know, the chains of mental slavery is...[Sings a sort of tune] you hear in reggae, you know, that actually weakens the power of the State and the power of the corporations. And they [the State] understand that sometimes better than we do. So there is, you know, there's some lessons I feel like I've learned and one of them is that every time there is a liberatory movement based out of people's experiences and the contradictions that are experienced in their lives, whether it's the gay liberation movement, women's liberation movement, or Black liberation and freedom struggle, there's always an attempt by the rulers to take that over and to reintegrate it into, you know, bourgeois ways of thinking. And, you know, people talk about hegemony and the idea that ruling ideas are the ideas of the ruling class, and I think that, you know, I've seen it happen over and over again with different movements. And so, you know, I was involved with the Bay Area gay liberation in the 80s and, you know, one of the things that happened there is that you saw very quickly a different language coming up and different issues coming up. And so suddenly the question of gays in the military was put forward, or we have to be concerned about the fact that gay people have to hide when they're in the military, and the question of normalizing gay relationships in the contract form of marriage came forward. And those were basically efforts to circumscribe and contain the struggle for gay liberation and to break down gender binaries and stuff within the confines of bourgeois conceptions of rights and bourgeois integration into militarism and contractual economic relationships. And you saw that over and over again in terms of the Women's Liberation Movement, and then all of a sudden you've got bourgeois feminism and white white feminism. And I think that that's really important to understand because it means that there's a struggle inside every movement to grasp the contradiction that...and to maintain a kind of self determined analysis and strategy for how that movement is going to carry itself forward in opposition to what the rulers of this society--who rely heavily on, as I say, white supremacy, male supremacy, settler colonialism, and its manifestations--to try to contain and suppress insurrectionary...And you see the same thing within the preparedness movement. There's the dominant politics of the preparedness movement I think that I've seen over many years are actually white supremacist. They're maintaining the homestead of settler colonial land theft. So you have to understand that that's a contradiction in that movement that has to be faced and overcome and struggled with. I think having an understanding is critical to really trying to chart a path forward that will kind of break...create wedge issues on our side of the of the ledger, so to speak, and begin to break people away from identification with the Empire, identification with whiteness, identification with privilege. And, you know, one of the issues I've had over a long time, for example, what I struggle for is people's understanding about the question of privilege. You know, I come out of the...as I said, there were struggles in the 60s and early 70s about what we called white skin privilege. And I think that it's critical to understand that privilege functions throughout the system all the time. It's not a burden of guilt, it's a mechanism of social control. And anything you have as privilege can be taken away. Privilege is a mechanism of actually obtaining consent and adherence to...You know, parents use privileges with their kids to try to get their kids to do what they want. Teachers use privilege with students to get the students to do what they want, Prison guards use privileges with prisoners to get the prisoners to follow the rules and stay incarcerated. And so, you know, that's a mechanism of Imperial domination, of settler colonialism, and certainly within that context. So, it's not an illness or a...It's not something to be guilty about. It's something to contend with and deal with and understand that if there are things you have as privileges that you think are used by right or by merit, you're deluding yourself and you can't actually function facing reality. So when you understand that they are privileges, you understand that they're there to obtain your consent and your adherence, and your compliance, your complicity, your complacency, and then you have to actually resist those privileges or turn those privileges into weapons that you can use to actually weaken the powers that be. And I think that that approach is important to understand that, you know...I used to do a lot of work with people in the Philippines struggle, and they talked about the fact that, you know, on some of the...outside the US Army bases that were imposed in the Philippines, there was a rank order of privilege, like where people could dig in the garbage dumps of the US military to get better quality stuff that was being thrown out by the military. And so that kind of hierarchy and sense of organizing people by by hierarchy, by privilege, is how the system functions at every level. In the workplace they find different privileges that people have to try to divide workers from each other and get people to struggle for privilege as opposed to actually struggle for solidarity and resistance and a different world. And I think that having that understanding begins to free people. Steven Biko was the leader of the Black Consciousness Movement in South Africa that really helped propel it moving forward. One of the things he said is that, "The greatest weapon in the hands of the oppressor is the minds of the oppressed." And, you know, I think to the extent that we can start to free our minds of these structures, we can actually begin to weaken the oppressor and strengthen the struggling and creative powers and energies of people to really build a different world. Inmn 14:00 Yeah, yeah. Sorry, this is gonna seem like a silly question because it feels very basic. But, I love to kind of break things down into their base levels. But, what is fascism? Michael 14:11 Yeah, good question. I think that an important analysis of fascism that I came across is from Cesare Amè. And what he said is that, "Fascism is the application in the metropole (of the colonizing power) of the methods of rule that have been used in the colonies." I think that that has a critical understanding because, as I said, the US is a separate colonial system, so elements of fascism have always been present within the political, economic, and social structure of the United States because they're internally colonized people and stolen land. So, if you're looking at elements of fascism, there's hyper masculinity, there's hyper nationalism, there's obviously slave labor, there's incorporation of a mass base into kind of a visceral identification with a leader. And all of those things really have manifest themselves in US history before we used the term, "fascism." And so, the US is based on land theft, on genocide, on exterminationist policies towards the indigenous people, the enslavement of African people, and also on the incorporation of a mass base based on settler colonialism and the offering of privileges to a sector of the population to say, "Okay, you know, we're going to participate along with the rulers in this system." And so I think that it's important to get that understanding because people often think that fascism is an aberration or it's a particularly extreme form of dictatorial rule or something like that. But I think that it's really a way of trying to reorganize people's personalities around their role within an empire and within, you know, it's trying to control the way people think, and control the way people see themselves in relation to other people. And so, you know, that's why I think that idea that fascism is built from above and below is important because we do see fascist elements that have some contradictions with the state. And we've seen, for example, in January 6th. You know, the government has gone after certain of these elements because they have moved too quickly. Or, the same way that there were premature antifascists during the World War II period and they went after the people in the Abraham Lincoln Brigade. Sometimes there are sort of premature proto-fascist in this society that have contradictions with the State, and they're operating somewhat independently. So, you know, I think that it's important to understand that and that there are elements in the State and within the different sections of the State that have their own operative plan. So, you know, when you look at the question of police abuse and police brutality, there's one approach to it that certain elements in the State take, which is about command and control. They want to make sure that they control the police forces and that individual officers are not acting independently but are carrying out cohesive state strategies. At the same time, there are elements within law enforcement that are trying to organize individual cops for organized white supremacy. And, it's the same thing in the military. And so there are contradictions there that we have to be aware of, but at the same time, they're operating within a framework of settler colonialism, of organized white supremacy, So, one of the things that's come up recently, for example, is this idea that there...how can there be non-white white supremacists? And, you know, I think it has to do with the fact that it's not just your identity, or your racial identity that's there but who do you...What's your identification? Are you identifying with the Empire? Are you identifying with the bourgeois? Are you identifying with the settler colonial project that has shaped, really, the whole globe over the course of half a millennium? Or, are you identifying with the indigenous? Are you identifying with the struggling people? And it's less a...It's not a question of your particular skin color but which side of the line are you on? Inmn 18:12 How does attempts by the State or by society to kind of like assimilate various oppressed people into the Empire? Like, how does that kind of factor factor into this? Michael 18:24 Well, if you look at the history of, let's say, Central America is one case in point, that there were fascist forces in Central America and their base was not really within their own society. Their base was within the Empire. And so, you had death squads operating, you had mercenaries operating, you had contras [counter revolutionaries] operating in Nicaragua, Honduras, Guatemala, carrying out genocidal policies, in many cases, against indigenous people and people of African descent within their own societies. And so, you know, that's not exactly fascism in the same way, but it certainly is aspects of police state and death squad activity that has to be resisted. So I think that, you know, when you see Enrique Tarrio and some of these people that are, quote unquote, "Hispanic," operating as proto-fascists with the Proud Boys or these other formations in the United States that's a manifestation of the same thing, that there are people who have identified themselves with a system of white supremacy and a system of domination, a system of exploitation, and they're trying to make their own individual piece with it and they have collective mechanisms that reinforce that. And they see...So, you know, I think that the fascism has presented itself at times as a decolonizing element in Latin America and Asia and other places where...For example, when the Japanese Empire was trying to strengthen itself and formed an alliance with Italian fascism and German Nazism, they also presented themselves in Asia as liberators of Asia from European colonialism. And, you know, then they carried out atrocities of their own in China, Indochina, and Korea. So, I think that nobody is exempt from this. It's not a genetic factor. It is what ideology...What's the organizing principle that people are operating under to form their society and generate their power? If that's militaristic, if it's hierarchical, if it's exploitative, then regardless of what the skin tone of somebody carrying that out is, it can be fascistic in its nature. Inmn 20:44 Yeah, I like something that you said earlier, which I think is an interesting frame. So, I feel like people in the United States, you might hear people like, talk about the rise of fascism, or the like, emergence of fascism, as if it's this new thing, you know? And I like how you read it, in the formation of the United States as a nationalistic identity with this idea that fascism has always been here, fascism has always been a part of the settler colonial project of the United States. Michael 21:27 Well, I was gonna follow up that is if you look at the countries in which fascism came to power in Europe, they were mainly countries where they felt they were not adequate empires in their own right. In other words, Spain, even Portugal, France, England, you know, had empires. Germany came late to imperialism. And even to the formation of a German state, the German bourgeoisie was not able to really unify all the Germans into a single nation. Same thing with Italy. Italy was, you know, a bunch of kind of mini states and city states and came late to the formation of a national sense of Italy. And so I think that fascism presented itself as a overarching ideology that could galvanize a nation and launch it into an imperial mode where it could compete with other empires. So the US context is a little different because, as I say, from the very beginning it had that element of settler colonialism and cross-class alliance in which not only the bourgeoisie but even working people could be induced to participate in that project of land theft and genocide. There's a famous book called "How the Irish Became White" by Noel Ignatiev who talked about, you know, how white supremacy affected Irish workers. And what he didn't really look at was that there was some Irish involved right from the very beginning and trying to overturn the land relationships between settlers. They wanted, you know, there was a land theft and a land hunger that they had, and so, for example, even before the question of relation between Irish workers and Black workers came up, there were Irish in the United States that wanted to overturn the agreements that had been reached in Pennsylvania between the Quakers and the indigenous people in Pennsylvania. The Irish wanted land and they wanted to participate in taking that land from the native people. And then that had repercussions back in Ireland itself because that the US Empire and those land thefts then affected the consciousness of the Irish within Ireland itself and weaken the Irish struggle for independence from British colonialism because there was a safety valve of the US Empire. And so I think that it's critical to look at these things because it gives us a sense of what is at stake at different times and what's at issue. And I think that looking at the question of decolonization, looking at the question of solidarity and unity, is the flip sides to this. If we only look at the power of the bourgeois, if we look at the power of the fascists, it can be intimidating or overwhelming or depressing. And I think that that's the...You know, when you talk about preparedness and some of these things, you're talking about what are the generative powers of the people themselves because Imperialism and Capitalism are based on a kind of parasitical relationship. They're extracting wealth from the Earth itself and from the labor of people and turning it into a power over the Earth and over the people. And I think that understanding that actually all that wealth that the system has, all the power that the system has is actually coming out of the people who are oppressed and exploited in the land gives us a sense of what our own powers are and what our own capacity to be creative and generative are. To the extent we exercise those, it weakens them. And I think that that's a critical understanding. Inmn 25:16 Yeah. Are there ways that fascism is currently manifesting that feel different from say, I don't know, like 40 years ago? Michael 25:29 Well, I think the whole phenomenon of social media and the way in which they very effectively organized these Neofascist forces through the gaming...hypermasculine gaming stuff and, you know, I think...We talked a little bit about the..I think the reason that people approached me to do this podcast had to do with my essay in "¡No Pasarán!: Antifascist Dispatches from a World in Crisis." And so that's a piece where I talked about, you know, some of this history of different struggles and how they...what lessons to extract from them. But the other book I've been working on and put out recently, is called "The Blue Agave Revolution: Poetry of the Blind Rebel." This was a book...I was approached by Oso Blanco, an indigenous political prisoner here in the United States who was involved with actually robbing banks to support the Zapatistas in Mexico, and he was getting "Turning the Tide," the newspaper I've been working on for many years that we send free to prisoners, and he approached me. He wanted to work on a book and he said he wanted me to work on the book with him. And he had..."The Poetry of the Blind Rebel" is a story arc and poetry arc of his work that is a story about the Mexican Revolution of the early 20th century, the 1910s-1920. It's kind of magical realism. But, he asked me to write some fiction. And so I wrote kind of a short story cycle of a three way fight between vampires, zombies, and humans. And the vampires are basically--I mean, it's Dracula--but, you know, there's one point where there's a woman who has been trying to grapple with this and she forms a cross with two wooden tent stakes and he kind of laughs and says, "Oh, you bought that old wive's tale. We totally integrated into the church and into the State," you know. Basically, the vampires represent the bourgeoisie because they [the bourgeoisie] are vampiric and parasitic and they have powers. The zombies in this story are a group of incels that have captured a vampire and they think that they can create a potion from vampire blood that will give them power over women and make them...you know...And instead, they turn themselves into zombies. And so then there's a sort of three way fight between the bourgeoisie on the one hand, these vampires, the fascists from below, these sort of incel zombies that have to eat brains, and then the humans who are trying to deal with both of them. And I think that that's an important understanding that, you know, there are contradictions between the vampires and zombies but they're both our enemy. And so, I think that that's an approach that we have to understand that they're....You know, it's not a simple linear equation that's going on. There's a lot of things happening. I think that the fascists from below have contradictions with the fascists above, and we can take advantage of that. And then...but, we have to understand that their, you know, it's not...I think there are weaknesses...[Trails off] Let me go back to this. You know, historically, people have talked about antifascism and anti-imperialism, and there's been an element in both of those of class collaboration. A lot of people in the anti-imperialist movement think, "Oh, well, there's a sort of a national bourgeoisie that also doesn't like the Empire and wants to exert itself. And we have to ally with them. And a lot of people in antifascist movements have thought, "Oh, well, there's, you know, bourgeois Democrats who also hate fascism," and I think that those have been weaknesses historically. And also the contradiction between people who concentrate mostly antifascism, the people who concentrate mostly on anti-imperialism has weakened people's movements. I think having a kind of overarching understanding that fascism is rooted in Empire, particularly in settler colonialism, and that there isn't a contradiction. We have to find the forces of popular resistance that will overturn both fascism and imperialism...and capitalism. And, that we have to, you know, have a self determined struggle for decolonization and recognize people's self determination in their own struggles and their own capacity to live in a different way and to begin to create, you know, the solidarity forever, we say, you know, "Build a new world from the ashes of the old." And, I think that in terms of my own work, I've tried to--although, you might think I'm aging out at this point, but I've been involved at every point that there's an upsurge in struggle. I've tried to participate in that as part of Occupy LA. And more recently, I've been involved with some of the dual power organizing that's going on. And I don't know how much your people are familiar with that, but it is a conception related to, let's say, Cooperation Jackson, in Mississippi, where they're trying to figure out ways of organizing themselves economically and also resisting the power of the State. And so I was at the Dual Power Gathering that took place in Indiana last summer and there's one on the West Coast that's coming up in the Portland area. Inmn 31:06 Yeah, could you explain what--for our listeners--what is dual power? Michael 31:11 Yeah, so dual power is the concept that we have a power and we can exercise that power, and within the framework of this contemporary society, which is so destructive, we can begin to generate and exercise that power, and that there's, as I said, a kind of dialectic between the power of the people and the power of the State, and the corporations, and the power of the fascist, and that the different prefigurative elements of the kind of society we want to live in in the future can be created now. And, that as we exercise that power, it weakens the power of the State. It weakens the power of the bourgeoisie and the power of the imperialists. I went to that Dual Power Gathering in Indiana--I mean, it's not my bio region, but I did used to live in Chicago--and I felt some affinities with it. You know, they were...To talk about the idea of, you know, what's the relationship between dual power and our three-way fight, with a different conception with what the three-way fight is, that we are having to contend with two different enemies, you know, these fascists from below and the fascist from above, the State, and corporate power, and then also right-wing elements. And I think that in terms of both of those, we have to understand what are the powers that we have to organize ourselves to, as they say, to apply the generative and regenerative powers to...So that people have a sense of what they're fighting for. It's not just anti-this and anti-that. So for example, the newspaper I've worked in for many years, "Turning the Tide," originally, we called it the "Journal of Anti-Racist Action," or "Anti-Racist Action Edcuation & Research," and then we changed the subtitle a few years ago to, "The Journal of Intercommunal Solidarity," in the sense that you have to say what you're fighting for? What are we trying to build? What are we trying to create? What are we creating? And how does that give us the capacity to continue to resist and continue to shape the future, not just react always to what they're doing but actually have a proactive, generative stance. And so, you know, people's creative cultural expressions, people's capacity to do permaculture in urban environments or many other things like that, that say, that we want to restore the biological diversity, you know. We want to restore the capacity of the soil. We want to restore the clarity of the water and the air in the process of struggling for our own liberation. And that, you know, those are things that can happen and must happen now. We can't wait for some revolution that will happen in the future in which you know, we'll create a better world. We have to start in the context and the interstices of the system in the place that people are being pulverized. And so, you know, in Los Angeles, people are involved in various kinds of mutual aid work and working with the homeless, working with people being evicted to take over homes and restore them. And I think all those manifestations, that's the question of dual power there. We're looking at the incapacity of the people ruling this society to actually meet basic human needs and we're trying to figure out how to meet them. So, I think that's where it coincides with this question of preparedness is that I think that is a sense that people have to rely on their own resources, their own energies, and understanding that there's a contradiction between the system, the way it functions, and its implications and impact on us. And it's incapacity, its powerlessness, to really protect people from the kinds of calamities it's creating, whether it's flooding, or firestorms, or, you know, all the other manifestations of this global crisis of the Earth's system that is growing out of Capitalism. We have to deal with that now. We can't wait, you know, till sometime in the future when we have, you know, "power," quote unquote, you know? We have the power to start to deal with it. Inmn 35:17 Yeah, and, I feel like there have been different ways that people have tried to do exactly that in the past. And I don't know, like, I'm thinking of a lot of the stuff that the Black Panthers were doing, like creating communities that they...like, declaring that they had power and that they had the power to build the communities that they wanted and to preserve those communities. And then they faced an incredible amount of repression, like, as much for arming themselves as for giving kids lunch and breakfast. And I'm wondering, in what ways does the State try to like...or in what ways has the State tried to destabilize dual power movements in the past? And what can we kind of expect them to do now? Or what are they doing now? Does that make sense? Michael 36:35 Yeah, I think there's always a two-pronged approach by the state. And, sometimes it's referred to as, "The carrot and the stick." You know, it's co-optation ad coercion. And so they always attempt both to control as they modify people's thinking and try to create bourgeois alternatives to liberatory thinking and liberatory organizing. And then simultaneously, they have the repressive aspects, the criminalization of those efforts. And so in relation to the Black Panther Party, for example, they were simultaneously pushing what they called Black Capitalism, and saying, "Oh, yes, you know, we'll give you, you know, we'll find the sector of Black community that can integrate into the system." And then, along with that, they were carrying out COINTELPRO, which was a war strategy of creating contradictions inside Black Liberation organizations, setting one against the other, trying to execute and/or incarcerate people who were not willing to compromise their principles. So I think we have to be aware that you're seeing the same thing go on around policing issues. You know, they constantly want to put forward different reforms and accountability measures and ways that people can participate in civilian oversight mechanisms that really don't do anything. And at the same time, they're, you know, attacking people who are doing Copwatch or groups like the Stop LAPD Spying Network, which has exposed a lot of stuff about this constantly being targeted. So, I think that those, that the two-pronged approach by the State is something we have to be very aware of. It's not only coercion and criminalization and repression, but it's also co-optation and, you know, giving people individual solutions and mechanisms that are...they call it the nonprofit industrial complex, you know, this whole mechanism of structures that are set up to get people involved in grant writing and looking to philanthropists to somehow support them in their work. And I think that trying..You know, one of the things the Black Panther Party did was it had its own self generated funding by going to the base community they were trying to organize in, talking to small shopkeepers, and talking to churches, and trying to integrate that into these Liberatory efforts. So, I think that, you know, looking at that model, when I started doing, for example, People Against Racist Terror, there were a lot of small anti-racist groups around the country and a lot of them ended up going the route of looking for grants and looking for nonprofit organizations that they could fold themselves into, and I think that that kind of denatured them. They became, you know...As opposed to being grassroots, they became board and staff organizations, and individuals would create careers out of it. And I think that that mechanism of transforming popular movements into nonprofit organizations or nongovernmental organizations that accommodate themselves to existing power structures, existing economic realities, is one of the things that we need to try to avoid happening in this current period. Inmn 40:18 That makes that makes a lot of sense. Yeah, it's, it's funny, because I feel like I'm seeing a lot of groups involved in mutual aid, who are, I think, taking that lesson of the nonprofit industrial complex but are also trying to access larger swaths of money than the communities that they're part of can provide, like this model of, it's important to involve your community base in those things and to generate those things ourselves, but there is this problem sometimes of like, you're passing the hat and the same 20 people are kicking into the bail fund. And I don't know, I think maybe this is just me being hopeful, but I'm seeing a lot of mutual aid groups kind of dip into grant writing or dip into utilizing nonprofit statuses more so than structures in order to access funding and things like that. But what I'm seeing is people coming at it from like, hopefully, what is a different perspective of taking these lessons of the past and being like, "Well, we don't want to become some horrifying, large nonprofit, but we do want the State to give us 10 grand so that we can build infrastructure. Like I guess my question is, are there ways to responsibly interact with that? Or is this a trap? Michael 41:57 I guess I'd have hear more details. I think it's imperative that it has to come from below and from the grassroots. I think that, you know, I've been involved with the opposite, for example, Pacifica Radio, and Pacifica is listener sponsored radio and is a constant struggle about how much can we accept cooperation of broadcasting funding. They cut us off some years ago and we're trying to get it back Or, there's struggles about trying to get some underwriting. It depends who you're accountable to for the money that you're getting. Are you accountable primarily to the funder? Are you accountable primarily to the people who are using that money and the people who are self organizing for community power and community sustainability, and, you know, some of the things we're talking about of self determined strategies. And, you know, I do think that what happened to a lot of the 60s movements is that there was an ebb in the mass movement. And then people made their separate peace. People were like flotsam and jetsam as the tide of people's power movements were negatively impacted because of white supremacy, male supremacy, COINTELPRO, and an inadequate response to deal with it. Then, you know, people ended up in labor unions where they were doing some good work, but basically they became part of a labor bureaucracy where they ended up in government social services/ They were doing some good work, but they became part of that mechanism. So, I think the critical thing is trying to keep control of what's going on in the hands of the people who are actually organizing themselves and their communities. Inmn 43:55 Yeah. No, that makes sense. What are strategies that we should be embracing for countering this current current escalation in fascist tendencies? Michael 44:10 Well, you know, I've done a lot of work over the years, and as I say, "Turning the Tide" is a newspaper, we send a couple of thousand copies almost every issue into the prisons and we're in touch with a lot of stuff that's going on in the prisons. And I think that that's a critical place to look for some understanding about how to deal with this because we do see under what are essentially very naked fascist conditions of domination inside the prisons, which are very hierarchical. There's a lot of negative activity within the prisons themselves. There's the power of the guards and the wardens in the system and yet you find struggles going on against racism, against sexism, for solidarity against the solitary confinement of people who have been victims of torture are organizing themselves. And I think that understanding of that capacity and looking at that, those are some of the leading struggles in the United States. There have been hunger strikes, there have been labor strikes, the Alabama Prisoners Movement [Free Alabama Movement] here in California and elsewhere. And I think that sense that people under the most severe repression are actually capable of making human connections among themselves and beginning to actually, in a self critical way, look at how they incorporated toxic masculinity and racism into their own approach to reality, and by beginning to purge themselves of those things, they can begin to create multiracial solidarity among all prisoners to actually resist the conditions of incarceration and resist enslavement. So I think that that's very important to look at. I think that here in Los Angeles, there are, as they say, organizations like LACAN, that are working among homeless people and with homeless people to organize themselves to have street watches. They have a community garden on the roof of a building. They have cultural expression. They have theatrical groups...coral...You know, it's like all those things connect people's love and rage, as I say, people's ability to generate creative cultural expression and to use that to strengthen their solidarity and their unity and their ability to resist the coercive power of the State or the police sweeps or to expose what's going on and begin to put out a challenge to the way that society is organized. So I think that those are some critical things. I think that having the capacity to defend ourselves, both physically and also legally is very very important. I think that if you look at stuff like the Stop Cop City struggle that the escalation of repression and the use of charges of terrorism on people that are obviously not terrorists is indicates that the State sees this as a very, very serious threat and is trying to eradicate it and is trying to intimidate people. And I think to the extent that we can turn that around and use it to say to people, you know, "Is this the kind of State you want to live in? Is this the kind of society you want to have?" is a way to begin to change minds and hearts of people who have been going along with the system. I lived through a whole period where we freed many many political prisoners. We freed Bobby. We freed Huey. We freed Angela. And, you know, even the Panther 21 in New York, you know, it's like the jury met for about 30 minutes and acquitted them all because the power of those organized forces affected the consciousness of the jurors. And I think that understanding that we actually have the power to begin to shape not just own consciousness, to ways that struggle with people, to, "Which side are you on?" and to give people a sense that there is a side that they can identify with and become part of, and transform their own lives, and transform society in the process of doing that. So, I think, you know, for example, the stuff around preparedness is vital that, you know, we're living in a world in which there are incredibly destructive wildfires, floods, tornadoes, and it's very clear that the state is incapable of even dealing with it after the fact, let alone preventing it. And so I think that gives us an opening to talk to very wide sectors of the population in cities and in rural areas as well. I think that, you know, for example, Anti-Racist Action Network in its heyday had hundreds of chapters around the country in small towns because young people were, in their own high schools and music scenes, were suddenly faced with this threat of fascism and said, "Hey, we have to get organized." And so I think that, you know, we need to see these things as opportunities to really very massively begin to engage with people and begin to offer an alternative way of thinking about the world that gives some hope and some prospect of dealing not just with the crises and the repression but a way forward for people. Inmn 49:48 Yeah, yeah. And that kind of ties into--I love that you use this phrase. We've had this phrase come up lot with Cindy Milstein, who we've interviewed on the podcast before and who we've published their newest book last year, "Try Anarchism For Life," and they talk a lot about prefigurative organizing and prefigurative spaces. And I think this kind of ties into what you're talking about, but I was wondering if you could kind of give us your take on the importance of building prefigurative spaces? Michael 50:31 Yeah, I think that we have to find ways to bring people together and to give people a sense, as I say, of our own power and our own creative and generative capacity. So I think that that says that whether it's free schools, or it's breakfast for children, or any of the things that the Black Panther Party did and that many other people of color movements did in a certain period are here at our disposal. I know that, for example, there's a crisis in childcare and child rearing that's going on and so organizing people into childcare collectives and people jointly taking responsibility for each other's children and creating trust relationships that make people feel comfortable with that would be one example of that. In food deserts, organizing people to break up some sidewalks and grow some food and I think they're...One of the things that I've come to understand from doing this work for a long time is we live in a kind of fractal or holographic world in which the same contradictions are shot all the way through the system. It's at any level of magnification in fractals. If you look at the coast of Norway, something in the fjords, you know, it's the same pattern is reproduced at every level. And, you know, in a holographic image, any piece of the hologram has the whole hologram in it. So, I think that any area that people want to choose to struggle in, I think as long as they understand that they're struggling against the entirety of the system in that area and that there's an enmity built into that relationship between the system and we see what they're trying to do, I think that's the critical understanding. So if people are engaged in, you know, community gardens, as long as they understand that that's a piece of a larger struggle to create a world in which nature has, has space to reassert itself, and that people can eat different food and better food. And any area that you know, whether it's the struggle over transgender, nonbinary, or anything else, once people see that it's the same system throughout that they're struggling with, it lays a basis for solidarity, for unity, and for a struggle on many fronts simultaneously that says, you know, sort of the "War of the Flea," [A book on guerrilla warfare] the system is vulnerable in a million places because the system is in all those places simultaneously and, you know, they have a lot of money, a lot of power to deal with that, and they're organized in these systems of command and control and artificial intelligence and all the rest of it to keep track of everything, but we're in all those places simultaneously as well because we're everywhere. And trying to coordinate those things, I think, is very important. Inmn 53:51 This is a little bit of a backup that I remembered that I wanted to ask you about it. So, like, we're currently seeing like a pretty horrific and intense wave of legislation against against trans people and against queer people, and nonbinary people. And, yeah, I'm wondering what your take on that is as a kind of indicator, if we have to imagine like fascism as a spectrum of where we could be going, like what is that kind of legislation and repression an indicator of? Michael 54:38 Yeah, you know, I think that obviously fascism always tries to target the people they think are the most vulnerable. And also, as I say, I think they want to create what they see as wedge issues that they can use to divide people and segment people off. And so I think, to the extent that we can reverse that and we can try to unite people around a different conception. You know, one of the things that struck me is that you saw that they sort of had this victory with controlling the courts and overturning Roe v. Wade, for example. And, what that revealed was actually how narrow that really was, the forces that were pushing for that. Because then, you know, Nebraska and Kansas and these various states suddenly had electoral reinforcement of abortion rights happening. And I think the same thing can happen here. I think that there's so many families that they're concerned about their own kids or...and the parental rights. It reveals that these fault lines go through the whole system. That's what I'm trying to say is all of their power is based on repression and exploitation, and to the extent that people begin to see that and how it impacts on them, it opens up the vistas of possibility to say, you know, if you're concerned about your child's right to get the medical assistance they need, why is the State coming in to prevent you from doing that? And what are the interests that are trying to pick this as a threat to the stability of society? Inmn 56:46 And, yeah. Michael 56:48 So, you know, I think that since every crisis is an opportunity, I think the other thing I did want to talk about a little bit was the whole Covid pandemic, you know, going back to the prepper thing. I think you saw, again, you know, a lot of right-wing exploitation of that issue. And I think that the extent that we can get out ahead of that and look at...Okay, for example, in a society like Cuba, which had a completely different relationship to this because they're organized in a different way and, you know, they actually have a public health system and they actually created their own vaccines, not the ones from big pharma here in this country, and begin to get people to think about that and why Cuba is stigmatized by this society? Why are they embargoing Cuba, Nicaragua, Venezuela, all these countries? You know, the connection to a global sense of what are the possibilities in the world? What are the prefigurative formations that are happening inside imperialism by countries that are actually resisting it? And so, if you look at, you know, the medical care system in Cuba, for example, you know, they have...Every neighborhood has a doctor that lives in the neighborhood--and nursing staff and other people--and [the doctor] works door to door with the people in that neighborhood to be concerned about their health and their well being not just, you know, responding to a particular medical crisis, and they have that systematized and they...So in that context, they were able to vaccinate people, not through coercive measures but through trusted people that were part of their community that could reassure them about the fact that they developed the vaccines themselves and that the Cuban pharmaceutical industry came out of their effort to deal with chemical and biological warfare by the United States. The US was like putting in swine fever as a way to destroy pigs that every family in Cuba had their own little pig to raise and, you know, supplement their food. And so they developed animal vaccines first to protect those animals and then they work their way up from there. So I think that that sense of, you know...I had a good friend recently who passed away from complications of diabetes and the Cubans have developed treatments for diabetes and to prevent amputation of limbs and other stuff. And all of that is unavailable to us because of the US imperialist embargo on Cuba and blockade. And giving people a sense that, you know, there actually are people living in the world in much better conditions. The United States is number one in incarceration, number one in many social ills, number one in overdose deaths, and, you know, on and on and on...number one in evictions. And we can begin to, you know, really give a sense to people that this system has nothing to offer them but destruction and that we have the capacity to create something different. Inmn 1:00:13 Yeah. Thanks. I have only to say that...yes. Yes to all of that. We are nearing the end...of the recording, not of the world. [Said as a dry joke] And, yeah, is there any any kind of last things that you want to say before--I'll ask you to plug anything that you want to plug at the end--I mean, that was such a beautiful wrap up, I feel like. But, if there's anything else you want to talk about, that we haven't talked about? Michael 1:00:45 Well, you know, years ago, I was part of a group in Berkeley that took over the California College of Arts and Crafts to create an anti-war poster making facility during the Vietnam War. And out of that group, there was a singing group called the Red Star Singers, and they had a song called "The Power of the People's the Force of Life." And I think we really have to have that sense. It's, you know, it is a dialectic. That's what I think the main thing I want to try to convey is that, you know, to the extent that we can build the people's power, it actually weakens that system. And, you know, just that sense that all the power that they have is actually derived from their exploitation and oppression of people. And that's our power, you know, manifest that against us. And if we take our power back, it actually does weaken them and increases our possibilities of struggling to for a different world. So, I will do the plugs. I, for 35 years, I've been working and I actually wanted to sort of break the story here. I'm looking for a collective that will take over "Turning the Tide." I've been putting it out for a long, long time. Volume 35 # 2 is just about to come out. It's up on antiracist.org. You can reach me at antiracistaction_ firstname.lastname@example.org. But, you know, like I say, I'm 76. I'm currently the interim general manager of KPFK radio in Los Angeles and it's a huge time commitment. And I want I want to see the paper, you know, become, in some way or shape, institutionalized, to continue to meet, you know, send out the 1700-1800 copies to prisoners. And so, if anybody's interested in taking over that project and fulfilling that commitment, I'd love to hear from them. And then, as I say, I have a chapter in "¡No Pasarán!: Antifascist Dispatches from a World in Crisis" edited by Shane Burley from AK Press. And I contributed a lot of material archival stuff and was interviewed extensively for "We Go Where They Go: The Story of Anti-Racist Action" from PM press. Two really, really important books and well worth reading. And then I did, self published and co-authored "The Blue Agave Revolution: The Poetry of the Blind Rebel" with Oso Blanco, Byron Shane Chubbuck. And you can get that again from Anti-Racist Action. So it's PO Box 1055, Culver City, California 90232. And online, just Antiracist.org. Inmn 1:03:27 Wonderful, in "The Blue Agave Revolution," is that Is that where we can find your short story about the three-way fight between vampires, zombies and humans? Michael 1:03:37 It's a kind of a novella. There's about seven chapters of a longer thing. And there's also a shorter one about a group of teenage mutants called Black Bloc, that they have these kind of minor powers. One of them can, you know, it's Jackpot and Crackpot. Crackpot can kind of break out of anything and Jackpot can just affect the odds slightly in their favor and a bunch of other young people, nonbinary and so on. But they're also some different essays of mine in there and a lot of poetry and, yeah...Just the mathematics of the enormity of social economic inequality. People don't understand exactly what it is, but essentially, about 45% of the US population has the equivalent of 50 cents in assets. You know, people don't understand exactly what the class divide and the contradictions inside the society are, you know. We're we're duped into thinking that this is the richest country on the face of the Earth and the most powerful, you know. There's an enormous, hidden social cost and pain behind that and we have to figure out how to galvanize that into the power that actually those people possess and the creativity that they have. Inmn 1:05:03 Yeah. Great. Well, thank you so much for coming on the podcast. Yeah, of course. And I'll we'll drop links to all the things that you mentioned in the show notes for people to find. And yeah, thank you. Michael 1:05:23 Okay. Take care. Have a great day. Inmn 1:05:25 You too. Inmn 1:05:26 Thank you so much for listening. If you enjoyed this podcast, then go out and live like the Empire is dying. And then tell us about it. And if you'd like to support this podcast, you can do so by telling people about it. You can support this podcast by talking about it on social media, rating, and reviewing, and doing whatever the nameless algorithm calls for. But, if you'd like to support us in other sillier ways, you can also support us on Patreon at patreon.com/strangersinatangledwilderness, which is our publisher. Strangers in a Tangled Wilderness is a radical media publishing collective that puts out this podcast as well as a few other podcasts. Our Patreon helps pay for things like transcriptions or our lovely audio editor, Bursts, who is the host of The Final Straw, as well as going on to support Strangers in a Tangled Wilderness and a few of the other podcasts we put out like our monthly anarchist literature podcast Strangers in a Tangled Wilderness, as well as the Anarcho Geek Power Hour, which is a podcast for people who love movies and hate cops. And we would like to give a very special shout out to a few of our Patreon subscribers, Princess Miranda, BenBen, Anonymous, Funder, Jans, Oxalis, Janice & O'dell, Paigek Aly, paparouna, Milica, Boise Mutual Aid, theo, Hunter, Shawn, SJ, Paige, Mikki, Nicole, David, Dana, Chelsea, Cat J., Staro, Jenipher, Eleanor, Kirk, Sam, Chris, Michaiah, and the infamous Hoss the Dog. Thank you so much. We could not do this without you. And I hope that everyone out there is doing as well as they can right now with everything that's going on. And we'll see you soon. Find out more at https://live-like-the-world-is-dying.pinecast.co
Support us on Patreon! We have a merch store! You can find us on Instagram, TikTok, Facebook, YouTube, Apple Podcasts, and Spotify as Northern Knits Podcast. You can also email us at northernknitspodcastATgmailDOTcom. Jocelyn can be found on Ravelry as amberdragun, where all her other social media is linked. Her patterns are patterns available on her Etsy store, AmberDragunDesigns. Diana can be found on Ravelry as wool-rat and… Continue reading Episode 332 – Diana Did Crafts in Las Vegas
Dee and Carol talk about tall phlox, Joy Larkcom, a new book, and more on this week's episode.For the full story and all the links, check out our newsletter on Substack and subscribe to get it right in your mailbox.A few links:The Big Leaf on AmazonFavorite flowers this week ‘Meteor Mix' zinnias Van Gogh's Fantasy mix sunflowers from Sunflower Steve. Flowers:Phlox paniculata 'Jeana' -- PPA Plant of the YearPhlox paniculata 'Cover Girl' and Luminary Ultraviolet Phlox | Plant AddictsVegetables: Creative Vegetable Gardening, by Joy Larkcom. (Amazon link) On the Bookshelf:Garden Maker's Book of Wonder, by Allison Vallin Kostovick (creator of Finch & Folly) (Amazon link) (162 Recipes, Crafts, Tips, Techniques, and Plants to Inspire You in Every Season) Dirt: Article about the 2024 trends report from Garden Media Group Our Affiliates (Linking to them to make a purchase earns us a small commission):Botanical InterestsFarmers DefenseEtsyTerritorial SeedsTrue Leaf Market Eden BrosBook and Amazon links are also affiliate links.Email us anytime at TheGardenangelists@gmail.com For more info on Carol visit her website. Visit her blog May Dreams Gardens. For more info on Dee, visit her website. Visit her blog Red Dirt Ramblings. Support the showOn Instagram: Carol: Indygardener, Dee: RedDirtRamblings, Our podcast: TheGardenangelists.On Facebook: The Gardenangelists' Garden Club.On YouTube.
EVERYDAY PHONE CONVERSATION!! WE BACK SEASON 4! This week's episode we discussed Tory Lanez sentencing, Drake about to fighting, Terrence Crawford on the breakfast club and more. Enjoy or Fuk Outta Here! YALL OPINIONS ON THE TOPIC? Comment, Email or Dm Us…we'll definitely talk about it! Get Ya Merch — https://foh-merch.creator-spring.com (https://foh-merch.creator-spring.com) Visit our website www.fohbrand.com Sponsors of the podcast: Guerilla Land Clothing @guerillalandmerch Smiley's Crafts & Thangs @smileycraft.thangs IF YOU WANT TO GET SOMEBODY OR SOMETHING THE FUK OUTTA HERE SEND US AN EMAIL AT FOH337@GMAIL.COM Follow us on Instagram: Podcast page @fohpodcast337 Sayso @saysographics DJ Truth @therealdjtruth --- Send in a voice message: https://podcasters.spotify.com/pod/show/fohpod337/message
T is for Tot was founded by Meghan, a passionate kindergarten teacher, with the goal of making learning enjoyable for children ages 3-6. T is for Tot's carefully crafted subscription kits provide parents with a stress-free way to support their child's academic growth through fun, play-based activities.Each T is for Tot Kit is designed to nurture a love for learning and ensure that your child is not only prepared for kindergarten but also set up for a lifetime of learning success.Meghan Foster is a mom of 2 boys, taught kindergarten for close to a decade before starting T is for Tot, I have my master's degree in elementary education as well as a business degree. T is for Tot kits are all-encompassing and delivered each month with everything included for play-based learning fun. The goal of T is for Tot l is to make it easy for parents to give their child Pinterest-like activities, while teaching them in a developmentally appropriate way at the same time. T is for Tot includes essential fundamentals in every kit, taught in a way that is fun and developmentally appropriate. There's ample early childhood research that states the importance of starting learning early, and it needs to be a play-based approach that engages the child and leads the child to eventually be motivated in his/her own learning.In This Conversation We Discuss: [00:00] Intro[00:50] What are Learn and Play Kits?[01:27] Where the idea of T is for Tot come from[02:37] What comes with a typical kit?[03:25] From a creative outlet to a business[04:04] Developing the brand and subscriptions[05:22] Sponsor: Electric Eye electriceye.io/connect[06:16] Sponsor: Shopify shopify.com/honest[08:01] Sponsor: Sendlane sendlane.com/honest[09:28] Getting the product in front of customers' hands[10:13] From friends and family to real customers[11:06] Did T is for Tot experience growing pains?[12:00] Manufacturing and fulfillment still in-house[12:10] Meghan's advice for people who want to start[12:59] Where to support T is for TotResources:Subscribe to Honest Ecommerce on YoutubePlay-based activities to inspire a lifelong love of learning, delivered every month tisfortot.shopConnect with Meghan linkedin.com/in/meghan-foster-78589840Schedule an intro call with one of our experts electriceye.io/connectTake your retail business to the next level today shopify.com/honestSign up for a one-dollar-per-month trial periodSchedule your free consultation with a Sendlane expert sendlane.com/honestIf you're enjoying the show, we'd love it if you left Honest Ecommerce a review on Apple Podcasts. It makes a huge impact on the success of the podcast, and we love reading every one of your reviews!