Podcasts about Creative entrepreneurship

In this episode of The Truth In This Art, the guest is Dr. David O. Fakunle II!About Dr. David O. Fakunle II: Dr. David Fakunle II is a Baltimore native, academic, and self-described mercenary for change and celestial body for change who has spent 25 years using art and storytelling for liberation. He is an assistant professor at Morgan State University in the School of Community Health and Policy and associate faculty at Johns Hopkins Bloomberg School of Public Health. He serves as director of the TEACH Division (Transforming Equity through Arts, Culture and Health) at the National Great Blacks in Wax Museum, working intentionally at the intersection of arts, culture, and health.We talk about his evolution as a mercenary and celestial body for change, his role in developing the Urban Cipher game (originally called the Game of Appreciation) during his postdoc at Morgan State University —a Monopoly-style game that models how inequities are built into systems. He discusses his contribution to the paper "Life as We Tell It: A Revolution Through Narratives and Creative Expression," which explores narrative as a determinant of health, and his framework for understanding data: stories are qualitative data that answer "how" and "why," while quantitative data answers "who, what, where, when."Fakunle shares insights from his recent work at the National Academy of Medicine in DC on a national initiative to build trust between communities and health science. He reflects on teaching his 16-person qualitative research class and helping students understand that AI cannot replicate context—only humans can bring meaning and circumstances to statistics. He introduces his concept of the "existential determinants of health"—five universal virtues all humans want: to be acknowledged, appreciated, respected, understood, and loved. He emphasizes the need to embrace stories, not just tolerate them, because "in the stories are your answers," and discusses how storytellers preserve and uplift context in ways that institutions and policy makers need to understand.We also talk about what this work has taught him, the importance of time as the greatest teacher, showing up in person, trusting others to tell his story, and why physical presence still matters in an increasingly digital world.Photo courtesy of subject.  The Truth In This Art is supported by William G. Baker, Jr. Memorial Fund, the Maryland State Arts Council's Creativity Grant and Mayor's Individual Artist Award - Creative Baltimore Fund (Baltimore). Host: Rob LeeMusic: Original music by Daniel Alexis Music with additional music from Chipzard and TeTresSeis.Production:Produced by Rob Lee & Daniel AlexisEdited by Daniel AlexisShow Notes courtesy of Rob Lee and TransistorPhotos:Rob Lee photos by Vicente Martin for The Truth In This Art and Contrarian Aquarian Media.Guest photos courtesy of the guest, unless otherwise noted.Support the podcastThe Truth In This Art Podcast Fractured Atlas (Fundraising): https://www.fracturedatlas.orgThe Truth In This Art Podcast Bluesky: https://bsky.app/profile/thetruthinthisart.bsky.socialThe Truth In This Art Podcast Instagram: https://www.instagram.com/truthinthisart/?hl=enThe Truth In This Art Podcast Website: https://www.thetruthinthisart.com/The Truth In This Art Podcast Shop: Merch from Redbubble ★ Support this podcast ★

In this episode of The Truth In This Art, the guest is Amir Browder and Maxwell Young!About the guests: Amir Browder is the curator, creative director, and founder of Homme Gallery in DC. Maxwell Young is the founder of the Art Shopping Network, a writer, and works on projects that socialize art buying and support living artists, nonprofit institutions, and galleries.We talk about Acquired Taste and what it does: a catalog and platform that socializes art buying through Polaroids from the host's personal archive, prints, editorial interviews and essays, and curated first‑access opportunities that prioritize context and history over speculation. Acquired Taste also runs a virtual component — online catalog materials, digital/3D renderings, and remote programming that operate alongside in‑person activations. Browder and Young explain how conversational, low‑barrier events help people connect with artists as humans, not just names on a wall.They compare running physical programming with online initiatives. Young stresses repurposing existing tools and trying imperfect, practical approaches instead of waiting for something polished; Browder centers collaboration and working together toward shared goals. The roster features alumni from The Truth In This Art, including Xenia Gray, Maurice James, and Esteban Whiteside. They discuss how Acquired Taste and the Art Shopping Network aim to support living artists, artist‑run spaces, and nonprofit institutions, and how local markets and gatherings can strengthen the broader art ecosystem.We also talk about why in‑person gatherings matter and how to make room for artists whose work challenges and expands community conversation.Acquired Taste is a two‑day live auction and exhibition presented by @artshoppingnetwork, arriving at @HOMMEDC on May 29–30. Free RSVP! Join us in DC or tune in live at artshoppingnetwork.com.Photo courtesy of subject. The Truth In This Art is supported by William G. Baker, Jr. Memorial Fund, the Maryland State Arts Council's Creativity Grant and Mayor's Individual Artist Award - Creative Baltimore Fund (Baltimore). Host: Rob LeeMusic: Original music by Daniel Alexis Music with additional music from Chipzard and TeTresSeis.Production:Produced by Rob Lee & Daniel AlexisEdited by Daniel AlexisShow Notes courtesy of Rob Lee and TransistorPhotos:Rob Lee photos by Vicente Martin for The Truth In This Art and Contrarian Aquarian Media.Guest photos courtesy of the guest, unless otherwise noted.Support the podcastThe Truth In This Art Podcast Fractured Atlas (Fundraising): https://www.fracturedatlas.orgThe Truth In This Art Podcast Bluesky: https://bsky.app/profile/thetruthinthisart.bsky.socialThe Truth In This Art Podcast Instagram: https://www.instagram.com/truthinthisart/?hl=enThe Truth In This Art Podcast Website: https://www.thetruthinthisart.com/The Truth In This Art Podcast Shop: Merch from Redbubble ★ Support this podcast ★

In this episode of The Truth In This Art, the guest is Sarah B. McCann!About Sarah B. McCann: Sarah is an artist, curator, and founder of SBM Gallery in Baltimore's Highlandtown Arts District. Her text-based mosaics, prints, and multimedia work has been shown nationally. She spent 15 years curating exhibitions nomadically before opening her own space this year.We talk about launching SBM Gallery and what it means to her to support artists working with love and justice—artists using their work to push for change and move us closer to where we could be. She walks through the gallery's programming: an Artists in Conversation speaker series, collector coffees, and events around Highlandtown's First Friday Art Walks. Sarah also shares how she builds real community among her artists—she hosts dinners before group shows so people actually connect as humans, not just as names hanging on the same walls.Sarah talks about shifting from nomadic curating to having her own space. She remembers unwrapping the first painting during COVID in 2021—the color, texture, and smell of that moment reminded her why we still need to show up in person. We get into how running an independent gallery lets her support artists who might not get institutional backing, upcoming shows like "All My Errors Are Human" about making mistakes in an AI world, and her own return to painting and clay after years of focusing on everyone else's work.We also talk about what it takes to build an art space with intention, why physical gatherings still matter, and how to make room for artists whose work pushes us to be better.Visit sbmgallery.com to explore the full exhibition lineup and programming through July.Photo courtesy of subject. The Truth In This Art is supported by William G. Baker, Jr. Memorial Fund, the Maryland State Arts Council's Creativity Grant and Mayor's Individual Artist Award - Creative Baltimore Fund (Baltimore). Host: Rob LeeMusic: Original music by Daniel Alexis Music with additional music from Chipzard and TeTresSeis.Production:Produced by Rob Lee & Daniel AlexisEdited by Daniel AlexisShow Notes courtesy of Rob Lee and TransistorPhotos:Rob Lee photos by Vicente Martin for The Truth In This Art and Contrarian Aquarian Media.Guest photos courtesy of the guest, unless otherwise noted.Support the podcastThe Truth In This Art Podcast Fractured Atlas (Fundraising): https://www.fracturedatlas.orgThe Truth In This Art Podcast Bluesky: https://bsky.app/profile/thetruthinthisart.bsky.socialThe Truth In This Art Podcast Instagram: https://www.instagram.com/truthinthisart/?hl=enThe Truth In This Art Podcast Website: https://www.thetruthinthisart.com/The Truth In This Art Podcast Shop: Merch from Redbubble ★ Support this podcast ★

Today's show is sponsored by Huion, makers of the Huion Kamvas 22 (Gen 3) — a 21.5" pen display with a gorgeous 2.5K screen and really smooth performance. Bottom line: it feels great to draw on — and it punches way above its price. • Check it out at https://comiclabshop.com • Use code COMICLAB5 for an exclusive 5% discount! (Valid through June 14th) Brad and Dave tackle a listener question that gets to the heart of creative careers: Can you make a living telling shorter stories, or does success demand long-form work? As always, the answer is equal parts practical advice and creative philosophy — grounded in real-world experience and delivered with ComicLab's signature mix of humor and honesty. TODAY'S SHOW • Can you build a career on individual short stories? • Market expectations around story length (comics, film, TV) and perceived value • Creative problem-solving as a business tool — making unconventional formats work • Strategies for packaging short stories (genre consistency, shared setting, through-lines) • Examples of experimental storytelling formats (anthologies, vignette structures) • PROMO: Huion Kamvas 22 (Gen 3) — features, workflow integration, and discount code ComicLab5 at https://comiclabshop.com • Estate planning for cartoonists — what happens to your IP after death? • Debate: Should creative work become public domain sooner? • Should kids continue your comic… or make their own work? • The reality of legacy comics vs. modern independent publishing You get great rewards when you join the ComicLab Community on Patreon$2 — Early access to episodes$5 — Submit a question for possible use on the show AND get the exclusive ProTips podcast. Plus $2-tier rewards.If you'd like a one-on-one consultation about your comic, book it now!Brad Guigar is the creator of Evil Inc and the author of The Webcomics Handbook. He is available for personal consultations. Dave Kellett is the creator of Sheldon and Drive. He is the co-director of the comics documentary, Stripped.

In this episode of The Truth In The Art, I sit down with Sam Furnish—founder of Bemo's Clothing and the guy behind Baltimore's "born in Baltimore" premium civvies movement.About Sam Furnish: Sam launched Bemo's Clothing in 2025 after years in the outdoor industry learning product development and manufacturing. The brand name comes from his father's childhood nickname—"Bemo"—given by Sam's grandpa in 1950s Midwest America alongside nicknames like "Peavy" and "Muley." When Sam moved to Baltimore and locals said "B-more," it sounded just like his dad's name. Bemo's Clothing is his homage to both the man and the city that raised him.We talk about that origin story and why it matters—how family legacy and Baltimore identity aren't just branding, they're the foundation of everything he makes. Sam's creating what he calls "premium civvies" and "born in Baltimore" pieces: clothing that reminds you of that perfect shirt or jacket you found in your parents' attic that suddenly became your go-to. Vintage-inspired but made with modern materials and finishes.We get into his design philosophy: he'd rather make a few story-driven pieces than chase endless inventory. We discuss the realities of sourcing and manufacturing as an independent brand, how he's building community through collaborations with BMore Flea and Broadway Market, and why his clothing is meant to spark conversations and serve as wearable representations of Baltimore itself.We also dig into what it means to build a brand with intention in an industry obsessed with scale and constant drops, how he thinks about creating pieces meant to last generations, and why quality and meaning trump volume.Sam's mission: make clothing that carries real stories, celebrate what makes Baltimore unique, and build a brand that brings people together—not just fills closets.Follow along at https://www.instagram.com/bemosclothing/ or check out https://bemosclothing.com/.Listeners can use code THETRUTHINITSART for 30% off. The Truth In This Art is supported by William G. Baker, Jr. Memorial Fund, the Maryland State Arts Council's Creativity Grant and Mayor's Individual Artist Award - Creative Baltimore Fund (Baltimore). Host: Rob LeeMusic: Original music by Daniel Alexis Music with additional music from Chipzard and TeTresSeis.Production:Produced by Rob Lee & Daniel AlexisEdited by Daniel AlexisShow Notes courtesy of Rob Lee and TransistorPhotos:Rob Lee photos by Vicente Martin for The Truth In This Art and Contrarian Aquarian Media.Guest photos courtesy of the guest, unless otherwise noted.Support the podcastThe Truth In This Art Podcast Fractured Atlas (Fundraising): https://www.fracturedatlas.orgThe Truth In This Art Podcast Bluesky: https://bsky.app/profile/thetruthinthisart.bsky.socialThe Truth In This Art Podcast Instagram: https://www.instagram.com/truthinthisart/?hl=enThe Truth In This Art Podcast Website: https://www.thetruthinthisart.com/The Truth In This Art Podcast Shop: Merch from Redbubble ★ Support this podcast ★

In this episode of The Truth In This Art, Rachel Mijares-Fick returns to the program.About: Rachel Mijares-Fick is the co-founder of Future Fair, an art fair in New York. She co-founded it in 2020 during the pandemic with Rebeca Laliberte. Future Fair is a trade show where art galleries, artist collectives, and independent curators from all over the world come and set up exhibitions. The fair focuses on emerging and under-recognized voices in the art world. Future Fair has launched careers of artists and art dealers over six years and is a fabric of the New York art world.The conversation covers the fair's sixth edition at Chelsea Industrial, a ground floor venue on the corner of 28th and 11th in Chelsea, New York City. Exhibitors include Wondering People (London, UK), under the pale blue (Ridgewood, NY), and Wishbone Gallery (Montreal, Canada). Mijares-Fick discusses Future Talks, a new conversations program supported by ArtLogic, a business management platform for galleries, artists, and collectors. Future Talks features rising thought leaders in the art world—artists, collectors, curators, dealers, and funders—having conversations about topics like "The Future Economy of the Artist Studio," which examines how artists are sustaining their practices today as traditional models of patronage, institutional support, and market driven income continue to shift.The discussion also touches on the physicality of art and why people want to see the hand that painted a piece or feel the physicality of objects that artists create. There's the magic that happens when people are physically in space together at art exhibitions. Future Fair creates a warm, welcoming, and open environment with intentionality, intimacy, and accessibility that makes the contemporary art experience conversational.Future Fair runs May 13-16, 2026 (Wednesday through Saturday) at Chelsea Industrial, corner of 28th and 11th in Chelsea — FutureFairs.com---If you're in New York this May, check out Future Fair, the forward-thinking contemporary art fair returning to Chelsea for its sixth edition, May 13 to 16, 2026. This year's fair brings together 68 exhibitors from around the world, with a strong focus on curatorial vision, emerging and under-recognized voices, and a community-driven approach. The Truth in This Art listeners can get 30% off tickets with the code TITA2026 at futurefairs.com.  The Truth In This Art is supported by William G. Baker, Jr. Memorial Fund, the Maryland State Arts Council's Creativity Grant and Mayor's Individual Artist Award - Creative Baltimore Fund (Baltimore). Host: Rob LeeMusic: Original music by Daniel Alexis Music with additional music from Chipzard and TeTresSeis.Production:Produced by Rob Lee & Daniel AlexisEdited by Daniel AlexisShow Notes courtesy of Rob Lee and TransistorPhotos:Rob Lee photos by Vicente Martin for The Truth In This Art and Contrarian Aquarian Media.Guest photos courtesy of the guest, unless otherwise noted.Support the podcastThe Truth In This Art Podcast Fractured Atlas (Fundraising): https://www.fracturedatlas.orgThe Truth In This Art Podcast Bluesky: https://bsky.app/profile/thetruthinthisart.bsky.socialThe Truth In This Art Podcast Instagram: https://www.instagram.com/truthinthisart/?hl=enThe Truth In This Art Podcast Website: https://www.thetruthinthisart.com/The Truth In This Art Podcast Shop: Merch from Redbubble ★ Support this podcast ★

In this episode of The Truth In The Art, the guest is Omri D. Cohen!Who is Omri D. Cohen: Author of Questions to Humanity — a collection born from five months backpacking South America — Omri has spent six years asking one question to 700 people across 50+ nationalities, documenting stories and street/landscape photography that reached millions.Omri D. Cohen talks about his journey leaving home to backpack South America, the process of gathering perspectives for his book Questions to Humanity, building a video series from those encounters, and how storytelling and photography can foster curiosity and connection across cultures. We also dig into the logistics of long-form travel projects, publishing the book, and bringing strangers' wisdom into public conversation.His aim throughout: to inspire curiosity, celebrate diverse voices, and create moments of belonging through questions and stories.For updates, follow https://www.instagram.com/qtohumanity/ and check out QuestionsToHumanity.com. The Truth In This Art is supported by William G. Baker, Jr. Memorial Fund, the Maryland State Arts Council's Creativity Grant and Mayor's Individual Artist Award - Creative Baltimore Fund (Baltimore). Host: Rob LeeMusic: Original music by Daniel Alexis Music with additional music from Chipzard and TeTresSeis.Production:Produced by Rob Lee & Daniel AlexisEdited by Daniel AlexisShow Notes courtesy of Rob Lee and TransistorPhotos:Rob Lee photos by Vicente Martin for The Truth In This Art and Contrarian Aquarian Media.Guest photos courtesy of the guest, unless otherwise noted.Support the podcastThe Truth In This Art Podcast Fractured Atlas (Fundraising): https://www.fracturedatlas.orgThe Truth In This Art Podcast Bluesky: https://bsky.app/profile/thetruthinthisart.bsky.socialThe Truth In This Art Podcast Instagram: https://www.instagram.com/truthinthisart/?hl=enThe Truth In This Art Podcast Website: https://www.thetruthinthisart.com/The Truth In This Art Podcast Shop: Merch from Redbubble ★ Support this podcast ★

Merging professional expertise with a lifelong passion for ocean conservation.Jessica Adanich shares her journey from a childhood immersed in creativity to founding Fuzzy Sharks and Sharkapalooza, a non-profit art and conservation festival in Florida.Jessica chats with Claire about the challenges of art school, the resilience required to pivot careers during economic downturns, and the importance of separating personal identity from professional critique. We touch on the scientific theory of biophilia and how Jessica's 'fuzzy shark' soft sculptures help people connect with misunderstood marine life. Hear about the bravery involved in moving across the country to follow a dream, the realities of balancing a design agency with passion projects, and why taking a chance on yourself is the ultimate creative act, as well as:How art can hit differently than verbal communication in conservation efforts.The transition from corporate marketing at Mace to launching an independent design studio.Overcoming the fear of failure and the importance of pushing out of your comfort zone.The growth of Sharkapalooza from a microbrewery event to a city-wide festival featuring major aquariums and OSEARCH.Connect with Jessica here.Find Fuzzy Sharks here.I would love some financial support to help me to keep making this podcast. Visit buymeacoffee.com/creativityfoundSupport the showFollow @CreativityFoundPodcast on InstagramWant to be a guest on Creativity Found? Send me a message on PodMatch, herePodcast recorded with Riverside and hosted by Buzzsprout

This episode examines a Bluesky thread where cartoonists self-reported their financial realities. While the original question was thoughtful — seeking insight into full-time and part-time comic careers — the resulting discussion revealed a common problem: an echo chamber of discouragement. Brad and Dave emphasize that these threads often skew negative due to self-selection bias. Many successful creators don't participate—either because they're busy, uncomfortable sharing income, or wary of backlash. The result? A distorted picture where it appears that no one is succeeding, even though many are. TODAY'S SHOW Nobody makes a living in comics ComicLab LIVE at the NCS Conference and Reuben Awards, Aug. 6-8, Columbus, Ohio — nationalcartoonists.com Tattoos Baby Blues and Zits announce retirement Death of syndication   You get great rewards when you join the ComicLab Community on Patreon$2 — Early access to episodes$5 — Submit a question for possible use on the show AND get the exclusive ProTips podcast. Plus $2-tier rewards.If you'd like a one-on-one consultation about your comic, book it now!Brad Guigar is the creator of Evil Inc and the author of The Webcomics Handbook. He is available for personal consultations. Dave Kellett is the creator of Sheldon and Drive. He is the co-director of the comics documentary, Stripped.

We're back with a real, honest, and slightly emotional life + business update. This one's going to feel a little different than our usual episodes, but these are the conversations that matter just as much as business strategy.If you're in a season where your calligraphy business or creative business feels a little… unclear, messy, or like you're outgrowing things faster than you can keep up with, this episode is going to resonate.We're pulling back the curtain and sharing what's actually been happening behind the scenes, why we took a break, and what this next chapter looks like for both of us. From big life changes to making those “I know this is right, but it still feels hard” decisions, this conversation is all about the real side of creative entrepreneurship—not just the highlight reel. We're diving into what it really looks like to grow and evolve a creative business, including stepping into the “messy middle” where things feel unclear, uncomfortable, and uncertain—but also full of potential. The part no one really prepares you for. Tune in if you've ever questioned your direction, felt pulled between multiple paths, or wondered how to create a business that truly supports your life.What we get into in this episode: What calligraphy business growth actually looks like  The “messy middle” of creative entrepreneurship and why it's actually a good thing  Making big CEO decisions in your creative business (even when you don't feel ready)  Letting go of things you love so you can grow  Building a creative business that actually supports your life—not the other way around  Why not having all the answers is… kind of the whole point This episode is a reminder that calligraphy business growth and creative entrepreneurship aren't linear. Sometimes the most powerful growth happens in the quiet, uncertain moments where you're redefining everything.If you've been feeling like you're in a season of transition in your creative business, you're not alone - and this conversation might be exactly what you need to hear right now.Text us a question to answer on a future episode!Support the show

In this episode of The Truth In This Art, the guest is Alex Jennings!Who is Alex Jennings: Author, poet, and former standup comedian who lived in New Orleans for nearly 20 years—now working on his second novel from Chicago. You might remember Alex from my New Orleans series where we discussed his book, The Ballad of Perilous Graves, here. In our conversation, Jennings talks through his new book Dead End Boys—set in an alternate New Orleans where communicating with the dead is the main industry. He connects the project to comedy and digs into how moving from Louisiana to Chicago reshaped his rhythm. As he puts it, the book is "a chance to say something about blackness, about the pandemic and about the creep of fascism."He recalls discovering Henry Dumas and heading back to New Orleans for the Tolodano Comedy Festival. We get into living in one place longer than anywhere else, balancing graduate degrees with novel writing, and how that shift shaped his voice.Be sure to follow Alex Jennings to keep up with his work and future projects.Photo courtesy of subject The Truth In This Art is supported by William G. Baker, Jr. Memorial Fund, the Maryland State Arts Council's Creativity Grant and Mayor's Individual Artist Award - Creative Baltimore Fund (Baltimore). Host: Rob LeeMusic: Original music by Daniel Alexis Music with additional music from Chipzard and TeTresSeis.Production:Produced by Rob Lee & Daniel AlexisEdited by Daniel AlexisShow Notes courtesy of Rob Lee and TransistorPhotos:Rob Lee photos by Vicente Martin for The Truth In This Art and Contrarian Aquarian Media.Guest photos courtesy of the guest, unless otherwise noted.Support the podcastThe Truth In This Art Podcast Fractured Atlas (Fundraising): https://www.fracturedatlas.orgThe Truth In This Art Podcast Bluesky: https://bsky.app/profile/thetruthinthisart.bsky.socialThe Truth In This Art Podcast Instagram: https://www.instagram.com/truthinthisart/?hl=enThe Truth In This Art Podcast Website: https://www.thetruthinthisart.com/The Truth In This Art Podcast Shop: Merch from Redbubble ★ Support this podcast ★

Send us Fan MailWhat happens when the business you love physically can't come with you? In this episode, Andi sits down with Cindy Bader of Patterns on the Prairie to talk about building - and rebuilding - a quilting business around the realities of your life.Cindy started quilting as a first-generation quilter on a $60 Walmart Singer that she had to spin the flywheel to start. Nearly two decades ago, worsening carpal tunnel pushed her out of a desk job and into a computerized longarm business she ran from home while raising three kids. Then COVID opened the door to snowbirding - and she hit a new wall: you can't exactly pack up a twelve-foot longarm frame and take it to Texas.So she pivoted again. Inspired by a 2:00 a.m. idea, Cindy started designing what she calls mosaic applique - fusible applique patterns with small gaps between the pieces, pre-reversed templates, color-sorted layouts, and a numbered reference page so customers can build each design from the center out like a puzzle. She recently added SVG files for cutting machines and uses a hotfix adhesive that stays permanent through washing, so there's no stitching around every little piece.If you've ever felt boxed in by the physical or seasonal limits of your current quilting business, this conversation is a reminder that the constraint often points directly at your next move.Don't miss an episode! Like, comment, and subscribe for more quilting stories, tips, and industry insights.Chapters00:00 Introduction and Cindy's Background02:20 Cindy's First Quilt and Early Sewing Memories03:17 Transition from Hobbyist to Business Owner05:47 Starting a Business During Carpal Tunnel Challenges08:35 Discovering Quilt Pattern Design and Expanding Horizons10:32 Introduction to Mosaic Applique Patterns12:54 Design Process and Customer Pain Points14:31 Innovative Application Techniques and Tools15:30 Teaching and Sharing Patterns in Person and Online16:42 Marketing Strategies and Word of Mouth17:35 Family Support and Tech Skills in Business21:41 Upcoming Events and New Pattern Releases22:16 Where to Find Cindy and Her Patterns23:03 Rapid Fire: Favorite Quilt Colors and Pattern Ideas33:01 Closing Remarks and ThanksConnect with Cindy:Website: https://patternsontheprairie.comInstagram: @patternsontheprairieFacebook: @patternsontheprairieYouTube: @patternsontheprairieWant More Quilting Business Content?

In this episode of The Truth In The Art, the guest is Barry Wright III!Who is Barry Wright III: Baltimore-based improviser, teacher, technology professional, and co-founder (and current board president) of Highwire Improv, launched in 2020. You might remember Barry from his first appearance on The Truth In The Art here.In our conversation, Wright talks about Highwire's origin during the 2020 lockdown, building an improv community in Highlandtown, and making improv financially accessible and sustainable. As he puts it, improv "can be done with absolutely no materials. You truly only need other human beings and space. Chairs are optional."He recalls launching 55 teams from across the world and running shows seven nights a week, all online. We dig into experimenting with programming like dinner-and-a-show, drop-in nights, worker-owned cooperative values, and how collaboration and feedback shape the evolving theater—all rooted in creating inclusive, community-driven arts programming that supports practitioners and connects audiences.For updates, visit https://highwireimprov.com/  Shows at Highwire Improv, 400 South Conklin Street, Baltimore.Photo courtesy of subject The Truth In This Art is supported by William G. Baker, Jr. Memorial Fund, the Maryland State Arts Council's Creativity Grant and Mayor's Individual Artist Award - Creative Baltimore Fund (Baltimore). Host: Rob LeeMusic: Original music by Daniel Alexis Music with additional music from Chipzard and TeTresSeis.Production:Produced by Rob Lee & Daniel AlexisEdited by Daniel AlexisShow Notes courtesy of Rob Lee and TransistorPhotos:Rob Lee photos by Vicente Martin for The Truth In This Art and Contrarian Aquarian Media.Guest photos courtesy of the guest, unless otherwise noted.Support the podcastThe Truth In This Art Podcast Fractured Atlas (Fundraising): https://www.fracturedatlas.orgThe Truth In This Art Podcast Bluesky: https://bsky.app/profile/thetruthinthisart.bsky.socialThe Truth In This Art Podcast Instagram: https://www.instagram.com/truthinthisart/?hl=enThe Truth In This Art Podcast Website: https://www.thetruthinthisart.com/The Truth In This Art Podcast Shop: Merch from Redbubble ★ Support this podcast ★

Today's show is sponsored by Huion, makers of the Huion Kamvas 22 (Gen 3) — go to https://bit.ly/41pXyI7 or https://comiclabshop.com and use the code COMICLAB5 to unlock an exclusive 5% discount! (Valid 4/6/2026 - 6/14/2026) The Kamvas 22 (Gen 3) is the New 22" Benchmark. A powerful yet accessible 21.5'' pen display featuring a 2.5K QHD 90Hz screen, PenTech 4.0, and Canvas Glass 2.0. Designed for smooth, precise, and true-to-life creation, it redefines what an entry-level display can deliver — professional performance without the premium price. The platforms we trusted to grow our audience have pulled the rug out from under us, and it's time to take that control back. Brad and Dave explore how creators are reclaiming their power by ditching platform dependence, rebuilding direct connections through newsletters, webrings, and other community tools. TODAY'S SHOW Reclaiming Our Power — How Web 1.0 strategies are helping creative pros take back their publishing Huion sponsorship — https://comiclabshop.com See ComicLab LIVE at the National Cartoonists Society Conference and Reuben Awards in Columbus, Ohio, Aug. 6-8 ComicLab Confab (609) DRY - ELB-0 How to fill in story gaps between books Adapting books into comics Dr. Reginald Wigglesby You get great rewards when you join the ComicLab Community on Patreon$2 — Early access to episodes$5 — Submit a question for possible use on the show AND get the exclusive ProTips podcast. Plus $2-tier rewards.If you'd like a one-on-one consultation about your comic, book it now!Brad Guigar is the creator of Evil Inc and the author of The Webcomics Handbook. He is available for personal consultations. Dave Kellett is the creator of Sheldon and Drive. He is the co-director of the comics documentary, Stripped.

In this episode of The Truth In This Art, the guest is Cecilia M. McCormick!Who is Cecilia M. McCormick: President of MICA (Maryland Institute College of Art) with 33 years in higher education, an art collector who raised three sons now working in the creative field.In our conversation, McCormick talks through MICA's bicentennial year and the vision she's building as the school hits 200. She connects the programming to three themes—illumination, innovation, and entrepreneurship—and digs into new degrees shaped by workforce demand. As she puts it, creativity is "the commodity that cannot be automated, outsourced, or depleted."She recalls the "Set of Lights" event where students recreated colonial life through costume—everything from lanterns to candlelight soldiers. We get into AI's role in the classroom, how MICA is teaching students to use it as a tool while emphasizing "the human mark," and the best lesson she's learned: "know when to pivot." Looking ahead, her focus is on experiential learning and driving Baltimore's creative economy.Be sure to follow Cecilia M. McCormick and MICA to keep up with bicentennial programming and future projects. Join MICA in Celebrating 200 Years of Creative ImpactPhoto courtesy of subject The Truth In This Art is supported by William G. Baker, Jr. Memorial Fund, the Maryland State Arts Council's Creativity Grant and Mayor's Individual Artist Award - Creative Baltimore Fund (Baltimore). Host: Rob LeeMusic: Original music by Daniel Alexis Music with additional music from Chipzard and TeTresSeis.Production:Produced by Rob Lee & Daniel AlexisEdited by Daniel AlexisShow Notes courtesy of Rob Lee and TransistorPhotos:Rob Lee photos by Vicente Martin for The Truth In This Art and Contrarian Aquarian Media.Guest photos courtesy of the guest, unless otherwise noted.Support the podcastThe Truth In This Art Podcast Fractured Atlas (Fundraising): https://www.fracturedatlas.orgThe Truth In This Art Podcast Bluesky: https://bsky.app/profile/thetruthinthisart.bsky.socialThe Truth In This Art Podcast Instagram: https://www.instagram.com/truthinthisart/?hl=enThe Truth In This Art Podcast Website: https://www.thetruthinthisart.com/The Truth In This Art Podcast Shop: Merch from Redbubble ★ Support this podcast ★

In this episode of The Truth In This Art, the guest is Jess Owens-Young!Who is Jess Owens-Young: Maryland-based collage and mixed media artist and professor who creates work informed by her experiences as a Black woman, mother, and former athlete, using vintage magazines (Ebony, Jet, Essence) to explore the joy and melancholy of Black life in the United States.In our conversation, Owens-Young talks about her transition from semi-pro soccer player to artist in 2018 and her two favorite series: Oak Bluffs Golf Club (exploring Black leisure and the hidden history of golf) and Hoop Dreams Never Die. As she puts it, "I use sports and our everyday experiences as storytelling vehicles to share our stories about joy, hopes and dreams."She recalls creating in her laundry room studio—"If I am waiting for a load of laundry to finish, like it has five more minutes, I might take out some paint and make papers"—preparing materials in 20-minute sessions so she's ready when inspiration strikes. We get into how motherhood has made her practice more focused, how teaching public health feeds her art, why her initials spelling JOY matter now, working with vintage magazines as time capsules, and why she invites viewers to interpret their own stories within her work.For updates, follow @truthofstrength on Instagram and Threads, and visit jessowensyoung.com.Photo courtesy of subject The Truth In This Art is supported by William G. Baker, Jr. Memorial Fund, the Maryland State Arts Council's Creativity Grant and Mayor's Individual Artist Award - Creative Baltimore Fund (Baltimore). Host: Rob LeeMusic: Original music by Daniel Alexis Music with additional music from Chipzard and TeTresSeis.Production:Produced by Rob Lee & Daniel AlexisEdited by Daniel AlexisShow Notes courtesy of Rob Lee and TransistorPhotos:Rob Lee photos by Vicente Martin for The Truth In This Art and Contrarian Aquarian Media.Guest photos courtesy of the guest, unless otherwise noted.Support the podcastThe Truth In This Art Podcast Fractured Atlas (Fundraising): https://www.fracturedatlas.orgThe Truth In This Art Podcast Bluesky: https://bsky.app/profile/thetruthinthisart.bsky.socialThe Truth In This Art Podcast Instagram: https://www.instagram.com/truthinthisart/?hl=enThe Truth In This Art Podcast Website: https://www.thetruthinthisart.com/The Truth In This Art Podcast Shop: Merch from Redbubble ★ Support this podcast ★

In this episode of The Truth In This Art, the guest is Chandler Chavez.Who is Chandler Chavez: A Los Angeles–based filmmaker, editor, story analyst, and writer originally from Arizona, drawn to complicated characters and stories that test our empathy—especially when they're filtered through the strange mechanics of online attention.In our conversation, Chandler unpacks his feature debut: a dark-comedy “screenlife” film told entirely through a computer desktop, set inside the “hellscape” of live streaming—where the real-time chat isn't set dressing, it actively drives the story forward. He talks about arriving at the format out of pure practicality (making something possible with very little money), then spending years refining the cut to make the digital world feel specific and true—not “movie internet,” but the kind of online authenticity you recognize immediately.We also get into the long road from early festival submissions with unfinished materials to a stronger re-approach—new poster, press kit, and a tighter final version—leading to the project's selection for the 2026 Maryland Film Festival.Catch Chandler Chavez's feature debut at the Maryland Film Festival, April 8–12, screening at the SNF Parkway Theatre and venues across Baltimore. The Truth In This Art is supported by William G. Baker, Jr. Memorial Fund, the Maryland State Arts Council's Creativity Grant and Mayor's Individual Artist Award - Creative Baltimore Fund (Baltimore). Host: Rob LeeMusic: Original music by Daniel Alexis Music with additional music from Chipzard and TeTresSeis.Production:Produced by Rob Lee & Daniel AlexisEdited by Daniel AlexisShow Notes courtesy of Rob Lee and TransistorPhotos:Rob Lee photos by Vicente Martin for The Truth In This Art and Contrarian Aquarian Media.Guest photos courtesy of the guest, unless otherwise noted.Support the podcastThe Truth In This Art Podcast Fractured Atlas (Fundraising): https://www.fracturedatlas.orgThe Truth In This Art Podcast Bluesky: https://bsky.app/profile/thetruthinthisart.bsky.socialThe Truth In This Art Podcast Instagram: https://www.instagram.com/truthinthisart/?hl=enThe Truth In This Art Podcast Website: https://www.thetruthinthisart.com/The Truth In This Art Podcast Shop: Merch from Redbubble ★ Support this podcast ★

In this episode of The Truth In This Art, the guest is Kenny Riches!Who is Kenny Riches: A Miami and Salt Lake City-based filmmaker born in Toyota City, Japan, whose award-winning features explore loneliness, identity, and human connection through intimate, character-driven narratives. With a BFA in Painting and Drawing and a filmography that includes The Strongest Man (Sundance premiere, 2015) and A Name Without A Place (2019), Kenny has received support from Sundance Institute, Knight Foundation, and PBS—and is co-founder of The Davey Foundation, a grant-giving organization for filmmakers.In our conversation, Kenny traces his journey from wanting to make films in the early 2000s when 16mm was still too expensive for a broke college student, to making skateboard videos with camcorders that evolved into short films alongside childhood friend and actor Patrick Fugit. He breaks down how Mouse—his fourth feature screening at Maryland Film Festival April 8–12 at the SNF Parkway Theatre and venues across Baltimore—emerged from pandemic isolation as a meditation on loneliness in the pre-social media early 2000s and a thriller about a lonesome first-generation person in ultra-white, ultra-religious Utah who gets tangled up in pen pal scams and petty theft. Kenny shares the bizarre real-life origin behind the film's scam storyline: a mysterious filmmaker friend he talked to for years without ever seeing his face, whose very existence his girlfriend suspected was an elaborate con—paranoia that bled straight into Mouse. He talks about directing his Japanese mother after convincing her a week before production (his pitch: we'll save money), the difference between Miami's endless weirdness through fresh eyes versus Utah's invisibility after a lifetime there, why he believes 90% of directing is casting, and running relaxed sets where everyone's cracking jokes instead of stressing out. We also dig into why pre-production and script feedback from actual filmmakers—not just your friends—will save your life, the collaborative magic of bringing all your people together to make something, and his advice to forget arbitrary deadlines because nobody cares if you made your first feature at 25.Don't miss Kenny Riches' Mouse regional premiere at Maryland Film Festival—a thriller that's funny, a little thrilling, and quietly cuts to the bone about what it means to look for connection when the world keeps you lonesome. The Truth In This Art is supported by William G. Baker, Jr. Memorial Fund, the Maryland State Arts Council's Creativity Grant and Mayor's Individual Artist Award - Creative Baltimore Fund (Baltimore). Host: Rob LeeMusic: Original music by Daniel Alexis Music with additional music from Chipzard and TeTresSeis.Production:Produced by Rob Lee & Daniel AlexisEdited by Daniel AlexisShow Notes courtesy of Rob Lee and TransistorPhotos:Rob Lee photos by Vicente Martin for The Truth In This Art and Contrarian Aquarian Media.Guest photos courtesy of the guest, unless otherwise noted.Support the podcastThe Truth In This Art Podcast Fractured Atlas (Fundraising): https://www.fracturedatlas.orgThe Truth In This Art Podcast Bluesky: https://bsky.app/profile/thetruthinthisart.bsky.socialThe Truth In This Art Podcast Instagram: https://www.instagram.com/truthinthisart/?hl=enThe Truth In This Art Podcast Website: https://www.thetruthinthisart.com/The Truth In This Art Podcast Shop: Merch from Redbubble ★ Support this podcast ★

Send us Fan MailWhat does it look like to build a quilting business almost by accident? In this episode, Tori and Andi sit down with Monika Henry of Penny Spool Quilts to talk about her journey from a six-year first quilt (cut with cardboard templates and scissors) to running a pattern design business, teaching an improv quilting workshop, and launching a Canadian quilt subscription box that took off faster than she expected.Monika shares the behind-the-scenes reality of creating Quilt the North — a quarterly subscription box featuring a Canadian pattern designer, curated fabric, and locally sourced handmade items tied to each designer's region. She talks about the logistics she had to figure out on the fly (like the fact that you have to order print fabric six to eight months in advance), how Canada's political climate unexpectedly did her marketing for her, and why the connections she made at H&H Americas gave her the confidence to actually launch.Tori and Andi also dig into what Monika calls "accidental" business moves — and reframe them as something more intentional: listening to your audience, following curiosity, and being willing to figure things out as you go. Monika also shares how working with a coach through Tori's DMMC program helped her step back from the middle of her business and see the bigger picture.Whether you've been thinking about launching a product-based offering, adding a subscription model, or just need a reminder that you don't have to have it all figured out before you start, this conversation delivers.Don't miss an episode! Like, comment, and subscribe for more quilting stories, tips, and industry insights.Connect with Monika Website: https://pennyspoolquilts.com See more about Quilt the North Instagram: @pennyspoolquilts Facebook: @pennyspoolquilts YouTube: @pennyspoolquilts Chapters00:00 Introduction and guest introduction02:00 Monica's first quilt and quilting journey05:25 Turning hobby into business09:13 Starting the Canadian quilt subscription box12:37 Marketing and launching the subscription box17:09 Listening to the audience and business insights22:54 Favorite parts of the quilting and business experience27:57 Where to find Monica online28:45 Recent quilt project and color choices29:16 Tools and notions Monica loves31:04 Inspiring figures outside quilting31:52 Challenges of running a business32:57 Number of quilts in Monica's sewing room34:44 Exploring the Journey of Quilt the North36:45 The Fearless Entrepreneurial SpiritWant More Quilting Business Content? 

In this episode of The Truth In This Art, the guests are Ben Baker-Lee and Rasaan Hammond!Who are Ben and Rasaan: Ben Baker-Lee and Rasaan Hammond are Baltimore-born filmmakers and co-directors of A Life in Art through the eye of Dr. Leslie King Hammond. Ben, founder of TrueView Film, has been documenting life through a lens since high school, drawn to film's power to capture truthful emotion and lived experience. Rasaan, who grew up immersed in the art world as the son of Dr. Leslie King Hammond (former dean at MICA), gravitated toward audio-visual storytelling early on, working in production, weddings, music videos, and now documentary film.Ben and Rasaan talk about their early influences—from 2001: A Space Odyssey at the Senator Theater to sci-fi classics like Star Wars and E.T.—and how their filmmaking journeys began with video cameras in hand. We dive into the origins of their documentary: what started as a casual request from Leslie to film one of her students evolved into a years-long portrait of a cultural architect and "way maker" for artists of color. They share stories of Dr. Hammond's warmth, humor, and fierce conviction, the challenges of shaping a lifetime of material into a cohesive narrative, and the intimate family perspective Rasaan brings as her son. The conversation also touches on the film's observational approach, the significance of Joyce J. Scott's relationship with Leslie, and what they hope audiences take away from the film.For updates and screening information, follow @Leslie_King_Hammond on Instagram, visit ALifeInArt.net, and catch the film at the Maryland Film Festival in Baltimore, April 2026, where Joyce J. Scott will present the opening night screening. The Truth In This Art is supported by William G. Baker, Jr. Memorial Fund, the Maryland State Arts Council's Creativity Grant and Mayor's Individual Artist Award - Creative Baltimore Fund (Baltimore). Host: Rob LeeMusic: Original music by Daniel Alexis Music with additional music from Chipzard and TeTresSeis.Production:Produced by Rob Lee & Daniel AlexisEdited by Daniel AlexisShow Notes courtesy of Rob Lee and TransistorPhotos:Rob Lee photos by Vicente Martin for The Truth In This Art and Contrarian Aquarian Media.Guest photos courtesy of the guest, unless otherwise noted.Support the podcastThe Truth In This Art Podcast Fractured Atlas (Fundraising): https://www.fracturedatlas.orgThe Truth In This Art Podcast Bluesky: https://bsky.app/profile/thetruthinthisart.bsky.socialThe Truth In This Art Podcast Instagram: https://www.instagram.com/truthinthisart/?hl=enThe Truth In This Art Podcast Website: https://www.thetruthinthisart.com/The Truth In This Art Podcast Shop: Merch from Redbubble ★ Support this podcast ★

Join in the conversation!Welcome back to the 100th episode of the Hella Chisme Podcast. Celebrating 100 episodes of the Hella Chisme Podcast, this milestone conversation goes beyond the highlight reel to unpack the real journey behind building something meaningful in the algorithm era. Host Dana sits down with creative powerhouses She's Ryan know for her GAG (Get a Grip) content and project and Mike Brown from The Art of Letting Go. We have a unfiltered, deeply honest conversation about what it truly takes to sustain creativity, build a platform, and redefine success on your own terms. From burnout and imposter syndrome to navigating the pressures of social media and monetizing your craft, this episode dives into the realities that most creators don't talk about.Together, they explore the tension between passion and survival, the myth of the “starving artist,” and the importance of mindset, boundaries, and community in creative work. They also break down how comparison culture, the algorithm, and visibility pressures impact creators and how to push through without losing yourself in the process.This episode is a reminder that success isn't just about numbers or virality, it's about consistency, alignment, and the courage to keep showing up even when things feel uncertain.Whether you're a creative, entrepreneur, or someone trying to build something meaningful, this conversation will challenge how you define success and inspire you to keep going.LINK: https://linktr.ee/hellachismepodcastFollow She's Ryan:IG: https://instagram.com/shesRYANTikTok: https://Tiktok.com/shesRYANYoutube: https://Youtube.com/@RYANVIBESFollow Mike Brown:https://linktr.ee/theartoflettinggoInsta: https://www.instagram.com/theartoflettinggopodcast/The Art of Letting GoTopics to include: podcast growth, creative entrepreneurship, success mindset, algorithm era, content creation strategy, burnout in creatives, imposter syndrome, creative journey, social media pressure, building a brand, podcasting tips, monetizing creativity, creative discipline, authenticity online, mental health for creatives, Black queer creatives, visibility and branding, consistency in content, creative burnout recovery, redefining successSupport the showFollow Hella Chisme for more culture, conversation, and creative storytelling. Subscribe on Spotify, Apple Podcasts, and YouTube, and keep up with us on Instagram, Threads, and TikTok at @hellachismepod. Join the chisme, share the episode, and leave a review or comment to support the show.

In this episode of The Truth In This Art, returning guest Esteban Whiteside is back!Who is Esteban Whiteside: A Durham, North Carolina-based artist, Esteban Whiteside creates bold social commentary through what he calls "concrete oppressionism"—work that confronts American cultural absurdities with childlike aesthetics, parody, and irreverent humor. Working across canvas, wood, and sculpture, his art is both therapy and truth-telling, making heavy subjects digestible through wit and visual directness inspired by artists like Jacob Lawrence.Esteban talks about his creative evolution since our last conversation, including his new clock series exploring history and revolutions, and how he balances tackling heavy subject matter with abstract work that lets him breathe. We dive into why he uses humor to shame oppression, the colors that make him happy (brilliant blue, yellow, and emerald green), and how his art reflects his personality—chill in person, but uncompromising when it comes to speaking truth. He shares stories about drawing daily lunchbox notes for his daughter that sparked the clock series, unconventional painting techniques (like writing text upside down or left-handed), and why Jacob Lawrence's Migration Series opened the door for him to become an artist.He reflects on the importance of making art accessible at every price point and staying true to his voice no matter what may come with that.For updates, follow @estebanwhiteside on Instagram and visit estebanwhiteside.com.Revisit Esteban's first interview on The Truth In This Art here. Image courtesy of Esteban Whiteside The Truth In This Art is supported by William G. Baker, Jr. Memorial Fund, the Maryland State Arts Council's Creativity Grant and Mayor's Individual Artist Award - Creative Baltimore Fund (Baltimore). Host: Rob LeeMusic: Original music by Daniel Alexis Music with additional music from Chipzard and TeTresSeis.Production:Produced by Rob Lee & Daniel AlexisEdited by Daniel AlexisShow Notes courtesy of Rob Lee and TransistorPhotos:Rob Lee photos by Vicente Martin for The Truth In This Art and Contrarian Aquarian Media.Guest photos courtesy of the guest, unless otherwise noted.Support the podcastThe Truth In This Art Podcast Fractured Atlas (Fundraising): https://www.fracturedatlas.orgThe Truth In This Art Podcast Bluesky: https://bsky.app/profile/thetruthinthisart.bsky.socialThe Truth In This Art Podcast Instagram: https://www.instagram.com/truthinthisart/?hl=enThe Truth In This Art Podcast Website: https://www.thetruthinthisart.com/The Truth In This Art Podcast Shop: Merch from Redbubble ★ Support this podcast ★

In this episode of The Truth In This Art, the guest is Veronica Jackson!Who is Veronica Jackson: A Washington, D.C.-bred and Virginia-based visual artist whose foundation is rooted in architecture and museum exhibit design. She critically examines the lives of Black women through innovative visual art, exploring themes of invisibility, hypervisibility, and devaluation—bringing powerful narratives to life using familiar objects, archival texts, and data.In our conversation, Veronica traces her late-in-life arrival to visual art—graduating from grad school in 2016 with plans to teach, then attending a Santa Fe residency where "art just started pouring out of me." She breaks down her seminal piece That's Pop's Money, a data portrait memorializing her grandmother's devalued domestic labor through 813 hand-cranked time cards printed in blue ink on black paper—chronicling 72 years of marriage, nine children, and invisible work. Veronica explains how she pulls from established archives like the Library of Congress, Sojourner Truth's carte de visite statement "I Sell the Shadow to Support the Substance," Jefferson's farm book (which listed enslaved workers alongside cattle), and poets like Lucille Clifton ("every day something has tried to kill me and has failed") to tell stories rooted in truth. She discusses her Blacksist series spotlighting 13 understudied Black women from the 1850s, including Anna Julia Cooper—the only woman quoted in every U.S. passport—and reflects on how visual culture shapes perceptions, why Black land ownership matters, and what it means for Black women to mark, claim, and take up space.Don't miss Veronica Jackson's work—her archive-driven, text-based pieces make the invisible visible and challenge how we see history, labor, and value. The Truth In This Art is supported by William G. Baker, Jr. Memorial Fund, the Maryland State Arts Council's Creativity Grant and Mayor's Individual Artist Award - Creative Baltimore Fund (Baltimore). Host: Rob LeeMusic: Original music by Daniel Alexis Music with additional music from Chipzard and TeTresSeis.Production:Produced by Rob Lee & Daniel AlexisEdited by Daniel AlexisShow Notes courtesy of Rob Lee and TransistorPhotos:Rob Lee photos by Vicente Martin for The Truth In This Art and Contrarian Aquarian Media.Guest photos courtesy of the guest, unless otherwise noted.Support the podcastThe Truth In This Art Podcast Fractured Atlas (Fundraising): https://www.fracturedatlas.orgThe Truth In This Art Podcast Bluesky: https://bsky.app/profile/thetruthinthisart.bsky.socialThe Truth In This Art Podcast Instagram: https://www.instagram.com/truthinthisart/?hl=enThe Truth In This Art Podcast Website: https://www.thetruthinthisart.com/The Truth In This Art Podcast Shop: Merch from Redbubble ★ Support this podcast ★

Big changes are happening! I'm sharing my 2026 content strategy, sponsorship goals, and how I'm reclaiming the joy of creating as a full-time YouTuber.Rent My Studio: https://www.jamesandpark.com/Marketing Retreat Waitlist: https://themarketersedit.com/Coaching Services: https://www.latashajames.com/coachingSocial Media Management Accelerator Course: https://courses.latashajames.com/courses/smmaGamma: https://gamma.appFacebook Content Fund Info: https://about.fb.com/news/2026/03/creator-fast-track-grow-your-audience-earn-money-on-facebook/DJI Osmo Pocket 3 Camera: https://amzn.to/4rTZJi1

In this episode of The Truth In The Art, the returning guest is Lanise Howard!Who is Lanise Howard: A Los Angeles-based multidisciplinary artist, Lanise Howard creates work centered around a reimagining of different histories, especially within the black experience. She pulls from the past and from the future, which she often sees in her dreams. Working across paintings, drawings, sculpture, and soon textiles, Howard is a world-builder whose portraiture depicts Black bodies and paints often untold stories.Lanise talks about the three bodies of work she's currently developing: her main project, a sci-fi world based in the future but with a story that started in the 1970s; a more personal body of work featuring herself traversing different landscapes; and an ancestral series honoring different ancestors from the past. We dive into her world-building practice, how she merges the "future past" or "past future" to create parallel universes and new dimensions, and her approach of asking which medium best conveys each story she wants to tell.She reflects on recent museum shows—particularly at the California African American Museum in partnership with Art and Practice—where she witnessed diverse audiences getting emotional while viewing her work. Lanise shares details about her Miami solo show, where she experimented with cultural elements like feathers and architectural details. She opens up about becoming more unapologetic in her work, navigating the art world as a Black woman who has to demand respect, and why her work is always uplifting—even when melancholic—to give people hope.For updates, follow @lanise_howard_studio on Instagram and Twitter, and visit lanisehowardart.com.This is Lanise's second appearance on The Truth In This Art—it's been a little over two years since her first episode.  The Truth In This Art is supported by William G. Baker, Jr. Memorial Fund, the Maryland State Arts Council's Creativity Grant and Mayor's Individual Artist Award - Creative Baltimore Fund (Baltimore). Host: Rob LeeMusic: Original music by Daniel Alexis Music with additional music from Chipzard and TeTresSeis.Production:Produced by Rob Lee & Daniel AlexisEdited by Daniel AlexisShow Notes courtesy of Rob Lee and TransistorPhotos:Rob Lee photos by Vicente Martin for The Truth In This Art and Contrarian Aquarian Media.Guest photos courtesy of the guest, unless otherwise noted.Support the podcastThe Truth In This Art Podcast Fractured Atlas (Fundraising): https://www.fracturedatlas.orgThe Truth In This Art Podcast Bluesky: https://bsky.app/profile/thetruthinthisart.bsky.socialThe Truth In This Art Podcast Instagram: https://www.instagram.com/truthinthisart/?hl=enThe Truth In This Art Podcast Website: https://www.thetruthinthisart.com/The Truth In This Art Podcast Shop: Merch from Redbubble ★ Support this podcast ★

Send us Fan MailWhat if one event could reconnect you to culture, community, and yourself?In this powerful and deeply personal episode of Self Reflection Podcast, host Lira Ndifon returns to the mic with an announcement that is more than exciting—it's transformational:AfroFEST Bay Area is back.But this is not just about an event.This is about vision.This is about purpose.This is about what happens when you dare to build something that brings people together.AfroFEST is a vibrant cultural celebration—a space where music, art, food, and community collide to create something unforgettable. But behind the performances, the energy, and the beauty of the experience lies a deeper story: the courage to start, the faith to continue, and the gratitude for every person who helped make it possible.In this episode, Lira reflects on the journey of AfroFEST—what it took to bring it to life, the people who poured into it, and the emotional impact of watching a vision turn into a living, breathing experience.From artists and DJs to family members and collaborators, this episode honors the village behind the vision.More importantly, it invites you into that vision.Because AfroFEST isn't just something you attend—it's something you feel.It's a reminder of identity.A celebration of culture.A return to connection.And at its core, it aligns with the mission of Self Reflection Podcast:to nurture mental well-being, encourage intentional living, and create spaces where people feel seen, heard, and valued.In a fast-moving world where we rarely pause, this episode brings you back to yourself.It asks you to reflect:What am I building?Who am I building it for?Am I creating something that brings people together?AfroFEST Bay Area 2026 is coming—and this time, it's more intentional, more expansive, and more powerful than ever.Whether you're an artist, a creative, a small business owner, or someone seeking community—this is your invitation.To show up.To connect.To celebrate.To be part of something bigger.And as always, Lira leaves you with a gentle reminder:Pause. Reflect. Check in with yourself.Because everything you're building starts from within.AfroFEST is not just an event.It's a movement.And you are part of it.Support the showCall to Action: Engage with the Self-Reflection Podcast community! Like, follow, and subscribe on Spotify, Apple Podcasts, YouTube (Self-Reflection Podcast by Lira Ndifon), and all major podcast platforms. Share your insights and feedback—we value your contributions! Suggest topics you'd like us to explore. Your support amplifies our reach, sharing these vital messages of self-love and empowerment. Until our next conversation, prioritize self-care and embrace your journey.Grab your copy of "Awaken Your True Self" on Amazon. Until next time, be kind to yourself and keep reflecting.

In this episode of The Truth In The Art, the guest is Ruut!Who is Ruut: A Finnish-born, Maryland-based singer, songwriter, composer, and writer, Ruut is a multidisciplinary artist and creative leader known for her evocative music and dedication to uplifting women artists. She's the founder of the Making Her Mark Foundation, a young nonprofit born from personal loss that connects, mentors, and amplifies women artists in Baltimore and beyond.Ruut talks about discovering music as a child at the piano, moving to the United States as a teen, and the moment creativity became her calling. We dive into how Making Her Mark grew out of honoring a mentor's legacy, the early challenges and surprising community response to a “baby” organization, and stories of mentorship—like helping a hesitant student find her voice and confidence through creative projects. Ruut also shares practical details about her music journey: a new record partnership with ECR Meridian, forthcoming shows, and where she'll be sharing new work this year.She reflects on creative routines (5:30 a.m. writing sessions with her dog as an alarm), the emotional work of returning to past recordings like the Steinway sessions, and what the phrase “art saves us” means to her now—how art can honor memory, foster resilience, and create spaces of belonging.For updates, follow @ruutartist, visit https://www.ruutartist.com, and if you're a woman artist seeking connection and mentorship, check out makinghermark.org.Image courtesy of Steven Parke The Truth In This Art is supported by William G. Baker, Jr. Memorial Fund, the Maryland State Arts Council's Creativity Grant and Mayor's Individual Artist Award - Creative Baltimore Fund (Baltimore). Host: Rob LeeMusic: Original music by Daniel Alexis Music with additional music from Chipzard and TeTresSeis.Production:Produced by Rob Lee & Daniel AlexisEdited by Daniel AlexisShow Notes courtesy of Rob Lee and TransistorPhotos:Rob Lee photos by Vicente Martin for The Truth In This Art and Contrarian Aquarian Media.Guest photos courtesy of the guest, unless otherwise noted.Support the podcastThe Truth In This Art Podcast Fractured Atlas (Fundraising): https://www.fracturedatlas.orgThe Truth In This Art Podcast Bluesky: https://bsky.app/profile/thetruthinthisart.bsky.socialThe Truth In This Art Podcast Instagram: https://www.instagram.com/truthinthisart/?hl=enThe Truth In This Art Podcast Website: https://www.thetruthinthisart.com/The Truth In This Art Podcast Shop: Merch from Redbubble ★ Support this podcast ★

Send us Fan MailWhat does it actually look like to run a thriving creative business? One with branding projects, murals, fonts, and a coffee company in the mix?! In this episode, we're joined by the endlessly curious and wildly productive Adam Vicarel, who is proof that creative experimentation paired with smart systems can take you a long way.Whether you're figuring out how to balance creative freedom with financial stability, trying to find the headspace for things that aren't immediately due, or just wondering if LinkedIn is worth your time, this one's for you.All that and more when you listen to this episode:How Adam structures his day using the Pomodoro Technique (and why creatives need structure to be creative)The “be everywhere, always” approach to marketing and why it's really just being authentically top of mindHow to build passive income streams without overthinking them firstFont sales, SEO, and why Adam's “little turd fonts” now pay his mortgage Why financial stability is the foundation for creative experimentationThe $100k conversation: what it actually means and why it looks different for everyoneBatching content and staying consistent on social mediaRaising rates with confidence: what it signals to clients and why it matters Project management and getting ideas out of your head so they stop taking up spaceConnect with Adam VicarelWebsite: https://www.adamvicarel.com/Instagram: https://www.instagram.com/vicarelstudios/Coffee Company: https://www.instagram.com/allclevelandcoffee/ Mentioned in this episode:Follow Your Art BookPomodoro TechniqueBrethren Design Co.AsanaConnect with Katie & Ilana from GoodtypeGoodtype WebsiteGoodtype on InstagramGoodtype on YoutubeWe wrote a book! Grab a copy and sign up to access the audiobook when we release it!Love The Typecast and free stuff? Leave a review, and send a screenshot of it to us on Slack. Each month we pick a random reviewer to win a Goodtype Goodie! Goodies include merch, courses and Kernference tickets!Leave us a review on Apple PodcastsSubscribe to the showTag us on Instagram @GoodtypeFollow us on Tiktok @lovegoodtypeLearn from Katie and IlanaGrab your tea, coffee, or drink of choice, kick back, and let's get down to business!

In this episode of The Truth In The Art, the guest is Barbara Perez Marquez!Who is Barbara Perez Marquez: Baltimore-based, Dominican Republic–born writer and creator working in comics and prose, focused on middle grade and young adult readers.Barbara Perez Marquez talks about her path into writing and why she centers younger readers and her own lived experience. She shares insights from The Cardboard Kingdom and previews upcoming projects: The Library of Memories, The Curious Society: A Game of Code, To All the Boys I've Loved Before, and To Dance the Moon and Star. We also dig into collaboration, mentorship, and community—how creative peers shape the work and sustain the process.Her aim throughout: representation, strong storytelling, and a sense of belonging for young readers.For updates, visit www.mustachebabs.comPhoto by Jason Gitlin. The Truth In This Art is supported by William G. Baker, Jr. Memorial Fund, the Maryland State Arts Council's Creativity Grant and Mayor's Individual Artist Award - Creative Baltimore Fund (Baltimore). Host: Rob LeeMusic: Original music by Daniel Alexis Music with additional music from Chipzard and TeTresSeis.Production:Produced by Rob Lee & Daniel AlexisEdited by Daniel AlexisShow Notes courtesy of Rob Lee and TransistorPhotos:Rob Lee photos by Vicente Martin for The Truth In This Art and Contrarian Aquarian Media.Guest photos courtesy of the guest, unless otherwise noted.Support the podcastThe Truth In This Art Podcast Fractured Atlas (Fundraising): https://www.fracturedatlas.orgThe Truth In This Art Podcast Bluesky: https://bsky.app/profile/thetruthinthisart.bsky.socialThe Truth In This Art Podcast Instagram: https://www.instagram.com/truthinthisart/?hl=enThe Truth In This Art Podcast Website: https://www.thetruthinthisart.com/The Truth In This Art Podcast Shop: Merch from Redbubble ★ Support this podcast ★

Back by Bodacious Demand. Let's Watch It Again is back!Rob Lee and Isaiah Winters revisit the 1991 childhood classic Teenage Mutant Ninja Turtles II: The Secret of the Ooze for its 35th anniversary.Teenage Mutant Ninja Turtles II: The Secret of the Ooze (1991) drops the turtles back into a messy, fun, 90s adventure: reconnecting with April and Splinter, fighting Tokka and Rahzar, and chasing the mysterious ooze that created them.  It's loud, goofy, full of practical effects, puppetry, and pure kid‑movie energy.In this episode, Rob and Isaiah mix straight-up nostalgia with clear-eyed takes. No fluff — just the moments we loved, the parts that aged weirdly, and why this movie still matters to us.Topics include:Pizza PropagandaWhy the sequel went full kid-friendly and how that shapes the filmTokka, Rahzar, and Keno: what works and what doesn'tVanilla Ice's “Go Ninja Go Ninja Go” set piece and the Super Shredder finalePractical effects, puppetry, and 90s slime — what still landsIsaiah's NYC Rat StoryVHS memories, the 35th anniversary screening vibe (Georgetown), and where it fit in 1991 pop cultureRob and Isaiah's favorite scenes and quick takesWanna listen to Rob make another funny? Check out the review of the original 1990 Teenage Mutant Ninja Turtles review — give it a listen and relive the nostalgia. Cowabunga. The Truth In This Art is supported by William G. Baker, Jr. Memorial Fund, the Maryland State Arts Council's Creativity Grant and Mayor's Individual Artist Award - Creative Baltimore Fund (Baltimore). Host: Rob LeeMusic: Original music by Daniel Alexis Music with additional music from Chipzard and TeTresSeis.Production:Produced by Rob Lee & Daniel AlexisEdited by Daniel AlexisShow Notes courtesy of Rob Lee and TransistorPhotos:Rob Lee photos by Vicente Martin for The Truth In This Art and Contrarian Aquarian Media.Guest photos courtesy of the guest, unless otherwise noted.Support the podcastThe Truth In This Art Podcast Fractured Atlas (Fundraising): https://www.fracturedatlas.orgThe Truth In This Art Podcast Bluesky: https://bsky.app/profile/thetruthinthisart.bsky.socialThe Truth In This Art Podcast Instagram: https://www.instagram.com/truthinthisart/?hl=enThe Truth In This Art Podcast Website: https://www.thetruthinthisart.com/The Truth In This Art Podcast Shop: Merch from Redbubble ★ Support this podcast ★

Liz Cohen joins the podcast again nearly four years later to talk about the evolution of her ceramics business. She shares her experience managing a shared studio space in Denver, her decision to move away from wholesale and dinnerware, and how her making process has shifted toward higher-value work. Liz also discusses her ongoing experiments with slip casting and developing a speckled underglaze technique.-----Find more about Liz's business below-----Instagram - @lizcohenceramicsWebsite - https://lizcohenceramics.com/Facebook - https://www.facebook.com/LizCohenCeramics/Last Wheel Talk appearance - #140 Building a home studio with Liz Cohen

Jesús Huerta de Soto traces the Austrian school's intellectual roots from the Spanish scholastics to Rothbard, making the case that anarcho-capitalism is the natural endpoint of the classical liberal tradition.The Ludwig von Mises Memorial Lecture, sponsored by Yousif Almoayyed.The Austrian Economics Research Conference is the international, interdisciplinary meeting of the Austrian school, bringing together leading scholars doing research in this vibrant and influential intellectual tradition.Full Text version of the Lecture (Submitted by Prof. Huerta de Soto):Thank you very much to the Mises Institute and Joe Salerno for his kind introduction as well as for inviting me to deliver this “Ludwig von Mises Memorial Lecture” to celebrate the one hundredth anniversary of Murray N. Rothbard's birthday. It is the second time I visit the Mises Institute to deliver this most important lecture: The first one was almost thirty years ago, back in April 1997, when I delivered a lecture on “The Scholastic Roots of the Austrian School”. In this second opportunity I am very happy to have been able to accept Joe's invitation and to come with a very well represented retinue of ten of my colleagues and doctoral students. All of them are teaching as professors or making their research at our more than twenty-year-old Doctoral and Master Programs in Austrian Economics at King Juan Carlos University back in Madrid, and which is the only one officially approved and with full validity inside the whole European Union. You have already had the opportunity to hear from each one of them a detailed description of the so-called “Madrid Austrian Research Hub” and of all the activities we are developing every year, including the 54 Doctoral Theses on Austrian Economics that have been read up to now in our program. And here you have also copies of the English version of our main books published by Routledge, Edward Elgar, and by the Macmillan Austrian Series edited by my Madrid Colleagues, the German professor Philipp Bagus and the Canadian professor Dave Howden. And you will have the unique opportunity to buy these books that, as you know, have a hefty price of almost 100 pounds each one, at the almost “stolen property” and symbolic price of 5 dollars per copy, thanks to the most generous help of the Spanish Jesús Huerta de Soto Foundation that is helping to finance our participation in this important event.And now what I will do in the next forty minutes is to try to summarize not only my main contributions, but also “The Libertarian Vision of the Scientific and Moral Truth” as we see it from our Austrian School Hub in Madrid. And I will do it by focusing on a series of fundamental points.Precisely, the youngest of all sciences, Economics is the one that has provided Humanity with the most important scientific contributionThe first one is that Economics, being the last science to arrive, or as Mises said, "the youngest of all sciences," has nevertheless achieved the milestone of providing Humanity with the most important scientific contribution. For the first time, and thanks to Economic Science, human beings have discovered and understood that voluntary social cooperation, free from all institutional and systematic external coercion, generates a spontaneous order that cannot be designed nor organized by anyone, and that peacefully and without limits drives the prosperity and expansion of Humankind.This transcendental message of Economic Science, on the one hand, resolves the impossible antithesis of attempting to apply, within the realm of interactions carried out by human beings endowed with free will, the manipulative approach of external entities that human beings have no choice but to use, supported by technology and the natural sciences, in order to dominate the subject of the material world. And on the other hand, this is a radically revolutionary message: for the first time, it has been scientifically demonstrated that states, in any of their forms, are neither necessary nor viable; that Society, understood as a process of voluntary human interactions, does not need anyone to govern it, because it regulates and organizes itself spontaneously; and that the attempt to coordinate Society on the basis of social engineering and state coercive commands is impossible, doomed to failure, and gives rise to all kinds of distortions, social conflicts and violence, that continually hinder and block human progress.Economic science is generalized into a complete Theory of Liberty that makes it possible to reinterpret History and promote the expansion of civilizationThe second point is that Economics has been generalized into a whole Theory of Liberty, understood as the most essential attribute and requirement of human nature. Liberty means that all human actions are carried out voluntarily, based on the principle of non-aggression, and free of external coercion or violence imposed and organized from above by the always minority group of human beings who, under whatever title, exercise any kind of political power.Moreover, Economics dismantles and turns upside down the erroneous and biased account of Thomas Hobbes and his followers. Neither was the "state of nature" a terrifying situation, nor did a supposed "social contract" ever exist or was it necessary to create and maintain a State that would impose order and guarantee peace. What happened was precisely the opposite: natural evolution consisted, above all, in the spontaneous discovery of the great advantages provided by voluntary exchanges and peaceful trade. Systematic and generalized violence, war, and terror arose only with the appearance of States, as coercive institutions composed of the most antisocial and violent human beings, who wanted (and still want) to live at the expense of plundering those citizens who earn their living by working and trading peacefully with each other (Oppenheimer, 1926).Thus, Economics, demonstrates that what Étienne de La Boétie named "voluntary servitude", is an anti-human aberration to which human beings have been subjected for centuries. And that it is not necessary to continue with the resigned habit of obeying the State; nor do governments enjoy an aura of prestige (but are literally "stripped" of any attribute of intellectual or moral superiority); nor is the caste—or “praetorian guard”—of intellectuals, “experts”, and acolytes that surround states and rulers to be regarded as untouchable; nor should we allow ourselves to be seduced and deceived by subsidies or perks, whether supposed or real, with which they seek to purchase the will and secure the loyalty of exploited human beings, so that they will consent, voluntarily and permanently, to their exploitation and servitude (De la Boétie, 1975).Economics is the Science developed by the Austrian School of Economics, which should in fact be known as the Spanish School, as it has its origins in the thinking of our scholastics of the Spanish Golden AgeThe third point is that Economic Science has reached its highest level of development thanks to the Austrian School of Economics. As you know, our school is based on the realism of its analytical assumptions, in the dynamic approach based on the entrepreneurial, creative, and coordinating capacity of every human being, and in the study of the spontaneous and self-regulated order of the social process of voluntary human interactions (Huerta de Soto, 2008). The institutional and multidisciplinary approach of the Austrian School is also very relevant. As a result of the spontaneous social process important institutions emerge which, in turn, make it possible and drive it forward: Law and property rights rooted in human nature and discovered and developed spontaneously outside the state; the family, a basic and essential institution, on which the expansion of Humanity is made possible and consolidated; moral principles, which act as a true "automatic pilot" for liberty and which human beings internalize and transmit from generation to generation, thanks to the family and other community or religious institutions; economic institutions, and in particular, money, which also evolves spontaneously outside the State, and which can and should be considered the social institution par excellence, since by overcoming the problems of barter, it enables the exponential multiplication of voluntary exchanges and human interactions, within which the rest of the social, linguistic, moral, legal, economic, and religious institutions are discovered, shaped, and perfected.Our fourth point is that the first theorists of the spontaneous order emerged in the field of law, led by the great jurists of classical Rome. They were the first ones to understand the organic and evolutionary nature of the social process, and so they became, without being aware of it, the first economists. Their tradition was kept alive throughout the Middle Ages thanks to the Catholic Church and, through thinkers such as Saint Thomas Aquinas, Saint Antoninus of Florence, and Saint Bernardino of Siena, eventually came to influence the Spanish scholastics of the sixteenth and seventeenth centuries gathered around the University of Salamanca. As Rothbard demonstrated (Rothbard, 1976) these thinkers of the Spanish Golden Age should be considered the most immediate precedent of the Austrian School of Economics, which, precisely for this reason, should be called the Spanish School of Economics. And in fact, these Spanish scholastics were already able to articulate the following ten essential principles which constitute the theoretical foundation of the Austrian School:Firstly, the subjective theory of value developed by the Bishop of Segovia, Diego de Covarrubias, who as early as 1555 clearly explained that, although the objective nature of wheat is the same in Spain as in America, its price was higher in America because there human beings subjectively valued it much more highly; from this follows the correct relationship between prices and costs set out by Luis Sarabia de la Calle, in the sense that it is market prices that determine costs and not the other way around, as equilibrium theorists mistakenly believe; the Scholastics also realized that equilibrium models and prices lack realism and theoretical meaning because they presuppose a degree of knowledge “so complex that only God, and in no case human beings, could ever acquire it” (in latin “pretium iustum mathematicum licet soli Deo notum”), as already explained by the Jesuit cardinals Juan de Salas in 1617 and Juan de Lugo in 1643, more than three hundred years earlier than Hayek could conclude that “a science which assumes knowledge that can never be acquired is not a Science”; also the dynamic concept of competition is fundamental, understood as a process of rivalry among sellers based on the dynamic conception of market processes developed by Jerónimo Castillo de Bobadilla and Luis de Molina in 1589 and 1597, and that has nothing to do with the static model of "perfect competition" of equilibrium theorists; and also the important contributions of the Spanish Scholastics related with capital theory, business cycles, and the effects of fiduciary media generated by banks; so, particular emphasis should be placed on the rediscovery of the principle of time preference by Martín de Azpilcueta, following what Lessines had already stated in 1285; as well as on the fact that bankers commit mortal sin when they operate with fractional reserves, creating bank deposits as a form of virtual money (or chirographis pecuniarium, as Luis de Molina said in latin) that only exists in their accounting books and distorts the structure of relative prices, creating bubbles and deep economic crises that ultimately "bring everything crashing down," as Saravia de la Calle and Tomás de Mercado so vividly explained in the 16th Century; and in short, the Scholastic's idea that it is impossible to organize society through coercive commands due to lack of the information that would be required to give them coordinating content; as well as the discovery that inflation is a hidden and very harmful tax that arises from an act of tyranny, since it is neither known nor accepted by citizens, which would even justify the assassination of the King according to the theory of tyrannicide, a contribution originally made by the Castilian Comuneros eventually defeated by the tyrant King Charles V in 1521, and developed by Father Juan de Mariana almost a century later [in 1610].This entire line of proto-Austrian scholastic thought also spread throughout the Americas, especially in the newly founded universities of San Marcos in Lima and Mexico City in 1551 where brilliant disciples of these Scholastics, who had studied at the University of Salamanca itself, came to occupy prominent academic positions. Thus, for example, we should mention the cases of Bartolomé Frías de Albornoz in Mexico, and above all the great Juan de Matienzo, who became judge and president of the Royal Audiencia of Charcas and Lima from 1560 onwards (Popescu, 1997).Finally, the doctrine of our scholastics did spread even to North America two centuries later through the books of Juan de Mariana, who greatly influenced Thomas Jefferson and the founding fathers of the United States.However, the southern part of the continent ultimately proved unable to neutralize the wave of growing statism and centralization that first came with the arrivals of the Habsburgs in Spain, and which was intensified even further after the arrival of the Bourbons with Philip V at the beginning of the eighteenth century (Martínez Marina, 1820). How different and much more prosperous and libertarian might the historical evolution of Spain and Latin America have been, had the statist centralism of the Habsburgs and the Bourbons not prevailed, and had the far more libertarian, local, and decentralized traditional representative institutions of the kingdoms of Castile instead remained predominant—institutions that were dismantled, together with Europe's first libertarian revolution, beginning with the defeat of the Castilian Comuneros at Villalar on April 23, 1521 (Leonard Liggio, 2025).The most important and far-reaching contributions of economic scienceLet us now turn, in greater detail, to the most important contributions of Economics, as developed by the Austrian School.First, human cooperation takes place spontaneously, without the need for anyone to organize it coercively from outside. This is so because human beings are endowed with an entrepreneurial and creative capacity that continually drives them to discover the multiple opportunities for profit that arise in their environment. Each of these opportunities embodies a previous discoordination in human behavior that remains latent until it is discovered and overcome by the corresponding entrepreneurial act. This entrepreneurial act always arises from a creative tension and interpretation of events of the outside world that is essentially subjective and, therefore, cannot be reproduced by any artificial intelligence algorithm; in other words, the same objective events can be interpreted in multiple ways, even contradictory ones, without it being possible to postulate which is correct until the corresponding entrepreneurial process is completed in the form of a subjective profit. In any case, every entrepreneurial act involves, firstly, the creation of information that did not exist before (regarding the profit opportunity that arose from the previous discoordination that had gone unnoticed); secondly, the transmission of that knowledge (directly to the parties involved in the entrepreneurial act and indirectly through a series of institutions and signals such as market prices); and third and finally, the coordination of the previous maladjustments takes place when the parties involved learn motu proprio, that is, voluntarily and for their own benefit, to discipline their behavior according to the needs of others (for example, when they discover that they achieve their ends more effectively by specializing and trading peacefully the mutual results of their efforts). The discovery of the essence of this pure entrepreneurial act, with its elements of creation and transmission of information and the spontaneous coordination of the previous maladjustments continually generated by human coexistence, constitutes the most important contribution that Economic Science has provided to Humanity, and explains why the spontaneous process of voluntary social cooperation that drives the multiplication of human beings and the expansion of civilization does not require any statist system of institutional coercion.Another essential contribution of Economics is the concept of Dynamic Efficiency, understood as the process of unlimited expansion of human creativity and entrepreneurial coordination that arises only within a specific institutional framework of moral and legal norms. This framework is the one grounded on the ethical principle according to which every human being has a natural right to appropriate the results of his entrepreneurial creativity; that is, a property right over what one has created and which did not previously exist, which is the most obvious and important human right. For this reason, (dynamic) Efficiency and Morality and Justice (properly understood) cannot be separated one from the other; or, as we might say, they are two sides of the same coin in the sense that only Justice and Morality induce and generate efficiency; and at the same time, what is dynamically efficient in economic terms cannot be neither unjust nor immoral. All of which, on the other hand, demonstrates the integrated order that exists in the social universe, and highlights the three levels of research (theoretical, ethical, and historical) that complement and reinforce with each other and are essential in our search for truth (Huerta de Soto, 2000).Finally, another key contribution of Economic Science is to have demonstrated the impossibility of socialism, or better, the impossibility of statism, in the sense that it is impossible for the State to achieve and coordinate what it promises for the following four reasons:First, because of the enormous volume of information required for such coordination, which the State cannot acquire because it is dispersed in the minds of the eight billion human beings who participate and interact in the social process every day. Second, given the tacit and inarticulate character of this information (and therefore its inability to be transmitted in an objective manner). Third, because the information that is generated is not "given," nor is it static, but instead changes continuously as a result of human creativity, making it impossible to transmit today information that will only be created tomorrow, and which is precisely the information that the organs of State intervention and the so-called “experts” would need today in order to direct society to achieve their objectives tomorrow. And fourth, and above all, because the coercive nature of State commands blocks the entrepreneurial activity of creating the very information which the State organization itself would need in order to give its commands a coordinating content. In sum, the State is always and everywhere violence and coercion; coercion blocks the entrepreneurial act of creation, discovery, and adjustment of discoordinated human behavior, while at the same time preventing the creation of the information and the emergence of free market prices that make economic calculation and social coordination possible. For this reason, statism is not only unnecessary but is also scientifically impossible.The impact of these essential contributions of Economics on the course of social evolution has so far been very limitedAll of these scientific contributions have so far achieved only a very partial, imperfect, and limited impact on the inertia of a social and political reality that has for centuries been characterized by the coercive power of States and rulers, and by the more or less resigned servitude of the citizens. And despite the very limited nature of this impact to date, which at best has materialized in a series of naïve and "liberal" revolutions aimed, with as much arrogance as lack of success, toward the impossible objective of trying to separate and limit the powers of states and rulers through political constitutions and "liberal democracies" (Rothbard, 2009); Humanity has been propelled as never before in those places and historical moments where it has managed, despite everything, to at least partially free itself from the State and open up some of the new channels of liberty shown by the teachings of Economics. Beginning with the Industrial Revolution, which was but the first chapter of the never-completed "Revolution of Liberty" inspired by Economics. And although what has been achieved in terms of prosperity and standard of living by the now eight billion human beings seems relatively significant—and indeed it is—we cannot even conceive of the standard of living and population size that could be achieved if Humanity were able to take full advantage of and fully implement the teachings of Economic Science.We can be few and poor in a context of servitude and submission to the State, or many and wealthy in a context of liberty (Hayek, 1988, p. 133). The globe is practically empty of human beings (the Earth's current population would fit into an area equivalent to that of the state of Alaska, with a population density equal to that of Brussels). And we cannot even imagine the prosperity that could be achieved in a free market daily driven by eighty billion, or even eight hundred billion, human beings. Economics explains and demonstrates that the increasing prosperity of an ever-growing population of human beings never results from deliberate and coercive State plans, nor from the egalitarian income redistribution, nor from increases in public spending, nor from subsidies, debt, or inflation, but only arises from the free market of the capitalist system. This consists of the process of voluntary exchanges among all human beings who, endowed with an innate entrepreneurial and creative capacity, are able to detect and assess, through the system of free prices, the relative urgency and necessity of each good and service, overcoming the relative scarcity of each and satisfying, every day and in the best humanly possible way, the desires and needs of billions of consumers. Entrepreneurs who succeed in this never-ending process of profit-seeking accumulate significant resources, which, in turn, are saved and invested in capital goods and new technologies that make human beings increasingly productive, boosting their wages and standards of living; a virtuous process of continuously expanding prosperity and population growth that, if not coerced or hindered by the State, has no limits.Therefore, it is crucially important for the future of Humanity that it be able to take full and maximum advantage of the lessons and essential message in pursuit of human liberty that Economics provides. But this will only be possible if we are able to unmask and carefully analyze the powerful forces of the pseudoscientific and counterrevolutionary reaction that has been mobilized to prevent the advance of the theory of liberty derived from Economic Science. Despite their diverse origins, they all converge on the same objective: to attempt to justify and preserve State coercion at all costs under the appearance of scientific legitimacy. They are driven by the "fatal conceit" (Hayek, 1988) of many visionaries, thinkers, and supposed "experts" who believe themselves to be clever enough to correct the spontaneous market order, of course, using the violence and coercive power of the State. Together with a privileged caste of rulers, bureaucrats and acolytes, they continually manipulate a Humanity that is sadly accustomed to serving the State. For all of them, it is vital that statism be maintained and that the message of liberty provided by Economics never prevail.Next, we will list the main reactionary pseudoscientific currents that have infiltrated Economic Science like a lethal virus and constitute, in Hayek's terminology, "the counter-revolution of science" (Hayek, 1955).Pseudoscientific reactionary currents opposed to Economic Science. The role played as “useful innocents” by many libertarian economists of the counterrevolutionary mainstreamFirst, positivism and scientism as pseudoscience. By "scientism" we must understand the improper application of the methods of the natural sciences to the field of Economic Science. Thus, while the natural sciences study their object of research as something external, measurable, and quantifiable, Economics studies the implications of the voluntary actions of human beings. And given the essentially creative nature of human beings, the supposed empirical "evidence" has, at best, only a superficial, partial, and always historically contingent value. In Bastiat's words, of "what is seen" —or rather, what is believed to have been seen— but not "what is not seen" (Bastiat, 1995); and at worst, it always entails the assumption, that human beings are an object of research that can be manipulated as the matter of the external world studied by the natural sciences. This inevitably introduces the idea that to improve the world, the State and its rulers must use their coercive power to manipulate and change the things they believe they see in their historically contingent "empirical photos." But these "empirical photos" cannot capture the underlying dynamic essence of spontaneous social processes, let alone what is already happening spontaneously to solve and coordinate every problem. Therefore, it is not surprising that from the very first steps of Economic Science promoted by the Austrian School, its most violent opponents were the "socialists of the chair" gathered around the German Historical School, reinforced in France by the empiricists of the school of Saint-Simon, the insane Comte, and Durkheim, who sought to create a new and alternative pseudoscience of society. And their unhealthy positivist and ultra-empirical influence has persisted to the present day, first through American Institutionalism and later through the massive compilation of empirical data, for example, in the work of Wesley C. Mitchell or Henry Schultz, the latter, as shown by Professor Salerno, having gone on to exert a decisive influence on his assistant Milton Friedman and, through him, even on the Chicago School itself (Salerno, 2023).Secondly, the pseudoscience of neoclassical economics is characterized by its claim that only its own approach constitutes true “science,” that is, the approach based on the principles of equilibrium, maximization, and constancy. Moreover, in addition to the lack of realism of its assumptions, it adds the reductionism of a mathematical language that has developed in response to the needs and demands of the natural sciences, but which is alien to Economic Science because it does not allow for the subjective concept of time or entrepreneurial creativity. Neoclassical economists develop their pseudoscience based not on real human beings of flesh and blood, but on "ideal types" that are like "robotic penguins" who, even in their most sophisticated dynamic stochastic general equilibrium models are limited to moving and reacting to events and State coercion as if they were characters of a sort of economic video game ("videogame economics"). Yet neoclassical pseudoscience, despite its apparent and ever-increasing sophistication, is not capable of accounting for the immense complexity of the real world and rebels against the idea of spontaneous market order in two ways that are equally harmful to human liberty: on the one hand, by promoting the coercive "social engineering" of central banks, States, and governments to use "fine tuning" to force reality toward to the mathematical optimum of their models; and, on the other hand, by labeling as "market failures" everything they believe they observe in reality that does not coincide, in their empirical studies, with their ghostly models of “perfect” equilibrium and adjustment (Milei, 2023); failures that, according to them, refute the "benefits" of the spontaneous order of the market and human liberty, and justify their elimination as soon as possible by a coercive State authority. Note also how neoclassical pseudoscience needs, and feeds upon, the empirical work of the previous pseudoscience, positivism, in order to justify its conclusions against human liberty and in favor of State coercion, so that positivists and neoclassicists join hands and end up reinforcing each other in their reactionary agenda.Third, Keynesianism and macroeconomics as pseudoscience. The very “macro” approach already entails, inevitably, an obvious bias in favor of justifying State intervention, aggression, and coercion against the spontaneous order of the market and human liberty. As F. A. Hayek pointed out in his Nobel Prize acceptance speech in 1974 (Hayek, 1978), macroeconomists ignore everything they cannot measure, specifically truly relevant economic processes and theories. At the same time, they believe that certain aggregate concepts—which lack genuine economic meaning—possess a “real” existence, that permits to collect empirical information or evidence that can be manipulated and statistically treated. Once again, macroeconomic pseudoscience goes hand in hand with positivist pseudoscience, and the two reinforce with each other in their counterrevolutionary reaction. Furthermore, Keynesianism is particularly harmful: not only does it flatly deny the coordinating capacity of creative entrepreneurship and the spontaneous market order, but it also builds as an alternative explanation a whole model—of course—of equilibrium with permanent unemployment, to justify the coercive intervention of the State in the lives of human beings in the form of all kinds of fiscal and monetary manipulations. Moreover, the macroeconomic and Keynesian pseudoscience feeds upon, and is reinforced by, the pseudoscientific approach of the Neoclassical School, to the point that, the so-called "neoclassical Keynesian synthesis" became, throughout the twentieth century, the main reactionary movement inside Economics. Keynesians and macroeconomists thus become the champions of that intoxication with statism, manipulation, and political power which constitutes the framework, orchestrated by governments and central banks, to which we have, regrettably, become accustomed and in which we are forced to live. This context repeatedly destabilizes the spontaneous market order, generates serious financial and economic crises and social conflicts, and continually hampers the prosperity and advance of civilization.We have left the quasi-religious mysticism of Marxist pseudoscience for last, because Marxism was scientifically dead even before it was born: in fact, it emerged with—and was theoretically demolished by—the subjectivist revolution led by the Austrian School of Economics. From the beginning, the Austrian School's development of time preference and capital theory revealed the contradictions and grave scientific errors of Marxism, while at the same time exposing its pronounced character as an intellectual fraud (Böhm-Bawerk, 1949). This intellectual fraud was historically illustrated by the collapse of the Soviet Union, and of virtually all other communist countries, after many decades of unspeakable human suffering for a large part of the world's population, all of which was perfectly consistent with the theory on the impossibility of statism developed by the Austrian School beginning with the von Mises of 1920 (Mises, 1936), and which was the final nail that forever sealed the coffin of the corpse of Marxist pseudoscience (Huerta de Soto, 2010).Finally, in this context, we must mention the destructive role played by a number of distinguished economists who, although they defend liberty and the market economy, could be described as a kind of "useful innocents" in Mises' terminology (Mises, 1947). This is so because, even though they officially oppose rampant statism and defend liberty, by accepting—even if only partially—some of the postulates of the reactionary pseudoscientific currents we have described, they ultimately end up, often without intending to and much to their regret, providing additional impetus to the statist reaction within our discipline; for example, when they insist on advising States with proposals aimed at making them more efficient and at helping them do somewhat better things that they should not be doing at all. By way of illustration, we should include in this category of “useful innocents”, for example, thinkers as the Karl Popper of The Open Society and Its Enemies (Popper, 1966, p. 366), who came to admire the “scientific capacity” and even the “humanism” of Karl Marx, and who proposed a statist strategy of “piecemeal social engineering”; or George Stigler, when he claimed that only empirical evidence could determine which economic system, socialism or capitalism, might function (Stigler, 1975, pp. 1-13); and, more generally, the members of the Chicago School, led by Gary Becker and Milton Friedman. Becker when defending that only economics developed within the strict limits of equilibrium, constancy, and maximization, typical of the neoclassical pseudoscience, constitutes true "economic science." And even more serious could be considered the case of Milton Friedman, whose very sincere love of liberty and intense and popular media support for free markets stand in sharp contrast to his pseudoscientific approach based on the aggregate method of economics of Keynesian origin, on positivist empiricism, and on the full acceptance of the unrealism of assumptions. Only in this way it can be explained Friedman's litany of scientific errors which, much to his regret, have invariably ended up reinforcing statist interventionism, to the point that Hayek himself was forced to conclude that after Keynes's The General Theory, the book that has done the greatest harm to Economic Science has been Friedman's Essays in Positive Economics (Hayek, 1994, pp. 145).The failure of democracy and classical liberalism: the triumph of statismAs we see, many classical liberals and advocates of liberal democracy have also acted as "useful innocents." The fatal error of classical liberals lies in the failure to realize that their program is theoretically impossible, because it incorporates within itself the seeds of its own destruction, precisely to the extent that it considers necessary and accepts the existence of a State (even if it is "minimal") understood as the monopolistic agency of institutional coercion. Therefore, the great error of classical liberals is very basic: they believe in a program of political action and economic doctrine that aims to limit the power of the State, while at the same time accepting it and even considering state's existence necessary. However Economic Science has already shown that the State is unnecessary, that statism (even in its minimal form) is theoretically impossible, and that, given human nature, once the State exists, it is impossible to limit its power. On the other hand, liberal democracy is a concept as naïve as it is impossible. Mises already warned us that democracy could only function if all its participants accepted the classical liberal principles, which is impossible because democracy itself encourages and amplifies vote-buying and the partisan use of power. So, the inevitable conclusion is that "liberal democracy" is a contradiction in terms as absurd as speaking (following Anthony de Jasay) of a “square circle,” of “hot snow,” or of a “virgin prostitute” (A. de Jasay, 1990). And even Hayek considered democracy unworkable if it is understood as the exercise of absolute power by majorities (Kratos in classical Greek). It should therefore come as no surprise that democracy once and again tends to be a perverse system based on lying and buying votes with money stolen through taxation.The fact is that the State attracts like a magnet the worst passions and vices of human nature, for instance, when individuals try to obtain rents produced by others using the State's coercive power. Moreover, the combined effect of the privileged groups, the phenomena of governmental myopia and vote-buying, the megalomaniacal character of politicians, and the irresponsibility and blindness of bureaucracies generate a dangerous, unstable and explosive cocktail, continually shaken by social, economic, and political crises which, paradoxically, are always used by the political caste to justify further doses of intervention and statism that, instead of solving problems, further aggravate them. Statism therefore corrupts the entire social body and at the same time blocks the spontaneous and free market solutions of social and economic problems.In fact, the State has become the "idol" that almost everyone turns to and worships. Statolatry is the most serious and dangerous social disease of our time. We are educated to believe that all problems can and must be detected and solved by the State. Our destiny depends on the State, and the politicians who control it are expected to guarantee everything our well-being may require. Human beings remain immature and rebel against their own creative nature, which makes their future always uncertain. They demand a crystal ball that assures them not only knowing what will happen, but also that any problems that arise will be solved for them. This "infantilization" of the masses is encouraged by politicians, as it justifies their own existence and ensures their popularity, position of dominance, and capacity to control. In addition, a whole legion of intellectuals, so-called "experts," and social engineers join in this arrogant intoxication of power. Not even the Church and the most respectable religious denominations have been able to realize that statolatry today constitutes the principal threat to the free, moral, and responsible human being; that the State is a false idol of immense power, worshipped by all, and that does not allow Humanity to be free from its control or have moral or religious loyalties beyond those the state can dominate. Furthermore, it is kept hidden from the public that the state is the true source of social conflicts and evils, and "scapegoats" (such as "capitalism" or private property) are blamed for the problems, and they become the goal of the most serious condemnations, even from moral and religious leaders, almost none of whom have realized the deception or dared to denounce that statolatry is the main threat in the present century to religion, morality, and, therefore, to human civilization.Perhaps the main exception within the Church is included in the brilliant biography of Jesus of Nazareth written by Benedict XVI. That the State and political power constitute the institutional incarnation of the Antichrist should be obvious to anyone with a minimal knowledge of history who reads the former Pope's considerations on the most serious temptation that the Evil One can present to us (and I quote Ratzinger literally): "The tempter is not so crude as to propose to us directly the worship of the devil. He merely proposes that we opt for the rational solution, that we prefer a planned and organized world in which God may have a place as a private spiritual matter, but must not be allowed to interfere in our essential purposes. Soloviev attributes to the Antichrist a book entitled The Open Road to World Peace and Prosperity; it becomes the new Bible, and its core message is the worship of well-being and rational planning," by the state (Ratzinger, 2007). And so, we should not be surprised that, for example, the great author of The Lord of the Rings, J. R. Tolkien, whose Catholic anarchism I fully share, went so far as to say that he would arrest anyone for simply daring to pronounce the word "State." Because the State is, always and everywhere, a reality of violence and systematic coercion against the most intimate essence of the human being, which is his capacity to act freely, creatively, and spontaneously; and so, it is unavoidable to conclude that the State is essentially immoral and that statism constitutes the principal threat to humankind.A theological digression: the dismantling of statism as a logical necessity inseparable from the work of GodAnd almost without realizing it, we can go ahead with a theological digression on how dismantling the State is a logical and moral necessity inseparable from the work of God. I fully understand that referring to God in this conference may come as a shock to many of those present, but I would ask that even those who do not believe in God, at least for dialectical purposes, make an effort of imagination and, for the next few minutes, imagine that God does indeed exist.And what do we mean by God? We must understand God to be a Supreme Being, Creator out of love for all things. And the most important creature that God has created is precisely the human being: in His image and likeness. And if there is a point of connection between God and man, it is precisely in the creative entrepreneurial ability: the capacity to discover, to see, and to create new things, goals and actions. But now I am going to go one step further and attempt to demonstrate that God is not only the Supreme, loving Creator of all things, but that—moreover—God is libertarian.And what does it mean to say that God is libertarian? It means that God, the Lord of all the Universe, has absolute power over it, and yet He chooses not to use force, but always leaves his creatures free. To the point that He gives human beings the freedom to rebel against Him; even though, again and again, God forgives human beings and allows them to rise up and begin anew.God always lets the universe He has created, flow in a spontaneous manner ("laissez faire, laissez passer, le monde va de lui même" could be the motto of our libertarian God). And this despite the fact that human beings tempt God again and again and demand that He manifest His absolute power, that He give us clear and indisputable signs of His existence and supreme power in order for us to believe in Him. But of course, God does not accept our challenge. Why? Because love and liberty are inseparable, and a forced conversion, for example by an evident cataclysm, would be completely contrary to that liberty with which God has created human beings out of love.Moreover, the Kingdom of God is not of this world; Jesus himself says this to a fearful Roman state official, who was also in charge of judging him: "My kingdom is not of this world." Does this mean that there are two types of kingdoms? The kingdoms of this world or States, which would be legitimate at their own level (remember "render unto Caesar the things that are Caesar's"), and the Kingdom of God, of ("render unto God the things that are God's"). That is the standard interpretation that has prevailed until now, but I think is completely wrong. The Kingdom of God—which is the exact opposite of the kingdoms or States of this world—never makes systematic use of violence and coercion: it is a Kingdom that has already come to us and, moreover, has been given to us freely, in an act of immense mercy and love (Deus caritas est). And just as the hateful institution of slavery came to an end, the Kingdom of God will also dismantle the kingdoms of this world, the states of this world, or as St. Paul said, of every principality, power, and glory (Ephesians 1:21-23), because God is libertarian and man is made in the image and likeness of God.Ludwig von Mises, in his book Interventionism, introduced the term "destructionism" to refer to the economic and social effects of statism. If Evil (represented by statist destructionism in Mises' terminology) were to prevail, the human race and civilization would have disappeared long ago. The fact that, despite everything and the immense power of seduction of statism over humankind, the process of social cooperation continues to unfold and even prosper in certain historical periods and geographical areas, is a clear manifestation that God does not abandon the world nor leave libertarians alone in their struggle against the Evil; and that Good, represented by liberty, the principle of non-aggression, the spontaneous order of the market, entrepreneurial creativity and coordination, and above all, moral principles, always with God's help, prevails and is capable of overcoming Evil, represented by the fatal conceit of the statist ideal and the destruction that it produces.And now I will finish with some thoughts on anarcho-capitalism as the only possible system of social cooperation truly compatible with human natureAnd now I will finish with some thoughts on anarcho-capitalism as the only possible system of social cooperation truly compatible with human nature. The most important intellectual and moral event that is taking place nowadays is the full fusion between Christianity and anarcho-capitalism. Because anarcho-capitalism is the only possible system of social cooperation that is truly compatible with human nature. Anarcho-capitalism is the purest representation of the spontaneous market order in which all services, including law, justice, and public order, are provided through a voluntary process of social cooperation. In this system, no area is closed to the drive of human creativity and entrepreneurial coordination; efficiency and justice in the resolution of problems are simultaneously enhanced, while the conflicts, inefficiencies, and discoordinations generated by the State are eradicated at their root.The progressive abolition of States and their gradual replacement by a dynamic network of private agencies different legal systems, and providing all kinds of prevention and defense services, constitutes the most important social transformation that will take place in the twenty first century. Without forgetting that exactly what prevents us from knowing with precision what the future without the state will look like, the creative nature of entrepreneurship, is what gives us the peace of mind of knowing that any problem will tend to be resolved and overcome, once the entrepreneurial effort and creativity of Humanity are devoted to its solution (Kirzner, 1985).Therefore, the revolution against the “Old Régime” carried out in the eighteenth and nineteenth centuries by the old classical liberals, today finds its natural continuation in the anarcho-capitalist revolution of the twenty-first century. The message of anarcho-capitalism is clearly revolutionary. Revolutionary in terms of its goal: the dismantling of the State and its replacement by a competitive market process consisting of a network of private agencies, associations, and organizations. And revolutionary in terms of its means, especially in the scientific, economic-social, and political fields:a) First, Scientific revolution, in the field of Economic Science, which becomes the general theory of spontaneous market order extended to all social areas. And by contrast and opposition, the theory and analysis of the effects of social discoordination generated by statism in any sphere in which it operates, as well as the study of the transition process from the State towards liberty.b) Second, an Economic and social revolution, as we cannot even imagine today the immense human achievements and discoveries that could be made in an entrepreneurial environment totally free from statism. Today, and despite continuous governmental harassment, an unknown civilization is already developing, with a degree of complexity that is beyond the reach and control of the state, and which will achieve unlimited expansion once it manages to completely rid itself of statism. And when human beings become more and more aware of the perverse nature of the State that restricts them, and of the immense possibilities that are frustrated each day when the State blocks the driving force of their entrepreneurial creativity, the social demand to reform and dismantle the State will multiply creating a future that is largely unknown to us but that will elevate human civilization to heights that we cannot even imagine today.c) And finally, a political revolution in which, although day-to-day political struggle is important, it should not be the top priority. It is true that the least interventionist alternatives must always be supported, in clear alliance with the efforts of classical liberals in their long term impossible democratic limitation of the State (including reforms such as those proposed by Hayek in the third volume of Law, Legislation, and Liberty). But the anarcho-capitalist does not stop at this task, for he knows that he can and must do much more. He knows that the ultimate goal is the total dismantling of the State, and this goal leads all his imagination and political action in everyday life. And here we cannot fail to mention the unprecedented impact of our disciple and follower of our Master Program in Austrian Economics in Madrid, the President of Argentina, Javier Milei, who has done more than anyone else before to disseminate the principles of the Austrian School and the anarcho-capitalist ideal. Principles that he never ceases to quote and explain and defend once and again in all his public appearances, from the United Nations to the Davos Forum; and in all his meetings with other Heads of State, universities, and parliaments, to whom he even gives copies of the most important Austrian works by Mises, Hayek and even myself, as he did, for example, with the two popes, Francis and Leo XIV, with the French President Macron, the Italian Prime Minister Meloni, and even with Elon Musk. For us, it is a great honor that Milei has, to a large extent, emerged from the Austrian School of Madrid and that he continually keeps drawing inspiration from us. This is, without a doubt, much more important than incremental political steps in the right direction—which should of course be welcomed—and that should never fall into a political pragmatism that could betray the ultimate goal of achieving the end of the State (Huerta de Soto, 2010).And all this with tireless enthusiasm in the search for scientific and moral truth, an attitude that, inspired by the immortal work of Miguel de Cervantes, we could describe as follows: "It matters not whether they be giants or windmills, when the plume of our helm is stirred by the winds of tenacity and faith." And always creating a future that, although it may seem distant today, may at any moment witness giant steps that will surprise even the most optimistic among us. History has entered into an accelerated process of change which, although it will never stop, will open a whole new chapter when humankind finally succeeds in ridding itself definitively of the State, reducing it to no more than a dark historical relic of tragic memory.Thank you very much.REFERENCESBASTIAT, Frédéric: Selected Essays on Political Economy, Foundation for Economic Education, New York 1995.DE LA BOÉTIE, Étienne: The Politics of Obedience: The Discourse of Voluntary Servitude, Free Life Editions, Nueva York 1975.BÖHM-BAWERK, Eugen von: Karl Marx and the Close of His System, Augustus M. Kelley, Nueva York 1949."The Exploitation Theory," Capital and Interest, Vol. I: History and Critique of Interest Theories, Libertarian Press, South Holland 1959.HAYEK, Friedrich A. von: The Counter-Revolution of Science, Free Press, New York, 1955.Hayek on Hayek: An Autobiographical Dialogue (eds. Stephen Kresge and Leif Wenar), University of Chicago Press, Chicago 1994.Law, Legislation and Liberty, Vol. III: The Political Order of a Free People, Routledge & Kegan Paul, London 1979.The Fatal Conceit: the Errors of Socialism, The University of Chicago Press, Chicago 1988."The Pretence of Knowledge," in New Studies in Philosophy, Politics, Economics and the History of Ideas, University of Chicago Press, Chicago 1978.HUERTA DE SOTO, Jesús: Socialism, Economic Calculation and Entrepreneurship, Edward Elgar, Cheltenham y Northampton 2010."A Hayekian Strategy to Implement Free Market Reforms," in Theory of Dynamic Efficiency, Routledge, Oxfordshire, 2010.Proyecto Docente, Chapter I: "Ciencia y Economía," Rey Juan Carlos University, Madrid 2000.The Austrian School: Market Order and Creative Entrepreneurship, Edward Elgar, Cheltenham y Northampton 2008.DE JASAY, Anthony: Market Socialism: A Scrutiny, published by the Institute of Economic Affairs, Occasional Paper no. 84, 1990.KIRZNER, Israel: "The Perils of Regulation: A Market Process Approach" in Discovery and the Capitalist Process, University of Chicago Press, 1985.LIGGIO, Leonard: "The Hispanic tradition of Liberty," published in Procesos de Mercado: Revista Europea de Economía Política, vol. XXII, nº 1, Summer 2025, pp. 403-420.MARTÍNEZ MARINA, Francisco: Teoría de las cortes o grandes juntas nacionales de los reinos de León y Castilla, Collado, 1820.MILEI, Javier: Capitalism, Socialism, and the Neoclassical Trap, in The Emergence of a Tradition: Essays in Honor of Jesús Huerta de Soto, Volume II (editors Howden, D., Bagus, P.), Palgrave Macmillan, Cham, 2023.MISES, Ludwig von: Socialism: An Economic and Sociological Analysis, Jonathan Cape, London 1936.Planned Chaos, Foundation for Economic Education, Irvington-on-Hudson 1947.OPPENHEIMER, Franz: The State, Vanguard Press, Nueva York 1926.POPESCU, Oreste: Studies in the History of Latin American Economic Thought, Routledge, London 1997.POPPER, Karl: The Open Society and its Enemies, Princeton University Press, Princeton 1966.RATZINGER, Joseph. Jesus of Nazareth: From the Baptism in the Jordan to the Transfiguration. Translated by Adrian J. Walker. Doubleday, New York, 2007.ROTHBARD, Murray N.: "New Light on the Prehistory of the Austrian School," in The Foundations of Modern Austrian Economics (editor Edwin G. Dolan), Sheed and Ward, Kansas City 1976, pp. 52–74.Anatomy of the State, Ludwig von Mises Institute, Auburn 2009.SALERNO, Joseph. "Milton Friedman's Views on Method and Money Reconsidered in Light of the Housing Bubble", in The Emergence of a Tradition: Essays in Honor of Jesús Huerta de Soto, Volume I, (editors Howden, D., Bagus, P.), Palgrave Macmillan, Cham, 2023.STIGLER, George: The Citizen and the State, University of Chicago Press, Chicago, 1975, pp. 1-13.

In this episode of The Truth In The Art, the guest is Juan Morales!Who is Juan Morales: Maryland native, writer and director whose films explore immigration, racism, and community; currently developing the feature Abhaile about a small town overtaken by a white supremacist group.Juan talks about his path from nearly attending medical school to filmmaking, why he wrote Abhaile from the perspective of a Latina protagonist, and the challenges of telling a large story with a small cast. We also dig into research, collaboration, mentorship, and how community shapes and sustains creative work.His aim throughout: to tell timely stories that provoke conversation about belonging, identity, and justice.For updates, follow https://www.instagram.com/j.mor_95/ The Truth In This Art is supported by William G. Baker, Jr. Memorial Fund, the Maryland State Arts Council's Creativity Grant and Mayor's Individual Artist Award - Creative Baltimore Fund (Baltimore). Host: Rob LeeMusic: Original music by Daniel Alexis Music with additional music from Chipzard and TeTresSeis.Production:Produced by Rob Lee & Daniel AlexisEdited by Daniel AlexisShow Notes courtesy of Rob Lee and TransistorPhotos:Rob Lee photos by Vicente Martin for The Truth In This Art and Contrarian Aquarian Media.Guest photos courtesy of the guest, unless otherwise noted.Support the podcastThe Truth In This Art Podcast Fractured Atlas (Fundraising): https://www.fracturedatlas.orgThe Truth In This Art Podcast Bluesky: https://bsky.app/profile/thetruthinthisart.bsky.socialThe Truth In This Art Podcast Instagram: https://www.instagram.com/truthinthisart/?hl=enThe Truth In This Art Podcast Website: https://www.thetruthinthisart.com/The Truth In This Art Podcast Shop: Merch from Redbubble ★ Support this podcast ★

In this episode of The Community Cast, Dottie Chalmers Cutter sits down with creative entrepreneur Becky McKinnell — founder of iBec Creative and creator of the iconic Wildwood Oyster Co. handbags loved around the world. Becky shares how she built not one, but two thriving Maine‑based businesses by leading with creativity, listening closely to customers, and staying rooted in community. From launching iBec Creative straight out of college to growing Wildwood Oyster Co. from a side hustle into a recognized e‑commerce brand, Becky offers honest insights into leadership, perseverance, and the realities of running multiple businesses. Together, they explore what it means to be a woman in business, how motherhood has shaped Becky's leadership style, and why surrounding yourself with the right people makes growth possible. Becky also reflects on the importance of giving back, including iBec's Embrace Purpose Grant and her commitment to supporting Maine nonprofits. This conversation is full of thoughtful lessons on entrepreneurship, balance, and building businesses that reflect who you are — and where you come from.

In this episode of The Truth In This Art, the guest is Jamilla Okubo!Who is Jamilla Okubo: A Washington, D.C.-based multidisciplinary artist whose work spans painting, collage, illustration, and print design. Her work centers the Black silhouette, using pattern, ornament, and saturated color to explore identity, self-possession, and cultural memory—drawing from African textile traditions, fashion, and Black feminist thought.In our conversation, Jamilla traces her journey from Duke Ellington School of the Arts to Parsons, where she initially planned to focus on painting but discovered her multidisciplinary approach after making a dress from magazine paper. She breaks down how she developed her signature use of the Black silhouette—blacking out white models in fashion magazines with Sharpie, then tracing and painting them in bold colors to represent Black people in a positive light. Jamilla talks through the tension between her illustration work and fine art practice, explaining how client deadlines can feel like "being a machine" while her studio work requires patience and time to let ideas fully develop. She shares her creative breakthrough ritual: boxing at the gym followed by steam room sessions where she works through mental blockages. We also dig into community, the importance of trusting your gut ("if it's not a hell yes, it's a hell no"), and what it means to be in this for the long haul—creating meaningful work instead of chasing fleeting fame.Don't miss Jamilla Okubo's work—her bold, layered silhouettes tell stories of identity, heritage, and belonging you won't want to overlook. The Truth In This Art is supported by William G. Baker, Jr. Memorial Fund, the Maryland State Arts Council's Creativity Grant and Mayor's Individual Artist Award - Creative Baltimore Fund (Baltimore). Host: Rob LeeMusic: Original music by Daniel Alexis Music with additional music from Chipzard and TeTresSeis.Production:Produced by Rob Lee & Daniel AlexisEdited by Daniel AlexisShow Notes courtesy of Rob Lee and TransistorPhotos:Rob Lee photos by Vicente Martin for The Truth In This Art and Contrarian Aquarian Media.Guest photos courtesy of the guest, unless otherwise noted.Support the podcastThe Truth In This Art Podcast Fractured Atlas (Fundraising): https://www.fracturedatlas.orgThe Truth In This Art Podcast Bluesky: https://bsky.app/profile/thetruthinthisart.bsky.socialThe Truth In This Art Podcast Instagram: https://www.instagram.com/truthinthisart/?hl=enThe Truth In This Art Podcast Website: https://www.thetruthinthisart.com/The Truth In This Art Podcast Shop: Merch from Redbubble ★ Support this podcast ★

In this episode of The Truth In This Art, the guest is Currie Lee!Who is Currie Lee: Filmmaker and artist with a photography background, focused on visual stories about complicated relationships.In our conversation, Currie talks through her short film The Haze—a psychological horror about a toxic relationship. She connects the project to personal moments that pulled her back into making art and digs into choices that shaped the film's edit and camera language. As she puts it, “you're upset and unhappy because you're not the one making the art.”She recalls a Q&A after a screening where she realized she was speaking before she'd decided to—steadying herself by looking to friends in the front row. We get into collaboration and making adjustments when feedback or funding reshapes a plan, and how staying connected keeps the work moving.Be sure to follow Currie Lee to keep up with her films and future projects. The Truth In This Art is supported by William G. Baker, Jr. Memorial Fund, the Maryland State Arts Council's Creativity Grant and Mayor's Individual Artist Award - Creative Baltimore Fund (Baltimore). Host: Rob LeeMusic: Original music by Daniel Alexis Music with additional music from Chipzard and TeTresSeis.Production:Produced by Rob Lee & Daniel AlexisEdited by Daniel AlexisShow Notes courtesy of Rob Lee and TransistorPhotos:Rob Lee photos by Vicente Martin for The Truth In This Art and Contrarian Aquarian Media.Guest photos courtesy of the guest, unless otherwise noted.Support the podcastThe Truth In This Art Podcast Fractured Atlas (Fundraising): https://www.fracturedatlas.orgThe Truth In This Art Podcast Bluesky: https://bsky.app/profile/thetruthinthisart.bsky.socialThe Truth In This Art Podcast Instagram: https://www.instagram.com/truthinthisart/?hl=enThe Truth In This Art Podcast Website: https://www.thetruthinthisart.com/The Truth In This Art Podcast Shop: Merch from Redbubble ★ Support this podcast ★

Send a textWhat happens when a journalist from Venezuela becomes a self-taught designer, typeface foundry founder, and curator of one of the most ambitious graphic design exhibitions in recent memory? You get Lope Gutiérrez-Ruiz, and our conversation with him does not disappoint. Lope is a partner and project lead at In-House International, a design studio and typeface foundry. He's also a TED Fellow, a Knight Fellow at Stanford, and the curator behind One Hundred Points.In this episode, we dig into what it actually looks like to build a creative practice rooted in curiosity and systems–not just style. Lope shares his take on design rules (and whether you should bother learning them) and how his journalism background still shapes every creative decision he makes. We also get into the realities of working with nonprofits, font piracy, and how he pulled off a massive exhibition without taking a sabbatical. All that and more when you listen to this episode: How Lope went from journalist to publisher to self-taught designer and typeface founderWhy being self-taught may actually be a creative advantage His philosophy on design rules, systems, and building a practice around curiosity The studio structure at In-House International The truth about font piracy and typeface licensingHow One Hundred Points came to be and why he thinks every designer should participate in an exhibitionTips for funding a creative exhibition through sponsorshipsThe “Alphabet of Tomorrow” talk at South by Southwest Connect with LopeIn-House International: weareinhouse.com Instagram: weareinhouseOne Hundred Points Exhibition: onehundredpoints.org Mentioned in this episode:Run Studio Run https://nopicnicpress.com/shop/run-studio-run South by Southwest, “Alphabet of Tomorrow” talk, March 18, 2026 https://schedule.sxsw.com/events/PP1150035 Follow Your Art by Katie Johnson & Ilana Griffo (book releasing March 17th!) https://goodtype.us/follow-your-art-book Book Launch Event @ Roommate Collective at Springdale General, Austin: March 18th, 5-8pmTactical Guide to Sponsorship PDFConnect with Katie & Ilana from Goodtype Goodtype Website Goodtype on Instagram Goodtype on Youtube We wrote a book! Grab a copy and sign up to access the audiobook when we release it! Love The Typecast and free stuff? Leave a review, and send a screenshot of it to us on Slack. Each month we pick a random reviewer to win a Goodtype Goodie! Goodies include merch, courses and Kernference tickets! Leave us a review on Apple PodcastsSubscribe to the showTag us on Instagram @GoodtypeFollow us on Tiktok @lovegoodtypeLearn from Katie and IlanaGrab your tea, coffee, or drink of choice, kick back, and let's get down to business!

Ryan and Becca are back behind the microphones to kick off a new season of Wheel Talk. In this episode, they share updates from their studios and businesses since taking a break from recording, including Becca's hand surgery recovery and her plans for the coming months. Ryan talks about what the start of the year has looked like in his studio and some of the systems and priorities he's focusing on this season. They also discuss what listeners can expect in upcoming episodes for the spring season.

You're showing up. You're posting. You're doing all the things the marketing gurus told you to do. So why aren't the sales following? In this episode, I am getting into the real gap between posting consistently and selling consistently, and it has nothing to do with how much content you create.I unpack why treating content and sales as the same mechanism is the root cause of the content hamster wheel so many creative founders feel trapped in. I introduce the concept of magnetism vs. visibility, walk you through my 4V Founder Frequency (Vision, Voice, Visibility, Vibration), and show you why inconsistency is often a brand identity issue, not a discipline problem.If you have been blaming yourself for inconsistent sales while showing up every single day, this episode is your permission slip to stop the self-judgment and start building a real sales rhythm alongside your content. One that feels authentic, fun, and sustainable.In this episode, you'll learn:[00:57]  Why posting more without a brand foundation is like spinning your wheels[03:12]  The critical difference between being visible and being magnetic[06:45]  What the ‘content hamster wheel' really is and the mindset shift that breaks you free[09:10]  Why your inconsistency is not a character flaw. It is actually a brand signal worth paying attention to[11:38]  The 4V Founder Frequency: Vision, Voice, Visibility, and Vibration explained[14:20]  How to bridge the gap between your content strategy and your sales process[16:55]  What a real sales rhythm looks like (hint: it's not pushy or performative)[18:02]  How to become so magnetic that people come seeking YOU outHere are the resources mentioned in the show:The Launchpad, Daily Audio CoachingObsessed Challenge (starts March 9)Desire AI (for jewelry designers)Are you enjoying the podcast? We'd be so grateful if you gave us a rating and review! Your 5 star ratings help us reach more businesses like yours and allows us to continue to deliver valuable content every single week. Click here to review the show on Apple podcast or your favorite platformSelect “Ratings and Reviews” and “Write a Review”Share your favorite insights and inspirationsIf you haven't done so yet, make sure that you subscribe to the show wherever you listen to podcasts and on Apple Podcast for special bonus content you won't get elsewhere.xo, Tracy MatthewsFollow on Social:Follow @Flourish_Thrive on InstagramFollow @iamtracymatthews  InstagramFollow Flourish & Thrive Facebook

"Marketing is about showing people what it is I do and presenting it in a way that brings them into that world." "You want to learn how to grow your business and overcome adversity? Find the people who learn with you, laugh with you." "Take the class, go somewhere new, make a friend, find an encourager, because those are the ingredients for getting unstuck." In this episode of Better Call Daddy, join host Reena Friedman Watts and her dad, Vinnie Friedman, as they dive into the world of creative entrepreneurship with the inspiring Priscilla Mensah, founder of Super Power Soap. Together, they reflect on their experiences at a local Creative Entrepreneurship Bootcamp at Houston Community College, discussing the nuances of marketing and sales in the creative realm. From soap making workshops to the importance of connection, Priscilla shares her journey of transforming personal struggles into a thriving business that fosters community. This episode highlights the significance of understanding your audience, crafting meaningful experiences, and the power of vulnerability in both marketing and personal growth. Key Takeaways: • The art of marketing: How to engage your audience authentically • The role of storytelling in sales and connection • Building a supportive community through creative endeavors • Embracing vulnerability and sharing personal journeys • The importance of understanding your worth and pricing your services Episode Highlights: (00:00) Welcome to the Better Call Daddy Show (01:30) Priscilla's journey into soap making (15:00) The power of connection in workshops (25:45) Marketing strategies for creative entrepreneurs (35:00) Wisdom from Wayne: Building relationships through shared experiences (45:00) The importance of community and support in entrepreneurship Episode Keywords: Better Call Daddy, Podcast, Creative Entrepreneurship, Marketing, Soap Making, Community Building, Vulnerability, Personal Growth, Storytelling, Sales Strategies Connect with Priscilla Mensah Connect with Reena Friedman Watts: Website | LinkedIn | Instagram | YouTube Thank you for tuning in to Better Call Daddy where stories of creativity, resilience, and connection come together! Don't forget to like, subscribe, and share!

In this episode of The Truth In This Art, the guest is Nicole Clark!Who is Nicole Clark: Chicago-born, Baltimore-based artist and writer. Nicole works across paint, prose, and collage, often pulling from personal paper trails to build layered, funny, and pointed reflections on women's lives.In our conversation, Nicole talks about moving from “Chicago proper” to Baltimore, why she leans on blinders to avoid comparison, and how running her own race keeps the work honest. She walks through mixing mediums—abstract and figurative painting with text and collage—and how revisiting old artifacts lets her thread humor, memory, and critique into a single piece. We also get into the art-and-business overlap: accidental entrepreneurship becoming intentional, and finding voice and community in Baltimore's scene.Explore Nicole's work and writing at https://tilqueendomcome.com/ and on Instagram at @til_queendom_come. The Truth In This Art is supported by William G. Baker, Jr. Memorial Fund, the Maryland State Arts Council's Creativity Grant and Mayor's Individual Artist Award - Creative Baltimore Fund (Baltimore). Host: Rob LeeMusic: Original music by Daniel Alexis Music with additional music from Chipzard and TeTresSeis.Production:Produced by Rob Lee & Daniel AlexisEdited by Daniel AlexisShow Notes courtesy of Rob Lee and TransistorPhotos:Rob Lee photos by Vicente Martin for The Truth In This Art and Contrarian Aquarian Media.Guest photos courtesy of the guest, unless otherwise noted.Support the podcastThe Truth In This Art Podcast Fractured Atlas (Fundraising): https://www.fracturedatlas.orgThe Truth In This Art Podcast Bluesky: https://bsky.app/profile/thetruthinthisart.bsky.socialThe Truth In This Art Podcast Instagram: https://www.instagram.com/truthinthisart/?hl=enThe Truth In This Art Podcast Website: https://www.thetruthinthisart.com/The Truth In This Art Podcast Shop: Merch from Redbubble ★ Support this podcast ★

Send a textSeason Four of Self Reflection Podcast opens with a powerful, soul-stirring conversation that bridges ambition, authenticity, mental health, and legacy.Hosted by Lira Ndifon, this episode features celebrity fashion stylist and creative director Ariel Tinsey, founder of Black Thought Creative Agency. From her early days in Chicago to building a thriving career in Los Angeles, Ariel shares what it truly takes to manifest your vision, not just through positive thinking, but through relentless work, research, resilience, and integrity.But this conversation goes far beyond fashion.Together, Lira and Ariel unpack the deeper themes of:Self-belief versus self-doubtThe truth about manifestation (and the work behind it)Building authentic relationships rooted in integrityNavigating creative industries as a Black womanMentorship and passing the batonProtecting your peace in high-pressure environmentsMotherhood, vulnerability, and raising emotionally intelligent childrenThe courage to say “no”And why you must fail faster to find what's truly meant for youAriel speaks candidly about building her career before she even graduated fashion school, boldly printing “Fashion Stylist” on her business cards before the world validated her title. She reflects on grief, losing mentors, honoring rituals, maintaining boundaries, and creating space for self-regulation — lessons that deeply align with the Self Reflection Podcast's mission to prioritize mental and emotional well-being.This episode is a masterclass in confidence without ego, ambition without burnout, and healing without stagnation. Ariel reminds us that healing isn't about waiting until you're perfect, it's about integrating lessons while continuing to live boldly.As Lira always encourages: if you haven't prioritized your mental health this week, create a moment for self-reflection.Sit with this:Start. Just start. Fail faster. Protect your peace. And don't take it personal — it's business.If this episode resonates with you, follow Self Reflection Podcast, leave a rating, and share it with someone who needs encouragement to step into their next season.Support the showCall to Action: Engage with the Self-Reflection Podcast community! Like, follow, and subscribe on Spotify, Apple Podcasts, YouTube (Self-Reflection Podcast by Lira Ndifon), and all major podcast platforms. Share your insights and feedback—we value your contributions! Suggest topics you'd like us to explore. Your support amplifies our reach, sharing these vital messages of self-love and empowerment. Until our next conversation, prioritize self-care and embrace your journey. Grab your copy of "Awaken Your True Self" on Amazon. Until next time, be kind to yourself and keep reflecting.

What does it actually take to generate $22 million across multiple creative businesses over 30 years? In this raw, behind-the-scenes solo episode, I pull back the curtain on the real highs, the hard lows, and the identity shifts that made all the difference.From leaving my Nordstrom job with a dream and a prayer, to scoring a $4,000 fax order from Twist in Portland, to experiencing bankruptcy and rebuilding with a completely new mindset. I map out the through-line that connects every pivot, every plateau, and every quantum leap I've taken as a creative founder. The secret? It was never just strategy. It was always identity first, sales rhythm second.I also share the 4V Founder Frequency (Vision, Voice, Visibility, Vibration) and explain why founder-led branding is not just a trend. It is the most powerful business asset you can build in an AI-saturated world. Plus, I share how The Launchpad (my daily audio coaching program) is helping creative founders step into iconic brand status every single day.In this episode, you'll discover:[00:00] The Launchpad intro: what daily alignment actually does for your sales[02:10] My 30-year journey: from jewelry designer to $22M founder across 5 businesses[08:17] The $4,000 Twist fax order that changed everything, and what hustle really means to me[11:32] Why sales is the lifeblood of your business (and how each pivot required a new rhythm)[15:00] The 4V Founder Frequency and why founder-led brands win in the age of AI[20:12] The bankruptcy moment at Whole Foods, and the identity work that rebuilt my confidence[25:00] How to become a vibrational match for the sales and income you desire[27:30] The Obsessed challenge and how to join my free 5-day sales eventHere are the resources mentioned in the show:The Launchpad, Daily Audio CoachingObsessed Challenge ( starts March 9)Desire AI (for jewelry designers)Are you enjoying the podcast? We'd be so grateful if you gave us a rating and review! Your 5 star ratings help us reach more businesses like yours and allows us to continue to deliver valuable content every single week. Click here to review the show on Apple podcast or your favorite platformSelect “Ratings and Reviews” and “Write a Review”Share your favorite insights and inspirationsIf you haven't done so yet, make sure that you subscribe to the show wherever you listen to podcasts and on Apple Podcast for special bonus content you won't get elsewhere.xo, Tracy MatthewsFollow on Social:Follow @Flourish_Thrive on InstagramFollow @iamtracymatthews  InstagramFollow Flourish & Thrive Facebook

What happens when you put yourself in a room full of creatives and actually commit to building something? In this episode of Better Call Daddy, I'm joined by Priscilla Mensah and my dad, Wayne Friedman, to talk about what we learned from our Creative Entrepreneurship Bootcamp at Houston Community College. We didn't just talk about ideas — we talked about execution. Sales. Contracts. Insurance. Separating personal and business finances. Sustainability. Mindset. The stuff people don't always glamorize. Priscilla Mensah and I share what it feels like to test your ideas in real time — and why showing up (even when you're unsure) is what really moves the needle. We talk about: • Why creativity without sales doesn't scale • The power of being in community with other builders • Learning from setbacks instead of hiding from them • Why every entrepreneur has to get comfortable with vulnerability And of course, Dad weighs in with wisdom about surrounding yourself with creative people who push you forward. If you've been sitting on an idea… this one's for you. Because you don't need to be famous to be powerful. You need to show up.

In this episode of The Truth In This Art, artist Santos Shelton returns!Who is Santos Shelton: Bay Area–based artist and storyteller. Santos blends science fiction and fantasy with vibrant color and dynamic texture, using his work to explore vulnerability, healing, and lived experience through a lens shaped by being biracial—Black and Mexican.In our conversation, Santos talks about using art to translate personal and societal trauma into visual stories, and how making the work can be a way to express what's hard to say out loud. He reflects on a deeply personal solo show shaped by difficult experiences at home and how those experiences can linger, influencing identity and self-perception. We also discuss his upcoming mini solo show at Gallery Ergo in Seattle, where he's focusing on death and grief after years of family loss—and how cultural context shapes the way he approaches that theme.Catch Santos's previous episode here.Follow Santos on Instagram at @santosart and follow the gallery at @gallery.ergo for updates on the March 13 opening.As a first, I have an extended version of this conversation if you want to check it out:  The Truth In This Art is supported by William G. Baker, Jr. Memorial Fund, the Maryland State Arts Council's Creativity Grant and Mayor's Individual Artist Award - Creative Baltimore Fund (Baltimore). Host: Rob LeeMusic: Original music by Daniel Alexis Music with additional music from Chipzard and TeTresSeis.Production:Produced by Rob Lee & Daniel AlexisEdited by Daniel AlexisShow Notes courtesy of Rob Lee and TransistorPhotos:Rob Lee photos by Vicente Martin for The Truth In This Art and Contrarian Aquarian Media.Guest photos courtesy of the guest, unless otherwise noted.Support the podcastThe Truth In This Art Podcast Fractured Atlas (Fundraising): https://www.fracturedatlas.orgThe Truth In This Art Podcast Bluesky: https://bsky.app/profile/thetruthinthisart.bsky.socialThe Truth In This Art Podcast Instagram: https://www.instagram.com/truthinthisart/?hl=enThe Truth In This Art Podcast Website: https://www.thetruthinthisart.com/The Truth In This Art Podcast Shop: Merch from Redbubble ★ Support this podcast ★

In this episode of The Truth In This Art, the guest is returning filmmaker Tristian “TrisRex” Johnson!Who is TrisRex: A filmmaker, monster maker, and practical FX artist whose work blends sci-fi and horror with hand-built creatures and DIY craft.In our conversation, TrisRex digs into his latest project, Aliens Resurgence (for the Hive). He talks through post-production—“doing a bid”—and how the edit sets pacing and tension. He breaks down working with real people alongside fabricated characters, including Big Pookie—“the biggest diva”—and what it takes to design, move, and shoot large-scale practical monsters. We get into planning for complex scenes, scrapping or reshooting choices, and staying disciplined so the story holds together while he pushes into unconventional territory.Don't miss Aliens Resurgence (for the Hive) —it's a wild ride you won't want to overlook.  The Truth In This Art is supported by William G. Baker, Jr. Memorial Fund, the Maryland State Arts Council's Creativity Grant and Mayor's Individual Artist Award - Creative Baltimore Fund (Baltimore). Host: Rob LeeMusic: Original music by Daniel Alexis Music with additional music from Chipzard and TeTresSeis.Production:Produced by Rob Lee & Daniel AlexisEdited by Daniel AlexisShow Notes courtesy of Rob Lee and TransistorPhotos:Rob Lee photos by Vicente Martin for The Truth In This Art and Contrarian Aquarian Media.Guest photos courtesy of the guest, unless otherwise noted.Support the podcastThe Truth In This Art Podcast Fractured Atlas (Fundraising): https://www.fracturedatlas.orgThe Truth In This Art Podcast Bluesky: https://bsky.app/profile/thetruthinthisart.bsky.socialThe Truth In This Art Podcast Instagram: https://www.instagram.com/truthinthisart/?hl=enThe Truth In This Art Podcast Website: https://www.thetruthinthisart.com/The Truth In This Art Podcast Shop: Merch from Redbubble ★ Support this podcast ★

Send a text“Finding your style” is the number one question we get asked, and the one we've asked ourselves for years. In this episode, we're diving into the real question behind it: what if it's not about finding a single aesthetic… but about uncovering your creative identity? We're celebrating the announcement of our new book, Follow Your Art, and sharing why we wrote it, what you'll find inside, and how the entire process changed the way we think about style, niching, and creative confidence. We talk about why committing to one aesthetic can feel like a cage, why effortless ideas are often your most authentic ones, and how your “secret sauce” is built from everything. We also unpack our take on “niching out, not down,” how to write an artist statement that actually feels like you, and how to market your work without feeling gross.All that and more when you listen to this episode:Why “How do I find my style?” might be the wrong questionThe difference between style and creative identity Why committing to one aesthetic feels terrifying (and limiting) The ice cream shop metaphor that reframes everythingHow to identify your creative “secret sauce” Why what feels effortless might actually be your magicThe role of childhood memories, relationships, and non-art influences in shaping your workWhat “niching out, not down” really meansWhat it was like to co-write a book over several yearsWhy creative work doesn't have to feel hard to be valuableAnd so much more! Mentioned in this episode:Follow Your Art (our new book!) https://goodtype.us/follow-your-art-book Free audiobook with pre-order https://goodtype.us/follow-your-art-book Goodreads https://www.goodreads.com/book/show/239923273-follow-your-art Connect with Katie & Ilana from Goodtype Goodtype Website Goodtype on Instagram Goodtype on Youtube We wrote a book! Grab a copy and sign up to access the audiobook when we release it! Love The Typecast and free stuff? Leave a review, and send a screenshot of it to us on Slack. Each month we pick a random reviewer to win a Goodtype Goodie! Goodies include merch, courses and Kernference tickets! Leave us a review on Apple PodcastsSubscribe to the showTag us on Instagram @GoodtypeFollow us on Tiktok @lovegoodtypeLearn from Katie and IlanaGrab your tea, coffee, or drink of choice, kick back, and let's get down to business!

In this episode of The Truth In This Art, the guest is Jonene Lee!Who is Jonene Lee: Philadelphia-based curator and owner of No Name Gallery, with roots in photography, dance, and deep ties across the city's music and arts community.In our conversation, Jonene lays out how photography—documenting friends, parties, and performances—shaped her curatorial eye. She talks about organizing Philly DJ Day, uniting around 300 Philadelphia DJs for a single group photograph inspired by Gordon Parks. We get into her dance background and how that sense of rhythm and flow shows up in how she builds exhibitions and events. She also breaks down opening No Name Gallery in Chestnut Hill—learning business on the fly, tapping community support, and expanding the gallery's role beyond a white-wall space to include urban, street, pop, abstract, and contemporary work, plus artist-made home furnishings.At the center is connection: photos that turn into relationships, music that anchors the scene, and a gallery that serves both artists and neighborhood.Be sure to check out No Name Gallery and explore the fantastic artists who are shaping the Philadelphia art scene. Visit NoNameGalleryPhilly.com for all the latest updates! The Truth In This Art is supported by William G. Baker, Jr. Memorial Fund, the Maryland State Arts Council's Creativity Grant and Mayor's Individual Artist Award - Creative Baltimore Fund (Baltimore). Host: Rob LeeMusic: Original music by Daniel Alexis Music with additional music from Chipzard and TeTresSeis.Production:Produced by Rob Lee & Daniel AlexisEdited by Daniel AlexisShow Notes courtesy of Rob Lee and TransistorPhotos:Rob Lee photos by Vicente Martin for The Truth In This Art and Contrarian Aquarian Media.Guest photos courtesy of the guest, unless otherwise noted.Support the podcastThe Truth In This Art Podcast Fractured Atlas (Fundraising): https://www.fracturedatlas.orgThe Truth In This Art Podcast Bluesky: https://bsky.app/profile/thetruthinthisart.bsky.socialThe Truth In This Art Podcast Instagram: https://www.instagram.com/truthinthisart/?hl=enThe Truth In This Art Podcast Website: https://www.thetruthinthisart.com/The Truth In This Art Podcast Shop: Merch from Redbubble ★ Support this podcast ★

In this episode of The Truth In This Art, the guest is Dr. Lawrence T. Brown!Who is Dr. Lawrence T. Brown: Research scientist at Morgan State University's Center for Urban Health Equity and author of The Black Butterfly: The Harmful Politics of Race and Space in America.In our conversation, Dr. Brown traces a line from West Memphis, Arkansas, to Baltimore's neighborhoods, explaining how a racial dot map led him to say, “that looks like a butterfly,” and name the pattern “The Black Butterfly.” He walks through what he found in local archives—mayors' letters, municipal journals, urban renewal files—and how those records show displacement and segregation written into policy. We talk historical trauma, “urban apartheid,” and institutions that turn one era's rules into the next—“slavery becomes Jim Crow and Jim Crow is the new Jim Crow.” He also shares how board games and comics—Urban Cipher and the Black Butterfly Dream Lab—let people feel these systems in practice, not just read about them.Dr. Brown's point is clear: show the evidence, make it experiential, and give communities tools to see—and change—the structures around them. The Truth In This Art is supported by William G. Baker, Jr. Memorial Fund, the Maryland State Arts Council's Creativity Grant and Mayor's Individual Artist Award - Creative Baltimore Fund (Baltimore). Host: Rob LeeMusic: Original music by Daniel Alexis Music with additional music from Chipzard and TeTresSeis.Production:Produced by Rob Lee & Daniel AlexisEdited by Daniel AlexisShow Notes courtesy of Rob Lee and TransistorPhotos:Rob Lee photos by Vicente Martin for The Truth In This Art and Contrarian Aquarian Media.Guest photos courtesy of the guest, unless otherwise noted.Support the podcastThe Truth In This Art Podcast Fractured Atlas (Fundraising): https://www.fracturedatlas.orgThe Truth In This Art Podcast Bluesky: https://bsky.app/profile/thetruthinthisart.bsky.socialThe Truth In This Art Podcast Instagram: https://www.instagram.com/truthinthisart/?hl=enThe Truth In This Art Podcast Website: https://www.thetruthinthisart.com/The Truth In This Art Podcast Shop: Merch from Redbubble ★ Support this podcast ★

Delanie Fischer chats with Yousuf Ahmed, founder and CEO of B-SIDES, about upcycling, sustainability, and building an ethical CPG brand—from origin story to sourcing, manufacturing, and growth. Yousuf also shares the routines and mindset practices that keep him grounded through the highs and lows of entrepreneurship, offering practical takeaways for anyone building a conscious business or looking for inspiration to upcycle in daily life. Episode Highlights:  Inside the Evening Ritual That Keeps Yousuf Grounded Where You Start Isn't Likely Where You'll End Up 2 Mindsets Every Entrepreneur Can Use as Needed Releasing Perfectionism for the Sake of the Mission Inside Scoop: Production in the U.S. vs. Canada ____ A quick 5-star rating means a ton! ⁠https://podcasts.apple.com/us/podcast/self-helpless/id1251196416⁠ Get a bunch of free Self-Helpless goodies: ⁠https://www.selfhelplesspodcast.com/⁠ Ad-free episodes (audio & video) now on Patreon: https://www.patreon.com/selfhelpless⁠ Your Host, Delanie Fischer:⁠ https://www.delaniefischer.com⁠ ____ Related Episodes: We Need Your Art! For Health, Community, and More with Amie McNee: https://www.delaniefischer.com/selfhelplesspodcast/episode/25b6ee3e/we-need-your-art-for-health-community-and-more-with-amie-mcnee Q&A: Publishing, Podcasting, and Creative Entrepreneurship with Literary Agent Lindsey Smith and Podcaster Delanie Fischer: https://www.delaniefischer.com/selfhelplesspodcast/episode/23bfb9d7/qanda-publishing-podcasting-and-creative-entrepreneurship-with-literary-agent-lindsey-smith-and-podcaster-delanie-fischer The Shocking Ingredients in Menstrual Products: Toxic Truths, Safe Alternatives, and the Future of Period Care with Arielle Loupos: https://www.delaniefischer.com/selfhelplesspodcast/episode/2bd21fe3/the-shocking-ingredients-in-menstrual-products-toxic-truths-safe-alternatives-and-the-future-of-period-care-with-arielle-loupos Learn more about your ad choices. Visit megaphone.fm/adchoices